Pedal Pusher ****

Pedal Pusher

Pedal Pusher. Image by Holly McGlynn, courtesy of the EdFringe Media Office

Zoo Roxy, 6 – 30 August 2010

Reviewed for the British Theatre Guide

It’s notoriously difficult to choke verbatim theatre into life on stage, but you wouldn’t guess that from watching Pedal Pusher. You’d be forgiven for not noticing that it’s a verbatim piece at all, in fact. It seems the trick is to choose the right source material. Sounds easy, and Theatre Delicatessen certainly make it look that way.

So what’s the right source material for the story of Lance Armstrong, Marco Pantani and Jan Ullrich, three of the greatest competitive cyclists ever to have lived, and the Tour de France, the toughest and most prestigious cycle race in the world? Press conference transcripts, for the most part. Dry as that may sound, press conferences are naturally dramatic, performative events. The rehearsed statements are superficially anodyne but – thanks to the insights we’re given into the athletes’ habits, personalities and relationships – laden with fascinating subtext, and there’s something of the courtroom drama about the open-floor interrogations that follow.

That the subtlety and theatricality of the text is appreciable, however, is down to the cast, who wrap their jaws nimbly around some potential deadweights. We don’t see much more than one side to any of the characters – Armstrong, fresh from beating advanced cancer, is practically messianic in his drive to succeed; Pantani, victimised by the doping officials, succumbs to self-pitying matyrdom – but what we do see clearly, in the performances and in the text, is the hardwired competitive urge that made each man great.

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