list.co.uk/theatre PREVIEWS | THEATRE
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MUSICAL PLAY THE DARK CARNIVAL Tramway, Glasgow, Tue 19 Feb–Sat 2 Mar; Traverse Theatre, Edinburgh, Wed 6–Sat 9 Mar; Dundee Rep, Wed 13–Sat 16 Mar
Never ones for creating an empty spectacle, Vanishing Point always bring us inventive, thought-provoking theatre which wrestles with big ideas. Artistic director Matthew Lenton faces complex, often taboo issues with an unflinching gaze, and has previously tackled the ageing process, isolation, terminal illness and violent pornography addiction in critically acclaimed plays such as Tomorrow, Tabula Rasa and Wonderland.
Their new show The Dark Carnival is a rollicking cabaret-infused piece which looks at a land populated by the recently deceased. Through lusty songs, it asks what happens to these drifting souls, defined in Vanishing Point’s publicity material as ‘newcomers to the afterlife who discover that death is not actually the end’ and ‘who form their own necropolitan community where every night is party night’.
It’s a strikingly ambitious collaboration, with music from A New International’s Biff Smith, featuring 16 performers and musicians onstage, including Smith himself and Ramesh Meyyappan who is well-known for creating provocative theatre that incorporates physical theatre with magic. Taking over the famous space at Tramway while the Citizens
Theatre undergoes its transformation, this new production fuses spoken word, vivid imagery, and rolling, whisky-drinking songs, which are described as ‘somewhere in between Leonard Cohen and The Muppets’. All of the numbers touch upon universal themes like sex, spirits, love, life and death. It’s sure to appeal to theatre audiences seeking something which will move them, as well as those who simply want an entertaining evening out. It’s a carnival like no other, both carnal and cadaverous. (Lorna Irvine)
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CONTEMPORARY DRAMA DRESSED. Tron Theatre, Glasgow, Thu 14–Sat 16 Mar; Traverse Theatre, Edinburgh, Thu 11–Sat 13 Apr PLAY APPROACHING EMPTY Tron Theatre, Glasgow, Tue 5 March; Assembly Roxy, Edinburgh, Thu 7– Sat 9 Mar
Based on Lydia Higginson’s experience of being stripped at gunpoint, and her subsequent project to recreate her wardrobe, dressed. is a rare fusion of the theatrical and the material. The play brings together ThisEgg’s distinctive dramaturgy, the skills of a seamstress and a timely, feminist, political intention. For Josie Dale-Jones, the company’s founder who frequently works with diverse collaborators, this unique merging of skills allows the performance to escape the predictable. ‘Putting a sewing machine on stage is big, it’s heavy, it’s loud, it’s very intimate and it is theatrical,’ she notes. ‘It is also kind of dangerous.’ While work on the production was in progress, Dale-Jones recognised its clear
connection to the rise of #MeToo: ‘We wanted to be part of the conversation. It suddenly felt like our show could be more relevant than ever. It’s such a shame that the catalyst for all this has come from something negative, but a space seemed to have been created for women to express themselves. We were determined to be heard and it felt like the world was open to listening.’ Following a successful run at the 2018 Fringe, the return of dressed. is a
reminder that serious political commentary can be matched by an experimental and adventurous approach to theatre-making. ThisEgg draw on powerful storytelling techniques to convey stories that are personal, grounded in real-life experience but also tackling wider social concerns. (Gareth K Vile)
Following on from his award-winning Snookered, playwright Ishy Din’s latest script is set in a taxi-cab office and follows the challenges of Mansha and his newly purchased business. ‘Approaching Empty is the second of a trilogy looking at the immigrant experience,’ Din explains. ‘It is about men that came to this country as young teenagers, so have a very clear idea of what they left behind but have spent the majority of their lives here.’ Working with Tamasha – a company dedicated to presenting stories usually unheard on the stage – Din’s play comes from his own experiences and knowledge of the taxi business: ‘That almost dictated that I should explore this world.’ Din’s vision of theatre, shared by Tamasha, is of a vibrant and engaged
event: ‘it is the collective experience of witnessing performance that leads to discussion. It is important that we elicit some form of response from those that are experiencing it.’ Taking advantage of the confined space of the office, Approaching Empty delves into the contemporary experience of men in the post-industrial age, where manual labour is no longer plentiful. It explores the ambitions and problems of an older generation of Asian men that, as Din concludes, ‘not only comments on the human condition but also shines a light on the politics of the day.’ (Gareth K Vile)
1 Feb–31 Mar 2019 THE LIST 93