Skip to main content

A Beginning, A Middle and An End

Tron Theatre, Glasgow
3 stars
If Adam and Eve had scromphed down home-grown avocadoes instead of 
apples, things might have turned out a whole lot rosier in the garden. 
Or at least that’s the impression you get from the domestic Eden built 
by the biblically named Ade, Kane and Evelyn in Sylvia Dow’s new play, 
lovingly directed by Selma Dimitrijevic for the London-based Greyscale 
company in association with Stellar Quines.

A couple, giddy on the possibilities of each other, fall together, set 
up home and play happy families, knee-deep in a forest of plants and 
acquired memories that gradually fill up their room. The latter is 
depicted via an extended wordless sequence that would put some 
furniture removal firms to shame, as the pair embark on a great 
adventure of magic moments and endless games of Scrabble. Things only 
darken with a seemingly estranged prodigal’s return and a death in the 
family that comes gift-wrapped.

All this is implied rather than told in a very particular aesthetic 
employed by Dow and Dimitrijevic on Oliver Townsend’s pin-board set, 
 from the way the actors loll about eyeing up the audience as they enter 
while one of them strums a guitar, to the final, multi-lingual, 
life-affirming chorus. It’s an aesthetic that falls just the right side 
of quirky in what is essentially an extended meditation on life, death 
and the love that clutters up the place in-between the two.

If Dow’s ideas are big, there’s an essential warmth to the performances 
of Jon Foster, Andrew Gourley and Emilie Patry. This is accentuated by 
Scott Twynholm’s lovely score in a play that recognises that, whatever 
happens, life goes on regardless.

The Herald, September 7th 2012



Popular posts from this blog

Clybourne Park

Adam Smith Theatre, Kirkcaldy Four Stars
It’s a case of whoops, there goes the neighbourhood twice over in Rapture Theatre’s revival of Bruce Norris’ Pulitzer Prize-winning play, which opens in 1959 in the same Chicago suburb where Lorraine Hansberry’s drama, A Raisin in the Sun, which appeared that year, is set. Here, Robin Kingsland’s Russ and his wife Bev, played by Jackie Morrison, are preparing to move out of their now almost empty des-res following a family tragedy.
Unknown to them, the bargain basement price tag has enabled a black family to move in, with Jack Lord’s uptight Karl a self-appointed spokesperson for the entire ‘hood. Russ and Bev’s black maid Francine (Adelaide Obeng) and her husband Albert (Vinta Morgan), meanwhile, bear witness to a barrage of everyday racism. Fast forward half a century, and a white family are trying to buy the same house, albeit with a heap of proposed changes which the black couple representing the block’s now much more diverse community aren’t…

Michael Rother - Sterntaler at 40

"There's so much to do," says an uncharacteristically flustered Michael Rother. The normally unflappably beatific German guitarist, composer and former member of Neu! and Harmonia, who also had a stint in a nascent Kraftwerk, is packing for live dates in Russia and the UK, including this weekend's show at the Queen Margaret Union in Glasgow.
"It has always been my choice to take care of these things myself and not have a manager," he says. "Somehow for me the independent aspect of doing things is really important, but it has its disadvantages."
As well as playing selections from Neu! and Harmonia, the trio he formed with Dieter Moebius and Hans Joachim Roedelius of Cluster, Rother's Glasgow date will see him play a fortieth anniversary rendering of his second solo album, Sterntaler, in full. Rother will be accompanied by guitarist Franz Bargmann and drummer Hans Lampe, the latter of whose musical involvement with Rother dates back to Neu! days, …

Kieran Hurley – Mouthpiece

Things have changed since Kieran Hurley first began writing the play that would become Mouthpiece, which opens at the Traverse Theatre in Edinburgh this weekend. At the time, Hurley was, in his own words, “quite new on the scene.” As a writer and performer, he had already scored hits with Beats and Chalk Farm, two pieces that put him on the map with a new generation of theatre-makers steeped in an equally new wave of grassroots opposition that drew from the iconography of revolutions past. Where Beats looked at the politicisation of 1990s club culture, Chalk Farm, co-written with AJ Taudevin, focused on a teenage boy caught up in the 2011 London riots.
More plays followed. Some, like Heads Up used the same solo story-telling aesthetic to look at an everyday apocalypse. More recently, Square Go, written with Gary McNair, dissected toxic masculinity through a school playground fight.
All the while as Hurley developed as a writer, from new kid on the block to established provocateur, this…