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The
Edinburgh Fringe
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Fringe 2003 Reviews (15)Awakening Awakening is a play based on the reactions of the pupils of (the ironically-named) Musselman High School, West Virginia, to the events of 9/11. Our narrator is Jennifer Thompson's Michelle, a lady who is fated to celebrate her 16th birthday on September 11, 2001. Her predicament becomes obvious as the thrill at coming of American age and her driving test is subsumed by horrific events. The day is played out using the words of real pupils at Musselman High and the odd poem and song. The last provides Annalyse Haislip with the opportunity to show off a really beautiful voice. The links between the testimonies have a tendency to be laboured. It is also unfortunate in terms of balance that the poor boy (Aaron Andrews) who tries to go against the flow and compare these America deaths with others world-wide is ridiculed. This is clearly a Christian school and has values that are willing to condemn out of hand the Muslim threat to their country. While this may be an accurate representation, it does not bode well for our future. As might be expected from a High School company, the acting is variable but the above-named together with Sarah-Elizabeth Pearson and Justine Lamb show promise. Toast Toast is a strange, surreal monologue performed by the writer, Katy Slater, from the top of a step-ladder that she has been diligently painting. In just fifteen minutes, we learn a lot about the way that people live, as Miss Slater talks about what living on a stepladder is like and the problems of and with her neighbours, both up-stairs and down. She also talks about previous residences, including a shared suitcase, a washing-machine and an oven. The last reveals a lack of self-confidence and masochistic tendencies, as this was the result of refusing to turn down an offer. Worse, she was scarred for life when someone cooked biscuits on her stomach. Many much longer shows in Edinburgh will say far less about the way that people interact than this tiny piece. Thebans As Liz Lochhead is keen to point out, the true attribution for this play should be Sophocles, Euripides and Aeschylus. While they may have come up with the original themes, it is the Scottish poet/playwright Miss Lochhead who has formed Thebans and she will be celebrating the recent Fringe First awarded to this excellent play. It should sit nicely on her mantelpiece with the one that she got for her stunning Medea a couple of years ago. Thebans is a mix of the Oedipus plays and Antigone with some extra material from Seven Against Thebes and The Phoenician Women. This means even more gore than in a normal Greek drama. The setting and modern costumes designed by director Graham McLaren are striking. The use of a white circle in which almost all of the action takes place is effective, aided by Kai Fischer's thoughtful lighting. The circle is flanked by two 25' high screens that show images or add light. The language and accents tend towards the Scots, though generally not broadly so. The chorus is ever-changing as this pocket production has a cast of nine who take all parts. This means that while a couple are in the spotlight, the rest become the chorus. To add to the impact, the chorus are masked but in symbolic anti-pollution versions rather than the traditional Greek equivalents. The writing is generally poetic and the narrative drive is fierce as the action flies along. The Oedipus story is touchingly rendered with great performances from Peter Collins as Oedipus and Jennifer Black as his wife/mother, Jokasta. As the play develops, it is good to see the thread of these dramas hanging together and following through. Usually, it takes several nights at the theatre to see all of these tragedies. The plays build to a dramatic finale with the battle between the noble Antigone, played by the Irish actress Lucianne McEvoy, and her misguided uncle Kreon, John Kazek. The whole is a very satisfying and entertaining trip through Greek tragedy, with a Scottish twang, in a really gripping two hours. |
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