Author Archives: Steve Griffin

49 +3 Shows to See #EdFringe15

Posted in Dance, EdFestivals 2015, Events, Exhibitions, Music, Previews, Theatre by

It’s been two weeks now since the official programme launch, and we’ve finally made it through all 439 pages, featuring over 3,330 shows. Needless to say we’re VERY excited for what this year’s Fringe has in store.

Being the arts geeks that we are, Alan Brown and I have managed to narrow down a list of 49+3 shows we’re really looking forward to seeing, shared below to help guide your choices.

We haven’t been bribed, cajoled, threatened or in any other way influenced in making our selection, we’re just being honest.

+ Many thanks to Loclan Mackenzie-Spencer and Andrew Strano of Nailed It! for their song in praise of our choices!

So, without further ado…

One from each of the 10 categories:
Cabaret – Nailed It!
Children’s – Dreamkeepers
Comedy – Matt Forde: Get the Political Party Started
Dance, Physical Theatre and Circus – Hitch!
Events – Edinburgh Gin’s Night of Literature and Liquor
Exhibitions – Unexpected Excesses
Music – Afropella Night
Musical Theatre – The Bakewell Bake Off: A New Musical
Spoken Word – TES
Theatre – Trans Scripts

My top 10
The Misfit Analysis
La Meute (The Wolf Pack)
Citydash
Brian Molley Quartet – Britunes
Ushers: The Front of House Musical
Poetry Can F*ck Off
Bloody East Europeans
Clickbait
Willy’s Bitches
Smother

Alan’s top 10
Ada
Down & Out in Paris & London
Light Boxes
Our Ladies of Perpetual Succour
Picasso stole the Mona Lisa
Scarfed for Life
The Sunset Five
The Titanic Orchestra
Wendy Hoose by Johnny McKnight
What Would Spock Do?

19 other recommendations (including returning favourites from former years)
Bromance
Every Brilliant Thing
Homme | Animal
Can’t Care, Won’t Care
Austentatious: An Improvised Jane Austen Novel
Doris, Dolly and the Dressing Room Divas
The Art of Reduction and the Distillation of Humanity: Whisky Theatre
Jess Robinson: The Rise of Mighty Voice
Chicken
The Jennifer Tremblay Trilogy. Parts 1, 2 & 3
We’re not dogs
The Oxford Gargoyles: Jazz a Capella
UKIP! The Musical
Going Viral
Dorian Gray
Lemons, Lemons, Lemons, Lemons, Lemons
Richard III
My Name is…
The Rape of Lucrece

+3 we both agree on!
Crash
E15
Free for All

Phew – bring on August! If there are any other shows you think should be brought to our attention please get in touch with us at plus3@edinburgh49.com

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49 +3 Twitter Accounts You Should Follow This Fringe

Posted in EdFestivals 2015, Features by

twitter

*Contents accurate(ish) at time of publication. If you are the account holder and would like your details updated please contact us.

  1. Edinburgh Fringe  – @edfringe – “Official Twitter feed for the Edinburgh Festival Fringe – the largest arts festival in the world. #edfringe 2015 runs 07 – 31 August.”
  1. edintfest – @edintfest – “Edinburgh International Festival. 3 weeks of the best music, theatre, dance & opera. 7-31 August 2015 #EdintFest Tweets usually from Nicola (^N) or Mathias (^M)”
  1. PBH’s Free Fringe – @TheFreeFringe – “The Free Fringe is an entirely voluntary organisation that stages free shows mainly during the Edinburgh Fringe. for more info go to http://freefringe.org.uk.”
  1. Free Fringe Festival – @freefringefest – “The Laughing Horse’s Free Edinburgh Fringe Festival. An annual Extravaganza of Comedy, Theatre, Music, Cabaret and much more in Edinburgh – all for free.”
  1. UoE Festivals – @UoEFestivals – “Official updates from the University of Edinburgh Festivals Office. Festivals, filming locations or cultural events in Edinburgh and need a venue? Talk to us.”

VENUES

  1. Assembly – @AssemblyFest – “Follow us for the latest on #EdFringe 2015 & @YFarber‘s @NirbhayaThePlay on tour. Check out @AssemblyRoxy if you’re #HereAllYear in Edinburgh.”
  1. Assembly Roxy – @AssemblyRoxy – “A historic gem in the Old Town, now run year round by @assemblyfest for events, rehearsals and performances, weddings and corporate hires.”
  1. Assembly Rooms – @ARedinburgh – “Assembly Rooms is Edinburgh’s award-winning multi-purpose venue, reopened in 2012 after a £9.3m restoration. Enquiries: 0131 220 4348 | Owned by @Edinburgh_CC.”
  1. Bedlam Theatre – @bedlamtheatre – “Home to the Edinburgh University Theatre Company.”
  1. C venues – @Cvenues – “C venues is the leading venue for theatre, musicals, international and variety at the Edinburgh Festival Fringe.”
  1. Church Hill Theatre – @ChurchHillThtr – “The Church Hill Theatre is one of Scotland’s leading non-professional theatres, owned and managed by @Edinburgh_CC.”
  1. Coburg House – @CoburgHouse – “Coburg House Art Studios houses a hub of creativity, which combines designer makers and fine artists with national and international profiles.”
  1. Dance Base – @DanceBase – “A National Centre for Dance in Edinburgh’s Grassmarket. Tweets from Comms.”
  1. Dynamic Earth – @ourdynamicearth – “Edinburgh’s Multi Award Winning 5* Visitor Centre, #Eventvenue & #Educationservice. The only centre in the UK dedicated to #PlanetEarth. Visit #dynamicearth.”
  1. Edinburgh Dungeon – @EdinDungeon – “The ultimate thrill-filled journey through Scotland’s murky past featuring live actors, special effects & two thrilling rides. Exciting, scary and bloody funny!”
  1. EUSA – @eusa – “The Official Edinburgh University Students’ Association (EUSA).” NB. Owner & operator (#HereAllYear) of Fringe venues incl. The Pleasance & Teviot Row House.
  1. Gigs – @BannermansBar – “Bannermans is a bar and venue located in the heart of historic Edinburgh. With live music six nights of the week, featuring the best in local, national and inte.” [sic]
  1. Gilded Balloon – @Gildedballoon – “A year-round comedy & theatre producer based in Edinburgh & one of the largest #edfringe venues, with over 100 shows in the 2014 Fringe!”
  1. Festival & King’s – @edtheatres – “DRAMA | MUSIC | DANCE | OPERA | COMEDY. Festival Theatre & King’s Theatre Edinburgh providing great entertainment at the heart of Scotland’s capital.”
  1. The Fine Art Society – @FAS_Edinburgh – “Specialists in Scottish art from the 17th century to the present. Based in Edinburgh’s New Town, we are part of The Fine Art Society London.”
  1. Just the Tonic – @Justthetonic – “‘Best Comedy Club in the country’ – Johnny Vegas. Nottingham’s original comedy club since 1994. Plus over 130 shows at #EdFringe2015.”
  1. Laughing Horse – @lhcomedy – “The Official Twitter of Laughing Horse Comedy Clubs. Follow for information on gigs, special offers for twitter, comedy gossip and general comedy chat.”
  1. THE LIQUIDROOM – @LIQUIDROOMS – “Edinburgh’s premier live music & club venue.”
  1. The Lyceum – @lyceumtheatre – “Theatre Made In Edinburgh.”
  1. National Galleries – @NatGalleriesSco – “National Galleries of Scotland is the Scottish National Gallery, the Gallery of Modern Art and the Portrait Gallery. Tweets from Adeline, Harris and Michael.”
  1. NLS – @natlibscot – “Home to over 15 million printed items, 7 million manuscripts, and over 2 million maps the National Library of Scotland is a treasure trove of information.”
  1. Paradise Green – @ParadiseGreenUK – “Tweets for Augustine’s and The Vault – Theatre at the Heart and Soul of the Edinburgh Fringe Festival.”
  1. The Queen’s Hall – @queens_hall – “Edinburgh’s leading live music venue. Tickets & Information 0131 668 2019 | http://www.thequeenshall.net  | http://www.facebook.com/queenshall.”
  1. RBGE – @TheBotanics – “Official tweets from the Royal Botanic Garden Edinburgh, Scotland.”
  1. RealMaryKingsClose – @MaryKingsClose – “Take a guided tour back in time deep below the Royal Mile – The Real Mary King’s Close makes Edinburgh’s hidden history unmissable.”
  1. RoyalHighlandCentre – @HighlandCentre – “The Royal Highland Centre (RHC) is Scotland’s largest indoor and outdoor event venue, from conferences to concerts and meetings to exhibitions.”
  1. ROSL – @rosl1910 – “Royal Over-Seas League; a not-for-profit members club, promoting international friendship & understanding through social, music, arts & humanitarian programmes.”
  1. The Royal Scots Club – @RoyalScotsClub – “Situated in one of Edinburgh’s finest Georgian streets, we offer that rare combination; the charm of a country house hotel with a cosy club atmosphere.”
  1. Scot Story Centre – @ScotStoryCentre – “A Home for Scotland’s Culture: Storytelling, theatre, trad arts, exhibitions & stirring workshops, Scottish International Storytelling Festival & @TradFestEd.”
  1. SMWS Queen Street – @SMWSQueenStreet – “The flagship venue of The Scotch Malt Whisky Society.”
  1. Sneaky Pete’s – @sneakypetesclub – “Tweet all day party all night. We’re open and busy til 3am all the time.”
  1. theSpaceUK – @theSpaceUK – “Putting you at the heart of the Fringe.”
  1. Sportstersedinburgh – @SportstersEdin – “Sportsters is without a doubt the best sports bar in edinburgh to watch all your favourite sports, grab some food or get your drink on!”
  1. The Stand – @StandComedyClub – “Tweets from the country’s best comedy clubs. Situated in Edinburgh, Glasgow and Newcastle.”
  1. Summerhall – @Summerhallery – “Summerhall is a multi-arts venue presenting theatre, literature, visual art, music, film and performance.”
  1. Summerhall TV – @SummerhallTV – “Topical news and features on art in Scotland http://www.artinscotland.tv.”
  1. SummerhallVisualArts – @SummerhallArts – “Tweets purely about the visual arts programme @Summerhallery. Our exhibitions are open 11am-6pm.”
  1. Sweet Venues – @SweetVenues – “Boutique performer focused venues bringing the best in touring theatre to our Edfringe and Dundee audiences. #SweetDundee & #SweetGrassmarket programme online.”
  1. traversetheatre – @traversetheatre – “Founded in 1963, the Traverse is Scotland’s New Writing Theatre. We produce new plays and present the best work from Scotland, the UK and beyond.”
  1. Underbelly Edinburgh – @FollowTheCow – “Rocking Edinburgh with our Bovine magic! We run amazing venues at the Edinburgh Fringe, including Underbelly Cowgate, Underbelly Bristo Square and McEwan Hall.”
  1. Urbane Art Gallery – @UrbaneArt – “Offers a diverse and ever-changing selection of artworks by award-winning national and international artists in Edinburgh, Scotland.”
  1. Venue 40 – @Venue40 – “Edinburgh Festival Fringe Venue 40 – The Quaker Meeting House.”
  1. Voodoo Rooms – @voodoorooms – “The Voodoo Rooms is an award-winning bar, restaurant & function rooms located in Edinburgh’s city centre.”
  1. ZOO Venues – @ZOOvenues – “Outstanding Dance, Theatre, & Physical Theatre http://www.zoofestival.co.uk  // http://www.zoovenues.co.uk  // http://www.facebook.com/zoovenues.”

+3

Steve Griffin – @steveygriff – “Writer, actor, singer, and over-user of adjectives. Great at empathy, rubbish at sympathy.” – Edinburgh49 +3 Editor

Alan J R Brown – @AlanEdin – “Editor @EdinFortyNine arts review site. Retired teacher with aspirations to white burgundy cellar. To be found towed by beagle.” – Edinburgh49 #HereAllYear Editor

Dan Lentell – @DanLentell – “Edinburgh-based freelance writer. Est. @49Knights. Contributor to @EdinFortyNine, @EdNights & others. Man about town. Co-owner of one Lakeland Terrier.” – Edinburgh49 Features Editor

‘The Improverts Exam Shows’ (Teviot Hall: 14 – 15 May ’15)

Posted in 4* by

“The depth, pace and energy with which entirely new characters and situations were delivered was really impressive.”

Editorial Rating: 4 Stars: Nae Bad

There was that telltale buzz of excitement around Teviot Hall as crowds gathered before the show. This established university comedy troupe clearly have quite a following as the 250 seat auditorium was all but bursting at the seams, so I was looking forward to curtain up. I placed myself discreetly in the fifth row, hoping that surely I wouldn’t be reprimanded for laughing too loudly twice in one week …

For those unfamiliar with how an improvised comedy evening like this works, the players present a selection of structured “games” where each scenario is improvised based on audience suggestions. We saw everything from chat-show interviews, accounts of holidays including improvised photos, and a party with an array of obscure guests. What was most impressive about the performance was the dexterity with which each player was able to pick up new characters and respond to every challenge set before them with alarming speed and intuition.

While one may take this for granted in an improvised show, the depth, pace and energy with which entirely new characters and situations were delivered, and engaging, flowing scenes made from spur of the moment decisions was really impressive.

A particular highlight was the Alphabet story, where two players created a scene, each of them starting their lines with the next successive letter of the alphabet. It was an absolute wonder that their minds were able to think quickly enough to work out what the next letter was, let alone create a riveting tale of a xenophobic ice cream maker and a lactose intolerant customer.

The line which got the most laughs on the night was in relation to a scene on butter churning (obviously), where the players were trying to outdo each other in performing Oscar winning style speeches. When the topic of butter churning slaves was brought up, there was no comeback after the utterance of “I don’t want slavery on my toast”.

For me, it was Isobel Moulder who powered through with the most interesting accents.

While the range of topics and scenes covered was vast, the troupe, for whatever reason, tended to steer clear of current affairs or more topical situations. One audience member did suggest (and a player capably delivered) a character of David Cameron’s conscience for one scene, but it would have been interesting to see the added dynamic of bringing in one or two more topical references. Indeed, while the level of audience interaction was enough to feel like we were included, but not too much as to get tiresome, it would also have been good to see a little bit more creativity from the players in using suggestions: for instance, referring to some of the rejected ones throughout or having the confidence to switch the direction of a scene towards a different suggestion part way through, perhaps.

On the whole it was a very accomplished evening of comedy, professionally delivered, and well worth looking out for in the Edinburgh Festival Fringe later this year.

nae bad_blue

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

Reviewer: Steve Griffin  (Seen 15 May)

Visit the Teviot archive

‘Jeeves & Wooster in Perfect Nonsense’ (King’s: 11 – 16 May ’15)

Posted in 5*, King's Theatre, Rated: Outstanding, Theatre by
Robert Webb as Bertie Wooster and Jason Thorpe as Jeeves. Photos: Hugo Glendinnig

Robert Webb as Bertie Wooster and Jason Thorpe as Jeeves.
Photos: Hugo Glendinnig

“I laughed so much I was reprimanded by the woman in the seat in front for being too loud.”

Editorial Rating: 5 Stars: Outstanding

I’ll admit, I wasn’t a massive fan of Peep Show when it was out (is it still out?), and being of a certain age (in my twenties), I can’t say I’m particularly au fait with the works of P G Wodehouse. Therefore, my expectations in going to see a period potpourri starring Robert Webb weren’t particularly high. But what a comedy it is!

As the curtain rose to a near bare set with Webb postulating alone, it could easily have turned into a rather self-indulgent affair; but the snappy delivery of some great one-liners, commanding physicality and fine character acting from the three actors were all top notch. It is anything but a one-man show.

The script (created by the Goodale Brothers from original Wodehouse works) and the concept are charmingly British and brilliantly written for the stage. The scenes move at a cracking pace and individual moments of lyrical wit are delivered with comic perfection all the way through. While the first half is more about word play and establishing a tone, the second half raises the game – and then some – by introducing elements of farce that are so well pitched as to make them outrageous but not clichéd.

The hilarity is at its peak when the numerous ‘others’, played by Jason Thorpe and Christopher Ryan, start to overlap in the same scenes. One particular highlight is when Ryan, playing two characters at the same time (one male, one female) holds a quick-fire argument with him/herself, without slipping out of either character for a second. Fabulous! I think this was when the lady in the seat in front of me turned around to reprimand me for laughing too loudly. But I was far from alone in my gutsy chortling.

Christopher Ryan as Seppings.

Christopher Ryan as Seppings.

The slickness of the costume changes and clever use of the impressive set made the piece feel very professional and daring (reminiscent of shows such as Noises Off at the Old Vic in 2013). The smashing of the ‘fourth wall’ gives the piece a contemporary blast, without losing anything of its finesse. It was particularly enjoyable being able to watch the cast do their own sound effects at times, with ne’er a thought for boring naturalism.

Any faults? If one were to be really picky, perhaps it was a little shouty at times, and the narrative got itself somewhat confused in all that dash and panache. But that is literally it. The whole show is a corking romp through the best of polite British comedy, superbly acted and with enough laughs to cheer even the grumpiest of young grumps.

outstanding

StarStarStarStarStar

—

Reviewer: Steve Griffin  (Seen 11 May)

Go to Jeeves and Wooster in Perfect Nonsense.

Visit the King’s Theatre archive.

‘Hatters!’ (Assembly Roxy: 31 March – 3 April’15)

Posted in 3*, Assembly Roxy, Rated: Nae Bad, Theatre by

“Awash with lots of individually interesting ensemble moments and devices.”

Editorial Rating: 3 Stars: Nae Bad

Hatters is an intriguing piece of ensemble theatre. It follows the story of Robert, a hapless member of the Bright Young Things in 1930s London, and his attempts to navigate a minefield of sinister characters and mistaken identities in order to marry his fiancé.

Loosely inspired the Evelyn Waugh novel Vile Bodies, the company devised the production around the novel’s key dramatic moments and characters. Keeping very much in theme with the “modernist” style adopted by Waugh in his book, a more experimental approach is used by the company in its presentation of society in the run up to World War 2.

It’s a very physical production, which at times hinders the narrative of the piece as the actors often parade around from scene to scene embodying furniture, cars and general London street scenes. This makes it quite difficult for the audience to know what’s going on. In fact, the show opens with all nine actors stood in a circle facing inwards, and one by one they appear to suffer some sort of epileptic fit before ending in a pile on the floor. By the end of the performance we still had no idea what relevance this had to everything else, and moments like this unfortunately detracted from what was actually a very interesting exploration of modernist theatrical storytelling.

In saying that, in many of the physical sections the action was accompanied by human soundscaping, which worked particularly well in creating atmosphere, and was executed with just the right level of depth and detail. In some cases though, a subtler approach could have been more effective and less jarring to the main action, which was on the whole, very well executed.

As a devised work, facilitated by the passionate Sibylla Archdale Kalid, Hatters is awash with lots of individually interesting ensemble moments and devices. One good example of this was the tea party scene, where actors swapped character with each other many times, but managed to maintain continuity and clarity of action and dialogue. Indeed, the cast’s overall approach to and execution of characterisation, aided by different hats to help identify them, was a real strength of the show.

However, the fragmented style and seeming need to cram in everything that had been devised for fear of wasting it did end up being a bit overkill. With so many different devices and styles used, the piece lacked some consistency. It would have been more effective to see more themes running throughout the performance, rather than something new adopted for every new scene.

The production was certainly not without its laughing moments. Comic timing was very good throughout, as was delivery of some of the witty one-liners worked into the script. My particular favourite was uttered by Robert’s fiancé, just after he’d had to sell her to pay off his debts: “These feelings don’t just go away when you’re sold!” Something about the pure innocence in the delivery had the whole audience in stitches.

Overall, this was a courageous and admirable effort, with a lot of potential to be expanded and developed over time. It’s just not quite there yet.

nae bad_blue

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

—

Reviewer: Steve Griffin  (Seen 3 April)

Visit the Assembly Roxy Bedlam Church Hill Theatre Festival Theatre King’s Theatre Other Pleasance, Potterrow & Teviot Summerhall The Lyceum The Stand Traverse archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

‘Stepping Out’ (Bedlam: 25 – 26 March ’15)

Posted in 3*, Rated: Nae Bad, Theatre by
Olivia Evershed as Andy

Olivia Evershed as Andy

“Tap isn’t easy to master, so respect must go to the whole cast for giving it a very good shot, as well delivering a solid comedic acting display.”

Editorial Rating: 3 Stars: Nae Bad

Stepping Out is a comedy about a group of mismatched characters in the 80s who are all in the same recreational tap dance class. And yes, they do actually dance. If that doesn’t sound funny already, Lorna Treen’s performance as ancient, grouchy pianist Mrs Fraser in the opening scene, delivering witty one-liners in brilliant dead pan style, sets the show off to a very good start.

As the play progresses, we get to learn more about each character and their relationships with each other, some of which aren’t as rosy as they might initially seem. Although a bit of a slow burner in terms of narrative in the first half, when the class is offered the chance to put on a real show to a paying audience the tension is raised a notch and it picks up some of the pace it had been lacking.

The script posed some difficulties with staging, largely due to its ensemble nature (most of the cast were on stage a majority of the time) and the structure of the dialogue into small snippets rather than full scenes. This had the effect of it all feeling a bit fragmented and having a stilted sense of flow, but director Zoe Most and the cast did well to keep action on stage alive from every angle despite this.

Interspersed with the comedy were some very touching moments, particularly between Andy and Geoffrey. However these got a little bit lost among the more active, ensemble scenes, and could have been more impactful with a bit more contrast in pace and dynamics.

The dancing itself was very enjoyable and was well choreographed to show progression in the class’s ability from the beginning to the end of the play. Tap isn’t easy to master, so respect must go to the whole cast for giving it a very good shot, as well delivering a solid comedic acting display.

The stand out performer (for me) was Isabella Rogers as the outspoken, middle class Vera. Her facial expressions, comic timing and perfect delivery of the line “I used to be fat, you know” had the whole audience giggling with glee. She drew attention whenever she was on stage and delivered a captivating and comical performance. Olivia Evershed, playing the browbeaten Andy, showed great depth in a complex character and was also compelling to watch.

For the opening night of a student production, one can forgive it being a little rough around the edges. The heart and soul of the piece were definitely intact and it delivered laughs a plenty. Overall, a very enjoyable evening, well worth stepping out to.

nae bad_blue

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

—

Reviewer: Steve Griffin  (Seen 25 March)

Visit the Assembly Roxy Bedlam Church Hill Theatre Festival Theatre King’s Theatre Other Pleasance, Potterrow & Teviot Summerhall The Lyceum The Stand Traverse archive.

THIS REVIEW HAS NOT BEEN SUBEDITED