Skip to main content

The Tragedy of Coriolanus

Edinburgh Playhouse
four stars
If ever there was a sound more perfectly suited to Shakespeare's 
high-ranking tragedy of power and glory involving a Roman warlord who 
can't accept the will of the common people, it is the pomp and little 
circumstance of heavy metal. Such potential for a bombastic borderline 
fascist rally is something which iconoclastic Chinese director Lin 
Zhaohua clearly recognised for this epic reading of Coriolanus for the 
Beijing People's Art Theatre, which puts Chinese rock bands Miserable 
Faith and Suffocated either side of a stage that houses a multitude of 
bamboo spear wielding extras who make up the Roman hordes.

Chinese superstar Pu Cunxin struts the stage in a flowing cape and 
chest-plate as Martius, who is granted the title of Coriolanus after 
waging war successfully on the Volsces, led by the scheming Aufidius. 
This makes for a stunning series of set-pieces, which finds assorted 
noblemen picking up microphones and raging at the world like rappers on 
heat at a soundclash. Coriolanus himself high-fives his people, a 
hero-worshipped warlord who refuses to sell-out to popular forces, 
while at one point a gleeful senate do a jig to a jaunty bossa nova 
number.

Beyond all this, the play, performed in Mandarin, is remarkably intact, 
even if it is rendered in a gloriously one-dimensional and surprisingly 
light-hearted style. Like all despots, however, Coriolanus does what 
his mother tells him, and his late-blooming bromance with Alfidius 
comes to a sticky end. The two bands assorted fanfares and flourish 
which either book-end or underscore the action is actually not that far 
removed from traditional Chinese music, the only difference here being 
that it's put through Marshall amps and cranked up really high.

The Herald, August 21st 2013

ends





Comments

Popular posts from this blog

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) ...

Edinburgh Rocks – The Capital's Music Scene in the 1950s and Early 1960s

Edinburgh has always been a vintage city. Yet, for youngsters growing up in the shadow of World War Two as well as a pervading air of tight-lipped Calvinism, they were dreich times indeed. The founding of the Edinburgh International Festival in 1947 and the subsequent Fringe it spawned may have livened up the city for a couple of weeks in August as long as you were fans of theatre, opera and classical music, but the pubs still shut early, and on Sundays weren't open at all. But Edinburgh too has always had a flipside beyond such official channels, and, in a twitch-hipped expression of the sort of cultural duality Robert Louis Stevenson recognised in his novel, Dr Jekyll and Mr Hyde, a vibrant dance-hall scene grew up across the city. Audiences flocked to emporiums such as the Cavendish in Tollcross, the Eldorado in Leith, The Plaza in Morningside and, most glamorous of all due to its revolving stage, the Palais in Fountainbridge. Here the likes of Joe Loss and Ted Heath broug...

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...