Concerning itself with the loss of innocence in time of war, the play is best remembered for its use of grownup actors to portray primary school-aged characters, as they play around in the Forest of Dean one summer during World War Two.
The big pi
eces of new writing up at the Traverse, Assembly and Pleasance might reflect on modern wars, but ETA ensure that the basic issues are equally as well realised in this late Seventies play.
Moreover, what was relevant then, is still relevant today.
As the children rush around playing, boasting to each other, throwing stones and rolling about in the dirt, fighting, their actions are not premeditated. In that sense, their cruelty is naive and innate.
In echoing the cruelty of the grown-up world, this comments not on the children's cruelty, but on the failure of the grown-up world to become civilised.
A set of excellent performances from the seven-strong cast ensure that all these ideas come right up to the surface.
They succeed in conveying the gangly movements of children without making that the focus of the production, so that the audience is exposed directly by the power of the writing.
Iain Kerr as the bully Peter and Derek Marshall as John, the incomer from Sheffield who beats him to number one spot, work well together.
They highlight the responsibility of leadership as the gang become frightened by a siren from the nearby prisoner of war camp.
The sheer violence when the boys knock a squirrel out of a tree and stamp on it, is brutally portrayed.
Stuart Mitchell is excellent as whipping boy, Donald Duck, repeating the words of violence from his home life as he, Audrey (Vicki Horne) and Angela (Edith Peers) play at mummies and daddies.
Director Mike Duffy could slow the production up slightly towards its climax, allowing the tension to build more, but otherwise this is a well-played and thought-provoking telling.
Until August 16Thom Dibdin BULLY
Gilded Balloon, Teviot
****THE worst bullies are those that have been bullied themselves. But at what point do the tables turn? How much can one person take before they snap? Bully is a one man show that journeys through the life of a man taunted and mocked at every turn for being that little bit different. It becomes obvious early on that Richard Fry's comment that "life hasn't exactly dealt me a winning hand" is something of an understatement. Fry has a captivating talent at story- telling, taking on the role of his own character from childhood through to adulthood, as well as conveying with incredible vividness everyone else who features in this ill-fated man's life. The ability of one performer to hold an audience's attention alone for a whole hour, his only prop being a chair, is nothing short of outstanding, yet Fry seems to do so with a natural ease. Part verse and part prose means the pace is constantly changing, and the audience caught up in the same emotional rollercoaster as the character. It's funny, gripping and at times downright depressing, but makes for compelling viewing.
Until August 25KATIE OAKES Reasonable Doubt
Assembly Rooms, George Street
****THE set says it all: a double bed filled with those pointless silk cushions that only hotels have, a mini-bar and a telephone. You can smell her perfume over-sprayed in nervous anticipation as she inspects the mini-bar and admires the lilies, while he oozes worldliness and soon-to be-slaked lust. Australian actors Peter Phelps and Emma Jackson create an incredible almost unbearable sexual tension between the classic older pent-up predator and naive young beautician. But is she so naive? Australian playwright, Suzie Miller, who is also a civil rights lawyer, explores the subject of truth and how it shifts depending on perspective, through the device of a couple who met while serving on a jury. They meet two years later to rekindle their passion – but a lot has happened in two years. As the evening progresses, the audience itself becomes a jury; trying to decipher what did happen between the lovers two years ago and to what extent they are telling the truth now. Urgent and compelling, you will be emotionally exhilarated from start to finish.
Until August 25NELL NELSON Be My Baby
Roxy Art House
***IT'S 1964, still a far cry from the swinging sixties. 19-year-old Mary is pregnant, unmarried and has been taken to a mother and baby home with just her dreams and record collection for company. There she meets other girls, Queenie, Dolores and Norma, all completely unprepared for the event of birth and adoption. It is a sad story, but Amanda Whittington's script is not sentimental and the girls laugh in spite of their trials.
Great performances from the all female cast bring out the nuances in each character, each with her own poignant story to tell.
Wonderful songs, wonderful girls and sad stories, this show is a reminder of the heartache of less tolerant times.
Until August 23
LORNA FROSTThe full article contains 894 words and appears in Edinburgh Evening News newspaper.
