Monthly Archives: August 2016

+3 Review: Early Doors (Pleasance pop-up @ The Jinglin’ Geordie: 5-29 Aug: 12.00: 1hr)

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

“A stunning piece of site-specific theatre”

Editorial Rating: 4 Stars: Outstanding

After the general bustle of buying drinks, finding seats and, of course, choosing your pub quiz team name, Early Doors opens with an introduction to each character, performed almost like an African tribal chant, which makes it feel like we (the bijou, but sell-out crowd) are being truly welcomed into their community. It’s rhythmic and theatrical but never over the top, and sets the tone for the lyrical, poetic styling of the piece as one long fable.

Our landlord and landlady are a young brother and sister who inherited the place when their mum died. They start by sharing memories of her, and set the scene for a potentially fractious relationship between them. We also meet various other characters in the community: the pub quiz master, who can’t help but share some details of his ongoing custody battle with his ex-wife; the bouncer, who recalls the end of his relationship with one of the local punters; and the “village idiot” who brings the comedy to proceedings. The characters are flawed but lovable, and the ensemble cast do a great job of sharing their world with us.

As the show progresses we get hints of the tensions and relationships between different characters, which help bring interest and drive the story. I did feel slightly robbed in some characters having comparatively little action, while others seemed quite unconnected to the main narrative, so for me, a little further development to see clearer links between each would really make this show spectacular – but this is only a small niggle considering the quality of action and overall performance value.

The piece is performed with wonderful energy, and the writing – in particular the language – of every aspect is exquisite, giving just enough detail to hook the audience without verging on rambling. Yet while some of the transitions between each section are smooth and logical, it is a shame that in other instances the show progresses by simply having one character leave and another mysteriously appear for no apparent reason.

There are so many wonderful aspects to this performance – the characterisation, storytelling, and sense of really being “in it” really are top notch and encapsulate everything I love about the Fringe. I would have just preferred some clearer links between sections and less disjointedness between some of the characters to give the piece a bit more cohesion.

Overall, I raise a glass to Not Too Tame and this stunning piece of site-specific theatre and urge you to go and join them at the Jinglin’ Geordie for a pint, a pub quiz and an engrossing performance.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 6 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Interview: The Club

Posted in *Written Interviews, EdFestivals 2016 by

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“A torrent of bad language and comedic hedonism.”

WHO: Mark Farrelly – Actor, playing Nick Reynolds

WHAT: “Olly Watson is a poet, who is lonely! But now he has a match, a real woman with pictures and everything! What next? Coffee, flowers, chocolate? Don’t be boring, send her poems about spoons! How’d that go then?”

WHERE: Gilded Balloon Teviot (Venue 14)

WHEN: 17:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is my sixth…my first was back in 2001 when I was a fresh-faced university graduate doing a version of A Tale of two Cities. I do the Fringe every few years, whenever an interesting and decently-paid project comes up that I’m free for.

Tell us about your show.

The Club, which I describe to friends and punters as a torrent of bad language and comedic hedonism, is written by Ruaraidh Murray. He is a talented writer / performer who I met at the Gilded Balloon two years ago. He asked me to be in it because we are friends, and he also perhaps knows my familiarity with Withnailian people.

We play two men (based on people Ruaraidh knew in the late 90s) who have no boundaries, limits or sanity in their pursuit of hedonism. Enormous fun to play. A barnstorming comedy with an unexpectedly dark and poignant edge. I also get to sink an entire bottle of wine in the first ten minutes, when not swearing my head off.

It’s produced by Something For The Weekend’s Suzanna Rosenthal, kicked off with previews at the Park Theatre in London and will likely be coming to London again in the next six months. We were hugely blessed to be directed by ace theatre maestro Joe Harmston.

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

So much great stuff this year! By all things Godly see Phil Nichol. Lucie Pohl’s Apohlcalypse Now! Anything starring David Benson (he’s playing Boris Johnson and Kenneth Williams here). Anything featuring Sarah-Louise Young. The Snow Queen at Gilded Balloon’s new Museum space. Henry Naylor’s play Angel. The list stretches on… a real selection box of quality in 2016.

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+3 Interview: Banging Fun Stuff

Posted in *Written Interviews, EdFestivals 2016 by

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“I love wandering around and taking a punt on something I wouldn’t normally see. That’s the joy of Edinburgh!”

WHO: Amanda Kelleher – Performer, Writer, Producer

WHAT: “The Cutlery Crew wants everyone to have fun, feel uplifted and bang stuff joyfully. But a crime has been committed and all hope rests upon PC Pauline, a worrisome policewoman searching for suspects. Don’t let her gangliness fool you. There is a cunning mind buried deep… deep down inside her, perhaps. She’s a crime solving, spoon playing, twirling, clapping, bending, banging maniac. She was shortlisted for the Policewoman of the Year 1999. She has 55 minutes to put things right. Her fate is in your hands… Free spoon for audience members. Features live music.”

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

WHEN: 16:45 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No, we came two years ago with a blues comedy. We learnt a lot and went away with the plan to make a show that we could enjoy after doing it over 50 times!

Tell us about your show.

Amanda ran up a welsh mountain and did some training with Phil Burgers (Dr. Brown). She came down a bit different so herself and Josh started working on Banging Fun Stuff. Amanda wrote and produced it and Josh composed all the music. Josh met Amanda 2 years ago.

He might have Stockholm syndrome now as her stupidity starts to makes sense to him. Banging Fun Stuff toured to Barnstaple Fringe where it was reviewed as: “Fringe theatre at its best…original, quirky, bonkers.” It also won the Pick of the Fringe award at Bedford Fringe this year.

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

After some time spooning, go see Luke Stephen Commit No Nuisance at Venue 383, a very funny stand up! Also Louise Reay whose new show is awesome at the caves called Que Sera. I also love wandering around and taking a punt on something I wouldn’t normally see. That’s the joy of Edinburgh!

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+3 Review: Lords of Strut: Late Night TV Talk Show (Assembly Roxy: 5-28 Aug: 19.00: 1hr)

Posted in 4*, Assembly Roxy, Comedy, EdFestivals 2016 by

“Crams so much ridiculousness into an hour that you can’t help but laugh at something”

Editorial Rating: 4 Stars

Sometimes you have to see a DJ dressed as a bunny, a man pretending to be a rock and a Michael Flatley tribute to really feel like you’ve experienced the Fringe properly. This show crams all that and so much more ridiculousness into an hour that you can’t help but laugh at something.

It’s very full-on and upbeat, if a little chaotic, and the energy of our hosts Sean and Seamus is infectious – striking that perfect balance between confidence and self-deprecation to form an instant connection with the audience. We join them in their attempt to put on their own late-night tv talk show, and we are their live studio audience. Of course it doesn’t go at all to plan and they have to make various fudges to keep things running – and that’s when the hilarity ensues.

As with any chat show the format is a serious of skits and characters making guest appearances, the funniest of these being the appearance of the hosts’ mother as a last-minute stand-in – a plus-sized, randy cougar who of course makes her rounds in the audience to find a man. I won’t spoil the surprise, but let’s just say I (along with various other male members of the audience) was invited to do something I have categorically NEVER done before, and something which caused much hilarity (and a little disbelief) among the crowd. To those with a delicate disposition, look the other way and run, fast!

In saying that, what is pleasantly surprising about this show is how talented the Lords are: early on we are treated to a no-holds barred dance routine to one of Queen’s greatest hits, with various acrobatic tricks thrown in for good measure, and both gentleman are genuinely funny and creative in their costume designs and skit ideas. The “rough around the edges” and slightly improvised feel adds to its charm, if not to my personal taste.

With stand-up, storytelling, dance breaks, weird and wonderful characters, fight sequences, and of course, a healthy dab of audience interaction this show does have something for everyone, but having a drink or two before going to see it might be advisable…

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

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Reviewer: Steve Griffin (Seen 5 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Countermeasure: 14 Characters (theSpace @ Surgeons Hall: 5-13 Aug: 17.30: 55mins)

Posted in 4*, EdFestivals 2016, Music by

“Beautifully layered harmonies”

Editorial Rating: 4 Stars

The Fringe always seems to be a breeding ground for a capella groups: so many of them pop up from all over the place, and this year is no exception. My first (of I’m sure, many) this year is Countermeasure all the way from Canada. Dressed smartly in coordinating outfits and taking the stage like they mean business, they certainly look the professional outfit.

Overall their style is very modern, and, dare I say it, trendy, with lots of complex layering, mixing, and blending of tones. I was a little disappointed in the use of vocal looping for a couple of the songs – despite being recorded live, it slightly detracted from the power of pure unadulterated a capella of the rest of the show.

Most of the repertoire performed in 14 Characters I was unfamiliar with, which in some ways was nice as I got hear completely new songs, while I would have liked a couple more songs that I knew to really appreciate the group’s originality and quality of arrangement to suit their style. Under My Skin was given a very fresh and electro swing vibe, and All Aboard the A Train underwent a thoroughly modern makeover to accompany an original animation (shown on screen during the song).

In general, the group’s arrangements are quite electro and upbeat, and while this worked for many of their songs, I would have perhaps preferred a bit more variety to show the group’s depth. Midway through the set the male members of the choir were left alone on stage to sing Fox in the Field – a beautifully stripped back song with simple harmony and a real focus on the lyrics, and for me, this was the real highlight of the show. Later on, a slightly more traditional rendition of The Proclaimers’ 500 Miles gave a glimpse of different styles the group can turn their voices to, and this was a very enjoyable and intelligent song choice for their run in Edinburgh.

It’s not just the prepared and rehearsed numbers that Countermeasure excel at. Partway through the show they venture into the audience to find out more about who’s at their show, before constructing songs on the spot about what they’ve learned – impressive stuff. Add that to the substantial choreography the group deliver and this really is a show with everything.

Countermeasure are a very likeable group with great personality and beautifully layered harmonies, they deserve to do well in Edinburgh.

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

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Reviewer: Steve Griffin (Seen 5 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Teatro Delusio (Pleasance Courtyard: 5-29 Aug: 13.45: 1hr 15mins)

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

“Physical mask theatre at its finest”

Editorial Rating: 4 Stars: Outstanding

After last year’s sell-out smash Hotel Paradiso, I was excited to see what Familie Floz would come back with in 2016, and for the first 50 minutes at least, Teatro Delusio more than meets expectations. It’s physical mask theatre at its finest, with three actors playing well over 20 individual characters between them, each of whom are clearly defined, consistent and a joy to watch.

The setting is backstage at a theatre, where we see the stage crew attempt to set everything up (without killing themselves or each other in the process), and then assist various members of the orchestra, singers and ballet dancers onto stage, even though they may hate, love or just be plain bored with them.

There are tricks and treats aplenty, from simple slapstick moments of falling through ladders and playing with exploding lights, to sword fights and disappearing through trap doors. Familie Floz’s real strength, though, is their character work and dexterity of changes, from a grumpy stage manager to a diva singer, and my absolute favourite: a blind and deaf violinist who has no clue where he is. The changes are so slick you’d assume there were at least six performers constantly running around, while the physicality required to define each character was so perfect that simple gestures often had the audience howling with laughter.

Yet for all their great character work and ability to build a believable world on stage, I feel that Familie Floz perhaps tried to reach too far with this production, by introducing a few too many characters, and deliver a story that could easily have been at least 10 minutes shorter and not lost any of its power. About three quarters of the way through the performance, when ends could have been tied up and rounded off, still more new things happened, and the performance hit a new level of ridiculousness that I think lost me, and many of my fellow audience members. What began as a perfectly plausible, if a little stylised, day or two in the life of a Stage Manager seemed to turn into a dream sequence with stabbings, stage crew achieving their lifelong dream of filling in for wounded ballet dancers at the last minute and unexplained resurrections that pushed the suspension of disbelief a little too far.

A beautiful piece, but be prepared to get uncomfortable: those seats in the Pleasance Grand don’t give much wiggle room and by the end of this performance you’ll need it.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 5 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Wilde Without the Boy (Assembly Hall: 4-29 Aug: 11.00: 1hr)

Posted in 3*, Assembly Hall, EdFestivals 2016, Theatre by

“Masterfully delivered by Gerard Logan”

Editorial Rating: 3 Stars

In this one-man adaptation of De Profundis by Oscar Wilde, we join the infamous writer in prison, shortly before his release. What unfolds over an hour is a real-time monologue, directed at his lover, reminiscing on their relationship and the events that led him to become incarcerated.

While masterfully delivered by Gerard Logan, the script is quite tricky to follow as it jumps about in referring to different events in the past, with precious little obvious through-line or connection from anecdote to anecdote. For a theatrical adaptation I would have preferred a more linear and logical approach to his musings to make it easier for Wilde novices to engage with, and give a sense of progression and journey that could be followed. The show also contains an excerpt from The Ballad of Reading Gaol which seems to come from nowhere, while various other dramatic moments (for example, a sudden mention of his mother’s death), seem to be thrown in for dramatic effect, without a clear link to the flow of the piece.

In saying that, the lyricism of the language is exquisite, and the whole piece retains everything we love about how Wilde writes. It includes plenty of pertinent detail including reference to several key turning points in Wilde’s later life and many gaps in my knowledge of the writer were more than adequately filled by the depth of biography covered.

While somewhat chaotic, the script does allow to demonstrate a full emotional range, so we get to see and know Wilde in every circumstance, from emotionally fragile, to proud, defiant, smitten and everything in between. Everything’s there, it’s just a little all over the place. Following last year’s triumph in The Rape of Lucrece, Logan has certainly lost none of his craft in delivering a very emotional and compelling performance and this is another very creditable showing.

Although perhaps a slightly unfair criticism, I can’t shake the feeling that this show is playing in the wrong venue – I think a dingier room somewhere in the caves or along the Cowgate would help more easily more establish the setting as a 19th century prison than the very obvious very studio feel of Assembly Hall’s Baillie Room. On this point I must make a special mention to the sound design, which was excellent in setting the scene to start with and giving background to the court case that landed Wilde in jail, and creating atmosphere at various other points throughout.

Overall, this is a production that doesn’t quite come together as well as it could have – the pieces don’t seem to fit. An exquisite performance and an interesting story, but a little unfulfilled.

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

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Reviewer: Steve Griffin (Seen 5 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: A Lady’s Guide to the Art of Being a Wingman (Gilded Balloon: 4-28 Aug: 23.30: 1hr)

Posted in 3*, Cabaret, Comedy, EdFestivals 2016, Gilded Balloon by

“Performed with great energy… the trio really can sing”

Editorial Rating: 3 Stars

This show sees three young Australian women in suits and huge pink beehive wigs attempt to adopt the traditionally male “wing man” mentality to get them laid on a night out. To assist them in their farcical mission they follow the steps of a recorded self-help manual, and a lot of pop songs.

Of course it’s all a bit ridiculous, but it’s a (fairly) light-hearted comedy show that doesn’t take itself too seriously. However, it took me 10 minutes or so to work out what was going on to start with, as the show opens quite frantically with a lot of attitude and numerous snippets of well-known pop songs, all sung by the girls live.

Once the piece settles down it becomes much more enjoyable, and I was able to appreciate more of the artistic merit behind it. Three interesting characters emerge, each representing women with different levels of sexual confidence and experience, and we follow their plight through every step of their night.

At every juncture the girls burst into song, each of these being a well-known pop-song with lyrics cleverly and subtly adapted to suit the message. They are performed with great energy, and the trio really can sing, making the whole experience infinitely more enjoyable than having to sit through seemingly endless karaoke car crashes. The accompanying choreography is slick and performed with pizzazz, so on the whole, the actual performance element ticks almost all the boxes.

The surprising a capella rendition of Imogen Heap’s Hide & Seek towards the end is the best showcase of just how talented the girls are as vocalists, even if this number seems a little out of place among the rampant and upbeat pop numbers throughout the rest of it.

I was a bit disappointed in the over-reliance on the recorded advice, and would have preferred a more creative technique to keep the action on track and flowing from one section to the next. A little more focus on control and less mayhem at the beginning of the piece would also make it seem more professional and easier to engage with from the off.

This show won’t be to everyone’s taste – it’s loud, unapologetic and very fast-paced. But it is funny, full of life and contains a surprising amount of depth, particularly towards the end.

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

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Reviewer: Steve Griffin (Seen 4 August)

Visit the Pleasance, Potterrow & Teviot archive.

+3 Review: Bonita & Billie Holiday (Assembly Roxy: 4-28 Aug: 21.50: 1hr 10mins)

Posted in 3*, Assembly Roxy, Cabaret, EdFestivals 2016, Theatre by

“An alluring performance that I couldn’t take my eyes off”

Editorial Rating: 3 Stars

I wanted so much to be blown away by this performance – a tribute to one of my favourite singers, by an actor coming to Edinburgh with a very good reputation and bags of experience in the States. Unfortunately, this opening night was somewhat nervy, and while it was difficult to tell how much of that was the actor and how much was the character, either way it left me with a sense of unease that stayed with me throughout the performance.

Bonita Brisker clearly has bucketloads of talent, even though in this performance it took her a while to find her feet. She seemed to struggle with range a little bit in the opening couple of numbers, but by Good Morning Heartache she really hit her stride, with the high notes floating with all the ease of Billie in her heyday and an alluring performance that I couldn’t take my eyes off.

Bonita also beautifully captured the mood and personality of Lady Day in the spoken sections in between each number, and the script enabled her to show different sides of the singer from her career to her relationship with her family, her drug habit and time in prison. We also see her irreverent disregard for the FBI and a very touching portrayal of her relationship with drinking and her views on racial inequality, which was rife during the 1950s. Indeed, signature song Strange Fruit, which I didn’t realise had such personal and political meaning, is a standout moment of the performance, accompanied by horrifying projections of public hangings and mutilations. It is heartfelt and very powerful.

Structurally I found this show a bit peculiar, with a short opening section in Billie’s dressing room, before the bulk of the show is delivered cabaret style as Billie on stage, and then another section in the dressing room with a bizarre twist that almost subverts everything that went before. Suffering from a bit of an identity crisis, I don’t think it has quite worked out whether it is a cabaret or a theatre piece so I think there is still some work to be done to give it a real sense of completeness.

This does have the potential to be a really special show, but the performance I saw unfortunately didn’t quite live up to that potential. Look out for it over the next couple of weeks, I believe it could be a real grower.

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

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Reviewer: Steve Griffin (Seen 4 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Pss Pss (Assembly Roxy: 4-29 Aug: 16.00: 1hr 5mins)

Posted in 4*, Assembly Roxy, Circus, Dance, EdFestivals 2016 by

“Utterly charming”

Editorial Rating: 4 Stars

There aren’t many times that I wish I could construct a review purely out of facial expressions and hand gestures, but for this piece whose only words are the occasional utter of “Pss Pss”, it seems only fitting. It’s part clown, part mime, part acrobatic display and almost completely beguiling.

The performance is quite a slow burner to start with, with a short sequence where the two performers comically fight over possession of an apple – which wouldn’t look out of place in a Punch and Judy show on Blackpool beach – but when the music starts the fun really gets going and a real treat of a show unfolds.

Pss Pss dances along that very fine line between slapstick and gymnastic artistry, with glimpses of physical prowess and control that would put most performers to shame. Throw in the fact that they are also very funny and play musical instruments and you have a very impressive show.

Yet while physically impressive (by the end of the performance I truly believed there was no end to the performers’ talents), structurally it was a little lacking, with odd teases of narrative and motif, but little to drive it along from section to section, giving quite a stilted flow. I would have liked to have seen more plot and character development from beginning to end rather than a series of seemingly unconnected skits.

For all the skill and composure on display, perhaps it’s somewhat telling that the loudest and most consistent laughs in this performance were from the five or so primary-aged children in front of me. Although not specifically billed as a children’s show (indeed, their online listing says otherwise), some of the stunts seemed slightly more tailored to the younger audience, so I would definitely recommend it as a family show. Not that it isn’t enjoyable for audiences of all ages, but those with open minds and who are at least young at heart will appreciate it the most.

If there were an award for best facial expressions, Pss Pss would certainly be my early favourite – the range and timing throughout were enough to set most of us giggling at some point. The overall style and feel of the piece is utterly charming, even if substance-wise it occasionally lacks a little depth.

Beware, there is a small amount of audience interaction…

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

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Reviewer: Steve Griffin (Seen 4 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED