Theatre
PREVIEW REVIVAL KNIVES IN HENS Traverse Theatre, Edinburgh, Sat 4–Sat 11 Jun, then touring throughout Scotland
Until a few months ago, Lies Pauwels had never read Knives in Hens, David Harrower’s pre-industrial tale of a woman’s progress from ignorance to literacy. Now, the Belgian theatre-maker is directing a new National Theatre of Scotland production of the 1995 play, which will tour the country in June and July starting at Edinburgh’s Traverse Theatre. Pauwels has many links with Scotland, having previously
worked with Tramway and participated in RSAMD’s Diaspora platform. This production will mark the first time she has directed an existing work and she sees a strong affinity between Harrower’s text and her own artistic approach. ‘This text is very layered and intangible, complex, unclear, confusing, stimulating, unexpected – in the same ways I like to construct my shows, with a similar degree of unpredictability. David Harrower uses words to do that and my language is that of the stage, the language of “showing” and of the images that emerge from it.’ 16 years on, Knives in Hens is revered as a modern classic
and, as its many revivals attest, has become ingrained into the tradition of British theatre performance. Tradition, however, is something that Pauwels rejects completely. ‘In Belgium,’ she explains, ‘we don’t have a centuries-old theatre tradition. I think that makes us less bound by conventions. In a very respectful way, we treat things with less respect. And isn’t that what this play is about as well? About getting rid of something, freeing yourself from something that is holding you back.’ But Pauwels’ involvement in the show is also about coming
together. ‘It’s an exercise in bringing together different theatre cultures,’ she says, ‘trying to let them reinforce each other. In my work I always try to bring together elements that you wouldn’t immediately expect to work. And that way you discover much more of what you didn’t know.’ (Yasmin Sulaiman)
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PREVIEW NEW WORK DEAD MAN’S CELL PHONE The Arches, Glasgow, Wed 8–Fri 10 Jun PREVIEW PHYSICAL THEATRE ENTRE NOUS The Arches, Glasgow, Wed 15–Fri 17 Jun
A women picks up a cell phone left in a diner, and, after realising that the man it belonged to has died, finds herself pulled into the world he left behind, reconciling fractured relationships and making her own personal connections along the way as the phone gradually becomes a symbol of transformation. Written by Pulitzer Prize finalist Sarah Ruhl, Dead Man’s Cell Phone receives its UK premier at the Tron this month, and director Stasi Schaeffer is excited to bring the American play to a Scottish audience.
‘Stylistically, the play is written a bit differently from
some current plays we see here in Scotland,’ she says of the play, which was first produced on Broadway in 2006 with Mary-Louise Parker in the lead role. ‘But I think that people will find that the themes and struggles that the characters are having are the same.’ While the play depicts a unique situation Schaeffer
feels the characters’ emotional struggles will resonate with audiences. ‘We’re all very similar as human beings and many of the things that we deal with every day are not unique to us but rather universal in the world.’ (Amy Russell)
128 THE LIST 26 May–23 Jun 2011
Fife’s Adam Smith College has recently been criticised for the planned closure of its theatre arts courses but its Diploma in Physical Theatre, based in Glasgow, is in rude health as its graduation show Entre Nous will prove later this month. Now in its third year, the course is led by Simon Abbott, choreographer Jane Howie and Conflux artistic director Al Seed but the works in Entre Nous are original and devised by their students. Seed explains the ideas behind the show: ‘The
main function is to showcase the work done by the students throughout the year across all the different areas of performance that we cover so it’s very much a series of eclectic vignettes rather than a beginning to end narrative.’
And despite the uncertainty facing Scottish theatre arts courses, Seed seems confident of the diploma’s unique character and the huge talent of its graduates. ‘This line-up is certainly the strongest to date. It really feels like a turning point from where there’s going to be a lot more high quality, exciting physical theatre work in Scotland so I think the course is in a good place to continue.’ (Yasmin Sulaiman)
REVIEW NEW PLAY DUNSINANE Royal Lyceum, Edinburgh, until Sat 4 Jun; Citizens, Glasgow, Tue 7–Sat 11 Jun ●●●●● Much has been made of the parallels between David Greig’s depiction of 11th century Scotland and modern day Afghanistan in his audacious sequel to Shakespeare’s Macbeth. The tortuous relationship between conqueror and vanquished is certainly intelligently probed in the story of English general, Siward (Jonny Phillips), whose attempts to impose a ruler on Scotland are thwarted by his side’s lack of understanding of its opponents, most prominently Macbeth’s wily widow Gruach (Siobhan Redmond). In tone, the play successfully manages its balance of seriousness and humour as spring turns to winter and the English campaign falters. The most resonant line comes in the final confrontation when the Queen tells the enfeebled Siward, ‘Oh, how in love you are with your good intentions.’ While the Afghanistan comparison at times seems laboured the play provides a lively illustration of the notion that our best intentions for others can often lead to the worst outcomes. Redmond’s rehabilitation of the notorious heroine is commanding, but she’s well supported, notably by Brian Ferguson as sleekit wannabe king Malcolm. (Allan Radcliffe)