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PREVIEW NEW WORK
SWINDLE AND DEATH Tron, Glasgow, Wed 11-Sat 14 Jun; Byre, St Andrews, Mon 16—Fri 20 Jun
There's a long history of plays by Scottish writers about the Scottish theatre. and too often these pieces become mired in self referential jokes. While Peter Arnott's new play strays into this territory. the dangers inherent to the genre look like being avoided. given the professionalism of Alastair McCrone's Mull Theatre and the pure quality of the writer.
‘This is the nearest I've come to shitting where I eat.‘ explains Arnott. who'll be stepping away from his characteristic style (exemplified by last year's Cyprus. a dark political drama). ‘Cyprus was a very serious play. which I rewrote three times on its run. This is a thing that developed in the middle of all that: it was just fun. an out and out comedy that I wrote in the middle of all that as a kind of relief.‘
The piece centres on an Arts Council employee who infiltrates the theatre company of the title in an attempt to uncover how the degenerate blend of ironic tartan toryism that the company perpetuates continues to be funded. The piece promises satire which goes beyond the theatre to Scottish identity itself. ‘As a nation we've avoided defining ourselves. except as not being j . English.‘ says Arnott. ‘This company ' u " ' !
slightly sends that up. Some of their PREVIEW DANCE/PHYSICAL THEATRE Room is like a breath of fresh air. I’d seen AI in The jokes are a little dodgy. but they aren't THE RED ROOM Factory and was just blown away by it — I had a gut anti English jokes. they're more taking Traverse Theatre, Edinburghv Fri 13 8‘ sat 14 Jun instinct that I wanted to work with him.’ For Seed, the I the piss out of the Scottish — so chance to work outside his usual remit held mass ; hopefully there'll be something to Listening to David Hughes and Al Seed talk is like appeal. ‘l’ve been working solo for quite a long time,’ offend everyone.‘ (Steve Cramer) dropping in on a mutual appreciation society. Taking a says Seed. ‘And for ages I’ve been screaming out for break from rehearsals at Edinburgh’s Dance Base, the the opportunity to create something with a big group. two men talk animatedly about their new project, The $0 to be working with six people of David’s calibre is Red Room - and their admiration for each other’s work. hugely exciting.’ Hughes has been one of Britain’s most captivating Hughes and Seed will be joined on stage by two dancers for the past 20 years. Seed is an award- former members of Australian Dance Theatre, breaker winning physical theatre performer whose quirky Matt Foster and classical Indian dancer, Seeta Patel. movement style is spellbinding to watch. Described by the Hughes as ‘beautiful, poignant and Now, they’ve come together to create a dark’, The Red Room has benefited from the melting dance/physical theatre hybrid inspired by Edgar Allan pot of styles poured into it. ‘We’ve got such a wide Poe’s, The Masque of the Red Death. The tale of a variety of performer in the piece,’ says Hughes. wealthy prince who holds a party in his opulent abbey, ‘They’ve got backgrounds in physical theatre, breaking, to escape the plague, poverty and pestilence outside, ballet, Indian dance and hardcore Aussie dance. So I the piece is in stark contrast to Hughes’ earlier works. said to them don’t try and be a contemporary dancer, ‘It’s a big step away from repertory dance for me,’ he don't emulate me - just be honest to your own says. ‘This is my 23rd year as a dancer and The Red discipline.’ (Kelly Apter) '
PREVIEW REVIVAL BLACKBIRD Theatre Royal, Glasgow, Mon 9—Sat 14 Jun
The gruesome ongoing discoveries in the Jersey abuse scandal and the uncovered horrors of Austrian Josef Fritzl's secret basement have done little to quell the worst nightmares of parents. It is into this climate that Davnd Grindley throws his new production of Blackbird. David Harrower's award-winning play. which deals with the realities of sexual abuse.
The piece fOCuses on an enc0unter between middle-aged Ray and a woman With whom he had a love affair 15 years earlier. which began when she was 12.
Robert Daws. the male lead. is keen to point out the absence of tabloid moralising in Harrower's piece. 'He's thrown up more questions than he's prepared to answer. and they're the questions every audience should be asking themselves about how they feel about the situation. judging the stories of two particular people and coming to their own conclusions.‘
Notwithstanding the apparent objectivity over an incredibly contentious issue. Daws points out that there is little ambiguity in the production. 'There's no place to hide in this play at all and it explains in great detail exactly what paedophilia is. I don't think anyone could leave the theatre without a revulsmn about it. but what they will do is have more of an understanding of human nature.’ Covering sexual obsession and the repercussions of the past. this production promises an intensity and intelligence worthy of such a harrowing subject. (David Laing)
5-19 Jun 2008 THE LIST 93