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Nothing, says ANDY HEDGECOCK, can rescue this undistinguished amalgam of ponderous melodrama and shallow philosophical speculation
Sweeney fiddles with conflict to great effect
Chris Bartter reviews Sam Sweeney’s Fiddle: Made in the Great War at the Tron Theatre, Glasgow
JAMIE BRITTON invites readers to visit 3,500 locals as part of a marathon artistic pub crawl
JOHN GREEN welcomes a valuable and incisive analysis of a world become hyperpolitical but without the mass movement institutions to represent it
JAMES WALSH is moved by a provocative and original take on the relationship between ecology and architecture, and a plea to work with, not against, the materials and minerals of our world
An immersive, participatory display by a queer Australian Aboriginal performer, and a rebellious unravelling of traditional Scottish dance
5/5
In 2009 Bellowhead’s Sam Sweeney was looking for a new fiddle. In luthier Roger Claridge’s Oxford shop he tried out a few and one of them, newly made by one Richard S Howard, seemed to “sing” to him.
Having bought it, when he started playing he noticed a label inside reading “Made in the Great War” and which also had the union flag, the French tricolour and the Russian imperial eagle printed on it. Intrigued, he started to research the history and that’s what this show is all about.
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