Festival Theatre
AE FOND KISS Sweet Scottish story om
Not to be contused With the 2004 film of the same name. Anne Marie di Marnbro's play locuses on an awkward teen. /ed_ who arrives tor his
birthday present an hour wrth l ola. Hut l ola is not guite what he expected, in more ways than one.
lhis tender and engaging piece looks at an unusual budding triendship between the two as they share their troubles over cups ot tea.
lhe play avoids any pitlalls ot pretentiousriess by focusing on the two familiar and likeable characters. l ither the awkward naively ol the teenager or the deleated nature ot the hardened middle aged woman Will undoubtedly strike a chord. It's a little story wrth a big heart. With some classic one liners in a larniliar Glasgow brogue, the piece serves as a reminder that the l ringe is not just tor incorriers, and we have plenty of home grown theatre we can be proud of. (Greer ()gstori) IAsserrib/y Rooms, 623 (3030, until P/Ai/g (not 2’2), 2pm, l‘l 1.60i‘1250 (Vidal) 5‘] 1.60).
DEBBIE DOES DALLAS - THE MUSICAL
Ropey parody of famous 70s softcore porn 00
There's a very tine line between a send—up ot a ropey cultural item and something that's just plain ropey. Almost trom its shrill opening bars rt becomes crystal clear that Debbie Does Dallas — The Musrca/ has crossed the line.
The fundamental problem is that parody only really works it the thing that's being Iampooned took itselt seriously in the first place. A kitsch 70s porn about a girl from the sticks who
rides into town and rides the local lootball team is hardly lacking a sense of humour lhat the producers of this ear bleeding ',il(,‘: of musical theatre have succe‘xlrxl in extracting whatever wrt the original might have imssessed is a pretty extraordinary teat.
Admittedly the shiny, smiley cast clearly i)(,’il(,‘./(; in this production. shouting their lines at high decibels. despite being egurpped With llllkfjf)_ and throWing themselves into the dance routine", With pornporn llapping gusto. But the songs are unilorrnly unrnernorable and the script is wrtless. With the rnaior proportion of the humour being derived trorn llll;l()£lf;lt(_)ly spurious euphernisnis tor women's genitals, while dealing wrth sex in the kind of coy. prurient manner that evokes children rubbing Barbie and Ken dolls together. (Allan Radclitte)
I UdderBlTllY's Pasture, 08/0 MS (3083, unti/Q/Aug, 6.46;)In, l.‘l2.5() 5‘74 (£70.50 l‘l'/.5()).
THE BITCHES’ BALL Well-choreographed portrayal of regency ‘It Girl' 000
(LINUXNllf;illl(}fif}.
(Allan Radcliffe)
the reputation of 18th century poet, novelist and original 'It Girl', Mary Robinson, has been eclipsed by the streams of celebrity lemme latales who came in her wake. Penny
Ureadtul's well chortxkiraphed production seeks to redress this injustice opening With the elderly Robinson. crippled by rheumatism and living in reduced circumstances lhe supporting cast bursts into the space. all grotesgue pancake stick. blusher and pencilled in beauty spots. and were transported back to the great lady's heyday. trom early exprx:tations and a difnppointing marriage to achievrng celebrity in the l ondon theatre and courting notoriety as mistress to the l’nnce Regent
lliis is a slick, sustained, it brash. lurid pitxe which entertains in its But the heavy locus on the truitier aspects ot her lite rrieans we're none the Wiser about Robinson's artistic achievements and signiticance by the close.
I Asse/rib/ytwl li/l Street lheatre, 623 3030, until Q/Aug, 853(k)”), H 7 (l0).
FATBOY Satirical shouting with style 000.
With our current culture ot consumerism and our sixrrningly endless desire to rid the planet ot its natural resources, there is unlikely to be a more titling or biting satire at this year's l ringe than .John Clancy's latboy. An updated version ot Allred Jarry's 1890 Absurdisrn prrxlrxxrssor. - Ubu li’or, this grotesgue comedy
‘ locuses on the titular character pushed by his argumentative Wile into murder, thelt and eventually desixmsm. Unceasingly loud and obscene, there's no shying away here trorn highlighting the gluttoriy and avarice inspired by contemporary indiVidualisrri, or from stressing the demeaning way that most of us allow ourselves to be treated by authority
GAME? Break the rules .000.
If you've ever been to a dinner party and wanted to scream in frustration then this creative company, Tangled Feet, have the play for you. What begins as a get together to welcome the neighbours soon morphs into a sharp, surreal insight into the hypocrisy and mediocrity of middle class suburbia. The neighbours, Franky (Sara Templeman) and James (Leon Smith), arrive unable to keep their hands off each other and are greeted by the seemingly perfect couple, Tony (Mario Christofides) and Connie (Alyson Cale). But no one and nothing is pristeen at this gathering.
The rules of the dinner party are exploded as Connie’s schedule falls by the wayside. The men compete for dominance and the women compete in barbed compliments as the evening descends into mayhem, breaking all ties with naturalism. This leads to frenzied
98 THE LIST FESTIVAL MAGAZINE 23 Aug—6 Sep 2007
dances with chairs, men wrestling with ties around their heads, some painful marshmallow abuse and a slightly disturbing innuendo-laden sequence to the strains of Guns’N’Roses’ “Paradise City'. Life is a game after all, and generally we play by the rules whether consciously or subconsciously.
This play explores the delicious deviousness of breaking the rules in both life and theatre. In the end Connie literally has to bind Tony back into subservience with copious amounts of sellotape. Nathan Curry’s production is a refreshing and dynamic piece of comedy, physical theatre and performance fused together in an absorbing mélée of slight madness. If you’re bored with mediocrity either in life or on the Fringe this is definiter a blast of fresh air.
(Greer Ogston) I Gilded Balloon Tevlot, 668 7633, until 26 Aug, 4pm, EQ-CIO (Pi—£9).