Skip to main content

Wonderland


Royal Lyceum Theatre
4 stars
On a movie screen, a terrified young woman is pleading for her life in 
what could be a scene from a lo-fi horror flick. The next time we see 
the woman we find out is called Alice, she’s in front of a camera 
again, just as scared as she auditions for a hard-core porn film. Is 
Alice for real here, or is she faking it, to death if necessary?

These are some of the questions being asked by director Matthew Lenton 
in Vanishing Point’s look at the dark side of pornography, co-produced 
with two Italian companies and Trmway, Glasgow. Here, as Alice’s tale 
is paralleled by an internet porn addict’s own descent, performers, 
directors and consumers become complicit in some psycho-sexual rabbit 
hole where love, erotica and even cheap thrills are forsaken in favour 
of what looks like extreme forms of mutual abuse.

The third in Vanishing Point’s loose-knit trilogy of impressionistic 
works seen largely behind glass, where Interiors and Saturday Night 
looked at the public and private tics of human behaviour, Wonderland is 
the dirty little secret lurking behind both. While there is much more 
heard dialogue here than in the other two pieces, the images played out 
on Kai Fischer’s set and pulsed along by Mark Melville’s brooding score 
are snapshots from the grimmest of fantasias.

As Alice, Jenny Hulse is unflinching as she leads a Scots-Italian cast 
of seven through some of the play’s starker, more naturalistic moments. 
The “normal, healthy individual” played by  Paul Thomas Hickey’ is even 
more troubling. It’s the matter-of-factness that scares the most in a 
brave and deeply serious theatrical meditation on the uglier aspects of 
the sex industry today.

The Herald, August 30th 2012

ends



Comments

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…

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…

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…