Theatre
Gravel, by Vox Motus. one '- of the companies helped
by the #Xy Art House
92 THE LIST I 15 Dec (2005
PERFORMANCE POETRY THE MEDEAD i Tramway, Glasgow, Fri 2 & Sat 3 I Dec By their very definition, myths are l unstable things - open to endless - I, ‘_. , .v I " if interpretation and easy prey to the . every whim of propagandists. “PM” f 1.2? psychologists or anyone else with a point to prove. In The Medead. " Scottish poet and performance maker ' Fiona Templeton takes the dark and L ' ., ., ~ contradictory figure of Medea and I l ‘ ‘ " ‘reimagines’ her story for a modern ' ' .' audience. 'l'here certainly to be a," Templeton researched the multiple marketforthls in i histories behind the Medea figure — Edinburgh. Arches: has known in Greek mythology as a established a vengeful sorcerer and murderous fruitful centre for new Work and mother — to produce this epic experiment in Glasgow over exploration of a woman scapegoated M Em "0W A and demonised by the cultures that this offacilflyfor 8. long " created her. But Templeton's work is " ” POM Mom "I... “WW careful to avoid yet another of “Roxy a little 0V0! 3190' I ‘- ', mythological typecasting. With eight ago. Anyonomio has contact women performing fragments of The j! m m than Medead. the piece evokes the § ' Will mm “10 WW 0' contradictory and multiplicitous nature this m “.m. and R8 of legend. ‘Medea is one of the most “’ 9019"“ '0' will overtuture negative images of women in the NEW BALLEr years looks enormous. Very popular imagination.“ explains CINDERELLA amply, the ROXY has "me _ Templeton. ‘I wanted to look at why Theatre Royal, Glasgow, Tue 13-Sat 31 Dec COW tortilla ldfld 0' WW3. that was and where it came from. I in the melon. R8 found a few different legends. but Every good fairytale needs an underdog — somebody who battles against 3'9 vows. W "any years there is no real story. So I want to the odds and emerges triumphant. Scottish Ballet’s new Christmas show “hand 0' "'9'"- Any mum i leave it ambiguous in the viewer's has two such characters, neatly wrapped up in the same person. Claire Scottish theatre would envy ' mind as to what happened.‘ Robertson joined Scottish Ballet 11 years ago, and spent nine of those 300" POW- Closing Surge, the Tramway's languishing in the corps de ballet. A perennial back problem almost forced In the lastyear, there’s been a v showcase season of new works and her to hang up her pointe shoes for good in 2002, when two fairy slowly growing buzz around the those in progress by a variety of godmothers - a talented chiropractor and new artistic director, Ashley venue, with its mix of 3 creative forces. this multimedia Page - turned her life around. international, olten Eastern ; rendering of Homer's work is less ‘Some days I would go into work ready to tell the management I couldn’t European work and young local concerned with modernising the dance any more,’ says Robertson. ‘lt’s hard when your body can’t do it but and tourhg on the up. It classics than interrogating the forces your mind wants to, and you’re not ready to give up.’ She had taken the represents a spacefllat can i behind them. ‘I don't have anyone in first steps to recovery when Page arrived at the company three years ago become a hive in which 7 togas.‘ laughs Templeton. ‘It is and recognised her potential. Despite many of Scottish Ballet’s existing audiences and artists can mix 2 timeless rather than placed into a dancers leaving, Robertson’s star has been in the ascendance ever since. freely, withthe undemonstratlve l modern setting. It's not about being Promoted to soloist in 2003 and then principal last summer, she is about to kind of glamourthat comes I historical. just very simple.‘ take on the lead role in Page’s Christmas extravaganza, Cinderella. from the mix of professionals I (Corrie Mills) ‘When Ashley arrived, his work was so exciting I really wanted to be able keen to comicate ideas and to dance it,’ says Robertson. ‘He was very encouraging and l was audiencesyouthful enough to 6 determined to get better. I‘m just so grateful that I’m still here dancing and be receptive to them. News of getting more opportunities than ever before.’ Page’s Cinderella is his the sale of the venue is sketchy second full-length work for the company, following last year’s successful at this stage, but should it Nutcracker. Set in 19th century France, the new production is filled with change hands, one hopes that It opulent costumes and Prokofiev’s dynamic score. remains asthe kind of venue it Strong characterisation has been one of Page’s prime concerns, and is now Robertson spent time researching her role as a young girl bereft of a mother to make it as realistic as possible. Although with Patricia Hines and Diana Loosmore (the ‘Evil Snowflakes’ in Nutcracker) as the Ugly Sisters, Robertson’s Cinderella soon feels put upon. ‘After my father’s wedding
they pull my hair down, strip my dress off and take away my shoes — it’s all very degrading,’ says Robertson. ‘I really feel like they’ve taken everything away from me, they treat me so meanly.’ (Kelly Apter)
SCOTTISH PREMIERE MOLLY SWEENEY Citizens' Theatre, Glasgow, Thu 1—Fri 23 Dec
l, _ vz‘
Sometimes doing what is deemed to be the 'right thing' can lead to devastating a ' consequences. Blind since her infancy. Molly, now in her 40s, has learned to live. love and function adequately in the world. But now modern medical advances can offer her a powerful life-changing operation to restore her sight.
Written by Ireland's most successful living playwright Brian Friel, the play explores the psychological impact on Molly both as she is encouraged to have the surgery and as she ‘learns' to see. ‘lt's not just having the physical apparatus of the eye.' says Gregory Thompson. the show's director. ‘lt's that the brain needs to be able to interpret information. and of course we all learn that when we are babies.‘ Thompson. who is taking the reins for the first time at the Citz, describes it as a ‘beautiful, modern tragedy'. With a small but perfectly formed cast of three. this promises to be a bold and emotive production. “It's not a play with a villain,‘ Thompson says. ‘People are trying to do what they think is best.‘
(Michelle Macintyre)
Brian Friel h