Skip to main content

G.B.H. Or The Girl, The Boy And The Hag

Oran Mor, Glasgow
4 stars
An occasional criticism of Oran Mor’s A Play, A Pie And A Pint series of lunchtime theatre has been its material’s lack of ambition. There’s no danger of that in the literary debut of visual artist Adrian Wiszniewski, who not only morphs two fantastical myths into the same universe, but tells them via the presence of 25 members of the Scottish Philharmonic Orchestra, squeezed into the venue’s bijou floor-space under the command of composer Gordon Rigby.

Oran Mor’s subterranean confines are subsequently recast as The Glade nightclub, where drop-dead gorgeous Giselle and her Goth mates go wild. One night after closing time, our heroine stumbles on handsome Galahad, who’s been left for dead by the local rats. With a shapeshifting Hag also fancying her chances, Giselle is led on a breathless voyage, where she encounters unicorns, talking snakes and quite possibly true love.

Told by David Anderson as a louche nightclub raconteur, and accompanied by original slides to illustrate his yarn, Wiszniewski’s comic book reimagining is epic in both scope and execution. With Giselle herself immortalised as ‘a girl who looks just as good in black and white as she does in colour,’ what’s effectively a glorious old-fashioned romance recalls the contemporary sass of Buffy The Vampire Slayer.

Here too, a beautiful heroine warred against dark forces inbetween hanging out in an underground dive frequented by serious types clad in dark clothes, and was sometimes saved by a handsome stranger. Rigby’s Glasgow pastoral baroque is the star here, though, a delicious accompaniment to the beginning of a great adventure that can only get bigger.

Sponsored by Zoom

The Herald, February 20th 2007

ends

Comments

Popular posts from this blog

Clybourne Park

Adam Smith Theatre, Kirkcaldy Four Stars
It’s a case of whoops, there goes the neighbourhood twice over in Rapture Theatre’s revival of Bruce Norris’ Pulitzer Prize-winning play, which opens in 1959 in the same Chicago suburb where Lorraine Hansberry’s drama, A Raisin in the Sun, which appeared that year, is set. Here, Robin Kingsland’s Russ and his wife Bev, played by Jackie Morrison, are preparing to move out of their now almost empty des-res following a family tragedy.
Unknown to them, the bargain basement price tag has enabled a black family to move in, with Jack Lord’s uptight Karl a self-appointed spokesperson for the entire ‘hood. Russ and Bev’s black maid Francine (Adelaide Obeng) and her husband Albert (Vinta Morgan), meanwhile, bear witness to a barrage of everyday racism. Fast forward half a century, and a white family are trying to buy the same house, albeit with a heap of proposed changes which the black couple representing the block’s now much more diverse community aren’t…

Michael Rother - Sterntaler at 40

"There's so much to do," says an uncharacteristically flustered Michael Rother. The normally unflappably beatific German guitarist, composer and former member of Neu! and Harmonia, who also had a stint in a nascent Kraftwerk, is packing for live dates in Russia and the UK, including this weekend's show at the Queen Margaret Union in Glasgow.
"It has always been my choice to take care of these things myself and not have a manager," he says. "Somehow for me the independent aspect of doing things is really important, but it has its disadvantages."
As well as playing selections from Neu! and Harmonia, the trio he formed with Dieter Moebius and Hans Joachim Roedelius of Cluster, Rother's Glasgow date will see him play a fortieth anniversary rendering of his second solo album, Sterntaler, in full. Rother will be accompanied by guitarist Franz Bargmann and drummer Hans Lampe, the latter of whose musical involvement with Rother dates back to Neu! days, …

Kieran Hurley – Mouthpiece

Things have changed since Kieran Hurley first began writing the play that would become Mouthpiece, which opens at the Traverse Theatre in Edinburgh this weekend. At the time, Hurley was, in his own words, “quite new on the scene.” As a writer and performer, he had already scored hits with Beats and Chalk Farm, two pieces that put him on the map with a new generation of theatre-makers steeped in an equally new wave of grassroots opposition that drew from the iconography of revolutions past. Where Beats looked at the politicisation of 1990s club culture, Chalk Farm, co-written with AJ Taudevin, focused on a teenage boy caught up in the 2011 London riots.
More plays followed. Some, like Heads Up used the same solo story-telling aesthetic to look at an everyday apocalypse. More recently, Square Go, written with Gary McNair, dissected toxic masculinity through a school playground fight.
All the while as Hurley developed as a writer, from new kid on the block to established provocateur, this…