Love obsession: Christabel

()ld blokesjust can‘t help themselves when it comes to cute young lasses. Just such temptation is at the centre ol‘ (.‘lrrislabel. Coleridge's l8th century poem. which has now been adapted for stage by the Brewster Sisters. ()nly things get a tad more complicated as a ménage-a-trois of sorts develops between Leoline. master of the manor. his daughter Christabel. and the ethereal beauty Geraldine.

Finding her abandoned in the woods. naive Christabel takes Geraldine in. but experiences more than the usual girlie bond, following a night of sexually charged end-to-end slumber. But the

insatiable. ruthless Geraldine then sets her sights on her chum's dad. the widowed knight Sir Leoline. leaving Christabel well and truly ousted.

‘lt‘s about people searching for love and searching in all the wrong places.‘ explains director Jill Riddil'ord. who also plays Geraldine. 'Leoline and Christabel are this very isolated family who are deprived of love really and in the image ol‘ Geraldine they both think they have found what it is they are looking for.‘

This promenade production. with a running time of 25 minutes. is almost double the length ol‘ the Brewster Sisters‘ debut piece Stronger adapted from the Strindberg classic by Scottish playwright David Greig. which was well receide at this year's {Vlayl‘est But Riddil‘or'd is conlident the audience won‘t feel short-clutnged by this ‘gothic horror". which is complemented by a melodramatic live score.

'lt's a very powerl‘ul. sensuous piece. set in this very strange world. l’ull ol~ strange characters. Coleridge was a man obsessed with love. and here he shows what happens il‘ people don't get enough love and attention like Christabel. they end up being destroyed.‘ (Claire Prentice) (‘lll'is‘ltl/N‘l. T/lt' Brewster Sisters: Arr/It's X./l(’(lli'('. (I/us'gmr', Wed //—.S‘ul [4 Sept.


Violent witness“

The death oi the iamin was heralded more than twenty years ago, yet despite this pronouncement, old-time tarnin values have struggled on behind closed doors ever since. .ludy

llpton’s Bruises, iirst seen at the Royal

Court in London last year, looks at its aitermath, a world rooted in violence passed down through the generations. When a stranger on the run irom her own set oi problems takes a room in a decrepit boarding house, things come to a head in a vain struggle ior redemption.

‘I used to describe the play as being about domestic violence, but people would just switch ott,’ says director Anna linstrum, whose new liogstar company presents the play’s Scottish premiere. ‘It’s not an issue-based play in that sense. It’s more about relationships between people and the violence they use towards each other. It was the oppressive atmosphere oi the piece that initially caught my tancy.’ ,

liogstar aim to present more Scottish

Bruises: it's all there in black and blue

premieres of contemporary work, though they have only mapped things out as tar as their next project, The Good fimes Will Come, a political

comedy by Stewart Harcourt. ‘For me,’

says Linstrum, ‘theatre is words. For some people it’s symbols, but words are very much where I draw my inspiration lrom.’ Linstrum recently directed Clare Grogan and co in Lady Macbeth Pinned My Buttocks tor the Edinburgh Fringe, so Bruises is something oi a departure alter such a lrothy romp.

‘It was such a breather working on comedy,’ she says. ‘It’s absolutely essential to stand back irom what one’s doing to help see plays in a clearer light. Especially in a play like this, which is so claustrophobic. i could jump straight in, put it on without thinking, then iind I’ve completely misinterpreted it. I preler to be organic.’ (lieil Cooper)

Bruises, Bogstar, Battier Theatre, Glasgow, Mon 9-Fri 13 September.



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