Theatre
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VIRGINS
Not just another teen drama 0000
John lletallauk”, new blay looks at a fan ll,’ of four who l.it f,fl‘,l7, l)()|lll when se/eiteen year old Jack the lad contracts an (5 ll from a party he can't remember Without resorting to stereotypes. It deals Nllll the constantly e/olving teen/oarent bond exploring the transition to adulthood and the strain it causes in their parents relationship. The dreaded S-word is inevitably under discussron, delvrng into the fundamental differences in how men, women and different generations view sex. The piece traxerses smootth between monologues. dialogues and Fleur [)aikin's dance based movement. V‘Jlllull express emotions where words aren't enough. In the hands of four extremely competent actors and movers; this is an unpretentious. surprisineg accurate, gem of a show. (Greer ()gston)
I Ass )mb/y Rooms, 226 2428, unfr/ 28 Aug (not 8. 15, 22), IQ. lOb/ii,
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THE RECEIPT
Machines and paper make for intrigue O...
Will Adamsdale's character becomes obsessed wrth tracking down the owner of a receipt he fOund. But Why? It‘s hard to say. It's rubbish. Not important, but that's exactly the point. Combined wrth musician Chris Branch, this endearing pair takes us on a child-like (Ourney of constant questioning and yearning. USing a Moog and some filing cabinets they successfully create a world of modern technology which lacks the more personal touch, commenting on today's medium of communication and contemporary sociality. Funny and inventive with a beautiful ending. this is a charming dewsed piece with great muSic. provrng the simplest things are more than often the most effective. (Lindsay Corr) I Assembly Rooms, 226 2428. until 28 Aug (not 74), 77.30am, E7 7-5372 (EB—EQl
MY NAME IS RACHEL CORRIE Timely political piece .000
Exasperated by the apathy in coffee table politics. Rachel Corrie Journeyed to Palestine to make a stand against the world's fourth most powerful military and their oppression of a predominantly unarmed people. Resonating with hope. her journals
MIDNIGHT COWBOY Buck knows what he's doing .00.
You”|| be familiar with the film, and perhaps the book of this notorious yet much loved tale of a young cowboy wannabe gigolo and the disabled grifter he teams up with. Tim Fountain’s version is closer to the film, and a
pretty slick rendition it is.
In it, of course, we meet ersatz cowboy Joe (Charles Aitken), whose initial ambition is tempered by the experience of a New York in steep decline, where a scramble over the loose change of class betters leads to desperate encounters with religious fanatics, sad repressed gays and unsavoury bohemian outcasts. The tragic dimension to the piece is evident from the up in the character of Rizzo (Con O'Neill), and never looks like diverting until its heart-rending finale.
John Clancy’s production nuances the emotional attenuation of these characters deftly, and counterpoints their personal dilemmas with a
and emails that brovrde the basis for the script brim With the naive idealism of youth; she can make a difference. she JUSI needs to be there
Alan Rickman directs Joseeiiw Taylor in an impassioned ;:er‘o.rr"ar‘:e conveying strong ool‘trca! can: ct :gr‘. while res‘istihg We urge to use the stage as a soapbox. A ser‘s;‘;.e P:;,a COurt production that acts as a detailed and dingent examv‘at ::" i:‘ One of the many innocent mes.
for GLASGOW THEATRE see non-Festival magazine
68 THE LIST FESTIVAL MAGAZINE 10—1 7 Aug 2011‘
www.list.co.uk/festival
background commentary on American society of the time, with references to Vietnam, the Stonewall riots
and the moon landings. It was a time when the old Gods were in decline, the moral uncertainty of the period perhaps paralleling our own. Thus Joe and Rizzo‘s tenuous love affair is captured in a couple of
memorably understated sequences, and these contrast
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TONE CLUSTERS
Mari versus machine 000.
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effectively with the advice of a salesman given early on to ‘sell yourself‘ bringing a rather Willy Loman-like element to events. The supporting cast, which includes Americana Absurdum regulars Nancy Walsh and David Calvitto, as well as a cleverly comical Emma Kennedy, is strong, while the leads, especially O’Neill's Rizzo are truly splendid. If one wishes there had been a little more of the dream life of Joe, occasionally highlighted, but not fully fleshed, this still amounts to a powerful night of theatre. (Steve Cramer)
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