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list.co.uk/theatre
Previews | THEATRE
DARK COMEDY THE LONESOME WEST Tron, Glasgow, Wed 6–Sat 23 Jul
The Tron’s July production has, over the past years, been a comedy, in contrast to the political fare of Mayfesto. The Lonesome West continues this tradition, although, since this comedy comes from the writer, Martin McDonagh, who wrote the bloody The Lieutenant of Inishmore and the film In Bruges, it veers towards a darker mood.
Exploring the fratricidal tensions
between Coleman (Keith Fleming, fresh from performing the tyrannical step- father in the Citizens’ This Restless House) and Valene (David Ganley), it takes the suicide of a local priest to persuade them towards reconciliation. Inevitably, the brothers’ confessions lead to more violence and a resolution that might not conform to the departed priest’s final wishes. Andy Arnold’s enthusiasm for Irish
theatre – as seen in his bracing interpretations of Beckett and Ulysses – and the respected cast reflects the Tron’s commitment to engaging, provocative theatre, even in a month that is usually quiet as preparations for the Edinburgh Fringe begin. Not for the squeamish, The Lonesome West combines absurdist humour with Tarentino’s witty relish for violence. (Gareth K Vile)
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MUSIC BIOGRAPHY BLACK IS THE COLOR OF MY VOICE Brunton Theatre, Musselburgh, Sat 11 Jun
REVIEW THON MAN MOLIERE Royal Lyceum Theatre, Edinburgh, until Sat 11 Jun ●●●●● PERFORMANCE ART FK ALEXANDER: NO WHERE // NOW HERE Tramway, Wed 8 & Thu 9 Jun
Although Black is the Color of My Voice’s singer and activist is named Mena, Apphia Campbell’s show is clearly based on the life and music of Nina Simone. Campbell’s Fringe success boldly imagines Simone locked away from distraction and reflecting on her life, thereby presenting a complex yet heroic woman who placed her immense musical talent at the service of freedom.
‘I’ve changed a few things,’ explains Campbell. ‘But in the end, it’s Nina Simone’s life.’ Inspired by both her voice and courageous stand against racial prejudice, Campbell wants audiences to appreciate her personality rather than the fame. ‘It’s one of the reasons I changed the name of the character. Instead of the audience focusing on “Nina Simone” the artist, I wanted them to focus on the woman behind the music.’ Although Campbell is capable of singing the blues in true Simone style (she has also toured Soul Sessions, a more direct tribute), her solo show lends context to the tunes, using them to illustrate Simone’s turbulent times. ‘Of course, I sing the music. But it’s used as a medium to take the story forward or convey a mood, just as Nina Simone used it.’ (Gareth K Vile)
Inspired by The Life of Monsieur de Molière by Mikhail Bulgakov, Thon Man Molière (or ‘Whit got him intae aw that bother . . . ‘) is a product of Liz Lochhead’s long love affair with the great French writer. In the hands of director Tony Cownie, this biographical romp is a colourful, high-energy tribute to a gloriously funny man.
Despite Neil Murray’s set being gravely grey and white, there’s nothing cold or dull about this marvellous Lyceum production which is an assault on the senses from the very start. The characters are bright and bouncing, matched only by the outlandish costumes and Lochhead’s exciting and playful use of Scots.
The delicious words are delivered with breathless rhythm by an outstanding cast who seem as in love with the protagonist as the author. Jimmy Chisholm is well cast as the charismatic trouble maker, but it’s Molly Innes as his maid Toinette who steals the show, having the majority of the best lines and her own catchphrase, ‘well, I’m not gonnae say it . . . but’. As one of Molière’s actresses says on referring to a previous performance: ‘there wasnae a dry seat in the hoose’. (Alex Eades)
Glamour is the first word that springs to mind when considering FK Alexander's singular performance art. But not in the vacuous way that invokes a selfie- obsessed pop culture, rather the original 18th- century meaning of enchantment or bewitchment. When Alexander takes to a space, she transforms it, and the effect is hypnotic. The Glasgow-based artist, who was recently mentored by New York no wave pioneer Lydia Lunch, often takes on huge themes, exploring the nature of the self and the elemental spaces we inhabit. Creation and destruction loom large in her work process, as well as the influence of JG Ballard's modernist novels and their vision of industrialisation’s slow decay. ‘It's clicked thematically,’ she explains. ‘I was thinking about the dystopian future and the horrors of that. You can fear technology, or be excited by that.’
The piece asks how to continue when all seems
lost. ‘What's left?’ she says. ‘That is something I am interested in: becoming a new animal.’ Alexander offers a visceral, spiritual theatre that cuts to the heart of what it is to be human while attempting to remap a possible future that neither fears nor worships technology. (Lorna Irvine)
2 Jun–1 Sep 2016 THE LIST 93