FESTIVAL 10pm-Late cont. from page 60
THEATRE PREVIEW Pilate
Cutting edge: Morpheus Theatre
What do Tony Blair and Pontius Pilate have in common? Just maybe ‘they both choose compromise as a solution.’ Director/actor Paul Needham asserts that it's this aspect of the man who lived nearly 2000 years ago that makes this piece so timely.
A surreal mish-mash interpretation of Pilate's life, the world premiere of this story was developed just after the publication of Anne Wroe’s book Pilate: The Biography Of An Invented Man, with the author assisting Needham with the adaptation from book to stage. He insists that rather than a classical naturalistic piece, Pilate is ‘created for an audience part of a modern nation.’
The question here is 'who was Pontius Pilate?’ It stimulates imagination and invention rather than employing heavy-handed morality. Staged in a truly contemporary fashion, this story of a man of compromise does not leave the viewer short-changed. (Tracy Griffen)
I Pilate (Fringe) Morpheus Theatre, Famous Grouse House (Venue 34) 220 5605, 78—29 Aug (not 23) 77pm, E 7 (£5).
COMEDY PREVIEW The Rat Pack
For the most suave of late night entertainment at this year’s Fringe, it’s going to have to be The Rat Pack. Golden-tonsiled host Oliver Darley and his merry band are coming live and direct from London's Embassy Rooms with their repertoire of Sinatra and other period classics. For each nightly cabaret there will be a guest singer and comedians. Details of those dropping in is strictly hush-hush, but don't expect less than the cream of the fest.
The Rat Pack philosophy revolves around the creation of an informal lounge-club atmosphere with the 90- minute cabaret show followed by the smoothest of 015. As Oliver Darley explains, The Rat Pack was inspired by
‘a fascination with the kind of clubs you see in James Bond films.’
The organisers are aiming for the late night Fringe punter to see this as a view to a thrill. (Ross Holloway)
I The Rat Pack (Fringe) Gilded Balloon At The Palladium (Venue 26) 226 2757, 78-30 Aug, 10.30pm, £70.50 (£9.50).
A Night At The Grand Guignol
Beware men, cover your balls! These three plays based on the 18905 Parisian ‘Theatre of Horror' style revolve around body mutilation and eroticism. Unfortunately, the dominant nauseating element is the overpowering incense around the venue, and the wooden delivery.
The University of Glamorgan actors don’t seem ready for the intensity of performance that the demanding scripts require. The gory Gothic aspect is obviously one that the performers relish, although the human interaction side is somewhat lacking.
A refreshingly new concept with tight stage direction is the one plus point. It's just a shame they didn‘t really throw themselves into their gruesome characters. (Tracy Griffen)
I A Night At The Grand Guignol (Fringe) UGIy Theatre Company, C too (Venue 4) 225 5705, until 74 Aug, midnight, £5 (£4).
THEATRE REVIEW A Madman’s Diary *~k*
Rik Mayall based his characters in The Young Ones and Bottom on Gogol’s Madman. It’s true, according to performer/director Victor Sobchak in his interpretation of Diary Of A Madman.
In the guise of Gogol’s obsessive, paranoid, deluded civil servant, Sobchak sniffs dirty pants, swears uncontrollably and indulges in pervy fantasies over his boss's daughter. His grotty bedsit even has Page Three pin- ups plastering the walls.
Perhaps none of this is Sobchak's
Continued over page
BOUND & GASSED PRESENTS
O M. o I] A L
NEW STAND—UP SHOW
‘WARDEN’ FROM “THE MUMMY”
‘CULT FAVOURITE AND SIMPLY MAGNIFICENT’
4m .. 30TH AUGUST at 10.35pm
lliXCl‘l’l ‘II II & 23M) AITGITS'I) PREVIEWS: -+III &’ SIII AL'UI'S’I‘
P L E ASA N C E 9.1.3 .1 _ 5. 5.5 ,..‘i...5.....'.5..9
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