Theatre
Reviews THE'I‘HARDMAN a. BENNY LYNCH
Citizens' Theatre, Glasgow, Wed 17—Sat 20 Mar
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FLAMENCO CARMINA BURANA Edinburgh Festival Theatre, Tue 16—Sat 20 May
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Think flamenco, think hand claps, wailing voices and senoritas in pretty dresses. Much further down the list of associated images lie horses, dwarves and metal bulls. But that’s exactly what you’ll get at Andalucian Images of Carmina Burana, the latest production from La Cuadra de Sevilla. Last seen in Edinburgh with its adaptation of Carmen, the Spanish company is known for embellishing flamenco with a few unusual touches.
Choreographed by Salvador Tavora, a former bull fighting champion turned theatrical visionary, the show looks at Carl Orff’s choral masterpiece through Andalucian eyes. Giving way to a plethora of religious imagery, matador poses and the aforementioned dwarves (apparently used for comic light relief during bull fights). Plus, of course, La Cuadra de Sevilla's calling card — Andalucian stallions. Trained to trot in time with the music, the horses made a brief but memorable appearance on stage during Carmen, and will no doubt prove just as popular this time.
Fusing traditional Spanish hymns, live flamenco music and song, a soprano vocalist and Orff's score, Tavora interprets the medieval poems which originally inspired Orff. ‘The music of Carl Orff is very important to Salvador because it's so strong and dangerous,‘ explains the company’s Executive Director, Lilyane Drillon. ‘And he thought the best language to answer the music with was flamenco. Because flamenco is also strong, it’s not only for diversion, but has had a deep meaning for centuries.’
(Kelly Apter)
REVIVAL
(Steve Cramer)
86 THE LIST 1 i—L’iS Max 2006
we in: ALL MARLENE DEITRICH FOR Tramway, Glasgow. Fri 19—Sat 20
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lhrt; rnrttht ne‘.er be more eyulent than in the world ot rntlttaty entertainment Ill war ‘.rtuatron‘;. Here. not only If» Information often strictly lllllll(:(l anrl channelled towarrl‘. particular ends. but rt If; also frltererl into our art as very subtle propaganda If the count: [)(;‘»‘)|l)l|lllt:‘) of this form of art has been explored rn such pieces at; Peter Nichols' l’r‘rv.’1te.'; on l’marfe. its more threatening possibilities have rernarnerl largely untouched. Until now. that is At lrarnway, Icelantl Dance Theatre look set to provrrle arr intriguing night of alternative phyurr :al theatre With this preee, exploring the use of the m; st; merlra to propaganrlzst ends, and its effect on both artrst and audience It looks a fascinating night out tStew; ()rarrren
HOW TO STEAL A DIAMOND Tron Theatre, until Sat 13 May
The thought, which I'm sure has occurred to all of us law abrrlrng cits/ens at some point or other. that If only we could successfully rob a bank, our problems would be over 1‘; one that doesn't come from nowhere. Most of us, deep down. are keenly aware of the econorrtrc IllJllSlIC‘) of our political structure. but we tend to be taught to repress this and re channel our energies Into other forms of anger that are not so damaging to the economic hierarchy. All the same. rt bubbles to the surface whenever we root for the robbers Ifl herst movres. which we Invariany do.
You might find yourself haying the same experience With thrs piece from the very much Lll)-altd—(,‘()fttltlg Vox Motus. In rt, we see the progress of a dramonrl robben/ from the heist by three schemers to a South African rnrne to rts appearance rn an up market high street shop. But while there's plenty of the tensron we'd assooate With the genre, there's also a strong sense of play and quirky humour to the piece. Combining phySrcal and vrsual skills wrth rts storytelling, this company are an engaging and smart group of practitioners. So you‘ll watch the robbery, but you won't feel robbed.