Archive for category theSpaces
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.
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.
Rent
Posted by Martin in Brett Herriot, Rent, theSpaces on August 22, 2011
MUSICALS** Rent
the Spaces @ Venue 45
Click community productions present Jonathan Larson’s tony award winning production of Rent this festival.
The idea of Rent which is based on Puccini’s La Boheme looks at a group of friends as they face life, love and loss in the shadow of the Aids epidemic of the 1980’s. This was also Jonathan’s final piece of writing before his death and the show imbues many of his friends with in its characters. Sadly for Click productions it’s obvious that this show is a step to far for them.
Director Audrey Tang has mixed the schools version with the full Broadway version – and also included moments from the original 1993 -1996 workshop editions which leave a mish mash on stage. It also heavily miss cast, I appreciate the effort it takes to put community theatre on stage, but the ability to sing is a must for any principal character, there were bum notes, and moments where the cast were singing completely out of time with the music. There was also an ensemble member who sang flat pretty much all the way through.
In terms of characters Ruaridh MacPhee stands out as Mark Cohen – especially given that he came late to the role to cover for someone else dropping out. I also particularly enjoyed Jamie Marks performance within the ensemble and he works really hard through a volley of roles and he doesn’t look half bad in a bra, (which incidentally made no sense what so ever). Sadly Claire Jakobsson as Joanne Jefferson comes across more as Mary Poppins with an out of place English accent an while she has an excellent singing voice she is so unsure of herself – it weakens the character immensely.
For me the crucial scene of “Cover You Reprise” following the death of Angel is the emotional sucker punch of the show – this was also the moment that it became obvious the company had little connection with the material as they raced through their 80 minute slot.
There is a good theatre company within Click but they are stretched performing Rent. I’m sure we shall see them back on the Fringe again though, as the talent is there if it’s used properly.
Mildred McManus for World Minister
Posted by Martin in Brett Herriot, Mildred McManus/World Minister, theSpaces on August 19, 2011
THEATRE*** Mildred McManus for World Minister
The Space @ North Bridge
Rising star Francesca Cox brings her debut solo show to the Spaces venue at the Carlton Highland Hotel and proves to be a very interesting watch.
Cox performs the role of Mildred, who has applied for the post of World Minister – a job which is bigger than Obama’s. The show is designed in an episodic style almost as though she is performing excerpts from a diary of a fictional character as well as beautiful performances at the piano with a range of self-composed songs. It allows us to see a glimpse of her background, what brought her to the decision to apply for the world minister post and finally the journey to get the job is covered.
What we essentially get is one women’s hopes and dreams for a better world than we live in and it’s delivered with passion and verve by Francesca. I found the performance to be very brave for a fringe new comer and could have done with being slightly trimmed from its 75 minute run time but the show did flow well and the beauty of Francesca’s piano playing was an added bonus. I’m sure Mildred McManus and indeed Francesca Cox will return to Edinburgh and scale even greater heights. If you’re on The Bridges and fancy a show, you won’t go far wrong with this piece of theatre.
Jet Set Go!
Posted by Martin in Brett Herriot, Jet Set Go!, theSpaces on August 17, 2011
MUSICALS****
Jet Set Go!
theSpace on Niddry St
This cult show set with in the high flying world of airline cabin crew can be hit or miss! On this occasion go fly productions pulls it off in style.
Under the direction of Florence Carr the story of four female and two male cabin staff (the males obviously gay) as they take a journey to New York and back with the realisation that love eludes them and just like Fame Love costs. The show offers a mix of musical styles all enhances by the onstage band which includes a violin to great effect.
In terms of spotlight each member of the cast gets there moment to shine but none more so than Martin Kent’s performance as Richard, if you think Alan Cumming in the High Life that’s exactly what Martin is presenting on stage with the addition of compassion added to the sassiness. He shares a duet wonderfully with talented Jack Mosedale as Ryan the boy who wants love but not the campery surrounding the cabin crew lifestyle.
The overall effect of the piece is of fun, laughter and no matter what happens we need to feel loved for who and what we are. This is one musical worth catching down Niddry Street.
Amaryllis
Posted by Martin in Amaryllis, Charlotte Monk-Chipman, theSpaces on August 17, 2011
DANCE
**
Amaryllis
The Space on Niddry Street
Performed by 4 teenage girls on a stage strewn with tacky fake flower petals, the show claims to be ‘a thrilling collaboration of dance and film’. This could be worded more fittingly by dropping the thrilling and prefixing ‘mal’ to collaboration, since these components felt out of place, but not through deliberate juxtaposition. Instead, the performance maintained a feeling of disequilibrium.
The choreography was quite basic and repetitive and the use of lighting did not enhance the performance, so these cues felt like unnecessary complications which could have righted the technical difficulties which ensued. The performance was generally disappointing, a feeling clearly shared by the cast in their thwarted demeanour and the giveaway utterance of ‘for fucks sake’ from backstage after the first routine. This level of unprofessionalism was a motif throughout the show, as the whispering persisted. In light of the unfortunate mistakes, I will attribute this to teething issues however, the manner in which the girls coped with the situation was inexcusable and oh so ironic that the piece contained ‘regret’ as a theme. Memorably, the narrated voiceover spoke about the inability to ‘take it back’, so it was clear that they did not relate to the material at all.
As a result, they danced without passion or emotion, and instead of journeying ‘through the emotional extremities of human relations’, they painted a much clearer picture of the insular. Again, this was conveyed through the unsyncronous dance sequences.
The recorded voiceover narrated the story, but this was ill matched to the video footage which was projected onto what resembled a creased bed sheet used as a projector screen. This aural layer reminded me of a soothing audiobook narrator, so in this respect the tonal quality of the narrator complemented the similarly paced dancing, which although lacked ambition, it was easy to watch, and can best be described as nice.
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.
Sarah Archer: Bumfluff and Brimstone
Posted by Martin in Martin Walker, Sarah Archer: Bumfluff, theSpaces on August 14, 2011
COMEDY
***
Sarah Archer: Bumfluff and Brimstone
theSpace @ The Surgeons Hall
Sarah Archer is a likeable lesbian, who has just turned forty. Her routines focuses on her life, her ex-husband, and events in her past that made her laugh. She also has a surreal edge, and it is these moments that are easily her best.
There is some good stuff here. The gag regarding the duck on the golf course was great and the advice her father gave her about men and what they keep in the trousers, was very funny. She also did this brilliant Star Wars skit, using members of the audience. Sadly there was also some less good material. Her routine on expectant motherhood must only have served to scare the pregnant woman in the audience and the Disney musical satire was met with near silence.
Archer hasn’t quite found her voice yet, some of her material is very strong, but her performance could do with a bit more direction. She has a tendency to tell members of the audience to stop laughing, so we do. She frequently laughs at her own jokes too, which can be irritating.
However, on balance, you’d have to say that there is much to be enjoyed here. There are some terrific original ideas and some hearty belly laughs. As someone who has watched a lot of Stand-Up, I can see the potential. A bit of work with an experienced director will bring out the best in her.
I Love You, You’re Perfect, Now Change
Posted by Martin in Brett Herriot, I Love You/Perfect/Now Change, theSpaces on August 14, 2011
MUSICALS* I Love You, You’re Perfect, Now Change
The Spaces @ Surgeons Hall
Why not present a version of the famed musical that really does need to change to be successful?
This really isn’t a musical intended for a youth theatre group so it’s a very odd choice. It’s immediately flawed because the episodic musical about love, loss and the human heart needs a cast that can convey an experience of life matching the script. Using actors aged 16 – 18 just won’t cut it no matter how hard they try. Can we really be expected to believe these young folks have a wild history of failed marriages, relationships and sexual escapades behind them? Not I don’t think so. The staging meanwhile isn’t too bad and keeps the short scenes moving very swiftly.
The cast of 8 performers do try hard and it’s a shame they weren’t given a script more suited to their years. I did enjoy Connor Cummings performance and feel he may go on to bigger and better things much like Rebecca Dudgeon.
The company are getting a good audience at the shows because there based in Dunfermline and no doubt many friends and family are making the journey across the forth to support them. The wider viewing public would be better waiting for the second production of the same musical opening later in the fringe as sadly this widely misses the mark.
12 Incompetent Men (and women)
Posted by Martin in 12 Incompetent Men (and women), Charlotte Monk-Chipman, theSpaces on August 13, 2011
THEATRE
***
12 Incompetent Men (and women)
The Spaces @ Surgeons Hall
This American High School theatre company fits the show title like a glove. You witness 12 Jurors; each with extravagant characters, brought together to sentence a man accused of cat-napping 6 cats in an underwhelming display of a dozen teenagers fighting for centre-stage spotlight. It was like watching juvy big-brother where they’d been set a task to put on a play, and you just watch it because it’s on. The level of acting ability widely varied, with alternating cast members, so the glimpses of talent are spread thin; rather like my patience for mediocre performances. This hunger to out-do one another damaged their otherwise co-operative sense of an ensemble.
The show doesn’t take itself too seriously, which is admittedly refreshing at the fringe, but equally it didn’t take any risks by playing it safe with farcical comedy; which might suffice for an American audience, but the play clearly had scope for delving into sinister ground. For a moment when the taxidermy cat is out of the bag, I thought the show might at least graze a darker humour, but I was disappointed, and the cat really was the funniest aspect of the show.
Edinburgh Tonight with Joe Simmons and Lorraine Chase
Posted by Martin in Brett Herriot, Edinburgh Tonight, theSpaces on August 13, 2011
COMEDY**** Edinburgh Tonight with Joe Simmons and Lorraine Chase
Space Cabaret @54
The chat show theme is something which is appearing more and more on the fringe and this year due to Tommy Sheridan’s indisposition and following their success last year the Edinburgh Tonight team return to the fringe.
The show is simply the chat show of yore very much in the vein of Parkinson and Wogan with the exception that the guests get a small window in which to show a little bit of their act followed by a chinwag with the hosts.
The format from last year has been updated to include Joe’s onstage comedy partner, Michael Topping, (the best cabaret artist working in Britain today) at the piano to great comic effect. Also the delightful Lorraine Chase is added to the mix, which really gives the show a touch of celebrity glamour. Refreshingly, Lorraine comes across as being very grounded and gracious to the guests. Lorraine and Joe take microphone troubles in their stride as they introduce a mixture of acts taken from comedy, dance and cabaret. It was also a delight to hear Lorraine recall moments from her career but these never comes across as being showy but more memories from an interesting journey through life.
If this is the best talk show on the fringe, it’s because it comes a bonus. Each act who appears offers up a pair of tickets for their production to the assembled audience. The production is playing in the tea time slot of 16:45 and is a brilliant launch point for a night on the fringe. So get yourselves down to the bridges for a real treat.
Good Death: Created in Collaboration with Tectonic Theatre Company Project
Posted by Martin in Charlotte Monk-Chipman, Good Death, theSpaces on August 13, 2011
THEATRE
Good Death: Created in Collaboration with Tectonic Theatre Company Project
***
The Spaces @ Venue 45
Centering on the question of the right to die, this piece of Verbatim theatre lunges headfirst into the heavily political and moral debate surrounding Euthanasia as a ‘fundamental human right’ versus ‘a despicable, immoral practice’.
The main case study delves into interviews relating to the court case of Dr Death; Jack Kevorkian, featuring shorts from patients and staff for example, but this soon dissolves and new characters emerge. It is for this reason, that it seemed to lack a through line other than the obvious thematic centre, and I think the structure needed more attention. Certainly, the pace began to drag and it felt overly long as if they crammed in too many interviews and characters to avoid the further ethical debate and criticism of neglecting material for bias to sway the audience’s opinion.
Undeniably, the performance was thought-provoking, but the lack of drive meant that the performance too took on a sense of terminal. The cast of the Western Michigan University Department of Theatre are indisputably talented, and with the help of Tectonic Theatre Project, they strived to produce original work which is presented in an exciting and unconventional fashion. Although as performers they acted as if on Prozac, absorbing this excitement and performing with irritating enthusiasm which destroyed the sincerity of the subject matter.
Devotion
Posted by Martin in Devotion, theSpaces, Tony Challis on August 12, 2011
THEATRE
***
Devotion
The Spaces@ Surgeon’s Hall
This is a show with a difference. We begin with guitar music from Fernando Alonso – excellently played. Then Maria, the bullfighter’s girlfriend, (Violeta Orgaz) tells us how she opposes bullfighting, but is drawn to the bullfighter himself and wants to understand him. Next the bullfighter himself (Diego Hidalgo) appears with his devoted assistant, friend and dresser (Ruben Martin-Vegue). There is no doubting dresser Juan’s love of his job and of his friend, but the avoidance of stated desire is more subtle here than in another show I saw this year which parallels this one in some ways. Juan warns his friend of the danger of women, and how they can detract from a bullfighter’s commitment.
These two make a stunning pair, and, yes, there is male nudity – beautiful bodies do not a drama make, but these two are special. The pace here is slow and requires patience, and at times almost as in a Noh drama small movements on Juan’s part are significant, and small smiles.
If you are pleased by a stylised drama, one where the eye is ravished, and where you can relax and enjoy an easy pace, you will find this satisfying.
Good Death
Posted by Martin in Good Death, theSpaces, Tony Challis on August 11, 2011
THEATRE
****
Good Death
The Space at Venue 45
This is an intense and diverse production with a large cast which investigates the issue of assisted dying and the ability to choose how you die – and the many fears people have regarding this.
The early part involves the trial of Dr Jack Kevorkian aka Doctor Death who helped patients die and challenged the law in the U S A and was imprisoned. An English element comes in with the section on “Jean’s Way,” a book written about a woman’s assisted death written by the husband who helped her. Later, we explore the lives and attitudes of various patients in a hospice, with an eccentric and comic administrator.
Tectonic are the people who were behind the Laramie Project – re the young gay guy who was viciously killed in Wyoming a decade ago. Again, they have researched their material very thoroughly and present a wealth of information in an accessible and dramatic way, with engagement and some humour. The problems of religious intransigence are not overlooked, but there is a direction in which things weigh.
This may seem a tough course for some, but it is an issue of relevance and importance to all of us in the end, and you could hardly wish for a more digestible way to go into the matter and see what the debate is about. The great variety of arresting characters keep you involved throughout this substantial work. It is very much both entertaining and informative.
How to Catch a Rabbit
Posted by Martin in Charlotte Monk-Chipman, How to Catch a Rabbit, theSpaces on August 11, 2011
THEATRE
**
How to Catch a Rabbit
The Spaces on the Mile
A group of students from the London School of Economics branch out into theatre, and fall a long way from the tree. In a much too intimate performance space, the cast grapple about the stage fumbling scene changes in the black outs and perform a stylised, yet incoherent piece of theatre inspired by Urban Gypsy culture.
The script was entertaining at times, capturing the mundane and making root vegetables the subject of dry comedy, but whilst these moments were achieved, at other times they buried themselves under excessive shouting. It seems, therefore, that the play was driven by its aural qualities (for better or worse) and they could have utilised the original music score much more effectively to help the flow of the piece. Through the use of soundscape and jerky movement routines, the performers demonstrated their talents as expert whistlers, and this was the strength of the piece, as they were able to create an atmosphere using sounds and harmonious noises.
These routines were clever but discordant to the intermittent acted scenes, and this mix of performance styles congealed rather than blended, only highlighting the spare actor; whose sole purpose seemed to be the token choral singer. This undermined the sense of company value of the ‘Revolving Shed’, as they were clearly strongest, although cluttered when performing as an ensemble.
Click
Posted by Martin in Charlotte Monk-Chipman, Click, theSpaces on August 11, 2011
THEATRE
**
Click
theSpaces at Surgeons Hall
As an old woman taps into her memories, she unearths scandalous (yet predictable) experiences governed by maternal angst and parental pressures. Immediately the performance was teeming with cliché, as she reached for the keystone of any schools props cupboard; and the metronome pendulum began to ‘click’. Clutching this, she swayed from side to side chanting irritatingly sing-song verse repeating the word ‘click’, so needless to say there was no mystery surrounding the significance of the title.
The actor playing the protagonist was convincing as an elderly woman and her younger self however hackneyed the overall effect was, but this did not relax the raised eyebrow expression my face adopted by the incessant clicking. Admittedly, there didn’t seem to be a distinction between the ways in which she acted the various emotions in the play, but it seemed to convey a child-like innocence, and guiltless perspective cast upon her life, which I took to be intentional. They captured the sense of nostalgia well with her eyes glistening tears at the glimpses of happiness pre-empting the shocking incidents of her rape and accidental murder of her infant child.
Nevertheless, I’d rather she recollected different parents, as they were frankly bad and as monotonous as the metronome, but at least her mother suited the icy maternal exterior.
3D Hamlet – A Lost Generation
Posted by Martin in 3D Hamlet, theSpaces, Tony Challis on August 10, 2011
THEATRE
**
3D Hamlet – A Lost Generation
theSpaces on the Mile
I went to this production with high hopes, thinking it may be a really imaginative take on this classic. Maybe the company should have held out for a venue more suited to what they were trying to do, but the problems are not simply with the venue.
The most positive aspect of the evening was Anthony Rapp’s performance as Hamlet. He gave depth and consistency to the proceedings.
We were given 3d glasses on entry. We only needed these briefly in the middle. However, the curtain on which the projection was done was heavily folded and inappropriate, and sitting at the side as I was they were really of no use to me. Various tabloid paper projections were similarly of no help to me. A good idea wasted.
The play inevitably had to be cut, but I think I have never before seen a Hamlet where the last act was cut! Hamlet was also seen talking with Ophelia when he was supposedly in England. The ghost was barely heard. But Hamlet was seen to be overhearing things that made his subsequent speeches quite odd.
The company have tried to be different, but I think they have made a lot of poor decisions here, and a radical rethink would be needed to make this more satisfying.
The Infection Monologues
Posted by Martin in Infection Monologues, theSpaces, Tony Challis on August 8, 2011
THEATRE
***
The Infection Monologues
The Space on North Bridge
Eight young people sit in a row facing the audience. The guy on our far left tells his brief story of how he was told that he was HIV positive. The girl next to him then tells her story – but it does not just go on like this. We move to the very androgynous guy far right. The cast of five boys and three girls tell a variety of stories and some jokes; some get up and interact. They are a young cast who bring a lot of emotion to some of the scenes. A large variety of reactions and feelings about their status and how they should behave are aired. A death is mourned.
The format is deeply American, school of “Kennedy’s Children”, but not that deep. It is supposed to “explore the reality of HIV in 2011”, but it explores only a limited field because no one gets to say enough to develop as a character and be more than the briefest case study. It deals essentially with first reactions and forms of defensiveness, but hardly compares with the complexity of living and relating of positive people I know, nor does it treat the subject with the depth some people were treating it to twenty years ago. In some ways the show feels really 80s!
But, despite that, the young cast perform with enthusiasm – the strident Jack(Scott Cocks), the witty Marie(Rachael Solomon), the passionate Steve(Kane Nicholls),the put-upon and conflicted Liz (Charise Sullivan), and the so vulnerably enthusiastic Pete (Matthew Ryan) – (an individualised story that could maybe be developed as a separate play) – deserve special mention. The cast clearly had a strong effect on the audience, and if the watchers did not know a lot about the subject and learned from the show that is extremely valuableat any time.
Strip Search
Posted by Martin in Strip Search, theSpaces, Tony Challis on August 8, 2011
THEATRE
*****
Strip Search
The Space@ North Bridge
It’s just not fair that one guy should have such looks, such a body – and be such a brilliant actor.
Damola Onadeko plays ‘Squaddie’, a stripper who tells his life story as he strips. As the layers are removed we learn more about him and get closer to the real ‘Squaddie’. We learn about his tough childhood, the troubles he gets into, his time selling sex, his time in the army and his service in Iraq and the brutal reality of that. We learn about his deepest connection, and about what turns this beautiful guy off sex. By the time the last layers come off they hardly matter because of the way we now know him.
This is a very sharply written show, and Peter Scott-Presland’s script keeps you fully engaged throughout. Peter’s enthusiasm for gay theatre dates back to the days of Gay Sweatshop in the ‘70s and this script shows a great depth of awareness of what goes on inside gay guys’ heads and what it sometimes takes to own up to who you really are in a homophobic society.
But – the play is fast, entertaining, witty and involving, and you won’t want to take your eyes off ‘Squaddie’ for a moment – or let your attention lapse from his revealing and intimate words.
So don’t be fooled by the title or the publicity. This is a complex, intelligent and quite brilliant piece of proper theatre. A definite ‘Must See’.
Fabulous Divas of Hollywood
Posted by Martin in Brett Herriot, Fabulous Divas of Hollywood, theSpaces on August 7, 2011
CABARET*** Fabulous Divas of Hollywood
the Spaces at Surgeons Hall
Alan Palmer, a noted artist from Broadway expands on his Divas of Broadway production with a look at the Diva’s from Holly wood such greats as Better Davis, Joan Crawford, Liza Minnelli, Audrey Hepburn, Julie Andrews and more are carefully woven into a 50 minute show.
Alan performs the show single handed with a little help from a hidden back stage dresser as he whirls through a selection of gowns and outfits related to each divas most famous moment. For me the highlight was his stunning rendition of Judy Garland as she would have been if she were alive today.
To allow the costume changes to happen he allows us into his life of living and working in Hollywood or more to the point the Hollywood system which no longer exists. However the production does fall down a bit as he tries to cover costume changes which are taking too long with asides which cause him to lose track of the script every now and again. I think this will remedy itself as the show beds in to its run.
The whole experience was very late night cabaret, very much becoming of those legendary supper clubs and cabaret rooms of Broadway. A worthwhile production in its late night slot.
The Questionnaire
Posted by Martin in Joshua Hepple, Questionnaire, theSpaces on August 5, 2011
THEATRE
****
The Questionnaire
The Spaces on the Mile
What is happiness? Why are we here? These philosophical interrogatives, among with many others, are posed to the audience of The Questionnaire. An engaging performance from Christopher Birks as Jack, a typical arrogant young man, who is confused angry and looking for answers about society and why it makes him unhappy. He finds himself placed in a space which he cannot escape from and hears a voice (Robert Neumark-Jones) questioning him about life. To begin with, Jack does not co-operate and he does not want to think about these issues – like many other people do not want to. As the voice pushes Jack further, we can then see much of the subconscious anger within him and society as a whole. Not many acts at the Fringe can provoke so much thought and contemplation from such a small cast and minimalistic production – so for that it must be credited.
The Questionnaire resembled 1984 in many ways, such as the divide of power between the interrogator and random members or society. The voice, who remained relatively static as a bodiless presence from above, resembled many authoritarian characters such as Big Brother. The relationship between the voice and Jack is engaging and sinister from the beginning; this develops in an intense, unpredictable way leading to a conclusion which perhaps presents more questions than were initially presented.
This show is for intelligent audiences looking for fresh, challenging concepts presented with a sinister twist.
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.
