Theatre review: Daphne Oram’s World of Sound
Off Kilter

IN A SPOTLIT space at the front of the stage, holding a slightly incongruous modern microphone, stands a geeky, bespectacled young woman with an old-fashioned BBC accent, wearing a sensible 1940s-style skirt and cardigan. She is talking to the audience with a rare eloquence and passion about what she calls “music and electronics, intriguingly inter-related”; and she is Daphne Oram, one of the most interesting and neglected British composers of the 20th century – or rather, the version of Daphne Oram conjured up for the 2017 Tron Mayfesto festival by the actor and writer Isobel McArthur, and the young Glasgow company Blood Of The Young, in a co-production with the Tron.