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Linda Marlowe – Berkoff’s Women

“I’m sort of scared,” says Linda Marlowe of her current revival of Berkoff’s Women, the compendium of monologues by British theatre’s arguably most singular provocateur, which she brings to the Tron Theatre for three nights this weekend. Over the course of the show’s hour-long duration, Marlowe embodies characters from early Berkoff classics including Decadence, Greek, East, Agamemnon, Sturm Und Drang, plus a newly dramatised short story, From My Point of View.
Marlowe’s fearless embodiment of Berkoff’s work transforms this into a ferocious set of miniatures, with the text’s rich street-smart poetry flitting between matters of sex and violence as it savours every sweary verbal explosion. Delivered directly to the audience in such an up-close and personal space as the Tron’s Changing Room venue, this makes for an intimate and at moments unsettling experience, with Marlowe, who was a key player in Berkoff’s acting ensemble in the 1970s before joining rad-fem rock theatre troupe The Sadis…
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Miss Julie

Perth Theatre Four stars
The party is in full swing at the start of Shilpa T-Hyland’s new studio production of Strindberg’s cross-class psycho-sexual power play, dragged into 1920s rural Scotland in Zinnie Harris’s vivid version. Below stairs, alas, Helen Mackay’s maid Christine can only hear the good times going on elsewhere as she stomps her martyr-like way through her chores.
When Lorn Macdonald’s flinty fellow servant John bursts in, having effectively gatecrashed a boozy workers’ midsummer do which his young mistress Julie also wafts through, it is with the barricade-hooping zeal of a convert who just found a cause, even as his ambition gets the better of him. The General Strike is on, revolution is in the air and he has a bottle of stolen wine and two women to let down. It is Julie’s similarly tipsy arrival on the scene, however, that really ruffles everybody’s feathers.
Set on the clinically clean kitchen of Jen McGinley’s set and bathed in Grant Anderson’s crisp, biscuit-coloured…

David Eustace – New York Polaroids, 2004

Time has changed things for David Eustace. This should be apparent in New York Polaroids, 2004, a new exhibition by the internationally acclaimed photographer, which opens at SWG3’s Acid Bar in Glasgow this week. It should also be the case when Eustace becomes the first photographer to show at the Royal Glasgow Institute of the Fine Arts a few weeks later with Mar a Bha, which translates as As it Was.
The latter is a collection of images taken on the Isle of Harris in the Outer Hebrides. Both shows are a long way from the celebrity portraits Eustace made his name with in the 1990s working for Vogue, Tatler and Elle, with the likes of Sophia Loren, Tracey Emin and Sir Paul McCartney all captured by Eustace’s lens. Like the world around him, however, Eustace keeps on moving, physically as much as artistically as he follows his own obsessions and avoids complacency.
Each exhibition marks how Eustace’s work has progressed in different ways, just as they did when the two portfolios appeared …