ADAPTATION The Fall Of The House Of Usher

Glasgow: Citizens' Circle Studio, until Sat 17 Oct it it s

American gothic horror meister Edgar Allan Poe's most renowned short story tells of an onlooker’s chilling encounter with the fag end of a doomed and twisted dynasty. Our narrator, ’The Traveller’, is summoned to the brooding mansion of Roderick Usher, a childhood friend he hasn't seen in years and probably with good reason, as Usher is hardly a barrel of laughs in order to provide companionship to the ailing, depressed bachelor.

Jon Pope’s adaptation, design and direction turn this murky psychological parable into cybergoth melodrama, presumably for the sake of injecting the grim fairy tale with potential to entertain.

The set is impressive and oppressive. The family tomb is the centrepiece, a reminder of Poe's worst fear and favourite topic burial alive, which features in this tale. The audience are themselves entombed in black brick walls. The ceiling is cracked from end to end the 'barer perceptible fissure’ of the original text made larger than life, and complemented by equally overstated acting. James Duke, who could put the ham in Hammer horror, plays Roderick Usher as a cross between Caliban, the Elephant Man and Basil Fawlty, While Lorna McDevitt as the cataleptic Madeleine the only other surViVing Usher does a fine line in Norma Desmond posturing.

The horror. the horror: James Duke with Jay Manley in The Fall Of The House Of Usher

The hour-long production is neither Stephen King chiller nor Roger Corman ramp and walks a fine line between inventive realisation of Poe's landscape of the mind, and ridiculous pseudo- comic Addams Family values. Rather than building an atmosphere of menace, it remains a perplexing experience until the final abrupt fright ensures that, in one respect at least, The Fall Of The House Of Usher brings the house down every night.

(Fiona Shepherd)


DUOLOGUE Rameau’s Nephew

Glasgow: Citizens' Stalls Studio, until 17 Oct

a One might need to be fairly cerebral to

fully appreciate Denis Diderot's obscure 18th century text. This adaptation of the tale co-translated and directed by Phoebe Van Held presents a meeting between a philosopher (known only as Mai me) and the eponymous composer’s kin (Lur him).

The tension at the heart of the play is created by the disparate personalities: the staical and ultimately conservative philosopher, and his wastrel counterpart, a mUSICIan who boasts of Iivmg on his Wits.

Interspersed With snatches of Rameau’s composmons, the dialogue proposes much to ponder. ’A fool,’ asserts Lui, 'is more likely to be Wicked than a man of intelligence' This Will give you an idea of the general nature of the piece, which tends to paint With words, rather than actions. The set is bare, but for a table at the very centre of the two-sided space. This leaves the actors (Alexandra Belcourt as Mai and Candida Benson as LUI) With little to do but circle around it, like goldfish in a too-small bowl.

The casting of women in male roles is often a rewarding theatrical experiment, forcing audiences to reconsider the nature of gender roles. But here there is implaUSIbility.

Wild youth: Candida Benson as Lui in Rameau's Nephew

Women, we all know, resolve conflict differently from men, not with this adversarial approach to argument so some of the role-playing seems forced.

This said, the performers toil manfully, if you will, with their roles. Benson, with the overpainted face of a period fop, works well with a strenuous role, restraining the hysteria to Which her character is driven by the cool probing of Belcourt, who also impresses With a more static character. (Steve Cramer)

reviews THEATRE


arts centre


The Master and Margarita

Kaos Theatre UK Fri 9 & Sat 10 Oct, 7.30pm, £6/£2

’Dazzling, dramatic and vibrant’ The Scotsman ’Brilliantly adapted from the Bulgakov novel’ The Times


Hoipolloi Wed 21 Oct, 7.30pm, 26/522

’50 ingenioust and deliciously inventive that it’s hard to do it justice in words’ The Independent On Sunday

Sell Out

Frantic Assembly Tue 27 & Wed 28 Oct, 7.30pm, £6l£2

’Frantic are attracting a generation more at home in clubs back to the theatre’ The Scotsman

41881 101



by Nicola McCartney

Tue 13 - Sat 17 Oct 8.00pm . Tickets £6.50/£3.50

“there is nothing wrong with America that cannot be cured by what is right with America” President Bill Clinton

Flexible Deadlock

Greyhound Chronicles

Wed TA - Sat 17 Oct 7.30pm Tickets £6.50/£3.50 Matinee Sat 17 Oct 2pm £5/£2.50

“...takes true stories drawn from personal travel journals, and reframes them as a provocative collage of spoken text, movement and music. "

box office 0141 221 4001

8—22 Oct 1998 THE UST 65