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

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

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

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.

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Reviewer: Steve Griffin (Seen 22 August)

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23Aug2015

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

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

“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.

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Reviewer: Steve Griffin (Seen 22 August)

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22Aug2015

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

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

“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.

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Reviewer: Steve Griffin (Seen 20 August)

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19Aug2015

Waitless (Greenside @ Royal Terrace: 9 – 22 Aug : 15:00 : 55 mins)

Posted in *Ratings, 4*, EdFestivals 2015, Greenside, Rated: Nae Bad, Theatre by Jacob Close

“Sometimes wry, sometimes touching and constantly captivating”

Editorial Rating: 4 Stars Nae Bad

If forced to choose a combination of seemingly innocuous words which form something terrible when combined, my first would probably be “flavoured toilet brush” – in a very close second, however, would be “long distance relationship”. They’re frustrating, tense and more often than not leave you utterly unsatisfied with the way you’re spending your time – it’s a great pleasure, then, that Cailin Harrison’s “Waitless” summons up completely opposite feelings thrown up.

Focusing on the lives of New York newlyweds Shelly and Trent, the show largely follows the former’s fraught journey of self-realisation as she struggles with the loss of identity that comes with both expatriation and the changing nature of her marriage.

Although Jessica Moreno and Andrew Boyle are the only two on stage, you’d be forgiven for thinking otherwise. Boyle’s skill with rapid, crisp and amusing character shifts are an absolute joy to watch – several times writing this review, I had to mentally check there were only two actors involved.

And as the leading lady, Moreno utterly steals the show with her raw energy and stage presence: she could be reading the shipping forecast and still hold an audience’s attention. The nature of Shelly’s character would be difficult to pull off for any actress, but Moreno manages to be endearingly gregarious without it ever becoming irritating or unneededly fake.

It’s clear from the outset that these are two very versatile, very impressive actors: both in terms of their individual talents and onstage chemistry.

However, the energy that makes this show shine also threatens to burn: some of the more poignant moments felt slightly muddled in, simply because there was seldom any moment of slowness to fully appreciate Harrison’s dramatic turns. And although appropriately bittersweet, the ending left me somewhat wanting. Take it as a sign of the show’s knack for characters, but I felt the story lacked closure. Perhaps that’s the nature of the beast, as anyone who has suffered through the British visa system will tell you, but I was nevertheless disappointed that the final curves of Shelly’s character arc seemed to be cut short.

At the end of the day, though, there’s no avoiding that this is a very good show indeed. Sometimes wry, sometimes touching and constantly captivating, Waitless is worthy of heavy praise.

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Reviewer: Jacob Close (Seen 17 August)

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19Aug2015

Qyeen SweeTs: NorthernXposure (The Stand, 18 – 30 Aug : 22.40 : 1hr)

Posted in 3*, EdFestivals 2015, Stand-Up, The Stand by Steve Griffin

“A clever balance between physicality, language and accent”

Editorial Rating: 3 Stars

This show is part stand-up, part forthright declaration about feminism and heritage, and part mish-mash of the two. The comedy sections were generally well delivered and funny, the ranting clear and powerful, if somewhat serious, while all the bits in the middle were neither one nor the other, so it was difficult to know whether I was supposed to be finding them funny or not.

There were elements of the show which were particularly enjoyable, and to me where SweeTs strengths, are in the stylistic imitation of the various characters in her story. In particular “lassie” – the well-spoken lady from London, and her other interrogators on her visit. She used a clever balance between physicality, language and accent to make her characters at once recognisable and human.

Indeed, the parts of the set which focussed on storytelling (tales of her recent trip to London and recounts of her school days) were the easiest parts to follow and interweave jokes and caricatures. SweetYs excels at honing in on key moments and delivering one liners deadpan irony, while her selective repetition of some lines in her stories, each time delivered with a slightly different emphasis to show the thought process were also very amusing. We all know that sometimes if you say something more than once it might make more sense, and this idea SweetYs explores with great success.

What I was most disappointed in and let down by about this show was its climax. When referring to her encounter in London she loudly and proudly declared to her gathered audience that she was indeed the only female African Scottish rapper, and was prepared to do a rap to any beat she was given to prove that yes, she did rap. So that was when the beat kicked in, and I was expecting some lyric spitting of a very high calibre. Unfortunately, what followed was a rather measly few lines as a chorus and a lot of pregnant pauses filled with strutting around the stage and trying to get the audience to clap along.

Like much of the show, I couldn’t tell if this was an ironic moment, or a genuine attempt at rapping. Either way, the impact was lost and this turned into a bit of a downer on what otherwise was quite a promising performance.

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Reviewer: Steve Griffin (Seen 18 August)

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19Aug2015

Unexpected Excesses (Edinburgh Drawing School Gallery : 9 -30 Aug : from 11am)

Posted in 5*, EdFestivals 2015, Exhibitions, Other, Rated: Outstanding by Steve Griffin

“Prepare to be dazzled”

Editorial Rating: 5 Stars: Outstanding

Walking through the doorway into Unexpected Excesses (an exhibition of work from Jan Knibbs and Lizz Watts), my immediate impression was a riot of colour, texture and form. However, thankfully Watts was there to guide us through the collection and how it was created.

One of the most striking pieces, a framed collage called The Return, juxtaposes broken ceramic teapots with papier mache flowers, which appear to grow from the ground in which the pottery has fallen, representing the circle of life. It was full of vibrancy and energy, and a great example of the vivid style of the work on show.

In talking to Watts about her pieces, she revealed that she likes her work to develop organically. She may start off with an idea but at some point it develops a life of its own, and many pieces tell a story. A favorite theme is nature and the changing seasons. A particularly impressive vase with a group of swans’ necks curving from the lip was always intended to be connected to swans thematically, but the final form they took in the piece was completely organic and unplanned. There are certainly no two pieces alike.

The clothes, hats, shoes and other gloriously opulent and embroidered textiles by Jan Knibbs were displayed on mannequins and elsewhere scattered through the exhibition, the effect combining gracefully with the ceramics.The philosophy behind both the textile and ceramic creations is concerned with practicality as well as being stunning to look at: the clothes and shoes are wearable, the bowls and vases usable.

What really makes this exhibition special is that it is both interactive and experiential. Not only are visitors able to talk to the artists but they are also positively encouraged to handle the pieces, feel them and examine them closely. In doing this it can be a pleasant surprise to find a continuation of the decorative motif on the inside or throughout pieces, as well just on the surface. On top of this, when I visited, a harpist (Bianca Watts) appeared and played for us to give an added layer of decadence, and I was lucky enough to be given a glass of Prosecco to enrich my Sunday afternoon with further “unexpected excess”. If that weren’t enough, visitors are invited to contribute a few lines to a daily poem, started by poet in residence Dawn Gorman, in order to really become part of the work.

As one might expect, this exhibition is an extravagant, beautiful and seemingly chaotic collection of work. Yet there was a real cohesion to it – the ceramics complemented the textiles, and all the added extras fit perfectly into the overall theme. On close examination there were many hidden treasures: ribbons at the back of dresses, decoration inside pots, and lots of small details that made me want to keep examining every piece further. The atmosphere in the room was intimate and relaxed without feeling stuffy or overpowering.

This exhibition is called Unexpected Excesses, and it’s easy to understand that some visitors may see the room, and indeed some of the pieces in it, as too much, too ornate, a gilded lily. But whether it’s your personal taste or not, it’s definitely worth experiencing. There is a varied programme of guest artists and things going on, from poetry to music, as well the incredible art on display. Check the programme before planning your visit, or just turn up and prepare to be dazzled.

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Reviewer: Steve Griffin (Seen 16 August)

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Photo credits: Bill Johnston

18Aug2015

To Kill A Machine (ZOO, 7 – 31 Aug : 20.55 : 1hr)

Posted in 4*, EdFestivals 2015, Other, Rated: Outstanding, Theatre, ZOO by Steve Griffin

“One of the finest acting performances I have ever seen at the Fringe”

Editorial Rating: 4 Stars: Outstanding

In a year that has seen Alan Turing receive an official royal pardon and a blockbuster film about his achievements, it seems somewhat surprising that there aren’t more shows at this year’s Fringe about him. However, this work from Welsh company Scriptography Productions is absolutely sensational, and features on of the finest acting performances I have ever seen on the Fringe.

The play starts with Turing as a schoolboy, and goes on to show his first love, his work at Bletchley, and the relationship that would see him found guilty of gross indecency. It’s certainly not afraid to be bold, and at times brutal, focussing primarily on Turing’s sexual identity and personal life.

Turing himself is played by Gwydion Rhys, who brings so much emotional depth, softness and realism to this disturbed character that I genuinely wanted to jump on stage and stand in the way of him being chemically castrated in the play’s final scene. It’s a controlled and commanding performance without ever being over the top, and well worthy of a Fringe award. The supporting cast of Rick Yale, Francois Pandolfo and Robert Harper, who between them play 14 characters, also deliver highly commendable performances.

The production moves at quite a fast pace, but it’s the moments of stillness and sensitivity, which to me were the most powerful. In particular, watching Turing’s mind whir as he develops his theory for the first computer, and his damning confession and inability to lie while in the witness box are utterly compelling.

While I wasn’t 100% convinced by snippets of the high energy quiz show scattered throughout, which posed questions to reflect theories developed by Turing, these sections did serve as a stark Brechtian contrast and awakening to his manipulation and ultimate downfall. I would have liked to have seen a closer integration between these sections and the genuine interrogation he received in the courtroom to really complete the circle of that idea.

It was also disappointing for me that this show was only an hour long, I could easily have stayed engaged for two, and would have welcomed more exploration into some of the other themes – gender identity, machines vs humans, and more cultural context of the period of his life. In saying that, for the length it was, I think it was written and structured excellently, with an engrossing narrative and compelling action. This show is a must-see.

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Reviewer: Steve Griffin (Seen 17 August)

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17Aug2015

The Bakewell Bake Off: A New Musical (C, 5 – 22 Aug : 17.00 : 1hr 10 mins)

Posted in 3*, C Venues, EdFestivals 2015, Musical Theatre, Rated: Nae Bad by Steve Griffin

“A sweet, easy-to-watch crowd pleaser”

Editorial Rating: 3 Stars: Nae Bad

It was only a matter of time before a GBBO-themed show made it to the Fringe, and this one has all the necessary ingredients for a sweet, easy-to-watch crowd pleaser.

The plot is exactly what you would expect – an eclectic group of wannabe bakers pit their culinary skills against each other to please three ultra-competitive judges and be crowned Bakewell’s best baker. There are some interesting characters and relationships, including a cross-dresser, a nun, a woman obsessed with Christmas, an Asian doctor (who becomes the subject of some racist abuse), and it’s all hosted by the very talkative yet incredibly likeable hostess called Victoria Sponge.

The script is full of wonderful baking-related puns: from characters whose names include, Tina Tartan and Henrietta Apfelstrudel, to a nun’s “Desecrated Coconut” cake, which tickled me the most. Indeed the writing is clever throughout the piece with lots of quips and wordplay to keep the audience amused, even if the narrative itself is pretty thin.

For me Sophie Forster as catty judge Griselda Pratt-Dewhurst delivered the best comic performance with an array of scathing put downs, while rival judge Hugh Dripp, played George Rexstrew, commanded the stage with great presence and energy.

Overall the singing was good, but at its best in the choral numbers. One can’t be too critical of sound levels of a student production in the Fringe space – the soloists did as best they could and with a full band and microphones I am sure they would have dazzled. This was most evident in gospel number Bake Your Way to Heaven, where I was longing for Imogen Coutts’s vocals to soar above the rousing backing singers. Alas, a commendable effort.

The choreography was perhaps more impressive, with a great range of routines for the varied musical numbers, all delivered deftly and with great energy. My favourite was the tango to the cleverly named “The Original Bakewell Tart”, which was performed with great finesse.

At an hour and 10 minutes this show is a decent length, although I feel that one or two of the characters could have been sacrificed to allow us to get to know the others better and build up more tension between them. There was a lovely moment towards the end between Freddie Twist (Charlie Keable) and Susie Sunflower (Ros Bell), who formed a very believable romance throughout the competition, and more layers like this would help turn this show from being good into really great.

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Reviewer: Steve Griffin (Seen 16 August)

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17Aug2015

An Improvised Murder (New Waverley Arches, 16 – 22 Aug : 20:00 : 1hr)

Posted in 3*, EdFestivals 2015, Other, Theatre by Steve Griffin

“It felt like a real murder mystery”

Editorial Rating: 3 Stars

One can’t really walk for more than five minutes through Edinburgh’s old town in August without someone trying to get you to see something improvised. From musicals to films, Jane Austen to Dickens: you name it, a troupe of overly excited students will improvise it. However I thought I’d see my first “unique” show of the year in a genre I haven’t yet experienced – an improvised murder mystery.

The improvisation follows a familiar formula: a facilitator gathers ideas and directions from the audience as a basis for the players to act out a show. Why? The facilitator needs help to pitch a last minute script to an imaginary producer, and the improvisation will become that script. You’ll follow…

Our show, thanks to audience suggestions, was to be set in a bank in Tyneside, and the troupe got to it right away with barely a moment’s thought. It was a bit of a slow burner to start with as the players established characters and relationships, but when the imaginary producer called to interrupt the action, new suggestions were given to the actors by the facilitator and off we went again.

I was pleasantly surprised at how the group managed to build tension and possible motives for murder following the first interruption. From exposing fraudulent financial activity, to the old favourite of spurned and jealous lovers, it wasn’t long before it felt like a real murder mystery.

As the audience we get to pick who gets killed half way through, and we’re then able to quiz each player with any question we choose, which they answer on the spot. This section was great as we could directly engage with the characters, and I was able to forget that I was watching a completely improvised show.

While it’s a shame that not every suggestion we made was accepted, and that one player had to spend the majority of the show with a pig attached to his leg (not my idea…), the developments and twists did generally turn the drama up a notch, so it was good to have a facilitator adept at knowing when changes need to be made.

It wasn’t perfect though: players at times forgot which accent they were supposed to be doing and occasionally even what their own names were. However, it was certainly a nice change from other improvised shows out there and a very promising Edinburgh debut from Foghorn Improv. As the run goes on and the players get more into the swing of things, I’m sure they’ll shake off these basic errors.

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Reviewer: Steve Griffin (Seen 16 August)

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16Aug2015

Smother (ZOO, 7 – 22 Aug : 18.40 : 55 mins)

Posted in 5*, Dance, EdFestivals 2015, ZOO by Steve Griffin

“The choreography throughout is outstanding”

Editorial Rating: 5 Stars

Smother is a dance piece that loosely covers the theme of relationships, in particular those among gay people. It’s not overtly “gay though”, and doesn’t lose itself in stereotypes, making it very accessible to a wider audience. What is more prominent is just how two people can meet, fall in love, and be affected by an affair, regardless of gender or sexual orientation.

The choreography throughout is outstanding, from a full-on hip hop opening number, to more sensuous contemporary sections it explores the party lifestyle, expectation, friendship, infidelity and intimacy. There is a great balance between the big unison group numbers and the more emotive solos and duo sections, while one dancer’s frustration to find anybody to love is made all the more powerful by the constant ignoring of her plight of the performers who walk past her time and again.

Particular highlights include an example of the first awkward encounter in the bedroom getting tangled up in one’s clothes, through to the very emotive trio at the end of the piece, showing how a lover comes between the lead couple to drive them apart. Canon is used very effectively throughout the piece (with one dancer often doing the reverse of their partner), and is powerful enough to show similar thinking, but an ability to communicate it directly.

For a high octane dance piece, performed by a troupe of incredibly lithe and athletic young dancers, it’s also very mature. The overt sexual movements are kept to a minimum, while everyone stays, for the most part, fully clothed. The power comes from engagement between the dancers – their synchronicity (or otherwise) and proximity to one another is enough to show how close they are emotionally and sexually. It’s balanced, detailed and very relatable.

While it’s not quite as hip-hop throughout as the billing suggests (the music perhaps a stronger influence than the choreographic style), the dancers are just as talented at the fast pops and locks as they are with the leaps and lifts in the more contemporary sections. Speaking of the music, it’s a generally a very modern and young selection, at times very lyrically overt, perhaps to aid the narrative, but very effective all the same.

A very impressive full length debut from 201 Dance Company.

Reviewer: Steve Griffin (Seen 15 August)

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Category Archives: EdFestivals 2015

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

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

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

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

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

“An all guns blazing comedy rampage”

Waitless (Greenside @ Royal Terrace: 9 – 22 Aug : 15:00 : 55 mins)

“Sometimes wry, sometimes touching and constantly captivating”

Qyeen SweeTs: NorthernXposure (The Stand, 18 – 30 Aug : 22.40 : 1hr)

“A clever balance between physicality, language and accent”

Unexpected Excesses (Edinburgh Drawing School Gallery : 9 -30 Aug : from 11am)

“Prepare to be dazzled”

To Kill A Machine (ZOO, 7 – 31 Aug : 20.55 : 1hr)

“One of the finest acting performances I have ever seen at the Fringe”

The Bakewell Bake Off: A New Musical (C, 5 – 22 Aug : 17.00 : 1hr 10 mins)

“A sweet, easy-to-watch crowd pleaser”

An Improvised Murder (New Waverley Arches, 16 – 22 Aug : 20:00 : 1hr)

“It felt like a real murder mystery”

Smother (ZOO, 7 – 22 Aug : 18.40 : 55 mins)

“The choreography throughout is outstanding”