Category Archives: EdFestivals

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

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

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

Editorial Rating: 4 Stars: Outstanding

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

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

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

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

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

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

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

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 2 October)

THIS REVIEW HAS NOT BEEN SUBEDITED

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

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

“A masterclass in simplicity and stunning individual performances”

Editorial Rating: 3 Stars: Nae Bad

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

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

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

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

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

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

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 14 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

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

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

“Striking, thought-provoking and immensely entertaining”

Editorial Rating:  5 Stars Outstanding

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

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

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

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

Absolutely bloody excellent.

outstanding

StarStarStarStarStar

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Reviewer: Jacob Close (Seen 13 August)

Visit the Summerhall  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

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

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

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

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

Editorial Rating:  4 Stars: Nae Bad

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

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

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

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

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

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

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

nae bad_blue

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

Reviewer: Alan Brown (Seen 13 August)

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

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

“Oddly enjoyable”

Editorial Rating: 4 Stars

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

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

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

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

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

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

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

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Reviewer: Steve Griffin (Seen 13 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

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

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

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

Editorial Rating: 3 Stars Nae Bad

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

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

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

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

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

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

nae bad_blue

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

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Reviewer: Jacob Close (Seen 13 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

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

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

Consumption

“A show bursting with acting talent”

Editorial Rating:  3 Stars

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

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

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

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

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

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

 

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

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Reviewer: Jacob Close (Seen 12 August)

Visit the Other archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Wings in my Heart (Big Sexy Circus City : 7-30 Aug : 14.30 & 20.00 : 2hrs 30 mins)

Posted in 4*, Circus, EdFestivals 2015, Rated: Outstanding by

“Visually and technically spectacular”

Editorial Rating: 4 Stars: Outstanding

On entering the Big Sexy Circus City compound one is greeted by acrobats just casually performing to the queue of punters, while a tightrope walker works his way backwards along a wire overhead, occasionally stopping to balance on one leg. You know, how a normal night starts. When you enter the big top, it only gets more impressive.

While the opening few minutes take a little adjusting to (there’s fire, there’s water and there are people parading around dressed as various fairground attractions for no particular reason), it soon turns into a circus spectacle with amazing acts, unlike anything I’ve ever seen.

We’re warmed into the spectacle with a wonderful solo tap routine, accompanied in part by a drummer. The dancer starts in a small circle of light, and makes fun of chasing the light as it moves to continue his routine. A few minutes later he’s filling the whole stage with energy and playing a very enjoyable call-and-response rhythmic game with the drummer. Straight after this, there’s a breathtaking counter-balance rope routine, with two performers supporting each other’s weight while performing daring swings and tumbles. Their artistry on the ropes was incredible, while how they supported and propelled each other seemed to defy all laws of science.

Perhaps my favourite sequence followed directly after this, which involved a lot of balls suspended from the ceiling which swung like pendulums across the stage, with an intricate contemporary dance routine performed in between swings. How the performers managed to dodge them with such apparent ease was again a cause for wonder.

Also worth noting is the performance’s closing act, which I won’t spoil but is absolutely worth holding out for. Control and patience are brought new meaning with one performer and her selection of sticks…

Throughout this show the costumes, sound and lighting are all stunning. Each adds more depth to an already very sensory performance, and go to show how much love, care and artistry have gone into developing it. I’ll admit I didn’t really understand everything that was going on (there wasn’t a clear narrative or sense of development), but with a show as visually and technically spectacular as this, you really don’t need to. You can just sit and be in awe of spectacle, scraping your jaw up off the floor at the end.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin  (Seen 12 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

Ushers: The Front of House Musical (Momentum Venues @ St Stephens: 5 – 30 Aug. 21.30: 1hr 20mins)

Posted in 3*, EdFestivals 2015, Musical Theatre by

“Performed with real gusto and joy”

Editorial Rating: 3 Stars

I find it very hard to review this show as I had quite high expectations in going in to see it. And while in some ways it was truly fantastic, in other areas it unfortunately missed the mark, however much I willed it to wow me.

For the most part, and especially in all the group songs, Ushers is performed with real gusto and joy. The opening number is slick, energetic and sets exactly the tone one would expect from an off West End hit. The smiles and precise choreography indicate a company that’s well rehearsed and clearly love what they’re doing.

Rory Maguire as Ben impressed me the most vocally, with a deliciously sweet high register for the power notes. Ben Fenner as Gary came across as the most real, displaying great emotional depth, while Alexandra Parkes was infectiously hilarious as Rosie.

Essentially Ushers has everything you could want in a musical: big chorus dance numbers, full of pizazz; emotional ballads; a complex, multi-layered six part showpiece song midway through; a love story; bags of humour and a dash of homoeroticism. For the musical theatre geeks amongst us there were several other small treats, in the form of creative references to other well-known shows. From the casual name drop, to that riff from the end of Defying Gravity there was plenty to smile about. Yet while a lot of the constituent parts were there, it seemed to be everything holding it together let the show down somewhat.

This may be partly due to the stage being so vast that the more intimate scenes got somewhat lost in it. Also, while the writing had a fairly decent plot (packed with laughs), some of the individual storylines were quite difficult to believe, so even though the cast acting were their hearts out, it occasionally came across as somewhat disingenuous. I lost count of how many times a character left the stage to “count programmes”, while the Theatre Manager was so outrageous it formed too much of a dischord with the rest of the action.

Unfortunately the performance I saw was blighted with a few technical failures in the sound department, but to give the actors their credit they ploughed on regardless and by the end of the show all was forgotten. Indeed the cast’s overall demeanour – from the way they ushered us to our seats when the house was open, to selling their own merchandise, and everything in between – was slick, professional and vivacious.

Overall I think the company did the best they could with what they had to work with, and anyone who loves their musical theatre or has ever worked as an Usher will really enjoy this show.

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

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Reviewer: Steve Griffin (Seen 10 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

The Rape of Lucrece (Assembly Hall : 10 – 31 Aug : 16:30 : 1hr)

Posted in 4*, EdFestivals 2015, Other, Rated: Nae Bad, Theatre by

https://i0.wp.com/dulwichonview.org.uk/assets/uploads/2012/01/Rape_of_Lucrece.jpg

“Nothing short of breathtaking”

Editorial Rating: 4 Stars Nae Bad

Watching actors tackle Shakespeare can usually be categorised into one of two columns: boring, or brilliant. The latter is much harder to find, which is why watching Gerard Logan’s performance of Shakespeare’s “The Rape of Lucrece” impressed me so thoroughly.

Throughout the narrative poem, which details one of the principal and ghastly acts which led to the founding of the Roman Republic, Logan’s time-honed professionalism shines. His dynamism is nothing short of breathtaking, filling each of the character roles in the work with almost uncanny shifts in energy; grief stricken one moment, and then furious the next without it ever feeling sporadic. This is a piece which has obviously been rehearsed and tweaked to the nth degree, and it shows.

And perhaps the most impressive facet of Logan’s performance was his verbal skill. His speed and dexterity meant that not only did Shakespeare’s Elizabethan writing lose none of it’s meaning, it lost none of it’s original intended impact. Even to someone who has never encountered Shakespeare before, this performance would be easily understandable and immensely enjoyable – at least, in a dramatic sense, given that the subject matter doesn’t easily lend itself to a happy mood.

However, Logan’s seemingly infinite stores of energy sometimes worked against him: certain flourishes in his physical performances, and the feverish speed of some movements, threatened to push select lines over the boundary from compelling to overwrought. And whilst these moments were few and far between in an otherwise well restrained performance, they were nevertheless noticeable.

But despite these small complaints, it was clear from the chatter after the show that the one-man performance was a clear hit – and I cannot say I disagree. Though it may not have made me into a lover of Shakespearean poetry yet, it’s nevertheless an artistic and directorial triumph.

nae bad_blue

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

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Reviewer: Jacob Close (Seen 9 August)

Visit the Other archive.

THIS REVIEW HAS NOT BEEN SUBEDITED