Theatre
Stage Whispers
I There’s something about a Robert LePage production which is quintessentially of its director/devisor. One need only sit for a few minutes in a LePage production to see its strengths shining through as the product of a particular mind working with, usually, a group of actors with whom he is very familiar. This idea of the particular ‘voice’ of a director is one that plainly has value in the theatre. More locally, our own John Tiffany, whose productions can be spotted by a certain spirit of theatricality that can only be his.
But there are downsides too, not so much in the work of these masters of their craft, but in the spirit it creates in the profession generally. Increasingly, young directors, and even mid-career ones, see themselves as ‘auteurs’ and finish up putting pressure on themselves to give individual voices to productions, at times to the detriment of both text and actors. This is not to say that unusual conceptions of say, Shakespeare, where plays are moved from their historical location to some other place aren’t a good, indeed necessary thing. Who needs hose and doublet Shakespeare, and what audience would wish to see it? Some of Jude Kelly’s reconceptions of the Bard have given the work a new relevance and power. Long may such adventures continue.
All the same, this particular cult of the director as author has led to a great deal of evidence that texts are not director proof. The merits of simply trusting the text, rather than seeing it, and actors, as something a director must impose their will upon is borne out brilliantly in John Dove’s production of All My Sons at the Lyceum. It shows mighty talent and craft for a director to render himself invisible, for we’re always likely to accidentally add our own gloss to a text. But if it is a text of this power and relevance, it might be important not to. Whispers hopes that our young directors can prove themselves as willing to learn from the Doves of this world as the auteurs.
All My Sons
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REVIVAL THE BEVELLERS Citizen’s Theatre, Glasgow, Wed 7
Feb—Sat 3 Mar
No amount of 'City of Culture' or 'Glasgow Smiles Better' lahels can conceal the stereotypical view of Scotland's largest city. This less than perfect reputation runs deeper than sovereigrr—wearing hams swallying Buckie.
As a follow up to the success of last year's No Mean City. Roddy McMillan's The Beve/lers is presented as part of the Citx' ‘Gritty Yet Glittering' season. This un<iuestionahly falls under 'gritty'. whatever its glit/. Set in a hasernent hevelling shop of a glass factory in Glasgow's East end. it sees young apprentice Norrie arrive for his first day in this t<~>stost<~>rone filled work place. Will he shatter under pressure?
The first ixerformance in 1973 saw McMillan in the lead role. It enjoyed a successful run and was televised for 8808 P/ay For Today. The continuing revivals of ‘workrng man' plays in Scottish culture suggests that even now we are experiencing a hangover from the industrial decline. fascinated hy the tell it took on society. The frustration experienced hy the workers is reflected in McMillan's plays. capturing the mood of an era. Jeremy Raison once again revrves McMillan's NtiW WORK work with a strong cast that includes ISK Brian Pettifer. Billv Riddoch and Tron’ Glasgow’ Thu 8‘85“ 10 Feb’ the” touring William Ruane. It should he a night of compelling theatre that goes heyond the sovereigns and stereotypes. tGreer Ogstonl
If you believe what you see and hear in the media, there are gangs of hoodies lurking around every street corner in Britain these days. In truth, of course, teenagers have always been demonised for the kind of mischief that they get up to. Whatever your age, you were subjected to the same suspicious scrutiny at this time in your life without, perhaps, the threat of an ASBO.
Actually, if teenagers are discontented, it often turns out to be for the same reasons as the rest of us. In the case of John Retallack’s Risk, a piece devised in collaboration with contemporary teenagers, using their words, it’s the kind of health and safety fetishism that plagues us all these days. Be you a smoker, a home pyrotechnician or (and this is not a euphemism) a late night dog walker, you’re liable to be bullied by some Safety Nazi or another — these days we actually employ them to make a nuisance of themselves. No wonder, then, that teenagers, who like to take the odd risk as part of their assertion of identity, should come into conflict with these self righteous professional wowsers.
Retallack, former artistic director of such notable companies as ATC and Oxford Stage Company has, with his latest firm, Company of Angels, shown some real insight into the dilemmas of youth, most notably with the very moving Hannah and Hannah. This piece, which incorporates strong physical theatre elements, should be worth braving the frightening streets for. (Steve Cramer)
William Raune stars
NEW WRITING ANOTHER LITTLE PIECE OF MY HEART Oran Mor, Glasgow, Mon 5—Sat 10 Feb
"Long live Janis .loplin.‘ With this declaration. Sir/y. one of the two central characters in Li/ Lochhead's new piece nails her colours to the m; st. Now. hefore we go into the various cliches ahout lowers in hair. or untimely ends. hear in mind that Lochhead's view of her 19(38-set comedy is not ahout nostalgia.
Although she. like Su/y. was a student at Glasgow School of Art at the time. Lochhead is at pains to point out that the piece is neither hiographrcal. nor misty-- eyed. ‘lt's fascinating to hear that music again. Five years ago. it was painful to listen to Buffalo Springfield or Joni Mitchell. Now it's like I was another person then. and I'm interested in that other person, rather than longing to he her”. It's like going heyond nostalgia. and that's how I want the play to he.’ Lochhead says.
Descrihed as an Odd Couple. with mixed genders. the piece sees two young students thrown together in a tenement flat. 'Su/y is a kind of up for it all art student and Nick is a literature and philosophy student: she feels he has a pussy side to him. A hig hit of therr‘ sexual. political and artistic identity gets fixed. Nick discovers sex and Su/y discovers love.‘ Lochhead explains. With Myra McFadyen returning to Scotland to play this youthful pair's rnotherly landlady.
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there's a good deal to recommend this piece. Lochhead's first in a couple of ‘\
years. (Steve Cramerl