Theatre Uncut


Theatre Uncut
5 stars *****
Traverse Theatre (Venue 15)

IF YOU WANT to see 21st century live theatre at the raw peak of its powers, doing exactly what it does best, then head to the Traverse Bar, every Monday morning between now and 20 August, grab a seat on a sofa or bar stool, and just revel – for an hour or so – in the sheer improvisatory brilliance and eloquence of the latest Theatre Uncut season. Inspired by last year’s protests against public spending cuts in Britain, and pulled together by directors Hannah Price and Emma Callendar, Theatre Uncut is as much an idea as a show; a series of short ten-minute dramas by writers known and unknown, performed script-in-hand by scratch groups of actors, and all designed to reflect with wit or fury on the current state of the global economy.

So in this week’s first Uncut programme we were treated to short dramas by American superstar Neil LaBute, Lena Kitsopoulou of Greece, London-based Anders Lustgarten, and – in the weekly “rapid response” slot – fast-emerging Scottish star Kieran Hurley. Despite a stray member of the audience taking a seat on the sofa beside one of the characters, Jimmy Chisholm and Scott Fletcher acted the hell out of LaBute’s terrific dialogue between a middle-class Dad and a son involved in the Occupy movement, while Iain Robertson and Julia Taudevin grasped the Dario-Fo-like heart of Kitsopoulou’s The Price, about an ordinary Greek couple increasingly expected to pay for everything, including a child, and – in the end – their own bodies.

As for Hurley’s brief instant drama London 2012: Glasgow, about last week’s famous Korean flag mix-up at Hampden, and the ambiguities and tensions of 21st century Scottish, British and London identity – well, to see that performed with such explosive early-morning energy, by comedians Phill Jupitus and Thomas Tuck, was something like a privilege. The idea, each week, is to repeat that mix of recent international material with an instant response from a Scottish-based writer; and if the results are anything like what was achieved on Monday, then every theatre-lover in Edinburgh will want to be there.

Joyce McMillan
Until 20 August
p. 327


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