Theatre review: Gomaar Trilogy
Theatre review: Gomaar Trilogy

Edinburgh Festival Fringe theatre review: Gomaar Trilogy, reviewed by The Scotsman’s David Pollock ★★★ Somewhat inaccurately billed in the Fringe programme, this play from Ultima Thule isn’t one trilogy told in a single sitting, but three separate plays told on consecutive days. As such it might require a degree of commitment from the audience, but …

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Edinburgh Festival

Edinburgh Festival Fringe theatre review: Gomaar Trilogy, reviewed by The Scotsman’s David Pollock

★★★

Somewhat inaccurately billed in the Fringe programme, this play from Ultima Thule isn’t one trilogy told in a single sitting, but three separate plays told on consecutive days. As such it might require a degree of commitment from the audience, but even scratching the surface of just one instalment proves to be a rewarding experience. Ultima Thule, arriving at Summerhall as part of the Big in Belgium season, create puppet shows for young people and adults, and it’s this aspect of the production which feels the most resonant.

In what is essentially the first act of the wider play, entitled Headoverheels, there is the sense that something epic is being reached for. The setting is 20th century rural Flanders but the tone is apocalyptic, with the three performers and puppeteers clad in black dystopia-issue uniforms and stamping around on wooden pallets. They tell of Gomaar, born to a chastened village woman who has been separated from the love of her life and married off to an old peasant man whom Gomaar believes to be his father. Told in a measured pace, with some beautifully designed and operated puppets adding a real sense of emotional identification, that this chapter feels unfinished in isolation isn’t surprising.

Summerhall (Venue 26)

Published in The Scotsman

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