TWO PIGEONS Theatre Royal, Glasgow, Fri 29 &

Sat 30 Mar; Edinburgh Festival Theatre, Wed 3-Sat 6 Apr

They’re the Posh and Becks of the dance world. Only nicer. And infinitely more talented (with the possible exception of David’s demon right foot). He took the dance world by storm in Adventures in Motion Pictures all-male Swan Lake, she blazed a trail through the Royal Ballet, becoming one of its finest principals. But quite apart from sharing a marital home, Adam Cooper and Sarah Wildor now have something else in common: guest status at Scottish Ballet. Cooper last graced the company’s Glasgow studios in April 2000, when he danced the lead in Romeo and Juliet. Now Wildor is following in hubby’s footsteps, performing the equally romantic role of the Young Girl in Sir Frederick Ashton’s The Two Pigeons.

A principal with the Royal Ballet since 1999, Wildor was a jewel in their crown, renowned for her character roles. Her departure from Covent Garden last autumn was shrouded in controversy, timed as it was with the arrival of new

artistic director, Ross Stretton. Many a column inch was devoted to the ‘did she walk or was she pushed’ story, but six months on, Wildor seems happy.

‘I knew what I was going into so it wasn’t a complete shock,’ she says. ‘And I’ve been able to concentrate on doing what I really want, things which challenge me - classes, coaching, acting lessons, shows in Japan with

Adam - it’s been nice.’

As one of the most talented dancers of her generation what made her choose Scottish Ballet as one of her first freelance assignments? ‘Adam worked up here and really enjoyed it,’ she explains. ‘He said they make you really enjoy dancing, that they’re a

good bunch of people to mix with.’

As for The Two Pigeons: ‘Oh well, it’s Ashton, what can I say?’ states Wildor simply. No stranger to the



The Old Fruitmarket, Glasgow, Thu 28 Mar-Thu 11 Apr

Bury my art at Wounded Knee

58 THE LIST 2*. Marv-1‘ /‘~:.' 2.7.2

with it.’

Pigeon toes

legendary choreographer, she performed many of Ashton’s works at the Royal Ballet: ‘His ballets are amazing, they’re so musical and you get swept along

Set in 19th century Paris, The Two Pigeons finds a young couple stumbling down the rocky path to true love. Wildor is taking characterisation very seriously.

‘lt’s one of the most important things,’ she says. ‘If

you’re going to take on a role which requires a character then you want the audience to be with you all the way. The Young Girl‘s like a little annoying bird, but quite adorable at the same time.’

So, any similarities between Ashton’s couple and her

and Adam? ‘I’d say no - although I can be a little

There's a small but significant detail in the credits for Brave. a new leSlC- theatre piece about the eviction of the Cherokee Nation from their traditional lands in 1839. It's billed as a co- production: the two companies are 80unds of Progress. the acclaimed ensemble for musiCians with special needs. and Communicado.

That's right: Communicado. the company last heard of in the summer of 1998. when founder member Gerry lvlulgrew reSigned after fifteen years in which he had directed 25 out of 30 shows. many of them major triumphs. The administration he left behind renamed itself Archipelago and folded the following year. lvlulgrew hung on to the original name. but until now hasn't had cause to use it again.

He's been working with Sounds of Progress since 1999's /rreparab/e Do/phins and he's been thinking abOut Brave for a similar time (arguably much longer: his Communicado play White Sal/ed Ships drew parallels With the Highland clearances and the treatment of the native Americans. though With

nagging bird at times.’ Sounds like the perfect companion for a male swan. (Kelly Apter)

limited Successr Keen to retir" to the idea. he received a bursa". to Vane! to America to l‘CSUZl'tl’l the sin", :>‘ John Ross. a mixed blooo Cherokee chie‘ descended from a Scottish fatiiei a'iu grandfather.

Despite the tribes acceptance of Christianity and European mores. it was eVIcted fron‘ its land Zillil ‘erceu to walk the BOO-mile 'trail of tears' to the lands west of the M-ssissipni. Bar/e is an atmospheric piece of proineriau i theatre. evoking the tribe's ston. ‘.'.'lt’i music. i_)erformance. documentary. footage and several tnousanri s'ioes lc0urtesy of artist Jacqueline (Sunni. The director hopes it'll make people angry.

Today. lvlulgre‘xr finds a people who are both welcoming Zilltl cautious. wary of haying any more of their identity plundered ithe cowboys took their land. the new age types took their ritualsr ‘lt's a buried culture." he says. Suggesting he inai.’ ‘.‘.'ell nag; further into this fruitful (lrainatic landscape in future projects.

(Mark Fisher.

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Stage Whispers

Talk of the green room

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can. ca arty wse about making money. sometimes to the regret (2‘ staff and students. A case in co": s that of the en: re'y st..::~:>".t-ru"n Bedia'w‘ Theatre. Trait: focally a five of acetic

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attafrted :xt'vers ty. In One year a :t"-:‘: I found G’d lron's Ben liar" so" and Jud tin Docherty. :2 rector and theatrical travelzer

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ersa student oooos'tion. the ' -:;":1 t, "as seen ft to seil to a oo’ churcl‘ that ‘::" gears beer the ste "Qt-13""... adv“ ttediy tit-ard- -‘ ~ st;.::-::-"t Weave. Under fine "(2 to“; ::‘ the the es 1,. s ob geo to ‘urnsih _. .1..r:e"’.s an equal. and “oce‘a. y Sll‘l ari, central Site. out "one 's a: the moment in tile “one that the ers-ty uelwer the gooos. The Bodies“ never a ber‘ect ‘. but lLCS‘IiC" made rt a<:cess:l:.e to both student. and " August. F" aglClle'WCeS. Let ts ‘ike aga:". THE PULLING POWER OF the late Sarah Kane seems to be increasing as her tragic death recedes. If you want to get in early on what looks like becoming a spate of Sarah Kane productions over the next year or two, Whispers will lead a pre- show discussion before a reading of her 4.48 Psychosis at the Citz at 4.15pm, Sat 30 Mar. The director is Mariella Stevenson, and admission is free.

Grid Iron’s Fermentation