Moorish dancing: Wendy Buonaventura 8: Company

lndo-Japanese sex kitten Shakti is not the only woman using dance to pose questions about female erotic stereotypes. In her first Fringe appearance in five years, Wendy Buonaventura is blending Moorish, Persian and Egyptian dance into what she thinks will be an unexpectedly comic, composite portrait of women's sensuality in motion.

'You don't have to be a dance-lover to appreciate this show,‘ she says of

Mimi La Sardine. 'lt's an accessible mix of song, text and dance, with most of the dances leading out from some very light and humorous stories.’ One actress portrays a dancer reflecting back on her career and various

encounters with press and public.

British and Sicilian by blood, she is serious about her devotion to ethnic, multi-cultural social dance. Her book Serpent Of The Nile is a testament to her expertise. 'Many women fall into Arabic dance without having much idea of why,’ she insists. 'But through it comes a sort of subconscious self- exploration that maybe they don't get to express everyday.’

Buonaventura herself finds the 'mix of rhythmic work and lyrical,

poetic, serpentine moves simply fascinating.’ and a valid vehicle for themes she wishes to convey. Some of these can be quite dark: Revelations, presented at the Traverse earlier this decade, was a new take on the Biblical tale of Salome and John the Baptist. In Mimi, Buonaventura is venturing into

more effervescent territory.

Happily, she's wrapped notions about images of women around what she calls: 'celebration of the body in all its moods.‘ (Donald Hutera) I Mimi La Sardine (Fringe) Wendy Buonaventura & Company, Famous Grouse House (Venue 34) 220 5606, 18-29 Aug (not 23) 10.05pm, £7 (£6).

FESTIVAL 10pm-Late cont. from page 77

intention. He is, after all, a serious (and talented) thesp, having trained in Moscow and set up a Russian-Anglo theatre company in London. Nevertheless, Gogol refracted through Rik is no bad thing. (Miles Fielder)

I A Madman's Diary (Fringe) Art- Vic Anglo Russian Theatre, Greyfriars Kirk House (Venue 28) 225 3626, until 15 Aug, 10.30pm, £6 (£5).

DANCE PREVIEW Alone, Coupled And Bunched

The thing about buildings is, they tend not to move. You would imagine, then, that architecture would be the very last thing that could influence a highly energetic dance piece, but that is exactly what The Chicago Project is based on. This highly acclaimed multi-media project is a special feature of Alone, Coupled And Bunched, a performance specifically created for the Fringe as part of the Ruth Page Dance Series.

One of the most outstanding features of the series is its employment of all different styles of the art form. Photography, architecture, gymnastics, opera and dance are the elements which go to make up this particular programme of solos, duets and c'oup dances.

Using original music, and even more original props, such as hoops, giant wheels, balls, boxes, and that most balletic of items a pool cue this promises to be a performance of unparalleled diversity. (Kirsty Knaggs) I Alone, Coup/ed And Bunched (Fringe) Alone, Coupled And Bunched Featuring Chicago Artists, Continental Shifts at St Bride's (Venue 62) 346 1405, 16-21 Aug, 10pm, £6 (£4); Continental Shifts at Springwell House (Venue 32) 346 1405, 23-28 Aug, 8.15pm, £6 (£4).

COMEDY REVIEW Andre Vincent is cheeky *ir‘k Andre Vincent is what your mother would call fresh. All other mortals would label him rude, verging on downright dirty. . After explaining why the show has a loose barbecue theme, the affable Phill Jupitus lookalike begins in safe comedy territory: British summertime, Wimbledon and the Welsh before progressing to the four eternal comedic taboos: sex, religion, politics . . . and the death of Diana. Vincent can be endearing, his strength lies in his ability to make you feel that you’re having a laugh with your mates down the pub. Unfortunately, he's not so good at

judging how far to push a potentially tasteless joke. (Dawn Kofie)

I Andre Vincent ls Cheeky (Fringe) Andre Vincent, Pleasance (Venue 33) 556 6550, until 30 Aug (not 16) 10pm, £8. 50/£ 7. 50 7. 50/£6. 50).

DANCE REVIEW Morir Por Ti (I Would Die For You)


In a production exploring obsession in a relationship, two lovers communicate their desires and frustrations through the medium of modern dance. The stage is strewn with flowers, suggesting the transience of love perhaps, and two Chairs are used in the piece to represent the barriers we put up to protect ourselves.

Set to a cacophony of noise against a projected industrial backdrop, this is either deeply profound symbolic theatre or demented individuals banging Chairs about.

Despite dedicated performances from the dancers and brief moments of tender elegance, most would probably plump for the latter.

(Catherine Bromley)

I Morir Por Ti (I Would Die For You) (Fringe) The Ensemble, Famous Grouse House (Venue 34) 220 5606, until 15 Aug, 10.15pm, £7 (£5).

COMEDY REVIEW The Comedy Zone *irt

As hotly tipped as his Tizer-tinted hair, Rob Rouse can denounce the evils of tartrazine all he likes, but they remain the only legal explanation for his exhilaratingly mouthy energy. Brightly bonded by the beery laddishness that Rouse oozes as compere, the other three stand-ups ensure an eye- catchingly eclectic chuckle.

Tony Law's slickly smart audience- heckling contrasts well with Lucy Porter’s dirty innocence, while Dan Antopolski’s bardish broodings alternate between lethargic limericks, bizarre physical foragings and befuddling flashes of brilliance.

The sheer laughability and abusive Charm of the personalities involved guarantees a spangly audience of


grinning teeth. (Judith Ho)

I The Comedy Zone (Fringe) Pleasance (Venue 33) 556 6550, until 30 Aug (not 24) 11.05pm, £9/£8 (£8/£ 7).


Female emancipation hasn't done us ladies any favours, according to this Italian-language comedy written by Fabiola Crudeli.

Questioning the validity of women’s independence and assumptions on the power of individual pursuits, we follow the lives of two sisters looking for love. Because of their fiery temperaments and demanding expectations, they are thwarted in their respective relationships with the opposite sex and increasingly forced to rely on each other for love and support.

The dynamism and energy of this show make it accessible to all and the vibrancy of the performances from the sisters played by Crudeli and Novella Broccolli more than overcome any language barrier. Their first time out of Italy, the Fuori Scena Theatre Company, having enjoyed rave reviews of this show on their home turf, are sure to take Edinburgh by storm with this feisty, hot-blooded comedy. (Catherine Bromley)

I Looking For Love (Fringe) F uori Scena, C, Over-Seas House (Venue 19) 225 5105, 15-20 Aug, 1.45am, £5 (£4).


Madame‘s boudoir is the place where two downtrodden maids, Solange and Claire, let reality and fantasy merge as they inteniveave the lives of their employers with their own sado- masochistic fantasies. Everything takes on a darker tone when it is revealed they have implicated Madame’s lover in horrific crimes with a series of forged letters to the police.

Though this metaphorical tale is not quite the nail-biter the plot would suggest, it is enthusiastically acted and simply, but effectively, set.

Continued over page

starring Cafe Royal (venue 47) 17 West Register Street

August 5—30 at 23.00 £7 (£5.50) Tickets 0131 556 2549

Overdose on laughter

The List

12-19 Aug 1999 TllE us? 79