Theatre HITLIST THE BEST THEATRE & DANCE
list.co.uk/theatre
Behaviour Provocative, unexpected and envelope-pushing performances from the Arches’ annual theatre festival, including Ann Liv Young’s Mermaid Show, Eilidh MacAskill of Fish & Game and a new piece from Roadkill writer Stef Smith. See preview, page 112. Arches, Glasgow, Fri 2 Mar–Sat 28 Apr.
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Plume Shortlisted for the Tron’s Open Stage playwriting competition, Plume focuses on a teacher whose son dies in a terrorist attack. See preview, page 111. Tron Theatre, Glasgow, Thu 1–Sat 17 Mar.
ANA Play performed by actors from Scotland and Montréal about a girl who splits in two each time she encounters a challenge. See feature, page 110. Traverse, Edinburgh, Thu 1–Sat 10 Mar, then touring. Errol White Company: iam Dancers’ personal histories become interwoven with movement in this new work. See preview, page 113. Tramway, Glasgow, Fri 2 & Sat 3 Mar and touring throughout Scotland.
Antigone Lung Ha’s theatre tackles Sophocles’ Theban tragedy in a stylish new adaptation by Adrian Osmond. See preview, page 111. Traverse Theatre, Edinburgh, Thu 15–Sat 17 Mar; Platform, Glasgow, Wed 21 Mar.
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The Marriage of Figaro Hot young playwright DC Jackson adapts Pierre Beaumarchais’ classic comic opera, moving the action to the world of banking and finance. See Stage Whispers, right. Royal Lyceum, Edinburgh, Fri 23 Mar–Sat 14 Apr.
The Jean- Jacques Rousseau Show Oran Mor’s Play, Pie and Pint slot strand reaches its 250th outing with a new piece exploring Rousseau’s idea of the social contract. Oran Mor, Glasgow, until Sat 3 Mar.
Betrayal Dominic Hill kicks off his tenure at the Citz directing one of Harold Pinter’s best-acclaimed plays, a spare and lyrical look at adultery. See preview, page 111. Citizens Theatre, Glasgow, Fri 2–Sat 24 Mar.
The Man who Lived Twice Garry Robson’s play dramatises the meeting between playwright Edward Sheldon and a youthful John Gielgud. See preview, page 111. Arches, Glasgow, Wed 7–Sat 10 Mar and touring.
Anoesis The new show from exciting young people’s company Junction 25 looks at the world of education and is performed in an exam-like setting. See preview, page 111. Tramway, Glasgow, Thu 8–Sat 10 Mar.
Stage WHISPERS DC JACKSON PLAYWRIGHT
What inspired you to adapt The Marriage of Figaro?
I love the original play, which I think it’s fair to say is less well known than the opera. So I’ve always thought that’s a shame. It’s genuinely hilarious with strikingly modern characters and jokes. It’s got all the cross-dressing and duplicity and hiding in cupboards one could want in a night out. It’s got such a playful, cartoonish energy to it but also real moments of pointed satire – it reminds me of an 18th century French 30 Rock. Why set the piece in the world of banking and finance? The first problem one must solve when updating a piece so routed in the hierarchy of aristocratic privilege in 18th century France is that the play hinges on an imbalance of power and wealth, with the richest leading indulged, opulent lifestyles at the expense of the masses. Looking to find a contemporary world that had echoes of that structure and imbalance, well . . . banking seemed about right.
What have been the greatest challenges and pleasures of creating work for the Lyceum? The way new writing works in the UK is that young playwrights are mostly encouraged to write three- handers for tiny black box theatres, so getting the opportunity to work on as big a scale as the Lyceum requires has been both one of the greatest challenges and pleasures. Mark Thompson has been incredibly supportive and brave giving me the chance to write for the Lyceum, a theatre I’ve always loved. I’m still pinching myself – I mean it’s the f*cking Lyceum! And I’m a ratbag from Ayrshire who does plays with wanking jokes. This doesn’t have any of those, it’s completely family friendly.
■ The Marriage of Figaro, Royal Lyceum Theatre, Fri 23 Mar–Sat 14 Apr.
1–29 Mar 2012 THE LIST 109