Skip to main content

Be Silent or Be Killed


Brunton Theatre, Musselburgh
3 stars
A banker from Macduff makes for an unlikely action hero, yet when Roger 
Hunt got caught up in a terrorist raid on his Mumbai hotel in 2008, 
that's exactly what he became. Not an action hero in the conventional 
sense, but, as he endured forty hours alone with only his thoughts and 
a series of text messages to keep him going, his sense of 
self-preservation became an inspiration.

Writers Euan Martin and Dave Smith and director Ian Grieve have taken 
Hunt's story of human bravery and turned it into a tense hour-long 
thriller based on Hunt's book of the same name written with Kenny Kemp. 
It opens with Roger, as played by James Mackenzie, about to give a 
presentation on his experiences. Within seconds, however, Roger is back 
in his hotel room where he takes refuge, texting his wife Irene and 
assorted lifelines for help while he hides out.

Much of the latter is done via John McGeoch's set of fast-track video 
images projected onto the stage set's back wall, with Mackenzie silent 
much of the time. Only when Roger's life flashes back to his first 
meeting with Irene or to the ghost of his dead brother does he say more 
than a few words.

With it's flashy visuals pulsed by Dave Martin's burbling electronic 
sound design, Grieve's production for the Forres-based Right lines 
Productions in association with Eden Court, Inverness,  resembles the 
sort of urgent TV dramas that sprang up on the back of 24. With Helen 
Mackay and Ewan Donald playing all other parts, this is an ambitiously 
realised and refreshingly unliterary adaptation of an all too real life 
and death story.

The Herald, May 10th 2013

ends   

Comments

Popular posts from this blog

The Honourable K.W. Harman: Ltd Ink Corporation

31 Bath Road, Leith Docks, March 17th-20th

In a monumental shipping container down by Leith Docks, a Sex Pistols tribute band is playing Anarchy in the U.K.. on a stage set up in the middle of the room. Either side, various constructions have been built in such a way so viewers can window shop as they promenade from one end of the room to the next, with the holy grail of a bar at either end.

Inbetween, there’s a confession booth and a mock-up of a private detective’s office with assorted documentation of real-life surveillance pinned to the walls. Two people seem to be having a conversation in public as if they're on a chat show. An assault course of smashed windows are perched on the floor like collateral damage of post-chucking out time target practice. A display of distinctively lettered signs originally created by a homeless man in search of a bed for the night are clumped together on placards that seem to be marking out territory or else finding comfort in being together. Opp…

Scot:Lands 2017

Edinburgh's Hogmanay
Four stars

A sense of place is everything in Scot:Lands. Half the experience of Edinburgh's Hogmanay's now annual tour of the country's diverse array of cultures seen over nine bespoke stages in one global village is the physical journey itself. Scot:Lands too is about how that sense of place interacts with the people who are inspired inspired by that place.

So it was in Nether:Land, where you could see the day in at the Scottish Storytelling Centre with a mixed bag of traditional storytellers and contemporary performance poets such as Jenny Lindsay. The queues beside the Centre's cafe were further enlivened by the gentlest of ceilidhs was ushered in by Mairi Campbell and her band.

For Wig:Land, the grandiloquence of the little seen Signet Library in Parliament Square was transformed into a mini version of the Wigtown Book Festival. While upstairs provided a pop-up performance space where writers including Jessica Fox and Debi Gliori read eithe…

Nomanslanding

Tramway, Glasgow until July 2nd
Four stars

In the dead of night, the audience are split in two and led under-cover into lamp-lit tented structures. Inside, what look like peasant women on the run lead us down a ramp and into a large circular pod. It feels part cathedral, part space-ship, and to come blinking into the light of such a fantastical structure after stumbling in the dark disorientates and overwhelms. Sat around the pod as if awaiting prayers to begin, we watch as performers Nerea Bello and Judith Williams incant mournfully on either side of the room. Their keening chorales embark on a voyage of their own, twisting around each other by way of the international language of singing. As if in sympathy, the walls wail and whisper, before starting to move as those on either side of the pod are left stranded, a gulf between them.

This international co-commission between Glasgow Life and the Merchant City Festival, Sydney Harbour Foreshaw Authority in Australia and Urbane Kienste …