Meta-theatre, voyeurism and the vogue for Lecoq
Nicky Woolf's second Edinburgh diary.
August 9. Day two.
The day dawns with rude punctuality. I am not, by inclination, an early riser, but by seven the sun is shining through the open window on my face with tropical brutality: the city is glorying in a heatwave. I rise mostly in order to stave off sunburn, and head for the Pleasance.
The first show I see is a real gem. Greenlight Theatre's Seeing Double is really two plays, Double: Vision and Double: Figures, running simultaneously with a video-link between the two, and I begin my day with the former. The shows together are a meta-theatrical farce about the collapse of an ambitious production of Macbeth, and it is riotously funny and tightly performed, so I book for the next day's production of Figures, to complete my set.
Next door to it, at the Pleasance courtyard, is a low black construction which houses the Peep stage, set up so that the audience sits in booths surrounding the stage in the middle, separated from their fellow viewers by curtains and from the performers by one-way glass; the sound comes over headphones. There are three short (20 minute) shows that play here, all about sex and sexuality, and I see the middle show, 69, by the Royal Court's Leo Butler. It is immaculately directed, production values are clearly very high and the voyeuristic effect works uncomfortably well.
My two shows for the evening are both by companies that have been formed out of the Jacques Lecoq drama school. Lecoq (childish snigger) is famous for physical theatre, focussing on dynamic movement and choreography, and is also a famously brutal learning environment: ninety students are accepted for the first year of the course, but sixty of them have been culled by the end of the first year. Lecoq is very much in vogue at Edinburgh this year; there are lots of shows by Lecoq graduates this year. I chose two of them for my first evening.
Edinburgh, built on a series of closely-packed and steep hills and hillocks, is a multi-layered city. From Cowgate, a valley street, you can look up at Nicholson, one of the city's great thoroughfares, crossing about fifty feet above you on an ancient stone arch, the buildings whose doors open onto it five stories above descend chaotically to the lower level, one city on top of another.
It is the Underbelly that takes the best advantage of this labyrinthine civic architecture. Its Cowgate headquarters is a bewildering warren of tunnels and dank chambers buried in the bowels of the city, and my first show, Captain Ko and the Planet of Rice, is in one of its deepest and dankest. This vaulted dungeon is an apt setting for a deeply, deeply surreal performance about the end of the space race, science fiction, and memory loss. The audacity of the conception is breathtaking, and the effect is a show whose overall effect is a little bit mind-altering; at times too weird, but also at times strangely beautiful. It leaves me feeling a little winded, so I gulp a restorative libation at the Library Bar at the Gilded Balloon, and then head to the second show of the night.
This is Centralia at Zoo Aviary, a charming character-comedy about the last three inhabitants of a town in Pennsylvania that is beset by a slow-burning seam of coal that runs beneath it, turning into a superheated nightmare of smoke and yawning infernal chasms. It is a wonderful play, the characters are lovingly designed and there are some fantastic physical set-pieces, just in case we had forgotten what Lecoq training is all about; but the most amazing thing is that the story of the town of Centralia is entirely and dramatically true.