Archive for category FRINGE REVIEWS BY VENUE
The Seagull Effect
Posted by Martin in Charlotte Monk-Chipman, Seagull Effect, Zoo on August 28, 2011
DANCE
****
The Seagull Effect
Zoo Roxy
There is nothing Idle about the theatre company ‘Idle Motion’. ‘The Seagull Effect’ is a thoroughly eclectic collaboration of mediums in a dynamic piece of theatre which transforms the ordinary topic of weather into something extraordinary. Inspired by the freak hurricane in Britain 1987, this undeniably exciting company draw from countless creative perspectives and verbatim accounts, as they brave the elements with this resultant success.
But naturally, this silver lining isn’t without it’s cloud, the concept is overly complicated, overcast with far too many metaphorical strands and philosophical messages, mapping fate against the geological weather predictions, but the spectacle makes up for this pretentious front.
The storyline of two separated lovers reunited by the storm, felt awkwardly worked in, with nagging sentimentality. It was the main tale which was plucked from the chaos, and although the couple’s story explored another layer to the web of dramatic forms, the emotional intensity of their relationship revealed a gaping hole in the piece; their acting ability. Clearly, they made better artistic innovators than actors, as their chemistry wasn’t quite believable, and although I warmed to Kate Stanley’s characterisation of the woman, I found Alex Kearley-Shiers performance as the Man awkward and poorly acted.
The use of projection onto many different objects was thrilling and really slick, I loved the use of the multi-functional white umbrellas, and whenever they used multi-media projection, I felt it was incredibly effective through each artistic inflection.
The piece is a clear example of style over substance, but it works. The vast array of multi-media titivations constantly delivered really clever moments and as a result the show was thoroughly entertaining. The piece’s ambition cannot be faulted, but it attempted to metaphorical-ize the concept of the human body and emotions in harmonious sync with nature, which remained in dis-equilibrium in the eye of the storm.
Iain Stirling & Sean McLoughlin
Posted by Martin in Angus Wyatt, Iain Stirling & Sean McLoughlin, Just the Tonic on August 28, 2011
COMEDY****
Iain Stirling & Sean McLoughlin
Just the Tonic @ The Store
Comedian friends Iain Stirling and Sean McLoughlin unite at Just the Tonic’s new ‘The Store’ venue to present this hour-long stand-up routine.
I must immediately correct myself – ‘hour-long’ suggests an element of boredom, but if you ask me this show was an hour-short – I wish there had been more of it! These attractive young comedy stars were engaging and entertaining throughout the show, and coped extremely well in the face of a challenging audience. They equally divided the one-hour slot between them which created a contrasting and well-balanced show – you effectively get two great comedians for the price of one – a fact which again some members of the audience didn’t seem to fully appreciate.
This show contains everything a good stand-up show should – self-deprecation, inter-comedian banter, witty puns and hilarious anecdotes. McLoughlin has a sort of lanky awkwardness to him which is sort of endearing and amusing rather than distracting. He recounts how he was once described by a reviewer as ‘promising’, and I couldn’t agree more – I look forward to seeing where he’s climbed to by next year’s Fringe. As for Stirling, it is evident that he has been working in television as well – he has a great rapport with the audience, connecting with all of them and delivering a polished, professional performance.
My only criticism of this show is that some of the jokes and anecdotes didn’t necessarily work with this audience and in this venue – more a comment on them rather than the show itself though. Give these guys a year and they will undoubtedly be giving us a five star show in a much bigger venue – they really are stars of the future.
Cluedo
Posted by Martin in Augustine's, Charlotte Monk-Chipman, Cluedo on August 27, 2011
MUSICALS
**
Cluedo
Augustine’s
‘Professor Plum’ in the library with the spanner? ‘Reverend Green’ in the study with the revolver? ‘Poot Productions’ manage to distort the notion of whodunnit, into who cares?! Unfortunately Cluedo the musical really is as bad as it sounds. As a great fan of this classic board game, I had high hopes for a musical adaptation, but the real scene wasn’t the intelligent parody I had hoped for. At first I thought that the show might be so awful it was brilliant, but this is too great a complement, and the cast were not talented enough to pull it off.
Using awkward follow spots, the lighting also flunked, with poor technical operation but at least this was in keeping with all the other elements. The script wasn’t great, although I did appreciate the brief homage to Chicago’s ‘cell block tango’, and the theme song was unfortunately catchy. But the singing was distinctly average and needed elaborate ‘jazz hands’ choreography to really make it entertaining. It certainly needed to be infinitely cheesier for it to be satirical. A noteworthy performance was given by the archetypal bawdy maid ‘Mrs White’ though, and her performance stood out but admittedly, this was not too difficult given the casts aptitude.
The show only established hilarity in accidental moments, such as Colonel Mustard’s moustache slipping off his lip and onto his chin, which I met with suppressed giggling and streaming eyes, and this was a welcome mishap and I thank the actors’ sweaty lip for this. Such blunders were irrationally funny compared with the show itself, so that when a gunshot failed to sound but someone died, I lapsed into hysteria yet again. True to its roots, this show is murder, and rather than a thrilling original musical, a cup of tea and a dusty old board game is guaranteed to be more entertaining.
A Day in November
Posted by Martin in Charlotte Monk-Chipman, Day in November, Zoo on August 27, 2011
THEATRE
**
A Day in November
Zoo Southside
A show based on a senile old man playing hide the cucumber, sounds far more entertaining than the actual product, but innuendo aside, sadly this puppet show (supposedly for adults) was dull sentimental bore. Performed by Rumen Gavanozov of Theatre Atelie 313, the puppet is beautifully crafted as an elderly philosophical figure with a tendency to become distracted by his missing cucumbers and a touch Narcoleptic; which was extensively dragged out. The snoring gag is never funny, even when a puppet does it and perhaps less so. It tried so hard to be funny, but it was painfully drab.
Both puppet and puppeteer were cute though, and the Bulgarian puppeteer was naturally charming but with very weak material. For a one-man operated puppet, i suppose it was operated with reasponable skill, but he grappled with illusionism with no precision to the eye line, no attempt to make the puppet breath, and no fixed point or sense of gravity (the three basic principals in puppeteering). The unfocused stance of the puppet was even more important to the piece, as the crux of the show sent the puppet flying, but there was no contrast, and perhaps the puppets engineering was overambitious for a one-man show.
The cleverest aspect of the show however, was his no-handed puppetry; where he subtly nudged the table to make the puppets head bob to create the impression of speech, but sadly, this was its only redeeming feature. Thematically centred on old age and decay, unfortunately the show seems to extend this to an impression of a disappointing digression of the artform, but in reality this is not the case, as this show isn’t a patch on some of the other puppetry shows at the fringe.
Pool (No Water)
Posted by Martin in Charlotte Monk-Chipman, Pool (No Water), Zoo on August 27, 2011
THEATRE
***
Pool (No Water)
Zoo Roxy
I didn’t really enjoy this show. With a cast of 3, Bell Jar Productions; a student company from Reading University attempt to create a ‘raw, evocative and challenging piece’ but i remained impervious to the cause. The narrative explores the crippling injuries of a woman who jumps into an empty pool and her 3 closest friends’ involvements, emotional discontent and resentment for her ‘tragic fate’. The show is an adaptation of Mark Ravenhill’s play punctuated by spurts of physical movement and layered voices, but the triple ensemble lacked synchronicity and needed to be much tighter, if they were to create the illusion of being united in their guilt.
Ravenhill’s script is shocking, and deliberately violent, but the direction was a puerile interpretation. There was no depth to the characterisation, the actors just kept shouting their lines, so the aggressive tone of the performance, paradoxically eclipsed the aggressive emotional centre of the play. They patronised the anger of the script through a deafening display of fury as they performed with unnecessary, unrelenting volume which i found most disagreeable. I was not enthralled by anything they said whilst shouting, nor when they spoke with more appropriate decibels. Even the music and voiceover was excessively loud, and it came to a point where i considered how much more enjoyable i would have found the show if my hearing was impaired, as the spectacle was certainly more effective that the show’s aural capacity.
The acting was at a low standard, but there were at least some really nice fleeting moments of physicality, and it was clearly well rehearsed. The show’ quality did pick up a bit, but its creativity undulated drastically. At the approximate mid-point of the show, they screamed unanimously, and then began to push each other, fighting over centre stage; so these horribly familiar moments affirmed that this was Emma Chapman’s directing debut, as if torn from the pages of a student’s guide to acting and directing handbook.
Debris
Posted by Martin in Charlotte Monk-Chipman, Debris, Zoo on August 27, 2011
THEATRE
***
Debris
Zoo Roxy
Performed on alternate days with PlayON’s other fringe show ‘Stacy’ as part of their ‘Lost Ones Season’; Debris by Dennis Kelly is an ‘in-yer-face’ drama exploring the perverse lives of Brother and Sister Michael and Michelle, in a shattered family with unrelenting torment and underpinned with natal obsession. Both children are fixated on their birth right with morose intent and understandable angst, which has been ingrained in their ‘detrimental childhood’.
The two actors; Lily Knight and Will Hughes are aesthetically a good sibling-ly match and in an intensely personal play, the duo are a complementary partnership. The two maintained character throughout as the play alternated monologues so their stage presence was strong. And notably, Knight played a very endearing innocence as the sister, which was quite beautiful to watch her capture a child-like softness to her wide-eyed stare, if slightly off-putting. Sadly, this attention slipped slightly in her own monologues, and i felt this was the case for the pair of them; that unusually, they shone when the other was speaking. They were incredibly engaging as physical performers, but struggled to convey the same strength of character in their speech. Nevertheless, they maintained solid performances.
For the aforementioned reasons, I wasn’t really convinced by the vulnerability of their characters. Despite their troubled lives, their characterisation was unusually gutsy from the start. This was most notably captured by Hughes’ brazen eye contact with the audience in such an intimate space as we entered the room. This was perhaps ill-befitting to the plays content, but an interesting interpretation either directorial or scriptural. They adopted a surprisingly strong disposition, when i felt they needed to be more spiritually broken, instead they came across as twitchy and socially awkward, but needed greater depth. They captured the child-like nature well, but didn’t quite connect with the degenerate lifestyle, so that as an audience member, i could not quite suspend my disbelief far enough.
I didn’t really feel emotionally effected by it, and was more tormented by the white noise from the TV’s incorporated in the set (used effectively with footage of birthing imagery), but which began to give me a headache. Hughes did give a very strong performance whilst recounting the story of the baby found amongst a pile of rubbish, and his immediate emotional and physical attachment to the child was touching to watch and disturbing in equal measure, but he lacked the subtlety and delicate quality which Knight exuded, and remained slightly too frantic. Overall this was a solid show, but lacked the poignancy which it had clear potential to achieve.
Stacy
Posted by Martin in Charlotte Monk-Chipman, Stacy, Zoo on August 27, 2011
THEATRE
****
Stacy
Zoo Roxy
Produced by ‘PlayON’; ‘Stacy’ by Jack Thorne is a one-man show where Nick Mcquillin plays Rob; a young man who sailed through childhood as a self-proclaimed ‘beautiful child’ but is now grappling with adulthood. In an incredibly entertaining tangential confession, aided by a slideshow of projected images always reverting back to his obsession with his best friend Stacy, his monologue is effortlessly delivered with a superb comic patter.
His bumbling persona is entertaining and amusing rather than irritating, and even when the script delves into incredibly dark territory, his delivery is faultlessly alluring and he brings an honest naivety to what could easily have been conceited profligacy. But Mcquillin could hold his own without the projected images, which seemed like a timid directorial decision and an unnecessary distraction to his engaging performance. The images added to the comedy, and provided faces to the characters rob described, when this could easily have been left to the audience’s imagination through Mcquillin’s innate talent for conveying a believable recollection of the stories he told.
The graphic details which the script divulges were delivered with a subtle air of bitter-sweet internal struggle, at face value incredibly amusing, yet there was a sinister undertone gradually emerging. However, this never peaked and he seemed to lack an emotional intensity at the crux of the show. This was his only limitation as an actor and at this crucial point I struggled to believe in his performance, but I fear this was a detriment of the direction; that his abrupt exit from the stage gave way to the glorified slideshow which rapidly recapped all the shows images closing the piece in a slightly awkward contrived fashion. I felt his presence on stage needed to linger for just a fraction longer, as he was incredibly capable of holding the audience.
Time for the Good Looking Boy
Posted by Martin in Pleasance, Time For the Good Looking Boy, Tony Challis on August 27, 2011
THEATRE
****
Time for the Good Looking Boy
Pleasance Dome
Lloyd Thomas is a good-looking boy, but he also gives a more than good-looking performance here. His performance is quite compelling – you won’t easily find a better one-man show. He takes risks – including getting a member of the audience to act from her seat in the voice of his girlfriend – helping her with a few lines. It goes fine. He also brings us into the action by asking us a number of rhetorical questions.
He’s not a bad boy, as he says – all boys can be a bit wild – and we learn about his father’s departure, his girlfriend and sister, and how he comes to be outside the door, locked out – or does he? Are things as they seem? We are drawn into the kinds of fun he has with his friends, and the night out they have been having. Gradually, things darken, but not before you have got to feel real friendly with this character and have entered into his world. The final section is very moving, but this is maybe a bit long.
Michael Wicherek has written a very engaging script, which moves between scenes and characters very nimbly, and establishes situations with few words. The set is wonderfully compact and effective for the various locations.
You would in no way regret spending an hour in the company of this good bad boy, as you explore his life and hopes, up until it is time for him. Lloyd Thomas has complete control of the stage and the audience, and he could take us where ever he wanted. He is a masterly and subtle actor, and I am sure that more will be heard of him.
Dusty Limits: Darkling
Posted by Martin in Brett Herriot, Dusty Limits: Darkling, theSpaces on August 27, 2011
CABARET*** Dusty Limits: Darkling
SpaceCabaret @ 54
The cabaret legend Dusty Limits returns to the Fringe with Darkling.
Looking at all things melancholy – and indeed suicidal – seems an odd choice for a show but it actually works thanks to Dusty’s wry observations on life. His style is an interesting mix of burlesque and vaudeville and at times stark honesty as he recounts his battle with depression and the search for love. He is instantly likeable and one feels so comfortable in his presence despite the lyrics of the self-penned songs being outrageous in the extreme. His voice is rich and strong as he sings with emotion when needed and comedy flair when appropriate too. He is assisted by a pianist and a stand up double bass on stage.
Why the three stars then? Well for me I think his show is just a bit too short, at 45 minutes he is just hitting his stride when the show comes to an end.
However, Dusty continues to be the king, or perhaps queen, of the cabaret scene and you can’t fail to love his style and thoughts on daily life. A little more content and his show is on the way to five stars.
Snap, Catch, Slam
Posted by Martin in Pleasance, Snap Catch Slam, Tony Challis on August 27, 2011
THEATRE
***
Snap, Catch, Slam
Pleasance Courtyard
This show comprises three short plays by Emma Jowett, one for each of the verbs in the title.
The first one involves a young woman teacher who is provoked by a male pupil till she strikes out – having snapped. The dreamlike unreality of the “snapping” is vividly conveyed – the actor narrates her experience. There is a long background build up to the event –this is marginally the longest story – and, having spent most of my working life in either teaching or counselling, I felt almost as though I was sitting and counselling a troubled colleague. And there is much I might have said to her.
The climax of this story was very well conveyed, and the descent to the end very effective. But I failed to see what was added by having the other members of the cast sitting beside her – unless it was felt that the awkwardness of having them enter later would have spoiled the moment. The performance may have been more commanding alone. I did feel this would work very well on radio.
The second story involves a guy walking home and finding a house fire, and catching a baby thrown to him. Apart from the fact that the baby would not just have nestled into his arms – unless it was handed to him at ground level it would most likely have caused him to fall and have at least a broken arm, which would not have left him strolling casually home – other group members join in here in a way which seems to distract from the monologue.
The final section involves a woman being attacked by an ex-partner at her home. A violent and devastating ending, which seemed in keeping with the tendency to melodrama. This was an intense and memorable hour of drama, but I failed to see unity between the three parts or to see what, apart from sympathy with people in traumatic situations, I was meant to take from it.
Perfectly Public
Posted by Martin in Brett Herriot, Perfectly Public, Zoo on August 27, 2011
THEATRE*** Perfectly Public
Zoo Southside
Back Door Productions bring a play to the Fringe which started life as a sketch – and it works – to a degree.
Young writers Sam Scott and James Thomson have converted their comedy sketch “Rah Rah” into something a bit bigger and longer looking at the public perception of being a private school student as opposed to public. It’s done with a wry sense of humour. That said they seem to be infatuated with either being gay themselves or that having a strong gay story line will enhance the show. It’s only mid way through the piece that you actually connect with the knowledge their commenting on hidden homosexuality in the private school system. Its still a taboo subject in many a private school for a pupil to come to terms with their sexuality and I am glad the writers have taken a chance on writing a piece of theatre around it.
The songs are nice enough but need a little bit of work and Sam Scott must slow down slightly at the piano and not race through the score as the take on Bryan Adams “summer of 69” is right on the money.
This is show which is very much a work in progress and the boys are brave enough to go on stage themselves supported by a small ensemble cast. Director Jules Crossley has delivered the goods working the small space well. Overall this is a production worth catching as it does have a future and for that reason I look forward to seeing them back for the Edinburgh Fringe 2012, mean while catch them if you can while their around!
Love Songs for a Timewaster
Posted by Martin in Brett Herriot, Gilded Baloon, Love Songs for a Timewaster on August 27, 2011
THEATRE**** Love Songs for a Timewaster
Gilded Balloon
Nobody is perfect, but how much imperfection should you put up with before you jump ship? This heartfelt and hilarious one-man musical, packed with beautiful new acoustic songs, is a route map for how to fall out of love with a person and fall in love with life. Featuring leading Scottish playwright Iain Heggie and John Kielty from Edinburgh rock band The Martians.
It’s good to see Heggie back at the Fringe, following a six year absence, with two new solo shows. Love Songs For A Timewaster, was apparently developed from his experimental work-in-progress show Wide Asleep which fused theatre with cabaret, live music and stand-up.
This is an autobiographical piece from Heggie – an out and proud gay man. The story depicts his journey with a younger man who also has girl in the back ground. It makes for an interesting watch and the songs are very melodic with a strong Scottish folk sense to them.
The whole show is hugely poetic, which truly relaxes the soul as the melodies soar around you.
Dostoevsky’s Dream of a Ridiculous Man
Posted by Martin in Dream of a Ridiculous Man, Spotlites, Tony Challis on August 27, 2011
THEATRE
***
Dostoevsky’s Dream of a Ridiculous Man
Spotlites @ The Merchants’ Hall
Dostoevsky’s work on the page is intense and grabs you by the throat, pouring the author’s own wisdom and characters’ insights down your gullet whilst you are thus held. George Dillon does a very good job of taking on this mode, transfixing the audience in his role as the would-be suicide “Ridiculous Man”, reviled by others and almost despairing of understanding himself or life. We are taken on his dream of paradise and of an alternative humanity. He creates the picture of this other world quite vividly.
It is not all full throttle, and there is a gentler mode in the incident of the little girl which causes him to feel shame and to have an insight into himself. I would have preferred if he had lowered the volume somewhat in his final message, and drawn the audience in more seductively. There could have been more variety of tone and delivery, but maybe George Dillon sees this man almost as the kind of street preacher who doesn’t do subtlety, and so he has to stay true to this character.
This was a most gripping and involving performance, and it was a pity that the audience was relatively small at the show I saw.
2401 Objects
Posted by Martin in 2401 Objects, Charlotte Monk-Chipman, Pleasance on August 27, 2011
THEATRE
****
2401 Objects
Pleasance Courtyard
‘Analogue’ Theatre Companysensitively convey the real-life story of how a man becomes a scientific artefact. Inspired by the life, death, and legacy of patient HM; Henry Molaison, this fascinating performanceis creatively crafted, balancing style and substance to deliver a truly moving and impressive piece of theatre by an exciting company.
It is not weighed down by complicated neuroscience, and as the scenes are played out, intertwining memories with Henry’s (what I took to be Present tense) in a hospital with an incredibly patient nurse, the narrative itself becomes slightly unclear. We bear witness to really touching moments and superb acting, but most notably the chemistry between the cast, which keeps the shows momentum and drives the piece forward.
The beauty of the piece is secured by the clever use of the set and its slick scene changes; with a giant revolving and sliding gauze screen and their simple use of physicality to collapse into the floor as the screen passes over them. Only at the end, where Henry’s brain ‘was cut into 2401 objects’ is the title’s significance chillingly revealed,and how the set itself is a perverse engorged replica of the brain slicer used to dissect Henry’s cranium. It isn’t until this final crucial moment, that the entire performance takes shape, and the piece’s brilliance is revealed through a powerful and moving climax.
The Infant
Posted by Martin in Charlotte Monk-Chipman, Infant, Pleasance on August 27, 2011
THEATRE
**
The InfantPleasance Courtyard
‘Les EnfantsTerribles Theatre’ have created a diluted political satire which dissipates under the circular absurdist cat and mouse exchange between the ludicrous interrogators Castogan and Samedi , and their pathetic husband and wife prisoners, as they attempt to get to the bottom of the issue at hand. The problem being an uninteresting issue; a drawing by a 4 year old which fails to be witty, and they soon exhaust the comedy, and my interest in the plot.
The piece has a strong opening whilst the audience enter but sadly, this rapidly declines when they begin to perform. If, like me, you’re not a huge fan of clowns, then the beginning stage picture is incredibly sinister, with a fantastic set; under a ceiling of rows of dimly lit naked light bulbs, and a chilling masked clown with sunken dark eyes sitting motionless on the stage. The music and soundscape consists of a low ominous wind noise, whistling, tapping and twinkly circus-like music subtly layered and the effect is slightly terrifying. But then, as the mask is removed and a drippy actor is revealed, followed by his equally uninspiring wife, tweedledum and tweedledee, the performance loses its potential for hilarious dark comedy. The script had clear moments of brilliance, but the characterisation of the manic double act stuck to a hyperbolic level, and the interrogators were neither menacing, nor witty.
Using the simple and effective set, for swift transactions, the pace didn’t drag, but as the plot was repetitive, and the characters un-engaging, I did regret my presence in the audience.
Cutting the Cord
Posted by Martin in Charlotte Monk-Chipman, Cutting the Cord, Underbelly on August 27, 2011
THEATRE
****
Cutting the Cord
Underbelly
‘Cutting the Cord’ is a one-woman spectacle by ‘Flying Eye’ Theatre Company. Sachi; a petite, wildly animated Japanese woman creates a simple, poetic and at times moving piece of experimental theatre which gently explores the topic of immigration and the emotional void between cities on reflection of her autobiographical journey from Tokyo to London and back again.
As the title might suggest, the piece explores the severance from one’s place of birth and the journey for a new sense of belonging. This poetic metaphor of being uprooted is playfully travelled in the show, as Sachi tenderly and comically presents a very watchable story which completely draws the audience in.
Beginning with a little audience participation, Sachi and her equally charming musician lure the audience onto the stage, and the first 15 minutes are unintimidating but theatrically, less exciting. However, It does have the double effect of disorientating the conventions of theatre, and familiarising the audience with each other and the space. This clever transference of the thematic centre and emotional pull of Sachi’s story shows how the concept of the piece was conveyed successfully through her heart-warming character, making this experimental piece relatable and endearing to its audience, where total theatre usually fails.
Mae Martin: Mae Day, I’m Not Waving I’m Drowning
Posted by Martin in Mae Martin, PBH Free Fringe, Sophie Alexander on August 27, 2011
COMEDY
****
Mae Martin: Mae Day, I’m Not Waving I’m Drowning
The Rat Pack Piano Bar
Not all comedians can get away with that sort of look-at-me-I’m-awkward-cute-and-still-funny type of act, but Mae Martin, perhaps because she genuinely is all of the above, pulls it off.
What I really liked about Martin’s show was the breath of topic within her humour. Underpinning the show was her anxiety of life, YOYO (you’re only young once) and a general uncertainty of what direction she should be taking. These are feelings at some point, we have all felt, and to juxtapose them with increasingly amusing anecdotes and songs was kind of lovely.
The gawky slightly nervous demeanour enabled the audience to feel safe and as though they could relate to her. Hers is not the type of comedy where you’re terrified to sit in the front row, save the comedian verbally accosts you for your fine choice of plaid shirt. This is not to say her comedy strays on the safe side, it is an eclectic jumble of songs about endless showers, Ke$ha rants and a startling accurate impersonation of Julia Roberts.
I think when Martin is at her best, is when she is just sort of, fucking confident. She’s a clever gal; she knows how make an audience laugh. Her portrayal of herself as a young, spidery 14 year old is a bit silly, but loud and full of the confidence of a veteran comedian.
Mae Martin is enticingly endearing, despite looking slightly like Sid from Toy Story. I feel myself sort of willing her on throughout her set. There are moments of brilliance from this lady and I’m crossing my fingers she’ll be back in Edinburgh next year.
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.
Belarus Free Theatre
Posted by Martin in Belarus Free Theatre, Pleasance, Tony Challis on August 25, 2011
THEATRE
****
Belarus Free Theatre
Pleasance Courtyard
This outstanding company present two pieces – Minsk 2011 and Discover Love.
The first piece presents a picture of life in the city they feel so much for and which they cannot now see – Minsk, capital of their homeland, Belarus, the only remaining dictatorship in Europe.
These are extremely skilful actors. They take us to many different places and moods in the course of the show, and the speed with which they establish a new scene and new characters is very impressive. They are able to change mood and take the audience where they want them to be in seconds. We see many ways in which people’s lives are harassed and interfered with by authority, the many ways of finding it difficult to be true to yourself, and various kinds of underworld – from nightclubs to channelled rivers.
The problems of having a Pride march, and the struggle to live as LGBT are also covered very effectively. The problems of having any coherent sex life, and the way a dictatorship corrodes all aspects of life, is clearly shown. There are also emotional moments when officialdom shows no respect for family feelings.
We see how authority stains the skin of the dissident – of the citizen – in order to control – maybe staining the whole of the citizen. This is a particularly stunning scene. In the midst of this, there is humour and a wide range of emotions. And of course there is also the desire for the redemption of the homeland, and feelings of deep attachment.
This is a show to be seen not because of a political situation, but because these are some of the most professional, versatile and captivating actors you will see on the Fringe this year.
Discover Love is a more intimate show than the Minsk 2011 show that Belarus Free Theatre are also showing. However, the show is book-ended by on-screen statements about the fate of The Disappeared and the need to ensure that civil rights are acknowledged worldwide so that it is impossible for citizens to be deprived of their liberty anonymously and held without trial. This would be an excellent situation, but we are far from it in many places.
The play tells the story of one woman from childhood, her lack of a father, her first loves, and then her meeting with the teacher who was to become her husband – with whom she had two daughters and lived for many years. These were years in which they were active in many areas, including democracy campaigns, until the day her husband went to the sauna with a friend and never returned. We learn of her campaigning since this happened in 1999. The story is based on the life of a real person in Belarus.
The acting, plus movement and dancing, here is extremely good, and the emotions of the characters are conveyed with much subtlety. The three person cast of Marina Yurevich, Oleg Sidorchik and Pavel Gorodnitski are very dynamic and resourceful. However, the story did not grab me emotionally in the way I thought it might – it was very moving, but not to a great depth. One reason for this may have been the great volume of words involved – we are given a great deal of detail about the early life of the central character and all this has to be read on the screens, so that we are almost caught between reading a story and watching a play. Maybe the dialogue could be trimmed a little, and time left to show relationships in action.
The whole drama is also done chronologically. Maybe starting some way through – at a point where difficulties occur, and then using flashback and flashforward, would wind the observer into the action more easily.
That said, this was a brilliantly executed, superbly acted piece, which fully deserved its standing ovation. These brilliant performers, exiles from their own unfree land, deserve every kind of support they can be given.
Release
Posted by Martin in Brett Herriot, Pleasance, Release on August 25, 2011
THEATRE**** Release
Pleasance Dome
How much more debt to society does a prisoner owe once that prisoner is released following their sentence? Using a two year long research project as the basis for this play Icon productions bring a moving and compelling piece of theatre to the Fringe.
Using a talented cast of three performances playing a multitude of roles reflecting the experiences of those going through the probation system which are ultimately failing them as is a society that doesn’t really care and a government that’s confused on how to tackle repeat offending. The use of the multimedia element is very clever and enhances the production throughout as it builds via a gritty, sobering and realistic view of modern day people being pushed through a prison system intended to rehabilitate but is no way equipped to do so.
It would be unfair to pick out a stand out performance as all three shone but special credit must go the productions director as they have weaved together a mixture of drama, physical theatre, music and multimedia in such a way that the true power of emotional theatre hammers the story home. The project overall is stimulating but at times a very tough piece to watch but I think we need that kind of stimulus to balance the fringe out over all and in fact to balance the British theatre scene too.
This production will I hope have a further life beyond the Fringe but that’s for the future, for now make sure you check this production out during the final weekend of this year’s festival season.
Frisky and Mannish
Posted by Martin in Brett Herriot, Frisky and Mannish, Underbelly on August 25, 2011
COMEDY**** Frisky and Mannish
Udderbelly
Laura Corcoran and Matthew Floyd Jones return to the Edinburgh fringe as their alter egos Frisky and Mannish to complete the trilogy of productions with Pop Centre Plus.
Essentially the premise this time around is that Frisky and the gorgeous Mannish have taken it on themselves to open a centre to turn random nobodies in pop stars using their tried and tested series of tests and tasks with hilarious effects. Their ability to take known songs from the charts and the back catalogue of famous pop stars and make them something completely different is a unique talent. So cheesy dance numbers like “Saturday night” become power ballads and the Carpenters are given a new lease of life thanks to N-Dubz. The songsters build to a finale were they put together their own boy band with a little audience help ensuring the audience leave on a high.
What Frisky and Mannish do in terms of their show is being done by several other acts but what sets them apart is the infectious charm they present in their clearly defined characters that are so different from who Corcoran and Floyd Jones are in real life. The humour is topical but never offensive and their enjoyment of performing comes across from the stage to the audience. They are endlessly watchable and the hour long slot doesn’t seem long enough – I could watch them all night. As long as they continue to allow the act to grow greater heights lie ahead for them. For me personally I could sit and watch Mannish for hours alone so don’t miss out on seeing the Pop Centre Plus before the festival ends and life seems just that little bit duller again.
Matters of the Heart
Posted by Martin in Martin Powell, Matters of the Heart, Zoo on August 25, 2011
DANCE
*****
Scottish Dance Theatre – Matters of the Heart
Zoo Southside
Scottish Dance Theatre rarely disappoint, if ever, and they didn’t this year. Looking at the programme I was reminded of a restaurant. Get in and be served bread (4 mins), then the starter (12 mins), then the main course (30 mins). However what this omits is that utterly wonderful bread can be just as good as the main course or the starter. So it proved.
We started with A Little Shadery, choreographed by Sally Owen. Two dancers who are almost trees, in fact leaves were projected onto a screen behind them, which meant you could either watch the dancers or the image behind. A beautiful coalition of bodies with a witty end.
Then we get into the starter Dreamt for Light Years, choreographed by Joan Cleville. Here matters of the heart were clear as two dancers, one male one female, come together and establish a relationship with beautiful movement but clearly an intense sexual encounter yet not a porn show. This was dance at its best.
Finally we come to Lay Me Down Safe. Wow. It starts with three men in dresses and at various times has from 1 to 8 dancers on stage. Early on we get two men clearly pairing up as a couple but then gets more complex with other relationships developing. Not all of them sexual. There are sections where clear thrusting movements are involved but they don’t involve pelvic movements. Nor do they need to, this is dance. Capable of being interpreted in several ways it is an absolutely lovely piece.
Does dance get any better? If so I’ve yet to see it.
The Captain of Köpenick
Posted by Martin in Captain of Köpenick, theSpaces, Tony Challis on August 25, 2011
THEATRE
***
The Captain of Köpenick
The Spaces @ Surgeons Hall
This is a scathing satire of life in imperial Germany just before the First World War. Essentially, the uniform is more important than the man. Status is all.
Wilhelm Voigt is unemployed, has been in prison, and desperately wants a passport to return to the place of his birth. As it is, he is in effect a non-person.
The performance takes a while to warm up, and one or two of the cast seem somewhat on the surface. But I did feel for the escaped soldier who is recaptured – his eyes should take him far!
The most successful part of the show was the final three scenes, where things seem really to take off. The denouement was very enjoyable. The variations in class accents were also valuable. The relatively small stage does not make large-scale military actions easy to convey, but they did very well here with gusto.
David Fairs as Voigt was convincing and enjoyable, but he could usefully have been more of a rogue and more elaborately devious. With a farce like this exaggeration can pay dividends – some of the cast did play to this, but Voigt could have been more colourful.
The play itself does take rather a while to get where it is going, but the journey was definitely worth while.
Sold
Posted by Martin in Brett Herriot, Pleasance, Sold on August 25, 2011
THEATRE***** Sold
Pleasance Courtyard
Most people in today’s society believe slavery has been abolished and that we live in a far more forward thinking world, sadly they are wrong and Quiconque productions take on the challenge of showcasing the research carried out by the Human Trafficking Foundation, in the form of interviews with those who were trafficked into the UK and eventually into domestic slavery, forced labour and the sex trade it also covers Child Trafficking.
Director Catherine Alexander has taken a cast made up of current graduates from the Central School of speech and Drama to bring these interviews to life in a piece of theatre that weaves drama, physical theatre and dance together with Multi Media elements in a tour de force production. The horror of watching what these fellow humans are subjected to in the belief they are creating a better life for themselves is both humbling, upsetting and leaves the audience down right angry that our government doesn’t care and withdraws funding from the charities trying to help and then blames the problems on the do gooders!. The cast weave together the many stories of how their characters came to be in the UK and the experiences they lived through whilst trying to make a life here, it is disturbing and shocking and the entire cast work brilliantly together to create the imagery which is enhanced by the physical theatre elements and projections of what appears to be CCTV footage ranging from an ultra-violent death to police interviews. There is some stand out performances from the cast and for me Nicholas Hart really excels as he turns from what appears to be a young guy in love to the revelation he is grooming a school kid for the sex trade leaving you hating him. He does all that with complete conviction.
This production weaves a story that lingers on the mind as there is no real end of the individual story lines as they whole situation continues to spiral unless someone in power takes notice and starts the process of saying to the traffickers that the UK won’t stand for it any longer. Until that happens we as a society need pieces of theatre like this to say we are being vigilant and ultimately we do care for our fellow human beings.
Despite its early start time I implore you to do what you must to see this thought provoking, moving and simply brilliant piece of theatre during its Edinburgh Fringe Season.
Black Slap
Posted by Martin in Black Slap, Brett Herriot, Gilded Baloon on August 25, 2011
THEATRE**** Black Slap
Gilded Balloon
October 16th 1964, the boys dressing room of the Victoria Palace Theatre, London’s west end, Harold Wilson has just won the general election taking the Labour party into power then Mostyn Thomas switches off the radio it’s time to get ready for the evening performance of the Black and White minstrel show. So begins this exciting, warm and funny play from Paul Haley.
We all know what happened in the years since the Minstrels were deemed racist and removed from TV but at one time the show was massively popular and indeed the stage show ran for ten years between 1962 and 1972 at the Victoria, it’s here we meet Mostyn the head boy of the company played with revelry by John Griffiths, the half has just been called and it’s time to start blacking up for the show. As a veteran of many a dressing room the capturing of back stage politics is flawless added to this is the fact the troupe have been invited to perform with the Beatles at the 1964 royal command performance but not all the performers will appear before her maj, cue backstage in fighting to hilarious effect. The small company play the roles with conviction and completely bring to life a time with a lot less political correctness than now.
Peter Whitfield excels as Roy, the union official who is getting older and fatter and deemed unsuitable for the queen. Wide boys Merv the Aussie played to perfection by Will Chitty and Dave played by the gorgeous Tommy O’Neill who has a body to drool over! Completing the line-up is Marc small as Pyrex the boys dresser and the head girl of the Wendy played by Sarah Redmond. The show is extra special with addition of well know drag artist Dave Lynn playing the role of Big Mary, the minstrels resident drag queen who misses out performing for a bigger queen than him. It’s so refreshing to watch Dave out his trade mark wig and glam frocks showing just how brilliant an actor he is!
The show is actually 30 minutes shorter than advertised and feels just right, so if you want a lunch time comedy play that brilliant marks a time so different from now then you won’t be disappointed with this show.
