MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
Latest editorial
Nothing’s lost in classic play’s translation into the physical language of ballet
[Andy Ross/edinburghfestival.list.co.uk]
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
KENNY MacASKILL relishes a fictionalised account of the life and death of the principled Irish anti-colonialist, executed for betraying his English imperial masters
FIONA O’CONNOR admires an ambitious first novel that loosens South Africa’s rainbow collective to examine the racial tensions within
Aussie mining corporation murder, Liverpudlian ex-cop amnesia, a naive vigilante tries to reset capitalism, and the riddle of the dead psychoanalyst
SYLVIA HIKINS is persuaded by an entertaining play that the true miracle of Lourdes would be for attitudes toward disability to change
Scottish Ballet
The Crucible, Edinburgh
★★★★
“Words often fail to tell us how we feel and movement can do that,” claims composer Peter Salem. Choreographer Helen Picket has chosen possibly Arthur Miller’s most powerfully emotional play for Scottish Ballet to test that theory.
Picket’s narrative ballet faithfully follows Miller’s plot dealing with the 17th-century Salem witch trials in a society trapped in its web of moral fundamentalism. Even an audience unfamiliar with the play would easily follow the action.
The music is equally programmatic, with repetitive menacing rhythms only occasionally moving into sometimes plaintive lyricism to mark the more intimate moments.
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