We don’t normally do “theatre” or “musicals” at ITM but given the uniqueness of this show and the people behind it, Betty is making an exception – not quite sure what it was though…but that’s half the point here…
Devised by Cora Bissett and Swimmer One as a multi-media show (there’s the 4 nights’ performances at the Arches plus a wee book, download/CD and a “making of” film), it attempts to portray life in Scotland at 4am, that witching hour indeed, with the help of a selection of Scottish musical talent including Withered Hand, Emma Pollock, RM Hubbard, Eugene Kelly, Errors, Rachel Sermanni, Ricky Ross (!) and a few more, not all on stage at once (some just background music or co-writers), but in various stages of collaboration, which is I guess what makes it rather interesting.
The staging is quite unique, even for The Arches, audience either sitting on old bus seats (I could smell a few of my clients off them actually) or on even more relaxed cushions – a feeling of intimacy and with there’s a few hundred in, totally sold oot tonight…
There are several “spaces” of stage, three screens which project either what is on stage or other “found” material, and a few other props, the “mad end of night” taxi scene being one of the best of the improv moments, the bendy framework perfectly summarising the breakneck late taxi ride, with the customer contorting herself while he drives, before puking into her handbag in time to the music and driving, perfect..
Musically, or songwriteringly, though, it’s a bit low key, with a lot of strumming interludes, but also some real quality and some sublime moments.
A lot of the dialogue and staging is by David Grieg, one of Scotchland’s foremost people for doing stuff like this – Betty isn’t so much of a pro in this field but have enjoyed his stuff over the years.
It starts off rather clichedly, with a couple remembering where they first hit it off, so to speak, in some flat, on the floor, cross-legged, a bit stoned, so far, so what…
The subsequent scenes take you through the various “night moves” of different sections of the Scottish demographic – it’s sometimes a bit Glasgae-centered, but also takes in Aberdeen in quite a bit way, some Seagull action by Alan Spence set to RM Hubbard’s perfect strums, plus a guide to the seedy side of furryboots city by a flower girl, perhaps the best character piece of the night, ripping her punters off gently in Windmill Lane while enthusing over the city’s history – yes Betty has been there and done that…
There are some poignant moments and some funny moments, the internet date scene is around the longest but also gives some of the biggest laughs, and the ‘Werewolf of Pollokshields’ is biting (not sure if we are supposed to think it is our original couple now careworn and sick of each other), well it would be wouldn’t it…
A number of scenes involved acrobatics, rope and pole work (no stranger to it myself and they did very well), as well as group dancing and various other thespy workouts.
ITM is interested in music, though, so we get a good Emma Pollock rendition, some Swimmer One action, the early rave scene handled by Big Taj, a couple of sublime moments from Withered Hand, a plangent ‘Northern Star’ by Rikki Ross and a beguiling ‘If You’ll Dance With The Devil’ by La Bissett hirself, all smoky vocals and split skirt; don’t step on Betty’s pitch, ya bitch!
But seriously, Betty thinks that Cora should be pleased with the results and if she wants to look Betty up at 4 in the morning, well I’ll just be getting started…