Category Archives: *Ratings

Charolais (Spotlites: 6 – 30 Aug.’15)

Posted in 5*, EdFestivals 2015, Other, Rated: Unrated, Theatre by

Photo: Sally Anne Kelly

Photo: Sally Anne Kelly

“Where l’amour freely transforms as l’amoooour’”

Editorial Rating:  5 Stars

To invoke an admiring Scot, even though this is an all-Irish production, Charolais is ‘warm-reeking, rich!’ Approach the slurry pit with care and whatever happens do not call your good woman a ‘Silly moo’ or a ‘Daft cow’(and Burns didn’t either). She may not catch the affection in your voice, especially if she’s a pretty heifer.

Siobhan has had enough of coming second to boyfriend Jimmy’s gorgeous cow. Siobhan is heavily pregnant with their child but Jimmy seems only to have eyes for Charolais, whose bright yellow ID tags appear like ‘cheap gold rings’. Such jealousy might be at the extreme end of an hormonal rush but Siobhan is thinking murder. But how? A wild barley feed can result in alcohol poisoning or you could slice the cow in the squeeze chute. As if Charolais’s charms are not enough to contend with, there’s Jimmy’s seriously protective mother, Breda (72), who regards Siobhan as a shameless hussy. Maybe Breda could meet a power surge on the electric fencing?

So it’s a down-on-the-farm love and sex story with writer/actor Noni Stapleton as Siobhan and as Charolais. This is where l’amour freely transforms as l’amoooour’ and back again with a delightful swish of blond hair and a lolling lascivious tongue. The fact that prized Charolais cattle are creamy white and have well developed udders is to invite a cowpat but I hope not. Anyhow, performer and Bigger Picture Projects go further and provide this cow with a husky singing voice. Think Piaf in the byre rather than this reviewer in the mire, please.

It is a sweet treat of a script too, both affectionate and grounded, and steamy with activity in the cowshed and with Siobhan trying to get Jimmy away from his mother. She succeeds, dramatically – even tragically – but not in the way(s) she imagined. And for a townie there’s the added bonus of hearing of calving jacks and herd books and – from Charolais’s point of view – of the ‘indignity of the AI man with the syringe’.

Stapleton’s performance is really good. Yes, in many respects it is a humorous monologue – for woman and cow – but it is also wholesome and generous. For much of the time she’s Siobhan, seven months pregnant and in a bloody apron, but she’s proud and ardent too. I was especially taken by the way Stapleton makes her space her own and looks astonishingly ‘at home’ – in wellies –  just a few feet from her audience.

I have seen a few too many plays recently that put the urban precinct, IT, and the disembodied centre stage. ‘Charolais’ achieves the primary opposite. It’s all heart.

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

Reviewer: Alan Brown (Seen 28 August)

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Floe­-Joe’s Faces (Just The Tonic @ The Mash House, 24 -30 Aug : 21.00 : 1hr)

Posted in 3*, Comedy, EdFestivals 2015, Rated: Nae Bad by

“A very entertaining show, with plenty of giggles”

Editorial Rating: 3 Stars: Nae Bad

The premise of this character comedy show is very interesting – having three different characters discuss their contribution to the mysterious “Floe-Joe’s” new album, track by track, at its first “listening party”, hosted by the main man. The whole show is underpinned by a selection of what I can only describe as incidental hip-hop – the kind that might play in the lift of a trendy club, which sets out a very clear vibe for the show overall, and its use and styling works very well to cover the transitions between each character, as well as giving each one its own soundtrack.

First up is the drunken and ballsy Irishman Fergyl Walsh, whose brother is Louis Walsh. He rants about being misunderstood and the angst involved in creating the album. It’s a gutsy performance, even if the accent slipped a little from time to time.

Next up is recently graduated RnB singer U (yes, that’s his name), who is desperate to move on from being a hooker (the singer that just sings the “hook” of a song, while the rapper hogs most of the limelight). Compared to the brash Fergyl, U is shy and assuming, and because of that is very likeable. Through various snippets in this section, Fairey also boasts a surprisingly impressive singing voice, and it was a shame not to hear more of it.

The final character of the show is the multi-faceted and over-confident street dancer, Lydia Left, who longs to break away from her dance troupe and achieve the stardom she dreams of. While something of a stereotype that doesn’t bring much uniqueness to the stage, she still manages to get the party started and the whole audience on their feet.

As can be expected of a slightly quirky character comedy, there are various moments when Fairey interacts with the audience -asking us to recount something good that’s happened today, or to predict what song might be playing in our heads. There’s also a great moment at the end where we get the chance to try out a few dance moves on stage, which was actually very refreshing and nowhere near as awkward as one might think.

A couple of the jokes fell a little flat, and there were a few moments that Fairey seemed a little apologetic for the performance, rather than oozing with confidence that a show like this really needs. However, on the whole it was a solid and very entertaining show, with plenty of giggles, and different to anything I’ve seen before.

 

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 27 August)

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Submarine (theSpace Niddry Street: 1 – 29 Aug: 20:25 : 1hr 25mins)

Posted in 4*, Comedy, EdFestivals 2015, Other, Rated: Outstanding, Theatre by

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“Slick and powerful”

Editorial Rating: 4 Stars Outstanding

Go see a stage adaptation of an indie film adaptation of an award-winning book they said. It’ll be fun, they said. Luckily, they were right. Popcorn Theatre’s “Submarine” is an undeniably enjoyable piece of theatre, whether you’ve even seen the original work or not – or even if you’re not a fan of indie movies.

Following the adolescent trials of misfit Oliver Tate, “Submarine” addresses themes of love lost, youth reconsidered and the nature of human emotion in relativity; if that all sounds a bit much, rest assured – it never feels overwrought or artsy for art’s sake, staying firmly rooted in it’s homely welsh drab and expertly weaved soundtrack.

Jonas Moore and Rachel Kelly are a tour-de-force as Oliver and leading female Jordana Bevan. There’s such palpable substance in their characterisation, it’s easy to get lost in their characters. Every physical tic and vocal quirk feels energetic yet realistic, aided hugely by a skilled, slick set of supporting actors. A particular favourite was Tom Titherington as the wonderfully ridiculous Graham, who managed to summon laughs up without fail every time he appeared on stage.

And the comedy really is good. Every punchline is unexpected, driven by the sustained, cerebral oddness of Dunthorne’s characters. But Submarine is also a show which pulls no punches in regard to poignant, emotional drama either. The scenes between Jill and Lloyd Tate (Catherine Prior and Josh Hunter) were often heartbreaking in their portrayal of a marriage falling apart – not with a bang, but with a disappointing slump.

But slump seems the right word to describe parts of this show also. Despite it’s strengths, it’s inescapably “indie”: meaning the often manufactured dramatic turns and heightened energy many theatregoers are used to just isn’t present. It stays at a high but disappointingly constant drone which, though it helps it succeed in imitating real life, also meant that certain scenes felt like they needed a little something more.

However, that does little to diminish the strong performances and time-tested writing underpinning a very slick and powerful show. The clever staging, the wonderfully implemented Super-8 footage and the expertly talented cast pull together what for others may have ended up being a tedious and pretentious spectacle. Taking no prisoners when it comes to left-field humour and commentary on the human state, Submarine is definitely a show with six full miles of depth.

 

outstanding

StarStarStarStar

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Reviewer: Jacob Close (Seen 25 August)

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In His Own Write (The Voodoo Rooms, 8 – 30 Aug : 17.10 : 1hr)

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

“A thoroughly enjoyable performance, accessible to adults of all ages”

Editorial Rating: 4 Stars: Outstanding

In His Own Write is a delightfully bonkers collection of short stories, written by none other than John Lennon. Last staged at at the National Theatre in 1968, it seems incredulous that it hasn’t been seen since. However, perhaps this version has been given the ok due to its very simple and honest approach to just telling the stories, without any of the pomp, prestige or impersonation that could be associated with adapting such a work.

The show opens with (and indeed each story is preceded by) a short pencil-sketch animation in the style of the illustrations in the original book. Immediately the tone is set as being playful and non-fussy – embodying the spirit of the book perfectly. The trio of performers set straight to it, capturing the innocence of each story with energy and clarity, but at no point going over the top into pantomime.

What makes this collection so enjoyable is the wordplay used by Lennon on selective phrases, often changing just one or two letters to make a new word with a completely different meaning. My favourite came quite early on, in Flies on Trash, where a character is described as “a former beauty queer”, and is portrayed by the actor accordingly. Another character later on is described as “dead and duff”, and another “wandered lonely as a sock”. The deadpan delivery of every line was the perfect accompaniment to the absurdity of the writing in letting it speak for itself.

Of course, for a piece written in 1964, there are bound to be some words and phrases used that today we find a little unsavoury, and use of them could probably get one sacked from the BBC. But given the honest style of the show’s delivery – presenting the work just as it was written without any comment or spin – such phrases ring home very naturally, and don’t seem out of place in the context. If anything, they give an added layer of hilarity.

As a performance it is very slick and professionally put together, and there’s also great variety used in the techniques to share each story. A couple are sung a capella, one or two are delivered solo, some contain a few outlandish props, but all delivered clearly, with great vitality and passion for the craft. It’s well rehearsed and the transitions are smooth, maintaining the level of interest and engagement throughout.

I think for what the company were trying to achieve in the faithful presentation of the book, they succeeded with aplomb. Whether this piece is everyone’s cup of tea, or could have had more dramatic structure or development is another question. Either way, it is a thoroughly enjoyable performance, accessible to adults of all ages.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 24 August)

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Vertical Influences (Assembly @ Murrayfield Ice Rink, 8 – 29 Aug : various times : 1hr 30 mins)

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

“The skating is spectacular”

Editorial Rating: 4 Stars: Outstanding

Vertical Influences is an original contemporary dance piece on ice, developed and performed by five talented skaters who were probably kicked out of the Canadian Olympic team for being too cool. I’ll admit upfront: I’m not an ice-skating expert, so please forgive my ignorance of technical terms in describing this performance. I am, however, trained in contemporary dance, so this critique focuses purely on the “dance” aspect of the show.

What’s clear from the very beginning, and what is a real strength of this piece, is just how connected and in tune the dancers are to each other. From the opening sequence where the group “run” in big loops around the rink as though one body, to the smoother sections in the middle where they weave in and out of each other without even seeming to look at where the others are, it’s a very mesmerising performance.

The first half of the piece allows each dancer to show off their own personalities and style through solo sections. The dancers will do sequences around the rink in unison, and one will literally break away to do their own thing, before coming back to the group. The unison sections are very strong with every movement completely in synch, but some of the solo sections, although very physically impressive, did seem more improvised, and so form a stark contrast to to the clearly closely rehearsed group sections. There is a wonderful sense of playfulness between the dancers as they allow each other to go off and be different, safe in the knowledge that they will soon come back.

In the second half the routine is slightly more traditional in terms of choreography, with more unison, canon, and recognisable structures. For this the audience sits in special seats at one end of the ice, and because we are that much closer to the action, it seems much more daring, as the skaters often skate directly towards the audience at terrifying speed, only to turn or stop at the absolute last second. The sense forward and back (a bit like a fashion runway) was very prominent, and the skaters use this to show the variety of ways they could travel towards (and away from) us, always in complete control. The weaving motif is used throughout to give congruence to the halves, but the second certainly feels more grown up, and, dare I say it, professional.

There’s no mistaking that this is very much a contemporary dance piece – there’s not a single sequin to be seen, no throwing of the girl into the air, and no jolly melodies to accompany forced smiles – anyone hoping for a Torvill and Dean bolero will be sadly disappointed. What music there is is quite harsh, mostly rhythm with little melody, and is quite hard to engage with. The piece overall is performed with little sense of spectacle or razzle-dazzle (although it is very tight) and doesn’t have much sense of narrative or development. Still, the skating is spectacular, even if the choreography might not be to everyone’s taste.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 23 August)

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Hannah and Hanna (Assembly George Square, 6 – 30 Aug : 13.20 : 1hr)

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

“A very heartfelt performance from two fine young actresses”

Editorial Rating: 3 Stars: Nae Bad

Hannah and Hanna is a story examining two sides of the immigration debate, which, given UKIP’s performance in this year’s general election, and the more recent events involving migrants in Calais, couldn’t be more perfectly timed.

Hannah (played by Cassandra Hercules), lives in Margate, Kent, where she’s been her whole life. Like her boyfriend and peers, she’s fiercely anti-immigration, believing that local resources should be kept for the locals. Hanna (Serin Ibrahim) is a refugee from Kosovo and sees Margate as a dreamland, and all she wants is to fit in and be accepted. Their worlds collide and a special bond is formed between them, transcending the prejudices of their families.

The play is very simply staged, with character and location indicated by token props and subtle changes in lighting. Between the two of them, Hercules and Ibrahim play a multitude of characters, ages and nationalities, but are at their best when playing Hannah and Hanna. Ibrahim brings beautiful sensitivity and naivety, while Hercules is vibrant with energy and passion. Both actresses, in their twenties in real life, capture and portray their 16 year old characters effortlessly, and through their physicality and delivery of the script it is uncannily believable that they are indeed that young. The bond they form is genuine, and the chemistry between the two is strong enough to make you feel warm and fuzzy inside.

However, despite being a very commendable effort from the performers, this play does fall down in certain areas, with parts of the script requiring a lorry-sized suspension of disbelief. While all the necessary ingredients are there (characters representing different points of view, a decent story arc and plenty of dramatic tension), it does all feel very rushed, and at times hard to follow.

Hannah is won around by Hanna’s charm very early on, and the pair seem to form an unbreakable friendship after only five minutes. The final 10 minutes of this play are quite confusing, with lots of ups and downs and jumps in time and location making it quite difficult to follow, and the ending isn’t as resounding or emphatic as it could have been considering the topic. What’s really missing is that, apart from the two central characters, there isn’t really a sense of anyone having learnt anything or viewpoints changing, so at worst it feels a bit pointless, and at best just a nice story.

I believe that if the company had longer to work on the piece (it was developed in just two weeks), and were prepared to make some changes to the initial script to extend and clarify it, this could be something very special. At the moment it’s a very heartfelt performance from two fine young actresses, but little more.

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 23 August)

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Sophie Pelham: Country Files (Pleasance Courtyard, 7 – 30 Aug : 16.45 : 1hr)

Posted in 3*, Comedy, EdFestivals 2015, Pleasance, Pleasance, Potterrow & Teviot, Rated: Nae Bad by

“Likeable, effusive, hilarious”

Editorial Rating: 3 Stars: Nae Bad

Upon entering the Pleasance Cellar (sorry, Dorset) the audience is offered a tot of sherry and a sausage roll to get into the mood. For me, in this, my third back-to-back show, this seemed like a dream come true. And indeed the dream continued for the first 10 minutes or so when Pelham, as village lady-of-leisure Vanessa Bluwer hilariously tells us about life in Kilmington, her noble employers, and the various courses she runs on a voluntary basis (everything from breast-feeding to bereavement counselling). As this character Pelham is likeable, effusive and strikes a good balance between prepared material and audience interaction.

Alas, after this the show falters somewhat, with a series of less well developed characters, too much audience interaction and little drive to keep the performance moving. Pelham’s Lord Ponsanby, a drunken country gent utters my funniest line of the show “I’m not homosexual, just bloody posh”, but falls flat after a few minutes and it’s a bit of a relief when she goes off to change again. Two of her characters are animals (a badger and a fox respectively, the less said about those the better), but posh school girl Primrose and yummy mummy Sulky Waterboat are both enjoyable, making fun of relevant stereotypes.

While some parts of the audience interaction in this show were great – getting various members to hold a hobby horse, read a letter and answer the odd question – I felt that on the whole there was an over reliance on this, and as the show went on there was a definite sense of awkwardness in the room, particularly among those in the front row who seemed to get “picked on” multiple times.

And just as the level of audience interaction was pushing it, sometimes her jokes also strayed over the line into being somewhat cringeworthy, the worst offender of these definitely being the one about the Muslims… hushed silence all round. Some gags were spot on tone-wise though: safer topics included politics and class, both suitably ridiculed, while even references to underage sex got a few chuckles.

Overall, I think this show has the bones of something that could be really special, but would be better if it focused on fewer individual characters, and having a clearer sense of narrative between them, to keep the show flowing from one scene to the next. A good effort.

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 22 August)

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Mansplaining Masculinity (Cabaret Voltaire, 8 – 30 Aug : 12.05pm : 1hr)

Posted in 4*, EdFestivals 2015, Other, Rated: Outstanding, Spoken Word by

“An engaging and thought provoking discussion… honest, revealing and accessible”

Editorial Rating: 4 Stars: Outstanding

“This isn’t a comedy” Dave tells us, wearing a purple dress and a fedora, without a hint of irony. It is however, an incredibly engaging and thought provoking discussion into the notion of masculinity that’s honest, revealing and accessible. My words, not his.

The show is framed around a survey carried out by Pickering, which asked 1,000 men to share their opinions and experiences about patriarchy and masculinity (anonymously). It also includes a raw account of his own sexuality and identity, and during the performance he attempts to piece the two together.

Although researched to an almost painstaking degree, and written and structured with a lot of love, Pickering doesn’t pretend to have all the answers, or that his show will somehow cure the world of its ills. Instead it’s an exploration of an idea, and insight into a side of the human state that receives little attention. It was passionately and engagingly delivered, and he even gives references for further reading on the topic – a first for me at a Fringe show.

During the performance Pickering certainly doesn’t shy away from the big issues – there’s talk of rape, emotional abuse, bullying and more. But it’s not spouted in a preachy or melodramatic way – it’s a simple recount of some very personal experiences from his own life, mixed with responses from the survey, and weaved together with some very intelligent discussion and line of questioning.

As a discursive show, it was very effective when Pickering referred to results from the survey, but it was almost tantalising that he did so only rarely, as I would have loved to have glimpsed further into the world of what men really think. He did at times refer to other well known (but uncited) general facts which did give the piece some added clout – how men commit more crimes, carry out more successful suicide attempts, and earn more money.

The anecdotal parts of this show, where Pickering shared memories from his traumatic home and school life, and his first sexual experiences were very moving, and made me question my own coming of age and identity within the “patriarchy”. His openness is absolutely commendable, and it really enriches the piece by bringing in personal as well intellectual engagement.

I feel the content of carries great social importance for people of all sexes and ages, and this is a very entertaining and enlightening way to spend an hour. I urge you to see this show.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 22 August)

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Waitless (Greenside @ Royal Terrace: 9 – 22 Aug : 15:00 : 55 mins)

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

“Sometimes wry, sometimes touching and constantly captivating”

Editorial Rating:  4 Stars Nae Bad

 

If forced to choose a combination of seemingly innocuous words which form something terrible when combined, my first would probably be “flavoured toilet brush” – in a very close second, however, would be “long distance relationship”. They’re frustrating, tense and more often than not leave you utterly unsatisfied with the way you’re spending your time – it’s a great pleasure, then, that Cailin Harrison’s “Waitless” summons up completely opposite feelings thrown up.

Focusing on the lives of New York newlyweds Shelly and Trent, the show largely follows the former’s fraught journey of self-realisation as she struggles with the loss of identity that comes with both expatriation and the changing nature of her marriage.

Although Jessica Moreno and Andrew Boyle are the only two on stage, you’d be forgiven for thinking otherwise. Boyle’s skill with rapid, crisp and amusing character shifts are an absolute joy to watch – several times writing this review, I had to mentally check there were only two actors involved.

And as the leading lady, Moreno utterly steals the show with her raw energy and stage presence: she could be reading the shipping forecast and still hold an audience’s attention. The nature of Shelly’s character would be difficult to pull off for any actress, but Moreno manages to be endearingly gregarious without it ever becoming irritating or unneededly fake.

It’s clear from the outset that these are two very versatile, very impressive actors: both in terms of their individual talents and onstage chemistry.

However, the energy that makes this show shine also threatens to burn: some of the more poignant moments felt slightly muddled in, simply because there was seldom any moment of slowness to fully appreciate Harrison’s dramatic turns. And although appropriately bittersweet, the ending left me somewhat wanting. Take it as a sign of the show’s knack for characters, but I felt the story lacked closure. Perhaps that’s the nature of the beast, as anyone who has suffered through the British visa system will tell you, but I was nevertheless disappointed that the final curves of Shelly’s character arc seemed to be cut short.

At the end of the day, though, there’s no avoiding that this is a very good show indeed. Sometimes wry, sometimes touching and constantly captivating, Waitless is worthy of heavy praise.

 

nae bad_blue

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

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Reviewer: Jacob Close (Seen 17 August)

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Unexpected Excesses (Edinburgh Drawing School Gallery : 9 -30 Aug : from 11am)

Posted in 5*, EdFestivals 2015, Exhibitions, Other, Rated: Outstanding by

Unexpected Excesses

“Prepare to be dazzled”

Editorial Rating: 5 Stars: Outstanding

Walking through the doorway into Unexpected Excesses (an exhibition of work from Jan Knibbs and Lizz Watts), my immediate impression was a riot of colour, texture and form. However, thankfully Watts was there to guide us through the collection and how it was created.

One of the most striking pieces, a framed collage called The Return, juxtaposes broken ceramic teapots with papier mache flowers, which appear to grow from the ground in which the pottery has fallen, representing the circle of life. It was full of vibrancy and energy, and a great example of the vivid style of the work on show.

In talking to Watts about her pieces, she revealed that she likes her work to develop organically. She may start off with an idea but at some point it develops a life of its own, and many pieces tell a story. A favorite theme is nature and the changing seasons. A particularly impressive vase with a group of swans’ necks curving from the lip was always intended to be connected to swans thematically, but the final form they took in the piece was completely organic and unplanned. There are certainly no two pieces alike.

The clothes, hats, shoes and other gloriously opulent and embroidered textiles by Jan Knibbs were displayed on mannequins and elsewhere scattered through the exhibition, the effect combining gracefully with the ceramics.The philosophy behind both the textile and ceramic creations is concerned with practicality as well as being stunning to look at: the clothes and shoes are wearable, the bowls and vases usable.

What really makes this exhibition special is that it is both interactive and experiential. Not only are visitors able to talk to the artists but they are also positively encouraged to handle the pieces, feel them and examine them closely. In doing this it can be a pleasant surprise to find a continuation of the decorative motif on the inside or throughout pieces, as well just on the surface. On top of this, when I visited, a harpist (Bianca Watts) appeared and played for us to give an added layer of decadence, and I was lucky enough to be given a glass of Prosecco to enrich my Sunday afternoon with further “unexpected excess”. If that weren’t enough, visitors are invited to contribute a few lines to a daily poem, started by poet in residence Dawn Gorman, in order to really become part of the work.

Unexpected Excesses

As one might expect, this exhibition is an extravagant, beautiful and seemingly chaotic collection of work. Yet there was a real cohesion to it – the ceramics complemented the textiles, and all the added extras fit perfectly into the overall theme. On close examination there were many hidden treasures: ribbons at the back of dresses, decoration inside pots, and lots of small details that made me want to keep examining every piece further. The atmosphere in the room was intimate and relaxed without feeling stuffy or overpowering.

This exhibition is called Unexpected Excesses, and it’s easy to understand that some visitors may see the room, and indeed some of the pieces in it, as too much, too ornate, a gilded lily. But whether it’s your personal taste or not, it’s definitely worth experiencing. There is a varied programme of guest artists and things going on, from poetry to music, as well the incredible art on display. Check the programme before planning your visit, or just turn up and prepare to be dazzled.

outstanding

StarStarStarStarStar

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Reviewer: Steve Griffin (Seen 16 August)

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Photo credits: Bill Johnston