Monthly Archives: August 2016

+3 Review: The Master & Margarita (Zoo at St.Cuthbert’s: until 29th Aug (not 19-20, 25th) Aug: 22.00: 1hr 30mins)

Posted in 4*, EdFestivals 2016, Other, Rated: Outstanding, Theatre, ZOO by

“A Hell of a show”

Editorial Rating: 4 Stars: Outstanding

It was with a certain amount of trepidation when I met The Sleepless Theatre Company on the Royal Mile and discussed with the crew their production of The Master and Margarita. How on earth are they going to do it?, I thought.

Action opens with the procurator of Judea, Pontius Pilate, in court session over an apparently worthless vagrant, Yeshua Ha Nostri. The procurator is ill and it would be so simple to dismiss this tramp with two words: “Hang him.” Nineteen hundred years later, it is a hot May night in Moscow and the committee members of the exclusive Communist Party writers’ guild, are sweltering in a small meeting room, waiting for the Chair, Mikhail Berlioz, to arrive. He is late. None of them can know that dark powers have already entered the city.

For Russians, The Master and Margarita by Mikhail Bulgakov is the Soviet Union’s most famous novel. It is a wide-ranging satirical fantasy and the changes in location (across Moscow and Jerusalem), space and time are a daunting challenge for any adaptation. In this interpretation Sleepless Theatre does well at capturing those changes, using the magnificent setting of the St.Cuthbert’s Church to great effect. Like the cast, the audience too are expected to be mobile, following the action around the hall and even being participants if the scene demands. I found the flight of Margarita (Iona Purvis) over the rooftops of Moscow particularly effective: Purvis is obviously dance-trained and her graceful physical acting really added to the dreamlike quality. Against my expectations, the company’s low-tech approach often overcomes the staging challenges inherent in the novel and they should be highly commended for this.

The central relationship between Margarita and The Master (Jonny Wiles) is wonderful: both actors touchingly portraying the sacrifices each make for the other in the cause of their mutual love and Woland (James Blake-Butler) is suitably all-powerful and sinister. Gwenno Jones captures the tortured soul of Frieda perfectly; though as Yeshua, to me, Jones fails to show the calm and almost playful wit possessed by the character, even in the face of death. Coupled with Pilate (Georgia Figgis) lacking a real menacing streak, the opening scene rings slightly less true than the others, which are on the whole excellently delivered.

Narration is a large part of this production, with actors taking this in turn, and in the first scene I did have some concerns about the delivery (and, indeed the existence of) some crucial lines. During the interrogation Pilate lays too much emphasis on a certain word than is appropriate and leads the witness. The script sees the narrator point this out, rather than it being obvious from the acting, and it is a shame that writer Alexander Hartley keeps to narration here, rather than letting the acting speak for itself. Apart from this minor blip, the rest of the narration remains faithful to the book, and dedication to original text should otherwise be praised.

The Master & Margarita is a massive challenge for any company to take on, and for the most part Sleepless Theatre Company do a really good job: the central themes of the book come shining through. If you know the book, see Master & Margarita for the joy of seeing it live. If you have never read the book, go see. You are in for one hell of a show.

outstanding

StarStarStarStar

Reviewer: Martin Veart (Seen 16th August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Please Excuse My Dear Aunt Sally (Pleasance Courtyard: until 28 Aug: 12.50: 1hr 10mins)

Posted in 3*, EdFestivals 2016, Pleasance, Potterrow & Teviot, Theatre by

“A compelling story”

Editorial Rating: 3 Stars

Walking out of the auditorium I knew I’d need a decent amount of time to gather my thoughts and be able write this review properly, but even 36 hours on my mind is just as confused as it was then. The reason for this is two-fold: Please Excuse My Dear Aunt Sally is the story of an affair told from the point of view of (and narrated in the first person by) a mobile phone. It’s a fantastic and original concept, but does take a bit of getting used to. Couple that with the fact the role of the narrator (the phone) switches between all five actors on stage at alarming speed and suddenly you find yourself struggling to keep up with who’s who and what’s what.

As a device I can absolutely see the merits of the decision to share the narration – at times it creates great dramatic tension with multiple voices reminiscent of a Greek chorus, while some of the physicality of the group narration is really powerful. However, I don’t think these effects are enough to counter the sense of it all being just a bit too artsy and unnecessarily complicated. For me it would make much more sense to have just one actor as the narrator throughout. Given the concept, I feel this production needs to let it resonate and allow the audience to grasp it properly before trying to add additional layers of complexity.

The same can be said of the styling and direction of the piece. Performed in a stark open space with a few movable white blocks, a huge hole in the middle of the stage and various other stylised props, it seems like the actors are constantly trying to work around or fit into the design, rather than have it support them. Sequences within cars and the tennis match in particular come across as the most forced and restrained. In saying that, some of the physical aspects of the direction (like the lifts) work really well – there just seems to be a jarring between all the different elements going on, adding to the sense of confusion.

Putting all that aside, the absolute star of this show is Kevin Armento’s script. It’s inventive, dramatic and adds wonderful detailing to make the phone really feel like a character with thoughts and emotions of its own – happiest when at home (in its owner’s pocket), and knowing when it needs to be hooked up to its drip (to charge the battery). The plot is well-developed, unfolding the story piece by piece, with tensions arising as each character learns more about what is (or what they believe to be) going on. The final quarter does get a little far-fetched for my liking, but the end manages to work itself out well enough.

As an ensemble piece of theatre, the acting from the cast is very good – the actors blend in and out of narrator and individual character roles, showing great depth and versatility. For me the stand-out performer is Sarah-Jane Casey, who displays great energy and emotional range as Red’s mother, and is captivating to watch throughout.

Overall this is a compelling story presented by a great cast who create some wonderful dramatic moments, I just feel like it needs to go back to the drawing board creatively and adopt a simpler approach.

Star (blue)Star (blue)Star (blue)

—

Reviewer: Steve Griffin (Seen 16 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Triple Entendre: Love, Life and Other Stuff (C Nova: until 29 Aug: 21.50: 50 mins)

Posted in 4*, C Venues, Cabaret, EdFestivals 2016 by

“Clever, stylish and hilariously performed”

Editorial Rating: 4 Stars: Nae Bad

Three microphones, three young women, a lot of songs and a lot of sass. Triple Entendre don’t mess about. Taking to the stage in coordinating black outfits and bursting into an a capella fifties style song, everything about their presence at the beginning of this performance shows they mean business.

Given the subject matter of the first few numbers (and interludes) I was worried that it would be a purely “girl power” all-we-can-talk-about-is-men-and-sex kind of show. Thankfully the group soon move on to show they do have more depth and gumption about them than the Spice Girls, with catchy songs including Resting Bitch Face and my personal favourite Can’t Scat, about the jazz singer who couldn’t scat – clever, stylish and hilariously performed.

While the show is mostly singing (there’s precious little chat in between numbers), a few poems are interspersed which do show great creativity and add variety to the piece. My favourite of these was Anger – a short but fast-paced tirade that we all wish we had the guts to spit at someone who’s screwed us over at some point. I must also mention the touching song Mind the Gap, which, as well as cramming a lot of London Underground wordplay (to my great amusement) into a few short verses, also showed a glimmer of fragility in comparison with the quite up tempo and feisty feel of what had gone before.

Throughout the piece the singing and musicality of the performers is excellent – note-perfect with great range and adaptability to suit different styles. And while it’s clear that the trio have a close bond and easy way of working with each other, we don’t get to learn much about their individual personalities – for a cabaret show it seems quite guarded. There’s not a lot of openness or up close and personal moments between numbers so it all seems to go quite quickly and I was left feeling slightly cheated by not having gotten to know the girls better by the end.

Overall there’s some great original content in there and the singing is spot on, but I feel the group need to work a bit harder to define their identity and open up a bit more.

nae bad_blue

Star (blue)Star (blue)Star (blue)Star (blue)

—

Reviewer: Steve Griffin (Seen 15 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Still Here (The Tent, ZOO @ St.Mary’s South Lawn: 5-24 Aug: 19.15: 1hr)

Posted in 4*, EdFestivals 2016, Theatre, ZOO by

“I hope Theatre for Justice are back soon with the next instalment”

Editorial Rating: 4 Stars

I’ll admit that before this show I had no idea where Eritrea was, and I wasn’t even sure how to spell it. I knew nothing of the religious persecution going on in the country or the hundreds of people who flee it every day. For these insights alone Still Here is worth watching. Yet while being a “worthy” piece of theatre, it never veers into being preachy: rather, it is a simple account of one student’s (Rachel Partington’s) trip to a refugee camp and the people she met there. It’s honest, frank and – I hate to use such a word to describe theatre – interesting.

With tickets checked by border control officials, a mismatching array of seats (including deck chairs) for the audience, and performed in a tent outside a church far from the central hub of normal Fringe venues, Still Here goes to great lengths to create an authentic experience that is central to its overall aims. The show opens with the two main characters telling interweaving stories of their journeys to Calais – six hours for the interviewer, and six years for the refugee. It’s a great way to set the contrasts for the piece, and is creatively staged to give it interest.

Actors Afolabi Alli and Rachel Partington both do an outstanding job with clear, engaging performances that strike the perfect balance between honesty and theatricality. They bring a real fresh-faced look to an age-old problem and their vitality makes them a joy to watch.

Water is used creatively throughout, from sound effects to projections, and it’s great to see this young company using intelligent recurring motifs within their work. Other props are fairly minimal, as the performance uses a more physical and human approach to its storytelling – again a sympathetic match with the subject material. More powerful is the use of a child’s puppet, whose unspoken presence towards the end of the piece is made even more stark when Partington utters the words “I can’t help. I can’t do anything to help.” Stirring stuff.

Yet while everything in the performance is done very well, content-wise it is somewhat lacking. Largely centred around just one 15 minute interview with a single refugee, it’s disappointing that as a production it seems a little unfinished, with so much more potential to create a really powerful and inspiring show with more depth to it. It’s a great first chapter, and I hope Theatre for Justice are back soon with the next instalment.

Star (blue)Star (blue)Star (blue)Star (blue)

—

Reviewer: Steve Griffin (Seen 15 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: The Accidentals – Tone Down For What (theSpace@ Symposium Hall: Aug 17-20, 22-27 : 18.20 : 50 mins)

Posted in 4*, EdFestivals, EdFestivals 2016, Music, Other, Rated: Outstanding by

” A nonstop vocal joyride”

Editorial Rating: 4 Stars Outstanding

Returning to a group you have vastly enjoyed at the Fringe previously is like releasing a paper airplane into a storm: there’s not much you can do but hope – and as I sat in the audience for the next instalment in The Accidentals’ success story, I could definitely hear the wind whispering at the stage door. For me, this Fringe has certainly raised the quality bar in terms of performances I’ve seen, and my worst nightmare was that my favourite a capella choir just wouldn’t be able to stand up to the wonder. My only advice to other prospective audience members would be this: fear not. The Accidentals aren’t just coasting on the wind, they’re soaring.

Running the variety gauntlet once again from traditional Scottish tunes to lip-battering beatbox performances, The Accidentals are a joy to watch from the moment they enter the stage. The sheer variety of voices they represent is staggering: expect the tooth-rattlingly low and the glass-breakingly high, all wrapped up in a nonstop vocal joyride.

Tone Down For What is not just a show of the same quality that audiences have come to expect from these returning Fringe champions: this year’s edition comes with bells and whistles, including the first successful audience participation exercise in a musical show which didn’t sound like a slowly deflating, middle class balloon. As someone who prefers to sit silently in the back like a rock with great taste in theatre, I’m deeply skeptical of audience participation at the best of times: but I’ll be damned if this wasn’t the only time I’ve been happy to be part of one of those wild experiments in awkward enthusiasm.

The evolution of The Accidentals this year seem to run deeper than superficiality: things have taken a wickedly feminist turn, and tonally, it couldn’t have been done better. It’s hard to address the inequality of perceived competency between male and female singing groups, especially without dragging what would otherwise be a lighthearted show into preachy seriousness, but The Accidentals pull it off flawlessly – it’s cheeky, it’s defiant and unapologetically mocking.

Of course, the preceding points would be moot without the vocals to back them up, and this show doesn’t disappoint. A personal shout-out goes to Ruth Kroch, whose rapping sans mic was both impressive and powerful, despite the looming possibility of being drowned out by the note-perfect vocals of her peers; and also to Steph Boyle – hearing the sheer brute force of the voice coming out of such a small woman is like watching a pea-shooter fire ICBMs. But I cannot stress enough that each and every performer in this group is one to watch. Tone Down for What is an ensemble piece in its purest and most brilliant form, even down to the tongue in cheek comedy. If you’re looking to get blown away by the power of the female voice, this would be the place to do it.

A few quite noticeable tech fumbles notwithstanding, I couldn’t see a misstep on stage. For an opening night, that’s really impressive. The only real criticism I could find with the show is that it reminded me how bitter I am about the fact their version of “Who Did That To You” isn’t available on Spotify.

 

outstanding

StarStarStarStar

—

Reviewer: Jacob Close (Seen 15 August)

Visit the  Other  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Interview: Spoon-Feeders

Posted in *Written Interviews, EdFestivals 2016 by

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“Each year we take an original piece of writing to the Fringe.”

WHO: Chloe Burton – Production Manager

WHAT: “Spoon-Feeders follows the daily lives of four actors working for STN News; exploring the interaction between the worlds of information and entertainment. Max, Tibby, Jons and Felicity all have their own dramatic aspirations but Felicity, quashed by the others, has to satisfy herself with office work. When Stephen, an aspiring actor and recent graduate accepts a job at the office, Tibby and Jons feel their positions are threatened. The prospect of a career-making scoop beckons and claws are sharpened. As each party vies for supremacy, a question emerges: What does it really mean to control something?”

WHERE: theSpace @ Surgeons Hall (Venue 53)

WHEN: 20:30 (40 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is not our company’s first time in Edinburgh, previous members of NUTS have taken shows to the Fringe for years, most recently If Only Diana Were Queer (2015) at Greenside and Big Brother: Blitzkrieg (2014) at theSpaceUK; the venue we return to this year.

Our production team have been in shows and have worked at some fringe venues before but for all our actors this will be their first time acting at the Edinburgh Fringe Festival.

Tell us about your show.

Spoon-Feeders was written by Patrick Watson, a member of our company. We are Newcastle University Theatre Society and we are one of the largest and most successful student theatre societies in the country and one of the oldest societies at Newcastle University. Students from all over the university come together each year to showcase their talents in the form of 10 plays, 2 musicals and 6 student written plays and each year we take an original piece of writing to the Fringe.

We premiered Spoon-Feeders at our Drama Festival in June showcasing 6 student written plays from Newcastle and 1 from Durham University. Since then the show has developed, grown, been rewritten and recast and comes to the show with a new director, Lucy Sherratt, production manager Chloe Burton and show producer Thomas Edney.

We don’t have any plans to tour after Fringe but the writer is keen to develop and keep changing the show based on feedback during our run up here in Edinburgh.

What should your audience see at the festivals after they’ve seen your show?

Our cast and crew saw a fantastically self-aware, self-deprecating and very funny (also student written) performance by Manchester University Drama Society called Novel Experiments In Living. The characters in the play slowly discover that they are indeed characters, not real as they thought, and they try to take control of their own ‘script.’

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+3 Interview: Russell Hicks: Deadliner

Posted in *Written Interviews, EdFestivals 2016 by

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“Every night all the freaks, weirdos, drunks, and rabble rousers would congregate around me as I free wheeled nonsense to the kind of passionate reception one can receive only in the supremely inebriated.”

WHO: Russell Hicks – Comedian

WHAT: “Dead’liner’ n. 1. Closing act from the Bizarro Universe. 2. One who exists within the parameters of their own self-made regiment. 3. A hero of the moment. Adj. last, final, absolute >SYNS outlaw, bankrobber, mercenary for truth >ANTS headliner”

WHERE: The Free Sisters (Venue 272)

WHEN: 16:30 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Oh, no, I’ve been here two whole times before. The first time I did an extremely late night show at the Tron which was very interesting in that it was essentially a drain that collected drunken refuse at the end of the evening. It was great actually.

Every night all the freaks, weirdos, drunks, and rabble rousers would congregate around me as I free wheeled nonsense to the kind of passionate reception one can receive only in the supremely inebriated.

Ever since then I have gone on at 4:30pm/5pm at the Three Sisters where the audience has usually had about one pint so they tend to put money in the bucket at the end rather than mistake it for a courtesy bin for their vomit.

Will you be touring immediately after the Fringe?

Ha. Touring shows after the Fringe is kind of one of those traditions that no one seems to question… I mean doesn’t it make sense to not tour it after the Fringe? It’s done now. I always see the Fringe as sort of the book mark to a chapter of your life. Usually whatever I was on abut that month I have completely expurgated my soul from by the end so I couldn’t possibly continue performing it with any heart. Also, no one writes my shows, including myself.

What should your audience see at the festivals after they’ve seen your show?

Go see Candy Gigi at the Hive. After that go see anything Bob Slayer is producing at his Heroes venues. Then splash on one big production, that you would never normally go to, something like a circus show or a theatre production.

The best part of the Fringe is going to see something in a tiny little hut somewhere that is off the beaten path, that you only walked into to get shelter from the storm, when suddenly that rare confluence of events happens where performers and audience are on the same wave length and somehow it becomes the greatest show happening at that moment in the whole festival and you just know it.

Those of you who know what I’m talking about, know what I’m talking about.

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+3 Interview: Star Trek vs Star Wars

Posted in *Written Interviews, EdFestivals 2016 by

2016startre_bbi

“I did my first show in 2010 and since then I have performed as a comedian every year.”

WHO: Rik Carranza – Host

WHAT: “Rik Carranza leads two comedians through an epic debate to finally put to rest which is better, Star Trek or Star Wars. They are the biggest sci-fi franchises in history both with their legions of fans. Trek or Wars, Enterprise or Falcon, Phaser or Blaster, Jar Jar or Neelix. Will Star Trek ‘engage’ you or will you find it ‘most illogical’? Will Stars Wars make you ‘let go of your hate’ or will you ‘get a bad feeling about this’? It’s up to you, the audience, to decide. Different guests every day.”

WHERE: The Banana Skin (Venue 396) 

WHEN: Times Vary (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my 7th year performing at the Edinburgh Fringe though I am from the city originally. My first year I was part of a local theatre company and we brought a self-penned play to the Fringe. A few years later I started performing as a stand up comedian. I did my first show in 2010 and since then I have performed as a comedian every year.

Tell us about your show.

The show is a comedy debate panel show featuring 2 comedians battling it out to decide once and for all, which franchise is better, Star Trek or Star Wars. The show was created and previewed at the 2015 Edinburgh Fringe as well as other geek events, including Capital Sci Fi Con in Edinburgh. Once the Fringe is over there are now plans to take the show to other cities and festivals.

What should your audience see at the festivals after they’ve seen your show?

The Dark Room by John Robertson is an amazing interactive show that never fails to entertain. Comedians Against Humanity see’s comedians going to dark places with the help of the audience suggestions and Card against Humanity.

Stack at Bedlam Theatre is a brilliantly immature and fantastically put together one man show. I saw Ria Linas’ Dear Daughter at the Manchester Fringe as a preview and am looking forward to seeing it again. Doug Segal’s I Can Make you Feel Good is a great show. Doug always puts on shows that leave you laughing while you look on in wonder.

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+3 Interview: Laughing Stock 

Posted in *Written Interviews, EdFestivals 2016 by

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“Thus began a month of treacherous crutching and wheelchair manoeuvring around Edinburgh, a famously cobbled and hilly city.”

WHO: Rhys Bevan – Performer

WHAT: “Irreverent. Irrelevant. Elephant. Last year, Laughing Stock were a brand new sketch comedy foursome. Now, they’re back to improve upon their five-star debut. Winners of the SketchFest 2015 Audience Choice Award, finalists at Sketch Club 2015, Sketch Off 2016 and official selection at the SketchFest and CoFilmic Sketch Screen Awards.”

WHERE: Underbelly, Cowgate (Venue 61)

WHEN: 15:40 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No, this is Laughing Stock’s second year up at the Fringe. Last year we were just about to perform our London previews when Lewis (one of the four performers) ruptured his achilles tendon. Thus began a month of treacherous crutching and wheelchair manoeuvring around Edinburgh, a famously cobbled and hilly city.

Despite this, and the many other hurdles that came with it being our first foray into the Fringe, we had loads of fun, some great audiences and some lovely reviews. So here we are again!

Tell us about your show.

Our show is a sketch comedy show, irreverent and varied with music, dance, storytelling and song. We devise it, write it, produce it and rehearse it ourselves. We are Rhys Bevan, Arabella Gibbins, Lewis Doherty and Phoebe Higson. We all met many moons ago at drama school and have all given up lucrative Los Angeles-based careers for this.

What should your audience see at the festivals after they’ve seen your show?

So difficult to pick one. But I was so impressed with Emma Sidi yesterday. Super slick, polished and laugh-out-loud funny. Even better than last year!

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+3 Interview: Not Quite Write

Posted in *Written Interviews, EdFestivals 2016 by

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“The material is partially stuff we have performed in Oxford before, and partially un-vetted material incognita. Scary.”

WHO: Barney Rowe – Producer, Writer

WHAT: “We always strive for those eureka moments, the top 1% of ideas, but what about the other 99%? Rubbish right? Wrong. Not Quite Write prides itself on the 99%. All that glistens isn’t gold, but it’s sure worth trying to make a cheap joke out of. Join Oxford student comics Low Hanging Fruit as they take a deconstructed look at the sketch writing process, imagining a fictional writers’ office which throws quality control out the window and stages the lot: the good, the bad, and the not quite right.”

WHERE: theSpace @ Jury’s Inn (Venue 260) 

WHEN: 20:40 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes, this is our first show in Edinburgh. Apparently some of us had been here as toddlers but we don’t remember that.

Tell us about your show.

Not Quite Write in part aimed to capture how we ourselves write sketches. Since the entire cast create and develop the material, often as a group, there are many frustrations. Certain sketches go down a storm, others go down like a cup of cold sick. By setting Not Quite Write in a TV writer’s office we were able to both perform traditional sketch comedy, as well as capturing some of the process we undertake to create them in the first place.

All members of Low Hanging Fruit, (“us” and “we”; Barney Rowe, Jordan Reed, Sybil Devlin, and Tommy Jolowicz), have written this show in part. We are, regrettably, all recent graduates from Oxford University. The material is partially stuff we have performed in Oxford before, and partially un-vetted material incognita. Scary.

Our producers are the heroic Jordan Reed and Barney Rowe, whose names you may recognise from around 30 seconds ago. They both have eight arms and two brains and one patience shared between them.

We may hope to take Not Quite Write, or some of its material to a small theatre/venue somewhere in Didcot after Edinburgh! Just kidding, London.

What should your audience see at the festivals after they’ve seen your show?

We saw The Starship Osiris by Willis & Vere a few days ago and it was incredible. A remarkably ambiguous show that was never clearly on- or off-script, in both an unsettling and hilarious way. Highly recommended for fans of sci-fi, fourth wall breaking, and for the downtrodden cast members in any theatre group.

We also loved Joie de Vivre by Vets Kill Comedy. Jamming more material into an hour than any show we’ve seen at the Fringe so far, it was completely unique. Part musical, part character comedy, but never safe, and never conventional. It shone like a light amongst average stand-up and paint by numbers Revues.

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