FIVE VISIONS OF THE FAITHFUL. To 30 August.

Edinburgh

FIVE VISIONS OF THE FAITHFUL
by Torben Betts

C+2 To 30 August 2004
10.20pm
Runs 1hr No interval

TICKETS: 0870 701 5105
Review: Timothy Ramsden 24 August

Vicious, visceral views of a fractured society.After a disappointingly flaccid attempt at writing in the school of Ayckbourn (his lunchtime Scarborough two-hander Her Slightest Touch) Torben Betts seems more on home ground with this ferocious playlet five-some. Here, he's closer to Howard Barker, though with more discipline. The plays resonate with tightly-controlled structure and forceful precision of language.

The opener, with two security guards, I'll admit passed by while I was adjusting my set expectations. But the storm gathers from the second piece, an historical pastiche in which new, controversial science makes waves in an idealised Victorian countryside. It's life as folly and force, weakness and power. The harshness of life's long-haul processes challenges the delicacy of privileged personal perception, where children play and adults twitter.

The naked brutality of life subsequently emerges in a prison torture scene, then as affluent yet loutish toffs ignore a beggar-woman's pleas for help. The only thing that might make a small amount slip on the inevitable path twixt cash-machine and wallet is the thought of appearing good in front of a sexy girl student.

Betts' final scene introduces the dilemma of Pontius Pilate unexpected star character this summer after his appearances in several versions of Bulgakov's Master and Margarita. Here he has to choose which prisoner to release, which to crucify, choice lying between a terrorist and a fool, both men of the people, both though differently - subversive.

James Dacre and his cast catch the intensity of Betts' language without overplaying their hand always a temptation in scenes of cruelty and nastiness. All that's lacking is the sense of unexpectedness which can mark out a decent professional production from most of the best of non-professional work. But this is grippingly played, the more so for the sonorities of Jonathan Styles' music, echoing the moods of oppression and distress. This tactfully underscores and intensifies the action, without imposing itself in the foreground.

And there's outstanding work from Kathryn Hamilton's beggar. In a play where Christian imagery courses through the script, she's called the Virgin Mary. There's an irony here worthy of the films of Luis Bunuel. This is the Fringe at its most purposeful and vibrant.

Jeremy Flack/Inmate, Enemy of the State/Tattoolad/Terrorist: Thomas Eccleshare
Squits/Screw/Studentboy/Comedian: Jay Miller
Caroline/Woman/Studentgirl: Alice Harper
Lizzie/Rebecca: Jessica Brooks
Thomas/Hangman/Suitman/: Benjamin Deery
Godfrey/Priest/Studentboy/Pilate: Sam Kitchener
Girl/Virgin Mary (Beggar-woman): Kathryn Hamilton

Director: James Dacre
Designer: Lucy Styles
Composer/Musical Director: Jonathan Styles
Costume: Ronojoy Dam, Agata Belcen
Student communicator: Siobhan Dodd

2004-09-03 11:41:18