FESTIVAL THEATRE | Reviews
THE ARCHIVE OF EDUCATED HEARTS Quiet, reflective storytelling intimately tackling mortality ●●●●●
In what feels like an artefact-crammed garden shed tucked behind the Pleasance Courtyard, there’s a show of quiet, fragile magic.
Casey Jay Andrews’ solo performance The Archive of Educated Hearts lasts barely half an hour, and invites just a tiny audience into its intimate space stuffed full of books, photos and the ephemera of several lives. But the themes it tackles – nimbly and with unexpected power – are profound: empathy and emotional intelligence; illness and mortality; and our need to capture and celebrate the fleeting instants of our lives. Blending personal storytelling with philosophical
reflections on the need for human kindness, Andrews transforms what might have been a well-meaning but somewhat slight reflection on the impact of cancer into something far more universal. She’s a disarmingly informal performer, sliding gracefully between perspectives as she gradually recounts her family’s history, gently nudging lighting and audio cues herself from her storyteller’s seat. In-your-face it isn’t. But if you’re in need of a moment of quiet
reflection, and an invitation to consider our shared humanity and potential for generosity, The Archive of Educated Hearts provides a wonderfully warm environment of quiet and calm away from the festival hubbub. (David Kettle) ■ Pleasance Courtyard, until 27 Aug (not 13, 20), times vary, £7 (£6.50).
P H O T O :
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K E V N M U R P H Y
WEIRD OCD is placed under the spotlight ●●●●●
DI & VIV & ROSE (IN AN HOUR) Condensed play loses impact ●●●●● KIN Riveting exploration of sibling love ●●●●●
Based on the experiences of writer Lucy Burke, WEIRD is a heartfelt appeal for greater understanding that weaves the symptoms and behaviour of obsessive compulsive disorder into a familiar coming-of-age narrative. Yasmin, returning from university, finds herself the subject of family discomfort, pity and frustration while struggling to reconcile the consequences of her OCD and a personal tragedy. Handmade Theatre present a condensed version of Amelia Bullmore’s play about three unlikely friends who meet at university. Bullmore’s script was lauded for presenting three unique women, without resorting to stereotypes or obvious character arcs. Unfortunately, in condensing the play to an hour, Handmade Theatre remove some of the nuance and genuine pathos.
Burke’s script details the thoughts and compulsions The characters are engaging, from the bubbly
of Yasmin without resorting to simplistic stereotypes: Yasmin counts, obsesses and struggles with typical teenage adventures in sex and friendship. A chance encounter with a former school bully disorientates her but it is an attempt to reconcile with her sister that pushes her to the edge. The narrative packs in a considerable amount of action. Yasmin herself is sympathetic, but the production plays safe, moving between episodes with sound interludes and heading towards a predictable finale that offers an ambiguous hope. While the message of compassion towards others and the self is eloquent and positive, the restraints of the format don’t allow the ideas and performance to fully develop the emotive moments. (Gareth K Vile) ■ Pleasance Courtyard, until 27 Aug (not 14), 1.45pm, £10–£12 (£9–£11).
94 THE LIST FESTIVAL 8–15 Aug 2018
and promiscuous Rose, to cynical lesbian Di, and determined Viv. Wisely, the young theatre company choose to focus on the play’s university days. These scenes, as the young women navigate work, life and sex, are instantly recognisable, authentic and infectiously charming, as the future beckons them. Sadly, as we skip ahead in time (the shifts in music on the soundtrack presumably indicate new eras, but little else does), the trinity become recognisable and obvious plot points are hit purely as a way of moving the narrative forward. Despite this, Handmade should be commended for their handling of the early years of the story and the easy chemistry in these scenes does make the viewer curious as to where the friendships will go. (Sean Greenhorn) ■ C cubed, until 14 Aug, 5.45pm, £10.50–£9.50 (£8.50–£7.50).
Written by Max Dickins, Kin is a two-person play about a pair of sisters, brought together for the first time in 20 years by their father's imminent death. While the father remains absent, just a garish jacket draped on a chair and the sounds of breathing from next door, the estranged sisters face off across a dining table. Actors Abigail Burdess and Kate Alderton are excellent as the Chapman siblings, in turns tender, bitter and furious as they grapple with different versions of their shared history, as well as the realities of the adult lives they have chosen for themselves. Long-held resentments contrasted with genuinely affecting moments between the pair, like the joyous remembering of a shared dance routine complete with very literal dance moves, help create an intricate dichotomy between sibling rivalry and sisterly affection.
The artfully crafted script boldly interrogates assumptions of what it means to be a family. The pace is rushed in places, with Dickins’ vivid musings on the nature of love slightly lost in the emotionally charged atmosphere. With dark comic flashes to break the tension Kin is a taught and riveting examination of the complex nature of sibling love and the lasting fall out of childhood experience. (Rowena McIntosh) ■ Underbelly Cowgate, until 26 Aug, 4pm, £10–£11 (£9–£10).