Theatre
Stage Whispers
I There’s plenty to look forward to in the year ahead for theatregoers, but perhaps a personal highlight for Whispers would be the revival by the NTS of Anthony Neilson’s The Wonderful World of Dissocia. This, along with such hits as Black Watch and Tutti Frutti, all fine shows, will be given second airings for audiences all around the country. This fills a long felt need in Scottish theatre, since for many years splendid productions have cropped up briefly, then were never seen again — a phenomenon partly caused by budgets, partly by lack of media coverage and partly by the nature of the form itself. The idea that audiences might finally get a second look at this work, rather than wistfully recollect it, has to be a positive for Scotland.
I So too, the new work promised for the year ahead looks full of potential. This includes Aa/st. the 2005 piece from Belgian company Victoria, which reconstructs a notorious case in which two parents murdered their children in a hotel in the Belgian town of the title. With David McKay and Kate Dickie, who received such acclaim for the film Red Road recently. in the cast, it looks a sure bet at its March debut.
I So too does Tam Dean Burn’s June adaptation of Luke Sutherland’s novel Venus as a Boy, which explores sexuality and mythology through modern eyes, while, in April, Suspect Culture’s Futurology will see something of a revival of revue, though on a grand scale, incorporating as much international participation as we’re likely to see in any Scottish production in 2007.
I Elsewhere. it all looks pretty promising. Another personal pick for Whispers is the revival of Mrs Warren '3 Profession at the Lyceum. With the departure of the old Citz triumvirate, Whispers despaired of ever seeing any Shaw again. Prematurely, it transpires.
The Wonderful World of Dissocia
76 THE LIST -1 ‘3’, tan 1%“)
FACE roe THE rurunr; BRIAN FERGUSON
He's not exactly a new face: he's kicked ar‘dund the Scottish theatre for three or four years in this revrewer's recollection. and probably longer. but Brian Ferguson's 2006 has launched hrrn as a substantial actor on the Scottish scene. A growing reputation was established in his work with Poorboy. the splendid Scottish site specific company. particularly in Br/dgemir/ders. the tale of seafaring pioneers in Dur‘d'ee. Early this year he could be seen in the same compant 's Falling. v-rhere he played a kind of Mephistopheles of the undergr'ou": urban spaces of (Slasgoxz'. This shox'xcased Ferguson's gifts as a close tip actor. as. in such tiny spaces as the lost property office of Queen Street Station he created a tremendous presence to be close to. He has also shown a capacity for 'bigger" acting in pr'oscer‘rium arch theatre with his work in the January 2006 revival of Tia/rispoftinr/i. But perhaps the l)(?l'i()rll‘£ll‘-(Z(3 for which most audiences will remember him is B/ack l”./.'ifc/7. the NTS Festival hit. in which his disillusioned soldier \.'./as a commanding pr‘es(->n(:e. Ferguson shows the capach for a natural and easy presence with an audiei‘ce. which. though it might S()tl."(18lllll)l(}. is one of the most (liiiICtill oi i!‘(?;lit(? skills. A big future Il‘. larger scale and bigger >t.dget projects beckons to Fergusor‘. though ne's indicated here
and there tnat “sr‘atural homers i"
the small spaces created bx, such companies as Poor‘boy Whichever way he chooses. one senses success ahead. :Steve Cramer;
em t it CINDERELLA
Edinburgh Festival Theatre, Thu 4—Sat 13 Jan .00.
Ashley Page could have take-n the easy way out: clror'eograpneo a show that lltlh'tXl all the boxes. and sent us home ‘.‘.'|ll‘. av‘other traditional narratne belts. But Scottish Ballet's artistic director has nexer favoured the obvious recto to success preferring to mess with our minds a little I", his guest for originality
So. instead of creating a létll",l£l|(} by numbers. Page and designer Antony McDonald went back ll‘ tithe. Gathering morsels from practicalh, t-)\./(}l\,’ version of Cinder‘e/r’a ever
‘.".’llil(3.’t. and fashioning them into one.
Scottish Ballet's talented troupe.
Tne Fairy (Bodmotht-zr is now a product of nature ‘.'.’(i‘.‘i"§l a twig instead of a \.r'.'and. and Ill\.'|i|!‘§l Cinderella into her bouitteods garden, The coacn is a giant pamp'ixr".
ratiet .rod'er our
(i(}ll(jl()tifi ‘.'.’.".()!-?. the
result is a rich tapestn; of fléll'l'ttthJU. danced to perfection by
,\.\.‘.’/\i iDS ht )UNE’) or) CATS AWARDS
We’re about at half term for the awards season, with the CATS Awards occurring in early June this year. So far, the chatter among the critics has covered a great variety of work, from grand scale projects to more modest pieces. It’s a long way from the finalising of short lists yet, but a couple of shows at least have figured in impassioned discussions.
Almost inevitably, Black Watch has occupied a good deal of chatter, and it’s hard not to see John Tiffany’s production of Greg Burke’s reflection on the lives of ordinary soldiers and their experience of Iraq not receiving several nominations. Anthony Neilson’s Realism, is a different kettle of fish altogether, since it plainly divided the critics. Those (among whom I count myself) who admired it will no doubt put up a strong case on awards lunch day, but the play has equal numbers of detractors, so might make for absorbing discussions and interesting outcomes. Tutti Frutti, too, is bound to fall into nominations discussion. But neither this piece, nor the several other fine pieces of work from the NTS are liable to have it all their own way. Of the smaller scale shows, the most notable for this critic would be Tom Fool at the Citizens’ Theatre, a tiny scale studio piece which for two performances and its direction alone, must be in contention. And while being locked in a loo with luvvies may not be everyone’s cup of tea, Andy Arnold’s site specific in the Arches toilets, Spend a Penny must be prominent in several minds. On the new writing front, as well, the contributions by Morna Pierson and Iain Findlay MacLeod to the Traverse Cubed’ season have already provoked discussion, and warrant more. (Steve Cramer)
~ .
b e
masduer'ading as a hot air balloon. \"Jnrle the cast";
stepsisters' attempt to s(i;.‘ee/e their feet into tt‘e rrr‘amoas shoe belongs in a slash horror lll()\.’l(?. Cinderella is shit a
piccolo-tr out (Ernie/em. but It (It?"'.tll"l‘. pears repeat ‘.‘::-\.'.:.",}. ,rvthpi
So nr..<,' (fetal is packed l"i() earl fut." e
>:;t..'hes
delicate beauty. hou‘rexer. rescued from her <l',:;ii.n(,tioiurl fainin and packed off with Prince ()nar'mrng to Me ".{ll)l)li',‘ ever after. Because Page ixrtcws wner: to tun/ea'rx a pot ruiar story and When to leave well alone.
this is the second year ll‘, .1 row that Scottish Ballet has
(rmireograii"i<:al|\.'or throught"e..secfp'cps1‘: t"at its impossrhie to absorb it all '* c-r‘e firiif"gl. Next year. we are promised a brand nex'.‘ Christmas s“. from our
i‘atzonal ballet commit“, so tne true to (‘.llt‘.". (,‘:nders and her lllt?l‘.£l(1l'l§,‘ stepsisters 's t‘:)‘-.'.’. he?!» Apteri