" 9 Mat ' ' ""J’w' N. be. ‘1 v . - '_- v v . ,4". . . 4 -.<:- .-

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THE BRIDGE High expectations

The beauty of live performance is that something can go wrong. But even the most

(sadistic theatregoers will be

hopihg that doesn‘t happen in this show. The piece, about

we omen trying to maintain

thei friendship during a war,

will e performed on structures

upt 12 metres high. ‘We

we ed to look at how you can iflerent elements to tell a

stary,’ says director Paul

/Pina'on. ‘And outside, on this


808:, it's an incredibly

the rical experience. So when they’re swinging out in the sky, abo’ 6 your heads, it’s real.’ A lar film screen showing

clo -ups of the actors should ad to the tension.

(M Watson)

I College Quad 662 8740, 17 9Aug, (not 23), 10pm, £12


, , . -ma qty-n...-

As the curtain goes up on Mongoose, Peter Harness' tender tale of a farmer dealing with death, acclaimed actor RICHARD BREMMER (He Who Must Not Be Named in Harry Potter and the Philosopher‘s Stone) proffers his top three Festival picks.

Kenneth - What is the Frequencf.’ it‘s :1 :1:"‘t . .i great :;t< l at? I‘ New

storms to ,l‘t;i).'i? them, It tut;

llilt the

ain't realm. attrrw“; the flat, the, use HQWT;

)',i 3W,- ttxtg. [i'frith Street Theatre [ah] do Yaw is; real; ""{Z'éffsfitl'IJ a kittkjfif txterttiai trx I'1(:‘;‘.£i()(:£ii‘(l I thihk that the com; ah; tust tranc- a great sotti tulit, 0‘ x-mrk. I li)‘.'(,‘ the it which they capture the "mitten: Assuiittgw, HOt/‘f‘ifg, 2;)(1‘ .‘nlé’éi, tint/l ’iti Aug, [GOV/vi. £‘iO--£‘ii 4‘9,

The Tiger Lillies - Punch and Judy

This hrarru of theatre ;s timetatxie. l)()\'.’8.’ftl' a'ri yer, Interesting tr, watch. A‘; ah ensemble group the tithes a'r; :lLtift: tzroii‘ C. It':, certarhl, me that I wartt t9 see. Pod Deco. (18707557 X05. .i/‘fi’ .13 23:4}. '1/ ‘15:)”; :‘ @472 :30 “58.5%

Bob Kingdom’s Truman Capote

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t)... ac . ‘i’TK t ‘a’. norm.) with, but, a .::a'i: {,:: ,K. I‘ (1:3 then I certainly

vast an .l‘e um i." 3‘2,- .'.::' t: assemtn. Rec" 5. 2sz 8425. ur‘tr/ jO Aug, arm. \— (‘ Lev—.1 (I. I c' t . . be. t \K ' H " L. Ric" f), . e 6 (~23. .1' m" JO Aug. Mafia/n.


‘A critic is someone who knows the way but can't drive the car’ Kenneth


I Fatboy John Clancy's magnificent rendering of Ubu Fioi in the context of contemporary international capitol is thought provoking and riotoust funny. As clever as a barrel of weasels. Assembly Rooms, 226 2428, until 30 Aug, 5.45pm, £12—E13

(£1 i—Ei 2).

I Thom Pain Will Eno's monologue, presenting an unlikeable man whose flaws are nevertheless very human and affecting, is psychologically insightful, funny and moving. It's liable to divide audiences. so your best bet is to experience it for yourself. P/easance Courtyard, 556 6550, until 30 Aug (not 16), 3pm, {SQ—£70 (£7. 50—£‘8. 50).

I How To Act Around Cops This sharp little noir thriller with comic edges is fast- paced and full of wit. Jon Schumacher’s production is astuter observed and tightly presented. P/easance Courtyard, 556 6550, until 30 Aug (not 70, 24), 7 2. 50pm. £10. 50 (£5).

I Celestina Calixto Bieito's production of John Clifford's script, an adaptation of Fernando De Roja’s classical Spanish text, should be a stand out. There'll be room for sensation in this brothel-set drama. King ’8 Theatre, 473 2000, 16—24 Aug (not 22), 7.30pm (mats 19, 21, 24, 2.30pm) 823-106.

I Le Souller do Satin If you've got 11 hours to spare. this piece by Paul Claudel. revived here at very full length by Olivier Py, looks like a long but spellbinding evening. Full of human drama and political commentary, it tells the story of the long separation of two lovers by mighty political upheavals in 19th century Spain. Festival Theatre, 473 2000, 16-1 7 Aug. 1pm, £30—£7.