Only three shows today, Friday 11 August…
The Man on the Moor, written and performed by Max Dickins is a fascinating back projection of drama onto reality. In 2015, a body was found on Saddleworth Moor and the police appealed for information from anyone who knew him, publishing CCTV pictures in the press. The body turned out to be that of one David Lytton, but Dickins’ character in this one man show is convinced for a time that the pictured man is his father, who had left his family and gone missing twenty years earlier.
This device enables Dickins to explore the sense of unrequited loss those who are left behind by the missing (or “unmissed”) feel, as well as the subsequent struggles they have with their own identity.
The Man on the Moor runs until 27 August at Underbelly and is highly recommended.
Beethoven in Stalingrad took its text from letters written home by German soldiers in Stalingrad at Christmas 1942. The letters were confiscated by the Third Reich as they were almost all negative about the war, so never reached their intended recipients. Jesper Arin recited selections from the letters while gradually dressing in more and more pieces of soldier’s clothing which lay about the set as if abandoned; throughout, Ian Peaston put his electric violin through pedal and laptop effects to gradually build a rendition of a Beethoven Piano Sonata at the climax of the show, as one of the letters’ author reported he had heard. Interesting and bold theatre.
Several hours and drinks later we saw Trumpus Interruptus; The Impeachment of Donald Trump, presented by Mea Culpa Theater Co. In last year’s Fringe, there were many references to Donald Trump as being your worst nightmare; now that the nightmare is incarnate, it must be very difficult to satirise. These guys did a pretty good job on their penultimate show of the run, especially the actor playing the multiple parts to his partner’s Trump.