Botanic Gardens, Glasgow 3 stars It takes a wrestling match to make Rosalind’s heart go all aflutter over Orlando in what’s possibly Shakespeare’s most long-winded comedy. That it’s taking part in the grunt and grapple game that similarly gets Orlando’s endorphins going speaks volumes about the excitement going on in these would-be lovers young lives. Especially as the mat Orlando throws himself about in Gordon Barr’s promenade production for this year’s Bard in the Botanics season is ever so slightly soggy due to the light drizzle that briefly delayed this weekend’s opening performance. Barr goes for broke while it stays dry, moving from the opening scene in Duke Frederick’s court set beside one of the garden’s hothouses, to the Forest of Arden sheltered under a tree, to a flame-lit finale beside a sheltered pagoda. The trouble is, to get through this extended rom-com awash with rustic cross-dressing, one needs to do it with a gallop that the longeurs between locations hinder somewhat. There are still good things going on here, particularly from Nicole Cooper as a Rosalind who flits between mischievous tomboyishhness and a tongue-tied teenage girl with a serious crush. Kirk Bage makes for a stately, somewhat Wildean Jaques, and Beth Marshall doubles up nicely as Madame Le Beau and comely goatherd, Audrey. Best of all are all too brief cameos from Ashleigh Kasaboski as smitten shepherdess Phebe and Steven Grawrock as straw-hatted village idiot, William. As all four couples come home to roost following at least one romp in the bushes, As You Like It may take a while to get there, but, rarely for this year’s Bard in the Botanics, at least they made it home and dry. The Herald, July 16th 2012 ends
When Ron Butlin saw a man who’d just asked him the time throw himself under a train on the Paris Metro, it was a turning point in how his 1987 novel, The Sound Of My Voice, would turn out. Twenty years on, Butlin’s tale of suburban family man Morris Magellan’s existential crisis and his subsequent slide into alcoholism is regarded as a lost classic. Prime material, then, for the very intimate stage adaptation which opens in the Citizens Theatre’s tiny Stalls Studio tonight. “I had this friend in London who was an alcoholic,” Butlin recalls. “He would go off to work in the civil service in the morning looking absolutely immaculate. Then at night we’d meet, and he’s get mega-blootered, then go home and continue drinking and end up in a really bad state. I remember staying over one night, and he’d emerge from his room looking immaculate again. There was this huge contrast between what was going on outside and what was going on inside.” We’re sitting in a café on Edinburgh’s south sid
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