Category Archives: EdFestivals 2016

All our coverage from the 2016 festivals.

+3 Review: One Day Moko (Gilded Balloon: 5-29 Aug: 15.45: 1hr)

Posted in 4*, EdFestivals 2016, Gilded Balloon, Theatre by

“A wonderful performance that really deserves to be seen.”

Editorial Rating: 4 Stars

My third review of the day, and my third on the topic of homelessness is really quite a mystery – for the first few hours afterwards I had no idea what to make of it. One Day Moko follows the life of a young homeless man through the encounters he has with others and inadvertently, or perhaps on purpose, says very little about homelessness itself.

Moko is a charming character, who, rather than asking for money, simply asks for requests of songs he can sing. Indeed, it appears this is how he survives. With the thick skin homelessness must give, he’s not afraid to ask direct questions of the audience, and those of us with that stiff British upper lip who might normally just walk past a homeless person are unable to in this experiential performance. It’s confrontational, but in a really charming way. Be prepared to chip in to help make this show come alive.

Stylistically it’s very clever – absorbing, hard-hitting, and unlike anything I’ve ever seen before. It’s a shame that narratively it seems somewhat incomplete. Moko tells various stories of people he meets or observes throughout his day, from Margaret who likes her coffee on a Saturday morning, to James who is bored of his relationship with his girlfriend but doesn’t know how to tell her, and many others. The storytelling is animated and engaging, though we only get teasing snippets – perhaps in reference to the snippets a homeless person may overhear as people walk past. Only James’ story is returned to and developed throughout the piece, and though for the audience it’s not clear why this one gets so much attention, I’ll admit the subtlety may have been lost on me.

While it’s teasing not to know more of each story Moko begins (one feels that they will tie together or thematically link in some way), there are some commonalities identified and shared by Moko, giving an intriguing outsiders’ perspective as to how the “other half” live. One of these is the importance of communication and saying what’s on your mind, perhaps a lesson Moko himself has learned, but sees the normal working person fail at so often.

At times this piece is achingly awkward, but it’s also utterly compelling. Tim Carlsen’s charisma, surprisingly impressive singing voice and physicality make Moko a really likeable and naiive character that it’s genuinely sad to say goodbye to at the end. It’s a wonderful performance that really deserves to be seen.

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

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Reviewer: Steve Griffin (Seen 12 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: The Marked (Pleasance Dome: 3rd-29th Aug: 13.30: 1hr)

Posted in 4*, EdFestivals 2016, Pleasance, Rated: Outstanding, Theatre by

“Remarkable theatre worthy of standing ovation”

Editorial Rating: 4 Stars: Outstanding

With an intricate set and haunting musical score, it’s clear from the off that this is a show that pays close attention to detail and creativity. And while, on the whole, this focus creates some remarkable theatre worthy of the standing ovation it received in this performance, for me at times it does border on being a little too artistic for its own good.

The story is fairly simple: homeless Jack (Bradley Thompson) is unable to sleep, as dreams of his aggressive, alcoholic mother haunt him. But he is able to overcome his demons by helping Sophie (Dorie Kinnear) – another homeless person he meets on the streets – from winding up in the same situation thanks to boyfriend Pete (Tom Stacy).

Told in a very visual way, we get to see into the darkest depths of Jack’s mind: the buried secret he’s been living with for so long, and the struggle he has to go through just to be able to help someone else. In terrifying flashback sequences, Jack becomes a child puppet and his mother a domineering masked figure whose eyes bleed while she brandishes a wine bottle, and in the most gut-wrenching of these she actually smashes the bottle on his head. The music, lighting and other effects come together in these moments to create a gripping dramatic intensity, made all the more stark by the slick changes back to the “real” world and its emptiness.

Through clever use of a repeated street scene (demonstrating the relentlessness and drudgery of homelessness), we see Jack’s journey – from tripping over faceless individuals he’s too scared to look at to start with, to their smiles and humanity at the end when he finally wins through. It’s a really powerful story, and Thompson more than delivers with raw emotion in this physically demanding role. Credit also to Kinnear and Stacy for every other character they play between them, as well as their handling of masks, puppets and various props.

While the visual and technical aspects of this show are absolutely outstanding, one of my main niggles is the appearance of the life-size talking pigeons towards the end (no, I’m not making this up). At this point in the show a bit of light relief is exactly what is needed to break up the emotional intensity of the previous scene, but this device cheapens the production and wholly detracts from what otherwise is a complex and well-thought through piece. To me this is one example of where Theatre Temoin try a bit too hard to be too creative, and at times I would have preferred a little less focus on all the “stuff”, and more on the basics of the acting and narrative.

The Marked is a stunning and unique performance, but perhaps just a little overreached creatively.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 12 August)

Visit the Pleasance, Potterrow & Teviot  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Axis of Awesome (Gilded Balloon, Aug 12-24, 26-28 : 22.30 : 1hr)

Posted in 4*, Comedy, EdFestivals 2016, Gilded Balloon, Music by

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“A bastion of dependable and hideously entertaining Fringe entertainment.”

Editorial Rating:  4 Stars Outstanding

My first contact with Axis of Awesome involved, like many other teens, me being glued to my computer screen as they rocked the hell out of a 360p feed on youtube. Now, a decade on from their founding, it’s clear that Fringe veterans Jordan Raskopoulos, Lee Naimo and Benny Davis are still soaring like a Birdplane even beyond the glittery lights of the LCD stage.

Whilst this review (as always) will attempt to avoid spoilers on the specific content of the show, let it not be said that the Axis does not begin on a high note. Their song “Elephant in the Room” is a fantastically witty product of self reference, and completely sets the tone for the rest of the show: heartfelt warmth, with a heavy dose of cynicism thrown into the mix. The quality of songs on display is very strong indeed: from rap to Bastille parodies, the musical nouse at play is almost unfalteringly good, save for a few sharp high notes in the group’s (often extremely) surprising vocal range. Davis in particular, despite his unofficial position as comedy whipping boy, continually proves he could go finger-to-finger with the best of them on the keyboard without missing a beat.

Between songs, the group’s clearly close dynamic is on full, glorious display. Though some of the skits felt a little low energy as the show warmed up for its final quarter, the inter-Axis fraternity outshines any qualms in terms of pure feel good factor. In an industry where so many horror stories abound of band members who cannot stand one another, bands like this one are increasingly rare. But even more rare, and all the more difficult, is for bands not only to stay friends through the rigours of long term performance; but also to keep that ember of their original intent and feeling alive.

But sat in an audience of hundreds, I might as well have been in my childhood bedroom again, eagerly clicking through links as the screen blinked out into the cathode-tinted night. The same thrill of discovery, the same laughs, and the same joy. And I think this illustrates what exactly makes this trio of modern day troubadours so compelling. It’s not their (considerable) musical skill, lyrics or even stage presence. They’ve gone through many changes over the years (the most obvious being that Lee is now bald), but Axis of Awesome’s greatest asset is that, at their core, they’ve remained wonderfully consistent. This is a show which has a little of everything: comedy, tragedy, horrifying mask props – all wrapped up into a neat bundle by music which will be stuck in your head harder than a sniper shot.

This is a show that proves, despite the ever-changing face of the  festival, Axis of Awesome remains a bastion of dependable and hideously entertaining Fringe entertainment.

outstanding

StarStarStarStar

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Reviewer: Jacob Close (Seen 10 August)

Visit the  Pleasance, Potterrow & Teviot  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Interview: In Our Hands

Posted in *Written Interviews, EdFestivals 2016 by

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“It’s a fast paced, human and heartfelt hour that will leave the audience gunning for Alf to succeed.”

WHO: Molly Freeman – Co-Artistic Director and Performer/Puppeteer

WHAT: “Alf is a trawler fisherman at the top of his game. But times are changing and so is the industry. Will Alf adapt in order to survive? Follow a fish’s journey from sea to plate, watch a seagull’s ridiculous attempt to find food and witness a father and son reunite. Award-winning Smoking Apples, co-creators of CELL, use innovative puppetry, a striking set and an original score to transport you out to sea, under the ocean and onto the deck of the Catcher’s Fortune.”

WHERE: Underbelly, Cowgate (Venue 61)

WHEN: 16:00 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No, this is our second trip to Edinburgh. Last year, we brought our previous show, CELL, which was a collaboration with another puppetry company, Dogfish. We’ve also all been to Edinburgh prior to this with other companies and shows. It’s really exciting to be back with In Our Hands, we love the city and the festival, it’s the best bubble to be in in August.

Tell us about your show.

In Our Hands uses puppetry and visual theatre to tell the story of Alf, a trawler fisherman. It’s a show about how the current pressures in the trawling industry affect the people who work in it but it’s also about Alf’s personal life and his distant relationship with his son. It’s a fast paced, human and heartfelt hour that will leave the audience gunning for Alf to succeed.

It is a bit of an odd subject to make a show about but that’s sort of our thing. We like to take subjects that are difficult to digest and use puppetry and visuals to present them in an interesting, accessible and enjoyable way. We work very much as a devising collective with everyone in the cast taking responsibility for the creative content. Myself and my colleagues Matt and Hattie, co-produce and co-direct but ultimately, the show is a direct product of the entire cast and creative team.

We started developing In Our Hands is 2014 and premiered it last year in 2015. We chose to make a show about trawler fishing because within our cast of five, we had a number of different, conflicting opinions on it and thought this would be a good starting point. Myself, Matt and Hattie met whilst studying at Drama school and then we studied puppetry abroad in Prague together and this formed the basis of our company. Luke and George are our long term associates but we have never made a show together so decided it was time. That, and they have some great beards…

What should your audience see at the festivals after they’ve seen your show?

I highly recommend checking out The Marked by Theatre Temoin, it’s a brilliantly dark show featuring some stunning mask work and well worth a watch. The hilarious and abusive bad boys of the puppetry world, Boris and Sergey, are also back this year and they’ve brought along their own venue, the Omnitorium. They’re hugely entertaining and no two shows are the same because they are completely improvised. Also, if you’re an artist at the Fringe, you also get a discount at the bar – winner!

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+3 Review: The Six-Sided Man (Assembly Roxy: 3 – 29 Aug. 1150. 1hr10m)

Posted in 4*, Assembly Roxy, EdFestivals 2016, Rated: Nae Bad, Theatre by
Gavin Robertson (l) & Nicholas Collett (r). Image: Assembly Roxy & Company Gavin Robertson

Gavin Robertson (l) & Nicholas Collett (r).
Image: Assembly Roxy & Company Gavin Robertson

“love its deadpan humour … the whole 4* performance of edge and ease”

Editorial Rating: 4 Stars:Nae Bad

You just know that you’re in expert hands when, to the exact beat of ABBA’s The Name of the Game, the dice are twice shaken and then thrown. Except they’re not, you just believe that you heard the rattle and saw the throw  …. and reckoned the fateful consequence. This is artful, practised, theatre.

The Dice Man appeared in 1971 and became a cult classic. The Six-Sided Man is its stage face, written and adapted by Gavin Robertson and first performed at the Edinburgh Festival in 1987. It’s back (by popular demand?) with Robertson himself playing The Patient and Nicholas Collett as The Psychiatrist. If they could, they’d be spokes on a roulette wheel; as it is they circle around each other, betting each other’s life on the throw of the dice, or die, which is an unfortunate pun.

The reason being, you see, is that the dice are liberating, freeing you of restraint and conformity by determining a single course of action that is irreversible. ‘Should I go out of the window four storeys up?’ becomes, on the throw of a 3, ‘I must go out of the window’. And where there is mortal risk there has to be sweet reward: roll a 6 and it’s the other guy who goes head first. The Winner Takes It All.

But that’s to jump the gun (with just the single bullet in the chamber, of course). The Patient comes to the Psychiatrist with his problems. The doctor is brisk. “Show me”, he says and the rest might be such weird stuff as dreams are made on but you’re not too sure. In fact – if that’s not too loaded an entity – there’s nothing quite so substantially awful as dog poo on your shoe on a first date.

The cure is that the predictable need not be endured or suffered  Yet the dialogue, alongside the high quality of the mime, voice and movement sequences, is unemotional and wary. No great shakes, you might say, but then you realise that there’s a face off here, with neither character prepared to raise the stakes until he’s as certain as he can be that he has the stronger hand. Knowing Me, Knowing You plays on.

The Dice Man was published under the name of Luke Rhinehart. In August 2012 ‘he’ announced his own death. Some believed it, some didn’t. It was a spoof but it allowed Luke to write his own valediction: ‘If you’re comfortable in the selves you’re rolling along with’, he wrote, ‘then roll on. Most people aren’t.’

You’ll roll with The Six-Sided Man and love its deadpan humour and admire the whole 4* performance of edge and ease but you’ll wonder where it’s going; at which point you’ll feel distinctly uncomfortable. Take A Chance on Me? You bet.

nae bad_blue

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

Reviewer: Alan Brown  (Seen 8 August)

Go to The Six-Sided Man at Assembly Roxy.

Visit Edinburgh49’s  Assembly Roxy archive.

+3 Review: Spring Awakening (Paradise in St Augustine’s: 5-13 Aug: 21.30: 1hr 30mins)

Posted in 5*, EdFestivals 2016, Musical Theatre by

“I’d encourage anyone into musical theatre to go and see it “

Editorial Rating: 5 Stars

With the band clearly visible on an otherwise bare stage, looking cool and every inch the 00s rockers in white t-shirts, EUSOG’s interpretation of Spring Awakening feels more like a concert than a traditional musical. The full (Broadway) version runs over two acts and well over two hours, but this is a stripped back, 90 minute version, which I have to say I prefer. It centres on the songs as vehicles to express emotion, with narrative, dialogue and choreography seamlessly fitting in around them. As a performance it’s compact, it’s flowing, it gets to the point and stays there, and to me one of the real triumphs in this production is how each number and scene overlap and blend, rich with energy, tenderness and life.

While musically Spring Awakening may not be as powerful as other rock operas like RENT, this cast do a fantastic job of squeezing every drop of emotion out of each song to make each lyric really hit home, and William Briant’s band let rip with rousing and powerful accompaniment throughout. The company perform every chorus number with great vitality, from the loud The Bitch of Living, to the very delicate and uplifting The Song of Purple Summer. The harmonies are great, the blending on point, and individual solo lines delivered with aplomb.

Some of the acting was a little shaky: Wendla’s rape and Moritz’s suicide didn’t ring as emotionally true as the rest of the performance, but this is a young company dealing with very difficult material, so we must cut a little slack – sometimes the professionals slip-up too.

It’s the power and energy of the cast that make this show a real treat though, demonstrating talent and professionalism far beyond what one might expect from students. Nitai Levi has astonishing control and presence as Melchior, Greg Williamson is a wonderfully pained Moritz with a great pop-rock voice while Isabella Rogers is also beautifully understated as Ilse. Caroline Elms and James Strahan capably perform all the adult roles between them, with great changes in character and authority to make them believable. A special mention to Strahan for his quick turnaround from the emotional funeral scene to playing a completely different character literally seconds later.

It’s such a shame EUSOG’s run ends this weekend, as I’d encourage anyone into musical theatre to go and see it – it really is a masterclass in getting the basics right. If I could, I’d go again.

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

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Reviewer: Steve Griffin (Seen 10 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Interview: Aquapella: Mash-up, Mix and Blend

Posted in *Written Interviews, EdFestivals 2016 by

2016aquapel_ca

“We wanted to create a show that was fun, entertaining, engaging and bursting with energy.”

WHO: Gabriella Monnington – Co-Musical Director, Main Arranger

WHAT: “Since their Edinburgh debut last year, vocal sensations Aquapella from the University of Bath have toured, won highest-placed UK mixed a cappella group at ICCA, and were a Voice Festival UK finalist. Bringing home awards for outstanding choreography and arrangements, Aquapella certainly know the recipe for success: mash-up, mix and blend. Their secret ingredient – a spoonful of sass, a pinch of humour and cheesy dance moves to taste.”

WHERE: C venues – C (Venue 34)

WHEN: 15:30 (50 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is our second year at the fringe and there has been a massive step up in the quality of our music, the confidence of our performers and the connection we have with our audience.

Tell us about your show.

Aquapella is an award-winning, 15-piece a cappella group from the University of Bath. We wanted to showcase our unique arrangements, high-octane choreography and sense of humour and have done so by tieing it all together in a cooking programme themed show designed to exhibit the ingredients that make our brand of a cappella so great!

This is the last hurrah for 11 of our graduating members and really shows our group off at the top of its game. We wanted to create a show that was fun, entertaining, engaging and bursting with energy and charisma but at the same time retain the incredible musical integrity the group has become known for across national and international audiences – judging by the feedback from our audience and audience reviews we seem to have achieved what we set out to do!

What should your audience see at the festivals after they’ve seen your show?

More a cappella!!! There are some incredible groups on at the fringe, we would specifically suggest our Southwest buddies the Bristol Suspensions and The Sweet Nothings but there are loads of other really talented groups out there as well!

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+3 Interview: Jack Barry: You Don’t Know Jack

Posted in *Written Interviews, EdFestivals 2016 by

2016jackbar_acj

“I wanted to be in the Cambridge Footlights, but was too think.”

WHO: Jack Barry – Head Honcho

WHAT: “Who the f*ck is Jack Barry? Come and watch him figure it out in this show about identity and quarter-life crises. Tour support for Joe Lycett, Patrick Kielty and James Acaster.”

WHERE: Just the Tonic at The Mash House (Venue 288)

WHEN: 18:40 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

No. This is my seventh year at the fringe. I’ve been coming since I was a student and used to do sketch comedy with the Leeds Tealights (I wanted to be in the Cambridge Footlights, but was too think.)

Since then I’ve been working on my skills as a stand up, appearing in the Comedy Reserve and Comedy Zone showcases. This year I’m performing my second solo hour. I’m also doing my third show as part of double act Twins, with Annie McGrath.

Tell us about your show.

I wrote it, I produced it, I’m performing it and the company is me. The company came together earlier this year when I was poor couldn’t afford anyone else to produce it for me. I didn’t do everything though, the wonderful Nick Helm has helped to direct me, shape it into a proper show and given me numerous pep talks over the last few months. I’ve been previewing it for some time, all over the country but have no idea what will happen to it after the fringe.

What should your audience see at the festivals after they’ve seen your show?

I’ve only seen one show far and it was my friend Mat Ewins. He is a comedy genius and his show is amazing. However, he hasn’t bought any flyers or done any promotion this year, so make sure you don’t miss it.

I’ve also previewed with Fin Taylor, his show is amazing this year and everyone should see it. I also can’t wait to see Sean McLoughlin’s now show. His show last year was my favourite thing I saw.

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+3 Review: [title of show] (C Cubed: 4-29 Aug: 21.20: 1hr 30mins)

Posted in 3*, C Venues, EdFestivals 2016, Musical Theatre by

“The company’s voices blend beautifully to create some lovely moments”

Editorial Rating: 3 Stars

I always get excited when a new and ambitious theatre company decides to put its own spin on a show that only received limited success its first time around, in order to try and find that winning formula. In this case, Cobbles and Rhyme attempt to give a very minimalist makeover to [title of show], which, though enjoyable, unfortunately ends up languishing in musical theatre mediocrity.

[title of show] is by nature the anti-musical – intentionally flying in the face of the fourth wall and big production values, using just a keyboard, a bare stage, four actors and and four chairs. This makes it perfect for translating to Fringe venues, and with some clever staging Cobbles and Rhyme effectively create sympathetic intimacy and a stripped back feel that really suits the show’s themes.

However, beyond this it is a shame to see that some of the basic flaws in the musical itself were not addressed, making it at times painfully obvious exactly why the show wasn’t a huge hit on Broadway. Granted, this is probably more down to terms within the performance rights than the company’s ability, but I can only critique based on what I see.

It takes the best part of 25 minutes and six songs to get past the “Let’s write a musical/I don’t know what to write” stage, and throughout the first half of the performance I felt like I learned next to nothing about the personalities of each character. It is only towards the end in Awkward Photo Shoot when tensions start to emerge and priorities conflict that we really discover their mettle, and it’s a shame this occurs so late. This is a show that just needs to get to the meat faster and stop being quite so self-indulgent and self-important.

Musically, it’s ok – there aren’t really any standout numbers, though closing tune Nine People’s Favorite Thing is quite hummable as you exit the auditorium. Complex harmonies are well delivered throughout and the company’s voices blend beautifully to create some lovely moments. The cast certainly give it their all, even though for me it’s the supporting characters of Heidi (Heidi Parsons) and Susan (Charlie Walker) who outshine their male counterparts with stunning vocals and gripping stage presence.

Overall it’s nice, it’s funny and it’s well sung, but I think it lacks that killer punch to have a really big impact at the Fringe.

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

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Reviewer: Steve Griffin (Seen 10 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Tony Roberts – Card Magic (Assembly Roxy, Aug 5-28 : 21.30 : 1hr)

Posted in 4*, Assembly Roxy, Cabaret, EdFestivals 2016, Rated: Outstanding by

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“Absurdly clever card trickery”

Editorial Rating: 4 Stars Outstanding

I’ve never been very good at card tricks. As someone for whom maths lessons loomed like Banquo at the feast, knowing the number work at play in even the simplest sleight veered me sharply away. So when presented with someone who can do it with skill, I’m naturally impressed; and when presented with Tony Roberts, I was delighted.

Though the audience I saw him in was small, I feel this made no difference: Roberts is an expert at playing a crowd as if it was a one on one conversation, turning what could have been a small show in the Roxy downstairs into a warm, intimate and deeply interesting conclave. Hosted by the titular lauded businessman-cum-acclaimed street performer, ‘Card Magic’ (as Roberts so quickly and happily points out) is what it says on the tin – though perhaps without fully advertising the sheer quality of the product inside. And what that exactly is, much like the man himself, is hard to describe. Part comedy show, part biography and with a heaped helping of absurdly clever card trickery, this was a performance which never failed to intrigue and entertain.

This show’s greatest asset (quite fittingly) is Roberts himself. Deeply charismatic from the moment he opens his mouth, he fails to fall into the trap of braggadociousness which plagues so many contemporary street magicians. It’s like hanging out with an Australian uncle down the pub, if that very same uncle had spent a few years trapped in a Johnny Ace Palmer show. It’s clear from the get-go exactly how Roberts can draw crowds on a busy street – not only his wit, but his genuineness and warmth.

But, of course, being an ace with his suits doesn’t hurt either – and Roberts is clearly one of the best. Even with repeat viewings, his tricks would boggle the mind. Shaking his hand at the end of the show (as he humbly asks of every audience member), it’s almost surreal to recall the sheer dexterousness with which his fingers move. Although some of the tricks flowed a little too subtly on from his storytelling (though with shuffling skills like his, it’s difficult to tell when the real show’s starting), their denouement is always satisfying, whether you know you’re there at first or not.

This is the kind of show that makes children wish to grow up to be magicians, and adults wish they’d had the chance. But, as Roberts own story proves, it’s never too late to start seeing the magic – and I can think of no better show to pull back the curtain.

outstanding

StarStarStarStar

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Reviewer: Jacob Close (Seen 7 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED