Skip to main content

Iphigenia in Splott

Pleasance Dome
Five stars

Don't mess with Effie, the hard-nosed, hard-drinking, shag-happy heroine of Gary Owen's blazing reinvention of Greek myth that bursts onto the streets of Cardiff with a lust for life that matches Effie's motor-mouthed and alco-popped libido. Into the Friday night mess Effie meets a squaddie war veteran whose leg has been blown off in action. This doesn't prevent Effie from getting pregnant following their one-night stand that leads ultimately to tragedy by way of an ill-equipped ambulance that crashes while rushing her to an even worse resourced hospital.

Laced throughout with a ferocious back-street Cardiffian poetry, Owen's play is brought to brawling life in Rachel O'Riordan's ferocious production for Cardiff's Sherman Cymru. A stunning Sophie Melville strides through the littered striplights of Hayley Grindle's set as they pulse into life or else black out like a stopped heart machine.

As with most of us, it's only when the worst happens that we're kick-started into action, and Effie's everyday radicalisation comes with her final words which, accompanied by a piercingly defiant stare, suggests revenge is coming. In this way, Effie is the personification of a society that isn't going to put up with austerity-led public sector cuts anymore, and the thugs currently attempting to vandalise the NHS and Britain's welfare state into submission should be very scared indeed.

The Herald, August 31st 2015

ends

Comments

Popular posts from this blog

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

Intro – Snapshots – Deaf School

1

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…

Martin McCormick – Ma, Pa and the Little Mouths

Family life is everything to Martin McCormick. The actor turned writer is having an increasingly high profile as a playwright, with his biggest play to date, Ma, Pa and the Little Mouths, opening this week at the Tron Theatre in Glasgow in a production in association with the National Theatre of Scotland as part of the Tron’s Mayfesto season. While his own domestic life with his wife, actress Kirsty Stuart, who is currently appearing in Frances Poet’s play, Gut, at the Traverse in Edinburgh, and their two children, sounds a hectic whirl of of juggling schedules, it is nothing like the world he has created for his play.
“I always knew it was going to be about two older people who’d experienced some kind of trauma and grief,” says McCormick, “but whatever it is that they’ve been through, it’s all in the background. They’re suppressing it, and there’s all this claustrophobia caused by all these suppressed emotions they’re going through while being stuck in this room. I guess all that came…