A Play A Pie And A Pint
Oran Mor, Glasgow
Oct 12th-17th
13.00
*****

There can be few people in the developed world who have not had some sort of contact with dementia at some point in their lives yet it still remains essentially a taboo topic. This hard hitting play by Linda Duncan McLaughlin tackles the problem head on and pulls no punches in it’s bleak assessment of the realities of dealing with the condition and the corrosive effect it has on day to day family life and relationships. Played as a flashback from the present as Cathy (Wendy Seager) packs a suitcase with her husband Rob’s (Barrie Hunter) clothes it shows his deterioration from a successful architect to a barely functioning shell of a man who is unable to remember how to sit down properly.

Initially both are in denial as it slowly becomes obvious that something is going seriously wrong and it falls to their daughter Nicola (Fiona McNeil) to attempt to draw their attention to the deteriorating mental state of her father, a thankless role, for which she is roundly ridiculed and criticised by her parents. As Cathy tries to care for Rob at home they both end up imprisoned in their own ways-she unable to leave him and he too great a danger to himself to allowed out. Eventually the inevitable happens and Rob has to go to a home when Cathy can no longer cope on her own.
This play reveals how difficult it is living with a loved one who is no longer the person they used to be and the guilt, distress and hardship of those directly affected by Dementia.

Barrie Hunter’s portrayal of the disintegrating Rob is powerful. spellbinding and heartbreaking and the supporting cast, lighting, sound and direction were all excellent. A must see. FIVE STARS

Reviewer : Dave Ivens

Eden Court- One Touch Theatre

Inverness

This is a one woman theatre show that tells the remarkable story of Selma, an eight year old girl and her family. It recounts their journey from a war torn Bosnia in 1992 to an Old Boarding house in Leeds, which was set up by Victoria’s father who created a charity called called aLERT to help refugees.

With only a silver climbing frame as a prop, Victoria Beesley begins this play through the eyes of Selma, who is a normal child that likes collecting conkers with her fried Eska, playing with her cat and spending time with her family and grandmother. Selma’s sister is ill, and things begin to change when the hospital she is recieving treatment gets attacked, they narrowly escape, and then begin a perilous jurney, which includes the family having to swim across a freezing river, trying to find a hospital that will help them before they finally board a coach to the UK. Here she meets Vicky, who’s family had moved into the boarding school to help the refugees settle in, and despite language barriers they bond immediatly and have been firm friends ever since.

I took my son to see this, he is just eight, I did wonder how he would react and cope with the narrative, and as the play began with quite a sparse set, I worried whether it would manage to keep his attention. However these fears were aleviated as Victoria managed to capture and portay the thoughts of a child quite beleivably, she covered what was at times a sad and harrowing tale in a delicate way, with lots of fun and humour interspersed. The play moved at a good pace and the climbing frame was used in such a clever way, with the actress lifting the frame, turning it on its side, precariously sitting on top of it and hanging upside down to emphasise parts of the story.

Although this was set over 20 years ago, this a really important peice of work and very relevant today due to the recent refugee crisis. It gives a real idea of what people face when they are displaced by war and have to leave their family, friends and lives behind. We really enjoyed it and gave us a lot of food for thought and an interactive website to explore afterwards.  Definitely worth a watch on the remainder of its Scottish tour. FOUR STARS

Reviewer : Zoe Gwynne

Terra Incognita Arts

Traverse Theatre

Perth Concert Hal

9th-10th October

Then on tour across Scotland.

Arthur Asher Miller (191502005)was one of the most prolific pulitzer-playwrights of the 20th century. I mean, the guy was married to Marilyn Monroe – you cant get more iconographic than that. In the centenary of his birth, Scotland has already seen Rapture bring his early classic All My Sons (1947) brought to the boards, & now we have his great swansong, written in his late 70s & first performed in 1993.

His play takes place in the institutional landscape of the 1990s – the mentions of prozac & videos show that – in a society where their mentally ill are locked away for weeks at a time into the right dose of medicines make them at least workable on the outside. We are presented with two married couples, the wives of which are inside, while the husbands are on one their visits to the hospital, located somewhere in New England. That we are in America is effortlessly induced by an effective backdrop of four brick walls, enlivened by the stars & stripes, & the uncannily accurate accents of our players.

Part of the 9th Scottish Mental Health Arts & Film Festival, this production is brought to us by Rapture Theatre, in association with The Beacon Arts Centre, Greenock. Directed by the ebullient dramaturgical genius that is Michael Emans, who  told the Mumble that in order to bring to life the play’s mixture of serious mental health issues & brevity,  ‘to achieve that perfect balance of production what I’ve looked for in the actors are four actors who can achieve that balance between the comedy on one hand & the drama on the other, so we’ve got a nice mixture of good, strong actors.’ His choices some of Scotland’s best actors. Jane McCarry (Still Game) & Stewart Porter (River City) off the telly, with Pauline Turner & David Tarkenter having recently cut their teeth on Miller’s All My Sons, a lovely thespian conversazione, which Emans has brought together in a quite succinct harmony.

Stewart Porter as Frick

The Hamiltons are the main couple, with Leroy (Tarkenter) being a direct descendant of Alexander Hamilton, one of the founding fathers of the US of A. Two centuries after the declaration of Independence, Leroy is a self-deprecating lowly carpenter whose wifehas been on pills for the past couple of decades, a habitual attendee of the mental health hospital. They have seven kids together, but they hardly get a mention – for this play is about private relationships, & how they play themselves out across the fabric of a clinical, cynical world. Into the mix are thrown the Fricks, with Porter’s John an excellently-drawn caricature of the modern American man, steeped in stereotypical hubris that comes with the programmed acquisition of New Money.

The play begins with the two husbands discussing the possibilities why their wives are institutionalized, was it their fault they had become ‘depressives,’ & by the scene finishes they, the audience the world at large all know these things are bigger than all of us. A great opener throughouy which the lads showed their class & a genuine warmth which blossoming out from their actorial connections.

The next scene introduces the two wives, with McCarry playing Karen Frick’s sonambulent, conversation-quantum-leaping part to perfection. The startlet of the play from here on in is Turner, whose Patricia Hamilton is a wonder, 21 days without pills & ready to escape the chasms & the psychic chains of chemical dependence. Her clarity has returned, her breathing is better & in Patricia Hamilton Mr Miller has given the modern world a certain hope for the future. This faith in the planet’s inevitable betterment is encapsulated perfectly when Miller paints her as having spiritualized her depression, living in a constant state of prayer, with her minister being her unnofficial therapist. As a spectator, there was a cracking scene – if a little contrived – that showed the two Hamilton’s deep in conversation in which the entire gamut of personal & emotional interdependence was played out in about three minutes.

*

Mr Frick : She’s not normal

Mrs Hamilton : Normal… they’ve got whole universities debating whats normal… what’s normal Mr Frick

*

With a wonderfully surreal & strangely uplifting – both me & mi bird were almost in tears – one feels that one’s life has improved a few iotas, for the the only resolution upon which the play concludes is that of hope, without which we’d all end up like Mrs Frick, & sleepwalking into oblivion. A dense, multi-layered play that pricks at our subconscious, its revelance is as benevolent as ever in a world where pharmaceutial companies make fortunes out of keeping folk addicted to their so-called ‘cures.’ FOUR STARS

Reviewer : Damo Bullen

The Kings Theatre
5th – 10th October
19.30pm
£15.00 – £30.00

Arriving at the Kings Theatre  for the stage production of The Shawshank Redemption which hosts some of the UK “s best leading actors was surely going to be a show to remember.  Starring Ian Kelsey as Andy Dufresne  and Patrick Robinson as Ellis “Red” Redding and presented by Bill Kenwright, this was a production many people have waited a long time for.. After reading the book and viewing the film no less than 7 times, the excitement grew with the anticipation of what this stage production was going to throw at us.

As the curtain rises , a beautifully crafted and well designed set appears and instantly you are drawn in to the world of the Shawshank  Penitentiary . With the luxurious surrounding of the Kings Theatre you could not ask for a better theatre for such a dramatic production.  The grey walls, grey pillars and the steel walk way above the prison cells opened up the stage  and allowed us the audience to delve into the world of prison life.  The guards uniforms and inmates turned up jeans were spot on, a real touch of prison dress code. The arrival of the innocent Andy Dufresne and his first encounter with Red gets the show underway.  Within the first quarter of the show the ease at which the actors fell into character was gracious, and with such actors as Joe Reisig who plays Hadley the Prison Guard and Leigh Jones who plays Rooster, I was hooked !!!

The story unravels and the character”s collide !!! The events of living in prison take hold, beatens, rapes, parole, drugs, bribes and deaths take us to the dark depths of  being locked up, innocent or not !!! This is a well acted and performed piece of theatre with every little detail getting absolute attention.  Heart warming, but yet heart wrenching to watch, the scenes hit home with true feeling. A good actor is like a sculptor  , he chips away at the old block until he his left with a masterpiece , that was evident in the acting on stage. Owen O”Neill who plays Warden Stammas was just brilliant,  a quirky sad man who lived off the benefits of others.  When the interval arrived it had felt like only 20 minutes had passed, signs of a good show !!!

Heading into the final part, the well acclaimed leading actors Ian Kelsey and Patrick Robinson had the audience embraced , partly due to their well executed performances of Red and Andy . This production of The Shawshank Redemption by Bill Kenwright was true to its origins but with an injection of new blood it embarked on a slightly new direction. It was smooth, emotional , intriguing , rough but most important it was delivered with brilliant excellence by all the actors..  I came away with a happy heart and a completely different take on The Shawshank Redemption. So glad and  privileged to have seen this stage production. A must see !!!! FIVE STARS

Reviewer : Spud

A Play A Pie And A Pint

Oran Mor, Glasgow

Oct5^th-10^th

This play written, by Cathy Forde and directed by Stephen Darcy, was inspired by the activities of a charity called Mary’s Meals, a global movement which began in Scotland with the aim of providing school feeding projects to children in some of the world’s poorest countries.  Gerry (Alan McHugh), a wise-cracking world-weary handyman is preparing the school ”cubby hole” for Susan (Teri Ann Bobb-Baxter) a teaching assistant from Blantyre- not the one near Glasgow, but Malawi-to set up a presentation on her home country for the school’s pupils. Over the first few minutes of the play the two discover an affinity through music. Gerry is the star of his pub quiz team when it comes to pre- One Direction music and it turns out that Susan as Lady Susan is a part time DJ hoping to hit the big time.

Susan is the One In A Million of the plays’ title as she was one of the first recipients of a school feeding programme in Malawi in 2002 which now manages to feed over a million children world-wide. The play, through often very humourous exchanges between Gerry and Susan, manages to put it’s point over without becoming overly sentimental or strident.

The portrayal of the two quickly becoming friends with unexpected common interests was both moving and believable thanks to some excellent acting and the direction kept things moving over the piece. Well worth going to see and an eye-opener to the activities of a very worthwhile charity. THREE STARS

Reviewer : Dave Ivens

WoFF Life is Shrinking

CCA

Sun 4  October 2015

Attune theatre’s latest offering explores contemporary issues in ‘Life is Shrinking’. This performaance takes us on a journey through the minefield of insecurities that come with online dating. Raven haired Hannah wants a man,  but wonders how online dating will allow the organic natural process to flourish that happened pre internet with the help of chance. Several attempts on Tindr humorously show us how she negotiates her disastrous attempts to find a soul mate.

With facebook, twitter and instagram all at her fingertips she doesn’t want to miss anything and checks out potential boyfriends with a judging attitude that is all too dismissive of best intentions,  aware that she has hardened from more naive permissive experiences earlier.

A well meaning mother who is a bit too eager to be a grandmother unwittingly pushes Hannah to take the plunge and before she has time to draw breath, ‘ It’s not weird is it? ’ she is immersed in the world of , ‘ unwanted dick pics ‘ and hopefuls like Gavin, 21, 1.6 miles away. Just from his profile photo Hannah decides he is,  ‘a quinoa , kale and all that crap kind of guy.’

Online dating can be a source of great entertainment value for many but Hannah is too stressed in her search for a man she can take to a family members wedding. It is this desperation not be seated at the singles table that her mother is organizing that perhaps clouds her enjoyment of the process and reflects the very real pressure society sets to be seen as not only socially but sexually active.

Unable to block out the voice in her head that leads her to believe she has an unwanted gift…that of permanently wiping off the face of the earth any suitors that don’t measure up to her healthy expectations from a male love interest. Quickly becoming left swiping happy she deletes married men with gay abandon much too the amusement of her new schizophrenic self. Mistrusting of her new ability she seeks council and ends up on anti-depressants. Cyber stalking, blocking, and typically untrained and unsympathetic NHS 24 staff make Hannah feel incompetent and patronized when she phones to ask for help with her psychotic breakdown.The unhelpful advice to, ‘Think positive thoughts and can I help you with anything else? Ok have a good night’ is funny but resonates the point that we live in a messed up world that pretends to care. This dark modern fairy tale gem directed by Stewart Schiller is brought to life by the accomplished acting skills of Julie Martis of Strathclyde Theatre Group and actor at The Glad Cafe’s ‘Write It’ and Glaswegian/American actor Simon Devon .

Reviewer: Clare Crines

King’s Theatre
Edinburgh
29 Sept-Sat 3 Oct
19.30pm
(Wed & Sat Matinees 14:30)
£14-£29.50

Condensing a classic tale such as Aldous Huxley’s Brave New World is a challenge, but one met with extreme professionalism by young playwright Dawn King & director, James Dacre. Premiering only two weeks ago in Northampton, its first port of call was Edinburgh’s internationally renowned King’s Theatre, a perfect test-water for such a fascinating & prophetic piece.

Penetrating the smoke of ethereality experienced by Huxley back in 1931 as he wrote his wonderful sci-fi satire on the 20th century was no easy task, but the dramaturgical combinations of sound, scenery & some highly effective line-delivery was a true wonder to watch. Its purveyors are the Touring Consortium Theatre Company, whose self-generated vision is, ‘to inspire our audiences with life-affirming, excellent theatre. To make our work accessible and diverse.’ The universality of Brave New World, then, is an excellent choice, & whether you have the read book or not, I advise a visit to whichever theatre this play finds itself.

Set in the 26th century, Huxley’s dysto-utopian masterpiece splices Shakespeare with cutting-edge 1930’s scientific endeavour & philosophical reasoning, while at the same time weaving Shakespeare quotes into a simple boy-meets-girl love story. Ahead of its time in more ways than one, it is amazing to see how we humans of 2015 still reproduce in the old-fashioned way & still believe in God – both vastly outdated notions in the 26th century.

The young & virile cast brought to life the sex-loving, soma-supping lifestyle of the godlike Alphas – a nod to the free-living hedonism of the rich & famous between the wars: at times I felt as if I was watching a well coreographised musical. The best performer of this bubbly troupe was Abigail McKern, whose powerful performance as Linda really brought her character’s desperation to life… a scruffy beacon of humanity in a land of affluent degenerates.

Fear, pleasure-seeking, detached sexual encounters – this play pokes its nose into the secret troughs of the modern psyche. A savage & emotionally interactive production that breaks the mould in a lyrical & daring fashion. FOUR STARS

Reviewer : Damo Bullen 

Royal Lyceum Theatre Edinburgh

Until October 10^th

Tuesday – Saturday 

£15 – £29.50

With the lines ‘Nobody comes. Nobody goes. It’s awful.’ Beckett threw down the gauntlet to critics with his seminal play Waiting for Godot, first performed in English in 1955, and now kickstarting the Lyceum’s 50^th anniversary programme. In a way the above lines are a very succinct summation of the play, except it’s not awful. A stellar cast, with no one performer outclassing any other, bring out the fun and seriousness in Beckett’s sparse masterpiece. Brian Cox’s playful, optimistic and dynamic Vladimir and Bill Paterson’s quiet, lugubrious and restrained Estragon is a perfectly judged pairing and interpretation of the main protagonists. You can tell Didi and Gogo, as they call each other, enjoy their interactions, both swift and measured and both actors superbly embody their characters’ interiority in their movement and posture.

Cox’s use of his body and facial expressions – darting beady eyes, rising and falling height – is particularly good and help to show the impotence he feels in front of John Bett’s authoritarian Pozzo, who really comes across as a nasty piece of class oppressor. Another standout is the impressively static endurance performance of Benny Young as Pozzo’s workhorse Lucky, standing immobile for the best part of half an hour before launching into a superb rendition of Lucky’s ‘nonsense’ speech – surely one of the best examples of stream of consciousness in all literature.

The sparseness of the play is perfectly mirrored by Michael Taylor’s stage design, with its lone windblown tree and snowblind vanishing point effect. The design is cleverly enhanced by Mark Doubleday’s beautifully controlled lighting, which creates a cloudlike layer of shadow that creeps imperceptibly across the barren stage, subtly suggesting the passage of day into the night that Didi longs for in each act.

Lyceum director Mark Thomson and his talented team have pulled off a difficult trick, injecting something new into such a well-known, well-worn, and oft-performed play. The sense of optimism in this version, to ‘go on’ despite all, is very strong and makes the play read less pessimistically than it is sometimes accused of being. The love between Didi and Gogo, exemplified by their hug in the second act, is also very strong and more moving than other versions and demonstrates the importance, and strength, of friendship in the face of adversity. FOUR STARS

Reviewer : Nicky Melville