Skip to main content

The Price of Everything


Tron Theatre, Glasgow
4 stars
A pint of milk costs fifty-one pence. Body parts can be bought and sold 
for far greater sums. But how much would an air guitar go for on ebay? 
Or an imaginary friend? Think about those last two questions for a 
minute, and you should realise the sheer absurdity of a market-led 
economy in recessionary times. Writer/performer Daniel Bye has, and has 
woven his findings into this quietly utopian performance lecture, which 
he brought to the Tron's Mayfesto season for one night only on Sunday 
night.

With just a power-point presentation, a chair and enough bottles of 
milk to give everyone in the audience a glass, Bye serves up and 
dissects the facts and figures behind our money-driven society before 
offering up an idealistic alternative which just might work. This comes 
in the form of a shaggy-dog story about finding a twenty pound note on 
a train, which leads to Bye and a stranger in a Garfield t-shirt 
founding a free milk bar which further inspires a cash-free society to 
be founded in a network of abandoned shop-fronts.

  Bye is an engagingly down to earth and self-deprecatory raconteur, but 
make no mistake. These are revolutionary ideas he's advocating in the 
friendliest way imaginable. They're ideas too which a lot more people 
are looking to as capitalism becomes increasingly untenable.

It's not known whether the UK Secretary of State for Culture, Media and 
Sport Maria Miller has seen Bye's show or not, but perhaps she and her 
front-bench colleagues might wish to buy a ticket. Even better, Bye 
could maybe perform it in parliament itself. Now that really would be 
priceless.

The Herald, May 7th 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…

The Maids

Dundee Rep

Two sisters sit in glass cases either side of the stage at the start of Eve Jamieson's production of Jean Genet's nasty little study of warped aspiration and abuse of power. Bathed in red light, the women look like artefacts in some cheap thrill waxworks horror-show, or else exhibits in a human zoo. Either way, they are both trapped, immortalised in a freak-show possibly of their own making.

Once the sisters come to life and drape themselves in the sumptuous bedroom of their absent mistress, they raid her bulging wardrobe to try on otherwise untouchable glad-rags and jewellery. As they do, the grotesque parody of the high-life they aspire to turns uglier by the second. When the Mistress returns, as played with daring abandon by Emily Winter as a glamour-chasing narcissist who gets her kicks from drooling over the criminal classes, you can't really blame the sisters for their fantasy of killing her.

Slabs of sound slice the air to punctuate each scene of Mart…

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…