Tango

Maybe it's pettiness, but one thing can distract from the director's dramatic vision. Marta Mari's production of Tango, written in 1964 by Slawomir Mrozek, seems to be full of distractions.

Dealing with Nazi occupation and communism, the play focuses on the nature of power and the collapse of tradition and morality. The central character, Arthur, rebels against his spineless family, who ignore his attempts to resuscitate the old order. Enjoying their freedom, the family revel in the lack of rules, playing cards with a adored visitor, Eddie.

Although Thomas Hart squeezes Mrozek's surrealist humour from Arthur, his performance seems awkward because of the combination of the impressive bulge in his tight-fitting dance trousers, a white shirt, a tie and toilet tissue to wipe the running nose: a detail, but it changes the performance. Arthur looks silly rather than strong against his grotesque family and silently powerful Eddie. This undermines the impact of the power struggle.

The situation is saved by the stunning Mark Coleman as Stomil, Arthur's father. His relaxed acting and loveable wackiness makes him stand out among some indifferent and tame performances.

Mari chooses not to see Tango from the contemporary angle and leaves the production with a 70s feel. It is a shame: the play like many works from the Theatre of the Absurd has a great timeless potential. Anyhow, it is good to see a Polish classic performed in a different cultural context - with a Scottish accent. [Agata Maslowska]