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| Edinburgh : A&E : Theatre: Reviews |
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Theatre listings > Nightflights
'Nightflight, not quite, not this night…' Ann Louise Ross's deep husky voice boomed out from the stage of Dundee Rep Theatre last night, signalling the return of Marcella Evaristi, the uncrowned queen of Scottish playwriting, after a decade of absence from the Scottish stage. Nightflights is a musical play about reclaiming one's identity, exploring sexuality and communication. It is also a play about love, growing up and growing old. One can find in it echoes of Evaristi's earlier plays such as Scotia's Darlings, Wedding Belles and Green Grasses, and Commedia in the themes of leaving behind one's childhood and opening the door to a whole new set of sensations, of growing old and accepting one's mortality and one's need for other people. Above all, it is about magic. Set in a small Italian town, frozen in time (a glistening fairy-tale set by Geoff Rose), it follows several characters in search of a closure. Rosa (excellent Ann Louise Ross) is a middle-aged woman who spends her days hiding in her ex-lover's flat, patiently waiting for his return. Peter Kelly's George is a visionary writer in search of a story. Rodney Matthew's Massimo is a complex blend of vulnerability and determination as a young man in search of his wife (though his knack for singing is, sadly, less accomplished). Billy Mack gives a wonderfully laddish performance as Lorenzo, a maverick brother on the run from responsibilities. Their life stories are mirrored by those of the characters from the old fairy-tale about four dancing princesses. Meg Fraser, Susan Harrison, Frances Thorburn and Emily Winter are delightfully playful as the mischievous princesses in question, while Robert Paterson's Guido and Irene Macdougall's Isabella (watch for that wonderful tune 'I have loved you longer than the years I've lived not knowing you') are funny and moving in equal measure as their suffering parents. Their performances are niftily supported by Alexander West (touching as Bruno the Baker), Keith Fleming (Sebastiano), and Sandy Neilson's fine poised performance as Calma. And who can ever forget Andrew Clark's hilarious Pulcinella whose naughtiness sends ripples of laughter through the audience? The world where reality and magic meets, and where Hilary Brooks' fine tunes touch something in our own memories of the past, this play has a potential to be a truly entertaining evening. There is some genuinely good ensemble work, as well as fine performances from the individual actors, the set is visually pleasing, and the lighting is impeccable. All of this is spiced by some memorable sing along tunes. So why does it fail to fly? The only answer your humble reviewer can offer you is that this potential gem of a production has been hampered by flawed directing. The scene changes are often too rushed (yes, we know this is a long play, but let the magic of certain scenes linger a little bit longer), and the play seems to depend on the unlimited enthusiasm and allure of individual actors, rather than a steady directorial vision. Still, despite its flaws (or perhaps because of them), this production
offers a good night out, and a fine welcome back to one of Scotland's
most talented (and cheekiest) playwriting voices. Theatre listings >>
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