Coffee-Table Notes

Òran Mór, Glasgow        Five stars    When a young woman turns up on the steps of the Brussels courthouse intent on putting the state on trial for crimes against women, the odds of victory look hopeless. The woman’s name is Lune, and as her determination makes clear as she sets herself in for the long haul, she isn’t going anywhere.    We are initially told this retrospectively in Belgian writer Pamela Ghislain’s play by Gabriel, the high flying alpha male lawyer who took on her case pro bono. As Lune comes up against the system in the form of the court’s initially officious administrator Darya, her refusal to budge from the steps turns her into a cause celebre. She also becomes a target for the sort of male violence she quietly rails against. This is something the play’s harrowing central monologue in Katherine Mendelsohn’s forensically clear translation makes agonisingly clear.   Wils Wilson’s searing production for A Play, a Pie and a Pin...

A Glasgow theatre forced to close after the owners of their premises decided to develop the space into student flats has found a new home. Theatre 118, named after the company’s former premises at 118 Osborne Street in Glasgow’s city centre, looks set to reopen in a former office block in Port Dundas. With the venue set to launch in November, an opening programme of theatre, comedy and live poetry is already in place.   The volunteer run company has also secured a ten-year lease for the 4,500 square foot Payne Street building, enabling it to be able to plan ahead while providing a long-term home for what they describe as a growing community of artists and audiences.   With an emphasis on affordability, Theatre 118 aims to provide cheap access to the space for artists. For audiences they will operate a pay what you want scheme, with ticket prices starting from £3 for events at the 100 seat theatre the company is in the process of building.   Rehearsal space and offices wil...

Few areas of Glasgow have been photographed as much as the Gorbals. From Bert Hardy in the 1940s and Oscar Marzaroli in the 1960s through to Steven Berkoff  during the same era, each photographer has marked the changes of the once notorious area from tenement slum to high rise life and beyond. A new book of images from the archive of the late Peter Christopherson forms something of a missing link, drawing as it does from the mid to late 1970s, when Christopherson was commissioned by the Citizens Theatre to provide images for posters pasted across the city.   Published in a lavish hardback by Timeless editions, the French based imprint that specialises in underground art, GORBALS showcases a vast array of Christopherson’s images over more than 200 pages. The book also features interviews with two of the Citizens Theatre’s former artistic directors, Giles Havergal and Philip Prowse by writer Nick Soulsby that puts the photographs in context. With Prowse the design genius wh...

Citizens Theatre, Glasgow  Four stars    There has already been one stage play and a major documentary in the last six months about what happened on Kenmure Street on Glasgow’s South Side one sunny day in 2021. That was when UK Home Office officials attempted to remove two men from their homes.    Presumably these tactics would have seen the men detained and ultimately deported, never to set foot on Glasgow soil again. History, on the other hand, had other plans. As we know, a spontaneous show of strength that began on the men’s doorstep ended with an entire community standing up to protect its own.    Katharine Williams’s new play for RUPTURE Theatre Company and Company of Wolves tells all this through the words and actions of three performers who become a kind of Greek chorus of locals bearing witness. They do this in-between being on the frontline of the action, be it as protestors, policemen, or the woman watching from her window who finally c...

Festival Theatre, Edinburgh  Four stars   As any armchair radical knows, if you can’t dance to the everyday insurrection you’re at the vanguard of, it’s not a real revolution at all. This grade A manifesto is taken to the max in Kate Prince’s smash hit musical based around the figure of Sylvia Pankhurst, the real life suffragette who campaigned in the UK during the early years of the twentieth century for votes for women. As the daughter of Emmeline Pankhurst, who might be regarded as one of the mothers of the women’s movement, Sylvia is a chip off the old block. Later, alas, she finds herself at odds with her family for not taking a by any means necessary approach to her activism, but gets the vote anyway.    If all that sounds rather dry, think again. With music by Josh Cohen and DJ Walde to go with Prince’s lyrics and a book penned with Priya Parmar, this is history told in the form of a non-stop mash up of hip hop, soul, funk and gos...

Òran Mór, Glasgow Four stars   If a working class hero is something to be, then why does so much theatre still sideline the so-called lower orders as servants, sidekicks or light relief doing the dirty work or else playing the donkey for their masters and mistresses ad nauseam? While lead stage roles are left to the posh boys and girls, the common people remain cast as criminals and crooks.   Or maybe that was just William Shakespeare, who gets caught bang to rights in Martin O’Connor’s ingenious peek behind the curtain in A Play, a Pie and a Pint's latest edition of lunchtime theatre. Here we find A Midsummer Night’s Dream’s Rude Mechanical and wannabe thespian Nick Bottom, who seems condemned to play the fool forever.    Debbie Hannan’s production begins with Bottom the jobbing actor auditioning for the play within a play that features in Shakespeare’s play when Bottom gets to live the high life for a while. By turns nervous, apologetic and desperate to impres...