The Saint
Stage
The Prince of Glasgow
Lauren Lewis on a Hamlet with Scottish roots...
This production of one of Shakespeare's most famous plays, Hamlet, was put on by the Rapture Theatre Company, a Scottish theatre company based in Glasgow. Currently touring Scotland, Hamlet was staged in the Byre Theatre recently.
Taking a new approach to the story, this production is set against the backdrop of the Glasgow underworld. Rather than having this element take over, the original script of the play is retained, allowing appreciation of the original work which is indeed all part of the Shakespeare experience. Rather than being a prince of Denmark, Hamlet is the heir to the Denmark Company based in Glasgow.
What is interesting is to hear the dialogue being spoken with Scottish accents, which works well in this production where everything sounds natural there is nothing pretentious about it.
The acting is consistently of very high quality from all involved. All characters are very believable, and make the complex Shakespearian language easier to follow. It also becomes very atmospheric at points, in particular at the first appearance of the ghost where the audience come to feel almost as if they are there and witnessing this eerie apparition with the characters.
Combining the original work of Shakespeare with such a modern setting as this is not an easy task, so Rapture Theatre have accomplished something admirable here, especially with such an epic, lenghty play.
With such high quality acting and a new take on a classic piece of work, this production is a real treat to see here in St Andrews.
The man behind the mask...
E.Egan reviews Bodies, and talks to one of its stars on acting and beyond
Bodies at first glance is just a play that scrutinizes the
modern marriage. But look again and one may see the mocking
perspective it has on the cost of emotional change and the idea
that neurotic impulses lead to creativity.
It tells its story through two couples: their history and a
dinner party that unleashes old ghosts. Though David is definitely an academic who has a certain potential, Mervyn (played by Michael Torpey) somehow
comes out as arguably the most interesting character. Xiao Xian
Goh, a first year student from Singapore, explains that hearing
him ramble on as Mervyn becomes so relatable you can hear your
voice instantly flexing its chords. In the same manner, it is
trying to make sense of your worlds- in and our, past and
present; his flightily eyes offering console for the uncertainty
you share.
However the question is does character really draw us in or
was it an actors skill? Perhaps both. Indeed, Michael argues that
perhaps why he was able to play Mervyn competently is due to
the numerous similarities he found between the character and
himself. Still, though he played on inspiration, there was a streak of finesse in his manner that does deserve credit.
Michael Colin Torpey is a first year student from Aylesbury who is currently studying Computer Science and Maths. Though keen about theatre, he has not really been in many plays and his auditioning for Bodies was more testing the waters than actually going for a swim.
Yet he is a man of many interests particularly in the culinary arts and computers and he can even play an accordion. Culture and politics are also very important issues in his life as he enjoys foreign cultures and tries to involve himself in them. He believes in the idea of international integration to improve the world, yet strongly believes in the maintenance of identity.
Just like Mervyn he is sort of drifting and has no clear ambition, but thats acceptable, if not expected, in a fresher. However, while he may not be taking acting so seriously yet, he will definitely try get more involved now, and should that dexterity perceptible in Mervyn continue to thrive, then he is certainly one to watch in the near future.
No more waiting...
Kate Palfrey reviews the first embodiment of Godot
If I could devote all 350 words of this article to repeating the phrase "Go and see Muckle Roes Waiting for Godot because its the best thing to happen to St Andrews drama in a very long time," I would. I can't, because Id lose my job, but the sentiment is there.
Godot's talented and insightful director Charlie Ward really is raising the bar for student productions in town. Having directed and acted here in St Andrews, masterminded exciting productions at the Edinburgh Fringe, and even taken a year out to immerse himself in Argentina's fascinating theatre scene, he is impressively experienced and formidably dedicated.
Casting which he describes as 90% of the directing process is spot on, especially in the choice of Gordon Restifo as a ground-breaking, sinister Pozzo. Jamie Wightman and Adam Gordon ably navigate the infamously delicate balance of Vladimir and Estragon with wit and energy, and Chuck Duffys Lucky is an absolute delight his tirade is passionate and masterful, truly demonstrating the heights of divine apathia divine athambia divine aphasia.
Something of a Beckett enthusiast, Ward playfully visualises the perfect production as having a totally apathetic audience of three, but there he is sadly misdirected: if the spirit of this production has its way, all of its showings will be to full houses.
Last Thursdays performance at the Barron was the height of indulgence for its audience, as tickets were limited to 16 people and an inspired seating arrangement ensured that characters and action were all-engrossing (Im glad that Gogo didnt have authentically smelly feet); the two forthcoming productions in Venue 1 (16th March) and the Lochiehead Barn Theatre (Auchtermuchty, 24th March) promise to be just as exciting in terms of staging and design (Jenny Jackson and Aisha Farr).
Overall, I think that Muckle Roe taps beautifully that thread of mankind adrift in a sea of modern life that has permeated literature and drama since Eliot and is certainly central to Becketts philosophy. This play will reaffirm your humanity and remind you of the endless capabilities of art, tacit or clamorous.
