Theatre
REVIEW NEW PLAY THE DARK THINGS Traverse Theatre, Edinburgh, until Sat 24 Oct ●●●●●
Ursula Rani Sarma’s first full-length commission for the Traverse offers a fascinating commentary on contemporary attitudes to death, specifically as manifested in the confessional, commercial nature of contemporary art. The central focus of the piece is the emotional bond between the only two survivors of a notorious bus crash: LJ (Suzanne Donaldson), a former lap dancer, now confined to a wheelchair and living off a compensation payment, and Daniel (Brian Ferguson), an award-winning young artist who walked away from the accident unscathed. Dubbed ‘unbreakable’ by the press Daniel inadvertently augments his unsolicited newfound fame by creating an exhibition inspired by the crash and its aftermath.
Sarma’s satirical purpose is reflected in Neil Warmington’s set, each element of which is labelled in the style of an art gallery installation, as well as in some scenes of delicious black comedy, most strikingly the moment in which Danny and his shrink, Gerry (David Acton) – himself haunted by his wife’s death and troubled by his sexuality – wrestle around on
the floor with a knife, each demanding to be put out of his misery. The subplot, in which Danny’s sister Steph (Nicola Jo
Cully) is duped by her boorish boyfriend Karl (Keith Fleming) into taking part in a dubious ‘audition’, adds a further queasy layer to Sarma’s unflattering portrayal of a world in which the attainment of celebrity, however fleeting or compromised, is deemed the pinnacle of achievement, though these characters feel rather thinly drawn compared to the central trio. The relationships between Danny and LJ and Danny and Gerry are movingly depicted, each member of this bizarre love triangle frantically, vainly seeking in the other a route out of their pain. Sarma’s script subtly reveals the desperation beneath their deceptively banal conversations and entreaties. Donaldson brilliantly balances LJ’s mix of brittle fury and vulnerability while Ferguson gives a startling, nuanced performance as Danny, physically ringing the changes as his character increasingly struggles to suck in his inner turmoil. While the action varies in pace and tone, Dominic Hill’s production creates a tense, heightened atmosphere throughout, which keeps you on the edge of your seat. (Allan Radcliffe)
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REVIEW REVIVAL THAT FACE Tron Theatre, Glasgow, until Sat 24 Oct ●●●●● Polly Stenham’s dark, unflattering portrait of a deeply dysfunctional upper middle class family delivered a sharp shock to London theatre goers on its premiere at the Royal Court in 2007. Revived by Andy Arnold for the Tron, who transfers the action to Glasgow, at first Stenham’s play feels somewhat disjointed as it flashes back and forth between boarding school pupil and borderline sociopath Mia’s (Hollie Gordon) drugging of a fellow student during a botched initiation ceremony, and the grubby flat where her alcoholic mother Martha (Kathryn Howden) and 18-year-old brother Henry (James Young) indulge their destructive Oedipal relationship. Adam Wiltshire’s cluttered, split-level set complements the action, which at times is so claustrophobic that you’re left gasping for air, or at the very least for some reference to the world beyond this particular family crisis. The scenes of dark comedy are remarkably assured, however, the relentless, scathing verbal abuse recalling Albee’s great critique of American white, middle class family life, Who’s Afraid of Virginia Woolf? These give way in the final scene to a sympathetic portrait of human suffering, crystallised by the broken Martha whose poisonous, mutually dependent relationship with her son forms the emotional backbone of the play. Howden’s bravura performance elicits both queasiness and deep sympathy for the sad, emotionally controlling matriarch. (Allan Radcliffe)
REVIEW THRILLER CURSE OF THE DEMETER Traverse Theatre, Edinburgh, Fri 23 & Sat 24 Oct. Seen at Brunton Theatre, Musselburgh, Sat 3 Oct ●●●●●
This spookily enjoyable tale from Visible Fictions starts with as many questions as it ends with. As we enter the auditorium, the stage is already set – a wooden ship lies bereft of crew, its lonely cargo conjuring up Marie Celeste-style mysteries. Sixty minutes later, we’re none the wiser. Crew members have come and gone, all skilfully played by actors Jonathan Holt and Gavin Kean – but where to, and at whose hand, remains a mystery. Or does it? Listening to the departing audience it’s clear everyone has their own theory about how cursed the ship actually is. The show is inspired by Bram Stocker’s gothic novel, Dracula, in which the
Russian ship Demeter runs aground in North Yorkshire minus all but one of its crew. Tied to his wheel, the dead captain remains onboard, his log detailing the mysterious loss of all his men. In an age where TV and film can conjure up such real-looking horror, it’s
testament to the Visible Fictions team that they have made this stage show so suspenseful. Using the relatively simple tools of atmospheric lighting and a hand- held camera – not to mention the palpable fear of Holt and Kean – the company somehow manages to gently slide you towards the edge of your seat. Aimed at ages 11 and over, this definitely isn’t suitable for young delicate types,
for whom the curse might bring about one dead sailor too many. (Kelly Apter)
N O S T R E B O R S A L G U O D
: O T O H P
86 THE LIST 22 Oct–5 Nov 2009