Theatre

PREVIEW ADAPTATION ORLANDO Traverse Theatre, Edinburgh, Thu 30 Sep–Sat 2 Oct; Tramway, Glasgow, Tue 2–Sat 6 Nov

With a composer whose film scores (Moulin Rouge and Romeo and Juliet being but two) have won endless awards, and a director whose vision for music theatre knows no bounds, Cryptic’s new stage version of Virginia Woolf’s novel Orlando promises to be an unmissable event in Edinburgh and Glasgow this autumn. The main collaboration is between Glasgow- born and based (but now jetsettingly international) Craig Armstrong, and Cathie Boyd, the Irish founder of Cryptic, one of the most innovative theatre companies in Scotland. In addition, Armstrong is working with Antye Greie aka AGF the German singer, digital songwriter, producer and poet with whom he has forged an ongoing relationship over several joint projects. ‘Antye is a laptop artist,’ explains Armstrong, ‘who

was until recently based for many years in Berlin. She won an Award of Distinction at the 2004 Ars Electronica festival in Linz. For around ten years I’ve gone to Berlin

to work with her, so it’s really weird that she’s now coming to Glasgow. She is extraordinarily talented, with a very special voice and we work well together.’ Orlando, published in 1928, is an exploration of masculinity/femininity over the course of four centuries, starting in the reign of Elizabeth I and ending at the time of World War One. In the book, Orlando changes sex from male to female, participates at the Elizabethan court, enjoys a love affair with a Russian princess and marries a sea captain. The central character is based on Woolf’s close friend, Vita Sackville-West.

In composing the score, Antye and Armstrong have come up with what Armstrong calls ‘a sort of soundtrack’. There are only two live performers on stage, actress Madeleine Worrall, who plays the protagonist, and Antye, who plays Orlando’s subconscious. ‘We’re using something called “Living Canvas”,’ explains Armstrong, ‘which enables Antye’s vocals to be represented visually through electronic manipulation. Essentially, it is an electronic score, which appealed to me as it’s something I’ve not done for a long time.’ (Carol Main)

PREVIEW MUSICAL THE BOOKIE Citizens Theatre, Glasgow, Wed 29 Sep–Sat 2 Oct

‘It’s my first one,’ says playwright Douglas Maxwell of his new production, The Bookie. ‘My Fisher- Price “My First Musical”, it’s a proper learning curve.’ In a script that gives a Scottish flavour to Vegas-style razzle dazzle, a big time casino tycoon returns to his dishevelled home town to set up a new branch of his gambling empire. With just one councillor left to bribe, the seedy plan is thrown into turmoil by the tycoon’s estranged brother, who dies and leaves not a will, but a bet that true love will come to the town by Valentine’s Day. Forced into accepting the wager, the tycoon is then in a race against time to find true love from among the women of the town. With such a romp of a scenario, Maxwell admits: ‘It’s slightly to the wilder side of Gilbert and Sullivan.’ Musical theatre fans will certainly leave with a spring in their step as the music is created by award-winning composer Aly Macrae, but even for those of us who don’t hum along so willingly, The Bookie looks to be a bit of a guilty pleasure with fun as its main aim. ‘Theatre has to be a mixed menu doesn’t it? So often it’s nouvelle cuisine on a great big empty plate and sometimes it’s a burger and chips,’ says Maxwell. ‘But this is a really good burger and chips.’ Delicious, funny and light-hearted; for those looking for a great night out this production is set to be a pretty safe bet. (Amy Russell)

REVIEW CLASSIC ROMEO AND JULIET Royal Lyceum, Edinburgh, until Sat 16 Oct ●●●●●

As the prologue foretelling the deaths of the most iconic of lovers is spoken, we see them, statuesque in an embrace, their now reconciled families laying wreaths at their feet. With this opening, and the almost universal knowledge of how this story ends ever present, there’s no need to work up any sense of impending doom. So the first half is, enjoyably, full of laughs enough to encourage a false sense of security. In the end, though, the poignancy of what comes is heightened by this demonstration of the fact that, in life, no-one’s preparing for tragedy when it happens to them. Balancing Juliet’s tender age with her sudden and profound passion is a challenge

for any production of Romeo and Juliet, and, while the chemistry between the pair here is believable, Juliet’s transition within an evening from scooter-riding kid to savvy lover gabbling to Romeo about how she could play hard to get if he wanted her to, and how the moon is too unconstant an object to swear love by is hard to swallow.

Get past this, though, and there’s plenty to enjoy here: in particular, Liam Brennan’s Capulet is by turns the smiling host and the raging tyrannical patriarch, and equally redoubtable as both. While the music can feel a little intrusive, the set is most fitting it appears ravaged by the sheer force of hatred between the Montagues and Capulets and the curiosity it inspires as to how on earth it will accommodate the The Importance of Being Earnest later this autumn is almost unbearable. (Laura Ennor)

94 THE LIST 23 Sep–7 Oct 2010