Category Archives: EdFestivals 2015

All our coverage from the 2015 festivals.

What I learned from Johnny Bevan (Summerhall, 7 – 30 Aug : 16.55 : 1hr)

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

“A simple story, powerfully written, mesmerisingly performed”

Editorial Rating: 5 Stars: Outstanding

Sometimes I feel I should just give up. I see a show like this that makes me think theatre can’t get any better, so why should I bother going to see anything else? This absolute gem of a show, performed in a tucked away little room at an old veterinary college, is exactly why I keep coming back.

The story follows Nick, a young man from a wealthy background, who is desperate to shake off his family shackles and cultural expectations and discover his own identity at university. There he meets Johnny Bevan – the intelligent, bohemian philosopher from a council estate who opens up that new world Nick has been looking for. And while their initial connection is electric, years later when the two meet again, can Nick save Johnny from the tortured soul he’s become, or does Nick actually need saving from his consumerist lifestyle as a writer in London?

The writing of this piece is some of the best I have ever come across. Part poem, part epic monologue, it oozes style and professionalism, while sounding completely natural when performed. The story arch is perfectly framed, and never once feels indulgent or rushed. Every word is carefully selected to portray character and develop the story, with rhythm and selected rhyming that make it very easy to connect with. My favourite line was when Nick described going to meet Johnny “over lentil-based cuisine”, while some of the digs and views on modern society are captured with terrifying accuracy and wit.

The writing would mean very little, however, were it not for the incredibly emotive and gutsy performance from Luke Wright. He captures Nick’s naive early years, his coming-of-age at university with Johnny, and perhaps most mesmerisingly of all, his look back at the those touching moments and unhappiness with who he has become. Throughout the piece he talks directly to the audience, often very up close, which really engages and brings a sense of honesty to the piece. At select moments he looks back the the projected backdrop in reflection or shame, while his physicality captures every nuance of the characters and situations being presented. It is a truly masterful performance.

The technical aspects of the show are simple, but perfectly sympathetic with the script and style with which it is performed. Hand drawn images projected onto the backdrop show the setting of each scene, while subtle changes in lighting accentuate the mood perfectly. Anything more would detract from the piece’s overall power.

This is a simple story that is powerfully written and mesmerisingly performed – I cannot recommend it highly enough.

 

outstanding

StarStarStarStarStar

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Reviewer: Steve Griffin (Seen 15 August)

Visit the Summerhall  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Poetry Can F*ck Off (Summerhall, 14 – 22 Aug : 15.30 : 55 mins)

Posted in 2*, EdFestivals 2015, Spoken Word, Summerhall by

“The idea and thinking behind this piece is great”

Editorial Rating: 2 Stars

Possibly the most ironic title of the Fringe this year, this show is, in essence, a very one-sided performance essay about exactly why poetry shouldn’t “f*ck off”. I use the word “essay” deliberately, as it is scripted very much like one, making statements about the power of poetry, giving quotes from poems in different times and cultures to back these up, and assessing the impact these poets and their readers have made in each instance.

While the idea is commendable and shows a lot of well thought-out research, as a performance it didn’t really work. The piece was delivered incredibly quickly and it was difficult to keep up with all the different examples that they all became lost in one another, while I spent the whole show waiting for a counter-argument to balance out the very liberal and pro-poetry point of view.

However, what I found most irritating about this performance was the very overused technique of repetition to emphasise a specific point. It seemed that almost every thirty seconds one actor would say a line, only to have the others repeat the last few words like some sort of robotic echo, or for three performers to simply repeat the line three times. It got very tired very quickly, while at some points it also got a bit shouty, contradicting the notion of this being an intelligent and mature piece.

With four performers on stage doing the “reading”, an additional musician was used to add rhythm and dynamic to the performance throughout. The playing was impressive, and kept the piece moving with variations in mood according to specific anecdotes. However, the music did little to alleviate the sense of non-stop pounding this show delivered, as there wasn’t enough variation in tempo or dynamic to break the monotony of delivery.

In saying all that, I admit I may have missed the point somewhere along the line, and this piece’s intentional styling may be a metaphor for a bigger message. Overall I think the idea and thinking behind this piece is great, but the form and delivery of it leave a lot to be desired – it seemed so wrapped up in making a statement that it neglected a lot of the basics of good performance.

 

Star (blue)Star (blue)

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Reviewer: Steve Griffin (Seen 15 August)

Visit the Summerhall archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

TES (Underbelly, George Square : 5 – 31 Aug : 13.15 : 1hr 15 mins)

Posted in 4*, EdFestivals 2015, Spoken Word, Theatre, Underbelly by

“Fantastic… exactly what the Fringe is all about.”

Editorial Rating: 4 Stars

Tess of the D’urbervilles reimagined in modern times. With a male hero. Set on a Newcastle council estate. Performed by one person. Oh, and it’s performance poetry. What could possibly go wrong?

You’ve got to take your hat off to writer and performer Steve Larkin just for the idea. It sounds daft, but TES is actually a very compelling story, that interprets enough of the original to make it easy to follow, but without going overboard by trying to shoehorn in every last detail. It’s stylish, it’s quirky, and the issues covered are bang up to date for an audience in 2015.

The show follows the story of Joe Taggart, who, we find out, is a descendent of Lord Byron. As part of a special programme in his school (he’s 14 when the show starts), he gets assigned a new English teacher, the alluring Alice Prycer-Fox, who encourages him to write poetry. However, after a dramatic liaison with her, he finds himself in prison and years later is having to rebuild his life as “Terry” in Leeds. We see Terry’s rise in fortune as a performance poet, and how he develops a relationship with a girl he meets at a recruitment agency. Of course, as this is a Hardy adaptation there are more twists and turns, and an unfortunate ending, but it’s a gripping story and deftly delivered.

It’s written with a real sense of rhythm, and its poetic nature (though not overt) gives it a sense of being a fairytale and having a moral tale. Indeed, many cultural quips and comments on consumerist society are well-placed and go to show the level of intelligence and care with which this piece is constructed.

While the writing is powerful, one of the real strengths of this show is Larkin’s energy as a performer, and his ability to jump between characters and create moods and tension very quickly. He excels further in the sections where, as Terry, he performs his original performance poetry, even getting the audience involved to chant along some lines with him. Larkin is in his element in these sections and commands the stage and the audience’s attention.

My only criticism was that it seemed a little rough around the edges – there could have been starker contrasts between some of the characters, while I also would have liked a slightly more impactful climax. Overall though, a fantastic risk-taking offering, and to me this kind of show is exactly what the Fringe is all about.

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

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Reviewer: Steve Griffin (Seen 15 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

Correction (ZOO Southside, 11- 19 Aug : 20.15 : 55mins)

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

“Very well developed and powerful, with bags of personality”

Editorial Rating: 4 Stars: Outstanding

There are times that I feel like I’ve seen everything there is to see in contemporary dance, but Czech company VerTeDance showed me that originality is still very much alive and well with new piece Correction. The show begins with seven dancers in a neat row on stage, arm’s length apart from each other. And that’s where they stay for the entire performance. Honestly.

Such a bold, simple approach reminded me of the founders of the Judson Church contemporary dance movement in the 1960s, pushing those very same boundaries and asking the question “what is dance?”. While there’s certainly movement and music, the seven performers are literally glued to the floor throughout the piece and don’t take a single step.

Despite the seemingly constraining concept, it’s actually a very well developed and powerful piece, with bags of personality, tension and progression from beginning to end. In the opening moments the dancers look around and become aware of their space and own being. It’s a slow and subtle start, and like many pieces I’ve seen before, but then the fun begins. One dancer turns to poke the next, who reacts by tipping slightly from side to side before coming back to standing. Then they poke the next, and so on. Before long there’s lots of poking, lots of tipping and chaos ensues.

After a brief musical interlude, the next iteration of movement involves the dancers falling over, while still having their feet stuck to the ground. It’s thoroughly enjoyable to watch them struggle back up to standing, with hilarious, unimpressed reactions from their fellow dancers. As this section developed, some of the body contortions and balances made were simply astonishing, and at times seemed to defy gravity.

The action soon moves onto a sort of fight scene, with dancers pushing and shoving and bending and falling in all directions. There are several repeated sequences in this section of the dance, which speed up and becomes more frantic, before a moment of stillness. This section is very impressive and controlled, showing great skill and dexterity to make all the shapes and supporting positions for each move. The final sequence is somewhat unexpected, but adds a new dimension and feeling to the work.

Throughout the piece music is provided by Clarinet Factory, a four-piece clarinet group who move forward and back creating incredible atmosphere with their instruments to support the action. It’s not something you see every day, but in a bizarre kind of way it really works.

This is one of those pieces you’ll be talking and thinking about well after you’ve left the auditorium, and really is worthy of being seen to be believed.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 2 October)

THIS REVIEW HAS NOT BEEN SUBEDITED

RENT (Greenside @ Nicolson Square, 7- 30 Aug : 22.00 : 2hr 30 mins)

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

“A masterclass in simplicity and stunning individual performances”

Editorial Rating: 3 Stars: Nae Bad

RENT is one of my absolute favourite musicals, and I was very excited to see a full length version of it at the year’s Fringe. I’ve seen it many times in many guises, and this one offered a fresh approach, performed on a thrust stage for a more immersive experience. In some ways this interpretation packed real musical theatre punch, but unfortunately it fell flat in others.

In many ways this was a production of two halves. The first half, on the whole, was somewhat mediocre, with a few missed notes, some questionable staging (particularly in the support group scenes) and some rather “wooden” performances – Today 4 U in particular seemed a bit awkward and forced. Yet something completely flipped in the second half, and apart from the death scene that really should have been cut, it was a masterclass in both simplicity and stunning individual performances.

What I felt often held the show back was a real sense of grit and connection with the material – the opening number about the horrors of being made homeless seemed to be more mildly annoying to the actors rather than traumatic; while some of the dancing seemed clumsy and could have been sacrificed in favour of a simpler, stripped back approach. Perhaps I’m being harsh, but given how spectacular the second half was in comparison to the first, it’s clear that this company does have the ability to dazzle.

I must highlight this performance’s real triumphs. La Vie Boheme/I Should Tell you was a very powerful ensemble number and arrangement, with a genuine sense of life and passion that had been missing up until that point. In the second half, the duet Take Me or Leave Me was both incredibly staged and incredibly sung with intense grit and emotion, while the funeral scene was the stand out moment of the show. Performed with heart-wrenching rawness, it is one of the best versions of this section of the show that I have ever seen.

Rob Young as Collins was stunning throughout, with a smooth and souly voice, layered with emotion and depth. Hannah Simpson as Maureen was also very impressive, with an original take on the “drama queen”, making her cheeky and very likeable, while also delivering with a stunning vocal performance. Special mention should also go to Stephanie Marie Napier as Mimi, who struggled slightly on the higher notes in Take Me Out, but delivered all of her other songs with real gusto.

Overall, this is a very commendable effort from New Horizons Theatre Company, with some very exciting stand out moments. I hope to see them back at the Fringe next year with an even more impressive production.

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 14 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

My Name Is… (Summerhall, 13 – 30 Aug: 19:25 : 1hr 20mins)

Posted in 5*, EdFestivals 2015, Rated: Unrated, Summerhall by

“Striking, thought-provoking and immensely entertaining”

Editorial Rating:  5 Stars Outstanding

Plays based around well-known news stories are always a thorny matter. Based on the headline story from 2006, “My Name is…” tells of a family torn apart, and the struggles of identity which come from broken marriages. It would have been very easy for this play to take sides, especially given the venue, but what results is one of the most nuanced, balanced plays I’ve ever seen. “My Name Is…” considers the problems of split cultural identity and family dissonance with such multi-angled consideration that it wouldn’t look out of place in an academic study. This is a show which is as compelling as it is thought provoking, and one of the few which left me feeling humbled after it had ended.

Telling a story from two distinct perspectives, “My Name Is…” tackles the problems both with the skewing of information by the media and the apparent schism between secular European and Islamic standards of living – and, as easy as it could have been to the contrary, giving both an equal share of good and bad. This is a measured, well thought out production – one which mimics reality far better than the news reports upon which is is based. Sudha Bhuchar has created a script which simultaneously pulls no punches and leaves no stone unturned, telling an already intriguing story from every angle possible.

But the show would have been nothing without its extremely talented trio of actors. Ahmed, Bartke and MacDonald should all be commended for their performances, which reflected such realism and subtlety that I often forgot I was watching a play at all. Their emotions, their physicality, their delivery – all of it was so raw, and laid claim to such substance, that they not only acted the part, they became the part. These are undeniably talented performers, and they should all be proud of what they accomplished on the small Summerhall stage.

Combined with a cleverly put-together set, minimal-yet-effective lighting and a script which weaves multiple dialogues together like a verbal dance, “My Name Is…” was one of the most striking, thought-provoking and immensely entertaining shows I’ve seen at Fringe yet. This is one of those rare productions I wish everyone could see: one which approaches polarising subjects with sensitivity, nuance and tact, whilst retaining a thrilling degree of entertainment.

Absolutely bloody excellent.

outstanding

StarStarStarStarStar

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Reviewer: Jacob Close (Seen 13 August)

Visit the Summerhall  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

The Art of Reduction and the Distillation of Humanity (Jenners: Aug. 19, 21 – 23, 25 – 26, 28 – 29 : 1hr 30m)

Posted in 4*, EdFestivals 2015, Events, Other, Rated: Nae Bad by
Picture of Delta flag & anorak. John Mark Di Ciacca.

Picture of Delta flag & anorak. John Mark Di Ciacca.

” .. Choice flavours, like custard creams and Fisherman’s Friend, and choice knowledge ..”

Editorial Rating:  4 Stars: Nae Bad

For a start that’s a crafted title. If you know your whisky making, you might think ‘Angel’s Share’, but precious little escapes the ken of the Whisky Anorak. Take naval flags, for example. If you’re out in a dinghy in the Firth, would you recognise the signal flag ‘Delta’? Me neither. Well, set a course for the old Board Room at Jenner’s and drink your fill of select knowledge, chased down by some very distinctive whiskies. You’ll leave it a happier and wiser person.

OK, it’s a fun history lesson of the 20th Century with three drams –  a mellow Spoken Word event rather than ‘Theatre’, but so what? It’s clear, easy-going, and I learnt good stuff. Next time you nose a whisky, hold the glass to one nostril and then to the other one. Sensational! What’s the connection between the Monarch of the Glen – the painting of 1851 – and the 1967 album cover of the Beatles’ ‘Sgt. Pepper’s Lonely Hearts Club Band’? What did the ‘Right Spirit Boys’ use for a cricket bat in 1930? And, your last snifter, what was the CIA’s Project MKUltra all about?

John Mark Di Ciacca is the Whisky Anorak. He has years of experience in the drinks trade behind him and tells us all the answers over the course of ninety minutes. He talks, he uses a PowerPoint slideshow throughout, and he has significant objects: books, bottles, art works, album covers – all over the front of the oak panelled Board Room. It’s a smallish space, with room for ten to twelve, comfortably seated at two nicely dressed long tables with three spotless Glencairn glasses (with tasting caps) at each cover. A teaspoon is to hand to add water – not too much! – and you do need it with the 56.3% Dalmore …

I’m sure there is ‘structure’ to an excellent whisky. John Mark did not use the word but he does use the drink(s) to assemble his talk. Three bottles, three time periods: 1850s to the early 1900s; the 1920s – just consider the effect of Prohibition in the USA upon the whisky business – through to the 1950s; and then from the Cold War to the Internet and beyond. His theme is the liminal, tracing the development of a counter culture whose markers are just visible at the edge of school history books. To take one example: dazzle camouflage from the 1914 -18 war links to Aldous Huxley’s mescaline-induced ‘The Doors of Perception’ (1954) that in turn opens up to ‘The Doors’ (1968) on the tripping West Coast scene in a summer of love.

In-between times, and the lesson dragged just a tad during the 1960s, we enjoyed our whisky tasting and John Mark offered some choice flavours, like custard creams and Fisherman’s Friend, and choice knowledge of old bottle effect and of casks and ‘finishing’.

Where have we got to? Well, the whisky trade has boomed and bust and boomed again, from the Blend to the Single Malt to ‘maybe a product that has lost its way’ where a Dalmore 19 year old ‘Constellation’ bottle can be yours for around £11,000. And as far as the moral story of humanity is concerned, John Mark is a Trekkie, confessing that “The Federation is the way forward.”

That Delta question? Here’s the answer: ‘Keep clear of me; I am manoeuvering with difficulty.” Neat.

nae bad_blue

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

Reviewer: Alan Brown (Seen 13 August)

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John Robertson – The Dark Room: Symphony of a Floating Head (Underbelly Cowgate, 6-30 Aug : 20.40 : 1hr)

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

“Oddly enjoyable”

Editorial Rating: 4 Stars

I’m a child of the 80s, and I’ll admit I had never heard of cult video game A Dark Room before I went along to this show. However, that didn’t really matter as after 10 odd minutes of adjusting to the madness and theatrical persona of host John Robertson I was able to follow along and feel just as involved as those to whom it was clearly a very important part of their growing up. By the end of the show, I was even able to recite the well-known lines of the script along with everyone else and feel like I had joined some sort of secret club.

The premise is very simple: audience members are invited/chosen to play a multiple choice video game where you select what you want to happen next in the story in order to complete the mission and stay alive. The twist is that you’re in a room full of people watching your every move, with commentary from a man on stage dressed as if he’s from another planet.

That may sound terrifying for some, but it’s all held together by the hugely charismatic Robertson (think Richard O’Brien from The Rocky Horror Picture Show), whose energy and passion for the game set an atmosphere that has fun at its heart. Leave those inhibitions at the door.

Somewhat thankfully, being very green to what was going on, I wasn’t selected as a contestant in the game. However, by a couple of rounds I would have felt able to partake without feeling like a complete prat. While there was a small sense of public humiliation for those taking the wrong path, the more overwhelming sensation was one of support, from both the crowd and Robertson as host. After all, he’s there to entertain and help the audience have fun, not to make people’s lives a misery.

While the characterisation and delivery of the “show” were very amusing, the selection of prizes available for those who attempted the mission gave additional cause for giggles. A semi-inflated seal, a small stone and a second-hand baby’s dummy were a selection of what was on offer during our performance. Sometimes, only completely naff will do, anything else would have seemed incongruent to the overall setup.

I can safely say, in all my years, I’ve never been to a show quite like this one, and I’m very glad I didn’t run for the hills after the first couple of minutes. If a friend invites you along, definitely take them up on it. While for the gaming geeks it may be the best thing they ever experience, for the average punter it’s still an oddly enjoyable hour.

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

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Reviewer: Steve Griffin (Seen 13 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

Tribute Acts (Assembly Roxy : 8 – 30 Aug : 14:50 : 1hr)

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

“Undeniably weird, but in the best way possible. “

Editorial Rating: 3 Stars Nae Bad

It’s very hard to describe Tribute Acts. It is, essentially, what would happen if you fell asleep during the changeover between a biopic on childhood and a documentary on the last twenty years of British politics – after, about an hour before, sticking your face in a plastic tub of peyote.

Over the course of an hour, Cheryl Gallacher and Tess Seddon took us on a journey through their childhoods, dictated by their relationships with their fathers – as revealed through a series of interviews cleverly projected on stage. Of course, nothing’s fun if it makes sense: prepare to see inflating suits, saxophones, and the most terrifying incarnation of Margaret Thatcher ever conceived. It’s undeniably weird, but in the best way possible.

But I’d be lying if I didn’t say the show’s biggest strength was its heart. The touch of the personal is clear throughout, but especially at the show’s ending. Gallacher and Seddon succeed in capturing admiration and disappointment through what ends up being very poignant and touching interviews with each-others fathers, and translate that feeling to the stage without losing any impact.

And there’s no denying that Gallacher and Seddon are just fun to watch. As they pranced around the stage, it was clear that they were having a good time with what they were doing – especially watching the audience reaction to their more left-field jokes. This is very much their show, and their personalities shined throughout.

Unfortunately, however, some of their act  felt underplanned or under-rehearsed. Problems such as lines coming off as wooden, or accidentally overlapping with pre-recorded interview footage tarnished their act. And whilst many of the jokes from the interviews were genuinely funny, often the on-stage jokes seemed to fall a little flat; either lacking in energy, or just feeling a little too awkwardly delivered. More than once, there was an uncomfortable silence where we knew a laugh should have been.

The show was still enjoyable despite these gripes, and I think Gallacher and Seddon’s message survived them largely intact. This is a show that stays with you after you’ve seen it, for better or for worse. And, at the very least, it’ll make you want to call your dad.

nae bad_blue

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

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Reviewer: Jacob Close (Seen 13 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Consumption (theSpace on the Mile, 14 Aug – 28 Aug: 11:05 : 55 mins)

Posted in 3*, EdFestivals 2015, Other, Rated: Unrated by

Consumption

“A show bursting with acting talent”

Editorial Rating:  3 Stars

In a scathing commentary on western practices of consumption and living above one’s means, “Consumption” follows the tragic story of Sebastian, as the ins-and-outs of money, life and love threaten to swallow the unfortunate hero whole in a sea of fake smiles and credit card bills.

And what a tragic hero he is – Mark Wallington absolutely steals the show with his portrayal of seething, raw emotion, resulting in what was the most accurate representation of a man pushed to breaking point I’ve seen on stage. And Grace Bussey should be given praise for her portrayal of self-absorbed stand-in for the upper classes, Penelope: it takes skill to portray a character so viscerally unpleasant, and she does so magnificently. This is a show bursting with acting talent: every cast member pulled their own weight beautifully, and never missed a beat.

Of course, these character portrayals were benefited greatly by the Consumption’s surprisingly realistic dialogue. Whilst some of the more abstract portions of the show may be further removed from reality, the conversations between characters sounded very, very real – I wouldn’t have been surprised to hear some of them in the street. Joanne Griffiths stands up to her considerable writing credentials in this respect, and captures the spoken word with uncanny accuracy.

However, these strengths were overshadowed by weaknesses with the show’s plot, which oscillated wildly between intriguing and ridiculous. Whilst the message is admirable, it’s execution was sloppy: the jibes at western overconsumption weren’t so much on the nose as they were lodged somewhere in the frontal lobe. This was cemented by a major plot point near the end of the second act which ultimately had no consequence, no build-up, and no reason to exist other than to be a neon finger saying “Look at the evil overconsumption hath wrought”.

For a show which portrays its characters with such realism, it seemed so utterly removed from reality that it was nearly comical, betraying the dramatic tension so thick in the first act – and proving an infuriating waste of an otherwise excellent script.

Consumption’s cast should be congratulated on their stellar character work, in what was no doubt a tough show to put together and even tougher to pull off. It’s a shame that certain narrative elements marred it so greatly, especially in a script which showed such promise. With a few more revisions, I’m sure Griffiths’ admirable message can shine in the light it deserves.

 

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

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Reviewer: Jacob Close (Seen 12 August)

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THIS REVIEW HAS NOT BEEN SUBEDITED