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they've shown a willingness to experiment With their theatre. which has brought them Widespread admiration. as well as handling iiioi‘e

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ISSUE OUT THURSDAY 11 AUGUST

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MISSING , I , pERSONs _ straightfomartl FOUR naturalistic narration TRAGEDIES AND wrth aplomb.

ROY KEANE This piece sees the

Myths, masculinity and the modern man

soul sun/ivor of ; massacre of innocents haunted by the schoolmates he left dead on a iiioiiiitziirisi<i(:- in his childhood. Nov; a successful artist. he's brought to breakdown. his marriage disrupted. by the reappearance of the shades of his schoolmates. Although this all sounds yen. conventional. the piece is eniiyened by some non naturalistic storytelling and physicality. as well as agreeable humour. which comes. in part. through live music. Under the text. as wet. are some big (ltltl‘fitlor‘f; about the cannibalistv: nature of the artist. \.".'t,-fl worth sec-mg.

iSte‘.'e Crameri

I Scotland's Theafr‘e

What does it mean to be a man in the 21st century? With a multitude of ever- evolving male identities and notions of masculinity. you might say man is a complex contemporary speCies. Exploring the stories of five modern men. critically acclaimed and charismatic stage actor Greg Hicks performs what promises to be a dark. powerful series of shOrt dramas written by Colin Teevan.

With characters including ‘a father denied access to his children. a soldier lost in the politics of peacetime. a footballer deserting his team'.

THE NIGHT SHIFT Night fears and cheesy pop

crashing the same car, in terms of her relationships. She‘s a bit in denial about why this is happening, as I suppose we all are about aspects of our emotional lives,’ says Murphy. But will she make it count with her new man? To do so, she has to recover a childhood memory (no, not of the usual child abuse!) from the very specific year 1974. Murphy knows his audience, and a great number of them had childhoods at this time too, so expect a nostalgic, but questioning show. ‘There’s a lot of music from the 705 in it. There are things like the Stylistics, Leo Sayer, Gilbert O’Sullivan, ABBA. They’re all treated as an echo, like when you smell a perfume that used to be worn by a girl you went out with 20 years ago. It can bring it all back in an instant,‘ he says. Emotional memories

Elsewhere in this issue, in our ‘love‘ feature (page 44), we’ve discussed the capacity of cheap popular music to bring back powerful emotional memories. It’s something alluded to in the theatre since Noel Coward's Private Lives, and we all know it. When I Hear Sophie B Hawkins‘ ‘Damn, I Wish I was Your Lover‘, I feel a twinge of remembered joy, Yazoo’s ‘Only You’ a quiet regret and each brings back a girl. And Busted’s ‘Glad I Crashed Your Wedding‘ also brings a stab of pain. Not that I associate it with a girl, it just brings a stab of pain.

Mark Murphy, formerly of V-Tol, is well aware of this phenomenon. His new play examines a

Teevan describes the Gafe‘A/ai: 3 l /‘ 3939. woman troubled by a condition that causes her abound in what might prove a Fringe ‘sleeper’. monologues as 'modern 7—2] Aug root 76/. to enact her darker dreams. It’s been an (Steve Cramer) plays with Greek 1.30pm, 22» Aug wot impediment to her past relationships, which I i..-."~. . . 4‘ :i .' f-3 A..;;. ".2.’ undertones. Like Roy 23/, 71.30am. Wt) r.‘ (in have had problems we might all relate to. ‘She’s . . . '2‘ . .~ .. .- -' .- ' ' : . We. 1.4.4,: Keane himself perhaps. Preview (5 Aug. 1.30mi. trying to get on with her life, but she keeps ' ' ' " ' ' this work sounds 5‘5. provocative and intriguing. ‘They are five of if :r:i-r‘t.~a'.-.-f. ' . rm: .. ' .-5. '- .ii u ., ’i .' ‘:;;' itis ;" 2‘ ini't very distinct shon plays. CONCERT t'Ia'. {it’i'l‘lfiéit‘fll‘ i il'fil t" .ii' i "w r ' I ' ~ . t; iv n « u is allinverse.'says Sp'r'tua'vacuumsm avirii: ' i at w l 'i :..:::r- . . , ..: :u :r l‘ J Teevan. 'There's a contemporary CUIture ‘~.'.'<;f,'.-::ir‘~ ’:_.T'...'-:: tl‘a'. Pas t' .if t \ " "a; 9' .i .l': I "veg" pattern running thrOugh H :in".l'l€:f2fi"’,(:"‘.(: -.:~.:-.,»: ~.--..~' "i-i mining-um; i them abOut men and (jaiiaimi: 1W.- 'i‘ii_;l‘!, :' ’krfi li‘i '-'.-.:' l‘ i 3 l. (11:: '- l. rage. This rage is not giaiir: renames .0" i' ‘3 .i' ' ASYLUM 'l‘il ‘sliie 5;:ie'ia'ie artiCuIated in a world Chaim! a'“: state ' l i .. ."trl .iit SEEKERS. .) ,t,i.'l{l'\. 'lt':; 2e". that supposedly prizes the 'as'. :;<,-"‘..;i ,, ' i ii 1, l 'i AbsurdiSt Sat'mabom l3 ' il‘ ‘o'cii .: i . British immigration rationalism. iiiér‘, ';<>i*t-::i"::: flat. -I ' " - (4, {run mm a! 2 (Michelle Macintyrei (Z.€if;f%!f, seemst' arm '.i h .'r i ;i: ' i l .. " " l t s ’t .ititi’ E IAssemb/y Rooms. .'.t‘.at :.;:i\ .f'l'l "i: ftl‘l'i .i» ' .t .l . iit '- .‘n‘ii’: t"-’ t 226 2428, 9—29 Aug {X/ll‘llldl‘ltlfifit {tet'wa :. El" .<i" .r' x ' i i .i. l t' l: .' l.’ f'i (not 75), 72.30pm, :ii an ‘li'll‘.'|‘i.lgl...‘1t t 's‘ ' " " i .i'-_ ' ' "H; 'r a 3 $70—$77 (SQ—70). :;<>:;i<:’., gi't<:' 13‘»:- lta'ai‘ '<:.'" v " H' ' i. ' s .v wt; itir : Prev’ews 5/6 Aug ‘85- , lJass it“; .: 'triiii'r‘; r: ‘, ilnt’N 'l’m- "w; " " ' ti ' ‘it't"\" ir: . - .ii;‘-.i-s.' Hut ilt? ; heir: spritia tits-lie"? ii‘<:!i'.r;"u izr‘fx . " :l‘ " i t 1.1m: | t‘ that T Tom Murphy is perhaps ()i‘r; :n.:'.-:: i‘.lti!::".. :tf: t".-’-' 7’ .' ix: l ' ' ' ..i "The; ai Art’ inspiration and Ireland's greatest il\.'lll§l tinsatislauf ii, arit;‘.'.<,~' " t. '!‘-l e- \ .t t t l.’ ' ' an: as; :l'“. :2 taaf'on n ghOSts from the paSt writer. and a production If; (mm: ltril i:', t'it; " g in , l v . l ;~ It‘ij‘, :2 imitr‘, .r; titlir‘tilotis. Glasgow—based of what many regard as central character. a With!“ s' l' 2'; ' :i‘ , uni-trim _. i ' i Hit so are l"(‘flf Things' Vanishing Point has his greatest play might semi n:.«.ti<,az [ltlt‘.".f."/' l i ' an t i it i t 'i ' iliii‘r Sotxtiiak t‘rngs established a reputation well excite anyone who of a Kitlfi of . : : . l‘ti' t r i i- i :t t .i 'ttlll :l'<?;l(‘i“. politics as one of Scotland's likes their theatre to i' i i i w ti “if 'l' w : »- 'i l .iiigi 0.”: :t..iag;es a most innovative young challenge: provoking fOl’ GLASGOW man i' i ':l t' i r- i .r i ' t‘ ~ ' 'i-ua t'i. .ltif3<? of self theatre companies over profound existential. as see "o : (tr ' Q till i' " i ' :‘ia. l ~' ':v:‘:i;f;:'?". itliaire i’leiai the last few years. well as practical social non-Festival l i ' Cl! ' i 'i v v ' iil‘ , a. I if 7 f It .1 We??? [0‘ Under artistic director questions. This piece magazine '13:» xrw i ' ' ' ' :r: .i ' ‘flz’i. -i' .‘:i Aug "of Matthew Lenton. from 1983, like so much I -t i r‘ H v ' ' ' inn.“ l / it?

54 THE LIST FESTIVAL MAGAZINE ~2 Aw; I‘