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Stars wave goodbye to the small screen and say hello to the cornfield for the love of Sam Shepard

Fool For Love mi

The power of the drama delayed like the show

Fool For Love has not had the best start at the Fringe. Plagued by technical difficulties which resulted in the first two scheduled performances being cancelled, expectant theatre-goers were clearly not impressed when the first performance to go ahead was delayed due to the previous show running over time. Interesting facts about polar bears and cheetahs projected on big screens on the upper deck of the Dynamic Earth complex do however 90 some way to appeasing the crowd, and if anything the prolonged delay increased the anticipation surrounding David Soul's directorial debut and a credible acting performance from former soap star turned one-hit wonder, Stefan Dennis.

When at last the show begins it's with a dramatic storm projected onto a large screen above the stage. In the same way that Shakespeare's Twelfth Night uses a tumultuous tempest to shipwreck the protagonists into a sexually-charged environment (the irony of this is not lost on the playwright), this ably sets the scene for the ensuing drama, situated in a small motel room in the Mojave desert. First onto the stage is David Soul himself, a lone traveller apparently seeking shelter from the storm, but as we later discover, brought here by conscience to observe the pain he has caused. Setting himself up with whisky and cigarettes he observes Eddie, a broken-down stuntman, played

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ahler Resurrection


Neil Mantle conducts Scottish Sinfoni'a

It was 30 years ago that the (ondu(tor Neil Mantle was first able to art on some important (ar‘eei advr<e he had i'er eived as a youth from the great (A)ll)3()ll, the first Srottish


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convincingly by Stefan Dennis despite occasional slips into his native Australian dialect, and May, his disillusioned woman-in-waiting. Played to perfection by Alexa Hamilton, she, like the classic woman scorned, rages at his infidelity. The first and second acts of the play focus on their heated arguments, with much slamming of doors and pummelling of walls heightened in dramatic sound effects. Further projections on the big screen, with additional views from the bathroom and outside the motel deepen our impression of the scene.

Those not familiar with Sam Shepard's tempestuous love story will by this point be wondering where this is all leading, and it's only with the introduction of May's current suitor, a hapless dope arriving very much at the wrong place at the wrong time, that the real meat of the story comes to the fore. Indeed, this marvellously understated performance by the director's son, Kristofer Soul, introduces the central revelation of the piece, and from this point the drama really gathers power. Without ruining it for strangers to the play, the final act is an emotionally-fraught showdown between May, Eddie and the mysterious old man that ably ties the piece together, revealing just why the relationship between the couple is impossible to fulfil. Tense and brooding, this slow-burner develops into a blazing fire of emotions and an ironically delayed tour-de-force. (Catherine Bromley)

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Shows worth skiving off work for


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