Skip to main content

McLuckie’s Line


Citizens Theatre, Glasgow
Three stars

Poor McLuckie. It looks like the compulsive gambler turned accidental jockey and even more accidental actor’s luck has all but run out in this new one-man monologue co-written by Martin Travers and Martin Docherty, and performed by Docherty for Broke Lad productions. Sitting in a funereally quiet hospital waiting room, McLuckie ponders his fate and how he got here as his past life flashes before his eyes in a series of bar-room yarns and routines worthy of anyone born to perform.

Growing up in working class Glasgow, McLuckie flits between the pub, the chip shop and the bookies with assorted n’er do well pals. Chance lands him not just betting on the gee-gees, but riding them as well, before falling at the first fence and finding himself at drama school.

This is where the fun really begins, as McLuckie finds himself playing Puck in a rave take on Shakespeare’s A Midsummer Night’s Dream before being forced to endure the inevitable longeurs of unemployment. Docherty launches himself into all this with a gallus motor-mouthed charm, narrating his own rake’s progress with a sinewy intensity that never loses the show’s sense of fun.

Given the current debate regarding a lack of access into drama school for working class would-be actors, one might have expected some kind of frontline polemic against the apparent poshing-up of stage and screen. As it is, Travers and Docherty prefer to let McLuckie speak for himself, with all the everyday crises of an actor’s life intact. Docherty delivers the script with a relish that savours every one-liner, physicalising each punchline to stress the point. This makes for a loose-limbed fanfare for the common man that demystifies the business of show while suggesting matters of life and death are elsewhere. As for what happens next for McLuckie, all bets are off.

The Herald, April 27th 2018

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…