Arches Theatre Festival 07: Amada/Mother, Father, Son

The Arches Theatre Festival '07 kicked off with the two 'Award for Stage Directors' winning productions: Amada and Mother, Father, Son. With this prestigious award, now in association with the Traverse Theatre and the National Theatre of Scotland, come high expectations. Both productions more than measure up.

Amada, based on author Isabel Allende's short story 'Simple Maria', tells the life-story of a woman who becomes 'simple' after being involved in an incident involving a train. The production changes what is, on paper, a very sweet and simple story into an epic. In the course of the 70-minute play we are given a smorgasbord of theatrics: ensemble acting, silhouettes, dance, musical theatre, physical movement, film, projections, model work and puppetry. It has an 'everything but the kitchen sink' feel to it.

Though the director, Cora Bissett, an accomplished performer in her own right, is able to use each of these effectively, their combined use often feels a bit overwhelming and at times drowns out the very competent performances given by the five cast members. Wonderfully strong performances by Monica Bertei (as Maria), Anita Vettesse and Harry Ward (both playing multiple roles) are given, especially when engaging the audience with their energy and strong characterisations.

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The second piece, Mother, Father, Son, could not be more of a contrast. A stationary set, quiet character acting and a solid script are what are on offer from director Rosie Kellagher.

The play follows the relationship between two parents and their unseen Son. Son, who's been locked in a room for years, only communicates with his parents through a series of knocks. When strange noises are heard and notes start appearing from under Son's door, the parents start to question what might be happening on the other side. To explain more would give the game away!

In what seems like an amalgamation of Harold Pinter and David Lynch, Hugo Plowden's script has sinister moments ensuring awkward laughter, creating unease and making one actively question where it's all going. The script could benefit from a few cuts, cleaning up some repetitive dialogue, and the ending doesn't quite deliver the resolution promised. Nonetheless, the script tells a fresh and engaging story.

Both Ann Scott-Jones's 'Mother' and Peter Kelly's 'Father' are a treat to watch. Showing comfortable routine and understated bickering, the success of the evening hinges on the solid performances that the direction elicits from them.

Much seems to be made of the fact that this year's award has gone to two women.

Rather than focusing on their gender, more should be made about the competent work they have achieved. I for one would like to say that we have found two fresh new voices that have proven they are more than capable of offering Scotland exciting and engaging theatrical work.