Skip to main content

Monstrous Bodies

Dundee Rep
Four stars

A girl with shocking pink hair introduces herself as Liberty. She stands centre stage and invites everyone to keep their mobile phones on so they can take pictures of what follows. This isn't what one might expect from a play advertised as being about Mary Wollstonecraft Godwin's time in Dundee in 1812 before, as Mary Shelley, she introduced the world to science-fiction with her novel, Frankenstein. In the hands of the Poorboy company's Sandy Thomson, however, one should expect nothing less.

Subtitled Chasing Mary Shelley Down Peep O'Day Lane, Thomson's production of her own play charts Mary's travails as a fourteen year old put into the care of the wealthy and quasi-progressive Baxter family. She juxtaposes this with a modern-day scenario involving Roxanne, a girl the same age as Mary. When a compromising photograph is taken of Roxanne without her knowledge, the talk she is preparing on Shelley sees her attempt to conquer her fears just as Mary did.

The result is a dramatic sprawl of quick-cutting scenes that flit between nineteenth century melodrama and MTV-styled dance routines, with independent women at the heart of both. Played out over a split-level set, the combined might of the Dundee Rep and Poorboy acting ensembles are bolstered even more by a fifteen-strong young company of teenage performers. As Mary and Roxanne, Eilidh McCormick and Rebekah Lumsden are towers of strength across the ages, both to their peers and each other. In a high-octane study of how a moral high ground can be used as an excuse for misogyny, it shows how necessary it is now more than ever for young women to write their own story.

The Herald, April 24th 2017

ends

Comments

Popular posts from this blog

Futureproof 2017

Street Level Photoworks, Glasgow until February 4th 2018
Four stars

Now in its ninth year, Futureproof's showcase of recent graduate photographers from seven Scottish art schools and universities returns to its spiritual home at Street Level, with nineteen artists embracing photo essays, abstraction and constructed narratives. It is Karlyn Marshall's Willies, Beuys and Me that grabs you first. Tucked in a corner, this depiction of a woman impersonating iconic artist Joseph Beuys says much about gender stereotyping, and recalls Manfred Karge's play, Man to Man, in which a German woman took on her dead husband's identity.

The personal and the political converge throughout. Ben Soedera's Foreign Sands contrasts natural resources and the constructed world. Gareth and Gavin Bragdon's The Bragdon Brothers moves onto the carnivalesque streets of Edinburgh. Kieran Delaney's Moments also looks at the apparently ordinary. Matthew Buick goes further afield, as tourists…

Bdy_Prts

Sneaky Pete’s, Edinburgh
Saturday December 2nd


It should probably come as no surprise that professional dancers are in the audience for the Edinburgh leg of this mini tour by spectral performance art/pop auteurs Bdy_Prts on the back of the release of their sublime debut album, The Invisible Hero. Beyond the music, the raison d’etre of Bdy_Prts’ dynamic duo of Jill O'Sullivan and Jenny Reeve, after all, is a flamboyantly costumed display of kinetic physical jerks and modernist shape-throwing to illustrate a set of fizzing machine-age chorales.

In this sense, the Bdy_Prts live experience is several works of art for the price of one that's a long way from the pair's formative work fronting Sparrow and the Workshop (O'Sullivan) and Strike the Colours (Reeve). Part living sculptures, part Bloomsbury Group super-heroines, part widescreen pop fabulists, O'Sullivan and Reeve paint their faces with ancient symbols and sport customised shoulder pads that look both seasonally …

Ceildh

Tron Theatre, Glasgow Three stars
One kiss is all it takes for everyone to understand each other in Catriona Lexy Campbell and Mairi Sine Campbell’s new play. Linguistically that is, as ancient and modern are brought to rollickingly intimate life by the Gaelic-based Theatre Gu Leor (Theatre Galore) company in the Tron’s Vic Bar en route to an extensive cross-Scotland tour. The set-up is the sort of ghastly tartan-draped corporate function whose perma-grinning hostess Lisa makes bogus claims of preserving culture while blatantly intent on flogging it off to the highest bidder. Think McWetherspoon by way of Trumpageddon.
With the audience ushered into a cabaret table arrangement by Lisa’s step-daughter Eilidh and serenaded by Eddie’s oh-so-couthy accordion playing, the dirt from Harris is unearthed along with a bottle of David Beckham-branded whisky. This causes the corporate shindig to be disrupted on an epic scale by seventeenth century poet Mairi Ruadh. Which is when both the kissing an…