Oran Mor, Glasgow
Four stars
When radical Italian farceur Dario Fo first performed his scurrilous solo take on biblically inspired yarns penned with Franca Rame back in 1969, revolution was in the air and the peasants were revolting against pretty much anything that was going. A 1970s TV production of Rame and Fo’s play even prompted the Vatican to take a dive into arts criticism when they dubbed it ‘the most blasphemous play in the history of television’.
When the late Robbie Coltrane took to the stage in 1990 with Joseph Farrell’s translation, Rame and Fo’s comic theological riffs were as damning of assorted establishments as ever. Three and a half decades on again, as Farrell’s new Scots version is brought to turbo charged life in this week’s edition of A Play, a Pie and a Pint’s latest season of lunchtime theatre, not much has changed. Nevertheless, Lawrence Boothman’s rude intrusion as an anarchist on the run from the rioting outside the theatre he is seeking sanctuary in is a motor-mouthed tour de force that might still give the Vatican cause for concern if they weren’t a bit busy just now.
The stage area of Ben Standish’s production - as in the round as Oran Mor’s interior will allow - is regally decked out on designer Heather Grace Currie’s set with a crown and a skull for what looks like an old school performance of Hamlet. As Boothman’s thoroughly modern frontline protestor finds his spotlight, he embarks on a rapid fire series of bite-size monologues that recall Italian cinema’s one time vogue for themed short story compendiums as much as a wildly camp stand up comedy take on bible studies.
As Boothman embodies the spirit of the Giullare – the funny guy holding court – with shape shifting glee, shades of Monty Python’s Life of Brian abound in his larger than life portraits of the rabble in this people’s eye view of history, co-presented with Ayr Gaiety in association with the Italian Institute of Culture in Edinburgh. A particular standout of Boothman’s routine is the Jesus fanboy trying to get his idol’s attention as the Messiah raises Lazarus from the dead in a kind of sideshow spectacle. Also in the mix is a bad Pope Boniface doing his very worst in furious fashion. This all comes to an abrupt end when the forces of the law catch up with our hero, by which time he has exposed their masters’ inherent ridiculousness in a breathless piece of serious fun.
The Herald, May 9th 2025
ends
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