Skip to main content

The Bridge

North Edinburgh Arts, Edinburgh
Three stars

Bells chime and voices sing in what sounds like a mix of celebration and mourning at the opening of Annie George's solo play, performed by herself during the closing stages of a short tour following its Edinburgh Festival Fringe run. As we see projections of George writing out her own name at the bottom of her family tree, a very personal quest for identity ensues as she dramatises her inquiry into her own history through the voices of her ancestors who become witnesses to a world in turmoil.

The starting point for this is the life and work of George's grand-father, Paduthottu Mathen John, whose portrait is projected as George adopts his persona to illustrate her hand-me-down legacy. She does this too through snapshots of her mother and father as her family eventually move to the west and a less turbulent way of life than in both pre and post colonial India.

There is considerable charm in George's impressionistic labour of love, much of which comes from a performance that isn't afraid to leave herself vulnerable but which can be steely when it needs to be. Pulsed along by an exquisite score by Niroshini Thambar that lends both the text and visuals a richness and a depth that also gives what could be an overly dense rendering space to breathe.

In terms of showing how global events can have an often life-changing effect on everyday lives, this is an intimate excavation of a hidden past that sees George reclaim her roots and present them as an elegiac multi-media tone-poem. “We are history,” she says at one point, taking charge of everything and everyone that defines her.

The Herald, October 27th 2015

ends

Comments

Popular posts from this blog

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…

Suzy Glass – Message from the Skies

Freedom of movement matters to Suzy Glass, the arts and events producer currently overseeing the second edition of Message from the Skies.This animated literary derive around the city forms part of this year’s Edinburgh’s Hogmanay programme, and runs right through till Burns’ Night. Glass’ concerns are inherent in the event itself, which has commissioned six writers from different disciplines and experiences to each pen a love letter to Europe. Each writer has then paired up with a composer and visual artist or film-maker, with the results of each collaboration projected in monumental fashion on the walls of one of half a dozen of the capital’s most iconic buildings.
With venues stretching from the south side of Edinburgh to Leith, and with one city centre stop requiring a walk up Calton Hill, there is considerable legwork required to complete the circuit. It shouldn’t be considered a race, however, and audiences are free to move between venues at their leisure, visiting each site on d…