Shay Mace
Connected by time, memory, shared love and oppression, three generations of Scottish and Korean people find their way in the world through social upheaval, war, religion and most importantly, a shared love of music and dance. Tether looks to trace the invisible threads that connect these two distant countries together, through the rhythms not only of their songs and traditional group dances, but also through the rhythms of their politics and culture, that ring in different keys but somehow seem to hit the same beats. This tender, convincing and inviting story feels like it deserves a greater purpose, though its clarity, joy and sorrow is deepfelt.
It’s easy to be captured by Tether, as we walk in and witness the performers swinging audience members around à la Strip the Willow to a backdrop of beating folk music. There is an immediate and overwhelming sense of charm to the construction of the show, which bills itself part Ceilidh and part play. Interactive Ceilidh dances become interwoven into the narrative, latterly replaced by the Korean folk dance Ganggangsullae that cements the solid connections the piece looks to make between the two cultures. A collaboration between community-led Scottish company Wonder Fools and South Korea’s Theatre SAN, the show draws out these initial links to latterly pull focus on the impact of the Japanese occupation on the Peninsula and Workers Rights protests in Glasgow.
At the outset, a bold and conspicuous declaration is made that ‘care should be provided for all people, no matter where they come from’. While the sentiment is a ringing tribute to many of those mentioned in the story who gave their lives for the liberties we enjoy today, it is not a holistic message that is deployed throughout the piece, nor one that feels it is captured through the remainder of the story. In its broadness, the script sometimes struggles to capture the essence of the people it depicts. The main thread, following the arrival of Christian Missionary Dae Han to Glasgow, and his subsequent love affair, is given thorough consideration for the opening acts, but too lightly grapples with themes of ageing and illness in its latter parts.
Meanwhile, concurrent stories across generations are also twined in with a light touch, and give glimpses of fascinating stories that never seem to find their own footing. The show is concurrently delivered both in English and Korean, with each actor speaking in their native language – a truly impressive feat that never distracts, and only enlightens throughout. Performances from the ensemble cast are strong throughout, and directed with a taught nature that provides formidable, arresting moments of staging. Tender moments giving levity on the shores of Loch Lomond brightly flicker against the battlefields of Korea.
This is perhaps where Tether begins to unravel a little – billing itself as ‘a good night out’ feels a little odd for some of the themes that are portrayed, and there’s an awareness in the creation of the piece that it must be able to curry the favour of the audience throughout to encourage them up to the dance floor, and keep them on the lighter side of their emotions. In so doing, it doesn’t quite commit to either part Ceilidh or part play, even though a great deal of reverence for both a gathering of folk and the craft of storytelling is evident.
All being said, did I shed a tear on hearing Auld Lang Syne being sung on Korean battlefields? Absolutely. Is there an insurmountable and bountiful beauty in seeing two cultures so lovingly intertwined? Most certainly. Was the music to die for, performed without fetter, and utterly breathtaking? For sure. There’s plenty to love about Tether‘s commitment to its soul, which shines above its faults.
Recommended Drink: Pair this with a dram of whisky, or a glass of Makgeolli, or if you’re feeling dangerous, a lovingly poured mix of both.
You can catch Tether at Main Hall at Summerhall until August 31st (not the 11th, 18th or 25th) from 16L30 (60mins). Tickets are available through the EdFringe Online Box Office.
Image Credit: Eoin Carey
Great Dayne Productions
Esme Davis
