The Lover – Update

THE LOVER – adapted for the Stage and co-directed by FLEUR DARKIN AND JEMIMA LEVICK is based on the novels by Marguerite Duras runs at the Royal Lyceum Edinburgh until 3rd February.

The desperation of a family set adrift in a foreign country when the head of the household dies and they are sold worthless land, underpins this dark coming of age tale. Like many ex-pat communities, they have divided loyalties. ‘We were all born here,’ Indo-China, Vietnam, the girl says several times. Born here, but not of here and therefore not an acceptable match in the eyes of her lover’s father.

The lover of the story is an only child and his wealthy father’s heir. He cannot find the strength to throw over his culture and marry his love.

The dancing from members of Scottish Dance Theatre was lyrical, sublime and frenetic as the script demanded. The voice soundtrack was occasionally inaudible in the Circle.

Leila Kalbassi’s set was a delight. Having been in a couple of eastern countries including Vietnam, as a tourist, I would have recognised the country from the set.

Tickets here

 

The Lover – Theatre Made in Edinburgh

The Lover – Theatre Made in Edinburgh is an exciting collaboration between the Royal Lyceum Theatre, Stellar Quines and Scottish Dance Theatre. It opens at The Lyceum on Saturday 20 January 2018 and the run continues until 3rd February.

Tonight, I was privileged to join some of the cast and the directors for a behind the scenes glimpse of theatre in the making. Being a patron of the Royal Lyceum Theatre comes with some wonderful opportunities. What could brighten up a dour winter afternoon more than the chance to hear what the director is thinking, see what the dancers are doing and discuss what it’s all about with other like minded folk?

Not much, methinks.

1930s Vietnam is the setting for The Lover based on the autobiographical novels by Marguerite Duras and adapted for the stage by Fleur Darkin and Jemima Levick. Looking back down the tunnel of memory, how accurate is anyone’s recollection? Duras claimed to be unsentimental. Do we believe her? Was she exploited? Did she exploit?

Amalgamating text with a haunting soundtrack and contemporary dance opens up so much. The tiny section of the production seen tonight in rehearsal was tantalising. I’ve got my ticket. Get yours here:

https://lyceum.org.uk/whats-on