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TICKET LINK “at graduates of the Jacques Lccoq 'l‘heatre collectively titled Breaking Barriers. kicks
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COLUMBUS: BLDODING Fomysgvgu THE OCEAN Citizens“ Theatre, Glasgow. Until Sat Traverse Theatre, Edinburgh. Until Sat 25 Jul. 25 Jul and on Edinburgh Fringe. It‘s not a major piece of drama, not As far as I can tell, the only public even a bravura performance, but you’d responses to the Columbus have to be feeling pretty cynical not to quincentenary have been enjoy Wildcat's lament for middle age. condemnations of the explorer for the Performed by Dave Anderson and high-handed colonialism that brought co-written with David MacLennan, about the enslaving and destruction of Forty-Seven is about an ambitious TV the native American peoples. Duite front-man who has swapped the gritty who is celebrating the archetypal s g ' " . . urban documentaries of his early imperialist is unclear, but whoever nsecure career for second-rate game and chat they are, wholesale praise is as naive shows. Opportunism has replaced as outright dismissal. There have performances are mature if restrained, sounds as though it should be a socialism and his partiality to obviously been more than a couple of Jacqueline Gunn‘s expansive set is cringe-inducing, teeth-gnashing affair, Bushmills has taken the place of his good things to emerge from the diverting in its nautical detail, and it is actually intelligent, well-paced family. opening up or the New wntitt to John Irvine’s controlled atmospheric and entertaining. Add to this the fact that his wife European man, even it 3 int et bait score is relayed in magnificent clarity Turning Simone de Beauvoir's The appears to have left him, and a things have heen earned in the wake. over a superb sound system — but the Second Sex on its head, the cast scenario more vulnerable to the threat Whether eotomhus; steeping the play itself errs heavily on the dull side. comprises Woman and Other. Woman, of gross indulgence would be hard to Ocean is one ot those good things is It's not that Celeste has no ideas— dressed in white, stands looking at her conceive. If the show isn't open to oehate, hut Misheie Cetestets seeing Columbus use Catholicism as a image in a trio of mirrors. She has lost autobiographical, it's not far off it: play, the tirst to set sail in the eteeiteht violent weapon of control is an herself; numbed and empty, she talks Anderson creates a world peopled by new Cambridge Street Traverse illuminating historical insight, for as it she is a character by Beckett. A chums like Elaine C. Smith and Eric Theatre, (toes at least matte an attempt example — it’s just that those ideas are whole hour of this and it would be Cullen, and commented upon by to paint a picture that gees beyond the marshalled neither into forceful Snoozeville, but the play diverges and Herald-writer Jackie McGIone and simptistic, eeieste's chinmhus prayed speeches not into a central thrust for looks back at her childhood, her non-smoking Muriel Gray. The private hy stuart hephnm is ambitious, the plot. Apart from the odd outburst, puberty, her loss of virginity and her jokes of a man in mid-life crisis should maniputatiye and insecure, but he's the production sets its pace early on coming to terms with her own by rights be questionable material for not wholly evil and certainty not and doesn’t shift gear thereafter. sexuality. Pilblic performance. but Anderson unsympathetic, Theoretically this The disappointment is that the thrill Scream is imaginatively directed by pulls the whole thing off with wry shouto matte tor a more interesting of the new building isn’t complemented Natalie Wilson. With the minimum of humour and self-deprecating charm. hero, hut in practice Celeste's by the thrill of the production, but props and set, Lisa Ball and Mark In some respects, Forty-Seven is like even.hanoeoness is the plays there’s enough of interest in both to Coleman give charged performances; a less weighty version of John shortcomith testing a steer argument tustify checking out Britain’s first loud, energetic and passionate. A no McGrath's Watching tor Dolphins, either tor or against geinmhus, the theatre specially designed for new bodily-contact sex scene makes the recently performed at the Citz’ by pertorrnance is short on extremes. The writing for several centuries. (Mark one in When Harry Met Sally look tame. Elizabeth MacLennan (sister of David). kind of characters you‘d expect to this Fisher) But while the play reveals a Both pieces try to reconcile the in a tense historical tragedy are set in promising talent in writer, Deirdre personal with the political from the place —the slave king of Cuba, the mall— Heddon, the subtlety of the point of view of 60s socialists caught up go-between translator, the spanish SCREAM subject-matter is of the steam-roller in the individualist 90s. The difference court agent with a hidden agenda and, variety. it treats men as objects, rather is that where McGrath will jump of course Columbus himsett- out their Seen at Maryhlll Community Centre, than individuals, and identifies them headlirst into historical analysis, interactions are limited to minor Glasgow. On tour. as the cause of all women’s problems. Anderson leaps to his piano to bash out scuffles, stopping short ot major Men are bastards, you know that. The production aims to make a stance his favourite boogie-woogie numbers attacks, and were ten with a history Deirdre Heddon's Scream looks into a and create a space for discussion, but singing along with his best blues voice. lesson that cries out tor a theatrical woman’s psyche and, like a dose of the audience here seemed to be When he’s not doing that, he's running dynamic. PMT, charts a ninning-the-gauntlet converted already. Not for through something akin to a low-key lwasn’t bored by the production - tan journey through the world of men. But if mascullnlsts. (Beatrice Colin) stand-up comedy performance, rarely Brown's staging is fluid, the Theatre on The Fence’s production hilarious but always gently amusing.
“The List 17—3OJuly1992