Theatre
Review
SCOTTISH PREMlthl.
FROZ
North Edinburgh Arts Centre, then touring until Sat 11 Dec 0...
From Chitty Chitty Bang Bang’s seriously scary child catchers, who genuinely haunted you as a child, to tragic real life news stories like that of Sarah Payne, which disturb you throughout adulthood, the subject of the suffering of children commands a tremendous amount of attention in both the media and our imagination. Bryony Laverey’s play bravely confronts these issues head on.
This evocative piece is about the consequences of a child’s murder. Nancy’s (Gerda Stevenson) ten-year- old daughter Rhona goes missing one afternoon and is never seen again. We see Nancy’s suffering over the years contrasting with killer Ralph’s (John Kazek) continuing murders and eventual arrest. In prison he becomes more human as a case study for criminal psychologist Agnetha (Joanna Tope) where his past is uncovered.
Rapture’s production examines revenge,
88 THE LIST 7 1‘; Nov ’Xlitii")
reconciliation, the resilience of hope and dealing with loss. Michael Emans’ understated direction cleverly evokes the beauty of Laverey’s language, creating a fine balance between pity, revulsion, sadness and anger. Made up of interlinking monologues with occasional dialogue, you empathise with both Nancy and, surprisingly, Ralph. Perhaps the hardest thing is how the play forces you to consider the paedophile serial killer as a human being. It’s the age old ‘nature versus nurture’ debate; is he inherently evil or has his own abusive childhood made him that way? The tension builds as you emotionally invest in these characters until the climactic meeting 20 years on between mother and murderer. She’s been frozen in her grief, Ralph in his traumatic childhood experiences. The ice metaphor continues through Lyn McAndrew’s stark white set but it’s Graham Sutherland’s echoing eerie sounds of children laughing amongst an array of perfectly timed sound effects that add colour to their frigid world. While it occasionally teeters on stereotype, the experienced and talented trio of actors expertly rein it in, creating a surprisingly compelling piece with perhaps another villain for your nightmares. (Greer Ogston)
CLASSIC MOTHER COURAGE
Defense —
Brecht's epic masterpiece. (Rosie Gunn)
CONTEMPORARY DANCE RICHARD ALSTON DANCE COMPANY
Edinburgh Festival Theatre, Tue 14 Nov
A trip to see the Richard Alston Dance Company used to mean one thing — Richard Alston. Since its formation in 1994, the company only performed work choreographed by Alston himself. Which, given his crowd-pleasing style and eclectic musical taste, was hardly a problem. But the talent of Martin Lawrence has certainly been a welcome addition in recent years.
Supervised by one of the founding fathers of contemporary dance. Lawrence appreciates his good fortune. ‘l‘m very grateful that Richard's taking an interest in my choreography,“ he says. ‘He's almost my mentor in that way. For years we only ever performed his work. so this is amazing for me.’
This year's line-up will see two works by Alston — The Devil In The Detail and Red Run — plus Lawrence's About Face. Between them, they use music by Ragtime legend. Scott Joplin. modern jazz composer Heiner Goebbels and a 17th century baroque piece by Marain Marais.
Although Lawrence's work fits Alston‘s company like a glove. he‘s very much his own man. ‘People call me Alston's protege, but I am what I am and I can only do what's in my heart.‘ says Lawrence. ‘And it’s lovely to hear Richard tell people “Martin's got his own voice".' (Kelly Apter)
Brunton Theatre, Edinburgh, until Sat 28 Oct, then touring 00.0
In 2005 war profiteer David H. Brooks made headlines when he splashed out 810 million on a party for his daughter. Several months later his company. a supplier of body arm0ur to the American military. was subject to investigation by the Departments of Justice and the small matter of some defective bullet proof vests. Such hypocrisy and greed pervading the iiidustrial-military complex is at the heart of Brecht's play.
Peter Clerke's energetic production develops Brecht's themes of war. gender, and class. making the connection between personal chOice and the price of survival. As we watch the rise and fall of the eponymous heroine of the title (Catherine Gillard). the opportunist who makes her living from selling food. alcohol and other commodities to the troops. we increasingly guestron the society that produced her. and us.
An adaptable cast move in an historical world resonating with our present. whilst striking the careful balance between emotional lllVGSilTK-Blit and estrangement. Morality is the dominant theme where corrupt times breed greed and suppress virtue. Mother Courage's financial investments in the war prove to be in vain as one by one she loses her children to the atrocities of conflict. As the play progresses. its setting gradually shifts forward in time - medieval soldiers eventually become modern US soldiers - thus rendering all the more powerful the parallels with today's political situation. Gordon Davidson's faithfully Brechtian design centers on the iconic cart. Decrepit and heavy. it begins as a secure home but eventually becomes a painful burden. Against Steve Kettley's inspired and imaginative score. Benchtours latest production succeeds in proving the continuing relevance of