Category Archives: EdFestivals

All our coverage, from all Edinburgh’s festivals, past and present.

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

Kate Berlant: CommuniKate (Assembly Studios: 1-26 Aug: 21:15: 60 mins)

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

“It has been a long time since I experienced a set as effectively hilarious.”

Editorial Rating: 5 Stars: Outstanding

The nicest thing about watching Kate Berlant’s Fringe debut CommuniKate is that you can rest assured you will find something to laugh about for just about every minute of the show. No disrespect to the more serious-minded comedy offerings that speckle a great deal of the Fringe’s stand-up lineups, but judging by pound-for-pound side-splitting material, it has been a long time since I experienced a set as effectively hilarious as Berlant’s. 

The most difficult thing about the show is how remarkably hard it is to explain to the unconverted. Berlant’s entire persona — even onscreen, in brilliant comedies such as Search Party and Sorry To Bother You — is very, very specific, even verging on one-note. She is obnoxious, endlessly, obliviously egocentric, and a perfect manifestation of just about everything older generations seem to disrespect about “millenials,” whatever that means. She claims she is brilliant, gifted, destined for greatness, artistically burdened by her loving upbringing and uncomplicated life, and here to better us with her presence. But somehow, the overwhelming egocentrism is delivered with note-perfect confidence and consistency that it all results in deliriously fun. 

The supposed ‘hook’ of the show, though only introduced halfway through the set, is that Berlant is psychic, and can effortlessly sense facts and details about the audience at will. This leads to some delightfully specific premonitions about the assembled crowd, which are sure to elicit reliably amusing results every night, making this approach a fruitful and clever Fringe offering. 

Outside of the supernatural, Berlant mainly hopscotches around from topic to topic, delivering so many great punchlines and character ticks that it can be hard to keep up with this egomaniac’s self-obsession and sickening self-assuredness, but the whirlwind miscellanea is all part of the act. For those who prefer their comedians humble, perhaps look elsewhere, but for those who appreciate a vicious lambasting of the “I can do anything”-ness of certain members of society, perhaps you might appreciate Berlant’s thorough bollocking of the art of overconfidence. (At times, however, I must admit, as a deep fan of Search Party myself, Berlant’s schtick veers questionably close to comedian John Early’s general vibe, yet at the risk of comparing comedic methods unnecessarily, let’s leave that line of questioning there.)

Even the way Berlant says the word “bread” is funny. Odds are you will leave CommuniKate having laughed at quips, jabs, and ruminations you never thought could be remotely amusing, but as the Fringe is a hub and a home for comedy that finds hilarity in the strangest approaches, Berlant’s show fits right in and excels commendably. It might inflate the onstage ego more than ever, but bravo on this one, it’s a great show. 

 

outstanding

StarStarStarStarStar

Reviewer: Nathaniel Brimmer-Beller (Seen 7 August)

 

Ladykiller (Pleasance Courtyard: 3-27 Aug: 13:00: 60 mins)

Posted in 3*, EdFestivals 2018, EdFestivals 2018 – Reviews, Pleasance, Pleasance, Potterrow & Teviot, Theatre by

“Evokes the absolute best of bloodthirsty entertainment.”

Editorial Rating: 3 Stars: Nae Bad

Why is it the darkest thoughts so often provide the funniest gags? From legendary one-liners (“I’m having an old friend for dinner”) to literary works (calling J. Swift) to entire theatrical movements (the Grand Guignol made this their bread and butter for over 60 years), the most twisted material has consistently charmed audiences throughout centuries of culture. Writer Madeline Gould, making her Fringe debut with one-woman show Ladykiller, appears to fully understand how fruitfully funny and fascinating the macabre can be, and has created a delightful exploration of a particularly bloodthirsty protagonist, played with captivating energy by Northern Irish actress Hannah MacClean. Director Madeleine Moore provides deft, minimalist direction, which provides some splendidly gripping moments and risible humour for the most part — with a slight tightening of the meanderings of the show, Gould’s piece could be a serious golden goose in the Gripping Female Monologues canon.

Ladykiller veers from the dramatic to the iconoclastic to the squeamishly depraved with breakneck speed, which results in both well-timed tone shifts and some narrative whiplash. The piece opens with a body on the floor — as so many excellent things do — and a wide-eyed hotel maid covered in a remarkable amount of viscera and trembling with disbelief and regret. She delivers a heartfelt, hopeless, victimised plea to the darkened audience, and perhaps to a higher judgement, insisting that she would never commit such a heinous act without provocation, and proceeds to desperately lay out how exactly she wound up holding the knife and the deceased wound up deceased. This opener soon slides towards the melodramatic, which ultimately serves Gould’s approach excellently, for MacClean cathartically reels it all back in to explain why we’re really sitting through an hour of this blood-splattered protagonist. For the maid is not at all as she appears, much less a gain-based killer, (simply killing to protect herself), but rather one of the myriad more complex and captivating types of murderer. Over the course of Ladykiller, the maid not only lays out her favourite and most revered killers and killer types, but explains various methods and methodologies in great, gruesome detail. 

In truth, though Ladykiller is frequently very funny — mainly owing to MacClean’s masterful grip on comic timing and goading of the audience — though its subject matter gets possibly too worshipful of the ‘art’ of murder to leave a nice taste. This ought not to be at the front of anyone’s mind going to see a show with quite such a blood-soaked poster, but the casual references to legendary serial killers and their unthinkable deeds start to drift from explanation to hagiography, yet without enough consistency to hold together quite right. The history lesson segments of the piece are at once both too brief to leave a firm impact (unless you too have memorised the gamut of notorious murderers so well you can recall their significance instantaneously) and too long-winded to convince a newcomer to jump aboard the murderer hype train. 

Of course, to a certain extent, the intricacies of murder psychology are reliably fascinating, and Gould has done well to document them so extensively; perhaps some more character work on the maid and her preferences within murder scholarship would make the piece seem less like a TED talk at times. That being said, MacClean is an enthralling presence onstage, with a fabulously personable way of engaging with words and tone. The way the words “students,” or “intellectual masturbation,” or “femininity” slither out of her grinning teeth evokes the absolute best of bloodthirsty entertainment, and rest assured, no matter the subject matter, MacClean’s delivery keeps the audience in good hands the whole way through.

The notion of femininity and its relation to all this is a fascinating undercurrent in Ladykiller, and Gould has included some excellent meditations on how the gender of the killer (or killed) affects understandings of power, victimhood, and responsibility. There are excellent points made concerning why female killers are automatically considered less crafty or intentional than male ones, and even whether these assumptions ultimately enable female murderers more than anything. These questions are excellent fodder for further consideration, and though Ladykiller has its uneven elements, if you are looking for some violent delights delivered by a knockout leading woman, look no further. 

 

nae bad_blue

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

Reviewer: Nathaniel Brimmer-Beller (Seen 6 August)

Visit the Pleasance archive.

 

Action Man (Paradise in Augustines: 4-11 Aug: 17:35: 75 mins)

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

“The benchmark that all young theatre companies should aim for”

Editorial Rating: 4 Stars: Outstanding

Action Man follows the journey of army Corporal Liam Drury (Michael Moulton), who, upon returning home after eight years’ service, is severely affected by PTSD, causing the breakdown of his marriage and other relationships. Performed as an ensemble piece with seven actors in addition to Moulton, it pulses with the urgency of a tale that needs to be told, and interweaves choreography, sound and silhouette to convey the intensity of the action.

Rather than being a linear piece, Action Man flashes back and forwards in time, covering key moments and influential characters in Corporal Drury’s life. While early on it’s difficult to grasp the structure of the piece (when and where each scene takes place), everything soon slots into place and what’s presented is an intelligent and concise story that maintains interest and tension from start to finish. At 75 mins this performance is slightly on the lengthy side for a Fringe show, but there’s little fat to cut given the complexity of the relationships and emotions at stake – writer Lizzie Morris does very well to gauge just how much to present from scene to scene.

Moulton turns in a powerhouse performance as Drury, with seemingly unflagging energy. His impressive range of emotions across each scene makes him compelling to watch, and his emotional monologue at the PIP meeting really does tug at the heart strings. The supporting cast more than capably do their bit to build and sustain tension and drive the emotive choreography, and there’s an earnestness about their performance that demands attention.

Though while the company generally handle the topics covered in the show very well, and with sensitivity, at times they do seem slightly out of their depth. The army scenes in particular are perhaps too naïve, and the difficult conversations Drury has with his current and former partner occasionally lack the presence and power in performance for them to ring true. But given how young this company are, a little slack can be given.

In many ways this production of Action Man captures the very spirit of the Fringe – a talented and ambitious group of artists sharing a powerful story with every weapon in their arsenal – and there’s plenty of exciting stuff happening on this stage. For me, Plaster Cast Theatre are the benchmark that all young theatre companies should aim for. Bravo.

 

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 8 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Interview: Falkland – The War the World Forgot

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

“My wife, partner, and playwright decided we didn’t have enough to do so we needed to fix the nation. Well, at least the state of Maryland anyway. So in January she decided to run for House of Delegates and I became her treasurer.”

WHO: Luke Tudball, Director & Performer

WHAT: “On a hovercraft, no one can hear you bark… Fringe legend and Olivier Award winner Guy Masterson’s uproarious tales of woe, a dog and transcontinental wedlock. The dog came with a package… it could not be abandoned in Paris, and the next eight years tested everything: marriage, career and sanity. A tormented, often hysterical life of poo, piss and pooches.”

WHERE: Greenside @ Nicolson Square – Emerald Theatre (Venue 209) 

WHEN: 13:50 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Edinburgh is an old friend at this point, a wonderful place to return to and celebrate whenever we can. Sure, we’ve had our ups and downs but like any good relationship we kiss and make up, we walk, we get soaked in the rain, and then we make wonderful things happen. This will be my nineteenth Edinburgh Fringe and the fourth with Tasty Monster Productions – a crazy journey but one which I have learnt from, grown with, and been seduced by.

I first came to Edinburgh as a drama student over twenty years ago and since then have brought many productions to the city including in recent years SINGLEMARRIEDGIRL, Ferdinand, and this year, FALKLAND – The War The World Forgot. The Fringe is eclectic, ridiculous, challenging, and exhausting, but I can’t seem to stay away or resist the call of the fest.

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

As a company, this year we were lucky enough to take FALKLAND to Pittsburgh Fringe where we won the Selke Award for Best Show in the Fringe and that was amazing. Though awards aren’t the reason we do what we do this one was especially meaningful because I was able to work with the inspiring woman who the award was dedicated to and we are very honored that our show was recognized in her name.

For me personally, something quite big and unexpected has been working on a political campaign because my wife, partner, and playwright decided we didn’t have enough to do so we needed to fix the nation. Well, at least the state of Maryland anyway. So in January she decided to run for House of Delegates and I became her treasurer. Her treasurer and treasure, she calls me.

Tell us about your show.

Tasty Monster Productions came about, as many things do, in a bit of a whirlwind in 2011. After meeting while working on a show, Heather Bagnall, my now wonderful wife and partner, and I knew we wanted to produce new writing of our own and challenging productions which change how people perceive and think about storytelling. Over the last few years we have created and produced five original plays including FALKLAND which was inspired by the uplifting and moving stories of the people of the Falklands and their experiences of the Falklands War in 1982.

Originally premiered in Orlando, Florida, the show honors and commemorates the people whose lives were forever changed by the ten and half week conflict in which almost a thousand people died. This is not a history play – rather a play about people, politics, and power. It’s an eerily timely reminder of the damage that can be done when politicians are careless with their influence. It’s impossible to view it in a vacuum so it has become somewhat of a cautionary tale for for what is happening in our world right now.

As a person with family and friends in many nations of the world, including Britain and the United States, it is hard to not draw parallels and be wary of the road our leaders are taking us down. After Edinburgh, FALKLAND is traveling to Scranton Fringe in Pennsylvania and Charm City Fringe in Baltimore, Maryland and we hope to tour it all over the United States ahead of the midterm elections.

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

I will confess that for me the Fringe is a bit of a family reunion and one of the things that is so exciting is seeing so many friends and collaborators bringing their best work to the largest arts festival in the world. I’m especially looking forward to Gavin Robertson’s poetry-meets-standup one-man show GREG BYRON: WORDSHOW as well as Nicholas Collett’s unique look at Shakespeare, YOUR BARD, and as a huge fan of mystery and thrillers, I can’t wait for Guy Masterson’s THE MARILYN CONSPIRACY – a new look at the death of the iconic actress. Having seen and been wowed by Box Tale Soup at Brighton Fringe this May

I’m also eagerly anticipating their new adaptation of Henry James’ TURN OF THE SCREW and no Fringe is ever really complete without the horrific and hysteric poetical rantings of Dandy Darkly who brings his newest foray into the macabre, DANDY DARKLY’S ALL ABOARD!, to the Underbelly at Bristo Square. And if you’re looking for something wacky, fun, and totally unique, you should not miss Peter Michael Marino’s SHOW UP – a show entirely about you which even has a kid-friendly version at noon every day. I never cease to be astounded at Peter’s slightly maniacal energy and supreme showmanship.

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+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)

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THIS REVIEW HAS NOT BEEN SUBEDITED