In its golden jubilee season the
Traverse, the Fringe’s most prestigious venue, offers a bill of fare as
diverse as usual in terms of material and, especially in the smaller
Traverse Two space, even more so in terms of quality.
To start at the top: God, I love Patrick O’Kane as an actor. He is
virtually unmatched at pent-up emotions: fury, loathing, grief,
frustration, you name it, he can convince you he’s bottling it up only
by mighty effort. In Owen McCafferty’s
Quietly, from Dublin’s Abbey
Theatre, O’Kane’s character listens to an account of an event that
shaped his life 36 years earlier in 1974 in a Belfast pub McCafferty’s
play argues that in a process of truth and reconciliation such as is
necessary after the Troubles, the second does not always follow from
the first, but that does not mean that the truth should not be told.
But it is O’Kane, stroking his shaven head, glaring venomously and then
speaking in the register that gives the play its name, who is
electrifying.
David Greig, too, once again considers the limits of our comprehension
in
The Events, a play for two
actors plus choir. It considers both a fictional ideologically-driven
massacre and its aftermath as a survivor (the female priest) finds her
life defined by her obsession with understanding the event. Neve
McIntosh and Rudi Dharmalingam excel in Ramin Gray’s production for ATC
as, respectively, the priest and virtually everyone else from the
murderer to an extremist politician to the priest’s lesbian partner.
Lucy Ellinson gives a compelling solo performance in
Grounded, from London’s Gate
Theatre. George Brant’s play tells of a female American fighter pilot
reassigned to the “Chair Force”, flying drones in Iraq from a remote
base just outside Las Vegas. The concept of remote warfare brings on a
paradoxical blend of obsession and alienation, as we watch the unnamed
Pilot fitting ever less well into the real world she is supposedly
defending. Ellinson performs within a cube of semi-transparent scrims,
emphasising the Pilot’s mediated, semi-detached experience, not least
because the actor herself cannot see the audience.
Tim Price’s
I’m With The Band
works from a central conceit that the overgrown teen muso in me adores:
it considers the break-up of the United Kingdom by personifying the
home countries as members of a rock band. When the Scots guitarist goes
solo, he finds his contractual terms are still oppressive, whilst the
remaining three struggle to redefine their relationship. Scenes centre
around musical numbers, usually fragmentary or inchoate, whose form
symbolises the dynamics of the interaction rather than simply
recounting them lyrically. Not everyone may be as gripped as me by a
portrayal of England’s megalomania in terms of audio overkill by
endlessly overdubbing live-recorded loops, but the metaphor of the band
named The Union proves phenomenally pliable and ductile.
David Leddy is one of Scotland’s finest artists in the zone where
theatre begins to shade into conceptual art and/or dramatised essays.
Long Live The Little Knife is
superficially an entertaining two-hander about a pair of only
erratically successful scammers; gradually, however, it offers up a
series of meditations on authenticity and artifice, from con-tricks to
biology (there’s a castration motif to which the title indirectly
alludes). Wendy Seager and Neil McCormack take over each other’s
sentences and even accents as a Russian doll of frauds and fakes is
opened layer by layer.
A couple of Traverse One shows fire only erratically. David Harrower’s
Ciara, an in-house production,
features a tour de force solo performance by Blythe Duff, but the story
of a Glaswegian art gallery owner confronting her family’s roots and
continuing entanglement with the Weegie organised crime community never
really gets anywhere extraordinary. Nor, I’m sorry to say, does
Cadre. Omphile Molusi’s
three-handed production about a young man’s resistance to the South
African apartheid regime in the 1960s and ’70s is performed with
versatility if rather less subtlety, but I kept feeling I was watching
a rerun of Molusi’s 2008 presentation
Itsoseng.
I fear its reception may be principally, if unconsciously, as an item
of ideologically sound dramatic exotica.
Belgian provocateurs and manipulators Ontroerend Goed return with
Fight Night, in which the audience
votes directly through electronic terminals for five “candidates”
presented to us but unsurprisingly end up with exactly the result the
company have scripted. Interestingly, both Belgium and Australia, the
home country of OG’s collaborators here The Border Project, are
countries in which voting is compulsory and which, whether through the
crass ouster of Julia Gillard or 18 months of governmentless coalition
haggling, have given the world more object lessons in the failings of
democracy. In this campaign, as in a sloppy episode of
Thunderbrirds, you can too often
see the strings.
But rather be played like this than watch Feidlim Cannon play with
himself, his mother and psychotherapist (really and truly) in
Have I No Mouth, the most
self-indulgent kind of performance art. Cannon obsesses over the deaths
of his father and infant brother in a piece which believes its
eccentricities excuse its vapid solipsism. Perhaps if I had
participated in the exercise for dealing with anger by deflating a
balloon, I wouldn’t have spent the next hour wanting to smack Cannon’s
head and tell him to just get over it. I’ve taken to calling it
Have I No Shame.
Written for the Financial
Times.