I DERIVES Atascinating experiment with scale and perspective in this extraordinary mixture at dance, mime and puppetry. Philippe Genty, King's Theatre (International Festival) 225 5756, 19—22 Aug, 7.30pm, 25-2850.

I ARCHADS They're back and they're brilliant. Raw, raunchy and raucous and without an animal in sight, Archaos revive the ancient energy ol the travelling circus.

Leith Links (International Festival) 225 5756, until 2 Sept, (not Mons), 8.30pm. Sat & Sun mats 3pm, 28 (26).

.I I PDPEYE lN EXILE Inventive and highly entertaining mime-theatre from the David Glass New Mime Ensemble; also a good source lor some cracking insults. Assembly Rooms (Fringe) 226 2468, until 1 Sept (not 20 & 26 Aug), 4pm, 25 (24). I CUMBIIE FLAMENCA Passionate and erotic toot~stomping from the top Flamenco dance company. Playhouse Theatre (International Festival) 225 5756, 17-18Aug, 7.30pm. 2350-211. I AMERICAN INDIAN DANCE COMPANY Gathered from a number ot tribesthe company recreate traditional dances with an

i added theatrical ingredient.

King's Theatre (International Festival), 225 5756, 23—25 Aug 7.30pm, 25 Aug. 2.30pm. 25.50-28.50.


Dance Inter- nafional

Dance does not play a huge part in this year‘s Festival. On the whole the Fringe is sadly lacking in innovative dance. though the International Festival has a few gems to offer. Performances to look out for in the following weeks are Pilippe Genty's Derives (see feature). The Music-Theatre Group Of New York. more mime/puppetry than dance (see feature next issue) and the inimitable RudolfNureyev who rounds offthe Festival's dance programme.

Over the next week the International character of the Festival is further illustrated by the American Indian Dance Theatre and Cumbre Flamenca. The former consists of members from several American Indian tribes. gathered together by Barbara Schwei. They perform traditional dances, re-staged and given a new energy for a theatrical environment. Several contemporary choreographers. including Martha Graham and Jose Limon. have been interested in the


Subtitled ‘a very black comedy', this is a rags to riches tale ol an undertaker who makes a lortune out of death, but seeks to avoid his own mortality.

Told through an inventive language of mime, movement and speech -with helptul punctuation ot sound and lighting —John Mowat and Co succeed in being disturbing and tunny. The continuity ot the narrative, however, is sadly episodic, and ultimately unmoving, otten serving as little more than a vehicle for mimetic sketches.

Nonetheless, the scenes, as such, are excellent illustrations ot the company’s talents - attempting to squash a body into an ill-titting coltin and the undertaker’s promotional video are just two highlights. This show displays a gentle cruelty that always remains charming, watchable and

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power of Indian dance. attracted by its connection with nature and the spirit. Each of the dances performed fuse aesthetics with symbolism. the most spectacular ofwhich is said to be the Hoop Dance, during which a set of hoops are manipulated to form animal shapes.

Cumbre Flamcenca. one ofthe most thrilling Flamenco dance companies. revive last year‘s Spanish theme. You will find raw passion and intense drama on the Playhouse boards embodied in the proud and erotic forms of La Chana. Juana Amaya. Antonio Canales and Cristobal Reyes.

On the Fringe, Jamaican-born Patsy Ricketts joins forces with Karl Messado at the Assembly Rooms. Once a member of National Dance

./ -‘ ,3, Theatre Company. Ricketts left dance to have five children. During the process she became a Rastafarian, and returned to the discipline with a new vengeance. Also worth mentioning are the Black Mime Theatre at the l’leasance. The young Afro—Caribbean trio present a fast spoofofcomic-strip culture which has been provoking an enthusiastic response.

I American Indian Dance Theatre (International Festival) King‘s Theatre, 225 5756. 23—25 Aug. 7.30pm. 25 Aug. 2.30pm. £5.5(I—£8.5().

I Cumbre Flamenca (International Festival) Playhouse Theatre. 225 5756,17—I8Aug.7.3(lpm. £3.50—£l l.

Irequently hilarious. (Michael Baltour) Yours Eventually (Fringe) John Mowat and the London Theatre ot Clay, Theatre Workshop (Venue 20), 226 5425, until 25 Aug (not Sun), 2.45pm, 23.50 (22.50).


Like a Iantastic lire-ball ol energy and rhythm, the Mapapa Acrobats and the Mandingo benga beat band hit the stage and, almost at once, lay siege to the audience‘s conservatism. The show combines Kenyan dancing, hoop jumping, hand stands trom perilous heights (with one or two hands), daring group acrobatics, tumbling somersaults through a whirring skipping rope and astonishing human pyramids.

The show runs for about an hour (15 minutes shorter than programmed). This is well judged to show the lull glory of the acrobat's talents and not enough to let your exhilaration wane.

An encore had the audience swaying hands, stomping teet, whistling and whooping. Thus proving this show is a pertect testival pick-me-up. Everyone went out ready to dance into the night, only to discover it was nearly lunchtime. (Michael Baltour)

The Mapapa Acrobats (Fringe) Assembly Rooms (Venue 3) 226 2428, until1 Sep, 11.3Dam, 25 (24), 22.50



It may be The New Mime Ensemble, but this production has got an awlul lot at dialogue. Method acting is thrown enthusiastically aside in the eltort to recreate the cartoon ettect— Olive Oil and Popeye wilt with passion, spinach-packed punches send bodies llying. In tact the usual cartoon quota ol punch-ups and shoot-outs, transferred to the stage, makes a show violent enough to upset deeply a couple at the tiniertots.

For those at us over-lives experienced enough to stand the pace, the show has plenty ot well-choreographed, action-packed moments- Popeye, Olive Oil and Roughhouse are particularly good. The music, songs and slapstick bring a smile rather than a belly laugh but Popeye In Exile is good, violent tun. (Fly Freeman)

Popeye in Exile (Fringe) David Glass New Mime Ensemble, Assembly Rooms (Venue 3) 226 2428, until 1 Sept

(not 20,26 Aug) 4pm, £6 (£4)

The List i7~--"2_.i';iugust 199047