"E "' ."’124/ GILT Paisley Arts Centre, Thu 2—Sat 4 Oct. then touring

So you think of Britain as a classless society? If you're in a relationship, chances are you only have to look at the person you're with to find it otherwise. Because, although in Britain marriages and long term relationships across races and religions are now commonplace. and same sex relationships are by no means outwith our experience, relationships between people of substantially different class backgrounds are far less common. That isn't speculation, by the way, there's plenty of statistical evidence to back it up. It's the last apartheid to tackle, and one so bound up with our economic culture that resistance to it is far stronger, both in the individual and the culture.

Gilt, then, seems a perfect project for political theatre. 7:84 is an old hand at this, and it‘s surprising, given that it‘s been without an artistic director for quite some time, that such a relevant project as this should be commissioned. In it, three leading Scottish writers, Stephen Greenhorn, Isabel Wright and Rona Munro have, under the dramaturgical eye of another writer, Zinnie Harris, pulled together a narrative that relates a succession of characters’ personal lives with their financial situations.

For love and money

‘There are a lot of different situations represented,’ says Harris. ‘One has a father asking to see his son, but his son is so disillusioned with him that he asks for payment before going to lunch with his father.‘ I don't want to give too much away, but Harris describes a multiplicity of other situations where love and money are inevitably intertwined. As to the idea of three writers collaborating on one piece, isn't that a recipe for confusion? ‘No,’ says

Harris. ‘In fact, it's fascinating. It might start with Stephen having an idea, then Isabel coming in with something, then Rona changing the direction completely. You get to a point where they don‘t know whose writing is whose, it's a really good process.‘

But what if you‘re single? Well maybe you should go out and meet someone tonight. But you won‘t do if you don‘t have any money.

(Steve Cramer)

ltl'VlV/tl THE BEAUTY QUEEN OF LEENANE Paisley Arts Centre, Fri 26 Sep, then touring.

A thrrt‘.s<>r'*ef"r".; f"(:l‘il ol 'nrne recently (:a " .1 state of deer) distress ‘l’lease. bleasef shim sa :2. W'm-w‘ " to the pub' ‘.'.'her‘ met her, frrrmzi "er ', "g; a'“: gibberrnd, Her parents .'.ere one! ‘ro'r‘. Aasfnra a":r, 4’12" two unreeks exeiusruel‘, :r‘ therr <:<;.'r‘.pan,. slum .'.as a." ": from the extreme rner‘tai fatigue ("at t. :al row: l:'."nglf~ ~is. .. get older. She asked rne to saj. sorriethvtg; t“a'. .'.;‘rf;"". parent (:()li‘.'(f'53{lll()ll. and" n“, rpostes. "\.'.'herr a't:

getting; r"arrred. :lor‘t ,<:.r :Z'li‘fl't’f'l. 'r you bu‘, a nrr:e house and ’.'.l:at naprer‘ed t1; f‘a'. .as'. ‘-;,~£'-::',

he seemed so rrr<:e':" taught me Llllltilx‘, and rra'l. . that irony rs not alaniaxs the solution.

But dark rr()".'(i-t;. applied to the ‘.-:.-><e:' ssar :r‘ " (:lose proxrrrtrtf. to a parent. new nel' Ill the Weave. Martin Mellonagl‘s We Berta". Oder)" ;>.’ i s anything to do by lhe first (1‘ a inlod, it: be set "i a :."‘.’:r

Concentrates the mind wonderfully


Irish \rllat e. to". otlen b‘, an outside and fast "‘0. ":r #1:. ‘1 J " Traverse Theatre. Edinburgh, Wed 1 Sat 4 Oct

this l)l(}(,(? rnoxes relentless . .rorrr humour tr, ' . r exploring the tensions between a bickering; .'"tJT"‘e' and ,2"? w .:: ..'. '3»,- ftz‘. x :. :.-',-". es I r I :\v I . 1 ° I 'r I'rv . v " r R r , o . : a, I o. 0. LJ, 3. ‘0. o, .' ' I ‘9: .. v31 ' "‘4: I ' "2'. ' >' 3': I, . :1 . . .’\"/ . .(3‘1‘ Iltl :/ l I (If, ' » at ,' ' I, ,r ' 'y .l" ' ° }.,_.'.’ ' NV." 2 It' i a r .,l..'. ' ' :2: ' i ' .’ .1 ~:,' ' , b , . ,g...” or ' r r . , a , , I u . ' I o, r: v ' jrr :7 v \. r 7 7r 7 L I" 0'0: I r‘ q H \/r/V,( l ;‘ ' z t 'v .7 n r r (I; t! I ' ' D ' ..;r ~ ° 1 u ' u I 0r t .r.’ Una McLean and Ann Marie as ".2 1" . .r 5.1" .. ' _ ;.'. ':~'.-r:'.' T'money In the Tron production bfrn.’ V'.‘r"‘:" '. _::~. _. '3'1: I .' :: t: .1 . .2 .‘r:-r .: ._: r .T' ' '1' x ' r. I 81-: C'

62 THE LIST ':* Stir .



It's a birthday thing it was so ,earsad', that[",»'lfferr.1,'2,"! (iodz‘f r'atie ts 'let)ut at the

lheafre llat,.ir:rr<:- in Pans lhe

date unras ,Januar, 1953 lwo years iater tl‘r: plat made its l nglrsh larrduade debut. transmted b, Beckett hrrrisell as l'x’arrrrrg; fo' (iotrot. in a l ondorr production drrerzted by Peter Hall Many were bet-.rrldered, but hall a Herrtur‘y on. rt stands up as the IlLli',’ great pla, of that deeade. ff: It’s a laugh lire srnart lrne to quote rs that l‘r/a/I/rrr; for Code! is a play rrr ‘.'.'lll(lll nothrnd happens tun/ree. But audrenres today have little problem rnakerrri sense of Beckett's (:ertentralrst musings. nor rn apprecratrnd the way he borrowed from the tradition of the llltlf;r(; hall double aet. lhrs rs l aurel and l lardy tor phrlosophe's, 2.1 It’s a birthday thing len years later, Beckett's May made its debut as .‘;pre/ rn Germany lll 1963. From the writer who brought you two eharamers rn dustbrns and another buried up to her neck rn sand. this one features three treads protrudrnq from large urns. ~.. You get three for the price of one W;th P/al'. the Arches l‘heatre rs presenting lootfal/s and Not / rn a triple brll lootfafls is about a woman trapped and interrogated rr: the darkness of her mother's house. Hot /_ .‘xhreh rs celebrating the (filth arrnrversany of its trrst British production, focuses on the actor's rnouth alone. :3 The Arches does good Irish Andy Arnold's Subterranean Glasgow company has a long history of perforrnrng Irish drama. from Brendan Behan to JM Synge. Taking part rn the short plays are Murreann Kelly. Pauline Goldsrnrth, and Stephen Clyde. who also reins Paul Riley. Andrew Dallrneyer and Grant Srneaton in Godot. rMark Fisherr P/ay. Foorfal/s and Not /. Arc/res Theatre, Glasgow, Sep 23-4 Oct; lf/a/t/rrg for Godot. Arc/res Theatre. 8—25 Oct