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Fringe 2007 Reviews (31)
Breaker Morant
By K.G.Ross
Comedians Theatre Company and Underbelly Productions
Udderbelly
***
This Boer War court procedural seems an odd choice for The Comedians
Theatre Company. The true story of Harry Breaker Morant was made into
a hugely popular film by Australian director Bruce Beresford with Edward
Woodward playing the lead.
There aren't too many laughs and therefore, many members of this company
seem badly miscast, showing impeccable comic timing when it really isn't
called for in a play, which is directed jointly by Phil Nichol and Tom
Daley.
Breaker Morant is ostensibly the story of three Australian soldiers
indicted for the murders of nine prisoners and a missionary. It is also
a withering allegorical attack on British colonialism at the start of
the Twentieth Century.
These Australians are "irregulars", signed up for their Bush
skills in the veldt but disliked by their English colleagues due to
their lack of belief in military discipline.
Adam Hills plays Morant, a handsome horse poet who hailed from Devon.
He was the son of an admiral but after committing some unnamed sin left
England for Australia where he built a reputation breaking horses in
the outback. Brendon Burns as colleague Hancock is an equally hard nut
who eventually provides a cast iron alibi that might have signed the
pair's death warrant, an afternoon spent sequentially with two respectable
army wives.
The defence, put up by Major Thomas (Sammy J) is based on the standard
practice of killing prisoners. It attempts to draw in officers, right
up to (the future Lord) Kitchener, looking very familiar as portrayed
by Michael Hayley.
On the other side of what is practically a kangaroo court are prosecuting
counsel Major Bolton (Fergus March) and, even more avid for a guilty
verdict, the comically stern Judge (Alistair Barrie).
The ending is inevitable, with Morant and Hancock coming out like martyrs
and the British Empire the real criminal.
Philip Fisher
World's End
By Paul Sellar
Andy Jordan Productions
Pleasance Dome
****
Last year, Paul Sellar wrote the promising but very uneven Two Graves.
He has followed it up with what is likely to be one of the best new
serious plays in Edinburgh this year.
World's End is built around a fantastic performance from Merryn
Owen as Ben the owner of a grey North West London flat, designed by
Rachel Canning to represent the aridity of his life.
The play happens in real time as Ben's beautiful ex, Fiona Button's
Kat, turns up to clear out her belongings. The deal was that Ben would
be absent but then we would have had no play.
The break-up after two happy years has clearly been traumatic for both
and while Kat throws herself into art school and a new relationship
with hunky Josh (Jamie Belman), Ben goes to seed.
The theoretical writer has a block and sits at home "wallowing
in self pity", as Kat's bitchy friend Thea puts it. Monica Bertei's
character has her own problems with relationships, seemingly preferring
those of very short duration and even finding herself tempted when the
embittered Ben makes a desperate pass after Josh has almost broken his
nose following an excessive rant.
World's End works, because even though he goes on about his
woes, one continues to empathise with anguished Ben and his hope that
Kat will change her mind, but also with the lady who still loves him.
Right to the end the future is uncertain, and, though the minor players
are not fleshed out, Kat finally discovers her voice and gets to explain
why she was forced to leave and Fiona Button delivers this delicate
speech well.
Paul Robinson's production is well-judged and takes us into a world
of real mental pain for the two protagonists. World's End has
a feeling of lived experience rather than pure invention. One hopes
for Paul Sellar's sake that this is not the case.
Philip Fisher
Hugh Hughes - The Story of
a Rabbit
By Hoipolloi
Pleasance Courtyard
****
The Story of a Rabbit is in some ways a sequel to Hoipolloi
's 2006 hit, Floating. Once again, the effervescently jaunty
Anglesey resident Hugh Hughes is our guide through 70 minutes of storytelling
and philosophy.
On this occasion, while there is still a good dash of whimsical humour,
Hughes and his new collaborator, musician/technician Aled Williams address
a much darker subject - death.
After the obligatory handshake for every member of the audience and
a cup of tea for Welsh Anne in the back row, Hughes starts with a mind
map of the show to get us into it.
With a series of everyday props on display boxes or hanging in mid
air, the set looks like some museum of the mundane. The effect is enhanced
by the "multimedia" created with PowerPoint, slides and a
useful flipchart.
Hughes, and alter ego Shôn Dale Jones, have set out to tell two
parallel tales. One, set in 1995, is of the eponymous rabbit, belonging
to next door neighbour Sian; the other, six years later, is about Hughes
pére.
Sadly both die and this allows our guide to consider the nature and
impact of death and the process of dying. This sounds dark and can be
but with this company, there is always a light touch and such is the
crafting of the piece that it is never inappropriate.
The Story of a Rabbit is a poignant play that showcases the
dual talents of a versatile writer/actor who can drive one close to
tears at one moment and then dazzle with a smile the next. Highly recommended
for anyone with a heart.
Philip Fisher
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