Skip to main content

Vanity Fair

Royal Lyceum Theatre, Edinburgh
3 stars
The way cultural cycles go, it takes something like a quarter of a century for once radical ideas to trickle into the mainstream. It certainly looks that way in Tony Cownie’s revival of Declan Donnelan’s 1983 adaptation of Thackerey’s novel, penned for his then fledgling Cheek By Jowl company. There are times in this tale of two young womens’ parallel lives in nineteenth century society when the dust-sheets which unveil the action are the most revealing thing about it.

Because, while there’s nothing inherently wrong in this slickly realised, elegantly fluid depiction of nice girl Amelia and opportunistic, proto-Thatcherite survivor Becky, it all looks like its been brought to life after a long sleep. The representational, parlour-room approach splits the sprawling third-person narrative between seven actors who multi-task like bilio. At the play’s posh-frocked heart,, Sophia Linden’s Becky is a vivacious bad girl to Kim Gerard’s prim Amelia. More fun is had by Steven McNicoll and Amanda Beveridge, who relish their role-call of caricatures. Neil Murray’s design works overtime in its handsomely realised stage portraiture, and a heroic Jon Beales provides a live piano score throughout.

All this adds up to, though, is a peculiarly English take on Poor Theatre, as 1970s agit-prop and Oxbridge acquired Brechtian theory is applied to the set-text literary canon. This puts Cownie’s production on a par with the recent revival of David Edgar’s version of Nicholas Nickleby. Both prove how, divorced from the social and artistic conditions that shaped such stylistic invention, all we’re left with is a conveyor belt of dressing-up box gymnastics rendered as harmless as any other heritage-industry museum piece.

The Herald, March 17th 2008

ends

Comments

Popular posts from this blog

Big Gold Dreams – A Story of Scottish Independent Music 1977-1989

Disc 1 1. THE REZILLOS (My Baby Does) Good Sculptures (12/77)  2. THE EXILE Hooked On You (8/77) 3. DRIVE Jerkin’ (8/77) 4. VALVES Robot Love (9/77) 5. P.V.C. 2 Put You In The Picture (10/77) 6. JOHNNY & THE SELF ABUSERS Dead Vandals (11/77) 7. BEE BEE CEE You Gotta Know Girl (11/77) 8. SUBS Gimme Your Heart (2/78) 9. SKIDS Reasons (No Bad NB 1, 4/78) 10. FINGERPRINTZ Dancing With Myself (1/79)  11. THE ZIPS Take Me Down (4/79) 12. ANOTHER PRETTY FACE All The Boys Love Carrie (5/79)  13. VISITORS Electric Heat (5/79) 14. JOLT See Saw (6/79) 15. SIMPLE MINDS Chelsea Girl (6/79) 16. SHAKE Culture Shock (7/79) 17. HEADBOYS The Shape Of Things To Come (7/79) 18. FIRE EXIT Time Wall (8/79) 19. FREEZE Paranoia (9/79) 20. FAKES Sylvia Clarke (9/79) 21. TPI She’s Too Clever For Me (10/79) 22. FUN 4 Singing In The Showers (11/79) 23. FLOWERS Confessions (12/79) 24. TV21 Playing With Fire (4/80) 25. ALEX FERGUSSON Stay With Me Tonight (1980) 1. THE REZILL

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) 1. THE STONE ROSES    Don’t Stop ( Silvertone   ORE   1989) The trip didn’t quite start here for what sounds like Waterfall played backwards on The Stone Roses’ era-defining eponymous debut album, but it sounds

Carla Lane – The Liver Birds, Mersey Beat and Counter Cultural Performance Poetry

Last week's sad passing of TV sit-com writer Carla Lane aged 87 marks another nail in the coffin of what many regard as a golden era of TV comedy. It was an era rooted in overly-bright living room sets where everyday plays for today were acted out in front of a live audience in a way that happens differently today. If Lane had been starting out now, chances are that the middlebrow melancholy of Butterflies, in which over four series between 1978 and 1983, Wendy Craig's suburban housewife Ria flirted with the idea of committing adultery with successful businessman Leonard, would have been filmed without a laughter track and billed as a dramady. Lane's finest half-hour highlighted a confused, quietly desperate and utterly British response to the new freedoms afforded women over the previous decade as they trickled down the class system in the most genteel of ways. This may have been drawn from Lane's own not-quite free-spirited quest for adventure as she moved through h