Theatre
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from‘behind the flights ”i.-'i?,!:’Them’s more to this issue’s :flfiwmummuwhmmsmmemr preview pages, so " “ decided to use'his to flag up a few ghbfififithhfinflwflm this fortnight. ‘7 IYQU could do worse than find gfiumwmflwAmMmmYM%mw :24Uahuary for the latest of their "'iisératch nights. This little (development in rough theatre to work well when it debuted last year, with the likes of Pauline Goldsmith, TEAM. Highway and experimental music group One among the a contributors to an evening in which (“new work was tried out on an I audience for the first time. it's a I .-7panicularly interactive kind of theatre titer-fence the artists have performed short, in process sketch of (might become a bigger piece. 7 they're more than delighted to chat .- with you in the bar. Your feedback becomes, in fact. crucial to the '_ further development of the work, so if you enjoy a glass of wine with a " performer, writer or director now _ and then. rock up and bend their and you might find your a; SUQQGStions incorporated into a piece further down the line. This year At Seed, the Arches’ [anwunmflmmahwmbe (If rigs piece, as well as 4 Accomplice and ' Alexander Young, but don’t be surprised if other artists " up andng a spot. Very like ._ 7.35am session among jazz musicians, this is something of a ‘free—fOr-all. Leave time for a pint afterwards. Over at the Traverse, the new "I year kicks off with a Russian double bill from students of the RSAMD. The Presnyakov Brothers’ Terrorism .";j}.l00ks interesting among these, for it jammemmnmdamufimae theatrical dynamos of unorthodox ’.;..;bgtgengaging style down at the 1:5 a few years back. it's an rather difficult text that been much seen in Scotland. worth the curiosity value. 1:? with Vassily Sigarev’s this looks an interesting ,Zforay into rarely seen drama from ~ the, BorsCht belt.
Andy Arnold hosts Scratch Night at the Arches
72 VHE LIST 1') Jan I’i(:i;1";()fi
CONTEMPORARY DANCE WALKER DANCE/PARK MUSIC & CANDOCO Traverse Theatre, Edinburgh, Sat 28 Jan
OutSide of a Supermarket, it's not often you get two for the price of one. But this month. the Traverse will welcome two contemporary dance companies performing on the same programme. At first glance, they have little in common. Run by choreographer Fin Walker and composer Ben Park. Walker Dance Park Music is known for its seamless blending of movement and sound. Candoco is the world's most respected integrated company. with an award-winning team of disabled and non—disabled dancers.
The common link is Walker. a choreographer of increasing repute. who created both her own company's work and Candoco's. Walker Dance Park MUSIC will perform an extract from 5 2 70. a title which refers to the work's five duets. two solos and ten instruments. Inspired by the body's internal energy or Chakra system. Walker and Park also used the elements of fire and ether as their starting point. Candoco's The Journey follows the dancers on an emotional voyage of discovery.
‘lf you're working with a dancer who has a disability it can offer a different solution.‘ says Walker of the creative process. ‘Because the way they move -- whether that's in a wheelchair or across the floor with no legs is different. just as it is with any dancer. We have a long-standing relationship with Candoco. so we're really excited at the prospect of sharing a programme with them.‘ (Kelly Apterl
ADAPTATION GET CARTER
Brunton Theatre, Musselburgh, Thu 27—Fri 28 Feb, then touring
Perhaps the iconic image of British Cinema in the 70s is Michael Caine's shotgun Wielding hardiiian in Get Carter. It is. indeed. so pervasive in the culture that many people (if a straw poll of the office is anything to Judge byi aren't aware that the piece was based on a novel by Ted LeWis. Red Shift. the experienced and impressive English touring company. have made quite an industry of this form of adaptation. where we get to reappraise a film from the point of View of the novel that precrxied it. most recently With their version of The Third Man.
Artistic director Jonathon Holloway‘s adaptation promises much of the Visual. multimedia style that has become a trademark with this company. In it we see a seedier Side of Britain. a world of small scale corruption and Violent crime With0ut affirmation or promise of redemption, as Jack Carter seeks revenge for his brother's death in a grimy northern English town. Accompanied by a screaming retro sound track full of the popular music of the grim hangover that followed the (30s. this piece looks to combine nostalgia With something much darker. a world of griiii urban detritus that parallels our own. (Steve Cramer)
Review
REVIVAL TARTUFFE Royal Lyceum Theatre, Edinburgh, until Sat 11 Feb 0...
Very like prime ministers, patriarchs in bourgeois families can reach a point of hubristic arrogance that will brook no discussion or compromise. In such circumstances of impunity, it’s possible for such folk to be erroneous, deluded or just corrupt, but shoo away well meaning attempts to correct them with pure bluster. So it is in the roaring 19205 Edinburgh household in Tony Cownie’s production of Liz Lochhead’s splendid Scots verse adaptation of Moliere, in a world where some hold too desperately to the certainties of past morality against the disillusionment and post-war hedonism of the era.
In it, Orgon (Steven McNicoll) is utterly seduced by the ultra pious title character (Kenneth Bryans) a canting hypocrite intent upon acquiring the property, wife (Jennifer Black) and daughter (Susan Coyle) of the gullible old twat. Appeals to the media from his commonsensical brother in law (Alan McPherson) and canny working class maid (Maureen Carr) make no impression, while the daughter’s impetuous dag of a suitor (Andrew Clark) only makes matters worse. Orgon stands by the word of his mother, a sort of Scots Calvinist Lady Bracknell (Ann Scott-Jones) that Tartuffe is the one truly honest man in a jaded and unholy world of flappers and slappers, to everyone’s great cost.
Cownie’s production fairly zips along in front of Trevor Coe’s sturdy wood-panelled design, with a succession of splendid set pieces accompanying Lochhead’s fizzing, bawdy colloquial verse perfectly. McNicoll's plus four-clad, bull headed big daddy is a treat to watch, while Bryan’s sleazy sackcloth and asshole holy man quietly fascinates. Indeed the whole cast perform with pace and verve, with Carr’s streetwise servant and Lewis Howden’s succession of brief cameos as Sherriff's officers and cops worth the admission alone. There’s something very dark indeed about a finale that it would be unfair to give away, suffice to say that Lochhead’s text does not question outsiders and criminals alone; there’s also a grim interrogation of the moneyed establishment by the curtain. See and find out. (Steve Cramer)