The Guardian 30 October 2013
THE THREE framing arches of Jamie Harrison's set have a touch of the Looney Tunes logo about them. And there's a cartoon playfulness in the way he makes two spinning wheels suggest a bicycle, a fridge door suggest a kitchen, and a table-top globe suggest a geography lesson. But behind the clever transformations lies a darker theme. Dragon, a collaboration between Vox Motus, the National Theatre of Scotland and Tianjin People's Art Theatre, is no Bugs Bunny caper but a serious study of emotional inarticulacy after a traumatic loss.
IN the theatre is a stage. On the stage is a panelled room. In the panelled room is a wardrobe. In the wardrobe is a music box. Like Russian dolls, these boxes within boxes promise revelations, but provide only further layers of obfuscation. Just as the music box dulls the sound of domestic violence coming from a neighbouring room, so the bigger boxes divert us from the truth about life and death.
A Vox Motus review
LIKE Slick before it, the latest show by Vox Motus is one audiences love. A couple of weeks into its run on the Edinburgh Fringe, I spoke to a woman just out of the show who said she'd had to force herself not to laugh because she didn't want to miss any of the words. She'd loved every minute.
24 August 2010 Scotland on Sunday
A Vox Motus review
IF THE opening theatre production of the Edinburgh International Festival did nothing else, it challenged you to consider how you tell a story. To say the answer provided by New York's Elevator Repair Service was unconventional is an understatement. Having no interest in staging a regular adaptation of The Sun Also Rises, director John Collins challenged himself to use every last word of Ernest Hemingway's breakthrough novel, plus selected passages of first-person narration from Jake Barnes, a war-wounded US foreign correspondent in Paris.
By Candice Edmunds and Jamie Harrison. A Vox Motus review.
"THIS is how you imagine people suffer," says Martin McCormick's Cerberus to Meline Danielewicz's Claire. He's complaining because the young woman has gone into a state of such neurotic grief since the unexpected death of her boyfriend that it's as if she's playing at being bereaved, acting like she thinks people are supposed to act rather than just getting on with it.
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