FESTIVAL THEATRE REVIEWS
MONSTROUS ACTS Bluebeard inspires 15th century prison romance ●●●●●
The first ten minutes of this production from Australia’s Out Cast Theatre are wordless. When the dialogue finally kicks in, it rather punctures the won- derfully charged atmosphere of the opening scenes, which establish the power dynamic between a pair of inmates in a squalid 15th century prison cell. Steven Dawson’s play ostensibly concerns the
final days of Breton knight and notorious child mur- derer Gilles de Lavall/Rais (the real-life Bluebeard), but the historical backdrop is largely irrelevant to the real focus of the story: the love between Kevin Dee’s high-born, worldly villain and his earnest, lower-class cellmate, Sebastian (Mathew Gelsumini). While the sentimental soundtrack occasionally threatens to overwhelm, the actors have a believable rapport, and there are flashes of humour in Dawson’s script that leaven the sombre tone. The intention here is to show the redemptive power of love, but the play’s impact would be greater if Dawson’s Gilles were a more menacing figure – and much more conflicted in his attraction to Sebastian. (Allan Radcliffe) ■ C Aquila, 0845 260 1234, until 27 Aug (not 13, 20), 9.30pm, £8.50–£10.50 (£6.50–£8.50).
MISS HAVISHAM’S EXPECTATIONS Linda Marlowe deconstructs Dickens’ jilted bride ●●●●●
One of Charles Dickens’ most infamous creations, Miss Havisham casts an eerie shadow over Great Expectations, the black heart of the story, a woman ruled by spite but also suffering deeply from her own heartache at being jilted. Linda Marlowe takes on the role in this one-woman show, fleshing out the character, adding a modern sensibility and human- ising her in the process while never ignoring the darker aspects of her personality. Marlowe imbues her with a wicked humour as she directly addresses the audience, switching between her fictional and factual past, contextualising her place in history and literature. In particular she becomes a clever tool for examining Dickens’ own attitude to women. Di Sherlock’s direction never overwhelms Marlowe’s wonderful performance but adds another layer of magic through lighting, film and music. Norma Havisham is such a rich character it’s a gift for any actress and Marlowe easily steps up to the challenge, skilfully adding a poignancy to the bitter- ness that became her own downfall. (Henry Northmore) ■ Gilded Balloon Teviot, 622 6552, until 27 Aug (not 15), 3pm, £10–£11.
STATEMENTS AFTER AN ARREST UNDER THE IMMORALITY ACT Eloquent but dispassionate production of poetic apartheid drama ●●●●●
Exactly 40 years after it was written, Athol Fugard’s poetic condemnation of South Africa’s Immorality Act, which outlawed interracial intercourse until its repeal in 1985, stands as a fervent memorial, lest we forget the inhumanity of that prohibition. For all the play’s ongoing worldwide resonance, it lacks a present-tense urgency; its zeal replaced by a quiet dignity. A black man and a white woman lie naked and entwined on a rug on the floor: a human ying-
yang symbol. On account of the Immorality Act, they meet secretly in the library, as if confined to a space of ideas. They keep the lights off, hoping for equality in the darkness that lets their skin tones homogenize. And yet, as Fugard gently probes their relationship, it becomes apparent that true parity is impos-
sible. It’s not that the two shall never meet, but rather that one should not meet with the other. As Fugard delicately puts it, she sneaks out of her skin just as he sneaks out of his marriage.
However such sneaking arouses suspicions and, in flashes of a strobe lighting that puncture the atmosphere, two bodies dart for cover: one definitely black, the other definitely white. In the court trial that follows, she has to protest her equal share of the guilt, that she turned off the light and incite the relationship. Accuser, judge and witnesses all speak in the same disembodied voice, ampli- fied so that you can hear each repulsive click of saliva.
Kim Kerfoot’s production for the Fugard Theatre, part of a Fringe season of South African work, is always eloquent, but better when excoriating than dreaming. The utopian start is dimly lit by neces- sity, but it makes illegible silhouettes of its actors. Nonetheless, Bo Peterson and Malefane Mosuhli look choreographed together: at ease with one another, without really relishing the union or breath- ing one another in. (Matt Trueman) ■ Assembly Hall, 623 3030, until 27 Aug (not 13, 20), 12.15pm, £14–£16 (£13–£15).
KIN Heartfelt exploration of motherhood ●●●●●
This sensitive exploration of our relationships with our mothers as we both grow older uses a mixture of live performance and pre-recorded interviews to create a heartfelt and moving show. Sitting at tea- lain tables with televisions displaying interviews as her guests, Donna Rutherford describes herself as a ‘conduit’ to the true parent-related stories of British theatre stars Richard Gregory, Claire Marshall, Tim Ingram, Alison Peebles and Cathy Naden. Progressing from table to table, Rutherford acts
more as curator. The interviews are cut thematically, and her beautiful singing and patter shapes each theme as much as it extends their emotional power through her empathetic presence. Despite her abil- ity to make the audience feel special, Rutherford remains an enigmatic figure, her own story hinted at but not truly shared with us. (James T Harding) ■ The Playhouse on the Fringe, 0844 871 3014, until 27 Aug (not 14, 21), 2pm, £10 (£8).
N A W S A L A U N
74 THE LIST 9–16 Aug 2012