explored the corruption of both society and human relationships. focussing upon the connections between sexual fulfillment and the darker obsessions ofdeath. The Oxford (‘ollegc Players. pare down this poetically rich and complex text to the barest outlines ofits structure. in order to fill the requirements of time and space. This is a pity . as the absorbing acting. particularly of the three major characters. l-‘lamineo ( l’icrs(iibbon ). Bracciano ( David Venables). and Vittoria (Michele Monks). merited a fuller and more satisfying treatment of the text.

However the cast rose to the occasion and responded to their material in a way that makes this production well worth seeing. The show clearly marks the arrival of an accomplished company of actors. (Nicola Robertson)

I White DEVil ( )xlord (‘ollcgc l’laycrs. liestiv al (‘lub(\'enue 3b). 220 2278.17ntil3 Sept. (not


Adapted from classic

movie scripts by director

[an Dewar. The Kiss isa celebration of five femrnes tatale.fickleand fragile

of the cinema. Sarah l lotston. who performs alone with celluloid images of five hunks ofthe

s‘ily er screen. portrays the

wide-eyed naiver ofJulie l larris with as much

cony ietion as the sensualin of Monroe and 'l aylor. and she links the set pieces smoothly with w ell-choreographed renditionsof Monroe's

songs. using her changes

ofcosturne to extend the characterisations. In the

course of an hour ( not the

2” minutes advertised). we relive five great scenes ('I'cnnessee Williams. \\ ht) arguably wrote better women's speeches than

Shakespeare. contributes

two). but despite effective staging and a slick performance in the face of first—day distractions (loud hammering from upstairs and an uncooper ativc dress). one is left rather

Kent. Masonic Lodge (venue ~11 ) 225 729-1. [Intil 3 Sept (not Suns 21 & 28 Aug). lllam. £3(£2)


Jane l’ace is dubbed a ‘difficult child'. An orphan who has been sent to St Anthony's (‘onvent Boarding School. .lane l’ace is victimized by the nuns and her schoolmates alike.

The cast of fourteen. accompanied by the haunting voice of (‘atherine Smith. are all (bar one) from (iodolphin School. The play by Susan llill. written for radio. is here adapted and directed by Mick liitzmaurice. the drama teacher at the school.

Reminiscent of'l‘.S. Iiliot's ‘Murdcr in the Cathedral. the chorus of schoolgirls persecute Jane l’ace with chanting scorn and encircling spite. From this powerfully realistic beginning. with strong performancesby the

schoolgirlJanc Pace and

her supernatural echo



lllllllllll lll

llllllllll lllllllllllll llllSlllllll


(Faye Webberandl’olly l 0 p m

Moore). the play crosses

Tues). 0pm. £3 (£2.50)


wondering why bother reproducing these pieces out of context: perhaps the idea will appeal to


fantastic. A thigh bone on


While Penelope (iold. Craig Sturdy and Mike Stallion think they are involved in international crime-busting (in the style ofthe Avengersor Danger Man) it transpires that they are merely pawns in arch-villain Max Rupertson‘s bid for world

movie buffs. but it smacks to me of indulgence. (Andrew Burnct ).

I The Kiss (‘inema

'l‘heatre ('ompany. lleriot

Watt 'l'heatre (\‘enue 7) 22‘) 3574. l'ntil 3 Sept (not Suns). l l .3()am. £3(£2).


This ‘lintertainment about Women‘ is a conventional look at women as represented by the likes of Elizabeth I.

the beach. a dead priest. his forbidden love and an


; intothe realmsof the


underwater city.dislocate the play and cast it adrift

in a sea of improbability. The switch from the visual (the girls‘ school) to

the aural (the dead priest beckoninglane l’ace in a

voice-over) is too drastic

on stage. although

Natasha Pollard as the

frail and ancient Sister limelda does much to bridge the gtilf between the ‘tight taps and tidiness' world of propriety and the wondering. abstract

. ' . .‘ supernatural dl’mmdlm" mm??? m” Dorothy Parker and some SmuglmclKristina orbital satellite [LpSllOll B. gut-L. hm {mm Ali“. W()(')lnmlgh)

The parody of Sixties‘ TV programmes is often cleverly observed and sent up and is backed up by an elaborate audio-visual display.

However on its first night at the lleriot Watt Theatres it was quite plain that the show was not ready for performance. Over-written and grossly under-rehearsed. it entirely lacked pace. The basic idea has wit but with the combined experience of Morwenna Banks. Robert llarley and Chris England. it is very sad to see the confidence ofthe paying public so poorly rewarded. (Sandy

RlChiirde) show. women behave like way, - A I lTheRetumoltheNew Indus. r~ . r... PreventersThc Com . .. - . ' .' o _ ~ ' pensation for the T k f ' I

:LCVC“leggigf/g’bwau 10am start isprovidedin

calm-- ~~ ("CWC thcformofcoffceand 4’ I i .' r i 7).2293574. Until2llAug “0552mm WWW, Q3811 S BOX ., 1C8 , thcn22—27Aug.3lAug—3 Burdwcn) v 2:», ‘t' i . . ‘- 2 22:5 Sept-6pm~i4-50(£4) IJustLikeAWomanFaith v "'54; "" '

Walker. Prose and poetry alike are beautifully spoken and presented but the most interesting items are in the second half—— an amusing monologue said to have been performed by lillen 'l‘erry to promote the Suffragette cause and a touching yet vivid memoir of Waterloo by a young wife.

Strident feminism is all right if historical. Faith Kent invites our admiration for the suffragettc martyrs btit deplores the behaviour of those modern women who ‘shout noisily on top of boxcs'. In the drawing room atmosphere of this

I Lizard in the Grass. ('ompany Theatre. Festival (‘lub (venue 36) 2202278. 15—2] Atig. 30 Aug—.3 Sep 2pm. £3 (£2) [l‘rl





The List 19— 25 August 1988 25