Skip to main content

To Save the Sea

Tron Theatre, Glasgow

Four stars

 

When Greenpeace activists occupied the Shell UK owned decommissioned Brent Spar oil store off the coast of Shetland in 1995 to prevent it being sunk in the North Sea, little did anyone know that thirty years later it would inspire a new musical. This is exactly what the  Sleeping Warrior company have done, however, transforming the Brent Spar story into a rousing radio friendly pop drama that chimes with the times while remaining easy on the ear. 

 

Writer/directors Andy McGregor and Isla Cowan set out their store on Brent Spar itself, brought to life by designer Claire Halleran as an iron and steel arena the Greenpeace activists make their own. The group are a motley mix of idealism and experience as epitomised by Matthew McKenna’s de facto leader Karl and Katie Weir’s hard liner Engel, with enthusiastic new recruits Colin, played by Nathan French, and Kara Swinney’s young mum Rachel also in tow. As personal and political commitments are tested and serious mistakes made, all this is framed by Kaylah Copeland’s action girl journalist Brianna. 

 

Back at Shell UK, meanwhile, the executives led by Helen Logan and David Rankine’s tellingly named Karen and Rupert, are aghast. The politicians, alas, are not for turning in a series of office bound routines that at one point sees then prime minister John Major, embodied by Ewan Somers in suitably grey fashion, literally caught with his pants down. Beyond such Spitting Image style satire, it is the activists who are the show’s emotional centre, as they go from rabble-rousing intent to disillusionment to eventual victory. 

 

Cowan and McGregor’s musical numbers ride the story’s stormy seas, with the entire cast delivering the songs with heart and soul. While the events surrounding Brent Spar seemed like the tide was turning, a brief update on how the big companies are dealing with protests today suggests otherwise. One way or another, it seems, you can be sure of Shell. 


The Herald, September 30th 2024

 

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) ...

Myra Mcfadyen - An Obituary

Myra McFadyen – Actress   Born January 12th 1956; died October 18th 2024   Myra McFadyen, who has died aged 68, was an actress who brought a mercurial mix of lightness and depth to her work on stage and screen. Playwright and artistic director of the Royal Lyceum Theatre, Edinburgh, David Greig, called McFadyen “an utterly transformative, shamanic actor who could change a room and command an audience with a blink”. Citizens’ Theatre artistic director Dominic Hill described McFadyen’s portrayal of Puck in his 2019 production of A Midsummer Night’s Dream at the Regent’s Park Open Air Theatre in London as “funny, mischievous and ultimately heartbreaking.”   For many, McFadyen will be most recognisable from Mamma Mia!, the smash hit musical based around ABBA songs. McFadyen spent two years on the West End in Phyllida Lloyd’s original 1999 stage production, and was in both film offshoots. Other big screen turns included Rob Roy (1995) and Our Ladies (2019), both directed by Mi...

The Passage – Hip Rebel Degenerates: Black, White and Red All Over

Prelude – The Power of Three   Fear. Power. Love. This life-and-death (un)holy trinity was the driving force and raisons d’être of The Passage, the still largely unsung Manchester band sired in what we now call the post-punk era, and who between 1978 and 1983 released four albums and a handful of singles.    Led primarily by composer Dick Witts, The Passage bridged the divide between contemporary classical composition and electronic pop as much as between the personal and the political. In the oppositional hotbed of Margaret Thatcher’s first landslide, The Passage fused agit-prop and angst, and released a song called Troops Out as a single. The song offered unequivocal support for withdrawing British troops from Northern Ireland.    They wrote Anderton’s Hall, about Greater Manchester’s born again right wing police chief, James Anderton, and, on Dark Times, rubbed Brechtian polemic up against dancefloor hedonism. On XOYO, their most commercial and potentially mo...