Monthly Archives: August 2016

+3 Review: Clare Plested – Flock Up (Ciao Roma: 6-27 Aug: 17.50: 1hr)

Posted in 4*, Comedy, EdFestivals 2016, Other by

“Squeezes the last dregs of pulpy laughter “

Editorial Rating: 4 Stars

As folk descend into the basement of the Ciao Roma Restaurant, Clare Plested wastes no time in working the audience, asking if they are up for being selected and happy with participation. Plested is an excellent warm-up and soon the entire audience are settled in with the expectation of a good show.

Plested does not disappoint: soon the first character of her creation is ripping into the audience like a barracuda through a shoal of baitfish. No one is safe: even after coming out of character she utters “Christ! I’ve just picked on the reviewer.” I was eviscerated with the rest but everybody, including me, was left laughing instead of floating belly-up.

The laughter is leavened with some pathos for the next persona: Kala Kale. It is clear that Plested is a fan of old television because there is little doubt that, physically at least, her model is Diana Moran, a.k.a The Green Goddess from breakfast TV of the 1980s. Character development for Kala is done perfectly and she culminates in a real belter of a gag. Less successful to my mind is Missy Marple. Perhaps her motivational drive is revealed a bit too soon, leaving the performance with less options. What openings there are left though, Plested really goes for them with good results.

Gaps between costume changes are filled in by videos of another of Plested creations: #KellyZee, the girl addicted to hashtags and stick-it notes. Some gags work, others not so much. We are going to need a bigger Twitter.

For the finale, Plested combines all the elements that go before and adds a thick layer of social satire with excellent effect. The laughter was loud and the applause, long.

Clare Plested is both funny and genuinely witty, which allows her to interact fully with audiences, whether in or out of character. She is also energetic and physically brave performer who squeezes the last dregs of pulpy laughter from people.

If you enjoy banter, interaction (or love seeing it happen to others) plus comedic character creation, invest an hour at Ciao Roma. Please feed the artists on the way out. Oh, and Clare: hope the rash clears up soon.

If you want to know what that means, see the show.

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

Reviewer:  Martin Veart (Seen 16 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: The Vaudevillains (Assembly George Square: 4-28 Aug: 22.10: 1hr 10mins)

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

“Masterfully performed with moments of brilliance”

Editorial Rating: 4 Stars

Les Enfants Terrible are old hats at making great theatre, with many awards and accolades to their name. On paper The Vaudevillains sits right in their sweet spot of immersive, stylised, historical storytelling – so do they land the killer blow with this one? Almost.

Framed around the murder of the music hall owner before the start of “the show”, the compere (Oliver Lansley) declares that it must still go on, and each of the acts is then introduced and invited to plead their innocence through skit and song – in old fashioned music hall style. It’s a simple concept and powerfully delivered, but, disappointingly, not particularly unique or innovative.

It’s only when the skits start that creativity and individual talents come to light. Each character’s back story is complex and engaging – showing great writing on Lansley’s part – and it’s enjoyable getting to know more about each one. All performers play supporting roles in each of the other’s stories, allowing them to demonstrate their seemingly endless individual skills as performers. My favourite characters are the Cerberus Sisters (stripping Siamese triplets), given their unique characteristics, while for me the standout performer is Tsemaye Bob-Egbe, who gives a simply stunning rendition of her song as Mephisto –a real highlight.

Overall the skits are funny, bawdy with a good variety from the loud and brash to the whimsical and mysterious and everything in between. The pace keeps it entertaining without dragging, and despite being quite fragmented, the show has the sense of being a real team effort. Tomas Gisby’s score also deserves credit – he’s created some great stick-in-your-head songs that stay with you long after the show ends.

After the skits are complete, one expects some sort of Agatha Christie-esque finger-pointing and deduction in order to work out “whodunit” – indeed, I feel that this is what a lot of us were waiting for. However, when the big reveal occurs, I am in no way surprised by the outcome, and let out a small groan at the lack of creativity shown in this respect. I feel that this part of the show lets down the rest, and more work could be done to beef up the suspense.

Overall, The Vaudevillains is masterfully performed with some wonderful moments of individual brilliance and great storytelling along the way, but it is perhaps just a little obvious.

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

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Reviewer: Steve Griffin (Seen 14 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Moscow Boys (Zoo Southside: 5-29 Aug: 20.35: 1hr 10mins)

Posted in 4*, Comedy, Dance, EdFestivals 2016, Music, Rated: Outstanding, ZOO by

“Funny, impressive and unlike anything I’ve ever seen before”

Editorial Rating: 4 Stars: Outstanding

My early front-runner for most bonkers show of the year is this one: an all-male tap-dancing string quartet from Russia with a penchant for wearing funky hats. Oh, and that’s before they change into rollerblades and charge around the stage while still playing their instruments. You have to see it to believe it.

I’m no classical music aficionado (though I did have a rather painful year learning to play the violin at the age of 7), but to me the musicianship was spot on. I paid very close attention to check whether the boys were actually playing the instruments (just to be sure), and can confirm that yes, it’s all live, and all note-perfect.

This is far from being your average string quartet concert: right from the off it is set up as a comedy piece too, as the boys begin to play around as soon as their maestro has left the stage. It starts small – standing up, sitting, down and swapping seats – but before you know it they’ve burst into a full-blown tap routine (while still playing), without any effect on the quality of the sound. And that’s just the beginning of the madness.

Musically we get everything from Tchaikovsky to Timberlake, and on the whole it just flows seamlessly together as if originally written that way. There’s not a sheet of music or music stand in sight, so extra kudos to the quartet for merging so many pieces of music together and learning it all so well they can perform it while dancing – this really is impressive stuff.

This is very close to being a five star show, it is just a little disappointing that the troupe seem to pull out all of their best tricks in the first half of the performance, so the second half is spent wondering what will happen next, given that most of their cards are already on the table. Later on they also rely on recorded sound to support their playing, when the wow-factor in the first half comes from just the four performers and their instruments.

It’s funny, impressive and unlike anything I’ve ever seen before. I would definitely recommend it for those looking for something a little different this Fringe.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 14 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Paper Hearts the Musical (Underbelly Med Quad: 5-29 Aug: 18.40: 1hr 15mins)

Posted in 3*, EdFestivals 2016, Musical Theatre, Rated: Nae Bad, Underbelly by

“Potential to be a real best-seller”

Editorial Rating: 3 Stars: Nae Bad

A musical about finding love in a bookshop sounds like pretty much all of my favourite things in one. And just like everyone’s favourite independent bookshop, the first thing that strikes me about Paper Hearts is how little space there is to move around in on stage.  Unfortunately in this case it doesn’t work in the group’s favour, and if they had been used to rehearsing in a larger space, the translation to this venue isn’t effective enough to overcome many of the obstacles faced by that challenge: the choreography looks clumsy, performers squeeze past each other when moving about and the musicians are a bit too dominant visually – it’s a shame that this is the lasting impression I have of this show rather than the artistic merits, of which there are many.

The story follows Atticus Smith (Adam Small) – a book store manager and hapless writer – who is determined to finish his novel, even though his store is very quickly going out of business and is set to be bought by a corporate giant. But of course, there’s a convenient young writers’ competition he could enter and win to save the day. So far, so so. Throw into the mix a difficult relationship with his father and a chance meeting with the consultant set to take over the bookshop and an intriguing plot unfurls.

What I particularly enjoyed about this show in terms of narrative are the clever parallels between Atticus’s own life and the characters in his book, and the relationship he as a writer has with those characters. Even though the book is set in Russia in the 1940s, Atticus channels his situation through his leading character and inadvertently ends up resolving his own problems.

From a performance perspective, bizarrely it’s the Russian scenes that come across as the most genuine and accomplished, and these are the most enjoyable to watch. Much of the rest of the performance, however, feels very rushed. From the opening scene where characters are introduced, to Atticus’s break-up with his girlfriend, meeting someone else, having a huge argument the next day and winning a writing competition, it all seems quite superficial. There are lots of lovely ideas in there, but, much like the stage, everything is a bit too crammed in.

Liam O’Rafferty’s music and lyrics are tight, with several great original songs. Hot is a fun and sassy number with great personality, Shame is a cutting and comedic look at the flaws of the two central characters, and title song Paper Hearts has a real West End ring to it. All songs featured within the Russian scenes have great folk authenticity, so musically this show has a lot going for it.

I’d love to see Paper Hearts come back as a longer, more developed piece, and performed in a different venue that gives it room to breathe. It has the potential to be a real best-seller.

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 14 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Albatross (Paradise in Augustines. 5 -28 Aug. Times vary. 1h35m.)

Posted in 4*, EdFestivals 2016, Other, Rated: Nae Bad, Theatre by
Image: Andrew Brilliant/Brilliantpictures Inc.

Image: Andrew Brilliant/Brilliantpictures Inc.

” .. full-on theatrical broadsides”

Editorial Rating:  4 Stars: Nae Bad

Inbound from Watertown, Boston, MA, the Albatross has landed. Samuel Coleridge’s fantastic and ghastly Rime of the Ancient Mariner is rewritten and adapted for the stage by the Poets’ Theatre. It’s an expansive work that barrels along with bits of Pirates of the Caribbean about its rigging but where it matters, down on its spar strewn deck of a stage, it’s sound and faithful enough. It owns, as does Coleridge’s greybeard, ‘strange power of speech’ and compelling presence.

Despite water, water everywhere this is more wrap-around than immersive. You don’t sink into the Mariner’s story but Benjamin Evett, co-writer and solo performer, fastens it upon you and won’t let its folds drop until he’s done, which is how the poet would have it anyway. Evett’s acting is impressive, possessed by character, because there’s only penance left for an Irish American who knows he has ‘done a hellish thing’. He starts as a grouchy, foul-mouthed and dirty sailor and stays that way because he’s immortally cursed to tell his phenomenal tale. He holds his audience with his ‘glittering eye’ (and occasional insult) as he himself is held by his demons.

We’re told for fancy’s sake that the old sailor met Coleridge once, in Bristol, and mocked his lilting verse. You’ll hear the ballad quatrain in Albatross but in only in key snatches. The narrative shape of the ‘Rime’ is still there but is considerably amplified, particularly in Part 1 where the dastardly Black Dog, privateer at large, shanghaies the Mariner, chases down a treasure galleon and chews off noses. The visuals, sound and SFXs that accompany this action are full on theatrical broadsides with the Mariner hauling ropes, hoisting sails and … corralling penguins.

Nevertheless, Albatross would be serious about depicting a ‘soul in agony’, which is a must-have for any treatment of Coleridge’s poem. This is where Evett is most tested and where co-writer Matthew Spangler must have reached for words. I’m slightly surprised that they did not make more of the dice game between Death and Life-in-Death (a dead ringer for Lady Gaga?) and of its glaring image making. However, in our day and age the questions are as existential as they are Christian and it’s the philosophical open season when the Mariner snarls a reply as to ‘Why?’ Why, for Heaven’s sake, did he shoot the bird? Was it, God forbid, for fun? There is the prayerful close, which is good, but I was a little sorry to hear of a ‘zombie crew’ and not ‘this seraph band/Each one a lovely light’. No matter. If not for the Mariner, times are still a changing for the rest of us and this is a fullblown modern production in which caution is thrown to the to the wind.

 

nae bad_blue

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

Reviewer: Alan Brown  (Seen 11 August)

Go to Albatross at Paradise Green & at Poets’ Theatre

Visit the Edinburgh49’s Other archive.

+3 Review: Mark Watson – I’m Not Here (Pleasance, Aug 16-21, 23-28 : 21.00 : 1hr)

Posted in 5*, Comedy, EdFestivals 2016, Potterrow & Teviot, Rated: Outstanding, Stand-Up by

https://i0.wp.com/www.edfestmag.com/wp-content/uploads/2016/08/MARKWATSON_GJPR_IMAGE-400x250.jpg

“The definition of five-star comedy”

Editorial Rating: 5 Stars: Outstanding

What is there left to say about Mark Watson? Returning to the Edinburgh Fringe once again, this comedy veteran is ready to prove he’s still got plenty of comedy muscle to flex, even if his ego hasn’t quite caught up with his skill yet.

Lit by the neon glow of his own initials, “I’m Not Here” is a journey through identity, celebrity and self-deprecation, all presented in Watson’s fantastic Bristolian twang. The best part of this performance (well, perhaps apart from the jokes) is the sheer amount of tangents Watson manages to swing down during the course of a single anecdote. He’s the comedy equivalent of a rambling great-uncle, but in the best way possible. Two stories stretched out across an hour, but it was never dragged: various twists of wit far too delicious to spoil what may have been a run-of-the-mill comedy show into an utter experience for all in the room.

And at the centre of it lies Watson himself: a man for whom fame has not come easily nor, often, recognisably. Anecdotes about famous comedian friends abound, but Watson never comes across as bitter. The type of comedy he champions is a razor-walk, but there’s never so much as a faltering step: the energy and emotional charge of his jokes work with almost Olympic precision and speed. Despite his considerable success and talent, Watson has managed to remain the ever-scrappy underdog, bruised by outside forces but never quite blown away – a refreshing contrast to the many Carrs and McIntyres in the comedy industry. The self-deprecating English comedian is a trope by now, but Watson proves he is still the undisputed master of comedic self hatred.

And, of course, this is all wrapped up in fantastic gags. The sheer density of jokes is mind-boggling, especially when none of them feel rushed or wanting for space. Watson is clearly in his element on stage, and his special brand of nervously energetic comedy is just as strong as ever. It’s always a good sign when the man sat beside you must wipe tears of joy from a face which, until Watson came on stage, was akin to a bulldog licking bleach off a thistle.

“I’m Not Here” is one of the biggest comedy events at the Fringe, and it’s well earned. Mark Watson shows once again why he’s arguably the defining personality for his flavour of comedy, without missing a damned step. This is the definition of five-star comedy.

 

outstanding

StarStarStarStarStar

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Reviewer: Jacob Close (Seen 13 Aug)

Visit the  Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Rory O’Keeffe – Monoglot (Pleasance, Aug 16-29 : 16.45 : 1 hr)

Posted in 4*, Comedy, EdFestivals 2016, Pleasance, Potterrow & Teviot, Rated: Outstanding, Stand-Up by

https://laughoutlondon.files.wordpress.com/2016/08/rory-okeeffe.jpg?w=750

 “Monoglot? Perhaps. Monotonous? Certainly not.”

Editorial Rating: 4 Stars Outstanding

Most comedy shows I attend sober don’t begin with a five minute monologue by the empty mic. But then again, Rory O’Keeffe is anything but conventional. Through a tightly packed hour, he mimes, gurns and grins his way through a wonderfully punny routine based on the vagaries of language.

O’Keeffe himself looks like he should be a comedian. His boyish charms and the energy of his movements reinforce his sheer youth, but the confidence and the jokes are of a far higher calibre than one might expect for such a young man. Each ridiculously cartoonish movement was comedically precise and utterly free of inhibition, which cannot be said for many of his compatriots. If nothing else, this show would get a star alone for the sheer fearlessness with which O’Keeffe seeks to make a happy fool of himself. Despite his considerable vocabulary, it appears “inhibition” is one he hasn’t learnt yet.

But, luckily for all of us, his jokes definitely keep up with his own frenetic pace. Make no mistake: this is a downright clever show. As someone who loathes seeing a punchline coming, I might as well have been blindfolded in the dark. From the broad launching point of “language”, O’Keeffe manages to wring out a surprising variety of jokes – and, when I attended, flexed some serious improv muscle when it came to hecklers. Some of the best gags of the show were created on the spot, and it’s a real hallmark of quality on O’Keeffe’s considerable wit.

However, sometimes even the most runaway wit must be reined. A very distinct section which rounded off the show, whilst extremely impressive, wended a little too long, as often did a few of the foreign language jokes. That is not to say that O’Keeffe doesn’t manage to make unknown tongues funny, and far from it – but despite his skill (at least, for a self-professed monoglot) it’s always trumped by his own inventive observations about our shared mother tongue.

As far as hidden gems go, Rory O’Keeffe is a comedy diamond. Tucked away behind labyrinthine Pleasance as he is, he’s worth more than price of admission and job of seeking him out. Monoglot? Perhaps. Monotonous? Certainly not.

 

outstanding

StarStarStarStar

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Reviewer: Jacob Close (Seen 14 Aug)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Gobsmacked! (Underbelly George Square,

Posted in 5*, EdFestivals 2016, Music, Rated: Outstanding, Underbelly by

“These guys should be selling out arenas…the best show I’ve ever seen in Edinburgh.”

Editorial Rating: 5 Stars:  Outstanding

With their own set and taking the stage in individual black and white outfits to reflect their own personalities, Gobsmacked! look every inch the “cool” a capella group, and their opening number – an energetic rendition of Queen’s Don’t Stop Me Now – shows just how much they mean business.

The group’s arrangements – all by former Sons of Pitches star Jack Blume – are quite poppy by nature, allowing each member of the group to have their moment as lead vocalist, with plenty of supporting lines and balance, despite there being just seven members. Throughout the show there are blends and mash-ups aplenty, especially the closing medley, which somehow managed to link over 20 pop songs into one cohesive number, and every arrangement is just as rousing and unique as the last. This is a show that just has quality at every level.

Many a capella choirs these days claim to have slick choreography to accompany their singing, but few I’ve seen have come close to this group’s overall visual presentation with movement, drama and tableau so effortlessly working alongside their singing. In particular, the mash-up between Gnarls Barkley’s Crazy with Adele’s Rolling in the Deep depicts a relationship break-down, jealousy and attempts to move on in a perfect combination between flawless singing and creative staging.

It’s almost impossible for me to pick any standout moments, as the show is all so polished in wow-factor, but award-winning beatboxer Ball-Zee’s solo section midway through the performance left me genuinely gobsmacked for about ten minutes, and in a sea of up tempo numbers I can’t not mention the beautifully stripped back rendition of I Will Wait. If, midway through the show, I was worried that Gobsmacked! might be leaning a bit too much towards the pop-dance genre, this song went a long way to demonstrating the variety and depth of music that this group can more than capably deliver.

I suppose I should attempt to highlight areas of the performance that didn’t work as well, but the only very slight blemishes I noticed were that a couple of the performers seemed a little less flamboyant and stage-aware than their choir-mates (though we can’t all be divas), and it was a shame that some live vocal looping was used in a couple of the songs (though only the really keen observer would notice this). Otherwise, for me this show is as close to perfection as you can get.

After this performance Gobsmacked! are now my absolute favourite a capella group in town – these guys should be selling out arenas. I honestly think this is the best show I’ve ever seen in Edinburgh.

outstanding

StarStarStarStarStar

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Reviewer: Steve Griffin (Seen 14 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Don’t Panic! It’s Challenge Anneka (Summerhall: 5-28 Aug: 14.50: 1hr)

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

“A beautiful and emotional journey”

Editorial Rating: 4 Stars: Outstanding

Much like deviser and performer Sophie Winter, I was also a huge fan of the TV programme Challenge Anneka in the 90s, so I couldn’t miss the chance to see a show featuring my favourite presenter from yesteryear. As the audience enters, Winter embodies her heroine – complete with bright jumpsuit, blonde wig and bumbag – welcoming us to the performance and offering treats. It’s a great way to set the tone as one of comfort, support, nostalgia and togetherness.

The piece follows the story of Holly – someone who suffers from anxiety – and we learn what brings it on and how it affects her and those around her. Anneka soon arrives on the scene to help restore Holly to her former happy self, and her challenge unfolds throughout the performance. Winter plays every character throughout the piece, showing great dexterity in capturing personas of people we can all relate to, including the boss who doesn’t listen, the doctor who uses too much technical jargon and the mum who tries to help buy doesn’t really understand.

The performance uses a lot of video, played through an oversized TV on stage, which, as well as demonstrating the level of care and attention put into this piece, allows Winter (as Holly) to react to these characters, and for us to see and feel these reactions close up. Holly comes right into the audience at times, showing her to be just another person like us, and it’s really engaging to see her honest and personal accounts and every side of suffering from anxiety.

I have to say that structurally I did get a little lost and at times I couldn’t quite tell when or where the action was taking place. But this a show where narrative is far less important than the beautiful and emotional journey we are taken on. The overall soul and spirit are absolutely intact and it is a real joy to experience.

As Winter points out at the end, there is no grand resolution to Holly’s anxiety, and that it may well be with her for the rest of her life. Drawing parallels with Anneka Rice’s challenges, the overall message of the piece is that just because a first big step is achieved, that doesn’t mean that the problem is solved. Ongoing support, nurturing, care and hard work are still required, and I think it’s right that this is highlighted, as it shows a real connection and openness with the subject matter.

An important an enjoyable work, on a highly topical subject matter. Please go and see it.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 14 August)

Visit the Summerhall  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Mark Smith – Old Smudge (Cowgatehead: Aug 15-16, 18-27: 17.30: 50 mins)

Posted in 3*, Comedy, EdFestivals 2016, Rated: Nae Bad by

https://files.list.co.uk/images/2013/07/23/mark-smith-LST118856.jpg

“Witty, energetic and incorrigible”

Editorial Rating: 3 Stars Nae Bad

Although used to seeing Mark Smith backgrounded by a wall covered in his own name, he loses none of his charm when foregrounding walls are covered in the shattered dreams of interior designers. It’s hard to make a venue like his seem welcoming, especially in amongst all the cracked paint, but somehow Smith makes it a job that seems doable.

Ranging on subjects from bowling to duck penises, Smith’s methods are comfortably (depending on your disposition) familiar: witty, everyday observational humour with a wicked sting in the tail. The moment that Smith takes a pause after an apparent punchline is like watching a boxer wind up for a knock-out left hook: there were times when I was blown away by the sheer unexpectedness of his thinking, to wonderful effect.

And there’s no denying Smith is a charming man. You could see yourself going out for a pint with him, and when flashes of genuineness peek through the bravado, his inventively crude observations take on an almost sweet tone. Almost.

However, this was not a performance without its pitfalls. Smith sometimes spends far too long waiting on an audience which, in my case, was admittedly rather shy. At best it feels like stalling, and at worst it turns excellent pieces in jarring exercises in long pauses. His material works best when Smith is forging boldly ahead with his obviously prodigious skill, rather than symbolically asking the audience for permission to start the engines.

If you’ve a free afternoon, Mark Smith is an excellent way to banish the increasingly grey summer heat. Witty, energetic and incorrigible, it’s clear to see why Smith has graced many a television screen to great effect.

 

nae bad_blue

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

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Reviewer: Jacob Close (Seen 12 Aug)

Visit the  Other archive.

THIS REVIEW HAS NOT BEEN SUBEDITED