NEW WORK CARTHAGE MUST BE DESTROYED Traverse Theatre, Edinburgh, until Sat 19 May 0000
It is incontestable that politicians aren’t held in high esteem these days, but what is often missed by those who criticise the political classes is that it might be the system itself that dehumanises our leaders, rather than their individual characters. It’s an intelligent point to make, and it’s made forcibly in Alan Wilkins’ adroit and profoundly observant political play at the Traverse.
Here we meet four characters at the outset of the Third Punic War, whose resemblance to modern politicians needs no amplification. Their plan to start a war against Carthage involves hyping up a military threat in order to justify invasion. The war itself, the play suggests, starts like the Falklands, a military conflict staged in order to distract from bad news at home, and ends like Iraq, a colonial adventure mired in interminable bloodshed with little end in sight.
We follow the fortunes of Gregor (Sean Campion), a senator with a penchant for young boys, and publicist for leader Cato (Tony Guilfoyle) who fixes public opinion in favour of war. Cato himself, with constant shibboleths about the need to trust him, and an apparently strong moral vision, also bears a striking resemblance to Blair. Add to this the fastidious and moralistic wannabe Marcus (Damian Lynch) and a representative of first apathetic and privileged, then passionate and nihilistic youth (Paul- James Corrigan) and Wilkins’ forensic dialogue sets off a tough talking and tautly narrated drama, in which the one character with (somewhat lamentable) human emotional traits is destroyed by an inhumane political culture. Lorne Campbell’s production in front of Kenny Miller’s smart black marbled bath house (and later ruined city) set maintains the tension and exploits the grim wit of the text splendidly, and there are four terrific performances, with Campion’s languid and later politically desperate senator a highlight. (Steve Cramer)
NEW WORK
LEAVE TO REMAIN
Scottish Storytelling Centre, Edinburgh Thu 24—Sat 26 May, then touring
Anyone who has experienced grief wrll be aware of its immense power as an emotion. This is often magnified by the fact that at least in Western society. it's not a SHOJOCl we're encouraged to talk about. After losing his wife Susie lnnes. dramatist John Clifford. author of such theatrical legends as Losing Venice. Celestina and Faust experienced this phenomena at close hand.
‘When Susie died. there was nothing really. I mean friends were really lovely and so on. but there was a general expectation that you Just got on with life.' he tells me. Clifford then waited for months for grief counselling from overwhelmed public services. before determining. in combination with performer Suzanne Dance. who experienced a similar phenomena around the loss of her father. that something needed to be said about the issue.
This piece. incorporating both text and movement. is the upshot. But it isn't as you might expect. 'We don‘t want it to be depressing: we just wanted to create a space in which it could be acknowledged. because a lot of people have had similar expenences.‘ The work incorporates text from a variety of sources. from Shakespeare to Clifford's own writing. while Dance's contril')ution is also eclectic. Part of the purpose is to expose Western attitudes to death ‘We've come to see things upside down. In the culture we live in. if someone cries. which is a necessary thing to do. we think, "God. they're cracking up. breaking down." Actually. they're getting better.‘ (Steve Cramerl
CHILDREN'S THEATRE HANSEL AND GRETEL
Theatre
NEW WORK
I‘ OF THE NEEDLE
Oran Mor, Glasgow, until Sat 12 May
Foucault saw identity. who and what we think we are. as something fluid and changeable. a product of cultural circumstances. It’s a similar concept Adrian Osmond seeks to explore in his new one man play directed by Paddy Cunneen. for this season's A Play a Pie and a Pint. As Osmond explains. 'lt's about a man attempting to uncover his own identity.'
Playwright and performer Osmond describes his piece as ‘a man unravelling his identity. It's like a loose thread that yOu can't help but pull and once yeti do. everything unravels. By plaCing him in everyday situations like job interwews where he's forced to answer questions. he begins questioning his own choices. But where do the questions end? The still twentysomething Canadian director has been acclaimed for his work at the Arches and the Tron. ‘This production takes me outwith my comfoit zone as I'll be acting in my own piece. It's a Journey for me and the character.' he says. With a background in playwright”ig. acting and directing. for plays. operas and musicals. he has experience of a multitude of styles. While this is primarily a play. he describes the language as rhythmic. ‘It looks at how all our decisions. big or small, from what train we get to what magazine we read. ultimately affects our life.‘ This intriguing play is followed a week later by Jane Duncan's Father Son and Holy Smoke examining three generations of prejudices within one family. (Greer Ogston)
Adrian Osmond’s Possible Worlds
Brunton Theatre, Edinburgh, Tue 22-Sat 26 May
The launch of the National Theatre for Scotland saw a series of ten events staged over a few days through the length and breadth of the country in February 2006. and left. no doubt. a lasting impression on many an audience. For all the quality of the work elsewhere. though. I can't help but reflect that the greatest treat of all was the splendid Home East Loin/an. a wonderful piece of 7()s-set nostalgia based on Hansel and Gretel. Catherine Wheels. the company re:;i.)()iisibl(->. here appearing With the same show under a more appropriate title. bagged a hatful of nominations and awards at the subsequent Critics' Award for
Theatre in Scotland ceremon in June. y
The site specific piece. much of which takes place outdoors. begins in a little 70s replica house. complete with Bay City Rollers records and episodes of The Good/es on the telly. before leading us through a dark and threatening forest. and finally to a splendid witch's house. full of sweets and treats. and menacing cages and ovens. The pure primal scariness of the characters dilemmas. though. seemed undisturbing to the ankle-biting audience. and the Joys of 70s nostalgia entranced the oldies present. For this critic it was the finest show of the season: its revival at the International Children's Theatre Festival seems strong programming. Bring the kids. or if you don't have any. abduct one —— this piece is worth the consequences. (Steve Cramerl
h" 13.: May 2?;7.‘ ‘ THE LIST 83