I Theatre is listed by city tirst. then by venue. running in alphabetical order. Cabaret and touring shows are listed separately under the relevant heading. KEY: [D] tacilities torthe disabled. [E] lacilities tor the hard at hearing, usually an induction loop system. For prices. price in brackets eg (21 .50) is the concessionary price. Long running shows. unless specilied otherwise. do not run on Sundays.


I CITIZENS' THEATRE ( iorbalx Street. 42‘) “till. Bo\()ttice .\Ion Sat Illam Spm. Bar. |I‘)|_

Phedra l‘l'l 3M)ci Sat l: _\‘m ",_‘~llpm. £3 (£1 l. I'Rlili l’rcyieyy I‘hurx 25()el. I’hedra. queen ol .-\then\. nttt‘\e\an illicit passion tor her Hepwn leelings star t at rock bottom and proercxs doyy nyy at'd\ lrom there Racine'x yyonderlul. athlete. unremitting tragedy in Philip l’royyxe'x production re-rlrrectcd tor the \tudro space. tranxlated by Robert l)a\ rd

.\Iacl )Ullaltl and \\ llli .littte liel'llxll a\ the desperate queen. Sec l’anel.

I CRAWFURD THEATRE.Iot‘d.‘rtthilI (iollege. ( ilmgoyy (MI 954 UJIS NotAbout Heroes ii i 4 .k Sat 5 NM. "H‘yllpm L3 l L l .5“) 'l icketx can be bought in ady ancc through the Ticket ( ~entre.

('andleriggx. 237 551 1. Opening on the

night ot the \eyentielh anniyerxary ol' \Villred ()yyen'x death. a production ot Stephen .\I;icl)onald\ mm inu play dramatixing the meeting betyyeen Owen and the older \yar poet Sicglried Sassoon in Edinburgh‘s('raigloekhart l Inxpllill.

The hospital is noyy part ot' Napier ( 'ollege

and a version ot the play yy ill alxoappcar there~ \ee I‘eloyy

I CUHBERNAULD THEATRE ( ‘umbcrnauld. “3% “3288", Roy ( )lticc .\Ion-l-r‘r

Illam (\pszat Illam 3pm;o Spmpert. eygx liar (‘ale

Tartutte 'l hurs 3 Sat 5 NM. ’.~15pm. L15“ til 35). .\'o .\Iean(‘ompany in l.i/ I.ochhcad'\ brilliantly \yttty Scots ll'illlSIuIlUli ol .\Ioliere\ comedy about l'L‘IlgltHIS hypocrrxy

The Threepenny Opera ‘1 Iilll'\ lll Sat 1: .\'oy . 745pm. L2.5llitl.35)(‘urriberruruld Youth Theatre in a neyy \L‘l'SlUll that updates the lirecht \Veill ‘beggar'xopera' toour times.

I DRAMA CENTRE 13o Ingram Street . 553 582".

The Penguin Crossing and The Box‘l'ue

1 Sat 5 \‘m . ".3llpm. Strathclyde'l’heatre (iroup in a double bill ol experimental drama by ('arl I’iekard. The Brit. rlewrihed by the author as ‘I Iarold I’inter'


Following on intense productions at Ibsen and Shakespeare, the Glasgow Citizens‘ next use their small studio theatre tor Bacine‘s Phedra. Originally adapted lrom an ancient Greek drama, this seventeenth-century masterpiece ot French classical tragedy evolves around the passions generated by a woman in love with her step-son—this central character at Phedra is being played at the Citizens' by Jane Bertish. an English actress who has worked at the theatre on and oil tor the last eight years.

‘It is possibly one at the most exciting theatres in the country,‘ she says. ‘In my experience it is the only theatre which has all its priorities right. People here are happy and it's very conducive to high quality work.‘

The excitement with which she talks about the theatre is mirrored by her leelings about playing the character ol Phedra: ‘She is under a total

Jane Bertish. who plays Phedra

obsession. which makes people behave appallingly. She is in such a state at despairthatshe allows the nurse to guide her actions. which eventually leads to her death.‘

Philip Prowse, who is directing this production, originally directed the play in the London's West End with Glenda Jackson in the title role. Jane Bertish also appeared in that production, but explains that the Citizens’ one will be totally dilterent: ‘The presentation in London was at a stylised lorm: it had lavish costumes and a huge set, creating an extraordinary ellect. In Glasgow it isjust the words and situation which matter. The play is a very domestic piece and, ol course, it has helped enormously being in the studio. It is a very demanding, but exhilarating space to play in. Philip has tried to allow the audience to judge the characters. Being so close people can get right inside the characters, which you can‘t always do when plays are pertormed in a largertheatre.’

Not as well known by the public as Glenda Jackson, Bertish is nevertheless recognised within the theatre prolession as one ot the tinest actresses in Britain. She has just linished acting in a new American play at the Bush Theatre in London and belore thattook a lead role in Howard Barker‘s new play, The Last Supper, which, atter its premiere at the Royal Court. was presented tor a week at this year's Maytest.

Although Bertish will be working again with Howard Barker later in the year. she has lew immediate plans tor the luture. Forthe time being she is happy to be working at the Citizens’ and on such a powerlul play: ‘In the 17th

meets the outer limitx'. reyolyes round a sinister character with a box which gradually becomes menacing: The Penguin ( ‘russrne is set towards the end of the century. yy hen the Americans haye brought about the 'l‘hird World War. in line with Revelations.

I GLASGOW ARTS CENTRE I 3 Washington Street. 22! 452i»

The Wild Garden Adventure Thurs 27 ( )ct. 7.3llpm. l-‘ableyixion in their neyy touring kids \Itoyy about pollution. See Touring tor more details.

I KINGS THEATRE Bath Street. Box ()ltice. .\Ion~ Sal noon (rpm. 4 bars. |I)]. [Ii]. I’hone bookings. 'l'icket (’entre. ('andlet'iggs. Mon Sat Illfillam (i._‘~llpm. ll.1122"55ll.

Rosemarie Mon 34 Sat 2‘)()ct . "7.3tlpm. Sat mat 3pm. LI “.5”. A mirsical trom the Theatre ( iulld.

Showboat .\Ion .‘l ()et Sat 5 Sim 7.15pm. Sat mat 2..‘\llpm. L3 £45“. The Minerya (’Iub in the popular musical.

The New Moon .\Ion " Sat l2 .\'oy. Swillpm. Sat mat 3pm. Ll £4.50. (ilaxgoyylight ()per'a ( 'lub.

I MITCHELL THEATRE(iran\iIIe Street. III HUS. Boy ()t'liee Mon Sat noon (rpm. Bar. (ale. [1)]. ‘I'icketx also ayailable trom the Ticket Centre. (‘andleriggx 33" 551 1 .\Ion Sat Ill.3llam (L3llpm.

Doctor Faustus 'l'hury 3 Sat 5 Noy. ". Riipm. £4.50 ( L3). The Medieyal Players in their touring: production ot Marloyy e'x play . See 'l‘ouring

I PAISLEY ARTS CENTRE Neyy Street. I’aixley . SST llllll. Box ( )Illce open

’I'ue Sun noon S..‘~llpm. llar(()pen

noon llpm‘l’uc Sat; 13 30 2.3llpmrk 6.3” I lpm Sun. Meals \et'y edl. ('at'c

century the extreme passion depicted totally shocked the French audience. Hopelully, with the play concentrated into the studio space, it will have the same ellect on the Citizens‘ audience when we open in a lew days' time.‘ (Edward Blum).


‘Cambridge? ltwas like interplanetary travel every lew months. Basically I got an advance warning oi Thatcherism.‘ The alarm bells have been ringing ever since tor Peter Arnott. currently midwaythrough rehearsals tor the premiere ol his new play ‘Losing Alec' at Glasgow‘s Tron Theatre.

Still only 26. Arnott is already well-known amongst those with an eye on the rising generation at Scottish playwrights tor a clutch ot provocative and ambitious plays— among them ‘The Boxer Benny Lynch' and ‘Muir', recently premiered at Maytest. Dealing with big political and philosophical issues through the drama at individual experience. Arnott’s work has never tought shy at the cultural battleground ot contemporary Scotland. ‘Some at those plays were big, megahistorical numbers—with “Losing Alec" I wanted to write a much more realistic play about a Glasgow lamily that takes place over 36 hours,’ he explains.

But not just any 36 hours: the play's central character Alec MacSweeney. an embittered, old-school socialist lrom the days at the lounding ol the Weltare State, chooses to burst lorth trom his cottin the day alter his luneral to haunt his grudge-laden tamin and lriends who have gathered to see him into the next lite. ‘Only Alec's widow Mae can see and hear him he haunts

(Open noon» I lpml. [1)].

Mr Bones' Hallowe‘en Party Sat 2‘)()ct. l..‘~tlpm.£l .5lli75pl.

Cabaret: Romance in the Glomance Sat 2‘) ()et. 8pm. £4 (£2 l. The .-\lexander Sisters. \y ho Ieay e the :\le\ander Brotherxon the bonny. bonny baith in an ey'eningol traditional SL‘UIIISII music and comedy yyith that Alexander Siyter touch. It may be ()etober . but the tartan terrors are dreamingol \pl'tllg.

Still Lite Inc 1 Sat 5 .\'oy . .S'pm. £4.50 (£2.5lll As part ol l’aixley .-\rt\('entre'x

lirst anniy erxar‘y celebrations l'nit ( )ne

. prewnl the linal part ot I'lie Slut) [fury i trilogy. I'nit ( )ne haye been play inglohn

By r'ne'x splendid comediex about the slab boys and their consortx lor' so long: mm . oil and on. that they ruuxt \urely come in tor Spanky l-‘arrell medal some timcxoon. Bedroom Farce \y'erlu) l-‘ri ll Nm. 7..‘~llpm. L: i Ll l. St Johns Drama (‘Irrbin Alan :\yckbourn\ popular larce ol nrodern lITlLItIIC-ClitSS morals i and their absence I. I PAVILION THEATRE IZI Rentield Street. 333 lSJo. IloxUllice .\Ion Sat lllam Spin. Bar. Fancy Rappin‘ l'ntil Sat 2‘) ( )ct. "Flipm. L5 (£3.5lll. \Vildcat Stage l’roductionx in their tenth anniycrxary \hoyy See 'l'ouring. I ROYAL SCOTTISH ACADEMY OF MUSIC AND DRAMA lllll Rentreyy Street. (MI 33: Jill]. The Baikie Charivari Inc 35 I‘ri :3 ( )ct. '7 15pm. L3 ( Ll l. Ax part ot the RS:\.\II)'\ tribute to James Bridie in his centenary year. the linal year I)l):\ \ttrdentsprexent a production ot hix linal play . set in the titties alter Britain's yyitlidrayyal from

the others visibly tor us but invisiny tor them. which was murder tor the actors technically speaking . . . but I don‘t want to give too much away. At a psychological level, it's about how each member at the lamily has to lose Alec in his or her own way— including Alec himselt.‘

The wider perspective is clear though. ‘In a way. Alec is the ghost ot Labourism, someone who only wants to be a saviour, who can‘t lace real change. I‘m not saying Labourism is dead in Scotland it's obviously not— but the political luture ot Scotland has to go lar beyound what the Labour Party seems capable at providing.‘

Can mainstream theatre still be the medium at political radicalism? ‘Ot course it can. I've been accused at setting out by so many people. It‘s a ridiculous and petty argument. Within every theatrical context trom a community arts centre in Drumchapel to the National Theatre, there are interventions that can be made.‘

Arnott points out that as well as taking on playwrighting commissions, he has been active as a drama worker with Community Arts Network Strathclyde. ‘I still believe ultimately

that community theatre is the luture of theatre in this country— or anywhere.‘ Arnott is adamant that change is basically to do with simple selt-conlidence, something which theatre can instill through etiective participation. ‘The beginning is losing Alec, losing the beliet that we're not worth it. That‘s making a start— it seems about right tor a play that takes place over a weekend.‘ (Simon Bayly) Losing Alec is at the Tron Theatre, Glasgow. See Listings.

ZD'I‘he List 28 ()et Ill Nov 1988