Skip to main content

Whitehouse

Cabaret Voltaire, Edinburgh, Thu 6 September

For a quarter of a century, Whitehouse have existed in a flabby imaginary hinterland where late cock-er-knee geezer Mike Reid duets with shamed gang-master Gary Glitter. Or at least that’s how it seems as the double act of William Bennett on old-school techno clatter and Philip Best on incomprehensible potty-mouthed harangues play their first ever Edinburgh show, a treat made ever more possible since Bennett took up residence here.

Named after deceased anti-porn campaigner Mary Whitehouse, the duo’s shtick is simple. Two middle-aged geezers in market-trader shades offload a bucket load of venom before whipping their shirts off to show off their pasty flesh, throw X-Factor shapes and indulge in a spot of casual frottage. This is hardcore, then, on every level. Except, not really, because for all the sturm-und-drang relentlessness, their camp, cheeky-chappy charm comes on more Grumbleweeds than guerrilla warfare, resembling a pissed-up Gilbert and George having a right old lark as they rub each other’s noses in whatever bodily fluid that’s going.

Oddly exhilarating, like a fascist rally in CC Bloom’s, Whitehouse are the anti-Erasure. Be there and bow down.

The List, issue 586, September 20 2007

ends
Labels:

Comments

Post a Comment

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…
Post a Comment
Read more

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…
Post a Comment
Read more

Romeo And Juliet - Shakespeare's Globe Comes to Glasgow

Open-air Shakepeares are a summer-time perennial of the theatre calendar, attracting picnicking audiences as much as midges. More often than not, such romps through the grass are frothy, heritage industry affairs designed to be accompanied by strawberries and cream and not to be taken too seriously. Shakespeare’s Globe theatre company look set to change such perceptions when they open their outdoor tour of Romeo And Juliet in Glasgow next week as part of the West End festival.

For the two young actors taking the title roles of the doomed lovers, it will also be something of a homecoming. Richard Madden and Ellie Piercy both studied in Glasgow prior to turning professional. Indeed, Madden has yet to graduate from the acting course at RSAMD, and, as well as facing the pressures of playing such a meaty role in close proximity to the audience, will have the added anxiety of being assessed and graded by his tutors.

“This is the end of my third year,” says Madden following a Saturday mornin…
Post a Comment
Read more