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MY NAME IS . . . Story behind the headlines gets heard ●●●●●
887 A stroll through theatre great’s memories ●●●●● THE AMERICAN SOLDIER One-man show lacks dramatic unity ●●●●●
Nine years after 12-year-old Molly Campbell’s ‘abduction’ from Scotland to Pakistan hit the news, this play from Sudha Bhuchar and Tamasha theatre company attempts to uncover the story behind the headlines. Molly’s supposed kidnap from her mother’s home in Stornoway to her father’s in Islamabad dominated news for days. And when Molly appeared on TV to declare that she had gone willingly, and that her name was Misbah, the media presented the story as a clash of two civilisations. Bhuchar’s play is based on interviews with Molly and her parents, conducted in 2008 when she was still in Pakistan (she’s now back in Scotland) but their names are changed: Molly becomes Gaby / Ghazala, her parents Suzy and Farhan.
After the spectacular binaural complexity of The Encounter, 887 arrives at the EIF with a similar set of expectations and a technology heavy dramaturgy. Robert Lepage is a venerable artist who promptly indulges himself with a trip down memory lane and occasional flashes of self-awareness and passion.
The meandering is based around Lepage’s attempts to learn the 1970s Quebecoise poem Speak White – he eventually performs the poem, a vitriolic demand for respect, in an electrifying moment. Lepage suggests that he is pondering the nature of memory, personal and historical. This translates into vaguely interesting anecdotes from his childhood, merging the political turmoil of French Canadian activism and his family’s struggles.
The media’s prejudices are roundly attacked, For all the impressive architecture on stage –
particularly their racism and class scorn. But the play's strength is in the way it tells the personal stories of those involved. Umar Ahmed and Rehanna MacDonald impress as Farhan and Gaby / Ghazala, and Karen Bartke’s turn as Suzy is particularly heartbreaking. Rather than a sensationalised culture- clash drama, this is first and foremost a deeply sad tale of a family’s breakup. (Yasmin Sulaiman) ■ Northern Stage at Summerhall, 560 1581, until 30 Aug (not 26), 7.25pm, £14 (£11). Lepage paces around a scale model of his home, peering inside at his past – the substance is slim. It’s clear that he still has an eye for the telling image, and there are intriguing meditations on how the memory of history can be replaced. Yet his howl of outrage at what has become of the radical movement is an ironic reflection on his self- indulgence on stage. (Gareth K Vile) ■ EICC, 473 2000, 20 & 23 Aug, 7.30pm, 21 & 22 Aug, 2.30pm, £32.
The broad title marks out The American Soldier as an ambitious work, aiming to capture the experience of several generations of servicemen who have faced the realities of war. Douglas Taurel is an actor whose powerful presence sets a grave tone. The problem is that The American Soldier bites off more than it can chew; the sketches featured in his show don’t amount to a rounded picture, and the result lacks unity.
The mention of Valley Forge in the opening monologue sets the parameters for a journey through American history, taking Taurel through Vietnam and up to date with Afghanistan; from aggressive dope-smoking grunts to lovelorn soldiers, there’s a range of characters to describe. Unfortunately the vignettes are decidedly one-note; war is hell, for all concerned, but repeated motifs, such as an obsession with breasts, throw little light and make too many of the men seem far too generic and similar to each other. The American Soldier aims too high in terms of
scope; Taurel has real talent, but his one-man show needs fine-tuning to be a satisfying take on the subject. (Eddie Harrison) ■ ZOO Southside, 662 6892, until 22 Aug, 7pm, £9 (£7).
LE GATEAU CHOCOLAT: BLACK Life-affirming portrait of a battle with depression ●●●●●
Inspired by the recent deaths of two of his closest friends, Le Gateau Chocolat’s new show could be downbeat – morbid, even. Not so – if anything, it is one of the most life-affirming, inventive and beautiful shows at the festival this year.
We follow the opera / cabaret singer backstage as he applies make-up and wig. He traces his journey from a childhood in Nigeria to cabaret shows in London, via the guidance of virtual fairy godmother Whitney Houston, whose ‘I Wanna Dance With Somebody’ is reimagined as a poignant cry for help. When his voice soars, it’s as though a bullet flies into the audience.
He does not shy away from his own depression, which is the
only time he directly talks to the audience, and he addresses homophobic beatings, his father’s hostility and struggles with his weight. Similarly, there are some chilling musical moments – not least in a pared down rendering of Billie Holiday’s ‘Strange Fruit’ which silences the room (its imagery of Southern lynchings still as powerful as when it was first written) or a stunning rendition of Purcell’s ‘Dido’s Lament’ alongside pianist David Merriman.
But this, as ever, is only half the picture with Chocolat:
elsewhere, he is a mischievous, playful presence – an Esther Williams bathing belle, with retro cap and swimsuit, or shimmying in furs; his impeccable comic timing and gestures a nod to the vaudeville greats of the silver screen.
Threaded throughout are ‘tips for fat people’, audaciously
campy segments in sketch form, or the adorable Little Black, an animation about growing up that parodies 70s cartoon Bod, complete with deadpan voiceover. After all, Bod was just a misunderstood little boy who liked dresses too. Charismatic and gifted, Le Gateau Chocolat commands the
space effortlessly, inducing tears and laughter. (Lorna Irvine) ■ Assembly Hall, 623 3030, until 30 Aug, 4.50pm, £11–£12 (£10–£11).
20–31 Aug 2015 THE LIST FESTIVAL 87
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