Skip to main content

There’s A Place

Perth Theatre

Four stars

 

It was sixty years ago last week, or thereabouts, when the Beatles embarked on a brief Scottish tour. Beatlemania may have already been at fever pitch, but rather than stay in swanky big city hotels, the loveable mop tops set up camp in two chalets on the banks of Loch Earn in Perthshire. This historical pop moment concerning the original boy band may be the backdrop to Gabriel Quigley’s new play, but it is another fab four she focuses on. The John, Paul, George and Ringo camped out on the other side of the loch are a gang of teenage girls so hopelessly devoted they have taken the names of their idols and braved the elements in their groovy gear in the hope of getting a long range glimpse of them. 

 

With all four members of the gang considering options beyond this last gasp adventure before they go out into the world, this pilgrimage looks set to be a defining moment for them all in a rites of passage saga that takes in some very serious stuff indeed. The new freedoms the 1960s opened up are already making their presence felt in the shape of abstract art and the copy of Aldous Huxley’s The Doors of Perception. 

 

Some of the less savoury social anxieties that prevented many young women from pursuing their dreams are also in evidence, with Tinashe Warikandwa’s John especially forced to consider what’s next. While Yana Harris’ Ringo reveals the struggles of coming from Traveller roots, class also rears its head by way of the unexpected appearance of a young lady of the manor the other girls somewhat magnificently name Brian. 

 

Warikandwa, Harris, Leah Byrne as Paul, Rosie Graham as George, and Eléna Redmond as Brian all grab hold of Quigley’s intelligent script with sparky relish on Kenny Miller’s big pink moon dominated set. As the girls go their separate ways en route to the future, one wonders where these bright young women ended up next. 


The Herald, October 26th 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) ...

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...