Theatre
DAYS OF WAR AND ROSIE 8: THE PRICE OF A FISH SUPPER
Oran Mor. Glasgow. Mon 21—Fri 26 Mar & Mon 28 Mar—Fri 2 Apr
. .n , . . . \ ' 1' ' t ' 'n‘ i ‘ ' l M I 2' 'J’kit‘flti" \ 1 li ' " ’ z' ‘ l ml! t'}"i’o11 '..a‘. l ’"Iif': .1'2‘3' il’fle' "r'l .°. 'lr' .., "e*l"1fl"' .' ll' "t'w ifu r« t: v "' " l ' ‘xv‘ll'K‘ A" 2 llxl " .l.lxltv"\"', Ga; lou' {maxillw : .l (m. ll 3 l» i'xlill' r'” ‘ 4 wail 9' l.-_’ 'i W" 'f". "Hi 1 " i ' 1'! ° li"°' l\°‘i' l'fl~' 'lmi‘. .. Ci 1w ‘luiw ".t» .1 1. SUV o-xpl l"‘» '3'. M 1m"? "2w 2 Human emotion, untrammelled by the hang-ups of ft'l'll 1.11mi? mt w l .2»: h the past, is explored. A world where cheesy pop songs “.‘mz'u’x .llll gm “nit '~ 1‘. Ni ‘5' "M can bring visions of love without the intercession of .mm‘t my; u. "Milli PYRENEES . the cynicism we all learn in matters of the heart is one l U'll mm ( all w a MM .1. -' .t 2. Tron, Glasgow, until Sat 26 Mar 000. . . .. ,., H .( , ‘ y , , we all long for, and Greig creates exceptional Minn-viru- \ .. Hm” .m . Mr K r .1 1 What did you have, before you had language? Or circumstances in which this can happen. For this to (3" 5;..;w v (w t wm w. history? You had a complete oneness with the world, occur though, we need a kind of holy shriving that :iw tm- 1.1mm ‘»ll lw : ,f w. (unlit: 9 ll 1» for words are a substitute for the thing itself, and escapes history. The man in this play gives a glimpse Anti sign. ml 91.11, can?! fl l .1 before the words, when you were a baby, you needed of this prelapserian utopia in emotion. By erasing a ll‘illifl'lnll. tin .r. nlv ~.:.. in 1' v»: in .i no substitute, you were part of the thing the word past in which either you, or the other person, or both irw- mm ‘ll H mm mm ,: described. But imagine if you could keep the words, of you have behaved badly we can, undamaged, but lose all the guilt and trauma of your personal explore everything again, we have ‘the soul of a child’ history, which tends to alienate you from language. to use a phrase from the text. This Lacanian wish-fulfilment is the opening premise There's a touch of Feydeau about Neil for David Greig’s splendid new play for Paines Plough. Warmington’s set of many louvre doors to a With it the new dramaturg for the National Theatre of bourgeois hotel cafe, but there are also some Scotland combines with its new director, Vicky subversions of convention, with a striking final Featherstone, in a piece which has both immediate revelation of history. In between, the beautifully timed impact and promises much for the future. An older man interventions by McGuinness‘ human prophylactic (Hugh Ross) is found barely conscious in the snow in between the welling passions of the characters the eponymous mountains and brought to 3 brings vigorous humour to the play’s Cartesian symbolically out-of-season hotel. He has no memory of ontological leanings. Featherstone brings a ringing a past history, and sits on the terrace with an insecure coherency to Greig‘s text, and terrific, beautifully young British consular official (Frances Grey) trying to measured performances from the whole cast. Ross' recollect even issues as basic as national identity. The bewildered man, in the midst of something far two discover a mutual attraction, but are farcically beyond, but identifiable as, a mid-life crisis, is interrupted by an hotelier (Jonathan McGuinness) especially strong. It’s a couple of hours in the whose bewildering array of identities contrasts with viewing, and could profitably lose 20 minutes, but ,. that of the man. Meanwhile, the mysterious lady in beyond this, it’s a powerful and very funny night of ' Gowan Came,
Room 108 (Paola Dionisotti) has revelations for them all. theatre. (Steve Cramer) ‘J. 1:.i EN ;. Asmv
BECKETT 2: THE BASEMENT TAPES Arches, Glasgow, until Sat 19 Mar 00..
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96 THE LIST ‘ ' c“ ‘.'.:'