Theatre
Stage Whispers
I The situation at Edinburgh’s Roxy Art House, reported in Stage Whispers a couple of weeks back, continues to generate much heat but little light. Recent reports have Linda Graham, the current director; at the point of departure, but no clear future for the building delineated. Some rumours have it that the owner wishes to continue with a theatre programme, but without Graham in charge. This
seems an odd decision, for the Roxy was unchallenged in Edinburgh in the creation of small and medium scale theatre of its kind, and seems to have carved out a valuable niche under Graham. Interesting eastern European work combined with local young talent was the order 'of the day, and it all looked like a slow-buming success. One hopes that whatever the future of Graham and the Roxy we might hope to see this kind of adventurous work continue.
I if the Roxy's owner wishes to seek an exemplar for how this kind of work can be viable, both commercially and artistically. he need only look to the example of the Arches in Glasgow. The coming year will see a succession of celebrations to mark the 15th year of trading at Andy Arnold‘s natty and buccaneering
‘ venue. From the drafty, damp and chilly little space under Central Station’s railway Arches that Arnold Opened all those years ago, we've seen an arts—led regeneration, with some of the best theatre on its scale produced up to the present day. If you can still hear the trains rumble over your head. this only adds to the atmosphere. while the cafe and club spaces these days stand alongside the most comfortable venues in the country. Whispers wishes Arnold's outfit another good 15 years. I The Tron, Whispers was pleased to hear, are to resume their free five-minute play season Sure Shots on Tue 17 Jan with Muffin. Directed by Adrian Osmond of Sweetscar, one of our brightest young companies, this piece is available in the foyer just
1 before the main show goes up.
It’s a good idea, great fun, and will cost you nothing - get along.
74 THE LIST :'> 1‘.) Jan I’(i(it3
NEW BALLET
CINDERELLA
Edinburgh Festival Theatre, Wed 4—Sat 12 Jan 0000
Earlier this year. Scottish Ballet made a triumphant return to the Edinburgh International Festival after a 20—year hiatus. sealing artistic director Ashley Page's success in reinventing the beleaguered coriipany. After such a momentous year. Cinderella is the icing on the cake. Choreographed by Page and with designs by Antony McDonald. the ballet is a sumptuous. colourful affair set in 18th century France but filled with modern references. As with their previous collaboration for Scottish Ballet. Nutcracker. Page and McDonald have gone back to the origins of Cinderella. Plucking elements from folk tales and novels based on the famous rags to riches story. they actually manage to make Cinderella look fresh and new.
Inspired by fashion designers ViVienrie Westwood and John Galliano. the costumes look fabulous. Pink and purple periwigs. velvet frock coats and big hustled dresses keep the show visually striking throughout. while Page's choreography proves just how far his company has progressed. with the dancers giving their all both technically and artistically. In true panto style. the stepmother and stepsisters are wicked to the core. Cinderella is adorable and the Fairy Godmother etht-zreal. McDonald's backdrops are simple but effective. with the odd flash of brilliance if you thought your post—Christmas dishes were bad. wait until you see what Cinders has to contend with.
Page's Nutcracker was loved by all. but in some ways Cinderel/a is a more successful Christmas ballet. With few esoteric references. lots of dancing and some well-timed silliness. the show is perfect for those who like their ballet steeped in tradition but coated in modernity. (Kelly Apter)
MUSICAL FOOTLOOSE
King’s Theatre, Glasgow, Mon 16- Sun 21 Jan
The strange thing about this 80s musical is that it's become more relevant in the two decades since it was released as a film than it was at the time. You might only remember Kevin Bacon's sub—James Dean turn in the film. or perhaps one of the catchy little dance numbers. epitoiiiised by Kenny Loggiris' title song. or Deniece Williams' rendition of 'Let's Hear it for the Boy'. but if you cast your mind back.
you'll realise the relevance of the plot.
In it. a fundamentalist Christian preacher has all dancing banned in a mid American small town keen to observe religious propriety. The youth of the IUWll. of course. rebels. In the self-sewing and narcissistic 80s. this seemed an implausible scenario. or at best the last kick of bigotry before the reality of a secular society set in. But these days. the abuse of power by the American religious right seems far from an obscure historical oddity. This is perhaps why young people. many of whom were barely born when the film was made. have found a real empathy With it. In this version. another historical oddity is the appearance of Cheryl Baker. for'riiei'ly of Bucks Fizz. in a lead role. Now she was famous before the film was made. but apparently is making a pretty good list of the theatre version. (Steve Cramer)
RLVlVAL TARTUFFE Royal Lyceum Theatre, Edinburgh, Fri 13 Jan—Sat 11 Feb
It’s the beginning of a very busy year for the affable Tony Cownie, which will culminate in his autumn production of Tuti Frutti for the NTS. The director sits nestled behind a pint in the familiar territory of Edinburgh’s Blue Blazer pub, contemplating another familiar territory, his production of Liz Lochhead’s adaptation of Moliere’s Tartuffe. Cownie led in the play’s premiere 20 years ago, and has since developed a tremendous facility with Lochhead’s work, having directed a string of subsequent adaptations.
Tartuffe, though, he confesses, is his favourite. And it is, perhaps, as significant now as ever. In it, a bourgeois patriarch buys into the blandishments of a self-righteous holy man, unable to see his hypocrisy. Things continue to deteriorate as the eponymous conman is promised the daughter’s hand in marriage and works on seducing his victim’s wife. Why are people so gullible? Because they want to be.
Cownie cosies up to his pint and explains. ‘We’ve all been in situations where we see people taken in by something that’s obviously fraudulent. It’s like these American evangelists who say: “The more you give the more God loves you”. You can’t believe it, but people do. I mean, why don’t these people write their cheque for the starving of the third world, or the people of Easterhouse?’ But we want to believe it.
The satirical intent of the piece is explosive enough today, but in Moliere’s time it landed him in chokey. ‘You don’t get sent to gaol for a piece of minor irreverence; it wasn’t light entertainment, he was telling the truth. The characters are funny because they’re real; we recognise them,’ says Cownie. There’s no shortage of brainfood in this comedy. Go see. (Steve Cramer)