Archive for category C Venues
The Improvised Musical
Posted by Martin in Brett Herriot, C Venues, Improvised Musical on August 17, 2011
MUSICALS**** The Improvised Musical
C Chambers Street
No Shoes Theatre company return to the fringe with the improvised musical, something which is becoming common on the fringe scene however No Shoes do it with style!
As with all impro shows, it’s the sheer guts and talent of those on stage who make the production work. While showstoppers over at the Gilded Balloon work the same idea but always keep the barrier of the audience and stage in place, No shoes is happy to rip that barrier down, borrowing items from the audience for props, enlisting members to play a game to win the chance to have “change the show” card. The vital ingredient to make it work is audience suggestions. At my performance we ended up with a musical called “My Toes Made Rock and Roll” and featured the song “I am no dinosaur”. What happens is an excellent comedy filled hour which delights the capacity audience.
The 6 performers are backed by an onstage band of drummer, Double Bass and the brilliant and Beautiful Gavin Whitworth at the piano; it seems the best musicals this year revolve around him at the fringe! They are of course assisted by the Impro techie who works hard to ensure lighting changes happen as the action develops. A very cleaver twist to the production is watching the performer’s feet. The all start the production in a selection of trainers and socks and by the end there bare foot. They really are the No Shoes Theatre company including Gavin who played the piano barefoot throughout!
If you find yourself at C Venues at 6pm you won’t go wrong with this show! I’m still humming the tunes now!
My Big Gay Italian Wedding
Posted by Martin in C Venues, Joshua Hepple, My Big Gay Italian Wedding on August 17, 2011
THEATRE***
My Big Gay Italian Wedding
C Chambers Street
Every gay and Italian stereotype you could possibly think of is portrayed in this camp fest of a production. The audience members are warmly greeted and treated as genuine wedding guests, offered food and in your face outrageous welcomes from the cast members.
The wedding the audience have been invited to is that of Anthony and Andrew. Anthony comes from a typical, traditional Italian family; the combination of Anthony’s racial identity and the couple’s sexual orientation is the stimulus for a tacky, cliched, over the top storyline that you feel ever so guilty about indulging in. Although very predictable, cringy and completely absurd; this show knows what it is about, and its self-mocking style adds to the crazy humour. Although the dialogue and ideas are nothing new, it’s hard not to laugh and get involved.
I would suggest that if you favour more contemplative, challenging pieces of theatre that at the big questions: this isn’t for you; however, if you love a bit of camp and are partial to shaking your booty to Beyonce, then this may very well be the show for you.
The Music Of Les Miserables
Posted by Martin in C Venues, Joshua Hepple, Music Of Les Miserables on August 17, 2011
MUSICALS*****
The Music Of Les Miserables
C eca
These singers are destined for the West End. I have never heard such beautiful voices from such young talented performers.
To be honest, I was a bit apprehensive about going to a show that was just titled “The Music From…” as opposed to Les Miserables itself, but I can now fully see why it was designed like this.
This breathtaking show is set in an audition room for something similar to X-Factor or Britain’s Got Talent. The compere, who sits in the audience, asks individuals who are all numbered to come up and sing; either individually or in groups with their prepared song. My favourite performer, and must have been everyone’s, was a boy who can’t yet have reached double figures in age. He sang I Just Can’t Wait To Be King from the Lion King. His performance wowed the audience, and if this was a genuine talent contest he would have undoubtedly flown through to the next round. We also here from slightly older performers, who have much larger and powerful voices and sing songs from other musicals such as; When You’re Good to Mama from Chicago and Cabaret from Cabaret. The male vocals were not anything to complain about either. We hear songs from Phantom of the Opera and obviously the show finale is One Day More, that follows I Dreamed a Dream, both of which are from Les Miserables itself.
Another feature that made the show much more realistic, was when other performers sang, the rest of the cast – or “auditionees” – pretended to muck about in the waiting room during the performance.
A brilliant opportunity for the audience to hear how powerful and beautiful a voice can be.
Belt Up’s Twenty Minutes to Nine
Posted by Martin in Belt Up’s Twenty Minutes to Nine, C Venues, Tony Challis on August 17, 2011
THEATRE
***
Belt Up’s Twenty Minutes to Nine
C Soco
This one-person show, performed by Lucy Farrett, involves audience participation and contribution. Unfortunately, the time I went to see it the audience was small and this may have reduced the overall experience (as can happen with the most conventional theatre – weird is the experience of being part of an audience that consists only of a small handful of reviewers! But that was not the case here.)
The figure in Victorian garb at her dressing table with her back to us asks us to sit and be comfortable. She then engages us in conversation, trying to see what will stir us, what will make us tut…but we British are so reserved, and we don’t want to annoy a performer. Then she takes us into the world of her life and her memories, and we experience how different things can be when seen from the inside as opposed to the inside.
It is inevitable that this character will be seen as a “Havisham”, although the performer suggests she is not that one at one point. And I’m sure we all see Havisham as a character of great steeliness and determination, amongst other things, and not as weak in any way.
This is an intimate experience which gains from interaction between those present; it is not as intense as some Belt Up shows, but it is memorable, and what it is likely to leave you with most are images that you have seen in your head rather than ones that have been presented to you. Which is a particular kind of achievement.
Belt Up’s Outland
Posted by Martin in Belt Up’s Outland, Brett Herriot, C Venues on August 17, 2011
THEATRE*****
Belt Up’s Outland
C Soco
Return to the loft set high up in a tenement above Edinburgh to experience the second in the trilogy of work being presented by Belt Up theatre at this year’s fringe.
The interesting thing about Belt Up’s choice of shows this year is each one allows one of the three performers to take the central role. In this one Dan Wood comes to the fore in a tale that asks the audience to step through the looking glass, down the rabbit hole and beyond the wardrobe with Fur coats hanging inside to discover what dreams are made off. Inspired by Lewis Carroll’s final work, director Dominic J Allen weaves the author’s life story with his undoubted masterpiece “Sylvie and Bruno”. The result is simply amazing and astounding.
Dan wood performers the role of Charles a man who is using the depths of his imagination and dreams to make up for the reality he must face up to in life. He also plays multiple characters during his dreams which are helped by Lucy Fawcett also doubling up as Sylvie and Muriel. Once again I found myself captivated by the performance of Jethro Compton as Arthur and Bruno. Their combined ability to seamless shift between characters before the audience eyes is memorizing and further enhances a wonderful production.
What belt up does to such wonderful effect is including the audience as the central force within each play. As a viewer you truly believe your living the show not watching a piece of theatre. It’s also the combination of excellent writing, director and above all else actors which make the shows work.
Take the journey back to that warm, comforting loft high above the streets of Edinburgh where dreams become reality for a moment and you ask yourself just where those dreams will take you?
The Bald Prima Donna
Posted by Martin in Bald Prima Donna, C Venues, Tony Challis on August 17, 2011
THEATRE
***
The Bald Prima Donna
C eca
This is a challenging play to bring off successfully. It contains much absurdity, and reflects the fact that the Roumanian Ionesco was teaching English, and used an English phrasebook for some of his lines, to reflect on both language and behaviour.
Mr and Mrs Smith are waiting for the arrival of their friends the Martins and the Captain of the Fire Brigade – who will explain everything…. He does indeed manfully tell many stories, of little or no connection to each other.
This was their first performance, and whilst it began a little hesitantly it built considerably in pace and intensity. The final ten minutes really took of in the mad way that is necessary. This play is said to have influenced much later comedy, including Monty Python.
The time constraints of the Fringe can cause people to think of time when on stage, and I have even seen cast members looking at their watches. I’m not sure if this affected these performers, but there were times when they effectively swallowed phrases – this applied especially to Charlotte Rouse as Mrs Smith and to Emily Aucutt as Mary. Words are very important here, and it is better to relish them, let them appear as crazy treasures, rather than rush through them. The attempt at “posh” English accents of the period was a good idea, though only intermittently achieved.
All of the cast made a very good stab at this difficult work, Daniel Wye as Mr Smith perhaps especially; Olivia Battle-Welch as Mrs Martin was very clear and forceful; Rob Tressler as her husband was effective but could have been more expressive; Toby Stevens as the Captain was very smooth and enjoyable in performance.
It is very good to see a youthful cast performing this play, and I am sure it will improve with each performance.
The Mourning Party
Posted by Martin in C Venues, Mourning Party, Tony Challis on August 17, 2011
THEATRE
**
The Mourning Party
C Soco
Three characters are seen separately in succession. An aspiring actor who fluffs his audition. An accountant who is making a presentation. A housewife whose identity is subsumed in taking care of her family of husband and three sons. There is some overlap, and the accountant is seen being sucked off. Presumably by a guy.
These three then meet by chance in a bar at the time that the death of President Kennedy is announced. So it is November 1963. The actor is drinking Jack Daniels: “Jack, of course.” All speak reverentially of the late Jack, and of how he made them feel new things were possible. What they say of him is pretty vague; I recall where I was on the Friday evening that news came through, and the things we talked about that weekend don’t get a mention in this play.
There is a reference to the next J. F. K. by the accountant – “…maybe he is being born in Honolulu around now.” Yuk!
The standard of acting by Euan Forsyth as the actor, George Ronayne as the accountant and Abby Gorton as the housewife (first, second and third mourners) is uniformly good, and they bring to life strongly the characters and the lines that they are given.
But, this trio just maunder on in a melancholy, maudlin way, seemingly as keen on alcohol as on J F K. The accountant is sufficiently distracted from his “loss” that he makes a pass at the apparently straight actor. He arranges for them all to meet a month later in the city centre – convenient for him and his work.
They don’t turn up – why should they? They have not made a significant connection with each other. Maybe this is to be seen as a tragedy of the failure of the unfocussed life. But I was genuinely surprised when the play ended.
There was no reason for them to gather again – and I see little reason for people to gather to watch this brief play.
Sweet Charity
Posted by Martin in Brett Herriot, C Venues, Sweet Charity on August 17, 2011
MUSICALS**** Sweet Charity
C Chambers Street
Renown Director Richard Green brings the Northern Theatre Company back to Edinburgh in this there 21st anniversary of their first visit to the fringe with a re-imagining of Sweet Charity.
NTC is at its heart a theatre school aiming to develop talent from across the Yorkshire area whilst pushing the bounds of theatre itself. To a good degree turning Sweet Charity from its sugar sweet 60’s original and moving it to the seedy side of New York’s gay hustlers is a brave and contemporary move. That’s not to say there aren’t women involved in the production there are plenty of them but there relegated to boosting the ranks of the ensemble.
The company put up quite a fight during the performance I saw as they got an audience who were clearly slightly the worse for drink and viewed most of the gay exchanges as though they were something from carry on gaying much to my annoyance. The actual story of charity valentine is intact in the production except she is a he and he who is gay with style. It goes to show no matter your sexuality the need to be loved and accepted is present in us all. There were points in the production were serious drama was being played out on stage and for some reason the audience laughed their way through it which had the opposite effect the story is intended to have. I personally believe laughter covers embarrassment, and that became obvious throughout the show.
In terms of performance Ross Hugill as Oscar, Jamie Elliott as Vitoria the movie star and Jan Parker as Herman really stood out, all three of them gave performances worthy of the roles and showed no fear even when the technical team let them down with a complete power failure in the lighting system. It was also nice to see developing talent on stage especially Blaine Williams who has a talent for dance but needs to totally believe in himself and the character he is playing to completely sell the story to the audience.
My biggest praise goes to Max Gallaghar in the role of Charity; he completely excels with a tour de force of someone who has lost love, found it again only to discover it wasn’t meant to be. He took the direction of Richard Green to new heights and allowed the audience to flow with him. For me, he is also very cute and sexy and knows how to turn on the charm, especially in character.
The production is running to the end of the festival and I intend to see it again before then! Make sure you do too.
Little Shop of Homos!
Posted by Martin in Brett Herriot, C Venues, Little Shop Of Homos! on August 17, 2011
MUSICALS**** Little Shop of Homos!
C Chambers Street
London’s Gay Men’s Chorus couldn’t all make it to the fringe this year, so those darlings in charge have dispatched “The far From Kansas” team to entertain the crowds in mega style.
The story is centred on Hardy Dicks, the premier department store for gay men who have hit hard times during the credit crunch and dwindling sales. The manger has to do something, so he hires a reality TV star to prepare his sales men for the drastic action of selling their products to Metro sexual people. The journey along the way shows the Hardy dicks team that they should be proud of who and what they are and the product there trying to shift.
What we essentially get is an hour long camp cabaret very much in the “are you being served” model with a splash of “little shop of horrors” thrown in. The selection of songs is interesting and quite a few have had their lyrics rewritten to gay them up to great comic effect. The highlight of the performance has to be “you are my sister” the song by Anthony and the Johnsons with Boy George on guest vocals, which is given a beautiful treatment by the boys in the show that swells to a simply stunning all male four part harmony which cascades through the auditorium.
The humour is very thumb in cheek and gets big laughs from the sold out audience, unfortunately due to commitments in London the boys are only appearing on the fringe for 5 performances. Do what you must to get a ticket to a show which will hold the title, most fabulously gay of the 2011 Edinburgh fringe season.
Lethal Injection
Posted by Martin in C Venues, Joshua Hepple, Lethal Injection on August 14, 2011
THEATRE*****
Lethal Injection
C eca
Does a society have the right to end an individual’s life if they break the law? If so, when? When is murder even murder? Why does someone who wilfully kills people for a living not get punished but others who have much less intent in their killings do?
These questions are all relevant to the substance of Lethal Injection, a brilliant play that has been brought to this year’s fringe. 4 men are on death row and tell us their stories via their female prison guard who is excellent at remaining emotionless yet able to extract the most inner thoughts from her inmates
First we hear from a psychopath, played very realistically, and how he lured and enticed girls back to his house who he not only enjoyed killing but also hiding the body and all evidence. He repeated this 11 times and hid the evidence in a different city, each city’s name started with a different letter of his surname. Throughout this hour’s performance, this serial killer does not lose his lifelike characteristics of a psychopath. We are next confronted with a man who found his wife in his bed with another man and killed them both. This actor has the ability to depict the anger and lust that a man who committed a crime of passion would have. We can see his jealously easily as his whole body goes red during his recollections and while he his silently sitting in his cell, it is noticeable that he obviously see his regret and remorse for his murder unlike the psychopath who remains proud of his actions. At no stage do these actors come out of character even if they are not being interrogated by the guard or speaking to their cell mates
Our last 2 prisoners also fell remorse. An elderly doctor is next in the queue for helping his patients to die. This raises an in depth topical debate on assisted suicide. He regrets His actions but at the time felt he was doing the right thing. This actor had no problems fitting his role and can effortlessly gain empathy from his audience in the arguments for assisted suicide. Our last inmate on death row looks dreadful, he is an alcoholic and would commit his crimes while driving home drunk and not pay attention to the road, he doesn’t feel this is murder as he didn’t mean to do it
The guard then tells us about her relationship with her prisoners and how she doesn’t enjoy the injections but that is her job. The prisoners are then able to find out about their guard as she opens up which is something rare to see on stage. I felt this was one of the many features which made lethal injection stand out from other theatre.
A minimal set with 4 blocks and shaped lighting to suggest cells, these emotive actors had the audience in suspense throughout An excellent piece of theatre.
Blood Brothers
Posted by Martin in Blood Brothers, C Venues, Joshua Hepple on August 14, 2011
THEATRE
****
Blood Brothers
C Too
As an avid lover of Blood Brothers the musical (which I can’t even remember how many times I’ve seen on the West End…) I was looking forward to seeing this theatre production at the Fringe – and I was not disappointed.
My first observation was that the theatre production has many different changes to the storyline as the musical. Blood Brothers is about two brothers who grow up together, unaware of the true proximity of their relationship. Because of this, there are disastrous consequences.
Set mainly in the seventies and eighties, this performance looks at inequalities of wealth and where the power lies in society. Performed by very talented actors, who manage to keep the audience in suspense, for the duration of the performance, this adaption of Blood Bothers manages to show the true emotions of the characters just as well as that of other stage shows in the West End.
Blood Brothers has very funny, happy scenes and very quickly changes to heart-breaking, destructive scenes. The actors have no problem adapting very quickly to these quick scene changes.
The Brothers mature throughout the show. We see them at the ages of seven fourteen and finally twenty-five. Neither of the Brothers face any difficulty in acting out these changes in such a short space of time.
A very good performance of Blood Brothers with excellent actors that manage to show the true emotion that is needed in such a heart-breaking play.
A World Without Words
Posted by Martin in C Venues, Joshua Hepple, World Without Words on August 14, 2011
DANCE
***
A World Without Words
C Venues
My criticism with dance so far at this year’s Fringe has been that the dance acts have been performing individually, without any linkage or story being told. I commend A World Without Words for their ability to do this. We follow a couple falling out of love with each other, and the anger that comes with that.
The story is told all through dance, completely ‘Without Words’, as it is a very simple yet effective storyline that the cast is acting out through dancing to modern classics; for instance The Kinks and Damien Rice.
I felt that many of the slow acts were performed very well; especially when the female lead was expressing her anger through movement. It is always great to see true emotion in dance, although what I felt let the show down was the lack of synchrony between the backing dancers when there were many performers on stage. They did not seem to be performing in harmony, as one. It was almost as if I was watching many different performances. I think that this is a shame as the concept for this is excellent.
With a little more work, and the cast becoming much tighter in their movement together, I feel this could be excellent; but there is a lot more work needed before this dance show can reach that level.
My Big Gay Italian Wedding
Posted by Martin in C Venues, My Big Gay Italian Wedding, Tony Challis on August 13, 2011
THEATRE
*****
My Big Gay Italian Wedding
C Chambers Street
Let yourself go as you walk in. Roll with it and be transported. Enjoy.
You will be offered a plate of crisps as you enter Angela’s house. Refusal not countenanced.
Angela (Amy Anzel) has a gay son, Anthony. (Daniel Joseph Serra) who announces he is engaged to be married – to a man. Angela has coped with all the boyfriends over the years, but this. She agrees, but on certain conditions. She wants her favourite Catholic priest to officiate. Catholic priest to officiate? Problem. And the other guy’s parents? Problem.
Anthony’s many women friends gather round and solutions appear to be found. However, the other guy, Andrew, (David O’Mahoney) has a very jealous ex, who just may wreck things. Thus the path of true love does not run smooth, as the man said.
Everything is played larger than life and loudly, the audience are called on at some points, and when the wedding organiser arrives things take off into the stratosphere. The audience loved this when I was there, and I do think that it could be the most fun I have yet had on this year’s fringe.
This play, with music and dance, has been selling out off-Broadway in New York for four years. I can quite see why. Although at one level it deals with inequality and prejudice, it does so in a bath of warm affection, and it easily beats the laugh out loud five times rule – very easily.
Come along and meet the campest Catholic priest on the fringe, the ex from hell, the collapsible inebriate mother-in –law and many others. You’ll guffaw your way down the stairs after.
Shakespeare for Breakfast
Posted by Martin in C Venues, Jodie Fleming-Stanley, Shakespeare for Breakfast on August 12, 2011
THEATRE****
Shakespeare for Breakfast
C Chambers Street
There’s a reason this show sells out every year, and 2011′s contribution ‘Macbeth: The High School Years’ is another literary master-stroke. Juxtaposing the Bard’s iambic pentameter with such modernisms as i-Pads, Lady Gaga and spin the bottle, we explore the teenage years of Macbeth – or ‘MaccyB’ as his girlfriend calls him.
Felicity Russell excels as cheerleader Beth, who pushes her boyfriend Macbeth to pursue the esteemed role of ’head boy’ so that she can be ‘the most important person in the school’. To claim the title, the pair must humiliate and alienate their closest friends – resulting in a power-crazed Macbeth and a ‘gaga’ Beth.
Less actual Shakespearean content than in previous years, yet the content that does exist is tempered with genius. ‘Macbeth will be totes against this – he’s full of the milk of human kindness. Whereas i’m lactose intolerant’, drawls Beth. Macbeth seeks guidance from two Goths with sock puppets, and of course is ultimately restored. This is a family-friendly show, served with coffee and jumbo croissants. There is enough literary reference contained to keep fans of the Bard happy, while remaining totally accessible to those who just want something a bit different to start the day off with.
Interno 10/B
Posted by Martin in C Venues, Interno 10/B, Joshua Hepple on August 12, 2011
DANCE
***
Interno 10/B
C Venues
This Italian dance group consisted of nine elegant female dancers. With a very basic set of six wooden crates, these girls managed to move through the space very smoothly. The dancers performed a number of different types of acts, including graceful solo performances to full cast performances. Unfortunately, in these scenes, the dancing became loose and did not seem to fit well on stage.
Towards the beginning of the performance, the girls moved without music. It was difficult to try to work out exactly what the girls were doing in this scene. They did not seem to flow well with the lack of music.
The music involved very nice, mellow, rhythmical beats that the girls did follow well and moved their bodies in time to the music.
The company had a strange taste in props – ranging from a scene where two girls ate spaghetti in synchrony; to shoes with springs on the top, that took up the majority of the initial scene of the production. Another unique twist in this performance was where the girls perform in the dark with torches on themselves. This focuses the audience’s attention straight directly on to the girls.
A nice, relaxing piece of dance but with no extraordinary features.
Belt Up’s The Boy James
Posted by Martin in Belt up's The Boy James, C Venues, Tony Challis on August 11, 2011
THEATRE
*****
Belt Up’s The Boy James
C Soco
Enter a child’s special, secret, reserved attic playroom. Sit on one of his chairs or cushions, talk with a friend there, play games with him…but wait –there is a man…a man who drinks. Who has the same name.
Enjoy this delightful world while you can, though, for things soon darken, and the desperate attempt to retain innocence, to continue the games and adventures, is inevitably doomed, and a world of change, trauma and loss suddenly arrives. This drama is inspired by the life of J M Barrie, he of Peter Pan fame. Rarely is the deep intensity of the desire to avoid change, to stop the clock, conveyed so thoroughly and so heartbreakingly in theatre. After the playful interaction with the boy James, you feel part of his fierce fight to hold on to what he has – or had. (I read once of butch, moustachioed early 20th century soldiers watching Peter Pan with tears rolling down their cheeks.)
The impersonation of the boy James by Jethro Compton is appropriate to an almost uncanny degree, and you believe in him implicitly. Lucy Fawcett as the girl who has clearly had her heart slain is flawless. Dan Wood conveys the man James with complete conviction.
This is one to see if you want something unlike anything you have ever seen, which will take you into its own special world and which will not leave you unchanged. Enter the child’s playroom for the most grown-up of dramas.
Belt Up’s The Boy James
Posted by Martin in Belt up's The Boy James, Brett Herriot, C Venues on August 10, 2011
THEATRE*****
Belt Up’s The Boy James
C Soco
In a tenement high above the streets of Edinburgh is a loft which is carpeted from end to end, with battered sofas and armchairs and cushions scattered all around. It is here that Belt Up Theatre presents a piece of theatre that isn’t just watched it’s completely experienced.
Jethro Compton performs the titular role of the boy with complete deft of touch and grace as he greets his audience on the landing to the loft and takes us inside a loft that is both warm and involving on the senses. The boy James leads us through a game of tag and stick in the mud before we settle down and join hands for the great journey beyond the second star to the left and straight on till Morning by closing our eyes and wishing really hard.
We are then introduced to the character of James (Dan Wood) who shares the boys adventures and has reached the end of his road as he has had to grow up, We are also introduced to the girl played by Lucy Farrett who is about is about to shatter the boys world with the one thing that is destined for us all adulthood.
This production both enthrals and captivates the mind and senses as you are so drawn in to whats happening around you, very much akin to actually living a dream and watching it descend into a nightmare. I ran the a full cycle of emotions, I laughed, was shocked and cried openly with the audience as we relived the best of our own childhoods and the horror which some face as they struggle to become adults in a world they no longer recognise.
The beautiful setting helps you forget what you’re seeing is simply theatre and the unique sound of a clock ticking the minutes away and simple lighting further enhance the experience. As you leave the warm loft to the cool midnight air of Edinburgh your left in awe of what you just saw in the last hour. This truly is a very rare kind of production on the festival one of which I would recommend anyone should see.
If you’re lucky enough to get a ticket, then make your way up the stairs to a loft high above the streets of Edinburgh where you can dream of childhood and play games with the boy James.
Titus Andronicus
Posted by Martin in C Venues, Titus Andronicus, Tony Challis on August 10, 2011
THEATRE
****
Titus Andronicus
C Chambers Street
This is Shakespeare’s early indulgence in Grand Guignol. Bodies pile up, mutilation, rape, framing enemies for murder, revenge…it’s all here. A new Roman Emperor is needed. The valiant but aged Andronicus refuses the honour, offering the crown to a younger prince. Who, of course, has far less integrity than him, and you could say the chaos that ensues is his fault. Elizabethans may have seen it that way, anyway.
There is also a famous bit of cannibalism here – where a queen is tricked into eating her own sons. Sound fun?
This play can be taken seriously and the audience held in suspension of disbelief, but that requires a full-on assault on the audience’s sense of reality. Here things are sometimes a bit lighter, but mostly the cast perform with graphic intensity, and you are hurtled into an amoral world where only many forms of gratification seem to matter, except to Andronicus, who is less foolish than he at first appears.
If you want a late night gothic horror story with brilliant and exuberant acting, taking you on a visual and verbal roller-coaster ride, then get yourself a ticket for this one. You won’t regret it.
Clockwork Orange
Posted by Martin in C Venues, Clockwork Orange, Tony Challis on August 10, 2011
THEATRE
****
Clockwork Orange
C Chambers Street
This stunning production involves acting of a high order along with impressive athleticism and dancing ability. The story of droog Alex is told at a fast pace, and we see him dominating his group, acting out violence, loving his dear Ludwig van, being incarcerated, treated and apparently cured – but is he still fully human? You will have to go see.
The dynamic acting blows you away, as scene after scene flows along. If I have one criticism it is the pace at times. When violence is about to take place, a pregnant pause can really heighten the effect – also when Alex (a brilliant and virtuoso central performance here) is about to be “cured” by a form of torture, the slow determination of his oppressors will always increase the sense of horror.
But these are fairly small quibbles with a show where the whole cast seem to delight in their skills, and where the audience is gripped by the scruff of the neck from the first moment.
This is a show you really must add to your list!
Showchoir! The Musical
Posted by Martin in Angus Wyatt, C Venues, Showchoir! The Musical on August 9, 2011
MUSICALS*
Showchoir! The Musical
C Chambers Street
With the rising popularity of Glee and an increasing number of show choirs forming across the UK, Showchoir! The Musical has a relevant concept behind it, and one which was able to draw a near-full house to this particular performance. However, I feel that the original concept and very limited number of comedic moments were the only positives to this show. That said, the plot for the musical is basically the past, present and future storyline of the fictional ‘New Directions’ from Glee – this meant that a perfectly acceptable concept was cheapened by a predictable copy-cat storyline. Another interestingly original idea was the portable mirror backdrop, although this didn’t really work and added very little to the overall experience of the show.
The acting was poor and lacked conviction, quality and believability. The choreography was cheap and often out of time. The cast were unprofessional and deficient of the ability to hold focus whilst on-stage but not in-scene. Additionally, the vocals were pitchy and dynamically unbalanced and the lyrics uninventive. Even the big musical numbers were boring, as they lacked vocal power and the support of a full band (there was just one man on one keyboard) – it felt more like a community show in a village hall rather than something worthy of a place at the Fringe. The only number I actually remember was one which repeatedly featured the lyrics ‘no day like today’ – methinks someone has been stealing from Jonathan Larson’s Rent – I also felt that this would have made a better closing number than whatever it was that did round-off the show, and it would have ended this awful performance about ten minutes earlier.
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.
Wasted Love
Posted by Martin in Brett Herriot, C Venues, Wasted Love on August 8, 2011
MUSICALS**** Wasted Love
C Chambers Street
One Academy productions are really hitting a home run with this wonderfully beautiful production being staged at C venues.
The story leads us through an emotional therapy support group meeting where we encounter 4 males and 4 females effected by the bad side of Love and question why they cant find the kind of love they so desire.
The entire company sing with passion and desire and there isn’t a stand out performer as they all shine in equal measure, many showing multiple talents by playing various instruments. The show is anchored by Musical Director Gavin Whitworth at the piano but also pleasingly taking a full character part with in the show itself.
This is without a doubt a delight of a comedy musical which appeals across the board as it’s for good or bad a part of the human condition in the way in which love affects us. It can hurt, be scary and also be the most joyous thing in our lives irrespective of whom we love and feel love from.
Edinburgh based writers John and Gerry Kielty have a deft comedy touch while always remaining real and it shines through, especially in the character of John as performed by John McLarnon who poses the question, can we truly love anyone else until we love ourselves?
Director Andrew Panton knows his stuff and works the small C+2 venue to his advantage and ensuring the audience are fully included in the production which both grabs and maintains the attention at all times.
Wasted love is a standout piece of new writing on the festival this year and concludes with a brilliant twist at the end of the story. The message I took from it was Love should never be wasted.
Catch this amazing show on the fringe while you can as I am sure it’s destined for even greater heights in the future.
The Curse of the Devil’s Verse
Posted by Martin in C Venues, Curse of the Devil’s Verse, Theatre, Tony Challis on August 8, 2011
THEATRE
***
The Curse of the Devil’s Verse
C Soco
Rob and Lucy are not seeing eye to eye. Lucy has given up her job to write. Rob has been sneaking a look at her writing, and is feeling less than pleased and hard done by. Lucy feels unappreciated and that Rob is failing to communicate and keeping himself locked in. Cue Rob storms off to the pub, where he stumbles unawares into Poetry Night. A mysterious figure engages him in conversation and gives him a special drink. And…he is cursed…he speaks entirely in rhyming couplets. Not a happy fate…he gets beaten up and loses his job…but he learns a good deal, and a young guy I spoke to about the show after said he thought he had picked up some valuable points.
This is a very entertaining and quick-witted show indeed, less heavy than my words above may make it seem. There is very good comic business, and the pub scenes and a group scene with drink are very skilfully done. Joseph Sentance as Rob is very dynamic and engaging; Anjli Mohindra as Lucy is firm and very strongly in character. Nic Harvey (writer and director) can be proud of this very fast-moving and involving drama.
The central relationship is lively but could be individualised more. Also the fantasy element could be taken further, become more Faustian and still very funny. Maybe Lucy could be brought into the fantasy – she is the creative one to begin with, but she seems very solid and always has her feet firmly on the ground.
That said, this remains a highly entertaining and memorable hour, the kind of show that with a large and responsive audience will have you laughing out loud. Strongly recommended.
Mr Ken Dee in Cabaret
Posted by Martin in Brett Herriot, C Venues, Mr Ken Dee in Cabaret on August 8, 2011
CABARET*** Mr Ken Dee in Cabaret
C eca
This 50 minute romp of a drag show is very late at night – with plenty of gay humour from the talented Mr Ken Dee.
It’s a shame that he is playing in a venue that is so big – it’s hard to imagine it being filled – but at the performance I attended he had the audience in his hand. He flew through Tina Turner, Lady Gaga and Dame Shirley Bassey routines complete with lightening quick changes for each in a ‘Stars in the Eyes’ style section. He even went as far as to bare all for a Follies Berger number.
Ken does have a sweet voice but knows his limitations so chooses to lip synch on a couple of numbers – to great effect. It’s a very bawdy affair and one which would pack out CC Blooms or Priscilla’s any night of the week.
A good dose of camp late night campery and I hope he gets the audiences to turn out for him.
Scene of the Titans
Posted by Martin in Brett Herriot, C Venues, Scene of the Titans on August 6, 2011
Musical**** Scene of the Titans
C Chambers St
This little gem of a musical playing at C+2 shows exactly why new writing based on a TRUE story works so well on the musical stage and why we must encourage these writers to try there ideas on the fringe as well as developing there productions for the west end and beyond.
The story of the Titans, Ireland’s first Gay friendly rugby team as they take on the challenge of the Bingham Cup is both inspired and at times emotional to watch. The Bingham cup itself was born of tragedy in order to do honour to an act of bravery which still transcends human thought to this day.
The lead character of Terry performed wonderfully by Luke Hier leads us through various flashbacks of the teams formation introducing us to a wealth of characters including cute boyfriend Colin, played by Sam Fowles, the boy with a crush, Cillian played by Ashton Montgomery and the rest of the team including drag queen manager Sophia who is played by Dario Cacioppo and Randy Grab on Alternate performances.
Terry’s Journey is at times perceived to be naïve as the initial impetus for setting up the team is to win the heart of the boy Colin, however it becomes so much more as he discovers that life and love do so often hurt irrespective of sexuality. What impressed me most about the production is that fact the team are Gay is normalised, which is especially humbling given the pressure religion still holds over Ireland.
Luke Hier’s performance is simply outstanding as his deep eyes convince you of the pain, the hope and love his character faces as he comes to terms with himself and the world around him. Great direction of the piece by Kate Andrews given the constraints of the venue is to be applauded as is the Pre taped Music of Adam Robbie, which pleasing allows the cast to perform without microphones so we can hear the emotional raw edge of the many voices which at times blend into a wonderful acapella moments. Choreography by Sarah Jane Dooley further enhances the experience. There is also some wonderful casting idea’s involved in the show where females play males to great effect.
This show is one which proves that a captains love for his men, a mother’s love for her son as they set out on the journey to Dublin, reaffirms the power of the Musical Theatre.
This really is the one of the must see productions of the 2011 Fringe season.
