NUTS COCONUTS. To 3 September.

Edinburgh.

NUTS COCONUTS
by Jordi Milan translated by Ben Rowdon English adaptation by Richard Collins-Moore lyrics adapted by Joan Vives.

Out of the Blue Drill Hall Dalmeny Street To 3 September 2005.
Runs 1hr 35min No interval.
Review: Timothy Ramsden 18 August.

Lacking quite a lot in quite a lot of areas.
In the age when post-show discussions have become common, Jordi Milan's La Cubana has come up with a new form, the post-show show.

This version, derived from Milan's original, offers brief variety turns from an alleged company, the 'Gibraltar Follies'. That (soon) over - and don't read on if you want to see this show without knowing in advance what happens - the cast removes the scenery. And that's all folks.

Somehow this claims to be "a homage to all those travelling theatre companies past and present whose unflagging efforts make it possible for people to see live theatre anywhere and everywhere."

Thsi claim in the programme is presumably to be taken with a ton of salt, along with what happens in the show. J B Priestley's Good Companions or Lost Empires might claim to be such a homage, but this tacky presentation with its cliched idea of variety companies as composed of camp, bleached-hair chorus boys and backstabbing bitchy women, is simplistic and generalised.

Pre-publicity suggests the performers are relaxed about their work's political incorrectness and lack of any real point. Maybe they are as unconcerned about the lack of much evidence of ability in their performances. Yes, they're OK, but on a simple level. Their 'star' clips syllables in lyrics as no leading performer would do. Their dancers' steps are upstaged by the costumes (quite a mini-Busby Berkeley parade at times).

Either they have flatly metallic voices or they are amplified long after the staged section of their show. Any self-respecting artist in the tradition they attempt to reflect could have made themselves audible and clear without such technical support.

But the real case against the company is the lack of judgment in thinking there is either wit or originality in what they say and do. Maybe, of course, they don't think this. Perhaps they are aware how dim and derivative everything they do actually is.

So, Patrick Barlow, of National Theatre of Brent fame, could have come up with something far more inventive, using the audience more imaginatively than the audience participation here, and still have created a sense of wonder at the type of performance to which this claims to be a "homage". Ken Campbell could have dreamed up more ideas while falling asleep.

There's just one purpose this show has in the Edinburgh International Festival. Anyone who found the prospect of the super-skilled Japanese production offputtingly austere, could be sent to Nuts to see how its sound and fury signify virtually nothing, while the disciplined immobility of No drama is paradoxically far more moving.

Diana Diammond/Candy Love/Dorothy: Kim Manning.
Paulina Sao Paulo/Paquita Palmer/Lolita/Tracy Maria: Nuria Benet.
Shelly/Flossy ADams: Helen Cartwright.
Rosy Power/Gladys Serranno-Smith/Anja Gotz: Di SHerlock.
Marijke/Alice Calamaro: Nicole Bahm.
Phillip/Sandy Kay/Igor Romanov: Caspar.
Benny/Barry/Ronny Stewart: Andrew Stuart Marshall.
Frankie/George McPherson: Richard Collins-Moore.
Rene/Paco Williams: Carlos Blanco.
Teddy Lopez Edwards/Johnny Perez: Ferran Audi.
Mohamed El Ahdd: Jose L Piqueras.

Director: Jordi Milan.
Designer: Castells Planas.
Lighting: Oriol Puig.
Sound: Jaime Garcia de Vinuesa.
Musical Director: Joan Vives.
Choreographer: Leo Quintana.
Costume: Cristina Lopez.
Make-up: Cesar Menacho.

2005-08-19 11:27:59