Skip to main content

Where The Crow Flies

Scottish Storytelling Centre, Edinburgh
Three stars

The baby won't stop crying and scary men are shouting obscenities through the letterbox at the opening of Lisa Nicoll's curiously creepy new play produced by the Glasgow-based In Motion Theatre Company. Graffiti is sprayed across the walls of Carrie's house, and rubbish is rotting in the summer heat in the back garden. Just to add insult to injury, Emily has moved in next door, and is already invading Carrie's space enough to make her paranoid.

The cause of Carrie's siege mentality is her husband's imprisonment for a crime he says he didn't commit, and the bad lads left on the outside who say he did. Emily may not be in league with them, but she has a few secrets of her own, largely to do with her absent daughter Annabel.

Beth Morton's production begins with a kitchen-sink style set-up that looks at two very different women living alone with their pain, then lurches into psycho-thriller territory before Carrie and Emily come out the other side seemingly unscathed. This makes for an oddly overloaded seventy minutes that at times resembles an unholy alliance between Mike Leigh and Ken Loach if they'd worked on Tales of the Unexpected.

Keira Lucchesi and Angela Darcy invest an edgy humour into their respective portrayals of Carrie and Emily in a show that tours Scotland this month as part of the Scottish Mental Health Arts and Film Festival. Commissioned by the Scottish Government backed Sense over Sectarianism initiative and developed with women from Blackburn in West Lothian, Morton's production shows off the bonds that form between this oddest of couples as they learn how to survive together.

The Herald, October 20 2016

ends


Comments

Popular posts from this blog

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…

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 …

High Society

Pitlochry Festival Theatre
Four stars

The stage looks gift-wrapped with a sparklingly expensive bow at the opening of John Durnin's revival of Arthur Kopit's Cole Porter based musical that reinvigorates the starry 1956 film where it originated. With the film itself drawing from Philip Barry's play, The Philadelphia Story, Kopit and Porter's depiction of the Long Island jet set says much about over-privileged party people, but retains a fizz that keeps it going till all passion is seemingly spent.
The action is based around the forthcoming nuptials of drop-dead gorgeous society gal and serial bride, Tracy Lord. With her daddy having run off with a show-girl, and ex beau next door CK Dexter Haven set sail for other shores, Tracy settles for George, a stinking rich would-be president for whom stupidity, as someone observes, sits on his shoulders like a crown. Enter Tracy's match-making kid sister Dinah and a pair of reporters for a trashy scandal sheet looking to stit…