Wee Man
★★★★☆ Powerful
Studio Theatre: Fri 16/Sat 17 May, 2025.
Review by Sophie Good
Exploring themes of masculinity and mentorship, Wee Man from Barrowland Ballet at the Studio Theatre for two performances only, is an engaging show which uses movement to provoke a debate around behavioural expectations for young men.
Having been named as the first associate company of Edinburgh’s Capital Theatres, Barrowland Ballet’ short World Premiere run at the Studio Theatre will be followed by a longer run at Dance Base during the EdFringe 2025.
Barrowland Ballet presents Wee Man by Natasha Gilmore. Pic: Andrew Perry
Wee Man is a powerful response to the ‘rules of masculinity’. Choreographer and Director Natasha Gilmore was inspired to create the show based on her own experience of raising teenage boys and from the book Raising Boys by Steve Biddulph.
Teenage boys kick litter about about in some improvised goal shooting, while other performers watch on with amusement as the audience enter the space, which has been set up as a school gymnasium.
Gilmore’s set is suitably evocative, with floor markings and low level benches for the front row of the audience, who line the long sides of the space. Goals on either end also act as frames for the screens which show closed captions in a creative and integrated way.
rules
The screens also show some lovely animations by Lida Vincent Agarwal which bring to life the ‘rules’ which have come from cast contributions. These include the way that you have to walk (like you’ve got porridge in your sporran) and the way you dress (no bright colours) and even the way you sing (nothing above a C minor).
These rules are brought to life in various ways throughout the show, including a kind of chant, stomp, chorus line which also echoes a Subbuteo game.
Barrowland Ballet presents Wee Man by Natasha Gilmore. Pic: Andrew Perry
Wee Man is performed by an intergenerational cast of four older men (Davey Anderson, Parsifal James Hurst, Kemono L. Riot and Vincent Virr) with four younger teen dancers (Leo Convoy, Otis Bazie Gilmore, Cole Norrie and Ruben Shearer).
It is an intensely physical show, full of sweat and effort as the performers express their response to these rules – as individuals with differing backgrounds, ethnicity and age as well as a group. Never homogenous, each performer has his own relationship with the theme, and it is clear that they have co-created the text along with Kevin P. Gilday and a range of other contributors.
There is an authenticity to the approach: there are moments of careful choreography and others which feel more spontaneous, although still carefully crafted.
compelling
The interplay between the four older men and the teenage boys is especially compelling and the moments when they work in contrasting pairs are the most interesting. They lift each other up, literally, with the younger dancers just as capable of holding the older men. The older men intimidate, enforce the roles, inflict violence but are also the key to tenderness, support and guidance.
There is a natural chemistry of leadership from the older males, who hold the piece together but give space to the younger performers. It would be interesting to see where the younger men would take the piece if they were able to create the new rules and what they would be.
Barrowland Ballet presents Wee Man by Natasha Gilmore. Pic: Andrew Perry
The stomp/chorus line returns at the end, this time with a community cast who have entered the space towards the end, dancing an ode to tenderness and touch in contrast to the aggression and power felt throughout the piece.
The community cast add another dimension, pushing the idea that this theme extends to all men or those who identify as male. They could have arrived a little earlier, however, as it does feel that they are waiting on the benches for their moment.
Composer Luke Sutherland’s soundscape works well with the shifting moods and tones of the piece. It is particular strong at conveying the aggression and tenderness that are the main points of tension. There is a scene in which the youngest dancer (Bazie Gilmore) is pushed and bullied by the group, never able to regain his footing before he is shoved again. It is hard to watch, such is his vulnerability, and the music creates a powerful backdrop.
moving and necessary
Wee Man is a moving and necessary piece which, while it uses text meaningfully, is a visual and sensory experience. It asks as many questions as it provides answers.
Despite using a phone camera in parts to emphasise the scrutiny the men feel under, it doesn’t address much about online influences. Given the prominence of this theme, especially with the notoriety of shows like Adolescence it’s surprising not see that addressed here.
However, Wee Man is a very engaging and powerful show with a lot of heart and tenderness, which makes you ache for the young men under the pressures that are depicted.
Running time: 50 minutes (no interval)
The Studio, 22 Potterrow, EH8 9BL
Fri 16/Sat 17 May 2025
Evenings: 7pm.
Tickets and details: Book here.
Lanternhouse, South Kildrum Ring Road, Cumbernauld, North Lanarkshire, G67 2UF
Saturday 31 May
One show: 7pm.
Tickets and details: Book here.
Johnstone Town Hall, 25 Church Street, Johnstone, PA5 8EG
Friday 13 June
Evening: 7pm.
Tickets and details: Book here.
Assembly @ Dance Base, 14-16 Grassmarket EH1 2JU
Tuesday 5 – Sunday 17 August.
Daily (not Mon): 7pm.
Tickets and details: Book here.
ENDS
