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Wherefore art thou, Sergio?
ALAN CAIG WILSON is hypotised by a compelling and elusive show about love and death
NAKED NARRATIVE: Daniel Goldman in Divine Invention
[Adam Lenson]
KENNY MacASKILL is disappointed by a polemical, rather than factual, account of the Lone Star State and its political path since the civil war
PAUL DONOVAN is fascinated by the lives of Charles and Mary Bagot, and the insight this biography shines on the morals of pre-Victorian society
GORDON PARSONS appreciates fine performances and a feel for ambiguity, but misses the music of the dialogue
DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
Divine Invention
Summerhall, Edinburgh
SERGIO BLANCO’s one-man show Divine Invention is part performance lecture, part fictionalised autobiographical memoir. For 65 minutes it draws us in, folding and twisting us through the fabric of its truth.
A man sits at his desk surrounded by props which we read as if reading a film-screen. A notebook, an art-card of a Francis Bacon painting, a microscope (mystifying, and ultimately ultimately enlightening) — objects that encourage us to draw connections.
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PAUL FOLEY revels in the coolest, most joyful piece of theatre you’ll get this summer
GEORGE FOGARTY is dazzled by a breathtakingly skillful puppet version of Shakespeare’s greatest love poem
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship