Physical Theatre
the Arches Theatre Festival will contain work that challenges, frightens and provokes
| 11 Apr 2007
In the battle for aesthetic supremacy, The Arches seems set to emerge triumphant at the end of April. The annual Theatre Festival takes place between the 12th and 27th, promising new work from local talent and visits from international companies. Already an imposing venue for any event - their productions of Beckett took the miserable modernist even deeper into hell - the Arches is threatening to turn Glasgow's cognoscenti into subterraneans.
The highlight of the Festival could be Pan Pan's re-imagining of the Oedipus myth, reminding us that even the earliest theatre was preoccupied with the same brutal themes as contemporary performance art. A fusion of modern stage-craft and ancient extremity, Oedipus Loves U is apparently to be directed live on the night, leading us through the horrors of incest, self-harm and self-delusion. Perhaps not the ideal first date, it aims to make the connection between our heritage and modern anxiety.
While tabloid headlines predict the end of arts funding in Scotland as the London Olympics drains away lottery cash, the Arches still supports the psychotic clown Al Seed, who will be collaborating with Ben Foulks in the aptly named Endurance. Al is a terrifying performer, bringing to the surface the viciousness that hides behind the circus greasepaint. His most recent work had him exploring his memories of being an insect with an agility that denied his emaciation. Endurance is not the only local art being supported in this festival: new works have been commissioned from Cora Bissett and Rosie Kellagher (see feature).
Overall, the Arches Theatre Festival will contain work that challenges, frightens and provokes. Undoubtedly, some may find the bill not to their taste - of all art forms, experimental theatre can be especially subjective. But patience and persistence will reward, and Glasgow is fortunate to have so much challenging work in a single venue.
Over at Tramway, preparations are being made for a hectic summer season. In the meantime, it presents a single production - a collaboration between two Scottish companies. Lung Ha's are working with Paragon Ensemble in a show that manages to express the entire Tramway remit in a single production. Paragon explores modern classical music, while Lung Ha's are an inclusion theatre company that works with adults who have learning disabilities. Arlecchino's Revenge is a timely political parable that celebrates the power of drama: a fitting response to those who question the importance of arts funding.
The highlight of the Festival could be Pan Pan's re-imagining of the Oedipus myth, reminding us that even the earliest theatre was preoccupied with the same brutal themes as contemporary performance art. A fusion of modern stage-craft and ancient extremity, Oedipus Loves U is apparently to be directed live on the night, leading us through the horrors of incest, self-harm and self-delusion. Perhaps not the ideal first date, it aims to make the connection between our heritage and modern anxiety.
While tabloid headlines predict the end of arts funding in Scotland as the London Olympics drains away lottery cash, the Arches still supports the psychotic clown Al Seed, who will be collaborating with Ben Foulks in the aptly named Endurance. Al is a terrifying performer, bringing to the surface the viciousness that hides behind the circus greasepaint. His most recent work had him exploring his memories of being an insect with an agility that denied his emaciation. Endurance is not the only local art being supported in this festival: new works have been commissioned from Cora Bissett and Rosie Kellagher (see feature).
Overall, the Arches Theatre Festival will contain work that challenges, frightens and provokes. Undoubtedly, some may find the bill not to their taste - of all art forms, experimental theatre can be especially subjective. But patience and persistence will reward, and Glasgow is fortunate to have so much challenging work in a single venue.
Over at Tramway, preparations are being made for a hectic summer season. In the meantime, it presents a single production - a collaboration between two Scottish companies. Lung Ha's are working with Paragon Ensemble in a show that manages to express the entire Tramway remit in a single production. Paragon explores modern classical music, while Lung Ha's are an inclusion theatre company that works with adults who have learning disabilities. Arlecchino's Revenge is a timely political parable that celebrates the power of drama: a fitting response to those who question the importance of arts funding.