Theatre Venue of the Month: Macrobert 2011

FEATURE BY PHIL GATT
ORIGINALLY PUBLISHED IN THE SKINNY 03 OCTOBER 2011

Macrobert's October programme is a strong reminder that the Central Belt has more than just two cities: touring companies, including the controversial David Hughes Dance and Icarus Theatre Collective, make it a regular stop on their trips around the country, while it accommodates homegrown talents such as the Stirling and Bridge of Allan Operatic Society, who promise an evening of Musical Showstoppers. With one of the best medium scale auditoriums in Scotland, Macrobert has always attracted companies with a international reputation, even as it retains a close connection with local performers and has developed a reputation for serious investment in future audiences.

From Hughes' Last Orders through to Icarus' bracing and brutal reinvention of Macbeth, Macrobert has lured these companies away from the M8 corridor for the benefit of Stirling's audiences. Last Orders is certainly the most discussed choreography of the year: during the Fringe, it split critics and audiences with the same intensity as more famous controversies. The anger of responses which accused the National Theatre of Scotland and the Traverse of insulting the audience suggests that this Al Seed production has, at least, a ferocity to excite emotions. More positive critics have noted that the skills of the performers is never in doubt and that making a work about cannibal Sawney Bean was never supposed to be an exercise in expectations fulfilled in the first place.

Icarus Theatre Collective, who work with live musicians and rescue Shakespeare from traditional interpretations through a visceral mix of styles, add to the thread of violence and destruction that runs through the month's bill. Kes, the latest production from acclaimed Catherine Wheels, revisits the famous film and novel and reflects on the brutality of comprehensive education in an uncaring world; Sell A Door get back to nature with Lord of the Flies. Whether this programme is a happy accident of touring timetables, or a representation of how the credit crunch is encouraging a new sentiment in Scottish theatre, Macrobert is offering chances for considering the nature of human violence as part of its forty year anniversary. There's even an Occasional Cabaret about the Apocalypse.

Fortunately, there is more than just bloodshed. Fringe hit A Conversation with Carmel is an intelligent mixture of community and professional dance, starring octogenarian dancer Diana Paine-Myers and gently reflecting on age and memory. Scottish Opera show their lighter side with celebrity satire and burlesque influenced dancing in Orpheus and Eurydice, and Vanishing Point's companion to Interiors, Saturday Night, sees the company get back to their intimate best. There's even an aerial drama coming up from Brighton, Mindwalking, which fuses script and acrobatic display to look at the impact of Alzheimer's on a family.

Macrobert has traditionally been between two worlds: whether competing with Glasgow or Edinburgh venues, or providing something for Stirling audiences, it has never flinched at supporting new, imaginative performance. 

Macrobert and Equality

A few years ago, I went to an event in The Arches which hoped that Scotland would become "a leader in equality." Never mind the irony of such an aim - the world does need someone to lead the charge to inclusion, as there are some pretty nasty nations copping an attitude - there's a slight worry that the Conservatives in England and Wales are proving more progressive in regard to same sex marriage than the devolved government in Scotland. There's probably an intrinsic problem in the philosophy behind equality legislation: grouping different minority interests together doesn't mean that the groups will share any agenda, and the move towards equality can mean protecting certain minorities from others. It's lucky that there are dynamic, thoughtful people involved in the dialogue - hopefully, most of them won't become politicians, but stay in the more fertile area of art and activism. Meanwhile, a couple of new art works are celebrating LGBT History Month. Up at the macrobert, the first Cultural Commissions are being presented. Sandra Alland (from Zorras, I believe) will present videos by participants from her Queer & Trans Deaf and Disabled Video Mentorship Project, an excerpt from her upcoming documentary on LGBTI Deaf and disabled artists in Scotland, and a Q&A with the filmmakers.. Lucy Holmes-Elliott (out of Lock Up Your Daughters) will display a series of illustrations and photos that form an exploration and celebration of queer Scottish Identity 6.30pm on Thursday, 28th February 2013 macrobert arts centre, Stirling This is followed by an event that does show that some minority concerns do overlap: Celebrating Intersectional Equality. Over to the press release for clarification, I think. Many LGB and T people have intersectional identities. For example: we are also disabled and/or from minority ethnic backgrounds. Our needs can be complex and we can experience unique barriers to accessing your services. Over the past five years there has been a steady increase in intersectional specific work in Scotland. Many organisations have been doing their bit to make their services more inclusive of people with intersectional identities. We will be celebrating this by exchanging stories about our work and building a timeline of intersectional work in Scotland. This timeline will be put on-line so that we can all share our intersectional work more easily and encourage each other to continue to include people with intersectional identities. We will also be listening to personal testimonies and exchanging ideas about how to make your service more inclusive of all LGB and T people. Everyone is most welcome to bring intersectional resources to distribute.  9.30am - 2.30pm on 28 February at macrobert arts centre, Stirling

Let's Dance in Stirling

Over the past few years, The Macrobert in Stirling has developed a serious programme that competes with the big theatres of Glasgow and Edinburgh. Combining national touring companies and a bunch of exclusive to Scotland productions, it is impossible to ignore the venue, much as I wish it were a little closer.

I am especially exercised by the realisation that they are having a dance festival in March. The rather wonderful  LaNua begin the week, performing  enso outdoors on the University of Stirling campus. Since enso is inspired by the sparse elegance of Zen art, it fits nicely with the University’s Japan Week.That one is free, too.

Then 2Faced Dance are bringing the Scottish première of Out of His Skin. A few years back, 2Faced were a showy, spectacular crew that mixed hip hop bravado with a more theatrical presence, but artistic director Tamsin Fitzgerald took them further into a darker, more narrative and thematic driven journey. Still regular Fringe favourites, and not adverse to busting the odd sharp move, they look more dangerous, and intrigung, every year. This one's about extremity, too.

Then, another Scottish première: balletLORENT’s  Rapunzel. Text by Poet Laureate Carol Ann Duffy, music by Doctor Who composer Murray Gold and costumes by Michele Clapton, award-winning designer for HBO’s Game of Thrones: balletLORENT have always been able to match the elegant, the sensual, the sinister and the accessible. Reworking this fairy-tale makes sense for the company last seen in Scotland reinventing erotic cabaret in The Arches.

Finally, there's a Big Dance Day on Saturday 23rd March. I'll let the press release explain that one, while I sulk about being in Glasgow that afternoon.

"Kicking off with the classic Bedknobs And Broomsticks on the big screen at 11am, other highlights include have-a-go Scottish Ballet workshops, a ceilidh marathon, the Scottish premiere of Scottish Dance Theatre’s Innocence- a unique theatrical playroom for ages 7 and under- and the Community Dance Showcase, an evening celebrating the rich variety of dance created by Scottish Community companies, including Natasha Gilmore’s inter-generational Ultra Violet and macrobert’s Dance Artist Chrissie Jamieson-Ardill’s Rabble."

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Full Festival Listings
For tickets to all events, call 01786 466666 or book online at www.macrobert.org/letsdance
LaNua
Enso
Wednesday 20 March 2:40PM Free but ticketed Pathfoot Building, University of Stirling

2Faced Dance
Out Of His SkinWednesday 20 March 7:30PM £7 / £5.50 (Friends, conc, students & schools)

balletLORENT
RapunzelFriday 22 March 7PM £11 /£9 Friends/£8 Students/£38 Family of 4

Big Dance Day
Saturday 23 March 11AM – 7:30PM
11am - 1.15pm FILM: Bedknobs and Broomsticks (U)
12pm - 1pm WORKSHOP: Innocence workshop for ages 7 & under*
12pm - 3pm WORKSHOP: Drop in Arts and Crafts for the family
2pm - 2.50pm LIVE: Innocence for ages 7 & under
2pm - 3.30pm WORKSHOP: Scottish Ballet workshop for ages 8-12*
4pm - 5pm WORKSHOP: Ceilidh Marathon for all ages*
5pm - 6.45pm FILM: Cirque de Soleil (PG)
7.30pm - 9.00pm LIVE: Community Dance Showcase
*Please note, latecomers to workshops may not be admitted

Dyad presents Austen's Women

My fascination with Jane Austen came about when I decided that Emma could provide me with a guide to contemporary manners. Like many of my delusions, it lasted for most of an Edinburgh Festival, and saw me doing a pitiful impersonation of Mr Darcy while making claims for the importance of restrained conversation and the value of "good language" over "important content." Right in the middle of this period, I caught Austen's Women, directed by Guy Masterson and waxed lyrical about how it was "Immaculately conceived and performed with precision by Bex Vaughan...  an exercise in how traditional values - good words, simple sets, strong acting - can better radicalism."

Those who knew me at school would be doubtless amused by my conversion to Jane Austen. When I studied it back then, I spent most of the year moaning about its lack of political relevance. 

Rebecca Vaughan's script uses Austen's various novels to weave a compilation of a nineteenth century woman's meditations on femininity: directed by a Fringe veteran, it has the necessary populist edge without becoming sentimental or precocious. Using fourteen of Austen's characters, and throwing in surprises from her lesser known works, the show exploits Austen's range: from irritating teenagers through deluded romantics to mature-minded bores, Austen catches recognisable detail, rarely descending into outright caricature. 

Each speech explores a different angle on the status, plight and ambition of women, building to a comprehensive and multi-layered conclusion. Even stripped of their context, Austen's elegant use of irony shines, while the occasional cutting turn of phrase reveals a subtle mischief beneath the coy prose. 

Vaughan and Masterson's adaptation of her most famous heroines and villains studies both the depth and intensity of Austen's interests. As my younger self recognised, she was never that interested in the impact of social upheaval, but the conflict between passion and social propriety is never far from the surface. 

While it might seem a conservative production - the costume and set make it clear that this is a period piece - it allows the script to dictate the interpretation.  A joy for anyone who cares about language, it is a welcome addition to the season at Macrobert.

Feedin' Trolls: Two Gareths face off

GKV: Theatre just a load of posh crap. 
GN: Theatre Critics are just wannabe artists who don’t have the balls to do it themselves.

Some of it is, sure, but the stuff I see is mostly thrilling and brilliant and great. Theatre questions, entertains and moves you in ways other forms of media can’t. The days of silly wigs and using binoculars from the posh box are decreasing dramatically, especially in Scotland, where I think we have some of the most exciting and interesting artists making work - work that can be enjoyed by posh folk and mere plebs alike!

GKV:  Stirling is a rubbish place to perform. 
GN: GTFO!

Stirling is a brilliant place to perform, make and develop work.  It has a large and fantastically diverse audience including a great university crowd. In the macrobert art centre, it has a champion of exciting and innovative work, with a support structure that allows artists to take risks and develop their own interests and passions. Plus the facilities are fantastic, the fresh air is great and the chippy in Bridge of Allan serves a cracking battered cod.


GKV: Classical music sucks. 
GN: U suck!

GKV: You are giving bullies a chance to justify themselves. 
There’s much more to trolling than just being horrible. There’s activism trolling (trolls with a specific political or ideological agenda), white knight trolling (trolls who claim they are on a crusade for good) and cannibal trolling (trolls who target other trolls) to name but a few. Each form of troll has a wide array of reasons for doing what they do and an infinite number of tactics to achieve their aim. Do Not Feed The Trolls examines many forms of Trolling both in the online world and in ‘real-life’. It doesn’t try to say trolling is ‘good’ or bad’ but rather examines the psychology behind it. Why do humans have an innate ability to take pleasure in others misery? How does online anonymity change the lengths we’ll go to do this? And how do we deal with this when the online world is becoming increasingly ever-present?

One Troll I came across said he ‘teaches people to wear a helmet by battering them over the head with a baseball bat’. It’s not my preferred option of teaching but there’s something in it.

GKV: Your cast has no talent. 
GN: My cast comprises of two Royal Conservatoire of Scotland students currently in their fourth year of the Contemporary Performance Practice course and four former macrobert youth theatre members who have just entered their first year of university.

They are some of the most diligent, provocative and exciting theatre makers I have ever worked with. I’ve pushed them to take artistic risks in the show and they’ve pushed me back twice as hard. They have bags of talent, an abundance of talent, So much talent they could setup a talent shop!

Well, in any case I’m fond of them. And after seeing Do Not Feed The Trolls I think you will like them too.


GKV: The audience will be bored. 
GN: We’ve had many reactions to Do Not Feed The Trolls and ‘boring’ has never been one. Far from it. 

It’s a darkly humorous show that knots people up emotionally and leaves them reeling over what just happened. Reactions to the work have always been visceral and I hope that continues. Half of the fun is experiencing how your fellow audience members react to the material. Audiences tend to be quite vocal during the performance and that mentality feeds itself, increasing the laughs, the oo’s and the ah’s more. The audience becomes an integral part of the piece and I think that’s an exciting thing to experience.


GKV: Stewart Lee's not funny 
GN: Neither is your mum.

Gareth K Vile (writer) 
Gareth Nicholls (Director)

Do Not Feed The Trolls

It's no surprise that work of a professional quality is emerging from the National Theatre of Scotland's Exchange event - the driving force behind this annual jamboree of youth theatre, Simon Sharkey, insists that just because it is being made by young people, it doesn't need to be simplistic or safe. Do Not Feed The Trolls is the first of 2012 Exchange's performances to emerge outside of the festival: a controversial success, it hammers the cliched expectations placed on youth theatre by following the twin inspirations of comedian Stewart Lee and the fluid structure recognisable from the radical Belgian theatre that has had such a lasting impact on recent Scottish drama.

Appropriately for a show aimed at, and made by, young people, DNFTT is preoccupied by a recent phenomena. Internet banter, only five years ago concentrated in chat rooms and now transferred to the comment box on Facebook, has always had its darker contributors. Encouraged by the anonymity of the web, trolls post abusive comments. DNFTT is a sharp condemnation of these characters who exist only to tease and attack.

Far from being an overtly moralistic diatribe, the devised performance acknowledges that the line between trolling and sincere comment is thin: the cast admit their pleasure in watching accidents on YouTube, spreading rumours and winding each other up. In an instant, a victim can become a tormentor. While the troll is condemned, a clear connection is made between real world bullying and on-line skullduggery.


Theatre is pretty enthusiastic about tackling big questions these days - the proliferation of scripts about the net back in the Fringe 2010 might have reflected cultural change  but the disgust of the authors might have been fuelled as much by the threat from this relatively new medium as any moral high ground. DNFTT represents the thoughts of a generation raised with the net. They accept it as part of life, and even the verbal violence is simply another aspect of on-line activity. It is addressed and condemned, but not without an awareness of their own complicity.

Trolling is recognised in terms of a more general cultural attitude, that enjoys a bit of rough and tumble. Taking Stewart Lee's extended rant about "people falling over" - unlike Lee, the cast admit they like it - they connect popular comedy traditions with the contemporary taste for on-line aggression. The version seen at Exchange relied heavily on Lee's words, but drew fresh conclusions from his meditation on why that bloke out of Only Fools and Horses taking a tumble is so hilarious. Tragedy is played out as entertainment. It's unsurprising that the audience becomes inured against it.

It's in the honesty and energy that DNFTT comes up most impressive. Making drama about the net is difficult - it's a medium in its own right, that has a very different aesthetic to theatre. Wonderland tried it at the Fringe, and had the same preachy anxiety as the drama made by Linda La Plante in the early 2000s (although it didn't have La Plante's stunning ignorance of how a computer actually works). DNFTT consciously undermines its own moral message  - either it is hypocrital or simply too tough to maintain - and expresses a genuinely young but still intelligent attitude towards the way technology impacts on the individual and the community.

Macrobert, Sat 06 October 2012 - 13:00PM

Price: Tickets £4 Under 26 / £6 Over 26