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THEATRE | Previews & Reviews
PREVIEW HISTORICAL TRILOGY THE JAMES PLAYS Festival Theatre, Edinburgh, until Sat 13 Feb; King’s Theatre, Glasgow, Fri 8–Sun 10 Apr
Theatre is a dishonest art form. Through the propaganda of Shakespeare, Richard III is remembered as a hunch- backed tyrant and Macbeth a murderous usurper. In Dunsinane, David Greig attempted to rehabilitate Lady Macbeth’s reputation, and The National Theatre of Scotland follows this theme with the return of Rona Munro’s The James Plays. Premiered at the 2014 Edinburgh International Festival,
the trilogy (which examines the reigns of the first three Stewart kings) is a bold example of NTS artistic director Laurie Sansom’s vision for Scottish performance engaging with modern ideas. Munro’s script, glancing back at Shakespeare’s ability to shape popular interpretation of history, echoes the contemporary fascination with Scottish national identity.
Yet far from being a cheerful picture of a contented and independent nation, the plays expose the machinations behind a dynastic establishment. While Shakespeare is easily accused of simplifying the conflicts in The Wars of the Roses into a parable about the triumph of good monarchy, Munro and Sansom paint a more complicated picture of aristocratic skulduggery and the corruption of power.
The return of The James Plays offers opportunities to critique the manner in which art can manipulate history, and theatre can present a vision of the past that deals with modern concerns. Despite the association with a rich heritage of British historical dramas, The James Plays are a reflection on how the past can be used to shape the future. (Gareth K Vile)
PREVIEW LIVE ART 30:60:80 Platform, Glasgow, Fri 12 & Sat 13 Feb; Tron Theatre, Glasgow, Wed 2–Sat 5 Mar; Scottish Storytelling Centre, Edinburgh, Thu 10 Mar
First presented as part of Arches LIVE, Amy Conway describes her 30:60:80 as ‘a gentle show’. In detailing the lives of three women as they approach important birthdays, she says, ‘it will be striking in its intimacy and authenticity. The show is autobiographical but there are many universal themes. We had mothers and daughters come up to us afterwards and say, “that’s us!”.’ With a tour leading up to International Women’s
Day, Conway identifies her preoccupations. ‘I want to make work that gives a voice to the under- represented,’ she notes. In 30:60:80, she reflects on three generations of women, and how their expectations and achievements have been defined by their eras. But it also has an imaginative technical approach. ‘The show’s USP is recorded delivery. I listen to an edited recording of my mum, my grandma and my own words through headphones and speak it back to an audience.’ Rather than ‘acting’ her family, Conway channels them through the audio. ‘The testimony is unadulterated and uttered in all its imperfect glory, with “ah's” and “ums” and nervous laughter. It’s more human that way.’ (Gareth K Vile)
86 THE LIST 4 Feb–7 Apr 2016
PREVIEW MUSICAL HAIRSPRAY Edinburgh Playhouse , Mon 22–Sat 27 Feb
The successful juggernaut that is Hairspray rolls on. A wickedly funny look at acceptance (particularly with regards to body fascism), the spaces occupied by women, and race relations in 60s Baltimore, it’s been a worldwide phenomenon since John Waters’ original film appeared in 1988. Heading the cast is Tony Maudsley, star of ITV’s Benidorm, as the put-upon but loveable Edna Turnblad, the show’s matriarch, who comes to terms with her daughter Tracy becoming a TV star.
‘I’d seen the original Broadway version about 14 years earlier and had really enjoyed it,’ says Maudsley. ‘I’ve reignited some of my old skills and learned some new ones from the massively talented cast and highly experienced team.’ The show has presented many challenges for him, not least dressing in drag. The change in physicality yielded unexpected results. ‘Although I’m a big guy of six feet four and about 20 stone, to get to the underlying themes of the show, Edna needs to be bigger, exaggerated and larger-than-life. We achieved this with a body suit. The results are very effective. My own gait was transformed. I instantly felt very maternal and protective toward Tracy.’ And that is the essence of the show: a big warm embrace. (Lorna Irvine)
REVIEW CONTEMPORARY TRAGEDY IPHIGENIA IN SPLOTT Traverse Theatre, Edinburgh, Wed 2–Fri 4 Mar ●●●●●
Powered by righteous social anger and tangentially touching on the themes of Euripides’ play about a daughter’s sacrifice by a warmongering leader, Gary Owen’s strident Iphigenia in Splott is a brilliant one- woman monologue and a deceitful commentary on the British government. Sophie Melville is ferocious as Effie, a young woman seduced and abandoned by both her lover and, tragically, the NHS. Owen passionately condemns cutbacks that have undermined health provision, while Melville lends depth and compassion to a marginalised victim.
Yet the political message is drowned in passion: the logic that links Effie to Iphigenia is faulty. Brilliantly written, using the details of Welsh working- class language and geography to poignant effect, its politics are inarticulate and revel in shock and disgust.
Iphigenia gives the impression of being a revolutionary play, but its emotionalism prevents it from being more than an expression of frustration. Melville’s performance, Rachel O’Riordan’s direction and Owen’s facility with language make this a remarkable and gripping performance, although it ultimately lets off more steam than it stokes political fire. (Gareth K Vile)