Tag Archives: Tam Dean Burn

WHAT TO WATCH: From Ayr Gaiety – Miraculous: A riotous, irreverent and funny 50 min film created under lockdown.

When a young Ayrshire band miraculously hits the big time with the smash hit record of 1984, international stardom beckons. That’s despite having a delusional teenage manager propelled by a dark, malign voice in his head …Can Max Mojo’s band of talented social misfits repeat the success and pay back the mounting debts accrued from an increasingly agitated cartel of local gangsters? Or will they have to kidnap Boy George and…?

This new production, written by David F Ross and based on his internationally successful novel has been created and filmed as a response to these strange times. It stars leading Scottish actors Tam Dean Burn, Sarah McCardie and Colin McCredie (and some very strong language!!)

My initial idea for how this would work has been completely surpassed,” says David, “the cast have brought amazing talent to the piece. Overall it’s so much more than I hoped for. The creative experience has been really special, and a lot of fun”

Actor, Director and Playwright Stuart Hepburn worked with David to develop the script and has masterminded the whole rehearsal and filming process. He says, “to begin with I was still thinking in terms of theatre but I soon realised I needed to bring all my filmmaking experience to bear. It’s become something quite special and I’m very proud of what we’ve been able to do.”

And Into Creative’s Stephen Cameron, Production Designer and third member of the creative team has created a quality film, despite the challenges of filming being carried out by the cast at home. “Colin, Sarah and Tam put in fantastic performances,” says Stephen “it’s been a real pleasure – as well as a lot of hard work”.

The Rise and Fall of the Miraculous Vespas and live Q&A will be shown as part of the Gaiety Lockdown season at 7.00pm on 30th and 31st July

Listing Information: Gaiety Lockdown Season: https://lockdown.thegaiety.co.uk/

REVIEW: The Collection – Motherwell Theatre, Motherwell

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This article was originally written for and published by The Public Reviews at: http://www.thepublicreviews.com/the-collection-motherwell-theatre-motherwell/

Writer: Mike Cullen

Director: Michael Emans

The Public Reviews Rating: ★★★½☆

Mike Cullen’s The Collection is a tale of desperation, conscience, poverty, avarice, inevitable tragedy and depressing relevance and resonance, despite being written almost twenty years ago. After ten years, Bob Lawson (Jimmy Chisholm) is at the top of his “profession”, something to be proud of you would think, well it would be, were it not for the fact that his “profession” is debt collection. But Lawson’s life is shattered forever when one of his female clients commits suicide. Charting the sordid dealings and the financially, morally and spiritually bankrupt characters who pass through the collection agency’s doors, this is a grim tale for our grim times.

The smell of testosterone and desperation hangs heavy in the air and Cullen’s work wears its influences on its sleeve: the gritty dialogue, grim humour and male egos at their worst, particularly in the interactions between the wholly repellent hard man Joe played with chilling detachment by David Tarkenter and naive new boy Billy (Tam Dean Burn) can’t help but remind one of the work of David Mamet.

The dialogue is, as expected raw, the humour black and the drama intense, however, there is an overwhelming sense of inevitability and predictability about the whole affair. The storyline, whilst compelling never fully develops: it makes no comment on the causes of debt nor does it offer any solutions or judgements, and the portrayal of women as easy victims, willing to sell themselves for “a mutually beneficial business agreement” is quite frankly, offensive.

The small cast of actors more than makes up for its faults though, and Jimmy Chisholm’s central performance as Lawson is flawless. Tam Dean Burn too, turns in a convincing portrayal of the eager to impress new employee Billy who, despite initial reservations, throws the conscience he once had to the wind, in order to impress his boss.

Nearing the end of a national tour, this company is a well-oiled machine, both the scene changes and the interactions between the actors are seamless, slick and well-honed. Entertainment it is not, rather it is an often bleak but utterly compelling portrayal of an all too real and hellishly common problem enacted by a hugely talented cast.