Y E L T R A H N A R B
I
: O T O H P
list.co.uk/theatre Previews | THEATRE
PHYSICAL THEATRE THE END OF THINGS Beacon Arts Centre, Greenock, Thu 2 Feb; CCA, Glasgow, Tue 7 & Wed 8 Feb, then touring
Under the joint artistic direction of Anna Porubcansky and Ewan Downie, Company of Wolves have developed a distinctive voice within Scottish theatre, bringing the influence of Polish physical theatre with work that’s unafraid to grapple large themes. After two-hander A Brief History of Evil, an expanded cast now reflects on The End of Things, which opened at manipulate in January.
Downie explains that, within their abstract, lyrical style, the company wanted to examine ‘the stories
we tell ourselves about ourselves, and how they can be born and die.’ Wryly commenting that the show is more about the nature of endings – a very human conception – the piece, however, is less apocalyptic than that title suggests. ‘We aim for our work to be a space to dream, both for ourselves and for the audience, and that means not closing down interpretations.’ Porubcansky recognises that her soundscape adds to the abstraction, evoking ‘the sounds of
dreams, of space, unconscious sound, deceiving sound; the unheard music that lives in the space between people.’ Far from being a diatribe on the horrors of finality, The End of Things asks questions about how humans mark the passage of time through stories. ‘Things only end from our perspective,’ says Downie. ‘From the perspective of the universe, matter
forms and reforms, things change, but nothing ends. We also wanted to look at how these stories, these dreams of how the world is, can themselves die or break or fail.’ (Gareth K Vile)
COMEDY 69 SHADES OF GAY! Òran Mór, Glasgow, Wed 8–Sat 18 Feb
To any comedy-loving theatregoer from around Glasgow, playwright Stuart Thomas needs no introduction. His wildly successful Real Hoosewives Fae Glesga shows, starring River City's Leah McRae, have a huge and loyal legion of fans.
Now, his cheeky take on gay culture, 69 Shades of Gay!, sees another much-loved star
of the popular soap, the versatile Gary Lamont, playing Thomas’ out and proud Aiden. The suggestive title actually alludes to the number of relationships Aiden has had. As Thomas explains, ‘it’s the most autobiographical thing I have ever written, although I heavily raided the lives of my friends, both straight and gay. I wanted to say something really positive, and sex- positive, about gay life.' Following Aiden’s trip down memory lane, as he attempts to delete social media evidence
of his past lovers, it presents a funny, yet bracing, study of modern life and sexual desire. Thomas believes comedy is an ideal format for dealing with the complexities of human nature, particularly in matters of sexuality. ‘For me, comedy lies in that sweet spot where people are laughing because it’s funny, but
also because they feel something too, something universal,’ he says. In short, something from the heart, not just the groin. (Lorna Irvine)
PLAY MADE IN INDIA Tron Theatre, Glasgow, Wed 8–Sat 11 Feb; Macrobert Arts Centre, Stirling, Tue 14 Feb; Traverse Theatre, Edinburgh, Thu 16–Sat 18 Feb
Set in a surrogacy clinic in Gujarat, Made in India follows Tamasha Theatre Company’s recent My Name is . . . to discuss problems of the postcolonial world, as western parents turn to India for a commodity they can’t always make for themselves: children. Writer Satinder Chohan sees her script as part of a
conversation. ‘I hope audiences might make connections as western consumers who rely on low-cost, low-paid global workers to provide the material stuff of our lives, whether it’s a pair of trainers or a baby,’ she says. ‘It’s a play that deliberately explores colonial and neoliberal relationships between India and the UK.’ Far from being a simple sociological study, Chohan recognises wider implications. ‘Commercial surrogacy is a fitting metaphor,’ she reflects. ‘In India’s service or “surrogacy” economy, locals are hired to service a global / western economy: they are even given western names in call centres, for example. In our “everything for sale” society, the reproductive technology industry perfectly plays out this highly charged financial markets vs morality debate.’
Tamasha’s vision, which brings marginalised voices onto the stage, has always been connected to a polished, precise set of production values. They maintain a fine balance between the seriousness of the issue, and the need to entertain. For Chohan, the importance of theatre as a place for these
kinds of story is clear. ‘We need serious plays that make us realise we are connected to a bigger world, to let connections and contrasts percolate dramatically, maybe to resurface when and where we might do something about them in our own lives or the lives of others.’ (Gareth K Vile)
1 Feb–31 Mar 2017 THE LIST 87