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Sunday 10 Aug 9.00pm- 12.00pm > 6 New Sneddon Street


October Cafe

Thursday 14 Aug 9.00pm-1 2.00pm

> Rooftop Level- 3rd Floor

Princess Square

Buchanan Street


34 THE usr 8-14 Aug I997



Emotional refugee stuck in The Corridor


Three writers, three actors and two directors may sound like a reCipe for self-destruction to some, but in the case of Benchtours’ new production, The Corridor, it has proved to be an intriguing and rewarding process. The project started With an interest in combining the monologue form and the image of a three—roomed corridor. Although there was an initial exchange of ideas, the monologues were written in isolation and only later combined during rehearsal. ’It's about keeping the sense of the individual piece of writing, and also how the atmosphere and the different rhythms enhance each other,’ explains co-director Peter Clerke. 'The play concerns peOple who reach a pomt where they are forced to redefine their lives You c0u|d call them emotional refugees.’ Formed in Edinburgh seven years ago, Benchtours is very much influenced by European images and theatre, and in this production the iinagistic quality of film has played an important part. (Robin James)

I The Corridor (Fringe) Benchtours, Traverse Theatre (Venue 75) 228 7404, until 77Aug, times vary [8 ([5)

CHILDREN'S PREVIEW Curioser . . .And Curioser

Topically speaking, this could well be the title of an investigation into the Dimbleby/Patton goings-on. In far t, this original bilingual piece of contemporary dance theatre is loosely based on Alice In Wonderland It is performed by eleven Hong Kong students aged from eleven to nineteen. The show is a reSLilt of Hong Kong Youth Arts Festival drama workshOps which kept raising the same three issues: indiViduality, potential and identity. Youth Arts Festival Director Lindsey McAlister linked these themes dramatically to aspects of Alice's journeying, and included references to SOphie’s World and The Wizard Of 02 for good measure. ’The piece was written in English first and then I worked with a translator to Create a

bilingual text. For the Edinburgh tour the writing weighs heavier on the English side, while retaining the musicality of the blend of language.’ A video of the Hong Kong performances shows some strong ensemble playing, With curious, surreal elements. It's an acrobatic and balletic exploration of stereotypes. (Gabe Stewart) I Curioser . And Curioser (Fringe) Hong Kong Youth Arts Festival, Famous Grouse House (Venue 34) 220 5606, 8-76 Aug, noon, [4 50 ([3 50).


We live in interesting times. Remember when univerSIty lecturing was less precarious than acting?

But the smell of the greasepaint obviously proved too strong for Kath Burlinson, who has chucked in a decade of academia to team up With her former double-act partner Alison Goldie.

Friends fOr eighteen years, the pair's successful cabaret career ended ten years ago when Burlinson left the stage. She gained an Ile and a PhD, and lectured worldWide in specralities such as Victorian women’s poetry. Goldie meanwhile bUilt tip her career in broadcasting appearing in Newman and Baddie/ in Pieces, The Travel Show and Loose Ends.

Given that the new show took just

two weeks to write, it sounds like the ? old black magic is back again, which

uncannin leads us to the storyline. Two Witches have a field day interfering in

the lives of two girls 'From childhood j to thirtysomething, it covers lots of

. rites of passage stuff about sexuality,’

says Goldie 'But it's not heavy. Although women do adore it, men really like it too, so it’s not like they're clutching their bollocks when they're sitting in the audience It's complex enough to have resonances for both genders and pre ty much all ages ' (Gabe Stewart)

I It’s Uncanny/ (Fringe) The Weird Sisters, Gilded Balloon (Venue 36) 226 2757, 8—30Aug (not 72, 26) noon, [6 ([5).

Never mind bollocks: the Weird Sisters


Think No Evil Of Us . . .

Kenneth Williams is alive and well and returns to Edinburgh with last years Fringe First-winning show. Here, writer and performer David Benson interviews him.

DB Kenneth.

Kw What do you want you great nit? DB Well, I just wanted to know if you are looking forward to this year's ange?

KW ’Course not! I've been dead nine years. Honestly, I have never heard anything so luuudicrous in all my . . . DB All right, fair enough . . . but suppose you were with us, would you like to sample the delights of the ange?

Kw Certainly not. Load of amateurs they are. Most of ’em ’aven't even got Equity cards, you know.

DB But . . .

KW And you’re no better. Just because you're on at The Assembly Rooms, you think you're all ’igh and mighty. Well, you don’t fool me, duckie!

DB So what's it like being dead?

Kill! 0! Suits me down to the ground, it does. I’m loving every minute of it, or I was until you came along. You’ve got a bloody cheek, summoning me up every night, raking through me ashes in public.

DB I thought you’d enjoy exposing your foibles.

KW I’ll do the jokes round here mate. DB So of all the theatrical treats Edinburgh has to offer, there’s nothing you are interested in?

KW Oh yes, there certainly is. I shall be sitting on me cloud, looking down on my old chum Maggie Smith in that Albee thing at the King's.

DB But that’s not until September, after the Festival is over.

KW Yes, and better than the rest of you put together. I taught her everything she knows, you know.

08 Oh Kenneth, stop messing about. KW 'Ere, that’s my line!

I Think No Evil Of Us (Fringe) David Benson, Assembly Rooms (Venue 3) 226 2428, 9-30 Aug (not 72, 26) 71.45am, £7.50/f8. 50 (£6. 50/1750).