Monthly Archives: August 2016

+3 Review: Dreaming under the Southern Bough (theSpace @Niddry St, Aug 05 – 13 : 10.55 : 50 mins)

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

 “Consistently charming and fun to watch”

Editorial Rating: 3 Stars Nae Bad

If asked for which playwright 2016 marks four hundred years in the grave, you could be forgiven for answering “William Shakespeare”, rather than Ming dynasty writer Tang Xianzu. And with Fringe Shakespeare productions soliloquizing on every street corner, it’s almost refreshing to celebrate another famous, dead bard.

Telling an Alice-in-Wonderland-esque tale of transformation, reflection and po-faced absurdity, Dreaming under the Southern Bough follows the story of a veteran soldier gone to the dogs. However, a chance encounter with retainers from the Kingdom of Ants thrusts him into a world of royal intrigue, prophecy and war.

This is a performance which hits its stride when the surreality really hits the fan. As the plot goes into full swing, it’s hard not to be charmed by the performances at play: drunken retainers, pantomimic warlords and purer-than-thou royalty make for an experience which, whilst somewhat eclectic in terms of energy, is consistently charming and fun to watch.

Even with minimalistic lighting, stage and props, the atmosphere of classical mysticism is heavy even with the seemingly lightest of touches. Incorporation of the original Chinese in particular lends this production an often enthralling sense of place and context, adding significant substance to what in other hands may have been flimsy and unconvincing. Although the scenes taking place in the “real world” seem strangely jarring and stiff, the prose and flow of the writing feels right at home as soon as things hit microscopic.

The strongest aspect of this adaptation is the original writing, and it is a significant shame that the edition presented to Edinburgh is abridged – it would have been far more gratifying to spend more time amongst the follies and twists of the Ant Kingdom, rather than the emotionally unsatisfying ersatz-grit of the modern day bookends.
Despite its flaws, Dreaming under the Southern Bough is a pleasant and entertaining way to spend a lazy mid-morning. Whilst its denizens may be ants, it’s clear they’re standing on the shoulders of giants.

 

nae bad_blue

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

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Reviewer: Jacob Close (Seen 12 August)

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THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Elf Lyons: Pelican (Voodoo Rooms, Aug 5-28 : 19.50 : 1hr)

Posted in 4*, Comedy, EdFestivals 2016, Other, Rated: Nae Bad by

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“A smörgåsbord of comic delights “

Editorial Rating: 4 Stars Nae Bad

Generally, I tend not to trust people whose names are actual words. So, phonetically speaking, Elf Lyons wasn’t starting from a point of strength. However, after a fantastically absurd hour of screaming, tortured analogies and jokes about the French, I realised that perhaps it’s worth a change in policy.

Returning to the Edinburgh Festival, “Pelican” is a show (as Lyons puts it) about wishing her mother was dead. As far as thematic linkages go, it’s a doozy, and links in neatly with a smörgåsbord of comic delights pulled from Lyons’ bohemian life.

Elf Lyons’ greatest strength is immediately visible from the moment she steps on stage. The Philip Gaulier school is lucky to have such a talented clown among them  – “cartoonish” does not do her justice: she has an almost fey energy to her, leaping and waving around on stage with strength unsuggested by her slim frame. Even when the occasional joke falls just short of the chortle line, her ostensibly boundless enthusiasm manages to nudge it across.

But, luckily, these scattershots are few. Far from allowing what is obviously a precocious wit to wither beneath her energy’s long shadow, it positively blooms. Much like her namesake, Lyons is far more of an opportunist than it may first appear, and an wonderfully unexpected sting after a few lighthearted puns definitely goes a long way. It’s not often that I’m surprised by a joke’s direction, but I’ll be damned if I wasn’t more than once during her short hour of comedy.

However, like many comedians, Lyons appears not to trust the quality of her own wit. Some jokes far outstay their welcome, when perhaps the beginning third would have been enough to coax a belly laugh from the audience. Her punchlines, though wonderfully clever, are delivered with more clarity than it appears she realises.

My usual recommendation for free Fringe shows is that you can’t go wrong: win or lose, nothing lost. But this is a show which deserves every penny it earns. The only reason against ticketing it is the possibility that someone will lose out on witnessing such a talented performer. Elf Lyons is certainly one to watch – though, don’t make the same mistake I did, and sit almost directly behind the pillar.

 

nae bad_blue

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

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Reviewer: Jacob Close (Seen 11 August)

Visit the Other archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: 2044 (Greenside @ Infirmary Street, 5-20 Aug: 11.30: 50min)

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

“Twists, turns and tensions aplenty to keep the audience on their toes”

Editorial Rating: 3 Stars: Nae Bad

I’m normally wary of anything that describes itself as dystopian, as I have found that many such works (across all art forms) often struggle to create a world believable or compelling enough to hold my attention. 2044, however, is an intriguing and thoughtful piece, and while a little far-fetched, makes some very interesting conjectures on the future – made all the more timely given the current political landscape.

An independent Scotland, spurred on by a new right-leaning political wave, has developed extremely hostile relations with England, and when floods batter the English coastline, many “southerners” seek refuge north of the border. But, given the political situation, only one member of each family is allowed in – provided they meet the required standards of health, age and skills required for work.

It may seem reminiscent of various events in history, but the situation is presented with a very current and engaging interpretation. The script centres on two such refugees, and their struggle to follow the rules, lest they be seen as a burden on the country’s resources and be punished accordingly. The plot is structured in such a way as to slowly unfurl the background, giving hints at what’s to come, in quite a gripping story. Indeed, the craft and writing of this piece in terms of narrative development are spot-on, there are twists, turns and tensions aplenty to keep the audience on their toes.

Unfortunately though, at times it’s all a little bit melodramatic, and would benefit from a bit more development and depth to allow for greater variation in tone. Every scene feels like yet another “woe is me” announcement, and while intriguing plot developments, it is quite an intense 45 minutes and should really be a longer piece to give itself time to develop and unravel.

Because of the intensity of action, the acting also suffers somewhat. The constant chopping makes it quite frantic and one dimensional, and while some great subtlety is shown by Megan Matheson-Adams as Maria, the cast never feel like they fully hit their stride so the performance falls a little flat. I don’t think it helps that a couple of the monologues are quite forced and obvious, when a more creative way of communicating that information could be found.

Overall, a really commendable effort, particularly with the writing, but not quite the finished article yet.

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 12 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Interview: Revan and Fennell: Fan Club

Posted in *Written Interviews, EdFestivals 2016 by

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“We felt it would be a real shame to put the show that we had worked so hard on to bed before showcasing it at the festival once more.”

WHO: Alice Fennell – Co-creator, writer and performer

WHAT: “Award-winning double act, Revan and Fennell, return to the Fringe after making their critically acclaimed Edinburgh debut last year. 2016 New Act of the Year finalists, 2015 Foster’s Golden Jester finalists and 2013 Best New Sketch Act finalists.”

WHERE: Just the Tonic at The Caves (Venue 88)

WHEN: 12:05 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Nope, we made our debut last year and caught the bug… the Edinburgh Fringe Bug, you understand – not some sort of sickness bug. We enjoyed it so much last year that we had to return, and we’re so glad we have. We’re having a great time!

Tell us about your show.

It’s a comedy sketch show, and we write, produce and direct it all ourselves…what saints we are! We met at East 15 Acting School and decided to become a double act a few years after graduating. Our show this year is actually a very similar show to the one we took to Edinburgh in 2015, as we didn’t really attract the audiences we had hoped to (due to the fact that it was our debut and there are hundreds of other comedy shows at the Fringe!).

So, we felt it would be a real shame to put the show that we had worked so hard on to bed before showcasing it at the festival once more. In September, we plan to start writing new material and working on our next show… Bring it on!

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

Baby Wants Candy! They’re a Chicago-based improv troupe who perform a completely improvised musical on the spot, with a full band. We saw it a few days ago and thought it was hilarious. We had tears running down our face.

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+3 Review: Being Norwegian (Gilded Balloon, Aug 3-10 : 23.45 : 40 mins)

Posted in 3*, EdFestivals 2016, Potterrow & Teviot, Rated: Nae Bad, Theatre by

“A production wrought from the heart”

Editorial Rating: 3 Stars: Nae Bad

When I was first asked to review David Greig’s Being Norwegian, I expected something to do with hellish darkness and Kjøttboller. And whilst the former was surprisingly on the money, I certainly did not expect a neat, funny little vignette. Especially buried deep underneath the sports bar.

The setup is deceptively simple. Boy meets girl, boy is awkward, girl is Norwegian. Cue characteristic witticisms from Grieg, and a surprisingly dense plot for a play which takes about as much time as roasting a chicken. It’s the stage equivalent of tangled christmas lights.

Tom Hurley is a gem as the awkward and terribly British Sean, hopping between mental distress and crises of politeness with surprising ease. A high point of this production is the clear chemistry between Hurley and co-star Lisa Bennington, who brings a wonderfully sort of flighty etherealness to her part. As the show’s key components they work well together in a sort of chalk-and-cheese way, and it makes for a very easy watch. In terms of staging, it’s abashedly minimalist, but this in no way works against it. As a highly focused, emotional vignette, the staging and lights are just enough to accentuate the overall tone of the piece without feeling bare.

Despite its victories, however, there are a few defeats. At points the show seems to go beyond the pale of theatrical awkwardness, and simply lands in “static”. For some (admittedly smaller portions) it seems as if everyone in the room is waiting for something to happen. And, likewise, some of the more conversational segments seem a little on the stiff side.  However, who could blame them – it is positively criminal to place this show in the venue it has been given. The artful musings of European cultural philosophy are somewhat muddled when the upstairs room has been booked for what sounds like a bath salts eating competition followed by celebratory karaoke.

Despite its flaws, this is a production wrought from the heart. A two-person show, however short, is difficult to pull off – almost as hard as thinking up jokes about Norway.

 

 

nae bad_blue

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

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Reviewer: Jacob Close (Seen 10 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: One Day Moko (Gilded Balloon: 5-29 Aug: 15.45: 1hr)

Posted in 4*, EdFestivals 2016, Gilded Balloon, Theatre by

“A wonderful performance that really deserves to be seen.”

Editorial Rating: 4 Stars

My third review of the day, and my third on the topic of homelessness is really quite a mystery – for the first few hours afterwards I had no idea what to make of it. One Day Moko follows the life of a young homeless man through the encounters he has with others and inadvertently, or perhaps on purpose, says very little about homelessness itself.

Moko is a charming character, who, rather than asking for money, simply asks for requests of songs he can sing. Indeed, it appears this is how he survives. With the thick skin homelessness must give, he’s not afraid to ask direct questions of the audience, and those of us with that stiff British upper lip who might normally just walk past a homeless person are unable to in this experiential performance. It’s confrontational, but in a really charming way. Be prepared to chip in to help make this show come alive.

Stylistically it’s very clever – absorbing, hard-hitting, and unlike anything I’ve ever seen before. It’s a shame that narratively it seems somewhat incomplete. Moko tells various stories of people he meets or observes throughout his day, from Margaret who likes her coffee on a Saturday morning, to James who is bored of his relationship with his girlfriend but doesn’t know how to tell her, and many others. The storytelling is animated and engaging, though we only get teasing snippets – perhaps in reference to the snippets a homeless person may overhear as people walk past. Only James’ story is returned to and developed throughout the piece, and though for the audience it’s not clear why this one gets so much attention, I’ll admit the subtlety may have been lost on me.

While it’s teasing not to know more of each story Moko begins (one feels that they will tie together or thematically link in some way), there are some commonalities identified and shared by Moko, giving an intriguing outsiders’ perspective as to how the “other half” live. One of these is the importance of communication and saying what’s on your mind, perhaps a lesson Moko himself has learned, but sees the normal working person fail at so often.

At times this piece is achingly awkward, but it’s also utterly compelling. Tim Carlsen’s charisma, surprisingly impressive singing voice and physicality make Moko a really likeable and naiive character that it’s genuinely sad to say goodbye to at the end. It’s a wonderful performance that really deserves to be seen.

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

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Reviewer: Steve Griffin (Seen 12 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: The Marked (Pleasance Dome: 3rd-29th Aug: 13.30: 1hr)

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

“Remarkable theatre worthy of standing ovation”

Editorial Rating: 4 Stars: Outstanding

With an intricate set and haunting musical score, it’s clear from the off that this is a show that pays close attention to detail and creativity. And while, on the whole, this focus creates some remarkable theatre worthy of the standing ovation it received in this performance, for me at times it does border on being a little too artistic for its own good.

The story is fairly simple: homeless Jack (Bradley Thompson) is unable to sleep, as dreams of his aggressive, alcoholic mother haunt him. But he is able to overcome his demons by helping Sophie (Dorie Kinnear) – another homeless person he meets on the streets – from winding up in the same situation thanks to boyfriend Pete (Tom Stacy).

Told in a very visual way, we get to see into the darkest depths of Jack’s mind: the buried secret he’s been living with for so long, and the struggle he has to go through just to be able to help someone else. In terrifying flashback sequences, Jack becomes a child puppet and his mother a domineering masked figure whose eyes bleed while she brandishes a wine bottle, and in the most gut-wrenching of these she actually smashes the bottle on his head. The music, lighting and other effects come together in these moments to create a gripping dramatic intensity, made all the more stark by the slick changes back to the “real” world and its emptiness.

Through clever use of a repeated street scene (demonstrating the relentlessness and drudgery of homelessness), we see Jack’s journey – from tripping over faceless individuals he’s too scared to look at to start with, to their smiles and humanity at the end when he finally wins through. It’s a really powerful story, and Thompson more than delivers with raw emotion in this physically demanding role. Credit also to Kinnear and Stacy for every other character they play between them, as well as their handling of masks, puppets and various props.

While the visual and technical aspects of this show are absolutely outstanding, one of my main niggles is the appearance of the life-size talking pigeons towards the end (no, I’m not making this up). At this point in the show a bit of light relief is exactly what is needed to break up the emotional intensity of the previous scene, but this device cheapens the production and wholly detracts from what otherwise is a complex and well-thought through piece. To me this is one example of where Theatre Temoin try a bit too hard to be too creative, and at times I would have preferred a little less focus on all the “stuff”, and more on the basics of the acting and narrative.

The Marked is a stunning and unique performance, but perhaps just a little overreached creatively.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 12 August)

Visit the Pleasance, Potterrow & Teviot  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Axis of Awesome (Gilded Balloon, Aug 12-24, 26-28 : 22.30 : 1hr)

Posted in 4*, Comedy, EdFestivals 2016, Gilded Balloon, Music by

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“A bastion of dependable and hideously entertaining Fringe entertainment.”

Editorial Rating:  4 Stars Outstanding

My first contact with Axis of Awesome involved, like many other teens, me being glued to my computer screen as they rocked the hell out of a 360p feed on youtube. Now, a decade on from their founding, it’s clear that Fringe veterans Jordan Raskopoulos, Lee Naimo and Benny Davis are still soaring like a Birdplane even beyond the glittery lights of the LCD stage.

Whilst this review (as always) will attempt to avoid spoilers on the specific content of the show, let it not be said that the Axis does not begin on a high note. Their song “Elephant in the Room” is a fantastically witty product of self reference, and completely sets the tone for the rest of the show: heartfelt warmth, with a heavy dose of cynicism thrown into the mix. The quality of songs on display is very strong indeed: from rap to Bastille parodies, the musical nouse at play is almost unfalteringly good, save for a few sharp high notes in the group’s (often extremely) surprising vocal range. Davis in particular, despite his unofficial position as comedy whipping boy, continually proves he could go finger-to-finger with the best of them on the keyboard without missing a beat.

Between songs, the group’s clearly close dynamic is on full, glorious display. Though some of the skits felt a little low energy as the show warmed up for its final quarter, the inter-Axis fraternity outshines any qualms in terms of pure feel good factor. In an industry where so many horror stories abound of band members who cannot stand one another, bands like this one are increasingly rare. But even more rare, and all the more difficult, is for bands not only to stay friends through the rigours of long term performance; but also to keep that ember of their original intent and feeling alive.

But sat in an audience of hundreds, I might as well have been in my childhood bedroom again, eagerly clicking through links as the screen blinked out into the cathode-tinted night. The same thrill of discovery, the same laughs, and the same joy. And I think this illustrates what exactly makes this trio of modern day troubadours so compelling. It’s not their (considerable) musical skill, lyrics or even stage presence. They’ve gone through many changes over the years (the most obvious being that Lee is now bald), but Axis of Awesome’s greatest asset is that, at their core, they’ve remained wonderfully consistent. This is a show which has a little of everything: comedy, tragedy, horrifying mask props – all wrapped up into a neat bundle by music which will be stuck in your head harder than a sniper shot.

This is a show that proves, despite the ever-changing face of the  festival, Axis of Awesome remains a bastion of dependable and hideously entertaining Fringe entertainment.

outstanding

StarStarStarStar

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Reviewer: Jacob Close (Seen 10 August)

Visit the  Pleasance, Potterrow & Teviot  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Interview: In Our Hands

Posted in *Written Interviews, EdFestivals 2016 by

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“It’s a fast paced, human and heartfelt hour that will leave the audience gunning for Alf to succeed.”

WHO: Molly Freeman – Co-Artistic Director and Performer/Puppeteer

WHAT: “Alf is a trawler fisherman at the top of his game. But times are changing and so is the industry. Will Alf adapt in order to survive? Follow a fish’s journey from sea to plate, watch a seagull’s ridiculous attempt to find food and witness a father and son reunite. Award-winning Smoking Apples, co-creators of CELL, use innovative puppetry, a striking set and an original score to transport you out to sea, under the ocean and onto the deck of the Catcher’s Fortune.”

WHERE: Underbelly, Cowgate (Venue 61)

WHEN: 16:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No, this is our second trip to Edinburgh. Last year, we brought our previous show, CELL, which was a collaboration with another puppetry company, Dogfish. We’ve also all been to Edinburgh prior to this with other companies and shows. It’s really exciting to be back with In Our Hands, we love the city and the festival, it’s the best bubble to be in in August.

Tell us about your show.

In Our Hands uses puppetry and visual theatre to tell the story of Alf, a trawler fisherman. It’s a show about how the current pressures in the trawling industry affect the people who work in it but it’s also about Alf’s personal life and his distant relationship with his son. It’s a fast paced, human and heartfelt hour that will leave the audience gunning for Alf to succeed.

It is a bit of an odd subject to make a show about but that’s sort of our thing. We like to take subjects that are difficult to digest and use puppetry and visuals to present them in an interesting, accessible and enjoyable way. We work very much as a devising collective with everyone in the cast taking responsibility for the creative content. Myself and my colleagues Matt and Hattie, co-produce and co-direct but ultimately, the show is a direct product of the entire cast and creative team.

We started developing In Our Hands is 2014 and premiered it last year in 2015. We chose to make a show about trawler fishing because within our cast of five, we had a number of different, conflicting opinions on it and thought this would be a good starting point. Myself, Matt and Hattie met whilst studying at Drama school and then we studied puppetry abroad in Prague together and this formed the basis of our company. Luke and George are our long term associates but we have never made a show together so decided it was time. That, and they have some great beards…

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

I highly recommend checking out The Marked by Theatre Temoin, it’s a brilliantly dark show featuring some stunning mask work and well worth a watch. The hilarious and abusive bad boys of the puppetry world, Boris and Sergey, are also back this year and they’ve brought along their own venue, the Omnitorium. They’re hugely entertaining and no two shows are the same because they are completely improvised. Also, if you’re an artist at the Fringe, you also get a discount at the bar – winner!

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+3 Review: The Six-Sided Man (Assembly Roxy: 3 – 29 Aug. 1150. 1hr10m)

Posted in 4*, Assembly Roxy, EdFestivals 2016, Rated: Nae Bad, Theatre by
Gavin Robertson (l) & Nicholas Collett (r). Image: Assembly Roxy & Company Gavin Robertson

Gavin Robertson (l) & Nicholas Collett (r).
Image: Assembly Roxy & Company Gavin Robertson

“love its deadpan humour … the whole 4* performance of edge and ease”

Editorial Rating: 4 Stars:Nae Bad

You just know that you’re in expert hands when, to the exact beat of ABBA’s The Name of the Game, the dice are twice shaken and then thrown. Except they’re not, you just believe that you heard the rattle and saw the throw  …. and reckoned the fateful consequence. This is artful, practised, theatre.

The Dice Man appeared in 1971 and became a cult classic. The Six-Sided Man is its stage face, written and adapted by Gavin Robertson and first performed at the Edinburgh Festival in 1987. It’s back (by popular demand?) with Robertson himself playing The Patient and Nicholas Collett as The Psychiatrist. If they could, they’d be spokes on a roulette wheel; as it is they circle around each other, betting each other’s life on the throw of the dice, or die, which is an unfortunate pun.

The reason being, you see, is that the dice are liberating, freeing you of restraint and conformity by determining a single course of action that is irreversible. ‘Should I go out of the window four storeys up?’ becomes, on the throw of a 3, ‘I must go out of the window’. And where there is mortal risk there has to be sweet reward: roll a 6 and it’s the other guy who goes head first. The Winner Takes It All.

But that’s to jump the gun (with just the single bullet in the chamber, of course). The Patient comes to the Psychiatrist with his problems. The doctor is brisk. “Show me”, he says and the rest might be such weird stuff as dreams are made on but you’re not too sure. In fact – if that’s not too loaded an entity – there’s nothing quite so substantially awful as dog poo on your shoe on a first date.

The cure is that the predictable need not be endured or suffered  Yet the dialogue, alongside the high quality of the mime, voice and movement sequences, is unemotional and wary. No great shakes, you might say, but then you realise that there’s a face off here, with neither character prepared to raise the stakes until he’s as certain as he can be that he has the stronger hand. Knowing Me, Knowing You plays on.

The Dice Man was published under the name of Luke Rhinehart. In August 2012 ‘he’ announced his own death. Some believed it, some didn’t. It was a spoof but it allowed Luke to write his own valediction: ‘If you’re comfortable in the selves you’re rolling along with’, he wrote, ‘then roll on. Most people aren’t.’

You’ll roll with The Six-Sided Man and love its deadpan humour and admire the whole 4* performance of edge and ease but you’ll wonder where it’s going; at which point you’ll feel distinctly uncomfortable. Take A Chance on Me? You bet.

nae bad_blue

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

Reviewer: Alan Brown  (Seen 8 August)

Go to The Six-Sided Man at Assembly Roxy.

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