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A REGULAR LITTLE HOUDINI Solo show remembers the great escapologist ●●●●●
Harry Houdini performed twice in Newport, South Wales, Daniel Llewellyn-Williams’ solo play for Flying Bridge Theatre informs us. And it was there that he inspired a 10-year-old to pursue his own career in magic and escapology. That’s the surprising but promising set-up for this show, and in it he brings together family dramas, the ruthlessness of Edwardian industry and the sparkling hope of a career in magic with a deft gracefulness.
But it’s also as if he’s aimed across too broad a range of targets to treat any of them with the depth they deserve. He pulls off a few magic tricks, but not enough to satisfy a magic enthusiast; and likewise, his social commentary on turn-of-the- century exploitation gets rather swept up in his undeniably bracing, vivid storytelling. His delivery too, while enthusiastic and energetic,
feels rather relentless, to the extent that two big tragedies that erupt out of nowhere achieve less of an emotional impact than they should. Nevertheless, it’s an ambitious, skillfully presented show that casts a revealing light on an unusual collision of time and celebrity. (David Kettle) ■ Pleasance Dome, 556 6550, until 29 Aug, 12.20pm, £7.50–£10 (£6.50–£9).
MY EYES WENT DARK Weak script but brilliant performances ●●●●● US / THEM Quietly harrowing show on terrorism ●●●●●
Despite two remarkable performances from Cal MacAninch and Thusitha Jayasundera, My Eyes Went Dark is a disappointingly narrative driven ramble through the story of a man inspired to murder through the loss of his family.
The minimal set – made essential by the script’s relentless changes of scene and location – gives plenty of space for MacAninch to display his acting chops, and he is sinister, pathetic and moving by turn. Jayasundera jumps between multiple roles and accents with aplomb, and the duo conjure a few moments of intensity.
Yet the structure of the play and the inevitable callback to the beginning in the final scene, betrays a lack of theatricality in the writing. Moments of tension, including a plane crash and a killing, are squandered by the rapid flow of the storytelling. Undeniably, both actors are superb, and all the more impressive for the weakness of the writing. Few of Jayasundera’s characters are developed beyond caricatures, and even MacAninch’s role lacks definition. There are questions about moral responsibility and racial identity lurking, but these are lost in the rush. (Gareth K Vile) ■ Traverse, 228 1404, until 28 Aug (not 15, 22), times vary, £12.50 (£8.50).
This is a kids’ show about the 2004 Beslan school siege, in which Chechen terrorists killed almost 400 people, many of them small children. Brussels- based BRONKS are nothing if not ambitious in Us / Them – some may even say foolhardy. What they’ve come up with, though, is a remarkable piece of theatre – powerful and quietly shocking, but also entertaining and absurd, even playful. Expert young actor/dancers Gytha Parmentier and
Roman Van Houtven chalk out the school layout on the stage, tying an intricate spiderweb of rope and balloons to represent the terrorists’ tripwires and bombs. And they take us, with relentless care, through the harrowing events of the siege’s three days as seen through the uncomprehending eyes of small children, their increasing dehydration only adding to the show’s growing sense of unreality.
They don’t justify or condemn, merely bear witness, and the show’s remarkable even- handedness towards the siege’s victims and perpetrators alike is one of its great strengths. BRONKS’ refusal to give in to sentimentality or hysteria makes the impact all the more potent. (David Kettle) ■ Summerhall, 560 1581, until 28 Aug (not 15, 22), 10am, £10 (£8).
PUTTING THE BAND BACK TOGETHER Gig-theatre with real compassion ●●●●●
Performers and devisers Maria Crocker, Alex Elliott and indie pop star Ross Millard are on a mission to get the nation dusting off old, unloved music. Inspired by the recent passing of friend and creative adviser Mark Lloyd – an enthusiastic musician – this is a poignant but joyful homage to the unifying power of music. Although Millard experienced pop success as a member of the Futureheads, the script rescues pop from both the industry and the celebrity system. Making music for the sheer joy of making music is celebrated throughout the show. Backed by enthusiastic ex-musicians who sign up to rehearse and play alongside the trio (it's different for each performance), this show plays with the most ridiculous facets of rock star posturing, and has an almost punky DIY spirit.
So charismatic are the main trio’s performances, it’s sometimes hard to gauge if the bickering over bum notes and chord sequences is genuine or staged. Writer Chloe Daykin examines the effects of the twee, oft-overlooked recorder, beloved of school kids everywhere, or the pomposity evoked by bass clarinets (cue a booming Brian Blessed voice by Elliott). The reasons people give for instruments taking a back seat to everyday life are explored, from general fear and complacency to having kids.
Even though the humour borders on silly, it’s tempered by Millard's lovely songs, composed for the show. Like a perfect three-minute pop song, Putting the Band Back Together crackles with energy, passion and above all, heart. A teenage dream doesn't necessarily just belong to teenagers: just ask Dorothy on drums, channelling her inner Moe Tucker tonight. (Lorna Irvine) ■ Northern Stage at Summerhall, 560 1581, until 27 Aug (not 17, 24) 4.50pm, £12 (£10).
11–18 Aug 2016 THE LIST FESTIVAL 87