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Fringe 2011 Reviews (13)
The Dark Philosophers
Based on the Stories of Gwyn Thomas, adapted by Carl Grose and the Company
National Theatre of Wales
Traverse 1
****
This is the Edinburgh debut for the relatively new National Theatre
of Wales. They have chosen to pair up with Told By An Idiot to present
a homage to the Welsh teacher, writer and broadcaster, Gwyn Thomas.
Frequently during The Dark Philosophers, which combines biography
with enactments of some short stories, one is reminded of the writer's
namesake, Dylan, both in the language and characterisation.
Kneehigh's Carl Grose and Told By An Idiot, who supply the director,
Paul Hunter, are specialists in physical theatre, which shows from the
very start of a show Angela Davies's design for which consists largely
of piled wardrobes.
These are the valleys in which Thomas, who narrates from behind a mask,
grew up. This youngest of a family of 12 leads us through his own childhood,
in which drink was liberally taken to ease the pain of life down the
mines.
Soon though, we become engrossed in two stories, in both of which sex
looms large.
First, we join young Ben, a lad so thin he's liable to disappear through
the cracks in the pavements, as he visits an outlying farm where the
owner's main pursuit is incest, though he does love his goats.
In the other tale, we hear about oversized Oscar, who owns a mountain
and uses his wealth and power to claim the Welsh equivalent of droit
de seigneur.
An ensemble company swap roles around and produce music and movement
to enhance the story-telling.
There are many unforgettable moments, leading up to the appearance
on screen of Thomas himself, in an episode of Parkinson from the 1970s
judging by the hairstyles.
NTW have hit the ground running with this memorable debut and it would
be great to see them in London soon.
Philip Fisher
Dust
By Ade Morris
Quidem Productions
New Town Theatre
****
Set on the day of Thatcher's death, this play takes a look at her opponent
in the 1980s miners strikes, Arthur Scargill. It paints a grim picture
of a man who stared too long at the Abyss. It is a moving piece which,
like Scargill, has a blurred line between reality and fiction.
Michael Strobel is magnificent as Scargill in his seventies but still
loudly defending his past decisions from his London penthouse. He receives
a visit from his past and Lawrence (Stewart Howson), an ex-miner with
a story to tell. Though it is fictional, the unfolding of the past reveals
much about Scargill and his legacy.
Lucinda Curtis provides another dimension to the dialogue as Scargill's
posh publicist and Lawrence's story is portrayed through Chris (John
Sackville) and Maggie (Alice Bernard). Switching between past and present
in the same space and even jumping right back to another miner turned
union leader, Scargill's hero A J Cook. This is a great historical play
that manages to link the larger politics with the lives of the people
affected.
The beauty of the production is that it sticks to a simple style, leaving
the actors to carry the play. Strobel in particular shines as the man
who let his ego take precedence over real people's lives.
Seth Ewin
Casablanca: The Gin Joint
Cut
By Morag Fullarton
Tron Theatre Company
Pleasance One
*****
Casablanca is an absolute joy. It's homage to the golden years
of Hollywood and has a clever witty script told with tongue in cheek
humour by three talented actors who play all the parts with brio.
The scene is Casablanca in 1941 and Rick's Café is lovingly
recreated by designer Kenny Miller.
They re-enact the entire story with effortless aplomb. Their comic
invention and lighting fast costume changes leaves the audience gasping
with approval.
Gavin Mitchell is outstanding as Rick, the bar proprietor who perfectly
mimics Humphrey Bogart. All the memorable one- liners are there and
delivered with assurance.
The Ingrid Bergman character is deliciously played by Clare Waugh and
she also makes a really nasty Nazi Major Strasser.
Jimmy Chisholm plays her husband Victor Lazlo and Captain Renault,
sometimes at the same time with great comic timing, and indeed all the
other parts.
The stagecraft was superb, creative and resourceful with some inspired
touches. We even had community singing of the Marseillaise and the cigarette
gag against the Scottish rule of no smoking on the stage was priceless.
This was a play that the large appreciative audience didn't want to
end and the encore was priceless. Go.
Robin Strapp
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