Skip to main content

Further Than The Furthest Thing

Dundee Rep
4 stars
There are explosions in Zinnie Harris's extraordinary play of communal 
displacement even before its strange, dreamily poetic exchanges between 
island folk forced from their isolated way of life take hold. In James 
Brining's lovingly nuanced revival, these come in the form of a 
stunning clash of sound and vision on stage filled with water that 
designer Neil Warmington, under the influence of visual artist and 
'water consultant' Elizabeth Ogilvie, has reflected via a live video 
feed onto a huge screen behind. As a man slips into the water under the 
beatific glow of Philip Gladwell's lighting design, John Harris' 
monumental choral score is a shattering cry from the deep.

If all this threatens to overwhelm the slow-burning quietude that 
follows, it also accentuates the physical and emotional dams waiting to 
burst open in an expansively symbolic production of a play loaded with 
significant portents of the tragedy that follows.

As Mill and Bill await the return of their prodigal nephew Francis from 
the big city, the eggs they drop are mirrored later by the still-born 
pregnancy of Francis' lost sweetheart, Rebecca, as an apparently 
dormant volcano erupts beneath them. With factory owner Hansen 
providing work and shelter, the sense of exile that follows leaves the 
islanders more isolated than ever before, each on their own urban 
island as long-hidden secrets gush forth.

Inspired by the real-life saga of Tristan da Cunha, the Atlantic island 
evacuated following a similar occurrence, a beautifully measured set of 
performances is led by Ann Louise Ross and as Mill as a heart-stopping 
portrait of a big society fractured by capitalism emerges from the deep.

The Herald, April 30th 2012



Popular posts from this blog

The Art School Dance Goes On Forever – Snapshots Of Masters Of The Multiverse

Intro – Snapshots – Deaf School


In 1980, the same year as the Manchester band, Magazine, released a 7
inch single called A Song From Under The Floorboards – a three verse
and chorus distillation of Dostoyevsky's novel, Notes From Underground
– an art school scandal occurred.

This scandal took place in Liverpool, and was based around a project
called the Furbelows, although it became better known in the Liverpool
Echo and other organs that reported it as the Woolly Nudes.

The Furbelows, or Woolly Nudes, were a group of artists who had come
out of Liverpool College of Art, who, dressed in grotesque woolly
costumes which featured knitted approximations of male and female
genitalia, made assorted public interventions around the city centre as
kind of living sculptures acting out assorted narratives.

The Furbelows project had been funded by what was then Merseyside Arts
Association, and, after the participants were arrested and taken to
court on obscenity charges after what…

Peter Brook – The Prisoner

Peter Brook is no stranger to Scotland, ever since the guru of European and world theatre first brought his nine-hour epic, The Mahabharata, to Glasgow in 1988. That was at the city’s old transport museum, which by 1990 had become Tramway, the still-functioning permanent venue that opened up Glasgow and Scotland as a major channel for international theatre in a way that had previously only been on offer at Edinburgh International Festival.
Brook and his Paris-based Theatre des Bouffes du Nord company’s relationship with Tramway saw him bring his productions of La Tragedie de Carmen, La Tempete, Pellease et Mellisande, The Man Who…, and Oh Les Beaux Jours – the French version of Samuel Beckett’s Happy Days – to Glasgow.
Thirty years on from The Mahabharata, Brook comes to EIF with another piece of pan-global theatre as part of a residency by Theatre des Bouffes du Nord, which Brook has led since he decamped to Paris from London in the early 1970s. The current Edinburgh residency has alr…

Romeo And Juliet - Shakespeare's Globe Comes to Glasgow

Open-air Shakepeares are a summer-time perennial of the theatre calendar, attracting picnicking audiences as much as midges. More often than not, such romps through the grass are frothy, heritage industry affairs designed to be accompanied by strawberries and cream and not to be taken too seriously. Shakespeare’s Globe theatre company look set to change such perceptions when they open their outdoor tour of Romeo And Juliet in Glasgow next week as part of the West End festival.

For the two young actors taking the title roles of the doomed lovers, it will also be something of a homecoming. Richard Madden and Ellie Piercy both studied in Glasgow prior to turning professional. Indeed, Madden has yet to graduate from the acting course at RSAMD, and, as well as facing the pressures of playing such a meaty role in close proximity to the audience, will have the added anxiety of being assessed and graded by his tutors.

“This is the end of my third year,” says Madden following a Saturday mornin…