Theatre
Review
DRAMA THE GRADUATE Dundee Rep, until Sat 4 Jun. 0..
Comparisons between Dundee Rep’s stage production, adapted by Terry Johnson from the original novel, and Mike Nicoll’s iconographic Oscar- winning film are largely inappropriate. But given that it is through the film that many audiences will come to this tale of sexual misadventure, teenage rebellion and mid-life angst, comparisons are probably, and sadly, unavoidable.
The production is worth seeing for the strength of its performances alone, the ensemble cast working wonders with roles that comprise a veritable miasma of contradictions and disillusionment. Mrs Robinson has the best lines and Irene Macdougall plays them to the full. She is a woman craving love and understanding, frustrated by her inability to get either, and given a strangely tender performance, drawing sympathy rather than hatred, crucially underplayed when a less subtle performer would have gone overboard. Ewan Donald as Benjamin Braddock handles his own heaving mass of confusions extraordinarily convincingly in the face of a script that seems intent on being stylish and witty when it would benefit from greater clarity. Samantha Young’s playing of would-be bride Elaine is superb when she has the voice of rationality early in the play, but is less convincing when her character’s insecurities take centre stage, a fact again largely down to Johnson’s meandering text. The production’s undeniable quality is its brilliantly comic edge, when a greater dramatic impact might serve it better.
Dominic Hill’s direction is of unusually mixed quality, lacking much of the subtlety and physical dynamism for which he is known. Too frequently actions seem uncomfortably to contradict words, as when Mrs Robinson protests that Benjamin is ‘not sensitive’, when we have never been given any suggestion or evidence that he might be. Kenny Miller’s trademark high-contrast colour scheme design, is, again unusually, both visually dull and ill-suited to both the action and space, neither occupying the stage adequately nor capturing any sense of period or metaphorical significance.
And it is unforgivable that, when overt similarities with the film have been so studiously and successfully avoided, we are delivered a thudding theatrical travesty with the sound of Simon and Garfunkel’s inimitable guitar riffs kicking in during the play’s dying moments. (Gareth Davies)
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Reviews
NEW COMPANY READINGS ZENDEH
Traverse Theatre, Edinburgh, Tue 7 Jun
Companies that use multiculturalism as a starting point for their work are often marginalised by the bigger theatre world. as if such work belongs in an artistic ghetto broadly bannered as a liberal cause. Yet the work of Such companies often transcends the borders set for them. This is precisely the intention of Nazli Tabatabai. an Iranian-born director whose new company Zendeh (a Farsi word meaning 'alive'l will launch at the Traverse shortly.
Nazli Tabatabai
Utilising a cast from many nations. this event IyOu'II need to contact the Traverse for admission) will incorporate readings from several major British dramatists as well as several from other nations. Among the work read WI” be that of Isabel Wright. Rona Munro and Vali Mahlouji. Come along to this if you’re interested in getting involved with the company. or just if you want to hear good work well read. iSteve Cramer)
NEW WORK
DO YOU REMEMBER FORGETTING?
Roxy Art House, Edinburgh, Wed 8 -Sat 11 June
How many people do yOu know on yOur street. or even yOur stair? The sooal culture has changed profoundly from its pre-Thatcherite awareness of community. and it might be argued that the internet has added to our
DANCE
CINDERELLA PILOT ERROR!
isolation and atomisation as individuals. A timely moment. then, to explore the world of blogs and chatrooms. where isolated. non- contact friends are made. and deaths are recorded by those dying in the isolation of lonely rooms.
This devised piece by a new outfit. Company of Strangers. under the direction of Lizzie Eldridge of Queen Margaret University College's Gateway Theatre. explores this territory through a diverse group of performers. We're promised an evening of exploratory and adventurous theatre examining urban alienation and loss. in a cityscape teeming with people. most of them lonely. This looks like thoughtful work for thinking audiences. (Steve Cramer)
ONE MAN SHOW
IN THE SHADE
Tron Theatre, Glasgow, Wed 18-Sat 28 May 000
The ‘black‘ music sound. so often irritatingly referred to as ‘urban'. is one imitated by whiter than white artists in various genres. And so David Leddy. in a range of cross-dressing attire. brings us a larger than life embodiment of this phenomenon in the form of soul diva LaToya Levine.
In the Tron's intimate Changing House studio. seated amongst cabaret-style tables scattered with prostitute calling cards. there is a sense thrOughout this show that the audience is not quite Sure how to react. It is part stand-up. part musical. part monologue. and whereas there is no direct audience participation. you are intrusively close to the action.
Leddy's presence certainly captivates. alth0ugh his transformations into other characters — Delroy. the well-educated black boyfriend and Miss Gina. Levine's bitter rival — are at times rather shaky (signified by unconvincing convulsionsl. The narrative is interesting. but the loud. garrulous covers of soul hits kill the mood. Stripped to the bare bones. this piece. directed by Kate Nelson. is a satirical. tender exploration of sexuality and society's shallow fascination with black Culture. The vulgarity and showiness certainly add another dimension theatrically. but ultimately get in the way of the message. Sometimes less is more. (Meg Watson)
Brunton Theatre, Musselburgh, Sat 28 May; Tron Theatre, Glasgow, Wed 1
Jun 000
Chordelia is a company on a mission: to take accessible dance to the masses in an easily digestible form that doesn't leave them dazed and confused. And Cindere/la Pilot Error.’ certainly ticks all those boxes. The rags to riches fairytale is transported from a family home to an airport. where Cinderella is a cleaner who catches the eye of a handsome pilot. The Ugly Sisters are air stewardesses. Hetty and Betty. and the Fairy Godmother is aerial artist Angelica McCloud. Choreographer Kally Lloyd-Jones has used every conceivable dance form to tell the tale. from contemporary to ballet. Irish to Indian. There's even a bit of moonwalking from the ever-watchable Rodolfo Rivas Franco. On the plus side this keeps the action fresh and dynamic. but inevitably gives the show a fragmented feel reminiscent of cabaret-style revue. Intermittent tannoy annOuncements inject a fair amount of humOur. along with moments of well- placed slapstick. But choreographic innovation is nowhere to be found. Ultimately. Chordelia achieves its aims — to entertain in an easy. unchallenging
way. (Kelly Apter)