UWS do Behaviour 2012
Haircuts by Children 28/4/12

by Louise Milne

The location was the trendy and boho Alice Rocks hairdressers in the West End of Glasgow. A group of 10 year old kids cut people’s hair for free after only a week’s training. The shop was mobbed all day and brave individuals let the youngsters creatively cut, colour, shape and shave away.

The central theme of this performance is trust, allowing a child to have power over an adult and to cut hair. One of the main things we used to identify ourselves from others is our hair and it’s what makes us unique from others.

An all-round fun day for those who partcipated.

7 Day Drunk 27/4/12

by Louise Milne

Bryony Kimmings is utterly fantastic in this vibrant, glittery and fabulous performance. Her charm, quirkiness and spontaneity all make this act so totally unique and brilliant. Kimmings created this performance with the help of a seven day experiment where she was intoxicated on a daily basis under the supervision of neuroscientists, pharmacologists, sociologists, a filmmaker and a team of IT experts. The hypothesis being, can alcohol affect creativity?

Kimmings also uses the audience to help prove this phenomenon and asks for the help of a sober individual that she gets ‘tipsy drunk’ by the end of the performance. As she talks us through her experiment and shares fond memories of her youth she sings to the audience and invites them to her ‘party’ on stage.

Kimmings remains sober throughout her performance, but it is part of the act to pretend she is drunk. The video footage from the experiment was equally funny and the show ended with a stage party for all the audience.

Definitely have a drink beforehand to join in with the drunken theme.

Fatherland/Motherland 27/4/12

by Louise Milne

Nic Green delivers her deep and thought provoking piece which is inspired by the absence of her Father during her life. Green involves the male members of the audience in this with the use of a script and also gets a few of them to assist her with empty memories from her childhood, asking one man to give her a piggy back, another to wash her face and one to dance with her. The performance was accompanied by Celtic music and the three man band was brilliant, the drums and the bells adding to the patriotic sense of identity which was integral throughout.

Green then went onto do a tribal dance which is known as the terra firma; the ancient warrior women painted and wild complete with blue tribal paint, the audience were captivated and engrossed.

There was then a fifteen minute interval before the audience were introduced to Motherland, a room filled with about thirty women dressed in customised blue paper skirts and a young baby. The story begins, mainly through song and the celebration of the gift of life itself is profoundly the central theme of this performance.

The women have beautifully and meticulously choreographed their movements and voices in this powerfully emotive piece. As they chants their mms one after the other the audience giggle with a sense of what’s to come next and the mystery of the story further develops.

Green herself is also in this performance and there is then a projection of women giving birth on a screen, and then the women go on to sing and dance further mesmerising the audience with this beautiful and enchanting act.

All of our videos for the festival have been edited and uploaded onto here!

Review: Maybe If You Choreograph Me You Will Feel Better - 14/04/12

by Samantha Riches

In this very interesting piece of live performance, Tania El Khoury, allows herself to be directed by a male audience member via her wireless headphones.

The man stands at a second-storey window looking down on to the street where Tania is standing, directing her in one of two ways: by script or improvisation.

Gender politics take centre stage in this performance as there is great focus on the relationship between the female performer and the male audience member.

It’s a very intimate performance. He makes the choices, she follows them.

In this particular setting, outside the CCA on Glasgow’s Sauchiehall Street, Tania obediently follows the directions of the man on the opposite end of her headphones.

At one point she walks around aimlessly, looking a little lost if you will. Later she is seen stamping her feet, throwing her arms about whilst shouting angrily up at the window at which the man is staring down at her from.

One person passing by takes one look at her whilst continuing on. Others simply walk by her without so much of a glance in her direction.

What does this say about Glasgow and its people in 2012? Are we so used to strange behaviour that the abnormal has now become normal to us?

From my personal view whilst standing just off Sauchiehall Street looking at this very strange spectacle, it looks exactly that: Strange.

But when I move upstairs for the next performance, where a new male-audience member will take centre-stage with the mic and his own personal input, the reasons for why things have taken place as they have suddenly don’t seem so strange at all. I have gained a whole new perspective.

The script at which the male-audience member follows during the performance is filled to the brim with ideas of politics and even a bit of romance.

It’s just as interesting as it is enchanting.

And at the end of it all Tania disappears amongst the rest of the people on the street. Her and the male audience member won’t be meeting face-to-face after this performance. She will be just as much of a stranger to him as she was at the beginning.

Review: Beats - 20/04/12

by Samantha Riches

One for those who want to reminisce of their youth from the 1990s, Beats is a very upbeat and energized retelling of one young lad from Livingston’s first experience of the rave scene and the general complications and hardships of a Scottish youth in the mid-1990s.

Acceptance and breaking-free from your parents’ shackles are just two of the main themes at which Kieran Hurley and Johnny Whoop are exploring in this production, where they tell the story of a 15-year-old attending his first illegal rave.

The story is simple and yet effective; that’s why the audience is moved by the whole production. Many a person in the audience will be sitting there, listening to how the young boy went against his mother’s wishes and went out to hang around with a certain boy a couple of years older than he was that she had specifically told him not to go out with. They will be thinking of how they remember a similar situation.

It’s a situation of teenage rebellion and finding-yourself. Discovering that your first-time on the rave-scene wasn’t as cool as you’d thought it would be. It was scary. It was illegal (at that time). It ended up getting you into a lot of bother in the end. All of this points to another key-theme in Hurley and Whoop’s production: realisation and discovery.

All of this accompanied by the electrifying beats of Johnny Whoop make for a very interesting delve into the 1990’s Scottish rave scene.

Review: White Rabbit, Red Rabbit - 18/04/12

by Samantha Riches

Playwright Nassim Soleimanpour’s production stands out from any other at Behaviour Festival 2012 just as it had done at the Edinburgh Fringe Festival in 2011 and other festivals previously.

An actor is invited on stage to perform from a script in which they have never read from before. This unrehearsed, cold reading of a script written by a young man of whom the actor has never met before makes it all the while an interesting (and at times hilarious) experience for both the audience and actor.

On this particular evening it is Adura Onashile who is reading from Soleimanpour’s text. She steps out on to the stage confidently, albeit seeming a little nervous at what is awaiting her on paper.

The script is presented to her in an envelope at which she opens. It is then that the fun begins. As she begins reading, Soleimanpour’s voice fills the room. Instructing, guiding.

Each audience member is given an individual number which, at first, doesn’t seem too important. However, as the play progresses, different numbers are called to the stage to take part in what is described as an experiment; not a piece of theatre.

What follows is a White Rabbit, a Red Rabbit, some politically influenced ideas which surrounds Soleimanpour and his country as well as a number of other things which keeps both audience and actor on their toes throughout the whole performance.

Our actor is pushed and pulled in a number of different directions, as are we the audience.

Two glasses of water sit on stage from the beginning until the end, but once a supposed poison is added to one of the glasses by a member of the audience, what eventually unfolds is a choice that the audience then has to make.

A lot of what this play is about is manipulation and the choices we make, as well as how they affect others. As the audience we are told by Soleimanpour that we have to take some responsibility for what may or may not happen to Onashile as at the end we are told to tell her from which glass she has to drink from.

Could it be that throughout the performance, the glass we know to contain the alleged poison actually isn’t even that glass anymore? Is it the other one? Either way, the actor has to drink one of the glasses. Or does she?

We are left asking ourselves a lot of questions. Is this actor about to commit suicide? Will we be responsible for this possible suicide? We will never know as we are told.

Onashile brings humour to the evening’s performance as she takes reading an unrehearsed script in her stride. She brings great wit and hilarity to a situation most would find uncomfortable. At times she seems genuinely surprised at what Soleimanpour is asking both her and the audience to do.

Overall, if you didn’t get your chance to see White Rabbit, Red Rabbit this time round, then there will perhaps be other opportunities in the future. It is perhaps one of the most unusual production concepts that any British festival has ever seen.

Review: Thatcher’s Children - 19/04/12

by Samantha Riches

Gary Gardiner’s Thatcher’s Children is a 60-minute look at the controversial political great Margaret Thatcher and the legacy at which she has left us, her children, with.

Connecting the not-so-very far dots between her time in office and the current status of British Society today, Gardiner uses a fresh mix of visionary, audio, words and movement in the style of fast-paced, high action dance and song to communicate to his audience just why Thatcher’s time in office has impacted on society today.

The cast of four, including Gardiner himself, don Thatcher-Esque masks and Doc Martins to get their message across: Thatcher has left a lot behind. Thatcher is the reason for a lot of things gone wrong in British Society today (the Riots, the Financial Crisis, amongst a few others). Thatcher’s legacy will live on – no matter how much some may hate it. We just have to deal with it.

It seems, according to Gardiner and Co, that Thatcher, although gone from office nearly 20 years, has left behind her social divides within our country that will take much longer to solve than they were at first created.

Much of her policies and ideas have shaped how we perceive British Society and Culture today.

However, reminiscing about Margaret Thatcher’s life wasn’t all so gloomy in this hour or so of performance. There’s a light-hearted look at her new-found fame after being Britain’s Prime Minister with her red-carpet appearances and her show-stopping performance in that movie Mama Mia. Yes, Gardiner and the rest of the cast were talking about Meryl Streep. But it was funny; it worked very well.

Overall, Thatcher’s Children was a very intelligent look at perhaps Britain’s most hated Prime Minister, her life, what she’s achieved, what she didn’t achieve and how our country is dealing with what most would say is the mess that she left behind.

And so it was perhaps fitting that the production ended on a bit of a high-note with Margaret (sorry, Meryl) singing her hit-song: The Winner Takes It All.

Review: Kieran Hurley - Beats, Sat 21st April

by Louise Milne

Another Platform 18 winner, Kieran Hurley’s vibrant, energised and enigmatic account of a young man’s first experience of the Scottish 90’s rave scene, the culture surrounding it and the opportunistic moments it delivers.

A wonderfully accurate account of what the ‘rave’ scene was about, and still is about. The fantastically suitable opening quote, “In 1994 the Criminal Justice Act effectively outlawed raves, banning public gatherings around amplified music characterised by the “emission of a succession of repetitive beats.”

With this opening quote the sell-out audience giggle and it’s then that they know there in for a good night. Hurley then talks us through the epic and momentous journey of 15 year old Johno Macready.

The story telling is so accurately delivered and the collection of 90’s classics such as Ultrasonic’s Annihilating Rhythm from Arches resident DJ Johnny Whoop really sets the scene. In the background there is a video montage of the scenes from the 90’s such as the car journey to the rave, the party people, the escapism from normality and mundane life and the police bust.

A fabulous story and brilliantly entertaining musical piece, which is definitely for techno lovers and old skool ravers.

Review: Thatcher’s Children, Fri 20th April

by Louise Milne

Introducing Platform 18 winner, Gary Gardiner and his team welcome you to the House of Commons to celebrate the life and times of the right honourable Baroness Thatcher. What a woman, what a leader and what a role model for our young men!

This utterly brilliant performance was outstanding from start to finish, each of the four member cast dressed in black skinnies, Doctor Marten boots and an appropriately blue ’Tory’ blazer set the scene behind their speech boxes with a Maggie Thatcher mask and Mr whippy cone, quintessentially British with a union jack flag sticking it.

The room was set up with several randomly placed TV sets with the Iron Lady’s image being showcased and on the back wall the audience watched the montage of the best and worst bits of her political ruling.

Neoliberalism was introduced through Thatcher’s leadership and the installation concentrates on how the policies she introduced in the 80’s has affected today’s society with the large social divides causing riots not only then but now, such as the London riots last summer.

There was a very humorous collection of Glaswegian’s opinions filmed in the city and this was well received by the audience. Another great installation which involves the audience with the ‘ballot box’ and House of Commons question time.

The wonderfully choreographed dances and graffiti spraying during the video montage of the London riots and suitable ending with ‘Because I got balls’ completed the piece nicely.

A very powerful and exciting piece finalised with ‘Maggie, we’ll turn if we want too!’