Tag Archives: Anna Orton

THIS IS MEMORIAL DEVICE

★★★★

Riverside Studios

THIS IS MEMORIAL DEVICE at Riverside Studios

★★★★

“The anecdotes and reminiscences are poetic in style and Higgins has an energy that rises as he slowly takes his foot off the soft pedal”

From 1983 to 1985, ‘Memorial Device’ was the best band that no-one’s ever heard of. Mysterious, post-punk legends, they hailed from (but never left) the small North Lanarkshire town of Airdrie, just a dozen or so miles East of Glasgow. They defined an era. Well, at least they defined the formative years of fledgeling fanzine journalist Ross Raymond (Paul Higgins). Forty years on, Ross has invited us to share his memories. To celebrate and resurrect the group that exploded in a haze of surreal glory before imploding again into the mists of unreliable memory.

Paul Higgins, in the utterly convincing guise of Ross Raymond, wanders onto the stage, slightly nervous at first, to spend the next hour delivering a mockumentary. Supported by press cuttings, recorded interviews, demo tapes and memorabilia he presents fiction as fact. Before long it becomes pretty impossible to differentiate reality from make believe. The gritty truthfulness of Higgins’ delivery recalls the time and the place perfectly, reinforced by Anna Orton’s minimal set that replicates the sort of back room dive that such a band would have rehearsed and gigged in. You can almost smell the stale cigarettes and musty beer fumes.

“This is Memorial Device” is unique and slightly odd. Adapted by Graham Eatough from David Keenan’s cult novel of the same title, it falls into a no-mans-land somewhere between drama and musical, lecture and parody. The anecdotes and reminiscences are poetic in style and Higgins has an energy that rises as he slowly takes his foot off the soft pedal. The further he delves into his memories, the more animated he becomes as he draws us into the nostalgia of a world he is building around him. He assembles the past band members from broken mannequins lying in a flight case as though resting in a coffin. When he dissembles them again to put them back, you know that he is mourning an age lost and gone forever.

 

 

Yet, for all that we are drawn into his enthusiasm (Ross Raymond is undoubtedly a die-hard fan), there are moments that drag. The use of video footage comprising a series of talking heads adds credence to the myth, but occasionally go on too long. If we were at home watching on our TV sets, these are the points at which we’d get up to make a cup of tea. Fortunately, though, Higgins is always on hand to pull us back in. The hypnotic effect is emphasised by the monotonic and metronomic music, composed by sound designer Gavin Thomson and musician Stephen McRobbie – the latter is the lead singer and guitarist of real life, Glasgow band ‘The Pastels’ who, unlike the eponymous combo, are still around.

It is testament to the writing and to Higgins’ performance that it is easy to think this is all real. We buy into the fabrication. Like the novel, this show will gain cult status. We almost expected to be offered merchandise on the way out, and the urge to look up ‘Memorial Device’ on Spotify was irresistible. We have been touched by the stories of these band members. Particularly of frontman Lucas Black, who suffered from having no short-term memory. Everything was written down in a little red notebook (his own memorial device) which Ross Raymond has kept for forty years. It is more than a history lesson; it is a dream-like journey into a music scene and its off-beat characters. Some died, some disappeared. But Higgins keeps them all alive. Even though they never really lived. That takes a particular kind of skill – one that Higgins and the co-creators of the show clearly possess.

It may not be to everybody’s taste, but I doubt it is looking for universal appeal. At curtain call, Higgins thanks us for coming to listen. The pleasure was all ours.

 


THIS IS MEMORIAL DEVICE at Riverside Studios

Reviewed on 26th April 2024

by Jonathan Evans

Photography by Mihaela Bodlovic

 

 

 

Previously reviewed at this venue:

 

ARTIFICIALLY YOURS | ★★★ | April 2024
ALAN TURING – A MUSICAL BIOGRAPHY | ★★ | January 2024
ULSTER AMERICAN | ★★★★★ | December 2023
OTHELLO | ★★★★ | October 2023
FLOWERS FOR MRS HARRIS | ★★★★ | October 2023
RUN TO THE NUNS – THE MUSICAL | ★★★★ | July 2023
THE SUN WILL RISE | ★★★ | July 2023
TARANTINO LIVE: FOX FORCE FIVE & THE TYRANNY OF EVIL MEN | ★★★★★ | June 2023
KILLING THE CAT | ★★ | March 2023
CIRQUE BERSERK! | ★★★★★ | February 2023

 

THIS IS MEMORIAL DEVICE

THIS IS MEMORIAL DEVICE

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GUNTER

★★★★

Royal Court

GUNTER at the Royal Court

★★★★

“With absolute trust between the performers, this is a tight and brilliant ensemble performance”

Gunter, is a well-deserved transfer for Dirty Hare’s Edinburgh Festival Fringe 2023 production to the Royal Court’s Jerwood Theatre Upstairs.

It is exciting and innovative theatre, wonderfully performed by three actors, and one historian who also plays the modern sound track live on stage.

As the audience arrive, the horrifying news film footage of the traditional modern-day, all-male Shrovetide Football match plays out on a screen – the brutal medieval ball game still played today.

The show is set in 1604 and is based on the true story of a Berkshire parish. Brian Gunter (Hannah Jarrett-Scott), the richest man in the village, kills the two young Gregory boys during the traditional and violent Shrovetide Football match. Because of Gunter’s power he gets away with murder. But when Elizabeth Gregory (Julia Grogan), the strong grieving mother, questions both Gunter and the law, the bad man shows his manipulative strength.

Gunter’s innocent daughter, Anne (Norah Lopez Holden), is suddenly bewitched, and of course, the witch hunt immediately points to Elizabeth and her female friends. So ensues the many trials of both Elizabeth – and indeed Anne.

As the story unfolds through song and physical theatre, the three actors each play multiple roles telling the tale of poor Anne Gunter. With absolute trust between the performers, this is a tight and brilliant ensemble performance – as the actors, wearing pristine white modern day football kits and the white stage set, gradually become covered in blood, mud, honey and gore.

Gunter has its quirk, as the historian Lydia Higman narrates the more historical facts – facts that are also typed in bold and lit up on the back projector. Sadly, Higman is unable to fill in the missing gaps – crucially that history does not know what became of Anne Gunter after the trials. There are no historical facts. Higman, even with her light touch, doesn’t add any value to the play by being on stage – apart from her rather fine musicality.

The piece is directed with beautiful minutiae by Rachel Lemon, who co-created the piece alongside Lydia Higman and Julia Grogan. There is slight overkill with the opening song’s repetition of the words “the bad man”, which is repeated throughout the show. We get it.

Gunter pertains to be feminist theatre, giving a voice to the unheard women in history whose stories were never told. And it is depressing that this is the same sorry story today, about every woman who has a bad man in her life and her voice is still not heard…. Not a lot has changed – and that is Gunter’s point.


GUNTER at the Royal Court

Reviewed on 6th April 2024

by Debbie Rich

Photography by Alex Brenner

 

 

Previously reviewed at this venue:

COWBOIS | ★★★★★ | January 2024
MATES IN CHELSEA | ★★★ | November 2023
CUCKOO | ★★½ | July 2023
BLACK SUPERHERO | ★★★★ | March 2023
FOR BLACK BOYS … | ★★★★★ | April 2022

GUNTER

GUNTER

Click here to see our Recommended Shows page