Author Archives: Steve Griffin

FAME! The Musical (Church Hill Theatre: 6-10 Feb ’18

Posted in 3*, Church Hill Theatre, Musical Theatre by

“Plenty of individual noteworthy performances”

Editorial Rating: 3 Stars: Nae Bad

Fame! The Musical follows a group of performance arts students through their formative years at the “Fame” high school, and is full of vivid characters, energetic dance numbers, and show-stopping songs. Largely an ensemble piece, it’s the perfect choice and platform to allow Edinburgh University Footlights’ members to present their considerable talents as actors and singers, and there are plenty of individual noteworthy performances throughout.

Mimi Joffroy demonstrates all the ingredients of a stellar leading lady as Carmen, most evident in the goosebump-inducing In L.A.; Matt Galloway delivers a laugh a line as the charismatic Joe, and dance captain Connie McFarlane proves she’s a genuine triple threat in the gospel-tinged Mabel’s Prayer. Alice Hoult and Adam Makepeace show great chemistry as romantic leads Serena and Nick, and Mhairi Goodwin serves up a killer belt as Miss Sherman in These Are My Children. Liam Bradbury never quite convinces he’s actually a hip-hop dancer as Jack, though comes into his own during the character’s signature song Dancing on the Sidewalk.

Yet given all this obvious talent, what holds this production back is being able to effectively embrace the script’s very bitty nature, made up of lots of short scenes taking place over a number of years. EU Footlights’ simple set proves very constraining to this end, often dragging the action to the back of stage, while there’s precious little to link each part and show progression over time. There are pleasing teases of getting it right during Think of Meryl Streep, as action continues behind the singer, so it’s slightly frustrating not to see more creativity in the presentation of each scene throughout to make it feel like one cohesive piece.

Additionally, Fame! is a show that is chock-full of dancing, requiring much more from a cast and choreographer than your average production. The company certainly give it their all during this performance and there are some wonderful moments during the dances (especially some of the daring lifts!), but there’s also a scrappiness to the performance – particularly in the ballet sequences – which, although charming at times, more often detracts from a lot of the other great things happening on stage. Some extra time spent in brushing these up would go a long way to adding to the quality of this production.

Overall, Fame! is a feel-good show with plenty to enjoy, and EU Footlights should be very proud of the job they’ve done with it. Though one can’t help but feel that we ain’t see the best of them yet.

 

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

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Reviewer: Steve Griffin (Seen 7 February)

Visit the Church Hill Theatre archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Rabbie (Basement Theatre, Rose Street: 23-27 Jan ’18)

Posted in 4*, Gilded Balloon, Musical Theatre by

“It’s almost impossible not to find yourself engaged in every moment”

Editorial Rating: 4 Stars

For a musical about one of Scotland’s best-loved poets – many of whose works are also well-known songs – it’s hard to fathom why Rabbie hasn’t already been doing the rounds for years. Yet given Captivate Theatre’s impressive revision of it, I’m sure we’ll soon see this show becoming something of a tradition on stages around the country.

Loosely following Burns’ life and loves in chronological order, the action is also punctuated by toasts from a modern day Burns supper, which help give context and relevance to the action. Structurally it’s a fairly whistle-stop tour of the main turning points of the poet’s short life, and it’s a shame not to get more depth and drama from some of these, though the through-line about Burns’ love Jean Armour does go some way to adding that much-needed integrity to the piece.

The action often veers slightly too close to the edge of bawdy and crowd-pleasing for my tastes, but underneath the simple folksy style is a good musical – there’s a pleasantly surprising amount of harmonic complexity and variety in the numbers, and plenty of laughs to be had throughout. It all moves along at a rollicking pace so there’s never a chance for the energy to dip, and while I would have preferred more development in some of the scenes and characters to get to know them better, it’s almost impossible not to find yourself engaged in every moment.

The staging of this production is somewhat rough and ready, and director Sally Lyall’s decision to spread the action around the space perhaps isn’t the best given the setup of the Basement Theatre (if you’re sat in the front you’ll have to turn your ahead a lot!) but in a different space with more… space, and greater attention paid to the overall production values this could very easily be a show-stopping piece.

The cast are a talented bunch, and can’t be faulted when it comes to sheer gusto and conviction in their performance throughout. The nine-strong troupe play numerous characters between them and blend in and out of spotlight very well. A special mention to Charlie Munro who is hilarious as one of Burns’ publishers, Creech, while Meg Laird Drummond brings a wonderful sensitivity to Burns’ long-suffering wife Jean.

Like Burns’ own work, Rabbie may not be the finest example of writing ever to grace Edinburgh, but it’s certainly worth raising a glass to, in this, his celebratory week.

 

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Reviewer: Steve Griffin (Seen 24 January)

THIS REVIEW HAS NOT BEEN SUBEDITED

The Lover (Lyceum: 20 Jan-3 Feb ’18)

Posted in 2*, Dance, Spoken Word, The Lyceum, Theatre by

“Glimpses of brilliance”

Editorial Rating: 2 Stars

Margerite Duras’s sensational autobiographical novel about an affair between a 15-year-old girl from a poor family and a Chinese millionaire almost twice her age is certainly potent stuff for stage adaptation, and presenting this spoken word/dance interpretation on the backdrop of #MeToo and #ItsTime is a brave choice for co-collaborators The Royal Lyceum Theatre Edinburgh, Stellar Quines and Scottish Dance Theatre, which will be sure to attract interest. Unfortunately, given the finished product, it probably won’t be the level of interest hoped for.

The performance is narrated throughout by The Woman (Susan Vidler), who looks back on how her affair began, developed and ended. Jemima Levick’s and Fleur Darkin’s adaptation is somewhat lazy in its construction, with too many unnecessary accounts of (mimed!) dialogue and a plodding monotony which Vidler’s voice does little to enliven, leaving the other performers often stranded in the middle. Indeed, the confluence between text and movement seems at odds throughout, feeling not unlike a playground grapple for territory.

 

Darkin’s choreography at times gives glimpses of brilliance – from the awkward intimacy between the lovers to the playful fights between Paulo and Pierre – and the production’s moments of stillness (particularly towards the end) and subtle gestures often convey far more than the tedious narration. Yet, in saying that, the choreography also too often lapses into writhing around on the floor and clumsy movement of furniture which instantly breaks any of the mysticism and poetry previously built. It’s a genuine shame not to see lengthier dance sequences to tell the story at the sacrifice of some of the narration, while simplifying and minimising some of the on-stage antics would also ease comprehension.

In The Lover’s defence, Emma Jones’s lighting design and Torben Lars Sylvest’s soundtrack do pleasingly act as mediators throughout, dragging the other disparate elements into a clear time, place and mood. Yet the overriding impression this performance leaves – much like the subject matter of the show itself – is one of misfit: an attempt to bring together two different hearts for glorious joy, yet which ends up flat and, somehow, unfinished. What could have been.

In my book, this is a production that should have worked – it has enough of the right cards (including three great collaborating companies and a fantastic base text) to play a good hand – yet it dithers and dallies its way into such a mediocre result that my only constructive criticism would be to start again from scratch. A commendable concept, poorly executed.

 

Star (blue)Star (blue)

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Reviewer: Steve Griffin (Seen 23 January)

Visit the The Lyceum archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

A Bottle of Wine and Patsy Cline (Rose Theatre: 1-30 Dec ’17)

Posted in 5*, Gilded Balloon, Musical Theatre, Theatre by

“Everything about this production oozes quality”

Editorial Rating: 5 Stars

For the uninitiated (like me), Patsy Cline was an American country music singer who found fame in the late 1950s/early 1960s, and went on to become one of the most influential, successful and acclaimed vocalists of the 20th century. Her life was tragically cut short at the age of 30, and this production represents a fresh (and fitting) celebration of the star and her work as part of Gilded Balloon’s winter programme at the newly revived Rose Theatre.

Created by the team that introduced Doris, Dolly & The Dressing Room Divas to the world at the Fringe in 2015, A Bottle of Wine and Patsy Cline is a hilarious new musical play featuring all the classic songs fans will love. Yet the only wine you’ll see is the free (mini) bottle you get as part of your entry to the show…

Written as a whistle-stop tour of Cline’s short life, Morag Fullerton’s script slickly presents the turning points in her career and personal life, squeezing in the hits, plenty of laughs and a few of the sadder moments along the way. I would have liked to see more detail in some moments and more creative risk taken with the structure of the piece – it’s safe, straightforward biographical narrative ticks along at a consistent pace – but otherwise everything about this production just oozes quality.

Giving Cline new life in this production is local gal Gail Watson: one of the most accomplished performers currently working in Scotland. Not only a supremely talented singer and impressionist in her own right, Watson commands the stage as the title character and delivers a knockout performance, demonstrating stamina and vocal control performers half her age dream of. Her standing ovation is well-deserved.

Watson is more than capably supported throughout the performance by Sandy Nelson and Hannah Jarrett-Scott, who not only play numerous roles between them, but also act as band and backing singers during the musical numbers. Given the teases of brilliance they demonstrate, it’s a shame we don’t get to see more of each and the wonderful cameo roles they play throughout the show.

Beware – some audience members like to sing along with every song. Those who prefer a silent audience may cringe and crush their plastic cups at the thought, but it’s the kind of show where some formalities can be overlooked. In short: you’d be Crazy to miss it!

 

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Reviewer: Steve Griffin (Seen 9 December)

THIS REVIEW HAS NOT BEEN SUBEDITED

The Arabian Nights (Lyceum: 30 Nov ’17-6 Jan ’18)

Posted in 3*, The Lyceum, Theatre by

The Arabian Nights. Photo credit - Tommy Ga-Ken Wan

“Visually stunning”

Editorial Rating: 3 Stars

The Arabian Nights is based on the well-loved book of the same name, and is adapted for stage here by Suhayla El-Bushra. Presented largely as a collection of short stories told by the central character (Scheherazade) in order to impress the Sultan who holds her mother captive, it’s a simple concept that all ages can find something magical in.

And there are several moments of wonderment and enjoyment to be had in the stories, which introduce many fantastical characters and scenarios: from people who get turned into animals, and vice versa; wives who love to shop and spend their husband’s ill-earned money; and, of course, spirits with the ability to grant wishes. El Bushra’s script stays faithful to many of the tales within the book, and also scatters some pleasingly modern references to keep the performance relevant to today’s audiences. A couple of interesting gender-blind casting choices also make for great amusement!

The show is performed by a ten-strong cast of multi-talented actor musicians who variably act, sing, play instruments, do puppetry and create all kinds of magic on stage, and for me it’s Rehanna MacDonald who really stands out as central character Scheherazade. A captivating storyteller: she impresses equally well on a bare stage as when there is a huge box tricks erupting behind her, and it often feels like she is the glue holding everything else together. A special mention also to Humera Syed and Brian James O’Sullivan as the hilarious, musical talking goats – my personal highlight of the show.

Visually, this production is stunning – no mean feat for a show with numerous changes of location, time and mood – yet designer Francis O’Connor’s set manages to achieve a great deal to marvel at, creating a sense of awe throughout.

The main downfall of this production, however, is its length, and therein much of the magic is lost as the performance drags on, with noticeable and frequent dips in quality and clarity with scene after scene after scene. It’s also a shame that for an adaptation of such magical stories, which does impress with its stagecraft at many points, there is such a reliance on actual fart jokes for cheap laughs, while the odd moments of audience interaction throughout the show are so half-baked they’re practically raw.

At times this production is spell-binding, but it’s very hit and miss, so to fully enjoy this bumpy carpet ride adults and kids alike will need to sit tight, listen in, keep up and just go with the flow…

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

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Reviewer: Steve Griffin (Seen 1 December)

Visit the The Lyceum archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Oliver! (Pleasance Theatre: 28 Nov-2 Dec ’17)

Posted in 4*, Musical Theatre, Pleasance, Potterrow & Teviot, Rated: Nae Bad by
1 press

Cast of Oliver! Photo by Andrew Perry.

“FSELRES_382c628d-c6dd-48a3-859b-dfb8d567e430SELRES_d4a5f1dc-f027-48ef-8ada-6aca7f57b286SELRES_d0508c34-80ff-4d1c-9452-b9a4c366ffeaSELRES_007f217a-44d6-4932-8fa1-3d14d5861ee5FFull of EUSOG’s trademark heart and powerful vocalsSELRES_007f217a-44d6-4932-8fa1-3d14d5861ee5SELRES_d0508c34-80ff-4d1c-9452-b9a4c366ffeaSELRES_d4a5f1dc-f027-48ef-8ada-6aca7f57b286SELRES_382c628d-c6dd-48a3-859b-dfb8d567e430“

Editorial Rating: 4 Stars: Nae Bad

Lionel Bart’s classic musical, Oliver! is an iconic story of cruelty, deceit and murder set in Victorian London, and features some of the best-known songs in musical theatre. Edinburgh University Savoy Opera Group (EUSOG) first performed this show in 1988, and almost 30 years on they’re back with a fresh, youthful take on the traditional tale.

While some of the company’s creative and casting choices in this revival absolutely do work in keeping the show relevant to today’s young people, unfortunately others are over-reached and not as well realised. Early on, the choreography and staging seem unnecessarily stompy and frantic, while some of the fight and chase scenes come across as a little under-rehearsed and clumsy.

But let’s start with the positives, of which there are many. In no particular order, Grace Dickson’s Nancy is a real highlight of the show, and her human, emotive rendition of As Long As He Needs Me deservedly gets the biggest cheer of the night. Rebecca Waites shines as Charlie with terrific energy throughout, and Ashleigh More is also excellent as the Artful Dodger, with a commanding stage presence and exquisite voice and physicality. In fact, the whole Consider Yourself scene More leads is the first where everything – choreography, vocals and direction – really falls into place to present the kind of show-stopping number that EUSOG are so good at.

What student productions – and EUSOG in particular – also tend to do very well is unearthing a script’s hidden comedy, especially with smaller characters. In this production, Kirsten Millar stands out as the Sowerberrys’ maid, Charlotte, bringing life and humour to each of her scenes, while Richard Blaquiere gives a hilarious geeky awkwardness to the role of Mr Bumble. Ewan Bruce as Mr Brownlow and Niamh Higgins as Mrs Bedwin also deserve a special mention for bringing a sense of calm maturity and experience to their older characters – a pleasant contrast from the energy of some of the other scenes.

In addition to casting females in some of the other main parts, EUSOG also opt for a female Fagin, which, unfortunately doesn’t prove as successful. Kathryn Salmond certainly gives it her all in this challenging role, though the songs (in particular You’ve Got To Pick A Pocket or Two) are very low in her register, meaning a lot this character’s authority is lost and at times it’s a struggle to follow the dialogue. I almost wish the company had gone one step further to make Fagin a female character to see what dynamic that would bring to proceedings. Yann Davies pleases in the title role with a purity and innocence to his voice, though something about the way this show is put together makes it seem like the character of Oliver is almost a bit part – his presence often gets lost in among everything else going on on stage.

Overall this show is full of EUSOG’s trademark heart and powerful vocals, with some wonderful individual performances, but lacks some polish and pace to be a truly spectacular production.

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Reviewer: Steve Griffin (Seen 29 November)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

 

Hansel and Gretel (Roxy: 9-11 November ’17)

Posted in 3*, Assembly Roxy, Opera by

“A futuristic and fantastical interpretation of the age-old story”

Editorial Rating: 3 Stars

One of the many charms of fairy tales is their enduring relevance, and the Grimm Brother’s Hansel and Gretel is no exception. In their production of Engelbert Humperdinck’s fairly short opera of the same name, Le Petit Verre attempt to present a futuristic and fantastical interpretation of the age-old story, which, while daring and creative, often gets a bit lost in its own figurative forest.

Given its simple set-up and small cast it’s a wise choice of show for this new student company to flex their imagination and demonstrate their talent, and they certainly go all out with intricate theming and design of almost every aspect of the production.

Yet while some of the company’s artistic choices bring a pleasingly modern and relevant twist to proceedings (Hansel’s choreography and overall styling as a street-wise teenager, for example), unfortunately most of the creative elements suffer from a lack of congruence resulting in a rather disjointed production.

The programme notes and opening lyrics of the piece place the action firmly in a modern (potentially post-nuclear war) poverty-stricken household with no food, and where children are left alone to do chores for hours on end. It’s somewhat confusing, then, to see the all performers in glittery costumes with elaborate hair and make-up – and it’s never clear how these two themes are reconciled. The ad hoc appearance of a robotic masked chorus certainly doesn’t ease any of the comprehension.

Musically though, the assembled 40-piece orchestra makes an impressive sound and the singing on the whole is well-matched to the instrumentation, though it’s a shame the lack of microphones prevent the vocals from really being able to soar throughout the production. Patrick Dodd impresses most as the Father with his rich, warming baritone voice, while the rare duet moments between Hansel (Claire Lumsden) and Gretel (Alexandra Elvidge) are delightful to listen to. Hebe James is charming as the Gingerbread Witch and Deborah Holborn brings great characterisation to the role of the Mother.

Underneath all the gloss and glitter of this production there are lots of lovely things going on, and it’s great to see young companies coming through and taking risks with their work. While this one is a little too rough and unready, there are plenty of positives to take away from this debut production, and I look forward to Le Petit Verre’s next show.

 

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Reviewer: Steve Griffin (Seen 11 November)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Love Song to Lavender Menace (Lyceum Studio: 12 – 21 October ’17)

Posted in 4*, The Lyceum, Theatre by
16.(L-R) Matthew McVarish and Pierce Reid. Photo credit - Aly Wight

Matthew McVarish and Pierce Reid. Photo credit – Aly Wight

“A delightful gem of a show”

Editorial Rating: 4 Stars

Bookshops, especially independent ones, often have a comforting and homey feel to them, providing a peaceful sanctuary and hidden paradise of worlds waiting to be explored. Indeed, that’s what Lavender Menace proved to be for many of those that visited it back in the 1980s, as Edinburgh’s foremost seller of LGBT and feminist literature – and that same feeling is what James Ley’s latest play captures in his moving and comical tribute not just to that shop, but to Edinburgh’s gay scene at the time, and the colourful characters that made it.

Set during the night after the shop’s final day’s trading, we meet two of its employees, Glen (Matthew McVarish) and Lewis (Pierce Reid) who spend the night packing away the books, while reminiscing and creating an homage about the place to perform for its founders the next morning. The pair recount how the bookshop came to be, the antics that occurred, and how their own friendship has developed during that time. It’s a simple setup, and while a little lacking in dramatic tension to really drive the piece forward, the stories themselves are easy to engage with, Ros Phillips’ direction keeps everything moving at a decent pace, and there are many laughs to be had throughout the various capers presented.

What’s most delightful about this performance is the vitality and honesty that oozes from its stars Reid and McVarish. The duo are instantly likeable storytellers, while their skill at multi-roling with speed and dexterity must also be applauded. Watching a full-length play with just two actors can sometimes be a bit of a slog, but this one flies by like an evening spent with good friends. Ley’s writing on the whole is very natural, providing some genuinely lovely snapshots of the shop’s history, but it’s Reid and McVarish who really bring those snapshots to life.

It’s a shame the structure of the play goes a little awry in the second half with various seemingly random changes in time, place and character. While such devices work smoothly early on in the production, seamlessly weaving together the different stories, it becomes much harder to follow as the piece progresses. Perhaps something around the hysteria of the characters, who have clearly been up most of the night by this point kicks in, but the tightness of Ley’s writing does unravel somewhat. For me, the love story between the two also seems a little shoe-horned in for dramatic effect, though its resolution is ultimately satisfying.

Overall, this is a delightful gem of a show, which, like a well-loved bookshop, might not be as glossy and polished as the more mainstream ones, but is definitely one I would be happy to visit again.

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

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Reviewer: Steve Griffin (Seen 13 October)

Visit the The Lyceum archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Jury Play (Traverse: 3-7 October ’17)

Posted in 4*, Rated: Outstanding, Theatre, Traverse by

“The fourth wall isn’t so much broken as shattered”

Editorial Rating: 4 Stars: Outstanding

Sometimes the power and excitement of a show begin long before you take your seat, and remain with you for several days after. For Jury Play, a detailed email briefing is circulated in advance of the performance/court appearance, creating intrigue into what the evening will entail: it’s worth saying at this point that this is in no way like your standard trip to the theatre. The excitement only builds as you go through “security”, enter the (optional) ballot to become a jury member, and start to leaf through your court information pack while taking in Emily James’s impressive and sizeable courtroom set.

Yet what, on the surface, appears to be conceived as an interactive courtroom drama, where the prosecution and defence present facts about a given crime and a resolution is reached by the audience/jury, what Jury Play peels away at is what effect the trial process has on individual members of the jury, specifically for trials that last for weeks.

At various points during the trial, voiceovers expressing jury members’ thoughts are overlaid with the action, which include worries about getting children to school, paying bills, what specific legal terms mean, and even staying awake. Snippets of video conversation between writers Dr Jenny Scott and Ben Harrison about the performance also add a pleasingly Brecthian feel and help break up some of the monotony of the trial itself. So far, so so. Everything changes in Act ii, however, when the formal trial is over and the power lies in the jury’s hands. I won’t give away all the spoilers, but I shall simply reveal that organised chaos ensues, and the meat of the piece really comes out as an intelligent, human, and common sense discussion into the way we conduct trials.

When it comes to the performance it is John Betts as Judge who commands the show, and with his hilarious doddery asides and sensitive chairing of the discussion in the second half of the piece, you feel like you’re in his space, and he decides at any given point how comfortable anyone is to feel. Helen Mackay is also excellent as the conscious “everyman” figure Janis, who just wants to do her duty, and the cast as a whole make the performance very accessible: the fourth wall isn’t so much broken as shattered, with a piece of it distributed to each and every person in the room.

For me, though perhaps a reflection on the subject matter it discusses, Scott and Harrison’s script is too laboured and lengthy at points – missing some crucial details to aid comprehension in the first half, and dragging out its point in the second. The ending, while interesting and fitting stylistically with the piece, also feels like a bit of a cop-out and rather abrupt – as if the ideas just ran out at that point and there was nowhere else to go.

Overall this is a fascinating insight into the legal system, what it’s like to be a jury member, and how seemingly unfit for purpose the whole setup is – especially for people like me who have very little knowledge of its intricacies. Jury Play is absolutely worth taking part in, if there’s any room left in the public gallery.

 

outstanding

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Reviewer: Steve Griffin (Seen 5 October)

Visit the Traverse archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Fag/Stag (Underbelly, Cowgate: 3-27th Aug: 16.00: 60mins)

Posted in 4*, EdFestivals, EdFestivals 2017, Plus 3 2017 - Reviews, Theatre, Underbelly by

“A triumph… top marks”

Editorial Rating: 5 Stars

When it comes to producing good theatre, sometimes the most simple ideas are the most effective. Fag/Stag is a case in point. It follows the lives of two best friends (Corgan and Jimmy) in the run up to a mutual friend (and former crush)’s wedding and is staged with just two actors – each playing one of the friends – and two stools, plus a couple of token props to help set specific scenes. What unravels is an absolute masterclass in story-telling, from both the written and performed perspective.

While structured as two interweaving monologues, the script contains clever overlaps allowing both characters to present their respective accounts of specific incidents: often to humorous effect, (tempering self-indulgent exaggerations) yet sometimes to fill in poignant details the other may have been too ashamed of (or drunk) to share.

And therein lies the power of this piece – the frankness of story-telling. We get to see the full picture of both characters’ insecurities and weaknesses, either from their own mouth or from the mouth of their friend, which means we get to know and empathise with them very quickly. It’s both comfortable and compelling to watch.

What’s most touching about this performance is how it beautifully and understatedly presents a relationship not often seen on stage – a straight man, Corgan (Chris Isaacs), and his gay best friend Jimmy (Jeffrey Jay Fowler). Theirs is evidently a true and caring friendship, with late night emergency calls to rescue each other from sticky situations, an ease with they can talk about really personal issues, and a bluntness in dealing with each others’ misdemeanours head on-on. Their differing perspectives on specific situations is often amusing, but what comes across most emphatically is the importance of sticking up for your buddy, whoever they are.

The plot itself sees Jimmy try and come to terms with his break-up with his long-term partner, and Corgan’s attempt to deal with the fact his former love is marrying another man. It’s fairly emotive in parts, with longer monologues drilling down into details and feelings, yet performed with the vibrancy and sensitivity required to keep it captivating throughout. There are also plenty of laughs to be had, most notably regarding a certain scent of air freshener referred to on multiple occasions

By keeping the design and direction very simple throughout this piece, The Last Great Hunt allow the story and quality of acting to really shine through. This really is a triumph in getting the basics of a show absolutely right, and many other companies can learn from this production. Top marks.

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

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Reviewer: Steve Griffin (Seen 24 August)

THIS REVIEW HAS NOT BEEN SUBEDITED