Taking ownership of now
0 Writer and actress Phoebe Mcintosh as Layla
her friend and colleague Laura, who devours news about the Black Lives Matter movement, it’s only when Layla starts researching her ancestry – motived by the fact that she has the same surname as her soon-to-be husband – that the history
of slavery takes on a new and more immediate kind of relevance.
As a countdown to the wedding day begins, a white dress becomes an everpresent fixture, looming over events. Laura angrily relinquishes her role as bridesmaid and Layla starts to question whether marriage isn’t just another form of “ownership” – one that she will betray her ancestors by participating in.
Trips to her grandfather’s house to play dominoes are the closest direct connection Layla has to her decedents, some of whom are Caribbean and some of whom are Scottish. Visiting him helps her to reconcile a need to acknowledge the past, while avoiding becoming trapped by it, as Laura seems to be.
The fascinating questions and conflicts the play sets up could be interrogated further, but Layla’s final statement that she’s now “a different person, but not in the way you think” both subtly undermines the cliché of fairytale weddings and the misconception that there are simple solutions to complex issues.
SALLY STOTT
Until 27 August. Today midday.
As rain clouds gather, tensions rise and melodies soar in a multicultural neighbourhood, inspired by one in Glasgow.
The usual conflicts – which always seem to start with suspicion that someone else has been dropping rubbish – are exacerbated when a block of flats is evacuated by the police and speculation grows as to the reason.
While the exploration of petty-minded prejudice that follows might be familiar, the way in which the threewoman company, Novasound, tells the story of four very different female residents through music gives the piece the free-flowing energy of a concept album, albeit one that is performed on stage.
At the centre of the piece is Maggie, an older white Scottish woman who jumps to whatever conclusion suits her pre-existing prejudices.
When she ends up squeezed into a sari shop with her ethnically diverse neighbours, she finally gets to talk directly to the people she likes to criticise “behind closed doors”.
And, understandably, they’re not too impressed with what she has to say.
While vocalist Belle Jones’ rhyming lyrics rattle along, they don’t delve too deeply into any of the reasons behind fragmented communities, instead favouring an at times rather obvious critique of disaffected, white, working-class people suspicious of multiculturalism.
However, the well-observed little characters who dip in and out of the tale capture the feeling of a whole world outside – and one that Maggie can perhaps, over time, grow to embrace.
Audrey Tait brings some big beats, on drums, which move the story along even if, at times, it has the inevitably episodic feeling that comes from being composed of separate tracks.
With Lauren Gilmour on piano providing accompanying vocals, the songs are full of the energy of the streets and the people who might literally cross paths there but, until a disaster occurs, can often seem to lead separate lives.
SALLY STOTT
Until 26 August. Today 7:45pm.