| Ede Hud by Sharon Morgan |
| First presented in 2000 by Sharon Morgan |
| cast size:1 |
There is 1 review of Sharon Morgan's Ede Hud in our database:
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Ede Hud
by Sharon Morgan
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[print] |
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venue Chapter Arts Centre |
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March 30, 2001 |
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| I know one-person shows are cheaper to stage but there must be something more to the plethora of monologues in the past few weeks - Sharon Morgan’s Ede Hud is the latest in a season that’s included Saturday Night Forever, Marcos, Scarface, Pacific…and even the most talked-about production this year, Crazy Gary’s Mobile Disco, was basically a sequence of three monologues. I suppose in this age of uncertainty the idea of one person talking to us, telling us stories, exposing themselves, is symptomatic of our need for fictions and for a meaningful narrative, our almost desperate recourse to the past to help make sense of the present and, crucially, our constant search for self-identity in a postmodernist condition where it can seem that little is real and nothing is fixed. Ho hum. So is Ms Morgan’s short monologue any more than another confessional show where someone, who may be an actual person or may be an actor playing a person, tries to persuade us their tale is of more than personal interest ? She is, after all, an extremely engaging and attractive performer, for some years one of the best actors in Wales, and she can manipulate us as she wishes. And Ede Hud (Magic Threads) is in many ways a performance, full of theatricality, of winning smiles and modest dances, written in a highly stylised lyrical style (with her English version delivered surprisingly well by Annest Wiliam in simultaneous translation) with great flurries of words, paced and staged with effortless expertise in Catrin Edward’s production. There is, however, a passion and an honesty that convinces us that this is not simply a calculated dramatic interlude (at around 40 minutes, it is too short - we cut off just as maybe the memories get too painful, but it is as if history ended). It is not only the sensitive reclaiming of her roots, the popular songs and patchwork quilt, the laughter and the fashions, that could all be so romantic but for the sharpness that sets the sweetness off, because beneath her affecting family history is an angry and sensitive concern for women’s suffering, constraints and invisibility. |
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| reviewer: David Adams |
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