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Resurrecting Bobby Awl

"Poor Fellow." It's the briefest description given of Robert Kirkwood, and a repeated refrain throughout artist Brian Catling's theatrical sharing of this young man's story: the rise and fall of "Bobby Awl", the most famous – infamous – "street idiot" in 19th century Edinburgh. That "fall", we're told, was total: even the memory of him was quickly overshadowed by the fate of fellow "street idiot" and friend, "Daft Jamie"—famously murdered for cash by Burke and Hare.

Quite deliberately, this retelling is made by women.

Working largely from a cheap chap book, published soon after Bobby Awl's death, and now held in Edinburgh City Libraries, Catling's first play is an exercise in sharing the basic facts of Bobby Awl's life and asking us to share those stories in order to bring the short-lived Robert Kirkwood (he was only 22 or 23 when he died after being kicked in the chest by a mule). To aid us in our own retellings, there's a real sense of fairytale: as a newborn, for example, he was kept warm in a large boot, hung over a smokey fire.

"Poor Fellow"? Quite deliberately, this retelling is made by women – Ruth Everett, Maisie Greenwood and Georgie Morrell – with some fun found in their relative abilities to "do" authentic-sounding Scottish accents. Significantly, we never, directly, see Bobby Awl on stage, apart from a cast of his skull made after his death: he's instead "present" through the creation of tableaux and the use of simple props, such as numerous cloth bags pulled inside and out. Catling's point is clear: stories are ultimately the only things that survive us after we die, especially once no one's left alive who actually remember us.

It definitely helps that the play is presented within the constrained atmosphere of an old anatomy lecture theatre (albeit one in a former veterinary training college); with the audience looking down on the performers, there's that real sense of us dissecting Bobby Awl's life and times. Yet that's also a risk: the problem with site specific works, after all, is that they lose what's worthwhile when performed anywhere else. And what’s the point in that?

Reviews by Paul Fisher Cockburn

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★★★
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★★★★
Scottish Storytelling Centre

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★★★★★

Since you’re here…

… we have a small favour to ask. We don't want your money to support a hack's bar bill at Abattoir, but if you have a pound or two spare, we really encourage you to support a good cause. If this review has either helped you discover a gem or avoid a turkey, consider doing some good that will really make a difference.

You can donate to the charity of your choice, but if you're looking for inspiration, there are three charities we really like.

Mama Biashara
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids.
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Theatre MAD
The Make A Difference Trust fights HIV & AIDS one stage at a time. Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa.
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Acting For Others
Acting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. During the COVID-19 crisis Acting for Others have raised over £1.7m to support theatre workers affected by the pandemic.
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Performances

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The Blurb

Born in the nineteenth century and kept in the toe of a boot hung above a fire, Bobby Awl grew to become a feature of the Fleshmarket Steps. Famous in his time but wiped out of history by Messrs Burke and Hare, Bobby's life had passed into the void until his death mask was discovered by international artist and author of the Vorrh trilogy, B. Catling. Resurrected here using a blend of sculpture and performance, Bobby is back – a totem for all the crushed boys of Edinburgh who were transformed by poverty into violent survivors.
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