Skip to main content

Lot and His God

Citizens Theatre, Glasgow
Four stars


It's hard to gauge exactly who's turned on the most in Howard Barker's
erotically charged reimagining of the Bible's Old Testament myth set in the last
days of Sodom. It might well be Daniel Cahill's horny angel, here named Drogheda
and sent down by God to save Lot and his wife from the destruction that's about
to wipe out the original Sin City. Or it could be Lot's wife Sverdlosk, played
by Pauline Knowles as a faithless drop-dead femme fatale resembling the
shoe-hoarding wife of a deposed dictator on the run, who gets her kicks by
defying Drogheda's celestial intervention.

Cliff Burnett's Lot, meanwhile, works himself into a lather over even the idea of Sverdlosk and
Drogheda embarking on a last-gasp pre-apocalyptic liaison. It might also be worth keeping
an eye on Ewan Somers' silently disdainful waiter who  clearly has ideas above
his station.

Debbie Hannan's production of Barker's late period chamber piece
sets out its store in a decrepit café where anything civilised has been
jettisoned to the dustbin of history, and only the sacred profanities of
language remain. As delivered by Hannan's cast in the Citz's stripped back
Circle Studio space, a near declamatory relishing of Barker's poetry makes for
an electric set of power games to witness.

Seen only once before on a British stage, Barker's play forms part of the Up Close season of work to celebrate the fiftieth anniversary of the long lost Close Theatre. With a libertine morality
at play, rather than Sverdlosk looking back at the decadent world where she
thrived, in Barker's version, at least, it is God who is left behind and
rendered speechless.

The Herald, October 8th 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…

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…