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. girl) 0? il‘.(: lair: 'lai‘ i)()fl,(1"lfl,:;t)llliE'-.'.'l£ii.l‘ilit: recognised, too. Meanwhile, his younger brother, 'i)'.(:l'{)'ltl :5<:-<::>'1::, ’.'.":‘. '(;- a skull, :i!‘.i>;..:i r‘lltiem: <>‘ a corporate high flier (Mo Zainal) is married but ‘iaslmt; lllll‘if; ar‘<l :i:§;<:<,i<iai‘utl\. '.'.iil:;l/(:l(3il .;:=;:-:;-:; P; L (“MK stuck on the corporate treadmill, unable to Want: tilt: Z‘.'.'<: a<:t:; .5; a l‘i:(:(ll(?f;i; {iiiit'rum r: a f;l‘(;.'. IN THE BAG 0... spend time with his newly pregnant wife l'iaf (3f;"2ll(;-‘.'.’f; ’Zis(lli(:. Hm? ()'(i."§,'f' all at; ,:;<‘-<;-'ir; "l Tl'avefse Theatre, Edinburgh, Uhtil sat 21 May (Michelle Macerlean) who fills her lack with ta'rll'ig; the l.ll‘{if3l‘.l‘fll’iil)'it :El.l>j(3(fl W" :‘W‘fai ."rfrii 1": relentless consumerism. At a crucial age for life all a Milli? (Z-(lglii, A with, l)l'()‘.()(i;ill‘.'€:l)1(:(;i:. '3'“ 'I love Justine, because she never mistakes me decisions, something’s got to give... mart; (lax/ii Mew-r1, é;l(:-i<}()?., ; m; l l);:"(lf; .iii, for anyone else.’ That Jacques Lacan was Lorne Campbell’s production moves cleverly (Lora-e Mulls; talking about his dog in this famous old quote through this tough emotional landscape in front might illustrate the difficulty of love between of Jon Bausor’s smart and tricksy set (wait until humans. But it also tells us something else: that you see the pool match) with a pleasing we want to be recognised for who we are, or at sureness. O’Donnell’s admirable English least who we think we are, when we love. Wang version makes the complex emotional Xiaoli’s bittersweet and moving play at the Trav, discourse of the text seem simple, as the play in this version by Ronan O’Donnell moves into slowly exposes the idea that what we seek in this territory with tender conviction, exploring 3 our opposites is something buried in ourselves. Lacanian economy of desire, as two couples Meanwhile there’s some sharp and witty love their significant others as much for their observation of the consumer culture, which capacity to fill a repressed part of themselves as through such things as magazine mission any quality their lover might have. There’s also a statements, trainers and household products, recurrent trope about recognition. robs us of identity even as it seems to affirm it. In it, a wanabee writer who’s seen better days But essential emotional identity, our capacity to (Daniel York) has witnessed his lover (Tuyet Le) be drawn, beyond rationalism, to those we love take the conventional feminine route out of a to affirm ourselves remains intact throughout. relationship in finding a man with better York’s Beijing Jimmy Porter figure is a prospects. But he’s still living in her flat, and beautifully nuanced lead in a generally solid each finds frequent excuses to visit, picking over cast, and this amounts to a moving night of old wounds, but perhaps still waiting to be entertainment. (Steve Cramer)
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