isthelramework ofatalewithinatale‘ says Sharpe, and essentialto this idea is the importance olthe audience to the. tale.The very nature olthe performance. Sharpe hopes. will forge a close link with the spectators. developing onaprinciplethathas always been central to Scottish Theatre Co-Op's work. Initiallythe companyhad hopedto developthisideaallthe more by stagingthewholethinginalarge hall wheretheiraudience could eatand drinkandgenerallyhaveagood night out. olwhich the players and their play wouldform one element—along with singing.juggling and magicians.much inthe styleofthe old medieval entertainment.TheystilIhopeto be


Conditions may be bad for workers in the health service at the moment. but at leastwould-belemale doctors are no longerstoned bytheirlellow male students ontheirwayinto medical college. Such was the situation. however. when Elsie lnglisstartedto train inthe nineteenth-century in Edinburgh. Despite such hostility. she did become a doctor and went on to help her lather establish a second training college torwomen. She also became atireless campaignertorthe rights of women and for the poor. ‘She set up a hospice in the High Street and Not that such a challenge is likely to used the fees to treat the sick who were daunl Roberts. Anyone who can poorlree.‘ says Stuart Blackburn. ‘She squeeze 11 actorsthrouoh 90 costumes



6-28 MAY


' ' and welloveriDO charactersina . 1 l ' was one Olthe'lrsmeoplel‘? Sta” , . . . . ableto ex andtowardsthisconce t ; i l working on poveny-re|aiedriinesses, mu3icalmulti-mediaspectacularcant eventual“; butatpresem lack mp ! ' Blackburnis behindanew betoo easilyscared alterall. ‘l‘m fundingdic'tatesmanhe 8‘18 in f communirypermrmance project treatingitinthespiritinwhichitwas remainslightlymoreconvegfioaah i Mon-Sat 7.45 pm mountedthis monthatthe Mandela created.'savsRobens._reterrinote justonemore,averofimnymhe i ' Tickets {mm £2.50 Theatre“) ceiebrareiheme orthis Littlewood‘scollaborativedirectorial Burgher.sTalense” (3.”) l ‘x-‘vgih,_..._;:,-'ee 2] May 315 pm remarkablewoman. The production 399mm“ mm“ In "il'mewas b_m.h The Burgher's Tale: ScottishTheatre I . roiiowsgismingils merrom he, radicaland challenging.Twenty five Coop NemerbowTheatre Edinburgh . l l (037} 229 9697 childhood inEdinburghtoher vearsonlandanotherquanercenturv ' ' g FREE PREVIEW pioneering workin Serbia—she died. Sincemetwo wor'dwar$l~ ROPWSTS DOMESTIC POLICY l sadly.justbefore women gotthe vote. le'amarelmaamrtelg'”'tsé’o'lt'ca' The worldthinks otitasthe week ' ‘1 The playwas scripted'mugmy'by ‘3 99' ‘39 3Y ‘35 0 em 9 _ Kennedywas assassinatedHull himbutmosmnhe production has conlemporaw- lwammdfaw anenl'on remembersitasthe weekthe Beatles developedduring rehearsalswithme to Violence inherentin sometyoutwdh playedme 3893' Cinema. Hullrmck's the FirstWorld War. he explains.And - ~ I d large body (“performers drawntmm . . latestproductionwhichtours Scot an . , . oncethe old piano standards havedied _ ~ d the community wetnedm create . . trom2 14Mayrelivesthetremen ous ~ - downv R"hempmm's‘i‘iw’ 9'” “3 excitementolthelew months in l963 opportunitiestoallowpeopletoputin - - . . . . . . . , something much morethananostalgic r h H menowmdeas saysalackbum . _ t which broughtBritainouto t e ities ' iauntintothe past.(Mark Fisher) nevermretum i Numbershavefluctuatedthroughout OhWh ML I w .8 dl ' . . . rehearsals, which gave B|ackbumand Th ta Edi)? ‘i’ h E”. 9 am ‘The mood was asdifferentas lfCOUld* v M BiIIBankes-Jones.whodirects.certain ea re' m mg ' befromme'at? E'th'e? 'SaVS headaches. Nonetheless. they hope TROUBLED Eredewkhllafison- Wr'te’ i” a Hard thatthiswillbethefirstofmany—it 3Y5 '9 - eprocesso c ange ‘; j HIE CH marksthe beginning olanewphasein , Wh'Ch has broughnhe Nonmmm 3. " " " - - eau iences ou no expec e senseo ree om an op imism 0| 3 ' I thelife olthe Mandela Theatre.which Th d , h Id t “h . H .d d t t 1 presents from nowon willberunslighuy more expectable. saysAllanSharpe.olhis presentlowsthe backgroundto independentlyhomme Gateway newplayThe Burghers'Tale.The play. Harrison‘stwo-womenplay.AHard Exchange.withnsownamsncpolicy' writteninthe style oftraditional Day's Nightchartsthe careerofMadge ' H Thetwowmstillbeclosel linked. commediadell'arte.tellsthetaleofa and Maureenfrom Beatles-mad E G E R however_ we wanno keegsimilar groupoftravelling players ontheir teenagersto middle-aged performers ' ' idealsmthe Gateway‘isaysmackbum. uppers. wholinallylinda patrontolund onthe Northern club circuit. ‘lfind And we hopefmmmismfind ways of theirperformance—onlytodiscovera women moreinterestingto write ' keeping even more people involved small problem: ‘The playthey perform about.’ says Harrison. who feels that l fat” adaptation by and keeping people goingmmughm do isridiculing one olthe burghers olthe domesticissues are nowinthelront I . .1. h ,‘ At P. . pmiectsu (Sarah Hamming) City.‘ explains Sharpe. ‘Andthe patron line olpolitics. Wanting to avoid a i " ' “ea re en leces ElsielngliSIAssemmy Roomsand justhappensto have hadto mortgage Sixties'nostalgiapiece.he haswritten Mandela‘ Edinburgh his estate tothat burgher. . .' a play which moves back and forth , Things proceedtotake variousfwists betweenthen and nowrevealingthe U; Albert Cam“? and turns. dealtwith in the highly double-edged nature of nostalgia and T he OUTSIder Edinburgh University Theatre Company colourful and bawdy style ofcommedia the problems otdealing with change. is making a bid for international dell‘arte. Behind the comedy. ‘The Sixties were a very exciting time n recognitionthisyearwithits new however. lurksaslightly more serious forgirls. Beatlemania wasthefirst «ff . . . "” “may 7 May! 7'30pm production ofJoan Littlewood‘s ‘Oh conSIderation olthe role oftheatre. not time they could letthemselves go in WhatALovely War‘. Notcontentwith confinedto medievaltimes and put public. ltwasa bitlike coming outof George Square Theatre, the de-consecrated confines olthe across partly bythe play's structure—a purdah.‘ says Harrison. Now with ‘most George square. Edinburgh Bedlam Theatre, directorAIex Roberts playwithina play withina play—which olthe male workforce stilloutofwork isgearinghisii-strong cast fora allows forlayers ofironytobuild up. sincethe Cod War' Hull's working class summerrunin Heidelberg purringihe Theliteraryreference oftheplay's womenlindthemselves workingin company‘s‘survivalGerman'tothe I titleis no accidenteither—‘the Icelandto supporttheirlamilies Tickets availablefrom test, Chaucerian bawdy elementisthere.as (JulIeMorrIcel.See Touringfordetails. l The Frenchlnstitute. l lBRandolph Crescent. ' Edinburgh. f'tiiiiliiiigli['iiiM-ixilx llic.itit~( i‘llll‘.tll\ H.” [Dill] , Tel. & Ill li‘JllI llllk'\\tlt‘ki‘\\L'lL‘t‘Ttlleti.lllll \‘..ll AHard Day's Vb L‘Ll~1 T “Willi. . I y. . H pint Soc [’JITCI :3 Kit.“ :5! Hull liiick [limer atthedoor' :tgrSnSaEtmglaleCZ?)SSEQIEl:1;:IIS.I_ Female Parts \\ k'kl'1\1.l\ 1 Winn 9.1 ‘l' ("liiiii‘nm iiillicii iicu Itlllllfif;\ilti\\ Soc /.._‘ \ \ ‘l' ‘u (Lil l It'iiiciiil‘cisi ltliiil‘iizyii l’.iiicl / 5;:z'1j3i-"T (EI‘Slée‘ilanIlis Acelabration \1‘ .V \ l Ill\k'l\ll_\ llimiict iiiiiimii‘. ii1.i ICHURCHHILLTHEATRE\TillllllitINIle' m N . :N‘U. MM [l'_l\1HT 1:1! piiiiliigtiniiwl lilo [).lllt‘ l l‘ l Itillcd Riiiic Rinitl h .‘IIS‘.-:. M Hm “w HAIR}.th H lilo) Lord ArthurSavilIe's Crime t ‘niil Surili P [:11] :MG [1I1L.1‘Ih: I?“ A I“ H Bartleby \\ ulll.\1.i\ 1 “limit Ll 5'lltl l .-\i‘l T ‘tlpiii.'llic\l;il\;ii\iii.iciimcd} ‘1 L d t d H J , SJ kl I lil'lt‘iiiciiilwixi l-tliiiliiiiulil iiiwixilx i‘.t\L'thlli()\C.ll \Viltlc‘x\liiri‘Istiir} :gEDFATIfiJEIATSE‘:[$11131Rflrkixmfl 5 Hlk‘JIlL' ( ’limimm ill .1 li;\\ .itlnptutiwii it} I FRENCH INSTITUTE l3 Rniitllilph Z R) (, Ilfk T“ ‘l' "1 “m ‘1 L" ('uiiiiull\luiriwiiiifIleiiiiuiiNlc-lullex (icm'ciil._‘._‘*5‘~iiii. '<///‘[‘ H,“ a J k ,_ . ! \tiii} L‘Etranger HTUINT Mu}. T .‘llpiii [.c "AT/iii;an ghzwrtégogllTZIWér!EXUH. 5;:IT\?11‘l:", IBHUNTONTHEATRE\liixxclliiiiuli.'~ti* flit-.iticcii l’iu‘cxiii.itfi'.iiii.iti\.ilinii(in [m “T’ ' (IIOAW‘mkm U“ ' 33-1“ Huxllltigc.‘\lwii Nil lll.iiii ‘l‘lll l‘lo'llpiil.lllttl\\.t\.tL'L'l.tllllL'tl.tIThC‘

42 fig-11%.?” \pi‘il l:.\1n_\ loss