Archive for category Rex de Vil
Sailing On
Posted by Martin in New Town Theatre, Rex de Vil, Sailing On on August 25, 2011
THEATRE
****
Sailing On
New Town Theatre
Transforming the ladies toilet at the New Town Theatre into the space “between the missing and drowned”, the ShadyJane Theatre Company have provided a fresh and captivating antidote to the painful theatrical experiences I have suffered under the banner of ‘interactive’ or ‘site specific’ work. Examining the often-romanticised motif of the drowned woman, this trip to ‘spend a penny’ will be one you’ll never forget.
When reading that Virgina Woolf and Shakespeare’s Ophelia are to be encountered as characters, one understands that some may feel cautious regarding the quality of this piece. Fear not – these personalities are rather reference and used in a manner that is both humorous and moving, extending an interesting consideration of the dialogues we share with historical and fictional personalities in everyday life. The opening duologue between these two figures is one of the most entertaining moments I have experienced this fringe, with the performers interacting with the intimate audience members in a way that undercut the site specific quality of the production itself. The comic timing of these two performers is sublime, building an atmosphere that provides the perfect contrast the shift in tone introduced in the second half – a tender yet haunting insight into the memories of the third character Romola, a passing visitor. Although some of the motifs in this secondary section bordered on cliché, here the innovation of the company really shone through, as hand-held projectors cast ghostly videos on the tiled walls and shadows were spookily sculpted to a stirring piano based soundtrack. Reintroducing the light hearted style of the opening scenes again at the end could have been a more interesting way to close the work, although I imagine the structure of this work is constantly changing and evolving and perhaps this was already unsuccessfully work-shopped.
The most successful and engaging site-specific offering I have seen at this year’s Fringe – Go along and get wet.
Simply the Jest
Posted by Martin in PBH Free Fringe, Rex de Vil, Simply the Jest on August 23, 2011
COMEDY
***
Simply the Jest
Banshee’s Labyrinth
Consisting of 9 students currently studying at the University of Exeter, ‘Simply the Jest’ is a comedy troupe whose début show at this year’s Fringe may not be perfect, but is full of promise.
One understands how easy it is to assume that a show on the Free Fringe by undergraduates may not be worth the time, however there are some moments in this hour-long production that with the right direction and some focused editing could work extremely well. Take for example their advertised Maggie Smith sketch, in which Luke Theobald’s hilariously uncanny impression is lost amidst the skit’s poor structure and unfunny concept. Were the group to construct a solo Maggie monologue this would ensure that Luke’s impersonation is not subject to distraction and the ample opportunity for comedy is not lost. This lack of focused editing continues when observing the show as a whole – the opening sketch lacks impact, and the closing one drags on. With such a large group being self-directed one wonders whether such moments of unsuccessful material is due to the troupe lacking an outsider’s direction or editing in the devising process.
The stand out performer was without a doubt Bryony Twydle, whose subtlety and timing suggests an exciting future for her as a performer be it in comedy or theatre. Her contribution to a mostly successful sketch in which Hollywood veterans are interviewed was sublime, remaining controlled and composed unlike some of the show’s other contributors. This skit was a highlight, alongside one involving an English class for French students and some short interludes demonstrating fictional iPod Apps. With the latter, continued consideration and confidence in its moments of perverted humour could transform it in to something mighty.
Were this show not part Free Fringe, the rating for this review would be much lower – one recognizes however that this production far outdoes the car-crashes often observed as part of the PBH programme, and the potential is there.
Tomboy Blues – The Theory of Disappointment
Posted by Martin in Rex de Vil, Tomboy Blues, Zoo on August 22, 2011
THEATRE
****
Tomboy Blues – The Theory of Disappointment
Zoo Southside
Inviting you to ‘learn the brace position against the inevitable by-products of human existence’, Rachel Mars and nat tarrab’s collaborative project delivers – (tom)boy does it deliver. Examining gender queerness, the relationships we have with others and ourselves, and the inherent disappointment inherent with aforementioned ideas, ‘Tomboy Blues – The Theory of Disappointment’ is a journey that will liberate anybody who has ever considered themselves ‘other’ – and that, if we are in honest, is everyone.
The thing I found most inspiring about this piece was its innocence, its escape from the pretentiousness that often arrives unwelcome when projects claim to examine the theme of identity. Both humorous and poignant the performance remains playful, aided by the intimate space at Zoo Southside and the magnetism of both Rachel and nat. Bounding abound the stage with an obvious passion for their cause the duo’s sustained chemistry captivates the audience, their sequence of episodes inviting you to celebrate your identity, your otherness, and the word ‘cunt’.
Witty, human, moving and relevant, this offering by Mars.tarrab deserves to be on the national curriculum.
Orlando
Posted by Martin in Orlando, Rex de Vil, St George's West on August 20, 2011
THEATRE
****
Orlando
St George’s West
It is impossible to match Sally Potter’s cinematic interpretation of Woolf’s ‘Orlando’, let alone the novel itself. With goddess Tilda Swinton starring as the never ageing, sex shifting protagonist it’s a hard one to beat but this offering by Cryptic puts up a good fight, adapting Woolf’s novel into an hour long monologue complemented by an original soundtrack and visual effects.
The original text from which the script is adapted is considered one of the finest and most important works of modern literature and so the success of Cryptic Theatre’s translation lay with their casting of an actor able to do justice to Woolf’s masterpiece. Luckily Judith Williams performs well as Orlando, her delivery ensuring engagement with the audience and her command of the text suited well to the traits of Woolf’s character. My only criticism of her performance revolves around the changing of Orlando’s sex – when a woman William’s Orlando speaks at times with a grating caricature of a female voice that seems not only unnecessary but also a bit patronising, as if the script or change of costume wasn’t enough for the audience to recognise the adjustment. Despite this, there can be no question that William’s performance is impactful and skilled.
Craig Armstrong’s original soundtrack for the production utilises digitally affected sounds that provide an exciting contrast to the century spanning eras in which the action is set, evoking a timelessness for the production much like that of the ageless Orlando. Combining this with projection on to multi-layered fabric and advanced motion tracking technology, vast landscapes such as a frozen England and a sweltering Constantinople are effectively conjured and sustained, adding a fantastical quality in keeping with Woolf’s original text. I must admit though that at times the electronic soundtrack seemed a little too grave and ominous, this sense continued in the line ‘I am alone’ being adapted as the closing statement. In spite of its Woolfian melancholy I found the novel (and in fact Potter’s film) calming and strangely soothing – here I fear Cryptic’s version becomes at times too heavy and oppressive. It is refreshing however to see a text so centred around periods of history adopting contemporary and digital methods of sounds manipulation.
It’s not Tilda, and it’s certainly not Woolf – but it is thought provoking and inspiring. A definite recommendation.
The Wheel
Posted by Martin in Rex de Vil, Traverse, Wheel on August 17, 2011
THEATRE
***
The Wheel
Traverse
From a Nazi occupied Poland to a war-torn Vietnam at the hands of Agent Orange, the characters of this offering by playwright Zinnie Harris embark on a journey spanning decades, desperately stumbling through various conflicts of the past century in an examination of youth, nature and war. Beginning in 19th Century Spain our heroine Beatriz (Catherine Walsh) finds herself carrying a nameless mute across continents and ages in a desperate attempt to return her to her father. However as their voyage progresses we come to suspect the child has some sort of powers, and whether these are miraculous or malign is unsure, especially when contrasted to the horrors of the war zone.
Although a confident production with some moments of beauty, I did not feel particularly moved or stirred by the action on stage. I feel Harris is aware that it’s easy to get caught up in the too obviously affecting juxtaposition of children and conflict, and so her inclusion of the child’s suspect power is an interesting addition however unfortunately this not expanded on or examined enough in my opinion. Catherine Walsh’s performance begins well though after an hour and a half of monotone shouting I found myself bored by her constant level of attack.
No question this is a good production, I’m just unsure of its focus.
Man of Valour
Posted by Martin in Man of Valour, Rex de Vil, Traverse on August 17, 2011
THEATRE
***
Man of Valour
Traverse
A virtually wordless solo performance by Paul Reid, ‘Man of Valour’ tells of an office drone’s confrontation of his past, the defiance of his demons through the lens of his overactive imagination. A humourous and at times touching performance, this production at Traverse adopts a refreshing translation of a warming fiction.
All the impact of an action movie is conjured by the high-octane performance given by Reid, whose mimes and self-generated sound effects build up the various settings and scenarios encountered by the production’s protagonist Farrell Blinks. One minute photocopying, the next entangled in a diabolical battle, Reid is able to summon a staggering variety of situations that demonstrate his focus and ability as a performer. Complemented by the minimal suggestive set and lighting design by Aedin Cosgrove, Reid’s performance is full of wit and pathos although one must confess there is only so much one can take of a man making his own sound effects and I feel I am not the only one who would agree that mime is perhaps best kept to a shorter time frame.
Worth a watch, though I feel that regardless of Reid’s impressive and sustained performance that had some audience members standing in applause, this production will not engage everyone.
What Remains
Posted by Martin in Rex de Vil, Traverse, What Remains on August 17, 2011
THEATRE
**
What Remains
Traverse (at University of Edinburgh’s Medical School Anatomy Department)
A promenade experience taking place in the impressive and grand Anatomy Department of the University’s Medical School, ‘What Remains’ combines music, theatre and installation to relay the story of obsessive pianost Maestro Gilbert K Pendergast and his doomed pupils. A self-confessed horror story inspired by the works of the genre’s masters such as Hitchcock and Cronenburg, one is to expect some melodrama, some extravagance. Regardless of this, the production was unable to avoid moments of cringe worthy cliché leading me once again to wonder if the novelty of an interactive performance has masked a lack in content (see review for Hotel Medea).
Opening the experience with a haunting piano solo, there can be no challenge to the fact that David Paul Jones, the composer and performer of ‘What Remains’, is an exceedingly gifted musician. Attacking the ivories like nothing I have ever seen before, Jones’s solo was a crazed composition that led me to believe the evening would sustain a mature and engaging experience, aware of its own extravagance and with a sense of irony. Unfortunately, despite some early interactive installations that were slick and considered, the evening slid into a succession of wearisome and overdone motifs such as Jones’ descending of a staircase in a papier-mâché blood stained mask and a murderous ‘plan’ crafted from torn newspaper clippings. When on the staircase, Jones performed a version of an Anthony and The Johnsons song that’s lyrics seemed to have no tie-in to the plot the audience were gathering the details of, and to be honest was embarrassing in its execution, especially when awake to Jones’ own compositional skill.
What this production needs is some serious editing, a stripping away of the hackneyed components that ruined some initial moments of worth. Only then will the production successfully sit with the incredible location, a space suited perfectly to the increasingly popular medium of interactive and promenade performance, worthy of experiencing beyond this confusing offering by the Traverse.
Manipulators
Posted by Martin in Manipulators, Rex de Vil, theSpaces on August 17, 2011
THEATRE
**
Manipulators
theSpaces @ Surgeons Hall
Showcasing the talents of magicians Simon Coronel and Vyom Sharma, one cannot deny the impressive ability of these two performers, with a slight of hand enabling them to fool and trick their audience as poker chips and coins teleport and evaporate. Unfortunately the style of delivery adopted by the two performers leaves much to be desired, distracting their obvious talent and resulting in a show that although leaving us impressed left us bored and frustrated as well.
Examining the concept of manipulation the show takes the format of a something similar to a lecture, only with tricks and illusions to demonstrate the discussed. Although with the possibility of interest, this quickly becomes monotonous and repetitive, the performers radiating a smugness that is increasingly irritating and thus detrimental to enjoyment. Although the illusions presented were impressive, each one was too similar its predecessor, with only the finale trick demonstrating some sense of variety in their skill. It must be noted that one trick was blatantly obvious in its execution, an ago old trick far too many of us know the secret of to be presented in a show inviting you to ‘experience the impossible’.
With an alternative structure this show could properly harness and demonstrate the skills of these two magicians. Until then, audiences are sure to remain impatient for the exit more than impressed.
Find Me
Posted by Martin in Augustine's, Find Me, Rex de Vil on August 14, 2011
THEATRE
*
Find Me
Augustine’s
‘Find Me’by Olwyn Wymark is one of the worst scripts ever to be written. For reasons unknown still permeating the drama syllabus of theatre students, I propose a picketing of every future performance of this banal and desperate attempt to be something profound.
With no help from the script, the Culford Theatre’s expression of the theme of madness was about as subtle as Julian Clary being double fisted. With a red hued stage, the classic screaming and grabbing of the head and throbbing rave music more suited to a Berlin fetish club, the opening montage set the level of artistic integrity that only worsened as the true story of a young girl’s admission to Broadmoor dragged on. No doubt much of the audience left the venue willing to check themselves into the renowned psychiatric hospital after being exposed to such a ruin of a performance, a chaos of flimsy scenery, overblown acting and dropped lines.
Yet another student production heralding the failing grasp of theatre studies in so many of today’s schools. Luckily by the time you read this the production will have completed its short run at the festival, however hang on to your picketing banner as we are sure to see another dismal interpretation of this detestable script at next year’s festival.
Hotel Medea
Posted by Martin in Hotel Medea, Rex de Vil, Summerhall on August 14, 2011
THEATRE
***
Hotel Medea
Summerhall
Undoubtedly you’ve heard the rumours of a six-hour show at this year’s Fringe, and here it is – Hotel Medea, a Brazilian/UK collaboration inspired by the myth of the murderous sorcerer Medea. Lasting from midnight till dawn, this production has its moments however fails to maintain them.
One could not help but think that the novelty of an overnight performance was what fueled this production, with consideration of content coming second. Luckily the opportunity to pay a reduced price for a ticket giving access to the first part of the evening is available and this is something I would defiantly recommend, as here lies the strongest and most engaging moments of the evening. Relaying the story of Jason’s taking of the Golden Fleece this initial segment will be sure to get you sweaty, as audience members are choreographed dance moves to supplement elements of the plot. Admittedly skeptical reading the blurb ‘with live DJ’ the soundtrack for the opening section actually turned out to be my highlight of the night, a merging of pounding tribalistic beats and contemporary samples. Spatial decisions and choices regarding costume recalled at times the work of filmmaker Derek Jarman, and the focus and energy of the actors was impressive and successful in ensuring the interaction and engagement of the mostly young-adult audience members.
Unfortunately, despite the constant interactive relationship with the audience, the impact and quality of the company’s interpretation was not sustained for the following two segments of the production, this not solely due to the inevitable tiredness of lasting the early hours. For all the epic and magical details of the original tale relayed effectively in part I, the ensuing two parts failed to match this, containing half hearted choreography, a lacking employment of video and media devices and various overworked motifs and ideas.
With the initial part of the evening worthy of a full star rating, forget the full experience. Book for Part I to save disappointment and a reversed body clock.
Uglies do Edinburgh
Posted by Martin in Gryphon Venues, Rex de Vil, Uglies Do Edinburgh on August 12, 2011
THEATRE
**
Uglies do Edinburgh
Gryphon Venues at the Point Hotel
After starring together in a pantomime production of Cinderella last year, actors David Kent and Dereck Walker decided to continue their roles as the ‘Ugly Sisters’ in this two –man production based at the Point Hotel. In true pantomime style there are songs, costume changes and plenty of ‘ooh-er’ moments however unlike a successful pantomime production, they fail to hit the mark.
Following the journey of uglies Annie and Fannie in their quest for a handsome prince, there is no denying the show briefly invoked a warming nostalgia, memories of being dragged on stage by Dame Christopher Biggins and the scramble for sweets thrown from the stage. Despite this, the show grows quickly grows wearisome as a succession of predictable jokes and unpolished songs fail to keep the surprisingly adult heavy audience amused, something every pantomime-style production cannot ignore. The select number of children in the audience did however seem engaged leading me to believe that with focus and development the show could do well, and that Kent and Walker will continue to succeed as pantomime regulars or perhaps even writers.
Its standard but sweet, however with plenty of child friendly shows at the Fringe one suggests hunting down something that not only your child will surely enjoy but you will be able to endure as well. Christmas may have come early, but someone’s burnt the traditional turkey.
The Strange Undoing of Prudencia Hart
Posted by Martin in Rex de Vil, Strange Undoing/Prudencia Hart, Traverse on August 11, 2011
THEATRE
*****
The Strange Undoing of Prudencia Hart
Traverse at Ghillie Dhu
Written by David Greig, ‘The Strange Undoing of Prudencia Hart’ provides a striking celebration of Border Ballads, full of both satirical wit and moments of heart wrenching beauty. Prudencia Hart is a high-strung academic, who after becoming caught in a snowy Kelso takes a journey of self-discovery and emotional awakening via a series of enchanting encounters, comic characters and Katy Perry karaoke.
Combining stirring folk music and balladry with the contemporary Greig has recognized the power of creating a hybrid of both old and new, and combining this with an innovative use of the Ghillie Dhu bar space by director Wils Wilson the magic of the afternoon performance is continually sustained – the snow our heroine finds herself stranded by is conjured buy the audience’s torn napkins, the ice cold air invoked by the chiming of glasses, and the venue’s bar transforming from car to lecture hall. A violin solo in the second half of the performance had me in shivers as the humour of Greig’s satirical ballad retreated for moments of haunting poignancy. The music is a definite highlight, with each member of the cast having not only a confident singing voice but also skills branching a variety of instruments, from bagpipes to guitar, drums to recorders, complementing the folk inspired soundtrack and even coming together to create a mesmerizing discordant reworking of a Kylie Minogue track at the end. What with such an intricate script and impassioned soundtrack one does consider whether the company has considered a radio translation of the piece. Either way enjoyment is ensured – grab a ticket now.
Bluebeard: A Fairytale for Adults
Posted by Martin in Bluebeard: A Fairytale for Adults, Rex de Vil, Underbelly on August 11, 2011
THEATRE
****
Bluebeard: A Fairytale for Adults
Underbelly
Admittedly when reading the blurb ‘A Fairytale for Adults’ one cannot help but fear that some other moron in face paint on the Royal Mile has crafted a show to have Angela Carter turning in her untimely grave. Forget this – Milk Presents Theatre Company, a collection of graduates from London’s Central School of Speech and Drama, have approached the idea with maturity and style, and an awareness that has ensured an original and exciting examination of the latent messages that are embedded in the fairytale narratives with which we consider ourselves familiar.
Although heavily constructed to generate all the effects of the production (including both lighting and sound) the set harbors a organic and playful air that harmonizes handsomely with the Perrault folktale upon which the performance is based and uses as a medium for its points of analysis. A bike rigged up with a generator powers a dim light for moments of haunting tension, an overhead projector combined with coloured gels and even dishes of water and dye is employed with innovation complementing both the moments of humour and poignancy that infuse the show. Despite the success of the visual direction, I must admit that the employment of sound was for me the highlight, not necessarily in the variety of amusing cabaret style compositions that were supplemented with wit and irony – the discordant guitar twangs of the opening scene and electronic pulses of both archaic and contemporary contraptions conjured a world not too far from something PJ Harvey may inhabit, an appropriate setting for this classic tale of seduction and slaughter.
When another audience member is singing along to a number satirising gender constructs and the heterosexual family ideal in the venue’s male toilet after a performance, you know you’re on to a winner. With focus and funding Milk Presents Theatre Company are sure to have a prosperous and exciting future.
No Holes and the Bard
Posted by Martin in No Holes & the Bard, Rex de Vil, Zoo on August 10, 2011
THEATRE
**
No Holes and the Bard
Zoo Southside
Cringingly described as a ‘macabre ode to one’s childhood’ this one-man show fuses the work of Australian singer/songwriter Josef Salvat and playwright Meg O’Connell in a production that left me as confused as the décor of the chosen venue at Zoo. Salvat plays William, a pop musician examining the relationship he has with his mother and father as he waits backstage in a dressing room to prior to a performance. Weaved between the pedestrian monologue offered by O’Connell are 6 original songs the audience are forced to endure, that although undeniably display Salvat’s impressive musical talent are so painfully reminiscent of pop star twats Scouting For Girls in their structure and delivery that the end of the show, the whispered line ‘the show must go on’, not only demonstrates O’Connell’s understanding of irony (congratulations) but is wholly welcomed.
As mentioned, Salvat’s musical skill is without doubt impressive. His vocal ability complemented his translation of a variety of characters and sometimes reached a haunting falsetto that if placed in other songs or wrapped around alternative lyrics could be extremely powerful. Unfortunately the show as whole was merely average, let down by the clichéd script and set up, therefore one feels not only unable to comment at length. Running at the festival till the 13th, don’t rush for a ticket unless an avid fan of over polished pop and mediocre monologue.
Eric Lampaert
Posted by Martin in Eric Lampaert, Pleasance, Rex de Vil on August 9, 2011
COMEDY
**
Eric LampaertPleasance Courtyard
Where’s Eric? Well, no doubt he’s soon to be everywhere. Star of tv adverts, recent ITV disaster ‘OMG with Peaches Geldof’, winner of Latitude Best New Act Award and back at the Fringe with another show, the boy is quickly building up a following. Understandably so – he’s young, he’s fashionable, loud and energetic, unable to stand still for more than a few seconds. When we strip this all away however, he is essentially unfunny, a husk. But who cares right? He can skip and squawk.
Of particular annoyance was the multitude of apologies that followed the numerous occasions of unsuccessful material, with one prolonged dip in the middle of the set being remedied by a high five on the front row. The baseless laughter returned for this action only proves that Lampaert’s child-like energy is the sole reason people are being drawn in – like fast food it is quick, sugary and easy and like fast food I was left still hungry. Littering the performance was a succession of tiresome puns not even worthy of Christmas-cracker status and when aiming to push the boundaries of acceptable taste we were met with tepid McCann jokes succeeded by another request for forgiveness this time for being “so dark”. Those shocked in the audience were clearly the cretins tuning in to ITV2 for Geldof’s holocaust, and Lampaert is sure to have enough of these at each of his shows to give the disguise of a successful run at the festival.
Somehow I feel that Lampaert will forever be ‘one to watch’, never fully surpassing this due to being unable to fool us all with his high-fives and ability to jump. There is no denying he has charm but unfortunately I fear this is as far as it goes.
Thirty Two Teeth
Posted by Martin in C Venues, Rex de Vil, Thirty Two Teeth on August 9, 2011
THEATRE
*
Thirty Two Teeth
C Soco
When relaying the plot of this production to a friend, the story of three adolescents who kidnap the tooth fairy to harness her powers, she mistook ‘tooth fairy’ for ‘fir tree’. If only. This would surely be a hundred times better than the carcass of a performance on offer by Jam Jar Productions at C Soco.
You read right – a group of teenagers take the tooth fairy hostage under the belief that with each tooth she is given, she can positively influence your life. The script I was forced to suffer was an endless mess, a sea of hackneyed expressions worsened only by the poor acting skills of the company, interrupted by overblown wails as the characters debate how they are going to obtain enough teeth to exploit the magic of the supernatural being. Screaming to be seen as mature and profound this production cannot escape the level of theatre expected by GCSE students partial to adaptations of Alice in Wonderland and physical theatre about anorexia. I audibly moaned with nausea at the entrance of this tooth fairy character, a jumble of earth tone fabric rags and childish face paint that stumbled through a succession of monologues that confirmed the writer worthy of mutilation. The extent of the actress’ skill can be relayed in her pantomime expression of interest – her hand rubbing her chin. Tied to a chain far too long to give any sense of restriction the audience were granted a series of mimed tumbles that were so forced it wasn’t long before the various weapons on stage became an attractive means of escape. With a cliché fantasy soundtrack, the artistic vision of a fetus and a complete lack of humor or irony the director needs to take a big step back.
Its shows like these that make me wish I lived in Japan.
Briefs
Posted by Martin in Briefs, Gilded Baloon, Rex de Vil on August 9, 2011
COMEDY
***
Briefs
Gilded Balloon
ScotsGay readers have no doubt already heard about this show – a troupe of attractive young men have descended upon Edinburgh in skimpy outfits with a selection of circus style ‘displays of flesh’. The result? – an entertaining evening that needs to review certain elements of its structure before being transformed into something grand.
Visiting the festival for the first time, these Australian beefcakes are an able bunch. Opening the show with a humorous boylesque routine, we are then treated to a succession of acts ranging from majestic aerial routines to plate spinning. Blah blah.
Another highlight was the selected soundtrack – a series of pumping remixes of both contemporary pop and camp classics that had me wishing the venue allowed space to dance rather than remain seated as if at a school assembly we wished we all experienced aged eitght. The work of personal heroine Roisin Murphy made an appearance in an aerial number of impressive quality and slick executions that had me mesmerized by its juxtaposition of elegance and the chiseled male form.
The central reason as to why this show can’t earn the extra stars it has the potential to acquire is the ability of the MC. Although with charm, his anecdotes are essentially unfunny, unable to sustain the audience’s interest during the lengthy interludes between the separate acts (understandably long lasting due to the set change procedures required for installing apparatus for aerial displays and the like). Were he to tighten his routine the sense of fun conjured by the various acts would flow completely through the night, rather than dipping and ascending as it did. This would ensure that the late night scheduling of the show would not affect the audience’s enjoyment – it must be noted that some audience members did leave yawning in the brief five-minute interval given.
The Yellow Wallpaper
Posted by Martin in Rex de Vil, theSpaces, Yellow Wallpaper on August 5, 2011
THEATRE
**
The Yellow Wallpaper
theSpaces @ The Surgeon’s Hall
When will people ever learn that ‘The Yellow Wallpaper’, the Charlotte Perkins Gilman short story this production is based upon, is impossible to successfully adapt?
Aiming to translate Gilman’s tale of a woman’s haunting descent in to madness fuelled by her obsession with the wallpaper of her bedroom, this production like so many before fails to realise that the drama of the story can only successfully be contained within Gilman’s original diary format. Presented as a one-woman show, this production by Amarillo Arts is progressively wearisome as it fails to capture the essence or horror of the narrative with its use of hackneyed music and futile interpretative decisions. Lesley Free’s performance isn’t bad, with one at times wondering how she’d work with a contemporary script or translation of the piece itself. However despite this, any credibility Free gains is lost by poor directorial decisions.
The set is abysmal, with no attempt at a fresh adaptation of the demonic wallpaper itself – a couple of gobos directed towards some crumpled sheets was deemed enough. Central in the admittedly restricting space stands the heroine’s bed, however rather than an actual mattress the company settled on an inflatable substitute that when exposed by the slipping bed sheets implied some sort of fetishistic chamber, doubtfully a conscious decision by the director as a reflective or symbolic contrast with the tiresome 19th Century setting. Perhaps with a few more squeaking gimp accessories the conclusion of this production would gain some chance of matching the powerful climax of the original.
Rex de Vil
Posted by Martin in Rex de Vil on July 27, 2011
A Slow Air – The Traverse
Anyone for a Witchhunt? – Laughing Horse at the Counting House
Are You Game? With Sonny Spells – The Spaces on the Mile
Are You Happy Now – Kiwi Bar
Eat Your Heart Out – Assembly George Square
Eric Lampaert – Pleasance
Find Me – Paradise at Augustine’s
Hotel Medea – Summerhall
I see Simon – Zoo Roxy Music
James Acaster – Pleasance
Julius Caesar – Laughing Horse
Last Orders – The Traverse
Andi Osho – Pleasance
Man of Valour – The Traverse
Medea’s Children – St George’s West
Mission Drift – The Traverse
No Holes and the Bard – Zoo Southside
Orlando – St George’s West
Sex Lies and Eurovision – Spotlight at the Merchants Hall
Strange Undoing of Prudencia Hart – The Traverse
Wheel – The Traverse
Yellow Wallpaper – The Spaces
Tomboy Blues – The Theory of Disappointment – Zoo Southside
Uglies do Edinburgh Gryphon Venues at the Point Hotel
What Remains – The Traverse
