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WONDERLAND Vanishing Point’s adaptation of Alice in Wonderland is strictly for adults only and explores our uses of the internet, particularly internet pornography. See feature, page 96. ■ Royal Lyceum, 473 2000, 29 Aug-1 Sep, 7.30pm, £10-£30. ✽ HITLIST
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Songs of Lear Song of the Goat Theatre boil down Shakespeare’s great tragedy to its essence with an electrifying show. See review, page 131. Summerhall, 0845 874 3001, until 25 Aug, 7.15pm, £11 (£10).
The Trench The true story of a miner entombed in a tunnel during World War I has inspired Les Enfants Terribles’ perfect piece of atmospheric theatre. Pleasance Courtyard, 556 6550, until 27 Aug, 1.10pm, £10–£12 (£9–£11). Monkey Bars Chris Goode’s masterful new verbatim play puts the wisdom of children in adult mouths. See review, page 132. Traverse Theatre, 228 1404, until 26 Aug, times vary, £17–£19 (£12–£14).
It’s So Nice Beguiling history lesson-cum-physical- theatre-show which explores the relationship between Mary, Queen of Scots and her famous cousin, Elizabeth R. Institut français d’Ecosse, 225 5366, until 24 Aug, 4pm, £10 (£8). Red Like Our Room Used to Feel Inspirational and inventive one-on-one performance poetry piece from Ryan Van Winkle. See review, page 136. Summerhall, 0845 874 3001, until 24 Aug, times vary throughout the day, £5.
Bravo Figaro! Funny, profound and deeply moving exploration of a father-son relationship and the healing powers of opera, from the comedian Mark Thomas. Traverse Theatre, 228 1404, until 26 Aug, times vary, £18–£20 (£13–£15).
Mies Julie Yael Farber’s South African-set rewrite of Strindberg’s classic is essential Fringe viewing with not a smidgeon of superfluity. See review, page 138. Assembly Hall, 623 3030, until 27 Aug, 2pm, £14–£16 (£13–£15).
130 THE LIST 23 Aug–20 Sep 2012
StageWHISPERS
MIKE MCSHANE What drew you to the story of Robert James Moore (an American who came to London because of his obsession with the Queen and ended up dying alone in St James’s Park)? The lack of details about his life con- trasted with the hard facts about his death. And I had a friend who struggled with his medica- tions and eventually lost.
Did you have to do a lot of research when writing the piece? The condition Robert Moore had, De Clerembault’s Syndrome took some research along with what would have been some of his medications. I wanted to get that right.
You’re famous for your improvisation skills. Did you draw on those when writing the play? Tom Salinsky, an improviser as well as now playwright with Coalition, had a good observation, that improvisation makes you less likely to hold on to something just because you wrote it down. Hopefully you’re less precious with your ideas. I am now a professional re-writer, which is fine as long as your fellow actors and director aren’t waiting for you to stop fixing everything. [Co-star Suki Webster and John Nicholson, my director, were very patient with me, thank Christ. What next for Mon Droit? Do you plan to tour?
There has been positive critical response and growing houses and I’d like to do three things: expand it into a 90-minute play, create a radio drama with it, and I’ve already started drawing it as a graphic novel, and some of the proceeds from that could go to Mr Bird’s fine publication, The Big Issue. So one of those three options is entirely in my hands and the others require the Blanche Du Bois appeal. ■ Mon Droit, Pleasance Courtyard, 556 6550, until 27 Aug, 2pm, £10–£11 (£9–£10).