THEATRE | Previews O P I N I O N
P H O T O
: J A S S Y E A R L
INCLUSION AND DIVERSITY IN SCOTTISH THEATRE
While not entirely inclusive in all facets, the Fringe annually pulls in a wealth of BAME talent, with productions featuring individuals and groups from a range of countries, backgrounds and experiences. But what happens when September rolls around and we go back to our regularly scheduled programmes? In the world of theatre in Scotland,
the autumn seasons annually promise genuinely interesting, modern and innovative productions. But in comparison to the variety of multicultural and marginalised voices making and presenting work at the Fringe, it's fair to question whether theatre in Scotland truly reflects cultural diversity in a meaningful way.
Of course, it's not the responsibility of individual productions to carry the weight of inclusion, but the wider theatre community should and could be doing more to ensure that theatre in Scotland is a welcoming and encouraging space for people of colour and that the barriers to entry are diminished. In Glasgow, Project X, which is developed by lead artists Mele Broomes (pictured above), Ashanti Harris and creative producer Rhea Lewis, celebrates and champions dance and performance within the African Caribbean diaspora in Scotland through workshops and more. Project X is just one example of the positive steps being taken to broaden perceptions and representation in the arts, with artist-led annual performance festival Buzzcut being another.
Orla O'Loughlin, who is stepping down as artistic director of the Traverse, has been a great champion of equality and representation in Scottish theatre and her departure may be a cause for concern for many who have benefitted from her forward-thinking outlook. But while there is certainly work to be done, the conversation has shifted and will continue to shift as long as adequate support is given to the artists and creatives that continually attempt to increase awareness and debate. Ultimately, theatre in Scotland doesn't have to be diverse and inclusive just one month out of the year. (Arusa Qureshi)
90 THE LIST 1 Sep–31 Oct 2018
UPCOMING WORK TRON AUTUMN SEASON Tron Theatre, Glasgow, until Nov
With the long gloomy nights of autumn fast approaching, it would be tempting to hunker down and hide indoors. But the Tron’s new season hopes to entice even the most jaded into its cosy space, with a raft of bewitching plays which exist in shadowy places. Pat Kinevane's characters are often marginalised, their stories untold. A superb storyteller, the Fishamble writer and performer presents a trilogy of his elegiac, powerful work. Forgotten (Thu 20 Sep) takes place in a care home, Silent (Fri 21 Sep) traces a homeless man's steps, and Underneath (Sat 22 Sep) focuses on a disfigured woman. Kinevane's graceful
Dollywould
movement, choreography and gorgeous words are a heady combination.
Sh!t Theatre's genre splicing Dollywould (Thu 25–Sat 27 Oct) is a provocative exploration of two women's love of country goddess Dolly Parton, which is a hilarious mash-up of storytelling, song and live art looking at the legacy of the mighty singer-songwriter. It often goes to some pretty murky places along the way. Eccentric, rather beautiful, and often extremely surreal too. Enda Walsh is one of Ireland's foremost playwrights, his recent successful collaboration with the late, great David Bowie on Lazarus garnering praise both critically and with audiences. Now Andy Arnold directs Ballyturk (Thu 4–Sat 20 Oct), a lyrical, contemplative script about impermanence and small town life. Something is lurking outside a village where two men long to escape in this emotion-packed production.
Janet Horne, Rona Munro's lead character in The Last Witch (Tue 30 Oct–Sat 3 Nov), has been accused of witchcraft in the Highland town of Dornoch. Based on a true story, Munro's revival of her 2009 play looks at the supernatural, creating her own storytelling alchemy, and asking wider questions about women's roles in society, now and then. Her poetic and eerie production will be perfect for cold, clear and starry nights. (Lorna Irvine) ■ For full autumn programme, see tron.co.uk
P H O T O :
A L E X B R A D Y
UPCOMING WORK EDINBURGH AUTUMN SEASONS Royal Lyceum Theatre & Traverse Theatre, Edinburgh, until late 2018 David Greig’s third season as artistic director at Edinburgh’s Royal Lyceum begins with Shakespeare’s Twelfth Night (Fri 14 Sep–Sat 6 Oct) – well in keeping with the theatre’s interest in classic scripts but more familiar than previous choices such as the dismal misogyny of Strindberg’s Creditors or the reframing of The Belle’s Stratagem. Directed by Wils Wilson – who demonstrated in her production of Cockpit that she can rescue a script from the awkwardness of the past’s political incorrectness – the Bard’s hoary old tale of love and disguise is reimagined in the Summer of Love, with a genre-clashing soundtrack by Welsh musician Meilyr Jones.
The Macbeths
Following this is Cyrano de Bergerac (Fri 12 Oct–Sat 3 Nov), a co-production with the NTS and the Citizens Theatre, retooled by the Citz's Dominic Hill, before the Christmas interlude brings Wendy and Peter Pan (Thu 29 Nov–Sat 5 Jan). The Lyceum has become the home of a particular tradition of well-crafted scripts, focused on strong ensembles, familiar playwrights or adaptations of popular work: moving into 2019, both Touching the Void and Local Hero tap into the latter. Greig’s statements about a relevant and contemporary theatre, expressed in the themes of Stratagem and Cockpit aren’t necessarily evident in these choices. They do, however, slot nicely into a broad, popular appeal.
The Traverse has often been cast in contrast to the Lyceum and while the departure of artistic director Orla O’Loughin is a sad loss, not least because of her support for female-led productions, their autumn season concentrates on new plays and immediate concerns. Along with the return of the A Play, A Pie and A Pint series comes a host of short-run visitors, including Manpower (Wed 26 & Thu 27 Sep), which examines working-class male experience, a selection of first readings of brand new plays from emerging playwrights, The Unreturning (Wed 24–Sat 27 Oct) from award-winning playwright Anna Jordan and the return of The Macbeths (Tue 16–Sat 20 Oct), focusing on Shakespeare's most difficult domestic duo.The range of Edinburgh’s theatre scene has always been marked by the contrasting approaches of the Traverse and Lyceum, and its health expressed by their successes beyond the drama of the Fringe. (Gareth K Vile) ■ For full autumn programme, see lyceum.org.uk and traverse.co.uk