Category Archives: EdFestivals 2018

All our coverage from the 2018 festivals.

+3 Interview: Queer Words

Posted in *Written Interviews, EdFestivals 2018, Plus 3 2018 – Features by

“Expect real, authentic, colourful characters in a flamboyant, funky and fabulous show!”

WHO: Johnny Autin, Choreographer/ Director

WHAT: “Queer Words: stand-up comedy meets dance theatre! Performed by an all-LGBTQ cast of three exceptional performers, Queer Words is a bold, provocative, and multidisciplinary performance. Combining storytelling, spoken word, dance and physical theatre, Queer Words investigates toxic ideals and the crisis of masculinity at an open mic night. Brutally honest, darkly funny and at times controversial – Autin Dance Theatre is tackling a culture of violence and insecurities with sketches about personal stories around the male perspective, feminism, gender inequalities, and homophobia. You’ll be sure to enjoy an epic, vibrant and outspoken slice of pride, hope, activism, and courage.”

WHERE: Greenside @ Infirmary Street – Forest Theatre (Venue 139) 

WHEN: 16:15 (45 min)

MORE: Click Here!

Is this your first time to Edinburgh?

This is the first time the company will be bringing a show to the Edinburgh Festival Fringe. We are keen to present this brand new show to audiences in Edinburgh and go on this crazy experience that is The Fringe! Queer Words is the ideal performance for us to make our mark at The Fringe. Our show is not what you’d expect from a dance show, and in the best possible ways! Queer Words has something for everyone, dance, music, poetry, singing, and a lot of sass! We are not shy, and tell it like it is. Expect real, authentic, colourful characters in a flamboyant, funky and fabulous show!

What’s the biggest thing to have happened to you since Festivals ’17?

A lot had happened to us since Festival ’17 but the main 2 successes that we’re super proud of it are:

We’ve been touring and presenting ‘Dystopia’ our new dance theatre duet for outdoor and unusual spaces to International Dance Festivals to great acclaim. A dance theatre duet with a fashion design twist. ‘Dystopia’ is a show-stopping and thought-provoking performance, looking at our human need for connection and belonging, in opposition with our modern anxieties based on fear and violence. Striking physicality and an exciting soundscape take the audience on an intense journey through hell and back.

We’ve been awarded funding from Arts Council England towards further touring of ‘A Positive Life’ (22 tour dates in 2017) an immersive theatre experience for teenagers about sex, love and relationships with an uplifting and engaging message on self-love, sexual health topics and sex ed’ stories.

Tell us about your show.

I have had the ideas of making a show about toxic masculinity from a queer point of view for a couple of years. We did a call out for an all-LGBTQ cast of dancers and poets, and selected our fantastic cast through an audition process! We have been working on this show (devising and rehearsing) since February this year, and it will be premiering for the first time at The Fringe. I directed the rehearsals and worked in collaboration with the performers and our whole creative team of composer, dramaturg, producer, costume & lighting designers.
This production was commissioned by Dance Hub Birmingham as part of their artist commission programme, and with the support of Midlands Arts Centre – MAC.

We believe our show is very relevant for audiences in 2018, looking at homophobia, toxic ideals of masculinity, gender roles, and sexism. We unpick some of those issues and themes in the piece by making taking them to some extremes and making fun of them.

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

Dance show wise, I look forward to seeing ‘5 days of falling’ by Sam Amos, and The Troth by Akademi, but also Jonny Woo’s All Star Brexit cabaret, and the ever-so-sexy boylesque’s Briefs! And so many more, the whole company will binge on shows and make the most of the festival’s activities!

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The Sensemaker and Drop the Gogo (ZOO Charteris: 3-11 Aug: 18:00: 60 mins)

Posted in 4*, Dance, EdFestivals, EdFestivals 2018, EdFestivals 2018 – Reviews, ZOO by

“Slick, fun and packed with charisma”

Editorial Rating: 4 Stars

Often contemporary dance can come across as very abstract and inaccessible to normal people. Narratives or themes can be lost in conceptual musings, and it becomes hard for audiences to connect with the action on stage. With this double-bill, however, Swiss company Woman’s Move are presenting work that is more down-to earth – where dancers are people in situations we can all relate to – and the result is enjoyable and engaging.

First up is solo piece The Sensemaker, which sees dancer and choreographer Elsa Couvreur arriving on stage dressed and ready for a job interview, only to be greeted by a ringing phone and a disembodied voice giving her instructions. The tension is palpable through the awkward waiting and uncertainty, though frustration soon builds as the repetition of the automated voice continues. Throughout this sequence there are several comic moments when progress through ‘the system’ is made, only for it to be undermined later, and Couvreur’s facial expressions communicate all we need to know. It’s a fun and simple piece, with a charming interlude to set up the next.

In contrast, Drop the Gogo features six dancers performing an energetic and upbeat routine, where they seamlessly drop in and out of cannon, unison and extended motifs as befits their personalities. There’s a playful, childish element to the piece, highlighted by the costumes and roles each dancer takes on when reliving what they wanted to be when they grew up – something we might all cringe at now. Overall, it’s slick, fun and packed with charisma.

A loose theme of career and expectation threads the two works together, yet the playful irreverence of the choreography shows that this is a company not too concerned with following convention and who are determined to have fun in their own way. Throughout both pieces there’s just enough comprehension to follow what’s going on, though the overall creativity and mood is what comes across most clearly. This isn’t stuffy or stuck-up dance you need to labour through.

Overall, The Sensemaker and Drop the Gogo as a double-bill is fun show that’s full of charm, and well worth watching as your “something different” choice this year. It also once again strengthens ZOO’s leading position as the destination for contemporary dance at the Fringe. Dance fans, please go and check out this show and more of ZOO’s programme, I’ve yet to be disappointed by anything they present.

 

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

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Reviewer: Steve Griffin (Seen 5 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Interview: American Idiot

Posted in *Written Interviews, EdFestivals 2018, Plus 3 2018 – Features by

“The amount of passion and work put into this show is honestly astonishing and it promises to be 90 minutes of raw, visceral entertainment where the audience won’t have a second to catch their breath.”

WHO: James Hart, Co-Producer

WHAT: “Green Day’s visceral and provocative Grammy and two-time Tony Award-winning musical. Three disillusioned men search for meaning in our broken world. Will tries to care for his pregnant girlfriend but dissociation wins. Tunny, captivated by the American Dream, joins the army. In the city, Jonny finds purpose with rebellious activist Whatsername but in his intoxication and apathy, finds a reflection of himself that won’t let him be. Ninety minutes of breathtaking raw energy and electrifying music that is not to be missed. Edinburgh University Footlights return to the Fringe following their sell-out 2017 production.”

WHERE: C venues – C – +3 (Venue 34) 

WHEN: 13:45 (95 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Edinburgh University Footlights returned to Fringe last summer, after a 20 year hiatus, with our 2017 production of ‘Sister Act’ which I was also the producer for. As an Edinburgh-based company, most of us have experienced the Festival before and could not be happier to be coming back this year with ‘American Idiot’. Last year went so well for us, we sold out our 7-day run and hope to do the same again this year with lots of familiar talent, and some fresh new faces!

What’s the biggest thing to have happened to you since Festivals ’17?

Our term-time show, ‘Fame’ in February was a huge success for Footlights, as was our Showchoir’s production ‘Encore’. We received 4* and 5* reviews for both, being dubbed a “professional level show at amateur prices” with it being “difficult to distinguish these young performers from professionals”. Finding an incredibly talented cast for ‘American Idiot’ and working towards this show, has also been incredibly rewarding.

Tell us about your show.

‘American Idiot’ is a musical based on Green Day’s concept album of the same name. The album has been adapted, with additional script written by Billie Joe Armstrong and Michael Mayer, and the show follows the story of Johnny, Will and Tunny as they leave the suburbs to pursue big dreams in the city. I am producing the show alongside Annabel Reid, and it is being directed by Maddie Flint. The amount of passion and work put into this show is honestly astonishing and it promises to be 90 minutes of raw, visceral entertainment where the audience won’t have a second to catch their breath. The show only runs for 1 week during the Festival and so shouldn’t be missed!

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

Our fellow university society EUSOG are putting on ‘The Drowsy Chaperone’ which promises to be incredible, as well as EUSC’s production of ‘Much Ado About Nothing’, Room 29 Theatre’s ‘Dogfight’, and Bare Productions’ ‘You’re a Good Man Charlie Brown’. I also wouldn’t even be in Edinburgh at university or doing this show were it not for Young Pleasance who I first experienced Fringe with in 2012. This year they are putting on ‘The Red Shoes’ which I’m sure will be stunning, as their shows always are!

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Sob Story (theSpace on the Mile: 5-25 Aug (odd dates only): 16:00: 65 mins)

Posted in 3*, EdFestivals, EdFestivals 2018, EdFestivals 2018 – Reviews, Theatre by

“Pretty Knickers Productions certainly can act”

Editorial Rating: 3 Stars

When six old school friends from a small town reunite in the hopes of winning Yorkshire’s Got Talent as a girl group, it soon dawns on them that in order to make it they’ll need more than talent to succeed – they’ll need a sob story to get the public on their side. As a dark and witty peak into reality tv talent shows and those who crave to participate in them, Sob Story hits the spot in just how far a slightly misguided group of girls might go to meet their goal. But there’s a twist…

Without giving away spoilers, the show definitely doesn’t go the way it might appear to – credit to writers Calum Ferguson & Lewis Lauder for the unexpected change of direction and thrilling climax – though unfortunately the dénouement’s power is slightly undermined by the lack of ground work in the first half of the show to make it effective. Character backgrounds and more details about the world they inhabit outside of the here and now are largely sacrificed for an unnecessary chunk of self-indulgent singing, so when relationships and loyalties between the girls are put under strain, it becomes difficult to connect and empathise given the precious little that has been shared about them in the run-up.

Director Donna Soto-Morettini does well to keep the pace going and tease out changes in mood to reflect the action, though has her work cut out to bring together the scraps of story into a cohesive and naturally flowing production. The company of Pretty Knickers Productions certainly can act, though – Mhairi McCall in particular shines and commands the stage as ringleader Sophie, while Lana Pheutan as Aimee is consistently hilarious with her gawkish physicality during the opening scenes. The a capella singing throughout is impressive, and there’s an ease with which the company works together that indicates a lot of untapped potential.

Sob Story is a powerfully performed and interesting show, but would definitely benefit from greater script workshopping to become the gripping thriller it deserves to be. The self-marketing as a comedy seems ill-fitting somehow – the dark humour misses more times than it hits – though maybe this will pick up further into the run. One to keep an eye on.

 

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

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Reviewer: Steve Griffin (Seen 5 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

Velvet (Pleasance Courtyard: 1-27 Aug: 14:00: 60 mins)

Posted in 4*, EdFestivals, EdFestivals 2018, EdFestivals 2018 – Reviews, Pleasance, Potterrow & Teviot, Rated: Outstanding, Theatre by

“A tour de force from Tom Ratcliffe”

Editorial Rating: 4 Stars: Outstanding

If the #metoo campaign taught us anything last year, it’s that sexual harassment is far more common than we think – especially in the entertainment industry where (generally) younger and (generally) female individuals are too often coerced into performing sexual favours in the promise of getting some sort of career boost from it.

Velvet (written and performed by Tom Ratcliffe) shows it’s not always women that are the victims in these cases, as it follows the plight of a young male actor longing to hit the big time, and who finds himself questioning how far he’s willing to go to get ahead. After turning down a spurious offer of a drink from an overly familiar casting director, and subsequently being dropped by his agent, Tom thinks twice when he is contacted on an app by an apparent big-wig in the film industry. Should he put his scruples aside to potentially further his career? And what would his partner think if he did?

While perhaps not the most original of plots, Velvet does go to show an honest and accessible account of one actor desperate enough to dance with the devil, with sufficient depth and perspective to make it a balanced and gripping show. It’s a fairly pacey piece, with scenes jumping from one to the next to push the story along, but it’s those where Tom converses with the mysterious man online that are the most disquieting and pleasingly restrained. Something about seeing each message flash up on screen behind the action gives added weight to the dark discourse, and the development of this plot-line in particular is edge of the seat stuff – how would any of us respond given that situation?

As a one-man show it’s a tour de force from Ratcliffe, who himself plays everyone from snooty agents to stuffy actor friends, and even his own mum. Only at rare moments do individual personalities blur, and it would be great to see some more extremes and risk-taking come to the fore to make each and every character unique and identifiable.

There are a couple of convenient coincidences and moments in the script where suspension of disbelief is pushed to its limits, but on the whole this is an honest and heartfelt performance that I could very happily sit through again. It’s only my seventh show of the Fringe this year, but absolutely my favourite so far. Well worth watching if you’re an (aspiring) actor, in particular.

 

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 5 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Elizabethan (theSpace @ Surgeon’s Hall: 3-11 Aug: 12:05: 50 mins)

Posted in 3*, EdFestivals, EdFestivals 2018, EdFestivals 2018 – Reviews, Musical Theatre by

“A healthy serving of bawdy silliness “

Editorial Rating: 3 Stars

Elizabethans aren’t particularly well-known for their musical theatre prowess, so developing a one-man (is it fair to call it a juke-box?) musical comprising songs only from the turn of the 17th century sounds like a risky move, but a compelling concept for those of us who enjoy a bit of both history and musical theatre.

The resulting Elizabethan follows the loves and losses of one Tobias Bacon, who comes of age after his father dies in 1599. Yet though it’s billed as a musical, what’s delivered is much more like a comedy cabaret – a lot of chat and period puns, with the odd musical ditty thrown in – but with very little in the way of narrative or emotive development. Disappointing if you’re expecting to be wowed by a 17th century equivalent to Tell Me on a Sunday, but packed with laughs and merriment – especially if you’re a fan of historical wordplay.

Elizabethan is created and performed by David William Hughes, who accompanies himself on the lute for each song. This stripped back musical simplicity of man and lute certainly works for the more melancholic moments, while attempts to rock out and mix up the vocal styling do go some way to adding interest and excitement to the subtle nature of the music when required. Hughes is clearly a gifted musician, but more complex arrangements and variety in style would help keep the songs more engaging while maintaining the integrity of its renaissance roots.

Hughes also shows himself as a very competent improviser in relation to audience reactions, which is where perhaps the biggest risk of this production becomes apparent. Hughes requires several audience members to participate in this production (though – thankfully! – nobody is asked to sing or play the lute), and these contributions make up a good bulk of the comedy and tension within the performance. While willing subjects make the show fresh and funny, it does rely rather too heavily on their good grace and humour for my liking.

On the whole, Elizabethan is a healthy serving of bawdy silliness with a couple of nice (though fairly samey) songs thrown in. It’s good for a giggle, though somewhat lacking in depth.

 

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

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Reviewer: Steve Griffin (Seen 5 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

Stardust (Pleasance Dome: 1-27 Aug: 16:20: 60 mins)

Posted in 4*, EdFestivals, EdFestivals 2018, EdFestivals 2018 – Reviews, Pleasance, Potterrow & Teviot, Theatre by

“Entertains and enlightens”

Editorial Rating: 4 Stars

While, to many, the Fringe is a place to be entertained, it is also a place to be challenged and to learn something new. I’m not ashamed to say that before watching Stardust I knew very little about the country of Columbia. And that my knowledge extended barely any further than the stereotype it has garnered for being the home of cocaine – another subject about which my knowledge was paltry. Step up, then, this part-documentary, part one-man-theatrical-masterclass which entertains and enlightens on both counts.

In entering the space, performer Miguel Hernando Torres Umba gives each audience member a warm welcome and entrusts a select few to look after mysterious boxes, which go on to become significant parts of the show (nothing scary!). The mood set is one of familiarity and friendship as Umba then explains his Columbian heritage and the purpose of the show he has created as artistic director of Blackboard Theatre.

What follows is a whistle-stop tour through the history of cocaine, how it has become a multi-million pound (and very dangerous) industry, and the wider effects this industry has around the world. With very imaginative use of audience interaction, projections, sound, contemporary dance and many other devices besides, it’s certainly a feat in creative communication. Yet while each section is captivating and powerful, the connection between them often comes across as a little disparate and scrappy, working against the relaxed and open atmosphere at the heart of this show. The game show element in particular is engaging and fun, though rattled through almost too quickly to get the most out of it, and then we’re on to a different aspect of the story.

The joy of this performance, though, is driven by the passion and personality of Umba. His likeability and charm make the learning very enjoyable, and his honesty and communication style are very engaging without going over the top. He shows himself to be adept at multiple performance styles within the piece and knowledgeable and authoritative about his subject.

Overall, Stardust is a well-thought out and compelling discussion, though disappointingly (albeit achingly honestly) leaves a bittersweet taste as there appears to be no resolution or obvious path forward. Well worth watching to learn a few facts about Columbia’s biggest export, though.

 

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

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Reviewer: Steve Griffin (Seen 2 August)

Visit the  Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Bowjangles: Excalibow (Gilded Balloon: 1-26 Aug: 14:00: 60 mins)

Posted in 4*, Comedy, EdFestivals, EdFestivals 2018, EdFestivals 2018 – Reviews, Gilded Balloon, Music, Rated: Outstanding, Theatre by

“I don’t think I’ve ever come across a more multi-talented group”

Editorial Rating: 4 Stars: Outstanding

Bowjangles are not your average string quartet. Indeed, they extend the well-known triple threat (performers who can sing, dance and act) to a fourth dimension by adding the musical string to their bow. (Sorry). And what’s more: they can do all four at the same time. Prepare to be amazed as these performers act out a dramatic saga while accompanying themselves (more than capably) on their instruments.

Excalibow is Bowjangles’ latest Fringe offering (marking the troupe’s 10th year together) and sees them embark on an adventure to find the magical bow Excalibow, which will enable them to become (ahem) the Lords of the Strings. Yes, the jokes and musical puns are that good throughout. It’s a fairly ridiculous story, that unfortunately come across as a rather hastily put together pastiche of fairytales, but the characters are fun and fantastical, and the ever-changing mood created by the performers and their instruments is nothing short of masterful. I don’t think I’ve ever come across a more multi-talented group in all my years of reviewing.

What really makes this performance special, though, is the chemistry and personality that ooze from this awesome foursome. They appear very natural onstage together, and are clearly very well-rehearsed and comfortable in being able to deliver this slick and energetic production. Their smiles never stop beaming, so even if the thought of watching an all-singing, all-dancing string quartet brings you out in a cold sweat, you’ll no doubt find yourself swayed into at least a grin by their charm and charisma.

For me, the overall structure and narrative of the piece is where it all falls a little awry, as the action chops and changes between many locations and subplots that it all gets somewhat confused – though the fun and frolicking nature of the performance makes this relatively unimportant in terms of overall enjoyment. Particular highlights include a snippet from a well-know ABBA song, and a comedic take on a certain moment from the film Titanic.

This is a show that’s bags of fun, packed with personality and great for the whole family (bar the odd naughty word which slips out). A definite for the shortlist as a welcome break from some of the harder-hitting shows out there.

 

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 2 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

FCUK’D (Gilded Balloon: 1-27 Aug: 12:30: 60 mins)

Posted in 4*, EdFestivals 2018, EdFestivals 2018 – Reviews, Gilded Balloon, Potterrow & Teviot, Spoken Word, Theatre by

“Hints of truly brilliant wordplay”

Editorial Rating: 4 Stars

There’s been a pleasing rise in popularity in spoken word and verse performances over the last couple of years, opening theatre up not just to new audiences, but also new artists who might previously have thought the medium too inaccessible for them. And what makes the Fringe so special is being able to experience stories of those that don’t normally get a stage. FUCK’D is one such verse piece, where a young man from an estate in Hull, who dropped out of school early, longs simply to stop his little brother being taken away from his broken home by the authorities.

Following their mother’s breakdown having being left by their father, the two boys must fend for themselves, and when the clipboarded do-gooders finally arrive in their shiny cars, the elder brother makes the split-second decision for them to both jump out the window and run for it. With no plan and less money, the journey they make is one of desperation, reflective of the plight of many such teenagers around the country today.

Niall Ransome’s script cleverly interweaves narrative drive with descriptive passages to tease out the background and develop the world the characters grew up in. A romanticised view of their home estate and its personalities nestles next to the tense escape scene, while reminiscences of rainy picnics are juxtaposed with hiding under a bridge, to add poignancy and personality. It’s artistic and moving with hints of truly brilliant wordplay.

George Edwards is the performer tasked with delivering this urgent tale, and he commands the stage with power and honesty. It’s a tough task to sustain the rhyme and mood for almost an hour, but this is a commendable effort, supported by a simple yet effective soundscape.

While the narrative and performance quality lacks some of the artistry and finesse of works by similar artists such as Luke Wright, this is a solid and capable outing that is almost aching with potential. It would be great to see a bit more pumping pace and extremes in mood to create more intensity – and while Edwards does very well to carry the performance, more dynamic changes and depth would really make this show zing.

A sterling effort, that with a bit more polish could become something very special.

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

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Reviewer: Steve Griffin (Seen 2 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Interview: Glasgow ’14

Posted in *Written Interviews, EdFestivals 2018, Plus 3 2018 – Features by

“I have had personal experience of male mental health problems and know the isolation and anxiety it can cause amongst family and friends, male and female of those affected.”

WHO: Sally Lewis, Writer

WHAT: “From award-winning director Benet Catty, this one-man show examines the ‘unseen’ illness of male mental health through the eyes of four different male characters, coping day to day, when an unexpected trauma sets the picture unraveling. Writer Sally Lewis, who scored a hit at the Edinburgh Festival Fringe 2016 with How is Uncle John?, returns by popular demand with an equally sensitive take on an overlooked subject, inspired by real life stories. All four characters are played by master of the monologue, actor Neil Gwynne.”

WHERE: theSpace @ Surgeons Hall – Theatre 3 (Venue 53) 

WHEN: 20:10 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

I made my Fringe debut in 2016 with ‘HOW IS UNCLE JOHN’, a powerful story about modern day slavery, but Ben Catty, our director, is a Fringe veteran having been here with 6 plays,of which three won London Fringe transfers and four featured on multiple Critics Choice lists. Neil Gwynne, actor and master of the monologue makes his debut playing four characters in this one-man show.

What’s the biggest thing to have happened to you since Festivals ’17?

For me its the opportunity to write this play and work with mental health charities such as Brothers In Arms Scotland to get male mental health out into the open and start the conversation. It’s been vital to me to see how men can find support and know they do not have to suffer alone, since Festivals ’17 I have had personal experience of male mental health problems and know the isolation and anxiety it can cause amongst family and friends, male and female of those affected.

Tell us about your show.

Neil, the actor brought ben (the director) and myself (writer) together. Neil and Ben were old friends who went back to theatre school days, I was the newcomer. Neil already had an idea about looking at male mental health as a subject and we chatted. He had read my script for HOW IS UNCLE JOHN and liked the style of my work. Together we collaborated on what is now GLASGOW ’14. We had one performance back in Neil’s home town of Romsey and are delighted to say it went down well. We are all keeping our fingers crossed and hoping for a tour after Edinburgh.

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

They should visit the bar firstly. There’s nothing like a drink and a chat to let the play really seep into the consciousness. Then they should head off to see My Left/Right Foot – the musical, and the Underground Railway Game @The Traverse.

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