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The
Edinburgh Fringe
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Fringe 2002 Reviews (3)Lags Lags is set in a fictional men's prison. It is not the first time that Ron Hutchinson has analysed the life of an inmate.Rat in the Skull, possibly his most famous play, looked at a prisoner in the Northern Irish conflict. This time, he explores the relationships and mentalities of five men who are all serving long terms. Into their midst comes the attractive Eva, Emma Fildes. She is a drama therapist with idealistic views about the power of theatrical expression. Her arrival is as unpopular with sarcastic female warder, PO Catesby, played ironically by Claire Cogan, as it is with the men. They are deeply suspicious of anyone that can just leave the prison at will. Initially resistance is total and potentially terrifying and it seems doubtful whether drama school acting games will achieve the breakthrough. She soon begins to break down the barriers mainly using divide and rule tactics with the very different characters. The successes are persuading the tough Burdock (Michael Aduwali) to propagate his writings, getting mentally weak Skinner (Simon Ravenhill) to take more control and allowing silent Evans to express himself. On the other hand, there is always the feeling that they are playing with her as much as she is with them. Control and trust are the keys. There is also the dichotomy between her soft tactics and the toughness of the warder. It is also a moot point as to which of these ladies better understands these hard men and the law of the jungle is paramount in this potential tinderbox. Hutchinson brings in a few late surprises and in some ways these is a little too simplistic, as the play takes another look at the Prisoner's Dilemma. The final touches do not add to the power of what is anyway an interesting psychological drama. By the end, it is apparent that Hutchinson's strength is his characterisation which is greatly assisted by strong performances especially from those named above and by Caroline Hunt's taut direction. Philip Fisher The Dice House Luke Reinhart's novel The Dice Man was a wonderful concept. The idea that every decision in life can become random has deep philosophical and comic implications. It is an area of rich opportunity for other writers. Paul Lucas, supported by the well-respected Birmingham Stage Company, has written a light farce using the dice concept to create a few laughs. It is set in a world of mad psychiatrists and their patients that might hark back to Joe Orton. While some of the jokes are funny, far too many of the ideas are very predictable, despite - or possibly because of - the underlying theory. The best jokes all fall to the Angus Deayton-like Neal Foster, playing the man who has created Dice Theory, Dr Ratner. However, there is a problem in that there are only so many ways of presenting 50:50 chances The plot holding all of this together seems limp and reminiscent of sitcom pilots that use all of the ideas for a series that will never be made. Many will get some light entertainment from this show but anything deeper is unlikely to be mined. Philip Fisher Ryman and the Sheikh The basis for this play is an Asian TV channel with a really high-tech, attractive set designed by Sue Mayes. The two actors represent the dichotomy between traditional Pakistani culture and the British- born second generation. It is instructive that Ryman has had to anglicise his name to get on here. In a breakfast show format, we learn of the career progression of a typecast, love-torn film heartthrob and a stand-up comedian with a fast mouth. While they may have the same roots, their outlooks are very different as typified by the camel coloured suit on one side and a remarkably loud but assuredly expensive shirt on the other. As well as the chat show format, there is an assortment of other devices including reading e-mails, trailers for other shows and embarrassingly for all, audience participation. The play has some serious cultural points to get across and some very funny moments but does not yet seem fully developed. This is a pity as the actors could potentially make a funny team. It is to be hoped that by the time the show tours, the best parts will have been supplemented by extra strong material. Philip Fisher Tuesdays and Sundays This play is written and is performed by two Canadian actors, Daniel Arnold and Medina Hahn. It only lasts 45 minutes but packs much emotion into such a short period. The story of young love is set in 1887 when morals were very different. William is 18 and Mary 16 and neither has any experience of the other sex. Their gauche innocence is beautifully portrayed by both actors. In fact, their strength is in facial expressions that capture the inner struggles that the young feel when they first fall in love. You also get a feel for the cold isolation of late 19th Century rural Canada. This coldness is soon reflected in their moods as love begins to go wrong. In fact, this has the makings of a classical tragedy as public morality intrudes on the true wishes of each of the young people. This play is like a good short story. It is a very satisfying slice of life and well worth a visit. Philip Fisher |
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