Theatre
PRINCE UNLEASHED Gilmorehrll, Glasgow Thu 9-Frr 10 Mar. then touring.
Review
Nl \‘J )llK FALLING Arches, Glasgow. Tue 14 Mar—Sat 15 Apr
Ah, there's life in us old dogs yet! It was the heartening sentiment which no doubt many of us who are a few steps nearer the pursuing grave than the bright young things of this generation gave voice to a couple of years back. The occasion occurred when it was dimly realised that Poorboy, who had made a sensational debut in the Scottish theatre with Learning the Rules of Chinese Whispers were not, in fact a bunch of brilliant young twentysomethings just out of training, but three ladies in mid career.
Don't get me wrong, the three founder members of this smart and gifted site specific company Sandy Thomson, Jacqui Skelton and Sarah Crabb aren't toothless cackling old crones unfairly dodging coffins that were made long ago, they are, like I said, in mid career. So in between things like mothering, no minor impediment to the organisation of a theatre company, they‘ve managed to produce some of the most exciting small-scale theatre we’ve seen in this country for yonks. No doubt, experience counted, for Thomson started making theatre at Dundee Rep two decades
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ago, then, along with her cohorts, disappeared to London to build her reputation. Her return earned her a nomination for best Director, as well as Chinese Whispers for best show, at the 2004 CATS awards.
Following last years successful Bridgebuilders at Dundee Rep, this company face their mightiest challenge yet, in carrying the banner of the NTS into its first post Home show. This new piece looks like carrying all the intelligence and emotional power of their earlier work.
In it, we meet what sounds like a kind of Weegie Ulysses, a man who takes us on a guided tour of the urban environment of Glasgow. And quite a journey it is, for starting at Queen Street station, we‘re taken onto the underground, and through the streets, bars and back alleys of the city, in a movement through space both emotional and physical. Falling promises an exploration of the plurality of the city, as well as its not- necessarily-inevitable tendency to alienate us from each other. Perhaps we tell ourselves stories about other people‘s otherness in order to assert of our own characters, but in doing so, do we stifle their voices, and become overprotective of ourselves? Find out in this journey, no doubt with the usual improvisation around traffic noise, interjecting drunks and curious voyeurs that makes site specific work so enthralling. (Steve Cramer)
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