Author Archives: Steve Griffin

Vertical Influences (Assembly @ Murrayfield Ice Rink, 8 – 29 Aug : various times : 1hr 30 mins)

Posted in 4*, Dance, EdFestivals 2015, Other, Rated: Outstanding by

“The skating is spectacular”

Editorial Rating: 4 Stars: Outstanding

Vertical Influences is an original contemporary dance piece on ice, developed and performed by five talented skaters who were probably kicked out of the Canadian Olympic team for being too cool. I’ll admit upfront: I’m not an ice-skating expert, so please forgive my ignorance of technical terms in describing this performance. I am, however, trained in contemporary dance, so this critique focuses purely on the “dance” aspect of the show.

What’s clear from the very beginning, and what is a real strength of this piece, is just how connected and in tune the dancers are to each other. From the opening sequence where the group “run” in big loops around the rink as though one body, to the smoother sections in the middle where they weave in and out of each other without even seeming to look at where the others are, it’s a very mesmerising performance.

The first half of the piece allows each dancer to show off their own personalities and style through solo sections. The dancers will do sequences around the rink in unison, and one will literally break away to do their own thing, before coming back to the group. The unison sections are very strong with every movement completely in synch, but some of the solo sections, although very physically impressive, did seem more improvised, and so form a stark contrast to to the clearly closely rehearsed group sections. There is a wonderful sense of playfulness between the dancers as they allow each other to go off and be different, safe in the knowledge that they will soon come back.

In the second half the routine is slightly more traditional in terms of choreography, with more unison, canon, and recognisable structures. For this the audience sits in special seats at one end of the ice, and because we are that much closer to the action, it seems much more daring, as the skaters often skate directly towards the audience at terrifying speed, only to turn or stop at the absolute last second. The sense forward and back (a bit like a fashion runway) was very prominent, and the skaters use this to show the variety of ways they could travel towards (and away from) us, always in complete control. The weaving motif is used throughout to give congruence to the halves, but the second certainly feels more grown up, and, dare I say it, professional.

There’s no mistaking that this is very much a contemporary dance piece – there’s not a single sequin to be seen, no throwing of the girl into the air, and no jolly melodies to accompany forced smiles – anyone hoping for a Torvill and Dean bolero will be sadly disappointed. What music there is is quite harsh, mostly rhythm with little melody, and is quite hard to engage with. The piece overall is performed with little sense of spectacle or razzle-dazzle (although it is very tight) and doesn’t have much sense of narrative or development. Still, the skating is spectacular, even if the choreography might not be to everyone’s taste.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 23 August)

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Edith in the Dark (Momentum Venues @ St Stephens, 5 – 30 Aug : 16.25 : 1hr 20 mins)

Posted in 4*, EdFestivals 2015, Other, Theatre by

“A truly superb performance from Blue Merrick as the title character”

Editorial Rating: 4 Stars

Edith in the Dark is perhaps one of the most curious adaptations at the Fringe this year, combining a selection of Edith Nesbit’s earlier, and much darker, works, with elements of her real life. From the pen of award-winning and respected playwright Philip Meeks I was expecting a well conceived piece, but could it bring the threads together to be a work of art in its own right?

The concept is very simple: Nesbit escapes to her attic (and study) during one of her husband’s parties. In the adjoining room lies an invalid girl, rescued by Nesbit from the street. A guest (Mr Guasto) joins her, proclaiming to be a fan of her work and to have snuck in having spied her earlier. They have a brief flirtation and Nesbit agrees to read aloud for him. They are interrupted by Nesbit’s maid, Biddy Thricefold, but the reading goes ahead, and soon we are sucked into the world of the ghostly stories.

The script is very natural, and flows well, capturing the mood and period very sympathetically. The twist at the end was certainly effective and well concealed, even if it did leave me a bit confused. The direction is subtle, although there were a couple of moments when Nesbit walked down stage to deliver lines straight forward that did jar from the otherwise very realistic style.

The actors are excellent throughout, playing multiple characters in the reading of the stories, but of special note is the truly superb performance from Blue Merrick as the title character. She enthralls with a commanding stage presence, and performs with enough light and shade to make Nesbit believable but without ever being overly theatrical.

The set and effects were also very impressive, with smoke and lighting used to give atmosphere, and the exposed and expansive wooden set giving a real sense of the bare attic room. Overall, it’s a very solid production, that’s been pulled off well.

However, despite the fact that this performance is an abridged version of the script, it does still feel quite lengthy, and there’s not quite enough drama to keep it completely engaging throughout. Perhaps with more characters, narrative development or interruptions it could have been something really quite spectacular. Still, definitely worth watching.

 

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

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Reviewer: Steve Griffin (Seen 23 August)

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Hannah and Hanna (Assembly George Square, 6 – 30 Aug : 13.20 : 1hr)

Posted in 3*, EdFestivals 2015, Other, Rated: Nae Bad, Theatre by

“A very heartfelt performance from two fine young actresses”

Editorial Rating: 3 Stars: Nae Bad

Hannah and Hanna is a story examining two sides of the immigration debate, which, given UKIP’s performance in this year’s general election, and the more recent events involving migrants in Calais, couldn’t be more perfectly timed.

Hannah (played by Cassandra Hercules), lives in Margate, Kent, where she’s been her whole life. Like her boyfriend and peers, she’s fiercely anti-immigration, believing that local resources should be kept for the locals. Hanna (Serin Ibrahim) is a refugee from Kosovo and sees Margate as a dreamland, and all she wants is to fit in and be accepted. Their worlds collide and a special bond is formed between them, transcending the prejudices of their families.

The play is very simply staged, with character and location indicated by token props and subtle changes in lighting. Between the two of them, Hercules and Ibrahim play a multitude of characters, ages and nationalities, but are at their best when playing Hannah and Hanna. Ibrahim brings beautiful sensitivity and naivety, while Hercules is vibrant with energy and passion. Both actresses, in their twenties in real life, capture and portray their 16 year old characters effortlessly, and through their physicality and delivery of the script it is uncannily believable that they are indeed that young. The bond they form is genuine, and the chemistry between the two is strong enough to make you feel warm and fuzzy inside.

However, despite being a very commendable effort from the performers, this play does fall down in certain areas, with parts of the script requiring a lorry-sized suspension of disbelief. While all the necessary ingredients are there (characters representing different points of view, a decent story arc and plenty of dramatic tension), it does all feel very rushed, and at times hard to follow.

Hannah is won around by Hanna’s charm very early on, and the pair seem to form an unbreakable friendship after only five minutes. The final 10 minutes of this play are quite confusing, with lots of ups and downs and jumps in time and location making it quite difficult to follow, and the ending isn’t as resounding or emphatic as it could have been considering the topic. What’s really missing is that, apart from the two central characters, there isn’t really a sense of anyone having learnt anything or viewpoints changing, so at worst it feels a bit pointless, and at best just a nice story.

I believe that if the company had longer to work on the piece (it was developed in just two weeks), and were prepared to make some changes to the initial script to extend and clarify it, this could be something very special. At the moment it’s a very heartfelt performance from two fine young actresses, but little more.

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 23 August)

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Feature: John Lennon’s ‘In His Own Write’ at the Edinburgh Festival Fringe

Posted in Features, Interviews, Theatre by

In His Own Write-89

John Lennon’s short stories adapted for the stage for the first time since 1968

When actor Jonathan Glew was a humble and hungry student at the Liverpool Institute for Performing Arts, he stumbled across a bizarre book of short stories in a second hand bookshop. That book was the start of a wild love affair that would see him perform the work in its entirety at the Edinburgh Festival Fringe 18 years later.

The collection of stories in question is the little known In His Own Write, by none other than John Lennon. And the show of the same name made its world premiere at the Fringe this summer, presented by Baldynoggin Productions, directed by Jonathan Glew.

While 2015 marks no special anniversary of the work, Glew decided to make it this year for purely personal reasons. He says: “I found the book when I was 20 and knew it would be great for a stage adaptation, but I was in no position then to do anything about it. It was only towards the end of last year that I decided it was make or break: I either did the show or I threw the book away”.

The journey begins

It all started with a letter to the lawyers representing John Lennon’s estate – a worthy work of literature in its own right by the time Glew had finished tinkering it. He admits that it took him three weeks to craft, as he was keen to convey how he didn’t want to impersonate, make any statements, or use Lennon’s name for his personal gain, but simply to present the work faithfully and in full. Easier said than done. “I knew that they must receive countless requests everyday, so it was really important for me to let them know I was in it for the right reasons and to do the book justice”.

After a couple of weeks he got his first response from Attorney Jonas Herbsman, and the dialogue began. Glew continues: “I reiterated my position, and how my approach to present the work as part of the Free Fringe was testament to my not wanting to make a profit from it. I answered their questions, and tried to focus on the artistic aspect – how I just wanted to represent the work in full to see if it would resonate with an audience”.

After that, more waiting, until just after Christmas he got the news he had been hoping for: “I was completely elated – but then when I looked at the book again and it was like I had never read it, as I was looking at it in a completely new light. There are references to old news headlines and outdated language, and I started to worry about how I could make the book ‘live’ for a 21st century audience”.

In His Own Write-80

Creative Development

Glew got straight to work, enlisting actor friends to assist him with reading and staging the piece. He even tried to get in touch with various people that had influenced or shaped the book: its original illustrator, Robert Freeman, and publisher Tom Maschler from Jonathan Cape. And despite what could be seen as huge pressure to present the work by someone so famous, last seen at the National Theatre in 1968, Glew took it all in his stride: “I got my team together and we worked through it slowly, making sure to be as faithful to the book as possible. The amount of serendipity within the creative process was just beautiful”.

Glew admits that yes, he did watch a first edition recording of the original National Theatre production, but in no way did he try to copy it: “Theirs was hugely different to what I wanted to do with it. They presented two pieces (In His Own Write and its sequel A Spaniard in the Works) as a bit of a mash up, and used the performance to make a broader comment about childhood and growing up at the time. But I didn’t want to say anything, rather let the work speak for itself”.

Making the dream a reality

However, aside from developing a theatrical adaptation that Yoko Ono would be proud of (an idea that terrified Glew 18 years earlier), his biggest challenges lay in the production side – just how do you get a show to the Fringe?

He started by launching a Kickstarter campaign to fund the basics like travel and accommodation for the company. He revealed, though, that crowdfunding was “one of the most stressful things in my life” as he felt like he asked everyone he had ever known to contribute. He was perhaps helped in his mission by a tweet about his project from Yoko Ono herself to her 4.7 million followers – certainly not something that happens every day! Thankfully, he raised enough money to develop the show and bring it to Edinburgh without any more worries. Or so he thought.

If all the world’s a stage…

Finding a venue proved to be the biggest challenge of them all. After an application to one of the free venue groups with what he thought would be a sure-fire hit, and a tantalising six week wait for a response, Glew was told in no uncertain terms that he couldn’t be guaranteed a slot, and he started to panic. With time ticking away, he then used his personal network of contacts to come up with a Plan B and get in touch directly with Peter Buckley Hill, who manages the PBH Free Fringe. After pitching his show and his predicament, Buckley Hill responded in less than 20 minutes with an offer of one of the largest performance spaces on the free circuit. He even signed off his email as “Arnold” as a tip of the hat to John Lennon and his work. “I owe PBH a lot, they really saved me”, says Glew.

In His Own Write-105

Now Glew and his production are here, performing to very healthy crowds, and garnering a fair amount of press attention, is it mission accomplished? “It’s been a fantastic experience and I’d love to take this even further. As soon as we finish the run in Edinburgh, I’ll be putting a report together for the John Lennon estate, including some ideas of where I’d like to see the piece go next. I can’t make any detailed plans though, as they may say the project has come to the end of the road, but fingers crossed.” Luckily Glew already has his next acting project lined up though, at the National Theatre no less, but he’ll be back at the Fringe before long, in one guise or another.

 

In His Own Write is showing at The Voodoo Rooms daily (17.10, 1hr) until 30th August.

India Flamenco (Alba Flamenca, 7 -31 Aug : 18.15 : 1hr)

Posted in 4*, Dance, EdFestivals 2015, Other by

“A sensual evocation of the gypsy tradition through dance”

Editorial Rating: 4 Stars

The performance begins with a narrative delivered from off stage set to the music of the sitar. We, the audience, are told of the legacy of a dying Gypsy chief in Northern India where the peoples began. He charges the tribe to roam the world with the aid of a magic mirror which will guide them, in order to spread the message of the Gypsies – to live in happiness and harmony with respect for each other and nature.

The dance begins with the traditional ‘Bharata Natyam’ performed by a young Indian woman full of grace, energy and control. As the narrative progresses she hands the metaphorical baton to a belly dancer and leaves the stage, showing how the movement has spread to Africa. Through this sensuous, sinuous and lithe new dancer and energetic choreography we are shown the development of movement, music and the evolution of culture across continents.

Finally the stage is taken by a fiercely passionate Spanish woman who, along with a Flamenco guitarist and singer, performs a traditional Latin dance of great power and beauty. Each of the three dances is linked by distinctive movements of the wrist and percussive elements made either by castanets or Indian ankle bells.

The journey is completed as the three dancers come together to bring this memorable performance to a close. They (including the musicians) fill the small performance space, taking it in turn to take centre stage, but with a running thread of grace, power and sensuality across their individual styles.

Even though this is an incredibly emotive and powerful show, I feel it would have been even more special in a bigger space and with a more elaborate set. India Flamenco is a wonderful fusion of cultures interpreted through music and dance, with a simple but powerful message. This is a low budget, simply presented work, produced and performed with obvious love for the medium and a beautiful synthesis of form.

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

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Reviewer: Steve Griffin (Seen 22 August)

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The Misfits of London: The Gin Chronicles (artSpace@StMarks, 10 – 22 Aug : 18.30 : 1hr)

Posted in 5*, EdFestivals 2015, Other, Theatre by

“An absolute gem of a show, full of class, style and thoroughly enjoyable to watch”

Editorial Rating: 5 Stars

This show is a new take on the “play within a play” format. It begins by introducing each of the characters who are set to perform the first instalment of The Gin Chronicles live on the radio. And as their live studio audience, we are encouraged to clap, cheer, sigh and gasp when the relevant sign is held up. Before long, it does feel astonishingly real, and I was uncontrollably drawn into the world presented on stage.

The set is basic, dominated by four standing microphones in a row centre stage – very reminiscent of a period recording studio. And while much of the “action” is spoken into the microphones, physicality is used to portray various situations throughout – from fight scenes to swimming – so that visually the performance was just as engaging as it was aurally.

The plot follows the rather dim John Jobling (Robert Blackwood), who decides to become a detective when gin magnate Cornelius Juniper is reported missing. To help him in his endeavours, he employs cunning housekeeper Doris Golightly (Helen Foster) to be the brains of his mission. What follows is a wonderful vintage romp to solve the mystery, featuring a sweet heiress, her charming fiance, a cockney newspaper boy, a taxi driver, some mysterious Frenchmen on a boat, and countless other characters, all deftly played by the acting cast of four. Particularly enjoyable moments were when Jobling and Golightly exploited a bouncer’s Achilles’ heel by reciting poetry to make him fall asleep, to the “intermission” section where Nancy Carmichael (Alice Etches) took the chance to eat a biscuit, only to be unable to effectively read the advertisement without choking in a Noises Off style homage.

The acting throughout this performance – especially considering the numerous characters portrayed, the overall styling, and indeed the talent required to play characters playing characters – was exquisite. It seems somewhat cruel to single out individual performances, as the whole cast performed to a very high standard, but Etches was utterly charming as the newspaper boy and Sam Sheldon showed fantastic dexterity across his numerous characters.

Yet what made this performance really special was Luke Lamont, whose responsibility it was to produce a startling range sound effects to support the action. He used an array of objects (all available in the 1940s) to simulate everything from pouring gin to opening and closing doors and even a taxi cab. I’ve never seen vegetables used quite so creatively! Stylish elements and attention to details like this really helped to this put this show in a league of its own

The narrative of this piece is quite basic, but the delivery is nothing short of exquisite – served ice cold with a squeeze of lime. It’s an absolute gem of a show, full of class, style and thoroughly enjoyable to watch. I raise a toast to The Misfits of London and here’s to the next episode of The Gin Chronicles.

 

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

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Reviewer: Steve Griffin (Seen 22 August)

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Sophie Pelham: Country Files (Pleasance Courtyard, 7 – 30 Aug : 16.45 : 1hr)

Posted in 3*, Comedy, EdFestivals 2015, Pleasance, Pleasance, Potterrow & Teviot, Rated: Nae Bad by

“Likeable, effusive, hilarious”

Editorial Rating: 3 Stars: Nae Bad

Upon entering the Pleasance Cellar (sorry, Dorset) the audience is offered a tot of sherry and a sausage roll to get into the mood. For me, in this, my third back-to-back show, this seemed like a dream come true. And indeed the dream continued for the first 10 minutes or so when Pelham, as village lady-of-leisure Vanessa Bluwer hilariously tells us about life in Kilmington, her noble employers, and the various courses she runs on a voluntary basis (everything from breast-feeding to bereavement counselling). As this character Pelham is likeable, effusive and strikes a good balance between prepared material and audience interaction.

Alas, after this the show falters somewhat, with a series of less well developed characters, too much audience interaction and little drive to keep the performance moving. Pelham’s Lord Ponsanby, a drunken country gent utters my funniest line of the show “I’m not homosexual, just bloody posh”, but falls flat after a few minutes and it’s a bit of a relief when she goes off to change again. Two of her characters are animals (a badger and a fox respectively, the less said about those the better), but posh school girl Primrose and yummy mummy Sulky Waterboat are both enjoyable, making fun of relevant stereotypes.

While some parts of the audience interaction in this show were great – getting various members to hold a hobby horse, read a letter and answer the odd question – I felt that on the whole there was an over reliance on this, and as the show went on there was a definite sense of awkwardness in the room, particularly among those in the front row who seemed to get “picked on” multiple times.

And just as the level of audience interaction was pushing it, sometimes her jokes also strayed over the line into being somewhat cringeworthy, the worst offender of these definitely being the one about the Muslims… hushed silence all round. Some gags were spot on tone-wise though: safer topics included politics and class, both suitably ridiculed, while even references to underage sex got a few chuckles.

Overall, I think this show has the bones of something that could be really special, but would be better if it focused on fewer individual characters, and having a clearer sense of narrative between them, to keep the show flowing from one scene to the next. A good effort.

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 22 August)

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Trans Scripts (Pleasance Courtyard, 5 – 31 Aug : 15.00 : 1hr 30 mins)

Posted in 5*, EdFestivals 2015, Pleasance, Pleasance, Potterrow & Teviot, Theatre by

“Gutsy, inspiring and emotional… get a ticket by any means possible”

Editorial Rating: 5 Stars

Trans Scripts is a verbatim play, which examines the lives of six transgender women, and is performed by six fantastic transgender actresses. It’s simply structured as six monologues, interwoven and staged with very little fuss and theatricality, allowing the stories to speak for themselves.

We follow the women from when they knew something was wrong with their bodies, through reactions from their families and peers, their transitions, and their lives since. Each story is unique and heartbreaking in its own right, but when told as a collection, you do really get to see many different sides to being trans. We see familial acceptance, we see homelessness, we see violence, suicide attempts, broken relationships and even the reaction of a church. There are highs, lows, twists, turns, and a real cross-section of experiences that go some way to representing a very misunderstood group.

One example is Josephine (played by Catherine Fitzgerald), who becomes trans when she’s married with children, and longs just to fit in as a woman. She’s managed to maintain an amazing relationship with her wife, but struggles to comprehend the reaction of her wife’s colleagues and friends. The most touching story for me though, which reduced me to tears many times, was that of Eden, who having been born with both female and male genitalia, was made a “boy” at the insistence of her father. We follow her struggle with her identity, relationships and family, learning about how she almost died during her gender reassignment surgery, and her first steps to meeting her mum again, having been estranged for over 20 years. The delivery of this monologue was gut-wrenchingly powerful from Rebecca Root, who really stood out with impressive physicality and emotive range throughout.

While very much six individual stories, there are occasional moments of interaction between the characters as well. The most interesting of these involved a heated discussion as to the necessity of having the full operation, and how this affects identity. As became evident, even within the trans community there are differences of opinion as to whether such steps are necessary to really fit in, shining further light on the struggle to be accepted and happy in their own bodies.

Overall, this is a very important and engaging piece of theatre, which has been crafted with precision and sensitivity by writer Paul Lucas, and is a gutsy, inspiring and emotional performance from six women who’ve all made incredible journeys in their lives. Get a ticket by any means possible.

 

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

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Reviewer: Steve Griffin (Seen 22 August)

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Mansplaining Masculinity (Cabaret Voltaire, 8 – 30 Aug : 12.05pm : 1hr)

Posted in 4*, EdFestivals 2015, Other, Rated: Outstanding, Spoken Word by

“An engaging and thought provoking discussion… honest, revealing and accessible”

Editorial Rating: 4 Stars: Outstanding

“This isn’t a comedy” Dave tells us, wearing a purple dress and a fedora, without a hint of irony. It is however, an incredibly engaging and thought provoking discussion into the notion of masculinity that’s honest, revealing and accessible. My words, not his.

The show is framed around a survey carried out by Pickering, which asked 1,000 men to share their opinions and experiences about patriarchy and masculinity (anonymously). It also includes a raw account of his own sexuality and identity, and during the performance he attempts to piece the two together.

Although researched to an almost painstaking degree, and written and structured with a lot of love, Pickering doesn’t pretend to have all the answers, or that his show will somehow cure the world of its ills. Instead it’s an exploration of an idea, and insight into a side of the human state that receives little attention. It was passionately and engagingly delivered, and he even gives references for further reading on the topic – a first for me at a Fringe show.

During the performance Pickering certainly doesn’t shy away from the big issues – there’s talk of rape, emotional abuse, bullying and more. But it’s not spouted in a preachy or melodramatic way – it’s a simple recount of some very personal experiences from his own life, mixed with responses from the survey, and weaved together with some very intelligent discussion and line of questioning.

As a discursive show, it was very effective when Pickering referred to results from the survey, but it was almost tantalising that he did so only rarely, as I would have loved to have glimpsed further into the world of what men really think. He did at times refer to other well known (but uncited) general facts which did give the piece some added clout – how men commit more crimes, carry out more successful suicide attempts, and earn more money.

The anecdotal parts of this show, where Pickering shared memories from his traumatic home and school life, and his first sexual experiences were very moving, and made me question my own coming of age and identity within the “patriarchy”. His openness is absolutely commendable, and it really enriches the piece by bringing in personal as well intellectual engagement.

I feel the content of carries great social importance for people of all sexes and ages, and this is a very entertaining and enlightening way to spend an hour. I urge you to see this show.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 22 August)

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Aunty Donna (Gilded Balloon, 5 – 31 Aug : 22.00 : 1hr)

Posted in 4*, EdFestivals 2015, Gilded Balloon, Potterrow & Teviot by

“An all guns blazing comedy rampage”

Editorial Rating: 4 Stars

The first thing that hits you about Australian comedy troupe Aunty Donna is undoubtedly their energy. This is a one hour, all guns blazing comedy rampage, with never a dull moment. Between the three of them, they caper around as an array of characters, delivering one of the slickest sketch shows I’ve ever seen. Each section melts into the next seamlessly, and it’s a testament to the performers’ dedication that it flows so naturally.

I particularly enjoyed the lip-synching to various songs, that had clearly been very well rehearsed and were delivered with aplomb. During an early mime sequence to a very loud track, one audience member gets pointed at whenever the word “no” is sung – at one stage, several times in quick succession – and the build up and dramatic focus in this section had the audience in stitches.

Throughout there’s a great balance between longer, more developed sequences and a few one liners, including a simple section of reading out “texts from your parents”. My favourite sketch featured someone who “completely misread the situation”, leaning in for a kiss when it totally wasn’t appropriate. With no dialogue, just a scene title and some great physicality, they delivered a simple and very funny moment.

For an Australian group performing the the UK, there were a number of risks taken in making fun of some wonderfully British stereotypes. From our penchant for queuing, to chip butties and even reference to Tottenham Hotspur playing cricket, they strike a great balance between topical humour, without crossing the line into offensive territory. This is a show that is well thought-out and has been perfectly targeted to this market.

In the final third of the performance the group start to reference their own jokes from earlier on, and thankfully, as they had been well-written and delivered, it showed an added layer of intelligence and thought. At no point was it gratuitous though, every moment was carefully selected and well weaved in, and helped tie the piece together into a cohesive performance.

However, for me this show was at times a bit too loud and too full on, and I would have preferred more contrast and subtlety in some of the sketches. In saying that, Aunty Donna’s style is very much their style, and on the whole it delivers laughs aplenty. If you want a loud, high energy, fast paced and at times just a bit weird sketch show, this one is definitely for you.

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

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Reviewer: Steve Griffin (Seen 20 August)

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