CCA, Glasgow, Tue 2-Sat 6 June

CCA, Glasgow, Tue 9-Sat 13 June

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these short plays into memories that last much longer



Citizens' Theatre, Glasgow, until Sat 30 May 0000

Of the two Ibsen revwals gracing Scottish stages at present. Dundee Rep anrl the National Theatre of Scotland's award-winning Peer Gi'nt appears the more Irreverent Ill its approach to the playwngh 's satirical fantasy On the surface at least. Jeremy Rarson's production of Ghosts for the Crt/ opts for a familiar take on the Norwegians ‘open sewer" of a play. about a woman whose attempts to distance herself from rnernorres of her phrlanderrnr; husband are comprelrensrvely undone when she discovers that their son, Oswald. is suffering from congenital syphilis. and has begun courting hrs own half-sister. Jason Southgate's picture—perfect drawrng-room set. naturalistic lighting and period costumes lure us into a false sense of security but we are qurckly rolted out of our complacency by the intensity of the play. whose bleak conclusions still have the power to unsettle. Rarson wisely forgoes an

interval. immersing the audience in ;_

this absurd. claustrophobic world fer

90 minutes. and. if the tone at times

veers too abruptly between broad comedy and melodrama. the energy wrth which the cast attack their roles IS infectious. There's a strong turn from Billy Mack as the carpenter Engstrand. forever muttering about setting up a refuge for sailors'. But rt IS from the intense central relationship between Mrs Alvrng and Oswald that this production derives its power. Maureen Beattre and Steven Robertson are compelling in those roles. the partnership delrx errng a concluaon that is as moving as it IS harrowing. (Allan Radcliffe)


PREVIEW CONTEMPORARY DANCE ERROL WHITE DANCE Traverse Theatre. Edinburgh, Fri 5 8. Sat 6 Jun

Like a volcano about to erupt, Errol White is preparing to explode onto the Scottish dance scene. Familiar to audiences from his time with companies such as Scottish Dance Theatre, Phoenix and X Factor, White is finally taking the ultimate step as a dancer/choreographer - forming his own company. ‘l’ve simmered for a long time,’ he says. ‘And leaving Phoenix was the real turning point - I felt it was time to put up or shut up.’

As a dancer, White has always drawn the eye, whether he’s performing moves true to his London Contemporary Dance School training or athletic steps from his street dance days. But that's only half the story. Whoever he has worked with, White has seen himself as more than just a conduit for somebody else’s movement.

‘l’ve spent so much of my life in repertory situations and working with independent choreographers,’

explains White. ‘And I've been a creative individual in all those set-ups - I always felt like a choreographer. The early part of my career was about learning the skills which would service a choreographic life after being a performer, and the end goal was to have a company.’

That time has finally arrived, and Errol White Dance will perform its first show, Three Works at the Traverse before touring Scotland. Featuring a solo performed by White, a duet for him and associate artist, Davina Givan and a group work for four dancers, the triple-bill has been gestating almost as long as the company.

‘The origins of the solo date back to when l was in Scottish Dance Theatre and my father passed away,’ explains White. ‘I started to analyse why we are the way we are, both emotionally and physically. The duet is an extension of that - it questions how you hold onto your identity once you enter a union. And the group piece looks at how you define who you are when you extend yourself into the world. With all of the works it's really about getting them out there - because they’ve been boiling away for a long time.’ (Kelly Apter)

" , x THE LIST 91

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