Category Archives: EdFestivals 2018 – Reviews

All our reviews from the 2018 festivals.

A Very Brexit Musical (La Belle Angele: 2-26 Aug: 17:00: 60 mins)

Posted in 2*, EdFestivals 2018, EdFestivals 2018 – Reviews, Musical Theatre by

“Freddie Raymond as Joris Bohnson impresses with scene-stealing buffoonery, powerful vocals and a shining stage presence”

Editorial Rating: 2 Stars

It’s no surprise to see many Brexit-themed shows at the Fringe this year, and A Very Brexit Musical is a newly developed work from students at Robinson College, Cambridge. While for any student group it’s a tremendous achievement to start from scratch to compose, write, produce and bring to Edinburgh an hour-long musical, the end result in this case, leaves a little to be desired.

To begin with, the narrative of this show is about as convincing as the argument for Brexit itself – painfully thin. Journalist at the Maily Dail, Peter (Rory Russell), is caught between wanting to please his editor, Roland (Will Debnam), and office crush, Jen (Emily Webster), by producing pro-brexit propaganda articles, while staying true to his own values – and potentially losing his job and lover in the process. As a set-up it’s a pleasing way into the political argument, but in reality, the development of this storyline (and characters within it) is so limited and lost in amongst the other stage capers that it almost becomes worthless.

Many of the key political figures surrounding the vote are characterised and given scenes and ditties, though few of these add anything to the artistic merit of the piece, other than being somewhat amusing. Figel Narage and Joris Bohnson (no points for guessing which real-life people these characters are based on) seem to be constantly trying to meet on the down-low to sing bad-guy songs, Cavid Dameron bemoans not knowing what to do, and Mheresa Tay positions herself as the sexy bad girl perfectly placed to take over as the leader of the party. Were this production a Brexit cabaret, such interpretations and stand-alone songs would make for witty entertainment, but in the context of a narrative musical, it’s all very disjointed and seemingly thrown-together for the sake of it.

Overall the score is pretty good – there’s some nice variety from tune to tune, though lyrics could pack more punch and help drive the narrative. There are also some impressive attempts at choreography, including an unexpected tap routine, and while not everyone in the cast is a natural dancer, movement sequences are delivered with enough panache to be enjoyable.

In terms of performance it’s Freddie Raymond as Joris Bohnson who impresses most, with scene-stealing buffoonery, powerful vocals and a shining stage presence. Jessica Philips turns in a sassy and controlled performance as Mheresa Tay, while Will Debnam also elicits several chuckles as Maily Dail editor, Roland.

Overall, this is quite a fun show if you’re not expecting anything too deep or intelligent from it, but given its lack of convincing narrative, purpose or call to action, unfortunately, for me, it’s uninspiring.

Star (blue)Star (blue)

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Reviewer: Steve Griffin (Seen 11 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

One-Man Pride and Prejudice (Assembly Studios: 2-12 Aug (even dates only): 15:50: 60 mins)

Posted in 5*, EdFestivals 2018, EdFestivals 2018 – Reviews, Theatre by

“Intelligent, funny… solicit this production for your next dance”

Editorial Rating: 5 Stars

It takes real bravery to present an hour-long version of Jane Austen’s classic Pride and Prejudice – condensing the numerous scenes and chapters into a cohesive highlights reel – yet even more to do so as a one-man show. Madness, perhaps? Fortunately, in this instance it’s a stoke of genius. Perennial Fringe favourite Charles Ross (best known for his One-Man Star Wars™ Trilogy in recent years), is at the helm with this adaptation based on Andrew Davies’ 1995 television series.

The script for this venture has been developed by Ross and his wife Lisa Hebden, and while early on it feels rather too whistle-stop in how quickly the story is told, the final result feels like a fair overview, keeping all the major plot points, with a pocketful of laughs scattered along the way. One can only imagine how much editing went in to ensuring this rip-rollicking performance lasts exactly one hour, but credit to both for achieving it.

As well as being a proficient dramaturg, Ross shows himself as an adept performer in taking on almost every character in the book without ever venturing into farce, or needing props and costume. The whole piece pleasingly embodies a fitting controlled and restrained Georgian air, though a few modern quips are very well received. Odd moments of improvisation are handled with verve, and internal monologues and animalistic interpretations of some of the smaller characters bring much merriment. Overall, this production just oozes confidence in the base material and mastery in performance.

The only slight downfall is that you’ll need to be fairly familiar with either the book or televised adaptation to really appreciate the many witticisms and character interpretations on display – it won’t be particularly accessible for any ignorant plus-one you might want to drag along, even though the craftmanship of the performance itself would still be impressive to an Austen novice. With some scenes reduced to just a line or two and so many characters to follow, there’s a lot to keep up with, but for those in the know this really is a treat.

This is an intelligent, funny, and professionally delivered show that scores top marks with me. Take the opportunity while you can of soliciting this production, reader, for your next dance.

 

StarStarStarStarStar

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Reviewer: Steve Griffin (Seen 10 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

An Evening With Miss Wong (Assembly Rooms: 2-26 Aug: 12:40: 60 mins)

Posted in 4*, EdFestivals 2018, EdFestivals 2018 – Reviews, Theatre by

“A pleasant, informative escape into a stylish world with an intriguing guide.”

Editorial Rating: 4 Stars

“You know I’m dead?” begins Michelle Yim, as she finishes her opening number. This new one-woman show from Grist to the Mill Productions continues in this vein of playful, entertaining documentary-theatre with a light touch and a pleasant appreciation for Old Hollywood charm. And there is plenty of this charm in this show: a tribute to and revitalisation of the story of Anna May Wong, Hollywood’s first (and essentially only) Chinese-American actress of the silent era. The show is calm and straightforward, with dashes of the glamorous here and there and a sweet sense of humour, which provides a pleasant, informative escape into a stylish world with an intriguing guide. 

Yim plays Wong with talent, vivacity, and an exceedingly agreeable lightness, which is at times somewhat repetitive, but with a story this unique it does not really detract. The narrative, scripted by Ross Ericson, is interesting, but not quite enthralling, although the marriage of visuals and clips that augment the history on a slideshow in the background is a very good choice. The moments when Yim refers to a film or a play Wong performed in are much more gripping when there is a visual of the piece in question, and in the moments where there is none, it feels a bit distant and undercooked as a presentation.

However, for the most part, the narrative features some thought-provoking questions about race and success in America, such as whether a star like Wong let herself be distanced from her culture, or intentionally decided to craft her life her own way. The best moments of this show come when these heavier questions are asked, or when Hollywood politics are prodded at directly, such as the Motion Picture Code’s racial laws forbidding cross-racial kisses, or the possibilities of foreign landscapes such as Berlin and London offering diverse performers chances to succeed in new, more creative ways.

There are also tragic elements to Wong’s story that land well, such as her relegation to repetitively uninteresting roles or her uneven relationship with her family. Other aspects of her personality, however, such as her possible bisexuality and burgeoning self-centeredness are only hinted at in passing, without enough depth to make either of these crucial elements of Wong’s character seem important to Ericson’s view of her. This omission feels somewhat cheap and misguided, but thankfully Yim embodies Wong with enough verve that there is not much room to dislike what An Evening With Miss Wong puts forward. 

The most arresting element of this production is its recreation of Wong’s musical talent. Pearl Yim’s arrangements of a few Old Hollywood songs are all lovely, though again somewhat light and brisk; that is, until the finale of the show, a soulful, heartening rendition of “These Foolish Things,” a gorgeous classic actually written about Miss Wong herself, that deserves ovation all by itself. Between this finale, Yim’s charming Old Hollywood personification, and the noble approach in general of reminding modern audiences of this long-gone legend, An Evening With Miss Wong is a Fringe project well worthy of your time.

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

Reviewer: Nathaniel Brimmer-Beller (Seen 9 August)

 

The Fishermen (Assembly Studios: 2-27 Aug: 13:20: 70 mins)

Posted in 4*, EdFestivals 2018, EdFestivals 2018 – Reviews, Theatre by

“Features two of the most hypnotically talented performances of this kind of theatre that one can imagine.”

Editorial Rating: 4 Stars

There might not be a more dynamic duo performing a play this year than Michael Ajao and Valentine Olukoga. As Nigerian brothers Ben and Obembe, these two gifted actors weave a complicated and enthralling yarn over 70 minutes, so intricate and poetic that it comes as no surprise the story is adapted from a Man Booker-nominated novel. The Fishermen follows the beats of many a heavy narrative, with foreshadowing, doomed individuals, unreliable narrators and a circular, multi-layered structure — despite an occasional sense of the melodramatic, this play is a seriously impressive offering. 

The plot, adapted by Gbolahan Obisesan from the book by Chigozie Obioma, is ostensibly about a Nigerian family who endure devastating tragedies and possibly supernatural intervention, but through the eyes of the two youngest sons looking back on their childhoods. Ben and Obembe are two of four brothers; meeting again after an initially unspecified time apart, they take delight in comparing their impersonations of their siblings and parents, which eventually smooths out into a full retelling of the story of their family’s disintegration. As Ajao and Olukoga swap impressions and voices, they also don various physicalities of the myriad characters, resulting in some dazzlingly nimble portrayals of multiple characters. The choreography of all these personalities is constantly stunning, as is the pleasantly simplistic set, consisting only of a few sandbags and metal poles which are brandished, tossed, hid behind, run through, and smacked to drive home a point or two. 

The entire production, in fact, relies on the multifaceted usability of various miscellanea, from the poles to the colours and intensities of lighting to the sometimes captivating sometimes haunting musical score, to the performers themselves. It is no understatement to say The Fishermen features two of the most hypnotically talented performances of this kind of theatre that one can imagine — Ajao and Olukoga are capable of jumping from character to character with such passion and specificity you will believe there is an entire ensemble onstage. They traverse ages, one second a young boy, the next an old maid; they flip personalities, from a maddened mother to a corrupt policeman and back again in a flash; once or twice even across species, as the fishermen suddenly embody the fish. 

The production’s breakneck speed is both deeply impressive for its performers’ dexterity and quite disturbing, for its surprisingly horrifying subject matter. One particularly intriguing element of this frenetic multi-roling is the eventual shift from playful impersonation to darker realms verging on the schizophrenic or untethered — though endlessly impressive, this device becomes somewhat overplayed from time to time. The surreal is introduced about halfway through, in a device both haunting and seemingly out of another production altogether; Ajao must be given credit for his disarming portrayal of a possibly possessed madman, which is one of the more viscerally affecting visual moments of the show. Moments like this, however, result in a disorienting effect: though not necessarily a negative aspect, the fact that Ajao plays both the madman and the youngest brother who is so terrified by the madman’s words, and the forlorn mother, and about a hundred other souls is an exhausting experience, and comes to feel at odds with the depth and dourness of the narrative.

Ultimately, however, this novelistic piece of theatre is one of the more mature and compelling shows at Fringe, and well worthy of a large and engaged audience. The story is book-ended quite affectingly with a reunion, which is a splendid choice for such an otherwise complex, frenetic story. The show may be sad, but the central performers will wow you, without a doubt. 

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

Reviewer: Nathaniel Brimmer-Beller (Seen 8 August)

skirt (Royal Scots Club: 6-11 Aug: 18:30: 90 mins)

Posted in 3*, EdFestivals 2018, EdFestivals 2018 – Reviews, Rated: Nae Bad, Theatre by

“Current and compelling”

Editorial Rating: 3 Stars: Nae Bad

Becs is leader of the opposition party in Scotland, and first choice of its head honchos to take over as party leader at Westminster (with a good chance of becoming Prime Minister at the next general election). But when opportunity knocks, she’s got to act quickly, and what unfolds is the story of how Becs reaches her decision to follow her dream to lead the country – or not. She must consider her mother’s degenerative disease, her children (one of which is fostered), her best friend’s family breakdown, and the fact that she’s single – wouldn’t having a partner make her so much more electable?

The themes and issues presented in skirt are very current, and it’s compelling to see how the various conflicting interests might be resolved in today’s social climate. The overt opinions of her political colleagues elicit their fair share of gasps and giggles, though her personal politics and views are barely mentioned – that’s not what’s important here. Indeed, the wider discussion of the piece is about choice and the power we (especially women) have over our own destiny.

While Becs’s is the primary storyline within the play, the main scene (which makes up the bulk of the 90 minutes running time) is a birthday party for one of her friends, attended by a host of characters who all share their personal woes. Throughout this scene it’s quite challenging to keep on top of who everybody is, how they are related, and how their story connects to the main narrative. Some interesting scenarios and tensions are shared, but as the characters leave one by one, it feels like there are many loose ends still to be tied up.

Indeed, what’s most frustrating about this performance is how many extraneous branches and avenues Claire Wood’s script attempts to sidle along simultaneously – for me there are simply too many characters and threads running through the piece detracting from the most important one, which could be expanded to give more depth and tension to the dilemma faced by the central character. There’s a lot of excess chat, meaning that important decisions and revelations come about far too quickly to be wholly believable.

From a performance perspective, it’s a tough ask for Helen Goldie as the leading lady to cut through the very busy scenes – especially early on – but in the quieter moments and political meetings she comes across as very natural and personable, carefully balancing sensitivity with authority. In addition, Leanne Bell impresses as moody teenager Bea, Gregor Haddow brings a pleasing calmness to proceedings as Toby, while Dan Sutton is wonderfully repugnant as politician TM.

Overall, it’s really encouraging to see a new piece of feminist writing on this topic being developed in Edinburgh, and while this version isn’t perfect, there is so so much potential for it to become a powerful piece worthy of large audiences. I hope this isn’t the last we see of it.

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 9 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

Finding Peter (Gilded Balloon Teviot – Wine Bar: 12, 14-27 Aug: 10:00: 45 mins)

Posted in 4*, EdFestivals 2018, EdFestivals 2018 – Reviews, Rated: Nae Bad, Theatre by

“The pacing is perfect. Just as one starts to wonder if the energy is ebbing, a fresh riptide of song and participation rolls in.”

Editorial Rating: 4 Stars: Nae Bad

Wendy, John, and Michael are all in pajamas, but the siblings aren’t going to bed. Not just yet. They’re telling stories to one another on familiar themes. Pirates, native folk, the Lost Boys, sword fights, and (of course) Peter Pan. Enter the fairy Tinkerbell, so small we can only detect her presence via the sound effect of a bell ringing. Peter’s in trouble, held prisoner by a mutinous deserter from The Jolly Roger, and her captain, James Hook. Wendy announces that she will go alone to save the day, despite the brothers’ whines and protests.

Upstage centre is a mess of boxes and fabric behind which costume changes and bell ringing occur. The height is perfectly judged, forcing the players to come down to the level of the wide eyes gazing back at them. The costumes are basic, student night attire occasionally highlighted with something from the dressing up box. I wanted more, but the show isn’t for me as Granny / Mother-Out-Law censoriously reminds me afterwards.

While the set, lighting, and sound are minimal (perhaps even too minimal), the performances are turbocharged and ultra engaging. From the moment we enter, the smiles are set to max. If bubbly cheeriness were a communicable ailment, we’d all be in quarantine for a month. Jenny Witford, as Wendy, leads the trio. She’s the voice of reason and authority, the Atlas holding up worlds within worlds. Think Graham Chapman in a Monty Python classic, surrounded by an unending pageant of colourful minor characters. Jessica Arden and James Tobin take turns inhabiting (with varying levels of success) each of the personalities Wendy encounters on her journey to find Peter.

The pacing is perfect. Just as one starts to wonder if the energy is ebbing, a fresh riptide of song and participation rolls in. Frankie Meredith jam packs the hour like one of these Facebook videos explaining how if you roll up all your clothes and put your toothbrush in an old water bottle you’ll only need carry on for your 6-8 month around the world adventure. Pace and performance – they’ve got to be done right and Finding Peter gives a masterclass on how to get them right.

Meredith’s script seems to exist on three dramatic planes. The first is the siblings’ collective imagination, their dressing up and acting out. The second is the actors’ interactions through the fourth wall, audience interaction and knowing winks – “Well of course I want you two to come too” Wendy tells her brothers, “but then who would play all the other characters?” The third dramatic plane is Neverland, where most of the action occurs. Perhaps the lines between the planes could have been sharper, the internal logic more rigorous – but, again, who am I to argue when Daughter 1.0 (3 years old) is having such a blast?

This show is for her and it delivers. JM Barry’s familiar themes are delivered even without the “Art budget? Was there an art budget? I thought we had an unending ocean of cash.” advantage of the 2003 movie. Daughter 1.0 comes out of the show buzzing as though she really has been sprinkled with fairy dust. She could fly off at any moment her thoughts are that happy.

The Teviot Wine Bar is a tough space to convincingly fill, especially as this show isn’t getting the audiences it deserves, half a dozen in when we were there. You can do this very talented company and yourself a favour by getting out, bright-eyed and bushy tailed, to see this rollickingly gentle tribute to a classic family favourite.

nae bad_blue

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

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Reviewer: Dan Lentell (Seen 9 August 2018)

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

THIS REVIEW HAS NOT BEEN SUBEDITED

Paddington Bear’s First Concert (Underbelly, Bristo Square – Cowbarn: 12, 14-26 Aug: 11:20: 60 mins)

Posted in 4*, EdFestivals 2018, EdFestivals 2018 – Reviews, Rated: Nae Bad, Theatre, Underbelly by

“There’s balloons, inflatable fruit, Hungarian folk dancing, sing-alongs, and more than a bit of mayhem.”

Editorial Rating: 4 Stars: Nae Bad

Beloved bear. Slick marketing. Fabulous venue. Great timeslot. This was always going to be a formula that would bring in the punters. The queue stretches round the block. My heart sinks a little. Nothing this popular can possibly be any good. That’s the rule. Except of course that our Paddington Bear breaks all the rules.

We’re at the famous London railway terminus. An orchestra rushes through the audience trying (unsuccessfully) to catch their train. Their unscheduled delay provides a window of opportunity to tell the story of a stowaway bear, the family he adopts, the people he meets, and his first ever concert at the Royal Albert Hall.

Along the way we meet the members of the orchestra, learn about how to conduct them, and how to make them go faster, and faster, and faster. There’s balloons, inflatable fruit, Hungarian folk dancing, sing-alongs, and more than a bit of mayhem. If you are planning on seeing a live action show replete with actual bear (or becostumed stand in) you will leave this show disappointed. If, on the other hand, you are even a little bit curious, easily excited, and unashamedly thrilled by people who can do something amazing (like playing musical instruments really, really, really well) then you will leave Paddington Bear’s First Concert more than a little happy.

A quick glance at the critical reactions to Paddington Bear’s First Concert and it’s clear that the underpaid, under-informed, overworked misery-gutses are out in force. This isn’t (shock-horror) a show aimed at a world weary 20 something reviewing 15 shows a day irrespective of genre or personal preference. It is however the real deal. Paddington’s creator Michael Bond and musical godfather Herbert Chappell wrote this adaptation in 1984. Perhaps this joyful and jovial revival ought to make more of its authenticity amid all that slick advertising?

Paddington Bear’s First Concert really is a concert. A group young musicians play a range of strings, woodwind, and brass instruments under the watchful eye of their conductor who is also our storyteller. Her performance is pitch perfect. Beside me Daughter 1.0 (aged 3) is entranced, it’s not hard to see how that stuff with that piper in Hamelin went down so easily.

Bond and Chappell’s genius, or perhaps sleight of hand, was to create a show which quietly makes the introduction – “children meet classical music, classical music meet children” – without fanfare or condescension. There is an unhealthy notion abroad in Britain that high art should be taken and endured like bad tasting medicine. Paddington Bear’s First Concert remains a guaranteed cure against all such silly, self-defeating cynicism.

nae bad_blue

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

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Reviewer: Dan Lentell (Seen 9 August 2018)

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

THIS REVIEW HAS NOT BEEN SUBEDITED

The Battle of Frogs and Mice (Assembly Roxy: 12-19 Aug: 16:10: 60 mins)

Posted in 5*, EdFestivals 2018, EdFestivals 2018 – Reviews, Rated: Outstanding, Theatre by

“Appease the Gods and pay homage at the earliest possible moment to this crowning achievement of the dramatic arts.”

Editorial Rating: 5 Stars: Outstanding

It’s the late afternoon. Daughter 1.0 and I are standing outside Assembly Roxy waiting for our third show of the day. Neither of us have had naps and one of us didn’t like the lunch they were offered and only ate half. Our energy levels are being sustained solely by caffeine (me) and a the memory of a large chocolate cupcake (her). We’re both more tired than we care to admit and it’s odds on that one of us will go bang in the not too distant. I want the next show to be good. I need the next show to be good.

Daughter 1.0 (aged 3 going on 14) picked out our first shows, Finding Peter and Paddington Bear’s First Concert. I chose The Battle of Frogs and Mice because I’m more of a philhellene than Lord Byron dancing in a bucket of equal parts taramasalata and hummus singing The Hymn To Liberty. Frogs and Mice was the original introduction to epic poetry used by ancient parents to clear their progeny a path to The Iliad and The Odyssey. An improvised epic poem after a long day, with a tired 3 year old. Hubris. Now for Nemesis. I feel like Dedalus when he first sniffed the melting beeswax from the emptying airspace above. This could all come crashing down. Oh Dionysios hear my prayer.

3 actors and 3 musicians set out to tell the tale of the enmity that grew up between frogs and mice. Of how that enmity turned violent, and how (finally) peace was restored. Puppets, movement, visual gags, and amphorae of audience participation transform the Snug Bar at Assembly Roxy into a bubbling cauldron of noise and excitement. Director Hayley Russell orchestrates 60 minutes of genuine improvisation which maintains a graceful pace and flow while enabling the kids to really feel control and ownership over the narrative’s twists and turns.

“Dad, I thought you said this was going to be educational!” laughs a boy in the row behind confident that, once again, he has outsmarted his old man just like when Odysseus convinced Laertes to buy a puppy, “so we can name him Argos and everyone will remember that you were a brave and fierce Argonaut.”

The performances are some of the strongest I can recall at any Fringe. Individually they are strong, powerful enough to complete the heavy lifting demanded by Caspar Cech-Lucas’ bold dramaturgy. In combination both the actors and musicians generate a pulsing rhythm that never once lets up, soaring on the updrafts of the combatants’ jingoism then plunging down when it turns out that war is good for absolutely nothing.

Daughter 1.0 is dancing on stage, hurling ping-pong balls during the volley of arrows loosed by the mice against the frogs, keeping the mouse princess stuffed toy so safe and quiet that everyone forgets about the regal rodent and she isn’t included in that day’s telling of the tale.

The Gods of the ancient world had punishments both cruel and unusual for those headstrong mortals who displeased them. Why take the risk of incurring the wrath of a petulant Fringe deity? Why risk spending eternity drinking from an endless glass of G&T that contains no gin, or constantly eating artisanal honey that’s actually made by wasps? Appease the Gods and pay homage at the earliest possible moment to this crowning achievement of the dramatic arts.

outstanding

StarStarStarStarStar

Reviewer: Dan Lentell (Seen 9 August 2018)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Cry God for Harry, England and Saint George (theSpace @ Surgeons’ Hall: 3-11 Aug: 16:35: 45 mins)

Posted in 4*, EdFestivals 2018, EdFestivals 2018 – Reviews, Theatre by

“Sings with the integrity of a story that comes from the heart”

Editorial Rating: 4 Stars

“Cry God for Harry, England and Saint George” – those immortal lines from Shakespeare’s Henry V – where the title character rouses his troops into the defence of what they hold dear. And what an apt title for this play – which sees a group of eight British Muslim school girls in East London attempt to mount a production of the bard’s classic saga, while defending their right to do so. Yes, this is a politically charged play.

In the opening scenes the group struggle with normal teenage girl problems of agreeing with each other and putting aside their petty quibbles to get the show performance-ready – all of which comes with the irreverent comedy young people so unashamedly excel at. The glimpses of ego and creative differences begin to tease out the individual characters in the company, though it’s a shame these aren’t developed further.

Then the bombshell drops. Letters are distributed to Muslim households in the neighbourhood, informing them all to prepare for the vicious ‘Punish a Muslim Day’. With the content of these letters taken directly from the abusive vitriol spewed during that fateful event just a few months ago, it’s a poignant and sobering moment to hear the threats read aloud and immediately responded to.

Naturally, the tension within the performance goes up several notches, as families start to keep the girls home from rehearsal, their personal safety is put at risk, and, of course, the performance date draws closer. What follows is a touching display of leadership and courage where the girls somehow find the strength to continue despite all the barriers. Not only is this production an example of a disenfranchised group of people overcoming a huge danger to stand up for who they are and their basic human right to exist, but also of young women banding together and putting aside their differences to achieve that end – so on both counts it is heartening and uplifting. It’s also performed with all the confidence and pride one would expect from the company who devised this show themselves, and it sings with the integrity of a story that comes from the heart.

Yes, the script is a little fudged and, at times, twee – the ending in particular lacks the killer punch to make it truly outstanding – and yes, subtlety and depth of acting is sometimes lacking, but considering the oldest of these girls is just 17, what they present is an impressive feat. This is a vital and urgent production that deserves to be developed further and toured widely. I sincerely hope this isn’t the last we see of it.

 

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

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Reviewer: Steve Griffin (Seen 9 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

Definition of Man (Greenside @ Infirmary Street: 3-25 Aug: 11:25: 60 mins)

Posted in 3*, Dance, EdFestivals 2018, EdFestivals 2018 – Reviews, Greenside, Rated: Nae Bad, Theatre by

“Powerful and emotive”

Editorial Rating: 3 Stars: Nae Bad

Two performers enter the space, wearing rags and looking dishevelled. It appears they have been alone in a post-apocalyptic wasteland for some time – though for how long doesn’t seem important. What follows is a journey of how two people might survive (purely from a psychological perspective) in this situation.

Definition of Man is created by performers Jason Rosario and Nikki Muller, and could crudely be described as part Waiting for Godot, part DV8 physical theatre piece. After the initial wasteland scene, the performance darts back and forth between mini lectures about chemicals within the brain, personalised accounts of growing up as the child of an immigrant or ‘other’ in the USA, and much more besides. The level of detail in each section demonstrates impressive research and creativity, though comprehension is the main sticking point.

To begin with, there’s a bizarre jarring between the words in the script and the action on stage: the upbeat voices and physicality of the performers seem at odds with the sense of desperate survival implied by the words they say. Then the whistle-stop tour through all the other elements makes it hard to decipher just what, when, and who this show is about.

Only in the second half of the piece do the threads start to come together, and the crux of the relationship between the two characters comes to the forefront – just what happens to two lovers when they are left alone in the world for an inordinate amount of time? The final moments between Muller and Rosario are a powerful and emotive interpretation of this, though it’s a shame this depth comes so late on.

The action is punctuated throughout by some genuinely impressive lifts, balances and counter-tensions, which are an effective way to highlight apparent changes in power and focus between each character, and the emotions at play. When combined with colour design and subtle sound-scaping, moments within this performance really do shine.

To me, though, it feels like there are almost too many themes and ideas crammed into this piece, diluting what could be a compelling discussion into and presentation of the relationship between two people in an extreme environment. With so many different strands, it’s really difficult to get into and connect with the performance and work out what it is and where it’s going.

Overall, Definition of Man is an interesting and intense production that certainly gets the cogs whirring, but unfortunately, for me, it’s all a bit too confused and busy to have the impact it has the potential for.

 

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 9 August)

THIS REVIEW HAS NOT BEEN SUBEDITED