Theatre
Revrews
NEGLECTED CLASSIC
HUGHIE
The Arches, Glasgow, until Sat 17 Mar 0000
An ageing New York gambler lords it over a luckless hotel night clerk, spinning unlikely tails of his continuing prowess in gambling and womanising. Both the gambler and the hotel have seen better days.
Such is the scene in this Scottish premiere of great American playwright Eugene O’Neill’s lovely little one- act play, Hughie. Set in 1928, the year before the disastrous Wall Street Crash (after which the United States caught a bad case of economic influenza, and Germany caught Nazism), the drama is a miniature American classic; Al Pacino famously staged the piece (casting himself in the role of the rambling gambler Erie Smith) in New York in 1996.
The recent death of the previous night clerk (the eponymous ‘Hughie’), has sent Erie on a bender ever since the old boy was buried six days before. Having, presumably, spent the last cent in his pocket on booze, he has no choice but to stumble back to the fleapit hotel where he lives; it’s the kind of place from which,
in the memorable words of George Galloway in Washington DC, ‘the cockroaches moved out last week’.
Erie shifts back-and-forth between charismatic likeability and poisonous self-aggrandisement (the gambler blames his recent losing streak on Hughie’s death, and denounces the dead man as a ‘sap’ and a hopeless nai'f who was always taken in by gambling tricks). The gambler’s seemingly optimistic bravado, in spite of his obviously declining fortunes, transforms him into something of a political metaphor. Like the US (and the rest of the world, which was, already in the 19203, bound up with the US economy), Erie is clearly riding for a fall.
Andy Arnold’s production is just the latest in a long line of fine Arches’ presentations of modern American classics. It enjoys simple, yet beautifully affecting set and lighting design and is subtle and insinuating; its politics poke their heads out, like Pinter’s much- vaunted weasel under the drinks cabinet. Neil Docherty plays the new night clerk (who is, coincidentally, named Charlie Hughes) with humorous boredom, while Benny Young gives a bravura performance as Erie, the decaying Scaramouche. (Ben Walters)
MODERN DANCE
environment.
SCOTTISH DANCE THEATRE Edinburgh Festival Theatre, Tue 27 Mar 0000
REVIVAL
THE WONDERFUL WORLD OF DISSOCIA coco.
Seen at Tron Theatre, Glasgow, run ended. Now touring
As children we're enthralled by adventures to far off lands with tin men, talking animals or witches and wizards. where good overcomes evil. Anthony Neilson's play appeals to both our childhood imaginings and our adult sensibilities.
Lisa (Christine Entwisle) is on a quest to recover her lost hour which has unbalanced her life. A Swiss watchrnaker shows her the way into Dissocia. She encounters a succession of wild characters along the way. It‘s not all songs and games. though. as Dissocia is at war with the black dog king and only the mysterious Queen Sarah can save them.
Neilson creates an enchanting world of characters. singing and excitement with a touch of his trademark darkness. The first half is a mesmerising trip through Lisa's subconscious as she retreats further from the real world. contrasting with the stark white clinical second half, portraying her real self; it's unsettlingly easy to see why she prefers the excitement of Dissocia to her reality. Neilson offers a unique dual perspective on mental illness and by complying with stereotypes. he manages to challenge them. Entwisle leads a refreshingly versatile cast through the ever shifting landscape of Neilson‘s imagination. aided by Chahine Yavroyan‘s flawless lighting and Miriam Buether's inspired design. (Greer Ogston)
Diversity is fast become the calling card of Scottish Dance Theatre. Visiting Edinburgh as part of its UK tour. the company will perform three works which. although choreographically distinct. have one common factor -— an emotional trigger. Between them. they challenge our perceptions of disability. love and the
Choreographer Adam Benjamin does this most emotiver in Angels of Incidence. Joined by four disabled dancers. the company instantly has to adapt to a new dynamic. There are no longer just bodies to negotiate on stage. but heavy wheelchairs and crutches. Yet. within minutes, the line between disabled and
able-bodied becomes blurred. The heavy machinery of the wheelchair is lifted like a petite ballerina into the air: the crutches pushed to one side. replaced by the supponive arms and legs of the other dancers. Everyone is on a level playing field. resulting in some truly beautiful moments.
Janet Smith‘s Touching Zu/u was inspired by a trip to the African bush. Transporting us to the heat and dust of that continent. the dancers mimic animals with an assured. comical style. Comedy slowly turns to tragedy. however. when their survival is threatened by man's increasing presence. The gentle rolling of an empty drinks can onto the stage gains momentum as it is joined by another. and another until finally a way of life which has existed for centuries is no more.
Finally, Uri lvgi and Johan Greben's In The Mi’dd/e of the Moment is a captivating duet performed with live accompaniment by the Hebrides Ensemble. Love is in the air but. as we all know. it's not always easy and this short but touching piece is brimming with real human emotions. (Kelly Apter)
80 THE LIST 153—179 Mar 200?