list.co.uk/theatre PREVIEWS | THEATRE
OUTDOOR SHAKESPEARE BARD IN THE BOTANICS Glasgow Botanic Gardens, Wed 26 Jun–Sat 3 Aug
Now entering its 18th year, and still committed to a vision of Shakespeare that pays respect to his scripts while adding a contemporary aesthetic, Bard in the Botanics continues its enthusiasm for gender equality in its ‘Muse of Fire’ season. With Nicole Cooper playing Hamlet, and Henry V and Richard III exploring political machinations in a timely manner, artistic director Gordon Barr promises another selection of classic plays with the company’s distinctive identity. ‘Shakespeare is a great humanist,’ he says. ‘He touches something universal in the human spirit.’ Barr’s approach, grounded in a knowledge of the Bard’s context but recognising the value of modern adaptations, challenges the belief that Shakespeare is exclusive. ‘The structure and the cultural baggage does create a barrier, but outdoor theatre can break down a lot of those barriers.’
To further challenge those obstacles, Bard in the Botanics has developed a distinctive style of staging and a commitment to gender equality: ‘For the last three or four years, we committed to a 50/50 gender split,’ he says, adding that this is not mere gender swapping. In the production of Hamlet, ‘what happens to this story if it is told through the perspective of a female character?’ he asks. Rather than tokenism, this allows a new interpretation to emerge, without betraying the power of Shakespeare’s language.
As a familiar, even venerable part of the Glasgow theatre year, Bard in the Botanics offers an opportunity to revisit familiar plays, be challenged by imaginative interpretations and indulge the unique pleasures of a theatre that lacks the usual walls. (Gareth K Vile)
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FOOTBALL TRAGEDY THE RED LION Theatre Royal, Glasgow, Tue 18–Sat 22 Jun, and touring. Reviewed at Palace Theatre, Kilmarnock ●●●●●
Patrick Marber’s The Red Lion celebrates the rough-edged authenticity of semi-professional football and bemoans its descent into quasi-criminal commercialism. Through the shifting personalities of manager Kidd (Brendan Charleson), young star Jordan (Harry McMullen) and aging club legend Yates (John McArdle), Marber plays out what director Michael Emans calls ‘a clash between a powerful collective ethic and raw individual ambition’. Charleson’s Kidd is cast as petulant, a caricature of the blunt northerner who ultimately breaks in the face of retribution for his antics; McArdle lends Yates a degree of quiet dignity, despite a sense that he has never recovered from his failure as the club’s manager. The production’s strength comes from allowing the script’s tension to play out at its own pace: Marber confuses the issues at stake with the personalities of his characters, ultimately making the conflict a simplistic clash of good and evil, capitalism and community. The more emotive scenes – such as when Jordan threatens Kidd – lack a raw impact, yet the direction’s pacing encourages this football drama to suggest deeper philosophical tensions beneath the soccer surface. (Gareth K Vile)
CLASSIC REVIVAL THE DUCHESS (OF MALFI) Royal Lyceum Theatre, Edinburgh, until Sat 8 Jun; Tramway, Glasgow, Wed 4–Sat 21 Sep Playwright Zinnie Harris is no stranger to updating classic plays for contemporary audiences. Her recent triumphs, This Restless House and Rhinoceros resurrected Aeschylus and Ionesco to great critical acclaim. And now, her adaptation of Jacobean revenge tragedy The Duchess (of Malfi) promises to draw out John Webster’s themes of female agency, power structures and family relationships; and with plenty of bloodshed and intensity.
BIOGRAPHY THE BENNY LYNCH STORY Eastwood Park Theatre, Glasgow, Thu 27 Jun, The Brunton, Musselburgh, Fri 28 Jun; and touring ‘He’s a Scottish icon and it’s a true story. When I read the script, I was drawn to it; it’s out of my comfort zone, a challenge!’ Known as Shellsuit Bob from BBC’s River City, Stephen Purdon is excited about his return to the stage as legendary Scottish boxer Benny Lynch. ‘It’s a rags to riches thing, and then back to rags,’ he says. ‘He was a world champion, then he lost it all and died very young.’
‘In this #MeToo age of feminist uprising in the Lynch’s tale has elements of tragedy and
face of toxic masculinity,’ says Harris, ‘it now feels like the time to revisit this incredible, brutal story of female determination in the face of patriarchal power.’ Following the Duchess’ attempt to remarry, her brothers decide to take drastic action to keep the family line ‘pure’. Justice is eventually served, but only after insanity and bloodshed destroy family and state.
A superb team has been put together for the production, including Kirsty Stuart in the titular role, dramaturg Frances Poet, and Adam Best, George Costigan and Angus Miller in supporting roles. Harris is a writer of visceral, often shocking texts, and this adaptation is sure to be no exception, unflinchingly putting the Duchess’ cross-class romance and brutal downfall within a contemporary context. (Lorna Irvine)
contemporary documentary drama, with his rising from the slums to international fame before dying at only 33 from malnutrition. ‘It is important to remember Scottish icons,’ Purdon continues. ‘There is a dark side to the story – he had a lot of demons – but to have it told in 2019 is educational. He is one of our own, from the Gorbals. We don’t really hide anything in the play: it has the good times and the bad times.’
With Scottish theatrical icon David Hayman playing Lynch’s trainer, and Simon Weir, recently seen in Trainspotting 2, as Tash, ‘the Gorbals’ sage’, this production promises an intense reminder of one man’s astonishing life, successes and ultimate decline into violence, alcoholism and crime. (Gareth K Vile)
1 Jun–31 Aug 2019 THE LIST 117