Posts Tagged David Kerr

‘Lost Lear’: A Heart-breaking Tale of Dementia and Estrangement

367 words, 2 minutes read time.

Five black stars arranged in a horizontal line on a light background.

Conor (Peter Daly) has had a complicated relationship with his mother, Joy (Venetia Bow). She was a famous actress – on television and everything – back in the day. Her gender-crossing portrayal of King Lear was legendary. As the story unfolds, we see the parallels between Conor and Lear’s estranged daughter, Cordelia, and between the maddened Lear and the demented Joy.

A theatrical scene depicting four actors on stage, with one elderly woman seated in an armchair, surrounded by three others. The atmosphere suggests a rehearsal or caregiving situation, with scattered papers on the floor.

Lear threw Cordelia out when she refused to make wild declarations of love for her father. Joy had no connection with Conor until he wrote to her at the age of fifteen and kept her distance from him, not even opening his later letters.

In her care home, Liam (Manus Halliday) constantly rehearses scenes from Lear with Joy to ‘go with whatever her reality is’, to ‘be in her world’. He introduces Conor as the understudy. Liam is infinitely patient with his bitchy diva of a charge. Halliday brings humour to lighten the atmosphere just as the Fool did for Lear.

Peter Daly excels as the hesitant filial ‘understudy’ trying to find a way back to his mum. He plays along with Liam’s strategy as much as he can, but the emotional turmoil he’s in finally breaks through.

Joy doesn’t even recognise her son. He’s just a poor useless understudy who’s ’breaking up the lines’ in his delivery. We see that Joy must have been hard to work with in her prime. Venetia Bowe as Joy and Lear has you hating them both.

Some amazing puppetry shows us – through a veil – what this once proud and haughty actress has been reduced to. This traumatic play brings to life the effects of dementia on the people who feel that they have lost their loved ones. It’s gut-wrenching. It’s heartbreaking. We feel Conor’s despair and pain. Dementia often affects the patient’s loved ones more than the patient herself. Joy in her own mind is still the diva in charge of the rehearsal process. Conor is lost and broken. Conor is mourning his lost connection to his mum.

Like Shakespeare’s Lear, this production examines the nature of love and loss. It’s a masterpiece. The dialogue is snappy. The cast gels together well. I can’t praise it enough.

Reviewed by David Kerr

More information and tickets here

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Fringe Review: Faustine

310 words, 2 minutes read time.

What would give in exchange for your Soul? That’s the bluegrass song from the Hillybilly Thomists that plays before and after this short pop opera begins. For Faustine, the last twenty pages of her PhD dissertation on Ibsen will cost her her soul.

Faustine’s not one of the cool kids, she’s been raised by her mother, whom she resents bitterly, especially her regular nagging phone calls. She’s lonely and – despite her protestations to the contrary – she’s lazy. She leaves it too late to complete her work and cries out in despair. Help comes, not from God, but from Satan. She gets an A grade, the opportunity to deliver her dissertation to a conference and a publishing deal with Princeton University.

Things spiral out of control; she has sex with a senior academic, Richard Jones. She turns to drugs.

“I’m done with the losing team. So what if I sold my soul, when you feel you’re on top?” Satan demands another soul. She murders her room mate Emma, putting bleach in wine and making it look like suicide.

The co-writers, Sarah Norcross and Lydia Brinkmann, fight at the start to play Faustine. I don’t know which one prevailed at the showing I saw, but she brought a perfect mixture of pathos, comedy, and horror to this production. The songs were witty and well-scripted, worthy of Cole Porter having a dark turn. The actor carries off the transition back and forward between Faustine and Satan by facial expression and clever lighting.

The words of the third song, ‘How long have I wanted everything to come easy?’ Conjure thoughts on the current controversy over many students using AI to do their work for them. Perhaps it’s a stretch to say that such cheating is akin to a pact with the devil, but it is potential snare for the unwary.

Reviewed by David Kerr

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Fringe review: The Fleetwood Mac Story

Five black stars on a white background, representing a five-star rating.

129 words, 1 minute read time.

The folks – mostly of a certain age – who packed the house for this short and energetic run-through the history of a band that has gone through many breakdowns, bust-ups and changes of line-up; yet managed to pull off some of the most memorable music of recent times.

A live musical performance featuring a band with male and female vocalists, playing various instruments, including drums and guitar, on a brightly lit stage.

Rumours sold 45 million copies and is still number 17 in the album charts today. Tusk was less successful. Mick Fleetwood blamed RKO for releasing all the tracks allowing fans to tape the songs off the radio.

Night Owl’s tributes to musical legends are always popular and seldom disappoint. The Fleetwood Mac Story had many people up and dancing in the aisles. The only complaint I heard from audience members was, ‘It was too short.’ It was sheer musical bliss.

Reviewed by David Kerr

More information and tickets here

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The Heart-warming Legacy of Ah-Ma: A Story of Love

Five black stars displayed in a row on a light background.

298 words, 2 minutes read time.

When Cathy spotted a strange red glow in the sky she realised that something was wrong. It was the destructive Eaton fire in California. It stopped half a mile from her home. The neighbourhood was reduced to rubble, speculators moved in to buy up land for buttons and build apartments for huge profit, but despite it all the community kept together. This caused her to think that in times of chaos we have no choice but to survive and do what we can in the moment.

A performer holding a floral patterned shirt in a dimly lit space with red and green lighting.

Cathy was reminded of her ‘Ah-Ma’ – granny in in Fujianese. In this funny and poignant story, Cathy’s Ah-Ma comes to life for the audience. Stories of how she coped with her brother‘s suicide, her strong loving relationship with Cathy, how she ‘wrapped me in the warmth of her presence.’  She recalls as a child running tearfully after a bus when her Ah-Ma went away for a month – a whole month – at New Year. She wasn’t just a grandmother, she was hope, she was safety for the young Cathy. Whether Cathy was in away in Hong Kong or in the US to study, her Ah-Ma wanted to know, ‘Have you eaten enough? Are you warm enough?’

Then, ten years ago, her beloved Ah-Ma began to fade away with dementia. This wonderful lady, who never learned to read or write yet practised signing her own name in a notepad couldn’t take care of herself anymore.

How Cathy and her Ah-Ma coped with all that life threw at them is a touching story of love and survival. It’s bound to touch the hearts of many who’ve known similar circumstances. Kasen Tsui brings this bittersweet story to life with minimal props, a chair, a shirt and a little notebook – and remarkable stage presence. Don’t miss this.

Reviewed by David Kerr

More information and tickets here

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Buried Lives: the Protestants of Southern Ireland

buriedlivesBuried Lives: the Protestants of Southern Ireland

Robin Bury, The History Press Ireland, Dublin 2019.  20.00

ISBN: 978-1-84588-880-0

Robin Bury, a member of the Church of Ireland, who grew up in East County Cork in the 1950s and 60s, has examined the long and troublesome experience of the Protestants in what he calls ‘Southern Ireland’. He uses this term rather than the ‘Irish Free State’, or the ‘Republic of Ireland’ as he covers the period from before the foundation of the independent Irish state until the present day.

What was it that turned the once strong and thriving southern Irish Protestant community into an ‘isolated, pacified community’ living an isolated parallel existence from mainstream society?  How did the section of Irish society that produced some of the nation’s greatest writers; Jonathan Swift, Oliver Goldsmith, Oscar Wilde, WB Yeats, J M Synge, George Bernard Shaw, and Samuel Beckett; international brands like Guinness, Jacob’s Biscuits and Jameson whiskey decline from 10% of the population in 1911 to less than 3% in 2011? What happened? Was this decline natural, or was it helped by human intervention in some way?

The decline began to accelerate in the period 1919 – 1923. Bury examines carefully the statistics from this period in his first chapter taking into account the number of people directly or indirectly connected with the Royal Irish Constabulary and the British armed forces, those who died in the Great War and the postwar Spanish flu epidemic and natural decrease.  Excluding the approximately 64,600 people included in these categories, Bury estimates that 41,856 southern Irish Protestants left the country; whether by direct intimidation, or their own apprehension and fears of being trapped in what was quickly becoming a conservative, Catholic, Anglophobic state.

The newly formed Irish Free State certainly had no policy of driving the Protestants out.  This was certainly not the case with the IRA ‘irregulars’ who – in east Cork at least – targeted a large number of Protestants; small farmers, businessmen, shopkeepers and one Church of Ireland clergyman. They were seen as the enemy; ‘land-grabbers’, ‘landlords’, ‘Freemasons’, ‘Orangemen’, ‘Imperialists’, ‘informers’; all to justify their killing.

Things got so bad, that the Archbishop of Dublin and two other leading southern Protestants had a meeting with the Free State leader, Michael Collins after thirteen Protestants were murdered in the Bandon valley. They wanted to know if the Protestant minority should stay on in the county. Collins assured them that, “the government would maintain civil and religious liberty”. However, Collins wasn’t in much of a position to do much to help. IRA irregulars assassinated him a few months later.

This is a period that many people, especially in today’s modern Ireland would wish to bury; hence the title, Buried Lives. The author is meticulous in his documentation of this tragic, overlooked, and often deliberately ignored aspect of Irish history. The second chapter records some survivors’ harrowing stories; many given as evidence to the Southern Irish Loyalists Relief Association and the Irish Grants Committee to try to win some compensation for their loss. These personal stories show the genuine terror these survivors experienced.

Bury shows how southern Protestants adapted to life in DeValera’s Free State by living quiet, but largely separate lives, rarely socialising outside their own communities; they ‘kept their heads down’ and got on with things in a virtual parallel universe. Until recent times, the mainstream Irish attitude in the South was deference towards the Catholic Church and a romantic rural nationalism. The Protestants survived because they became an insignificant minority.

Bury also looks at the influence of the infamous Ne Temere decree issued by Pope Pius X in 1907.  Before 1926, only 6.1% of Protestant brides were marrying Catholic men; by 1971 the figure was 30%. Today, it’s closer to 50%. Children of couples married since Ne Temere are brought up in the Catholic faith, further contributing to the decline of the Protestant communities in the State.

Bury looks at the notorious Fethard-on-Sea boycott of 1957 where all Protestant-owned businesses, farms and even individuals were boycotted after the marriage of a local couple broke down and the Protestant wife, Sheila Cloney, took her children away from the Co Wexford town. The boycott was organised by the local parish priest, Fr William Stafford and lasted for nine months.

Happily, the Southern State has changed a lot in the last sixty-odd years since the Fethard-on-Sea boycott. This is not due to the silent minority – the marginalised Protestants – but people, mainly women, brought up in conservative, Catholic Ireland – who said, we’re not going to put up with this anymore.  Strict censorship has gone; Article 44 of the constitution, which gave a special place in society to the Catholic Church, was removed, divorce and contraception were legalised, homosexuality was decriminalised. There is still a long way to go, people are still assumed to be at least culturally Catholic, but perhaps the Southern Protestants may yet find a place in the sun. The rise of Sinn Féin electorally in the Republic may stymie this; it may not. Time will tell.

This book is a useful introduction to a difficult and painful period in Irish history. It has an appendix on the victims of the Bandon valley massacres and extensive notes and a bibliography for further research for any reader wishing to examine the author’s case in detail.

Reviewed by David Kerr

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Chaika: First Woman in Space 

chaikatheSpace on North Bridge – Argyll Theatre
14:20, 18:20
Aug 22-24
50 minutes
Suitability: 12+ (Guideline)
Group: Acting Coach Scotland

The “Chaika” of the title was the codename given to Valentina Tereshkova, who became the first woman in space on 16 June 1963 and is Russian for seagull.

This play brought to us by Acting Coach Scotland is both informative and entertaining and tells the story of her life from a young girl who lost her father to war, had her schooling delayed by the war and who as a young woman went to work in a factory and became an avid parachutist in her free time, a path that was ultimately to lead to her trip into space.

The all-female cast takes turns at telling Tereshkova’s story with a Russian Cyrillic Velcro name badge being at times passed from actress to actress and Nikita Krushchev is even briefly depicted as the ultimate arbiter of which of the female cosmonauts will go on the mission. Props are minimal and some effective use of lighting techniques helps to take the audience into space with Tereshkova.

Prior to watching this play, I had only a basic knowledge of Tereshkova’s story and the information that I gleaned from this production has resulted in me going on to read further about her. The cast of “Chaika: First Woman in Space” convey real energy and enthusiasm for telling her story and this play is very much worth going to see.

Reviewed by David Andrews
#edinburghfringe2019 #edinburghfringe

Stars5

 

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Sketchup: the Exeter Revue

sketchupDates: 8th to 29th (not Thursdays)
Ciao Roma, 64 South Bridge 14:10hrs

Four Exeter University students bring together a mixed bag of original sketches. The team work well together with an impressive pace in switching from one sketch to another. As with all sketch shows, some things hit the spot and others fall flat.

The highlight for me was the one in which an oily self-obsessed politician – possibly modelled on Tony Blair – evasively answered questions from his longsuffering wife. Did you fill the dishwasher? Did you feed the dog? I’m glad she asked him those questions…
This show is part of PBH’s Free Fringe and deserves your support.

https://www.facebook.com/TheExeterRevue
*** Three Stars

Reviewed by David Kerr

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Real Japanese Drum Beat: IKKI Samurai Drums

samuraiThe Space Symposium Venue 43
Aug 10th-Aug 23rd, 5:10pm £10.00 (£6.00)


http://www.thespaceuk.com/shows/real-japanese-drum-beat/

Four slightly built Japanese young people address their drums with relentless energy, so much so that it was quite tiring to watch – but in a good way. The choreography involved was complex but these Samurai drummers never missed a beat. This wasn’t a competition to see who could blatter away the loudest; this was harmony in action.

The accomplished drummers charmed the packed-to-the-rafters audience with their grace and beauty. Sadly, a clamour for more went unheard. Nevertheless, the relationship was sealed at the end of the performance where they all lined up outside the door and presented each one of us with a piece of origami.
***** Five Stars

Reviewed by David Kerr

https://www.facebook.com/wataiko.IKKI

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Mata Hari: Female Spy

Aug 7, 8, 11, 13, 15, 16, 17, 19, 21, 23, 25, 27, 29, 30
ZOO VENUES, Venue 124, EDINBURGH FRINGE, 2.20PM

http://www.zoofestival.co.uk/whats-on/theatre?zid=413
Mata Hari was shot by the French in 1917 as a German spy. The press at the time claimed that she had been responsible for the deaths of tens of thousands of soldiers. This riveting performance by Katherine Hurst is based on the actual words of the Dutch exotic dancer Margaretha Geertruida MacLeod herself.
Using humour, pathos and a minimum of props: some flimsy veils, a couple of fans and a battered suitcase, Hurst confides in the audience. She recounts in moving detail how Margaretha became the first femme fatale – Mata Hari.

She didn’t have an easy life to start with but she made good. She was wilful. She was promiscuous. She enjoyed the company of officers and she scandalised many by enjoying life too much. That sealed her fate.

Was there enough evidence to convict her in a fair trial? No. Was she guilty? That’s another story. You won’t know the real truth from this powerful one-woman show but you will be drawn in by its narrative.
**** Four Stars

http://www.gavinrobertson.com/mata-hari-female-spy/
A contemporary eye-witness report of the execution of Mata Hari: http://www.eyewitnesstohistory.com/matahari.htm

Reviewed by David Kerr

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Film & DVD Reviews: The Night of the Hunter (1955)

I can hear you whisperin’ children, so I know you’re down there. I can feel myself gettin’ awful mad. I’m out of patience children. I’m coming to find you now. Preacher Harry Powell

Night of the Hunter DVD Cover

Click on image to buy DVD

As convicted murderer and robber Ben Harper (Peter Graves) awaits his execution he tells his cellmate
Harry Powell (Robert Mitchum) about his crime. Harper goes to his fate without revealing the whereabouts of the $10,000 he stole. Preacher Powell is a serial killer who marries and murders widows for their money, believing he is helping God do away with women who arouse men’s carnal instincts.
As he is only in prison for car theft, he is soon released. He heads off to meet Ben’s widow Willa (Shelley Winters) in the hope of getting his hands on the loot. The handsome preacher hides his true fearsomeness and his evil nature to win Willa’s heart and to marry her. He doesn’t realise that Willa has no idea where the loot is hidden. The secret is known only to her two children, nine-year-old John and four-year-old Pearl.

Preacher Powell breaks her down with his oily superficial charm, Bible quotations, sermons and hymns, and she agrees to marry him. On their wedding night he reveals his true evil sense and his hatred and disdain for women with their sinful, ensnaring ways and his determination to get his hands on Ben’s loot at whatever cost. It’s too late for Willa but the children still have a chance to get away.

This has to be one of the scariest chase movies in film history. Stanley Cortez’s dreamlike cinematography heightens the sense of horror and suspense in this truly frightening film. Mitchum’s Preacher has to be one of the most memorable screen villains in cinema history with his perfect mix of charm and menace.

Reviewed by David Kerr

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