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upeed of hue-:9. A I AM MY OWN MP! I _\ out". : r t in. (,lirr,',tr,':a', Carer Tax, in v. ‘gtfr’lrdl't Warts and all portrait of an anti- t Mug,“ («limpet to, ,

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ill‘, tinger'; lli ii any pie', at thi‘, year"; the east, iriipief;f;ive harriioriief; arid lhe pia, 5‘; trti iiw ". 1r..- lringe. Horton]; on no “:38 than nix lllliltlUllfi VtflfflUll‘.) of these elamir; pi rrtraying a \. 7‘ Min». l i' ';lio.v', llll', partiniilar outing, hilled as, ’L'létt£l(;li,‘t‘;_ ‘;()lll(r ot .'.’ll()lll you l)(:<lll‘i he‘i hut i‘ll‘l titr: - t" i ' an exploration or the ".pe(,ia| to view lll an entirely new light It"; trill if; it right tor us; to turn sortieiiner. lite, traimti it'll‘. l‘iill.t.o'l’ Wt Ttw :" :. relatronuhip' lietxreeri iritain and it', of Wit and energy trorrr a highly .‘Jilt’if‘; and all, into art gitter their deith tthi-i «riarai‘teiu r it ii American (,lilllli', no rtr1,r,ii‘;f,ed in versatile and talented east Experience When [)oug Wright set out to Write thir; Matiltxdi iit t»- m; ip, .-.itti "2

recent yeai',_ taken the lorrir ot a trarif; some of Dickent;' greatest works; at; play. he intended to create an poitra,a! ' l . it. \llr-‘ii, .ll‘.'..l.‘- ‘t w :u Atlantir, rollahoration l,()llll)‘:lill‘.’(:ly you've never seen them hetore land appreeiative portrait ot a llrrl‘wli he pt illl l? 'h p 1.x ll‘,"llllr] i : , ' '.plit into two lhe ilt‘il ser tron, played prohahly never Will againi adriiired, however when he lllfil oxeied iiiiirit i‘erfair t, u N: m l that .i' : hy lvla',ti,~r',on, i'. rendered in the form ((jreer ()gs;ton) <llf;(ll(:l)£lll(;liff; in her story he deeided I il,.:;err::\r “in; r . i_ of an l uglinhriian‘t; take on the history IA:;:;erril)/y ROD/N3, 623 3030, until that, hoWever painful, it war; his; duty .i‘lih‘rr‘, aura. " '. ' ' ~r ; " ot Anglo Arneriran relationf; while the LXI/tug (not .70), 7.”. lop/ii, to present the truth. Ht) 577 it"l i 7:"

‘,i:(,()llrl in llll‘; ",ho‘rrdown' if; a l‘l£’.5()—l‘ld (570.50 l‘l.’{’.:')()). taking on all the roles, Kevin

riioriologue ll:[)iltf;(:llllll(} the Yankee EMERGENCE-SEE! eontingent pertoriiied hy [)avrd This poet doesn't get Slammed

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Anyone lillrfillllllfllllillf‘; enough to think the filfrjllllflll provrded hy our Arnerrean trieiidt; would irie‘ritahly he llrf;‘; irii;i:;ive and illllllfilllll than 'the lairioué; British t;en:;e of humour would he wrong In tact the Masterson f;|(l(,‘, though laden Wllll the ()(j(l€lf3l()ll£ll novel lllf3i()ll(;£ll tact. lacks the l)()llf3ll ol lllf‘; (:o star and his; iris;if;ten(;e on tart jokes; riiakei; llllll, at [)()lllif;. a poor airih; :;5;ador tor anything hut the r;rudes;t itSleLIf; ot our huiiiour. Both sections; certainly have their moments. hut, at thit; stage of the Festival, /\iiieii<:an l’oodle appears; to he too unrelined to truly do lllfillCt,’ to its; :;uhie<:t iiiattei (llffilfllo the respective gualitiet; of its; leads. (Miler; Johnson) I A3512rrrl)/y<u)(3eorge Street, (5253

Set on an ()lllt:lV/lf;l,‘ urirernarkalili- la. in ?()()h, filéllll poet [Jariiel Unity". oni- riian show I llll,‘/(/l.’/l(,‘l,‘ .‘i‘ee’ i)t"llll'i Willi New York City”; (lenient into chaos; af; a slave T;ll|[i tloatu up liorii

(£0130, urrtr/ Q/Aiig, 5pm, 5312»? ll? the Hudson Bay liohhing luut helow (l‘ll l‘li’). the Statue of l iherty and whirled “Hill

the skeletons ot Atrium ulaveu, '.llll DICKENS UNPLUGGED Is THIS ABOUT SEX, held Within their uhaekleu, the whip". MUSiCa| take on the maSter'S many A - - . - - appeararree hegirif; to up into the tales .... compelling exploration of gender and identity one

lahrir; of a hlaek Arnerrea that tor Christian O’Reilly’s contemporary sex farce isn’t a lot more than the kind of various; reasons. hat, not heeii at ;Ie t i piece we saw from Brian Rix in the 703, which, in those days, attracted pop tully lay Ii") past to rest.

cultural phrases like ‘adult’ and ‘sophisticated’. Even so, it contrives to be Skilllully weaving in the U )ll’,‘.‘|l ot a amusing from end to end, and occasionally takes us on a deeper journey, poetry filéllll r,oirr;ert It to the at tir ,r i, addressing issues like how identity is connected not just with issues of Beaty allows; llllllf;l:li to rli'.p|ay hi', sexuality, but also of intimacy. verhal dexterity Without l)ti:itl‘lll'l in in: In it, we meet Daniel (Darrogh K001), who, it he m Wt of I the urgency ot the plot, in the pror,e','. high street shop, reveals M the m M5 W from store working hiiii‘;ell toward‘; a r,lirna/ assistant Kathy (Hilary O’Shaughnessy) is not, in fact for his wife, but fitting for the iritrirgate i()llllllitil',ll‘, met himself. She has problems of her own, since boyfriend Paul (Rory Nolan) in the opening halt Pounding at the she points out, has become rather inert on the sex front. His masculine and centre of the play", rrenetir, riarrati‘fl: I‘. completive response is to treat this as a challenge, and he approaches Beaty'f; multitude of l)‘:li()llliiltll,‘:

..l cunnilingus as a sort of land speed record, obsessing over making her skills. lllS hody rarely panning tor achieve orgasm in record time. The result is an affair between Kathy and breath Elf; he leap‘. from the '.i’|tr ot her transvestite customer, while Daniel’s wife Kay (Ali White) seeks solace one character to the next, ',ll irjinrg. in Paul’s arms in a lunchtime affair that involves more sandwiches than shouting and flinging hirii',ell about the

Unless you were brought up til at sex. Stage panning only to wipe thr; ',\//r;:jt workhouse. you'll he familiar With at There are plenty of cracking one liners, and a few neat observations, with from his; hrow Thought pro/oirinr; least one of Dickens many tales. Daniel’s speculations about how exactly cave men practiced sex putting a Without heing overly '.‘:llllllll:liliil. Beginning wrth Oliver Twrst. this bunch of reactionary myths firmly in their place. But most of all, the play electric Without heing riyperar,rire. mus‘ical. lS not quite as Dickens explores the unconscious projections of its characters upon each other, Erriergeriee See.’ l‘, a finely honed intended. We embark upon a full and their, at times, unfortunate choices about how, as a result, they see piece of theatre that Should ’,‘:llilll'l/ themselves. Lynne Parker’s production for Irish company Rough Magic he seen. lMllU‘; Johnsoni Te|ephone remains pretty chipper throughout, with nice pacing and good . I ASSGHID/VUJSl George's Wear; 02’; performances. Kelly’s baffled, gentle man-in-a-woman’s-body is a 3030, (mm 27 Aug (not My, eduprrr.

Fringe 0131 226 0000

o n ' \ I I (- lmemational Festival 0131 473 2000 particular treat among these, and if Paul 0 Mahony's bedroom/department f. 7 I i. 73 it I k I. l 7/.

store set raises more questions about sexuality and oommodification than it answers, there’s still plenty to giggle about here. (Steve Cramer) for W THEATRE I Traverse 3: The University of Edinburgh Drill Hall, 228 7404, until 26 Aug, times see non-Festi\/a| magazine vary, E76 (CS—£7 1).

60 THE LIST FESTIVAL MAGAZINE 16—23 Aug 2007

Film Festival 0131 623 8030 Book Festival 0845 373 5888 Art Festival 0777 169 3470