Author Archives: Steve Griffin

Pajama Men: 2 Man 3 Musketeers (Assembly Roxy, 7-30 Aug : 20.20 : 1hr)

Posted in 4*, Assembly Roxy, EdFestivals 2015, Rated: Outstanding, Theatre by

“Ridiculous, but genius”

Editorial Rating: 4 Stars: Outstanding

The Three Musketeers is one of my all-time favourite books, and as an epic tale of friendship and valour, I was intrigued as to how it would work as a two-man comedy in under an hour. As it turns out, it is hilarious.

I lost track of the number of characters they played between them after just a few minutes – men and women of all shapes and sizes, an array of animals, and people that could well have been animals.

It sounds ridiculous, and in many senses it was, but it is also genius. They kept the plot fairly accurate (give or take a few creative embellishments) and it was – remarkably – quite easy to follow. But that is coming from someone who already knows the story – for those who don’t, I can imagine it looked like two idiots in pajamas running around with multiple personality disorder.

My absolute favourite of the characters portrayed was the slithering swamplike Cardinal and his range of repulsive yet hilarious noises. This was also the most clearly defined character in the performance, with strong physicality, accent and language. Other highlights for me were how the personalities of Athos, Porthos and Aramis (the real musketeers) were distilled into very simple caricatures, and how Allen and Chavez could jump between them seamlessly.

What really kept the show alive was the fact that throughout, the two actors always seemed to be keeping each other on their toes, with various, seemingly improvised, Family Guy-esque capers into similes and side stories. There were just enough of these to keep variety and energy, without them detracting too much away from the plot and purpose of the piece.

The pair were more than ably supported by musician Ignacio Agrimbau, who also seemed to semi-improvise sounds and music to support the action, given the selection of instruments he had in front of him. This was always done very effectively, and moments where actors and musician interacted were also very amusing.

What could be seen as a good or bad thing, or indeed just a thing, was that Allen and Chavez never once seemed like they were actually “acting”, more just capering around as if having fun in their own spare time. They were very knowledgeable and confident in what they were doing, very in tune with one another, and the piece flowed with the ease of a stream of consciousness or children in their own fantasy world. The apparent effortlessness gave it an incredibly professional feel and it was easy to engage with from the get go.

outstanding

StarStarStarStar

—

Reviewer: Steve Griffin  (Seen 8 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

ErictheFred (Assembly Roxy, 8-30 Aug : 21.45 : 55 mins)

Posted in 3*, Assembly Roxy, EdFestivals 2015, Theatre by

“Lynam is very expressive and engaging, oozing with energy and charisma”

Editorial Rating: 3 Stars

This show is an insight into the life of a performer whose memories still haunt him, and he begins to envision what could have been. It’s a fairly simple concept, which to me is a bit too drawn out and unoriginal, and I would have liked a few more twists or developments to take the piece somewhere new.

There’s no dialogue – it’s just actor Chris Lynam alone with a menagerie of props and projections. He begins standing on stage dressed as a ballet dancer, and in frustration he tears off his costume and throws it away. Then, as if decreed from above, a new costume flies in, which he puts on, and transforms himself into a clown for the rest of the performance. It was never made particularly clear how or why this transformation took place, but as the show progressed, it seemed to become an unimportant detail.

Throughout this performance Lynam is very expressive and engaging, oozing with energy and charisma, and from very early on we are drawn in to his world and visions. Through the twists and turns he suffers, the clown’s physicality and facial expressions are strong enough to portray each emotion and it is a very capable performance.

What makes the show stand out is the interaction with various technical elements. The whole show is seen from behind a projection screen, onto which various scenes and “thoughts” are projected throughout. In addition, there is a vast array of props which enter and exit of their own accord, adding to the sense of mysticism and imagination.
At the end of the show there are two shock moments (which I won’t spoil), that add a fresh dimension to what until then had become a quite tired and monotonous format. It’s a shame moments like these did not come in sooner to give the piece more variety and sense of surprise.

To me, the problem with shows that have a high reliance on technical aspects, especially at the Fringe, is that one never feels quite at ease that everything will go to plan. And while nothing major went wrong in this performance, there were numerous occasions when there was an air of hope as opposed to confidence that the right thing would fly in and fly out at the right time, which prevented me from becoming fully absorbed in the work. But perhaps towards the end of the run these details will be more ironed out.

Overall, a very strong solo performance, but I was left feeling a little bit with the sense of “So What?”.

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

—

Reviewer: Steve Griffin  (Seen 8 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Danza del Caribe: Itara (Assembly Roxy 5-31 Aug : 17:00 : 1hr)

Posted in 4*, Assembly Roxy, Dance, EdFestivals 2015 by

“Full of vibrancy, dynamism, risk and sexual energy”

Editorial Rating: 4 Stars

I knew little of Cuban dancing before this show, so I was very intrigued to find out more about it, and the comparative differences to traditional dance from other countries and regions. However, as expected, it was a performance full of vibrancy, dynamism, risk and sexual energy.

This show was split into three distinct sections, of which, the first, entitled Sulkary, covered the theme of relationships and fertility. To me, this was the strongest and clearest in terms of narrative and accessibility – it started with the three female dancers alone on stage, with motifs of flexed feet and hands, depicting a sense of discovering identity. They were soon joined by three male dancers, each carrying a huge pole, who brought an air of dominance to the stage. When the two groups joined together, a real sense of tenderness through bodily contact became apparent, and three couples emerged and broke off.

The following two sections were both energetic and colourful, with daring lifts and complex unison and canon sections. However, it was less obvious what was going on, and although the movements were impressive it was slightly more difficult to engage in these parts.

The costumes (of which there were many throughout) were bold, intricate and full of the Caribbean spirit. They really added to the sense of “show”, and with a smoke machine in almost constant use, the overall visual was never anything short of spectacular.

The band, and in particular its female lead singer, were incredibly deft at setting the tone of each piece quickly and with such a richness as to really transport the audience to the depths of Havana. The main instruments were traditional drums, which kept up a pulsating rhythm during the upbeat sections while tempering their intensity for the subtler moments.

Unfortunately what let this show down somewhat was the overwhelming feeling that it felt somewhat under-rehearsed. There were several moments, both in lifts and unison sequences, that the dancers were out of sync or unable to cleanly finish individual moves, making them seem rushed or partially forgotten. Because of this I was unable to ever feel 100% absorbed or relaxed with the performance, worried that at some stage there could be an injury or other faux pas.

It was also a little disappointing that in some sections there was a reliance on pre-recorded sound rather than it all being performed live. However, this show was oozing with energy, charisma and flair and with a bit more polishing could be quite spectacular indeed.

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

—

Reviewer: Steve Griffin  (Seen 8 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Leper + Chip (Assembly Roxy, 6-31 Aug : 15.00 : 50mins)

Posted in 4*, Assembly Roxy, EdFestivals 2015, Rated: Outstanding, Theatre by

“Simple story-telling at its absolute finest”

Editorial Rating: 4 Stars: Outstanding

Sometimes the best thing to do with a play is to keep it utterly, utterly simple. Leper + Chip did just that with astonishing effectiveness.

As the audience enters, the two actors are alone on stage, pacing, as if gearing up for a fight. When the house lights dim, what follows is a high octane, turbo-charged, non-stop pummelling of drama, from two fine young actors.

The play follows 24 hours in the life of two young people from different sides of Dublin. They meet by chance at a party and their two social groups end up in a full-on brawl. The next day is a mad-dash tale of pursuit and rivalry as Leper and Chip try to come to terms with the previous evening’s actions.

It is structured as two interweaving monologues, enabling us to see both sides of the story from the night of their meeting. Each frank account goes on to introduce other friends and acquaintances, who, from just a few lines, seem as real as the actors on stage. As the story unfolds, we’re taken through feelings of pride, guilt, anger and desperation, all against a backdrop of the grittier side of Dublin.

The actors are alone on stage the whole time, with no set, props or complex effects to aid the story telling. The piece is driven completely by the energy and expression of Leper (played by Conall Keating) and Chip (Amilia Clarke Stewart), whose chemistry and personalities complement each other perfectly.

Leper is a real “lad” who thinks nothing of downing countless shots and hitting on older women for fun, while Chip is a feisty wee girl with a distinctly challenging home life. Both characters are incredibly likeable despite their many imperfections: their honesty and heart-on-your-sleeve attitude, which drive some of the more tragic consequences, make them true anti-heroes.

It really is a pacey piece that’s full of drama, and I was on the edge of my seat throughout. The quality of the writing (and directing) was such that the play didn’t seem like it was written at all – indeed, the words fell out of the actors mouths so easily that it really felt like it was a true, if at times a little far-fetched, story. It has clearly been very well rehearsed and never once felt staged or unnatural.

Although at times just a little rough around the edges, these were two heroic performances – full of energy, conviction and real sensitivity to every aspect of the individual characters. Simple story-telling at its absolute finest.

outstanding

StarStarStarStar

—

Reviewer: Steve Griffin  (Seen 8 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

The Sons of Pitches (Gilded Balloon, 7-13 Aug : 22.30 : 1hr)

Posted in 4*, EdFestivals 2015, Gilded Balloon, Music, Potterrow & Teviot, Rated: Outstanding by

“Their energy and stage presence was infectious”

Editorial Rating: 4 Stars: Outstanding

This is a Fringe show that has brought its own warm-up act. It may be a little arrogant, but once the real deal gets going it’s easy to see why – the sounds made by these lads with just their mouths was simply astonishing.

I’ve seen a lot of a capella groups, especially at the Fringe, and what I liked about these guys is that at just five members, compared to the usual twelve or so one might normally expect, they easily made it sound like there were several more of them on stage creating multiple levels. The layering and blend of voices in different parts is so on point that you can’t really tell who is singing what, while their energy and stage presence was infectious.

From one of the top vocal groups on the circuit, their basic “party pieces” were flawless, but this show attempted to combine a capella with comedy. Support act Love Heart came back on stage half way through to introduce a section where the group would improvise songs around a genre and subject. The improvisation itself delivered incredible attempts at traditional Irish, country and calypso music (all from audience suggestions), and I was desperate to have seen these developed further.

For me there was too much chat and not enough singing in this show, and although the interludes were enjoyable, that’s not what the majority of the audience were there to see.

While I won’t linger on some of the unfortunate vocal cracking from the singers at the higher end, the standout Son from this performance was undoubtedly Midé Adenaike. His beatboxing skills were jaw-droppingly fantastic, and particularly in the night’s closing number he stole the show.

For the most part this was an upbeat vocal party, but for me the real proof of an a capella group’s mettle is in their stripped back numbers. The Sons’ penultimate song was the self-penned Foundations, a ballad about stability within a relationship. Unfortunately without Adenaike on beats the group seemed a little lost, and although delivering a good performance, it wasn’t to the standard of their earlier tunes.

While this is a very impressive troupe with a lot to offer the world of a capella, in this performance they didn’t quite blow me away as much as perhaps they should have done, but it was still an incredibly enjoyable hour.

outstanding

StarStarStarStar

—

Reviewer: Steve Griffin  (Seen 7 August)

Visit the Potterrow & Teviot  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Nailed It! (Assembly Roxy, 7-11, 14-17 Aug : 20.15 : 1hr)

Posted in 4*, Assembly Roxy, Cabaret, EdFestivals 2015, Rated: Outstanding by

“They did indeed “nail it””

Editorial Rating: 4 Stars: Outstanding

To describe Nailed It! makes it sound quite basic: two guys; one singer; one pianist; a collection of gloriously lyrical tunes; and fabulous sparkly jacket. But for Fringe debut act Mackenzie-Spencer and Strano this was a masterclass in getting all the basics of cabaret spot in. They did indeed “nail it”.

Andrew Strano’s voice is uncompromisingly musical theatre, and the songs composed with partner in crime Loclan Mackenzie-Spencer more than complement his personality and style. While not a particularly unique voice, he has a fantastic range and used his instrument to bring a full spectrum of emotion and empathy to each number.

With comical tunes covering topics such as the “birds and bees” and having intimate relations with one’s twin sister(!), to a beautiful touching number about relationships, the pair’s songwriting talent is simply wonderful. Nailed It! is comprised exclusively of original songs, all of which could have featured in the latest off-Broadway hit musical.

What makes this show really special though, is the perfect blend of professionalism and fragility on display. It is clearly solid and well rehearsed musically, but with the anecdotes in between Strano showed a real vulnerability and honesty in his imperfections, which made him incredibly likeable.

Special mention should also go to Mackenzie-Spencer’s seemingly virtuosic keyboard playing, deftly belting out complex melodies, all the while making it seem inhumanly simple. His quieter persona delightfully balanced Strano’s more extroverted stage presence and they were clearly very at ease with each other.

One worry many of us face when attending cabaret shows is around audience interaction. Are they going to pick on me? Fortunately Strano makes the audience feel so comfortable that those fears are almost immediately allayed. Questions are asked of the audience in general, and both performers dealt well with the random responses they received (there’s always one…) and seamlessly wove them into the next song as if it were all planned without seeming overly choreographed.

If I had one criticism, and this is very much down to personal preference, it is that theatrically I would have liked to have seen a few more risks taken. While the songs covered some fairly close-to-the-line topics, what was missing to make this show really unforgettable was something a bit out of the box, a real wow factor. However, next year, when these guys come back (which they absolutely must), it will be with a sure-fire five star show.

 

outstanding

StarStarStarStar

—

Reviewer: Steve Griffin  (Seen 7 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

K’rd Strip: A Place to Stand (Assembly Roxy, 7-31 Aug : 18.40 : 1hr 10mins)

Posted in 4*, Assembly Roxy, Cabaret, Dance, EdFestivals 2015 by

“Delightfully camp and full of personality”

Editorial Rating: 4 Stars

I’m not often lost for words, but during the first half of this show I was rendered pretty speechless. To be fair, it’s a cabaret performance by six gutsy guys wearing nothing but short leather kilts and heels, so that should have given me a fair idea of what to expect.

However, there were layers of real intelligence, depth and unexpected artistry in among the madness – from the opening tightly choreographed, animalistic dance section – to the warrior dance-like motifs used throughout. In between the obligatory drag queen acts, of course.

In the piece we meet various characters, played out in different mediums, from a questionable contact improvisation dance depicting a one night stand, to an overly camp “lady of the night” known as Destiny. Perhaps the most tragic and painfully relatable of all was “Horsey”, an outcast who clearly had a heart of gold but had been misunderstood his whole life, and whose final scene was a painful reminder of some basic prejudices.

This is unapologetic cabaret – there were plenty of individual songs and dance numbers – my favourite of which was the moving I’m not lost. It was pleasing to see connections between each section, at least stylistically, even though for most of the show I was desperately searching and waiting for the one thing that would really tie all the the elements together and make it into a theatrical triumph. I almost got it when certain characters re-appeared and narratives started to entwine, but even by the show’s emphatic closing number I felt like the troupe hadn’t quite completed the circle.

Overall, the singing was good, the dancing and choreography were good and the acting was good. However for me this show was just missing that sparkle that could tip it into being spine-tinglingly exceptional.

K’rd Strip is absolutely not going to be everyone’s cup of tea – from a traumatic rape scene to a prostitute “shooting up” – both right at the front of the stage – this show doesn’t ’pull any punches. It’s edgy, it’s raw and it’s honest, shining a light on a subculture that is often taken for granted. It’s also delightfully camp and full of personality, if that sounds possible in one show. Definitely one for those with an open mind.

 

 

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

—

Reviewer: Steve Griffin  (Seen 7 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Jurassic Park (Assembly Roxy: 5 – 30 Aug : 18.50 : 1hr)

Posted in 4*, Assembly Roxy, EdFestivals 2015, Rated: Outstanding, Theatre by

“A show with so much heart mine nearly burst”

Editorial Rating: 4 Stars: Outstanding

I was slightly worried, from the name, that this would be one of those overly geeky shows where the actors become a bit self-absorbed in being dinosaurs that they lose the plot – literally. Thankfully, this production strikes a wonderful balance between storytelling, humour and a moving tribute to one of the world’s best loved films.

It really is a show with everything – packed with laughs from start to finish, touching moments of tenderness, dinosaurs, family dramas, a ballad to the triceratops and even a Britney Spears dance break. More importantly, it’s performed with so much energy, love and conviction that one can’t help but be carried along with the fun.

The premise: a father (Terry) and his two children (Noah and Jade) welcome the audience to the village hall for a screening of their favourite family movie (Jurassic Park), as a tribute to Terry’s wife and the children’s mother Madeline, who died a year ago. What follows is a tale of a broken family, love, heartache… and dinsoaurs.

As a piece devised and performed by a Lecoq-trained company, it is understandably very physical, with each of the actors switching between human character, dinosaur and the cast of Jurassic Park with ease and finesse. Moments involving lifts and embodying the larger dinosaurs are particularly impressive, as is the creative use of props – who knew a rucksack could look quite so much like a Tyrannosaurus’s mouth?!

I would have liked to have seen the initial scene (in the village hall) developed throughout and have gotten to know the character of Madeline a bit better, perhaps at the sacrifice of one or two of the scenes involving the film’s reenactment. If any of these are intended to show parallels to the family’s story, the references are too subtle and disjointed to be effective. Some of the transitions between scenes also come across as somewhat forced, but in all other respects this show is hard to fault.

The cast work incredibly hard to deliver an hour of non-stop action, with personalities that really shine: Maria Askew as Jade is the perfect moody teenager, Frode Gjerløw is perhaps most impressive with his array of character changes, while Simon Maeder is just incredibly likeable – even while pretending to be a porn star!

This is a hilarious yet touching tale of one family’s coming to terms with grief through the medium of Jurassic Park, and I give it a roar of approval.

outstanding

StarStarStarStar

—

Reviewer: Steve Griffin  (Seen 6 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Jane Austen’s Persuasion: A New Musical Drama (Assembly Rooms, 6 Aug – 9 Aug : 21:30 : 2hr 45)

Posted in 3*, EdFestivals 2015, Other by

“The cast were undeniably talented”

Editorial Rating: 3 Stars

I’m always a bit wary of American troupes performing very British shows in Britain, as I’ve so rarely seen them pulled off well. Unfortunately this production did little to change my mind, although there were some very promising moments.

This presentation billed itself as a new musical drama adaption of one of Austen’s finest works. And while I was expecting (and honestly would have preferred) slightly more Broadway than the Gilbert and Sullivan that was presented, the main fault with this show was something of an identity crisis – trying to force twee Jane Austen into a rather melodramatic and operatic saga just didn’t quite fit.

However – the positives: this is a big budget (by Fringe standards) show with fabulous costumes and incredibly detailed projection on the backdrop to show changes in location, time and weather. The cast were undeniably talented, with some incredibly strong voices on show in both solo and group numbers, and the band were faultless.

The narrative stayed very faithful to the original book, was easy enough to follow without ever feeling clunky, and that should be a feather in the cap to adapter Barbara Landis. The script contained enough detail to properly establish each scene and character in full, even if, at just under three hours (including interval), it’s a bit of a slog.

When it came to the acting though, there was a distinct contrast in styles between some of performers, which didn’t help the sense of jarring between what I think the company were trying to achieve and what we saw. While Jeff Diebold as Captain Wentworth showed great sensitivity to the emotion and style of Jane Austen, Barbara Landis as heroine Anne Elliot and John Boss as her father were perhaps the most guilty of over-theatricalising every line. This would have been great in a full-scale opera or vaudeville, but didn’t work with what should have been a more gentle approach to a British masterpiece.

Putting that to one side, the chorus numbers (in particular Who Could Love Like an Irish Man and A Sailor’s Life) were spectacular – they were performed with vim, energy and an incredible blend of voices. Moments like these brought a sense of contrast to a show that was in many other respects distinctly lacking in light and shade due to severe overacting in the more gentle scenes, which made them all feel somewhat samey in mood.

Overall, this show has a lot of the basics to be fantastic, and while the period music and libretto were not to my personal taste, the bones of this original adaptation were sound and would probably please anyone with a preference to more traditional theatre. Although there were some wonderful moments of character and hilarity, I don’t feel the piece really hung together as an operetta, and stricter, more sensitive direction and more variation in melody and musical style of each number could have helped bring out the layers of Austen’s writing.

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

Reviewer: Steve Griffin  (Seen 6 August)

Visit the Assembly Rooms archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Edinburgh: Festival City Explorer Tour (Venue 363, Aug 7-20, 22, 24-31 : 10:00 : 1hr 45mins) (Preview)

Posted in EdFestivals 2015, Previews by

“Really insightful … I found myself asking intelligent questions”

Editorial Rating: Outstanding

Until this preview I’d never been on a walking tour of Edinburgh, despite witnessing what seems like several hundred of them in earnest progress from day to day. It was with some trepidation that I dragged myself to the agreed meeting point on a Sunday morning, for I had no desire for pantomime-esque shouting, spun-out theatricals, or vaguely competent script recitals. Thankfully, Gareth Davies’ Festival City Explorer Tour does not do these.

Photo credit: Malena Astrom

Starting at one end of the Grassmarket, Gareth immediately sets out what to expect and what makes it both interesting and unique compared to louder and more commercial efforts. He introduces it as a tour of two cities – the old, the new; the charming facades, the sordid histories; and the intriguing combinations of the geological and the human that have shaped the city into what it is today. What follows is a fascinating lesson in 101 things you didn’t know you didn’t know about Edinburgh.

At just shy of two hours, and taking in a fair whack of our city, it’s certainly not one for those hoping for a quick stroll. The tour encompasses both new and old town – exploring the stories of their design and build, finishing up on Calton Hill to view it as one whole.

In the old town we learnt about hangings, trade routes, and (yes, ok) a ghostie. As we passed along Mound Place on our way down to Princes Street, Gareth pointed out that not many tours actually venture into the new town. Indeed, the methodology behind his tour is to focus on those parts of the city that don’t feature in the glossy guide books. We spent very little time on the Royal Mile, and instead unearthed many of Edinburgh’s lesser-known treats in sidestreets and wynds, from walkways and vantage points.

What made this tour really special was Gareth’s personable and honest way of talking. He is clearly knowledgeable and passionate about what he does, but without the overblown routines and tired witticisms that you can get from a showman guide, especially in August. During the Fringe no group will number more than 10 people, which I think will help keep it all friendly and informative.

This was in fact a really insightful experience. For one thing it woke me up and for another I found myself asking intelligent questions that I’d never before considered – just how did some of our streets get their names? Remarkable.

Wear a comfortable pair of shoes and bring an open mind – you don’t know what you’ll discover.

Edinburgh: Festival City Explorer Tour runs Monday-Thursday at 10am during the Fringe. Booking is highly recommended.

outstanding