Theatre HITLIST THE BEST THEATRE & DANCE
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Michael Clark Company World premiere of the new work from Scots-born choreographer Clark, featuring specially commissioned music and lighting design from artist Charles Atlas. See feature, page 22. Tramway, Glasgow, Thu 4–Sat 6 Oct.
The Cone Gatherers Kenny Ireland directs this exploration of class and envy based on Robin Jenkins’ novel. See preview, page 106. Theatre Royal, Glasgow, Tue 25–Sat 29 Sep; King’s Theatre, Edinburgh, Tue 23–Sat 27 Oct.
Medea Playwright Mike Bartlett directs his own adaptation of Euripides’ tragedy in a co-production between Headlong Theatre and the Citz. See preview, page 106. Citizens Theatre, Glasgow, Thu 27 Sep–Sat 13 Oct. Lifeguard Immersive site-specific work from performer Adrian Howells exploring human beings’ relationship to water. See Autumn Preview, page 26. Govanhill Baths, Glasgow, Fri 5–Sat 27 Oct.
The Incredible Adventures of See-Thru Sam New production focusing on a teenager who believes he has a superpower. See preview, page 104. Tron Theatre, Glasgow, Thu 20–Sat 29 Sep; Traverse Theatre, Edinburgh, Thu 18–Sat 20 Oct. N O T S N H O J N H O J
Ulysses Ambitious adaptation of James Joyce’s modernist magnum opus from Irish playwright Dermot Bolger, produced by the Tron Theatre Company. See preview, page 104. Tron Theatre, Glasgow, Fri 12–Sat 27 Oct.
Sex and God A series of four monologues exploring women’s lives across the 20th century. See preview, page 104. Traverse Theatre, Edinburgh, Thu 11–Sat 13 Oct; Tron Theatre, Glasgow, Fri 19 & Sat 20 Oct and on tour.
The Authorised Kate Bane Grid Iron teams up with hot young playwright Ella Hickson to present this new play about the mythology of family history. See preview, page 104. Traverse Theatre, Edinburgh, Fri 12–Fri 26 Oct.
Scottish Ballet A trio of works from choreographers David Hughes Dance: The Chinaski
Martin Lawrance, Hans van Manen and William Forsythe. See preview, page 108. Theatre Royal, Glasgow, Thu 4–Sat 6 Oct; Edinburgh Festival Theatre, Thu 11–Sat 13 Oct. Sessions The ensemble collaborate with Kylie Walters and a Belgian rock band to create this new work. See right. Brunton Theatre, Musselburgh, Sat 13 Oct and on tour.
CHOREOGRAPHER OF THE MONTH Australian choreographer KYLIE WALTERS gives us the lowdown on her new work with David Hughes Dance
What was the starting point for your new work, The Chinaski Sessions? I started out with two questions: why is the rock world predominately male (and the dance world predominately female), and why do we dance nowadays? When we hear great music, when we’re pissed, when the only possible response is some serious bone-shaking? I admire the frank expression and shameless inventiveness of rock – it has power and poetry. What do you look for in a dancer performing your work? I look for dancers who bring immediacy to the choreography, who are not slaves to ‘technique’, who can reveal the beauty and meaning of the vocabulary and wildly romp over the stale ground of contemporary dance. And I like dancers who are not afraid to give the dance world the finger.
Music is an important aspect of The Chinaski Sessions – what impact did it have on your work? Live music is essential for me. There is no substitute for the energy and danger it brings to the party. I already knew the band (I Love Sarah) from my Belgian days and the muscularity and obsessive quality of their music inspired the choreography. Physically this manifests itself in the headbanging, ecstatic jumps and a visceral pulsing that unites the band and the dancers. What was it about David Hughes Dance that made you say yes to this project? I was impressed by their willingness to take risks. I like to work hard and quickly, but this is only possible if there is a creative dialogue. With DHD that was the case – we make a good team. ■ The Chinaski Sessions, Brunton Theatre, Musselburgh, Sat 13 Oct, then touring.
20 Sep–18 Oct 2012 THE LIST 103