Skip to main content

Chorale – A Sam Shepard Roadshow

Traverse Theatre, Edinburgh
Four stars
It looks like someone's been stranded at the drive-in at the start of
the first night of this weekend's bite-size tour through some of
American playwright Sam Shepard's little-seen works by Presence Theatre
and Actors Touring Company in association with the Belgrade, Coventry.
There's some bump n' grind bar-room blues playing, and, in front of a
back-lit big-screen, some drifter in a sleeping bag remains comatose
throughout the screening of Shirley Clarke's 1981 video of Savage/Love,
Shepard's dramatic collaboration with actor/director Joseph Chaikin.

As the title suggests, Shepard and Chaikin's twenty-five minute
masterpiece, performed to the camera by Chaikin himself with jazz duo
accompaniment, is a relentless incantation on the highs and lows of
obsessive amour. On video, it becomes both an impressionistic
interpretation by Clarke and an essential document of Shepard and
Chaikin's fertile collaboration, which also sired Tongues and The War
in Heaven, both seen as part of the second day of Chorale alongside
Shepard's 1970 play, The Holy Ghostly.

There's a distinct whiff of patchouli oil for The Animal (You), a
compendium of Shepard's prose fragments knitted together by director
Simon Usher and actor Jack Tarlton, who performs alongside John
Chancer, Valerie Gogan and musician Ben Kritikos like some
pan-generational art-rock poetry troupe. From behind microphones, the
three men declaim Shepard's retrospective meditations on fathers, sons
and barefoot girls on trains who look like Tuesday Weld. Inbetween,
explosive litanies on the visceral power of rock music leap out with
abandon. All this converges as a rolling interior monologue with the
irresistible pull of the road at its heart in a piece of beguilingly
poetic rock and roll theatre.

The Herald, June 3rd 2014


ends

Comments

Popular posts from this blog

Ron Butlin - The Sound of My Voice

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

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) 1. THE STONE ROSES    Don’t Stop ( Silvertone   ORE   1989) The trip didn’t quite start here for what sounds like Waterfall played backwards on The Stone Roses’ era-defining eponymous debut album, but it sounds

Edinburgh Rocks – The Capital's Music Scene in the 1950s and Early 1960s

Edinburgh has always been a vintage city. Yet, for youngsters growing up in the shadow of World War Two as well as a pervading air of tight-lipped Calvinism, they were dreich times indeed. The founding of the Edinburgh International Festival in 1947 and the subsequent Fringe it spawned may have livened up the city for a couple of weeks in August as long as you were fans of theatre, opera and classical music, but the pubs still shut early, and on Sundays weren't open at all. But Edinburgh too has always had a flipside beyond such official channels, and, in a twitch-hipped expression of the sort of cultural duality Robert Louis Stevenson recognised in his novel, Dr Jekyll and Mr Hyde, a vibrant dance-hall scene grew up across the city. Audiences flocked to emporiums such as the Cavendish in Tollcross, the Eldorado in Leith, The Plaza in Morningside and, most glamorous of all due to its revolving stage, the Palais in Fountainbridge. Here the likes of Joe Loss and Ted Heath broug