Afterlife, Traverse

Intriguing take on the ‘afterlife’ concept.  Everyone who dies has six days in a facility where they get to choose what happens to them next.  Guides help them figure out what was the memory they want to live in for the remainder of infinity.  But that’s hard to figure out, and sometimes there are rebels against the system.

Lively, well choreographed, often with many on stage performing multiple actions and dialogues.  Engaging.  Simplistic, but not too much so for a 75 minutes performance.  The leads were generally competent, with a stand out performance by Amelie Berry as the Guide supervisor, who also acts as a narrator.  Her off-the-ball acting was excellent.

There’s not much of a point being made, except that we need to keep our good memories alive. And that it can be difficult to recall what really were the best moment sin a life.

There was an unusual gimmick of giving all audience members a ticket with a number on.  When numbers were called and individuals emerged from the audience, it made audience think they might be.  They weren’t, but I found this distracting from the play itself - I started to think about which memory I would wnat to live over and over!

Interesting.

Counterpunch, Traverse

In a struggling boxing gym, Gav is trying to figure out how he can handle the situation.  He’s lost his most recent fight, just when he needed the money to stay ahead of the mounting debt.  The future looks bleak, but he does have offers.  From a local gangster.  So his choices are not so clear cut.

Everyone in Counterpunch has problems.  Financial, family, relationship, criminal.  The script feels a bit bleak at times.  But also thin, padded out with elaborately choreographed sequences of training and fighting.  They are impressive at times, and the fitness levels of the cast are impressive, but they do go on and on a bit.

However this is Youth Theatre, so some failings are excusable.  As with the script, the acting is variable.  There are some good performances, some not so good, but a lack of voice projection is a common failing throughout, making it hard to follow the plot at times.  

That said, the future of Scottish drama looks promising, and projects like this can only improve standards.  Worth seeing for the raw talent on offer.

Afternoon for Janey, King's Theatre, Glasgow

 Jnaey Godley died last year, of ovarian cancer, not just by family and friends, but also other comedians and vast number of devoted fans.  While a controversial figure at times, she was very, very funny, imaginative, frank, and talented when it came to acting and writing.  So a tribute show at her home comedy festival in Glasgow was both fitting and natural.

The first half provided the comedy, from friends who'd known her for many years.  Daughter Ashley Storrie opening things, briefly, and you see how emotional the event was for her.  Elaine C Smith had been down to compere, but sadly contracted covid, so Scott Agnew stepped in at short notice, and did a fine job.  He introduced singer Tom Uri, plus fellow comics Rosco McClelland and Susie McCabe.  Mostly dojng material which were favourites of their departed pal.  Rosco's 'robot hoover' routine was hysterically funny, and McCabe brought full-on warmth to her recollections of  Godley.

The seond half saw Agnew introduce the film Janey, a documentary about her life recorded during her Not Dead Yet tour (click here for my review of that show).  Interspersed with footage of her tour material and cancer treatments, were stories of her early life (poor, sexually abused, and marrrying into a family of gangsters), her family, and the desperate situation which made her turn to becoming a professional comedian at 35.  Through to fame as the voiceover queen of the pandemic, and a champion of sociopolitical causes, notably trans rights. Plus her fame/infamy as the woman with the Trump is a Cunt sign.  Funny and moving in turns.  

A few closing words from Storrie, including a reminder that the gig was a benefit for the 2 cancer charities who had made her mum's final month more tolerable.  And we were done.  

A wonderful afternoon of memories, laughs and sadness, and fitting tribute to one of Scotland's most talented comedians.  And she was definitely right about Trump.

Maddie Morris, Traverse

 I'm sure Morris could become a lesbian folk icon if she got the exposure.  A sweet voice, charming personality and a kibd of innocence about her.  The songs lack true melodic identity, but the lyrics are always interesting, telling stories in themselves.  She has an unusual guitar style that works well as accompaniment

Morris is also an accomplished and amusing storyteller between numbers, often with a self deprecating side to them, which kept the gig rolling along nicely.  

Not the most exciting of acts, but with enough of a difference to mark her out as worth a watch live.

Death of a Salesman, Festival Theatre

An all time classic play, which has ssen many, many productions.  So if you don't already know the plot then it's easy enough to look it up.  This is the American Dream, but in reality.  The idea that if you work hard and get on you too can have it all.  But Willy Loman has worked hard and far from having it all he increasingly feels that he's a failure, no matter how hard he pretends otherwise.  Willy thinks he's not just liked, but 'well liked', but his delusion doesn't curt it with his boss.  While his sons are seeking out different kinds of lives, and his wife does her best to support Willy's dreams.

But trying to live up to your dremas can result in delusions, lying to yourself as much as others, and there are always others doing it better than you..  Chasing money isn't the answer you thought it was, and it's hard, after a lifetime of trying, to understand that there is more than one kind of 'success'.  Son Biff has recognise that it's more fulfilling to find out who he is, rather than trying to be the person he's not.  He might not have money, but, in his way, he's more of a success than his father was.  

David Hayman is perfect as Loman, with just the right blend of false confidence and doubt, beset by memories and slowly losing his grasp on reality.  He's the American Tragedy, the victim of that Dream.  

A simple set, and a strong cast of supporting characters, are perfect support to Hayman's magic, the action stays true to the original (set in 1949), and yet it still feels entirely relevant to 2025.  Classics are classics for a reason.

Eilidh, Eilidh, Eilidh (A Play, a Pie and a Pint), Traverse

Writer/Director Lana Pheutan is from Skye, where the play is set.

It’s Saturday night, and cousins Eilidh and Eilidh have missed out on a lock-in, so they break into a remote holiday cottage to carry on drinking.  It’s February, so none of those Air BnBs will be occupied.  Will they?

Boisterous Eilidh (MJ Deans) is a teacher, back on the island after 8 years in Glasgow.  And pissed off that she and her boyfriend are having to live with her mum, because everywhere else is too expensive.  The more reserved Eilidh Beag -wee Eilidh - has stayed on, and lives on her own in a tiny council flat.  Fired up by the boose and her own frustrations, the returnee rants about tourists and English making property too expensive.  While her cousin sees more of the bigger picture, conscious how much the tourists bring to the local economy.  Their banter is entertaining, with a serious undertone.

Things turn darker when the actual resident rushes in wearing a motorbike helmet and pyjamas, and threatening the youngsters with a shinty stick.  They all get a surprise when they realise that this is Ms NicilleMhicheil (Annie Grace), once the highly respected teacher of the 2 younger women.  And the situation reveals more about the island property scene than any of them had realised.  

A well crafted script provides a lot of laughs, and an optimistic ending, but doesn’t shy away from the darker problems that communities like these face from locals being priced out of their own homes.  While all 3 actors are excellent, Chelsea Grace as the more cautious girl brings an extra layer of subtlety to her performance that underwrites the complexity of the situation.  

Another excellent contribution to the PPP canon.  

Kev Campbell Was He (A Play, a Pie and a Pint), Traverse

There aren't many plays which begin with the hero running in and getting himslef plonked down on the toilet with a sigh of relief, but that's the unusual opening of this one man performance, written by and starring Alexander Tait.  He plays the eponymous Kev, a working class man who almost does, but does not quite, fit in with his pals.  It takes a chance meeting with a stranger, who becomes his mwentor and new friend, to make him realise that there is another world he could fit into.  Even if it means having to leave his present behind him.

Tait delivers an energetic performance, not just as Kev talking direct to the audience, but also the voices in the dialogue - old best pal, new nest friend, and Moira, his slightly scary boss.  Using parallels with The Great Gatsby, the difficulties of moving from one world to another are clear, because they have very different standards.  In his old life 'gay' is a common slur, in his new it's just what people are.  Yet it's hard to defend the new world against the old, the one that's nurtured him for so long, and hard for the new to understand the old.  The drama lies in trying to resolve that conflict, and deciding who he is.

The set (above) provides 5 seats for different locations, an idea that works well.  But the drive comes from Tait, who is mesmerising at times.  He's a man to look out for.

Kris Drever & Chris Stout, Live at the Law, North Berwick

 As long standing fans of Mr Drever, we were not going to miss out on seeing his latest venture as a duo with fiddler Chris Stout.  The gig was in a scout hall, transformed with the addition of lights, and attracted a big crowd.  Turned out this was only the third gig of the Live at the Law venture, designed to bring some live music to North Berwick, and there was a large and enthusiastic crowd.  I wish the organisers well for the future.

The evening opened with local singer/songwriter Linday Strachan, with guitarist, fiddler and double bass alongside.  Together known as Wave of the Flood.  She has a decent enough voice, and some interesting songs, a fine support act.  But the arrangements were lacking in any real spark - it would have been fascinating to hear her voice supported by the more imaginative accompaniment of the main act!

Who were a huge step up in quality.  True virtuosos of their instruments.  Most of the material came from Drever's extensive catalogue of songs, and was familar to me, but Stout's fiddle managed to identify holes to fill where I never knew they existed.  The Shetlander also played a few home tunes, including a couple of wonderfully miserable bridal marches!

Ezxcerllent musicianship, entertaining introductions, and real beauty in the music, with Stout supplying endless variations on basic melodies.  Wonderful entertainment.

Dookin' Oot (A Play, a Pie and a Pint), Traverse

Diane (Jannette Fogge) has had enough.  She's made it to 70, had a decent enough life, but now the body is packing up.  She's confined to her flat, seeing nobody except her carer Julie (Helen McAlpine) and young postie Connor (Kyle Gardiner).  Fortunately she has seen a solution to her problems - Dignitas.  A solution well beyond the grasp of her financial situation.

Julie's life a is a mess too.   Her abusive husband is getting too much to cope with.  But she has an idea how to make money for both her and Diane).  She'll become a dominatrix!  But how to make a start?

Connor has the answer - Onlyfans.  So he sets up the tech side and then the adventure begins.

It's very much played for laughs, and borders on good old-fahsioned farce at times.  But there are some serious undertones too, about the invibility of middle aged and elderly women, and the need to die with dignity.  Three strong performances, notably from McAlpine.

A hularious romp with a message should you choose to look for it.

Heaven, Traverse

 Mairead (Janet Moran) and Mal (Andrew Bennett) have been married for a couple of decades now. They're best pals, they say, but are they still husband and wife? Were they ever really?

They're back in Mairead's home town for her sister's wedding. From the city to an insular place where life has stood still and she finds many familiar faces. Not least her old lover, the one who she never forgot. While Mal is left to his own devices, falls off the wagon and lets himself indulge his long repressed fantasies. Both takes paths they had not expected, but are they really going to diverge?

The play takes the form of alternating monologues, her then him then her then him, as each talks about the self they've kept inside, and the person they have lived with. The technique emphasises their separateness, but their words also show their affection and understanding for one another, each explaining things that the other can't even admit to themselves. It's a perfect illustration of how lives can be so interconnected and so far apart, and of how long term relationships will often keep afloat long after the thrill of the launch has departed. That affection and dependence can take many forms.

It's a smart script, with plenty of Irish humour, and a few surprises. Two strong performances, but I sometimes felt I was losing my hearing during Moran's sections. But could hear every word Bennett uttered. It's a shame, as I'm sure I missed some good lines from the lack of projection.

Overall a very satisfying performance, and one that ends before you were expecting it, which is always a good sign. Well worth seeing.  

Hard Truths

 Pansy (Marianne Jean-Baptiste) is angry.  And anxious.  She’s angry with her plumber husband Curtley (David Webber).  With 22 year old layabout son Moses (Tuwaine Barrett).  With her younger sister Chantelle (Michelle Austin).  With pretty much everyone she meets - in car parks, supermarkets, her doctor and dentist, the list of targets for her anger never ends.  And her anxiety makes her fearful of the world, where there is no safety.

Chantelle is a hairdresser, charming and confidence inspiring with her clients, fun and happy with her two daughters.  She wants Pansy to come with her to their mother’s grave, for the anniversary of her death.  Pansy even gets angry with that.

But she will eventually go, and the two families get together.  But even there the contrast between the two trios is stark.  While the shadow of Pansy’s anger hangs over everyone.  

So what will she do with faced with a situation that requires her to act with love?

Jean-Baptiste is superb, a tightly strung band always on the verge of unwinding dramatically.  Her rants are epic, her disdain apocalyptic.  But the vulnerability is never far away.  The reasons behind her behaviour leak out gradually.

.If this all sounds a bit grim you’d be wrong.  Pansy’s ire is hilarious viewing (although you wouldn’t want to be on the receiving end) because it has no rationale.  We’ve all known someone like her, someone whose grumpiness and resentment is unending.  

The filming is up close and personal, filled with delightfully awkward silences and mumbled excuses, while the Chantelle aspect gives off vibes of real joy.  This is ordinary life in spades, the inconsequential gossip, the families that barely co-exist, the people who tolerate and those who don’t.

Another Mike Leigh masterclass in the everyday.

September 5

Anyone my age or older will probably remember the event, and how horrific it was at the time.  One of those world events you never completely forget.  It's all well documented now, so it's easy to read up on what happened to the terrorists and their victims.

But this film takes a new slant on what happened.  This was the first time that a terrorist event was able to be covered live on satellite TV, meaning the events in Munich found their way around the world immediately.  A team of sports broadcasters, from the American ABC network, suddenly found themselves in groundbreaking broadcast territory, and a sudden deluge of unfamiliar moral decisions to make.  If a hostage was murdered live on camera, should that be broadcast or not?

While the politics of the situation are touched on, it's largely in the context of how it determines the team's decisions.  This is about the human beings behind the cameras, and the strains it put on them.  The filming is claustrophobic, largely confined to the control studio, and using contemporary (grainy!) footage to show the unfolding drama being covered.  The tech is very much from the pre-digital era, and there's a lot of improvisation required.  Younger viewers will be shocked at how primitive it will all seem, but this was the cutting edge of TV sports broadcasting in 1972.

The focus is on the moral and emotional issues.  The mistakes made in a situation where the world is watcvhing through their lens.  The instincts of journalists wanting to pursue the story (and having to fight off the views of their own management who wanted a news team to take over - but the sports guys were the only ones actually there, on the scene).  Versus the moral responsibilities of playing their part in trying to achieve a safe ensding for all involved.  They even find themselves being invaded by German police at one pojnt, for hampering the efforts fo the authorities.  Are they reporters or voyeurs or accomplices.  The lines are sometimes blurred.

The style is often cinema verite, following characters rushing from one moment to another.  The messiness and confusion and need to make decisions comes across well.  There are some excellent performances, notably from John Magara as Geoff, the studio dierctor trying to hold it all together, and Leonie Benesch as Marianne, a (fictional) young German assistant, reflecting the mortification of her generation at the sins of their elders.

It's a strong drama, worth watching for the tension alone.  But the film also provides useful insights into the moral demands on journalists in life or death situations, and a the sesne of global trauma that came with those terrible events.

Triptic, Traverse

Take 3 members of the much lamented Moishe's Bagel quintet, and give them a good cause to support.  This was a benefit gig in support of Medical Aid for Palestine (MAP), one of the most important and essential charities currently operating.

The trio are Greg Lawson (fiddle), Phil Alexander (piano and piano accordion) and Mario Caribe (upright bass and guitar).  Togerther they play an eclectic mix of tunes from around the world, a few composition so their own, and the audience is taken, musically, to Brazil, Argentina, Cuba, Ukraine, Russia and beyond.  The arrangements are often complex, and at times it feels like all 3 unstruments are paying their own melodies, albit ones that jigsaw so well together.  They's a joy to watch too.  Caribe and Alexander exchanging smiles, grins, glances, while Lawson brings drama in his body language as well as his playing.  He has an incredibly pure tone to his sound, no doubt a product of his classical background.  

They're good storytellers too, by way of introducing their numbers.  Notably Lawson's tale of approaching a policemen for directions, whilst too stoned to realise that the spliff in his hand might attract the worng sort of attention!  (He was lucky to find a very relaxed constable...)

Fun, depth, top class musicianship and some wonderful tunes.  An exceelent way to spend the evening.

A Complete Unknown

This is the young early 60s Dylan (Timothee Chalamet), from his arrival in New York until the storm of controversy that erupted in Americn Folk Music after his famous/infamous electrified set at Newport Festival.  A formative period not just for the man who would become one of the greats, but for the future direction of US music and beyond.  

Seeking out the legendary Woody Guthrie, now in hospital, he also meets Pete Seeger, who takes the young Bobby under his wing, and into his family.  With that lift, and lyrical quality of his songs, Dylan will take the folk world by storm, but wants to be more, wants to explore different directions and fusions.  Along the way relationships will be made and broken, fans won and lost, and our=trage generated.

The movie has a wonderful period feel, conveying the state of the US folk world of the time.  Plenty great music too, noit just Dylan songs, but Guthrie, Seeger, Baez, Cash...  The quality is impressive, the more so when you learn that the actors performed the voals themselves.  If you get Dylan's voice and phrasing right he's not too hard to impersonate, as his strengths do not lie in the techincal quality of his vocals.  But all credit to Monica Barbaro for doing such a great job in capturing the purity of Joan Baez.

Chalamet's also hit Dylan's mumbled speaking voice, which can be an issue, and there were times when subtitles would have helped!

It would be easy to pick up the few flaws in the movie, and the only one that irked was a lack of editing.  The movie felt overlong, and the final scene with Guthrie unnecessarily loaded with symbolism.  But the overall impression is triumphant.  A celebration of the times, a warts and all portrait (Dylan isn't always the best of human beings in his realtions with others), and a striking impression of just how big an impact his decsion to go electic was at the time.  

Well worth seeing.

Conclave

The Pope dies and the College of Cardinals must go into conclave to choose his successor.  The task of heading up the process falls to Cardinal Lawrence (Ralph Fiennes), who is on the more liberal wing of the church, and favours Cardinal Bellini (Stanley Tucci) to get the job, however reluctant he may appear to be to put his name forward.  There are other contenders of course, either slightly less liber, or far further to the right, and Lawrence and Bellini are joined in opposing the possibility of that backward-looking arch conservative Cardinal Tedesco (Sergio Castellitto) becoming their boss.

Preventing that, and navigating all the other challenges involved, requires a lot of backroom negotiating, skullduggery, and a few dirty tricks.  Added into the mix is a mystery cardinal who none of the others were aware of, Cardinal Benitez (Carlos Diehz) from Afghanistan.  Why had the Pope kept him hidden away, and what views does he adhere to?  Who will win through in the end, and how many will be disgraced along the way.

An excellent cast, a reasonably gripping plot and some excellent cinematography.  Fiennes is at his best, despite one hammy moment of 'looking shady' as he investigates the secrets of the dead man's bedroom.  There are even a few laughs along the way, and it certainly has a surprise twist to the ending.  So it's not as dull as the subject matter might suggest.

But.  I found myself lacking any empathy for, or emotional engagelemnt with, any of the characters.  A bunch of old men choosing another old man to issue diktats to millions of people?  It's hard to sympathise with any of them, even those who are protrayed as more 'liberal'.  Maybe it was because the last film I went to see was Small Things Like These , but have any positive feelings for officials of the Catholic church were impossible to dredge up!

One element did make me laugh though, and I am still wondering if the image was coincidental or deliberate.  There were several visual references to The Handmaid's Tale, with the mass of Cardinals often looking like so many Offreds.  It certainly helped to poke fun at some of the more sinister aspects of the closeted plotters.

Dean Owens and the Sinners, Traverse

The annual pre-Xmas Dean Ownes gig is not to be missed.  Tis year, to allow a (much) bigger audience in, it moved from the usual cafe-bar location down into Traverse 1.  Dean confessed he was nervous about the switch, worrying that not enough tickets would sell to justify it.  It was a sell-out!

With good reason.  This is always a December treat for Dean's big local following.  On this aoccaison with full band.  Dean on guitar and vocals (and whistling), long term sidekick Craig Ross on lead guitar, Adam McMillan on bass, Andy Duncan at the drum kit, and Philip Cardwell blowing trumpet.  The latter indicating that Owens is still very much in his TexMex phase.  The first half was mostly newer material, much of it from the album to be released next year, including several songs no live audience had yet heard.  The second set dived more into the back catalogue, with some very familiar singlaong numbers included (such as Raining in Glasgow).    

Dean was as good as ever, Craig Ross in fine form, and the crowd loved it.  I'm already looking forward to next December...