King’s Theatre 4 stars When a rowdy bunch burst noisily through the auditorium wielding a felled, full-size tree-trunk at the opening of Dmitry Krymov’s Russian language reimagining of Shakespeare’s frothiest rom-com, only the little dog padding about astride the tree truly knows what we’re in for. Krymov’s production, commissioned by the Chekhov International Theatre Festival for his School of Dramatic Art Theatre, after all, is billed as something ‘after Shakespeare’ rather than of it. So it goes in a wildly irreverent work that puts the Rude Mechanicals at the centre of the action rather than cast as the usual comic fall guys, even if there are prat-falls aplenty. Once the tree-trunk, then a leaky fountain, is disposed of on a stage covered with plastic sheeting, the troupe of players change into formal attire as they await their audience. This comes in the shape of a bunch of disgruntled toffs, whose mobile phones interrupt the action in a makeshift VIP area even as the sternest of their number complains throughout. There is no forest and no Bottom’s dream, only Pyramus and Thisbe, who come in the form of giant junk-shop puppets operated by the Mechanicals. There are acrobatics and operatics, while the dog does back-flips in-between fending off a rubbish lion, able to take anything in his four-legged stride. On one level, this is a glorious entertainment, right down to a finale involving a part Scat, part Kurt Schwitters style chorus and a tippy-toed take on Swan Lake. On another, it’s a fantastical theatrical in-joke performed with vaudevillian largesse. As the little old lady who’s been growling through proceedings onstage herself says, Shakespeare would have loved it. The Herald, August 25th 2012 ends
Freedom
of movement matters to Suzy Glass, the arts and events producer currently
overseeing the second edition of Message from the Skies.This animated literary derive around the city
forms part of this year’s Edinburgh’s Hogmanay programme, and runs right through
till Burns’ Night. Glass’ concerns are inherent in the event itself, which has
commissioned six writers from different disciplines and experiences to each pen
a love letter to Europe. Each writer has then paired up with a composer and
visual artist or film-maker, with the results of each collaboration projected
in monumental fashion on the walls of one of half a dozen of the capital’s most
iconic buildings.
With venues stretching from the south side of Edinburgh to Leith, and with one city centre stop requiring a walk up Calton Hill, there is considerable legwork required to complete the circuit. It shouldn’t be considered a race, however, and audiences are free to move between venues at their leisure, visiting each site on d…
With venues stretching from the south side of Edinburgh to Leith, and with one city centre stop requiring a walk up Calton Hill, there is considerable legwork required to complete the circuit. It shouldn’t be considered a race, however, and audiences are free to move between venues at their leisure, visiting each site on d…
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