8""/10”‘ FESTIVAL
m IJazz Blitzll-‘ringe) questionedastlie doctor l Weekend Arts College. finds himself jealousof
' Mtiy‘ficldllouse(\'enue i the boy‘s rawpassion. llis superficial task as a
V COMEDY I {\Ug. )\ I. I. .\ is , 8pm.ib(i3). ; tychiatri ii. i I t g v straightforward hecould
easilv relieve the bov's Woodrow Wilson makes ' '
I I . , i ‘ pain and obvious . his entrance in a . “lffcringg But 3 n h“ ' ' ' “nary-WHO“JE‘CRCI‘a "' ‘ 's righttodestroy a huiiian's
. . spotted black and white perhaps by the critic who once dubbed chin and _ the only detail him sell-indulgent? — but this that really lets the side
beliefs - emotions he feels himsell lobe sorely lacking» in the process'.’
I}
isn’t-it-Iunny-the-things-people-do down ~ a pair ofgoofy pummmnccs “In _ but line of gag is a poor substitute. The first "fi‘slti' Sunglasses _ the central character of hall-hourolthe show ieltvery Irenetic— \“F‘,”“‘-“ “We 2"" ‘0‘ '8 the doctor IHItltIIll‘illTl} surprising since Hughes‘ strong point , “f?”“"”‘”";“ “"f". “m” l‘“ Portriuul- Providing 2! always seemed to be his I “‘mmm.‘ “’““"‘“”~L’ “" " ' Powerful backbone . i ‘1‘)“"f“'Cd“”ld'”“‘l°d' 1 around which the rest of understatement— and he seemed to be I crowd-pleasing soul W. um mm [cm (Wt - ad-Iibbing his way around some fairly classics. (‘riprthiy backed . West) I i ' hackneyed material. ‘I bet you’re by bass. drums and guitar. ' I Eguus ( l'ringcj Am]th thinking “why doesn't he go back to his Woodrow opens with u ‘i‘hctttrc (‘nntnnnt .‘i hit Old material?" he even said, 53”“ (“"lkc "lunch [30h DUNN l13‘5l3ul‘3llc Street Theatre (\ienue 41 I apparently on the brink (“drying up followingthat WIllIllIC Jtiklc‘."l wo. il'y'ou count 335 7394‘ um” 17's“); mound the hawan mark. Etyyygs‘olt;:\:l:pi;l>t:ke]t:. I :l1C1()t)l;§-Illt\\lililillll h n 9.45pm. £4 ( By | i L‘. t) V . . ill (H t Tilt BC. II (III .' us I'll it The second ha" 0' the Show’ . Dave. . . even Marvin breakfast T\' linkniaii V i however’ awed thankmlly ha“ mm (iayc. whose ‘l low Sweet who possesses the world's I
rites-ot-passage paranoia and the li tcrt. Be Loved ByYou' . firstpolyesterdenim GODSPELL women who tell in love with Hughes (or is remodelled by Wilson’s safari suit and dismembers
_ his pooriootball TECHNIQUE, lllS difficult grittier voice. a set of Olivia Newton-John s naff -q j 1 Maybe it was a first night or an oft-night relationship with his parents and Pips“ *9"de I“ 5““ “"d “5“” Chm“ 'X‘Wd" " . or maybe we were just too . penis-complex were obviously "\‘E'iun‘l'i'tmlrj" d“°"t‘h‘” “"3"” “I‘l’m‘m” "fl '
o . . . (CC ‘ ivy :2 z 1‘; i ‘2 i unresponsive an audience, but relieved. Men, of course, love him for mm mics it {:5 m” ' ”” :‘i‘ri‘ilt‘w'ltllurcml‘lj: somehow 393" Hughest br'lllanl the same reasons! hm the" I Shouldnt captivate. Ilear him sing. outfittand that's just for
winner at last year‘s Perrier award, just be telling you that. (Miranda France) Mum” Muhhom wasn‘t as funny this time around. lShouldn‘t Be Telling You This, But
openers) needs no more. I Woodrow's LouderThan Lesser men than this
Friends in the know say that Hughes is (Fringe) Sean Hughes, Gilded Balloon Hype (Fringe) Platform cosily-unhingcd .iii-rnttnd j
trying to move away from taming about Theatre (Venue 38) 225 2151’ um“ 20 ()ne ( Venue 9(1):.25 3433. entertainer could forge The Acting lixchange
himsell so much in his act— stung 7 Aug, 9pm, £5 (£4). 3“ Aug 9PM fl 1 34 Aug. careers from the rigid WNW I” W" it (pH/well 9pm. £3. hairpiecc alone. of thc ltitiire~- ‘sei inthe
Th ‘ front row. ‘rescrved l‘l‘llls and beyond' in an V i l v for BTITT Downe virgins'. illlv‘mPl 10 léiL‘lslv‘ the
Having just been the victims of a
man and operfaoe
over-extended set-pieces that literally
JAZZ BLITZ
Jazz Blitz brings together two very different facesof young British jazz. one new to the Festival. The London Fusion ()rchestra were here last year with special guest lan Carr. and played their brand of 7(ls-style jazz-rock fusion well enough. if you like that kind ofthing.
The debutants are the Wayne Batchelor Quartet. and they are likely to prove more interesting. They come out ofa rather different stream to the LCD. being part of the post-Courtney Pine/Jazz Warriors growth ofinterest in jazz among young black musicians who would ordinarily have slipped
was. unsurprisingly. far from full. Most considered the risk of a personal serenade from this beige Adonis too great. and gave in to
hysteria at a safe distance. When we weren't doubled
over. we gawped. John Travolta would need a
sackful of Ecstasy and at least a partially successful
lobotoniy to imitate
dancing like this. larrivcd a virgin — and
left a Bob Downe slut.
(Alastair Mabbott)
l The Bob Downe Revue
(Fringe) Bob Downe. The l’leasance ( Venue 33) 556
(fiStl.until31Aug.9pm. £(3.5()1£7(£5.5ll £6).
‘ V THEATRE
EOUUS
different aspects of the modern .lesus theme. Well. the scenery is made from scaffolding. the players are dressed in army surplus gear and there are a eoupleof low-quality puiis('Your feet say rejoicel' is countered with the inevitable ‘I thought they said Reebok?) But apart
~from these token gestures. thisisthcoriginal
(Judy/it'll. The songs are skilfully
performed with a genuine
passion. but the high-quality of the singing (notably from the ‘girls' and Andrew Ablsesoii ) is often let down by a lack of direction between numbers. The lead is also the director. and although Adam Bridges cannot be
modern day hold-up, Weisman and his bore the audience to disinterest.
""0 the SOUL funk 0‘ quuus has carved itselfa accused of
handicapped daughter are stranded in Everyone seems happierto bare their reggae “OMS; niche at the Fringe. .tsrt self-indulgence. perhaps it the Rockies in the midst ot a set that bodies than to truly bare their souls. Balchcl‘" h'msc” ; late-night thriller of thc hands-oil director may smacks oi a sun-blasted Waiting For From a basic level. where a girl who I $’T°?"f“.°g‘h? “d , . 5 highest quality- This how “09ml the Godot. In their case, however, it's not cannot count up to ten can still act as ‘ of {HTS}? fluff“ ‘C'n ism S ambitious Product"in1110mm route ' ' ° ° - ' p "K Hm“ ‘md production fromthe closertowardsthe long until their supposed salvation umpire in a verbal tennis match, to a Steve Williammmy and I‘M”) m ‘1 x m my cum 1']\,.mriuil],llum] l arrives’ albeit in the 'orm 0' an more important level 0' from" a quart“ “him i il'Lhea‘trd (r’tihijiiiriv‘ is noL l Tliie‘fittliedial T'litii‘cli American Indian. But ratherthan riding characterisation, where inconsistency ineludesoneofthe most Newm- ' ("~51Mmimm"mm, l off into the John Ford sunset, a replaces emotional range, these are highly rated young pmr Sham.” wk. of” (mug “(Mnly M u psychological battle ensues as to who people with no psychological reality. A PianistS in the wumr)‘; boy's infatuation with ; production aiming to y is more persecuted than whom. relevent message does hide in their “when 060- "lt’nguds ' horses dCiIlS with .i break amt;- from thc George TalJOfi'S play has great words and actions, but it is lost on an ,Bm‘" Edwafds ‘3” 5““ daunting array of i traditional. but that's no potential tor being an instructive audience irritated into submission. gfjffg‘fr‘fl‘igig‘.:T‘gi". fundammml I“-“'°*- l C‘CUSC' (-‘C'l‘l “1 l, . llegory olthree oppressed races—the (Alan Morrison) . . f t “,r .7” l“””°‘l”" m“ j I GPISDFF'If‘rmss) “W a “I” bu“ “(’rk'nb “ "h - professional doubts and Acting I..\changc.
Jew, the Indian and, by association, the cripple — Iorced to coniront their own burden of guilt and prejudice. Instead it plods along as a series of sell-indulgentmonologues and
48'l‘he l_.ist lb 33 August 1991
Weisman and Copperiace (Fringe) Yorrick Theatre Company, Traverse Theatre (Venue 15), 226 2633, various dates and times, 28/527 (24/523).
pianist Julian Joseph. whose debut album The Language ofTruth (East West ) is out this month. (Kenny Mathieson)
beliefs of a doctor charged
with the task ofhelping
l theboy Alan. Worship. religion and the concept of
accepted normality are
('athedral (lunch of St Mary (Venue ‘)l) lb. 1877-30. 33. 35. 3(i.-\ug. 8pm; 17. 34 Aug. 9pm. £5 (£3.50).