Skip to main content

Passing Places


Dundee Rep
Four stars

Coming of age is everything in Dundee Rep’s twenty-first anniversary revival of Stephen Greenhorn’s poignantly funny rites of passage drama. As small-town lost boys Alex and Brian do a runner from Motherwell with a state-of-art surfboard tied to the back of a clapped-out Lada, they end up finding a brave new world where they can be anyone they want to be. With psychotic Binks on their tails, free-spirited Mirren and all the other crazies they encounter en route to the perfect wave up north already seem to be way ahead of them. 

Set against designer Becky Minto’s expansive road to nowhere, Andrew Panton’s heartfelt production unearths fresh life in a 1990s period piece that looks and sounds ever profounder with age. Written at a time when an entire generation was looking for a way out, Greenhorn’s play manages to pack a set of big ideas – about selfhood, identity and freedom on every level – into a fast-moving one-liner-laced romp.

Ewan Donald and Martin Quinn capture Alex and Brian’s sense of out-of-their-depth outsiderdom with all the gawky naiveté required. Barrie Hunter is dangerously funny as Binks, and Eleanor House and Emily Winter offer different kinds of liberation as Mirren and Iona. Taqi Nazeer and John Kielty’s parade of gurus and comic cameos are pure League of Gentlemen material. Kielty also composes the Brit-folk live score played by the cast.

 At the play’s heart, Greenhorn captures the wave of everyday aspiration that fuelled a generation of largely working class young men and women seemingly destined for the scrap-heap, but who somehow managed to break the mould in ways barely possible now. The result today is a work shot through with the fearlessness of youth that looks forward to the beginning of a beautiful adventure.

The Herald, April 20th 2018

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...