Archive for category Theatre
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.
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.
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.
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.
Thirsty
Posted by Martin in Charlotte Monk-Chipman, Pleasance, Thirsty on August 24, 2011
THEATRE
***
Thirsty
Pleasance Courtyard
From the company ‘The Paper Birds’, ‘Thirsty’ tackles the topic of Britain’s love affair with booze, performed by Kylie Walsh and Jemma McDonell, and it is perhaps experimental theatre at its best, but it is a deeply flawed performance nonetheless.
Despite early testimonies that they will not be telling the stories of young women on hedonistic nights out, represented by the recurring red stiletto heel trope comically pulled from toilet bowls, inevitably they do. As such, they limit their target audience to a much younger crowd, and although I found the show relatable, I happen to fit the demographic as a female University student. Perhaps because they draw from their own life experience, or because the verbatim testimonies they received for their research on their ‘drunken hotline’ limited the direction of the devised piece, the performance is steeped with irony, and the huge female centre is an inherent and inescapable bias.
Beautifully staged with a clever set like a cross-section of unusually clean public toilets, there are 3 cubicles; one which is permanently occupied by musician Shane Durrant, leaving 2 others which become an adult playground for the performers. With friendship as the moral centre, even this sat in an alcohol bain-marie, laying the foundations of their friendship, showing still more irony. The aural composition incorporates tinkly melancholic tunes with a strong club base, which cleverly tips the balance towards a despondent air surrounding the stories, but I was unconvinced.
They almost glamorized binge drinking as they never quite left the realm of the frivolous, I felt that they only just scratched the surface, and never ventured into the devastating effects of alcoholism. They were however engaging and relaxed performers, yet I was apathetic to their characters, and although the show is not intoxicating, the performance was absorbing and exuberant. It gave a colourful portrayal of a nation with alcohol so steeped in our culture, even if through a narrow lens.
Jamie Blake
Posted by Martin in Brett Herriot, Jamie Blake, Zoo on August 24, 2011
THEATRE**** Jamie Blake
Zoo Roxy
“I Love You” the three most over used words in the English language and also words which have the most emotional impact on the human condition. It’s these three words that Ravenrock Productions have chosen to use as the basis for their new work “Jamie Blake” at the fringe this year.
Writer and Director Ashley Scott-Layton has taken mixture of beat boxing, modern dance and drama and used the experience of year in the life of himself and his friends to create a story that examines Jamie Blake’s (Rupert Lazarus) need to feel love and how he believes what is in reality, just a crush, is the love of his life. It really does bring home the point of view that what one person feels is never what the object of one’s affection feels. It’s an emotional rollercoaster that all of us have been on, I found myself completely understanding of Jamie’s journey as I too have felt love for someone and never had it returned and I’m sure the rest of audience in attendance could similarly relate.
With an excellent ensemble company producing the beat box and vocal score accompanied by original composer Rhys Lewis on Guitar it gives the production a very fresh and contemporary feel and also makes the show crack along at quite a pace very much like real life. Grace Savage is to be commended for her beat box orchestrations and she too joins the company on stage in the role of Betine. The one thing that keeps the show back from a five star affair for me is the inclusion of Luke Murphy as Alex while Luke’s performance is exemplary the fact that Alex is a stereotypical Homosexual character out to add comedy to the bulk of the show while never letting the audience see that gay people feel the same emotions as those of the counterparts really is a wasted opportunity. That Said Luke does flex his acting muscles wonderfully in the emotional ending of the show, its shame his character is portrayed as a sex mad homo and nothing else during the earlier scenes.
If you want fresh, innovative theatre with just a little stereotyping this fringe then this show is a top of the list production; you can’t fail to be charmed by it.
The Investigation
Posted by Martin in Brett Herriot, Investigation, Zoo on August 24, 2011
THEATRE**** The Investigation
Zoo Southside
Between December 1963 and August 1965 the Frankfurt Auschwitz Trials took place as the world tried to understand what happen during the Holocaust. It is from the transcripts of the trial that Peter Weiss wrote the script for “The Investigation” in late 1965. It’s a production of this script that 3 bugs fringe theatre to this year’s Edinburgh festival.
The mixing of physical theatre with drama when it comes to telling stories of this magnitude never fails to impress and three bugs do it so well. The company has selected extracts from the full play which shows humanities inhumanity to humanity in his stark truth. Blending the words of the trial with physical embellishments captures the audience’s attention from the off, the ensemble cast working tightly together in the small space recreate both the trials from the 60’s as well as events from 1940 – 1943.
The imagery lingers in the memory especially as those who were on trial refused to believe they had done anything wrong and your heart breaks as the horrific treatment suffered but those living in the camp became all too clear. Now nearly 70 years on since these events took place they continue to transcend time and the 3 bugs theatre company pay the best tribute they can to the victims by continuing to remember them and the events which marked their lives.
The show should be five stars however the programming by Zoo venues of placing this show in the small studio space while a very noisy circus act roars away upstairs causing the roof to shake really detracts from what is an difficult and emotional play. That said if you like to be challenged by theatre and are willing to be left thinking long into the night afterwards then this production is everything you need and more, so don’t miss out.
One Under
Posted by Martin in Charlotte Monk-Chipman, One Under, Pleasance on August 23, 2011
THEATRE
**
One Under
Pleasance Courtyard
With a cast of only 4 the characters were equally limited and in a devised show inspired by the real-life testimonies of commuters on the London Underground, I was expecting a mosaic of intertwining lives mapped out by the network of underground passages. The blurb is far more poetic and moving than the performance itself reading; ‘deep into the silence of the carriage, where bodies brush against each other, dreams abound, and – for a few fragile moments – lives intersect in strange and surprising ways’. I feel this statement is slightly generous of the performance’s breadth which only focuses on 4 individuals united by the shared experience of a train halted by some(one under) the train.
Agreed, the environment and concept was familiar, and ought to strike a note with anyone who travels on the underground, but it isn’t a life-changing show and at times felt a bit like stating the obvious without interpreting the activity with much artistic or comic reflection. They attempted to give voice to the unsaid thoughts trapped below ground by commuters travelling across London, but at the risk of undermining the lives of the original thinkers; I didn’t care for the majority of their stories, with a couple of exceptions. A sob story was re-enacted depicting an insecure plain Jane type woman which didn’t spark any sympathy for her self-loathing attitude as the actor playing her was clearly an attractive woman herself, so it was hardly heart-warming. Similarly one actor gave off an air of an inadvertent Sloane-Ranger, ill-fitting to her character. With only a small cast of 4, and a gender imbalance, I felt its limitations and the male actor felt almost tokenised, which is a deep shame as he seemed to be the best actor.
The show was well written around real life testimonies, but although it captured the mundane of the underground, I don’t particularly want or need to see this onstage if it isn’t going to be manipulated particularly creatively. Otherwise it simply transfers one dull experience to another, and instead of the charge on an Oystercard, it hits you on the cost of a ticket, except with ‘One Under’ there is no journey. I too began to feel trapped in a carriage, willing the performance to reach its destination, but it seemed to lack any sense of an objective, and I fear this was accidental rather than a clever transference.
It is by no means a train wreck of a show, but I certainly felt the standstill of the halted underground train in the emotional impact of the show, and I failed to see a light at the end of the tunnel.
Bane 1, 2 & 3
Posted by Martin in Bane, Charlotte Monk-Chipman, Pleasance on August 22, 2011
THEATRE
****
Bane 1, 2 & 3Pleasance Dome
A non-descript audience member is overheard pronouncing ‘I’d pay to see it again, and I’d pay so much more’; so luckily for her, this comment followed part 1 of the Bane trilogy, which is proving massively popular. Evidentially Joe Bone leaves his audience begging for more, so with 3 different shows following the title character Bruce Bane; ‘a hired hand that gets the job done’, pursued by Nemesis Shelby, Joe Bone is onto a winner. I watched the trilogy in a linear fashion and was thoroughly entertained 3 nights in a row, but I would dispute Bone’s testament that they can be watched in any order.
As an epic storyteller, he relished every word and movement down to the smallest detail to create a cinematic parody using only his voice, physicality and a live guitar score. He was like the human embodiment of a cartoon character cross 1930’s gangster movie’s anti-hero. He delivers an unstoppable energy to the character of Bruce Bane and all his characters, like a camp ninja, creating a truly exciting experience for the audience. His manic charm is alluring as he flickers in and out of roles in film-noir homage, Joe Bone is a one man tour de force.
I could picture perfectly what he was enacting, so when playing charades I’d want Joe on my team! Bane would work as a radio play, and he would make the most engaging audiobook narrator, but as a piece of theatre, his physicality makes the show electrifying. He must have re-enacted hundreds of deaths, fired thousands of air bullets but he somehow manages to make each killing sudden and exciting. He makes walking on the spot entertaining, and nobody can pull off slow motion like he does. With familiar ticks and recurring witticisms that link the 3 parts together, he rewards his audience along the journey and they share in united audible in-breath as the plot takes a shocking turn at the end of part 3.
I found part one to be the best chapter, as it were, as the subsequent parts are less easy to follow, but the novelty of his performance never fades. Parts 2 and 3 are less explosive, but as the plot structure becomes more convoluted and as he delves under the skin of the characters, it becomes more emotionally engaging. Proving that he can inspire pathos with the simplest of glances as easily as he can raise a smile.
It is not often that the audience refuses to stop applauding to let the act speak after the show, and as he took his bow with immense modesty, the applause proved what a crowd pleaser Bane 1,2 and 3 are, and what a crowd he is drawing.
Liberace Live From Heaven
Posted by Martin in Assembly, Brett Herriot, Liberace Live From Heaven on August 22, 2011
THEATRE**** Liberace Live From Heaven
Assembly
The man who made his name on Opportunity Knocks, Bobby Crush, returns to the Edinburgh Festival with a production worthy of the West End and Broadway. Liberace Live from heaven.
The premise of the show is Liberace has arrived at the pearly gates following his death, however Heaven is a bit busy and St Peter and God need Liberace to prove his worth, after all with Chopin and Mozart all ready in the VIPs section what can Liberace offer. The show is split evenly into two half’s, the first is fairly light and camp with Bobby taking Liberace through his repertoire of classic piano pieces with a dash of glitter. The voice of St Peter is played in a pre recorded voice over by Stephen Fry and God by none other than Victoria Wood.
It’s in the second half of the show that I was taken with Bobby’s acting ability, I never had bobby crush down as an actor I always viewed him as a ketch Cabaret artist. I was wrong he can act beautifully, where the production doesn’t hold back is the examination of Liberace’s Homosexuality, the reasons he hid it with vile lies in order to get one over on the Daily Mirror. Bobby gives a heart breaking performance as he recalls Liberace’s time with Scott Thorson the only man Liberace ever loved the law suits that occurred when the couple broke up and ultimately their reconciliation during Liberace’s dying days. Its Liberace’s death that really gets the production into thought provoking territory, Bobby in character as Liberace asks god what she was thinking off when she bestowed AIDS on the human race, its question that’s asked by those living with and those effected by those living with HIV and AIDS. The answer is quite revealing.
Using a fine blend of Comedy, Pathos and Drama, and a spectacular finale using audience suggestions that makes the whole production a winner and made me view Bobby Crush in a whole new light. Regardless of your own thoughts surrounding Liberace this is one production that should be on the must see list before the festival concludes.
Hit Comet
Posted by Martin in Bedlam Theatre, Brett Herriot, Hit Comet on August 22, 2011
THEATRE**** Hit Comet
Bedlam Theatre
Hand Cannon return to the fringe with Hit Comet and makes for a hilarious hour of fun at the expense of the pop world.
The play set in an executive corner office looks at the argument over artistic freedom versus selling out to rake in the cash. When the manager demands a hit before Barry Manilow phones gives the 5 comedians involved in the production all the ammunition they need. The try with many a comedic twist to come up with a sure fire hit and end with nothing more than a mobile phone ringtone titled “love is my dipping sauce”.
The whole production is delivered in a very tongue and cheek way and really makes the audience think about the trash being churned out into the pop charts via the means of X factor and pop idol. Can you honestly recall a top ten hit from a winner of those programs other than Leona Lewis of course? The show builds towards a hilarious conclusion as the assemble staff members grab whatever instruments they can find including a double cello! Yes it’s the first I’ve seen of that too! And try to woo Mr Manilow with their song writing talents.
The great thing about the Bedlam fringe season is encapsulated in this production it’s a confirmed piece of fringe theatre with excellent observations on both life and musical leanings. Its well worth catching before the seasons ends.
