Mt l8l( 1A1 ANNIE GET YOUR GUN Festival Theatre, Edinburgh, run ended 00
You know tho lorinula; oast a (:ouolo ot woll known tolly tacos for your musical. thon sond it off on tho road hoping tho ountors; WI” huy tho in tho flosh wrth (:olohs; oxpoi‘ioiitto. Fair play. it has workod on ()(I(I£tf§|()lif3. hut whon nohody sooins; to havo trouhlod thornsol‘xos; Willi whothor said laoos; (tan roally out it on stano, ono tools; tho produoors; navo tailod to spot tho ittohort; doad ahoad on a cloar night.
this; mod i)l'()(lll(Lll()ll of trying Borlin's; camp and ti//y (:lasasit: it; a <:as:o in point. In oaso you don't roinoinhor. wo inoot Annio ()akloy lHohot:(:a lhornhilll a hillhilly toinhoy who. it oinorttos. can shoot straightor than tho logondary l rank Butloi (Stovon Houdhtoni tho star turn of Buttan Bill's lCllZil'IOS Lana/tom touting; SHOW. This: loads to an otfoi ot a part in tho show. and a hurgooniiit; roinanoo hotxvoon tho gunslingint; turns. Wo all might loayo at intorniissaion. hut lll(}‘.'li£ll)l\,, thoio's; a clash of ogos. flll£lll(2|£tl issuos; and a wholo most; a' romantic subplots to rosolx'o.
liniothy Shoador's; production hits; too much trouhlo ‘.‘.’lill its loads; to fully oxploro tho oinotional issuo ahout ogo and (:oininitrnont at tho hoait of th 5; fsll()‘.'.’. Whilo lhoinhill's; protagonist might suitor a touoh of Annio got your a<:<:ont out of Kont, it is, asido from this. an adnnrahlo prooo of work. Sho oapturos: tho huinptious; onorgy ot Oakloy With a hit). suro ‘."()l(‘,(3 and S3()lll(} nitto lll()‘-.’t?ll‘.“'ll7, but th s sorvos. sadly. to oxposso hor loading rnan. For Houghton's; ‘.’()i(‘,(} indicatos that ho might hayo inhalod too much f;l‘.i()k(? on tho sot ol / o/io'on'f; Ruin/no, making) tho (:i‘ut:ial doliyoiy of 'Anythtnt; You Can Do soorn loss; liko a inioht‘,’ clash hotwoon two odually inatrthod odor: than a no oontost on a par ‘.‘.«’llll tho All Blacks; vorssus; a high school XV \‘xith throo nion sont off. So too. l az'xton of Coronal/on Slroot sooint; rnoro (tonoornod ‘.‘.’lili hi5; Bill than his; Huttan and lookod gonorally liko ho had sonio olaoo hottor to ho than on statio. So 1? max that attor tho shovrstoppoi 'l‘horo's No Busunoss; l iko Show Businoss'. ono iii-It mindod to add ‘hut porhans; plumbing; is; inoro lit<:i'ati\./t‘:'. A sharno hooauso sovoral of tho supporting; cast. no douht inoro oxoortonttod l'l inus;t(tal l't(?£il!(3_ and loss; on tho hox. ‘.'>.Ioro strong. particularly David Burrouz's' out upon production inanattor. /\ll dancing. out “.vith a plastor cast ISI(E‘.’(‘: Crainor
Theatre
ReviewoftheYear
Theatre editor Steve Cramer picks his highlights of 2005
I It has, once again, been a strong year for Scottish theatre, with a few collywobbles overcome by a general bill of good health. There were some real treats to round off the Lyceum's 2004—05 season in Edinburgh early on, notable among them John Clifford’s adaptation of Anna Karenina. Muriel Romanes’ production boasted a tremendous ensemble and a fascinating symbolic set. And on the subject of ensembles, if Stephen McNicol, Barnaby Powers and live musician Jon Beales counted as one, then Tony Cownie’s production of Tom McGrath’s Laurel and Hardy contained as many splendours as the most demanding of audience could need.
I TAG, as well, have had a good year, with a strong Knives in Hens early on. Critical opinion of this company‘s A Taste of Honey later in the year is divided, but for this reviewer at least, the piece had a pleasingly authentic feel, with an endearing performance from the gifted Samantha Young at its heart. So too. the brilliant Highway Diner -— a company well worth keeping an eye on -— reappeared with their Works of Temporary Solace. But among the medium scale companies. Surely Grid tron had the strongest year. with a superb adaptation of Jim Grace's The Devil Larder making for a highlight of the Fringe. The Traverse. who were involved wrth this production. also came up trumps with the likeabte East Coast Chicken Supper, by Martin J Taylor.
I Speaking of the Fringe, I’m already baiting my breath for the reappearance of TEAM, a gifted, deeply political American company whose youth, enthusiasm and articulacy in their Fringe shows A Thousand Natural Shocks and Give Up! Start Over! would be a lesson for any young European company. Along with the always brilliant Riot Group, and American Absurdum’s Screwmachine/Eyecandy, they showed that there is much to learn about political theatre from the USA. A great year as well for the Arches, who deserve every plaudit for both programming and their house shows. We seem to be in good shape for the coming national theatre. (Steve Cramer)
Theatre Guide Thursday 15 Friday 16 Saturday 1/ Sunday 18 Monday 19 Tuesday 20 Wet‘lnesday Qt
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