Category Archives: Theatre

Reviews of theatre work.

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

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

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

Editorial Rating: 4 Stars: Outstanding

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

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

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

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

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

 

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 2 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

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

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

“Hints of truly brilliant wordplay”

Editorial Rating: 4 Stars

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

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

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

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

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

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

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

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Reviewer: Steve Griffin (Seen 2 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Interview: You’re a Good Man Charlie Brown

Posted in Theatre by

“It has been a whirlwind 10 months and we have been thrilled at the support we have received so far.”

WHO: Dominic Lewis, Director/Founder of Bare Productions

WHAT: “Bare Productions are a new, fresh Edinburgh-based company comprising of some of the best local talent who have all performed in multiple five-star sell-out shows at the Fringe. This year they bring Schulz’s comic characters to life in this Tony Award-winning musical. Come on an adventure with Charlie Brown, Snoopy and the Peanuts gang as they navigate the ups and downs of life as a 6-year-old. The show will make adults laugh their socks off whilst still not crossing any watershed boundaries making it a must-see for kids too.”

WHERE: Paradise in Augustines – Studio (Venue 139) 

WHEN: Times vary (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes, it’s the first time Bare Productions are at the Fringe. We are a collection of EUSOG veterans who, as students, were involved in productions such as Avenue Q (2014) and Little Shop Of Horrors (2015). We decided to launch this company to generate opportunities for Edinburgh-based theatre-lovers who wanted to continue theatre post-University.

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

I think the biggest thing is our creation. It has been a whirlwind 10 months and we have been thrilled at the support we have received so far. We had our launch party back in November and then chose our show and now we are here ready to take on Fringe 2018.

Tell us about your show.

Our show is called “You’re a Good Man, Charlie Brown”. It’s a comedy musical about the Peanuts characters which was originally created in the 60s but got a fresh revamp on Broadway in 1999 where Kristen Chenoweth (original Glinda in Wicked) played Sally Brown. The show is like a snapshot-style musical. Lots of scenes which give insight into what life is like to be a 6 year old (or in the case of Snoopy- a dog). The best thing about the show is that it’s hilarious for all ages. Watching adults play kids is side-splittingly funny but the show isn’t remotely rude so great for children too.

The show has 6 characters in it: Snoopy, Linus, Lucy Van Pelt, Sally, Schroeder and of course – Charlie Brown.

We are hopeful to continue doing many more comedy musicals post-Fringe and are keen to continue Bare Productions into the future.

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

They should see some of the other musicals that are on: Bohemians, EUSOG are doing Drowsy Chaperone and Footlights are doing American Idiot.

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Formation Festival: Cowards Anonymous (10-12 July)

Posted in 4*, Assembly Roxy, Theatre by

“Leaves you feeling pleasantly contemplative”

Editorial Rating: 4 Stars

Cowards Anonymous – a support group for shy people who don’t like to make tough decisions. Hosted by some very colourful characters (who begin wearing masks), the welcome given feels more like you’re about to participate in a bizarre shared event, rather than sit back in the shadows to merely observe. And a shared event it becomes, as audience members are picked on at frequent intervals to give their views on a variety of topics and questions.

For many, the term ‘audience participation’ is the stuff of nightmares – the thought of being dragged up on stage, laughed at, or even just spoken to from the comfort of your seat by a performer with a big personality and a microphone – can send shudders down one’s spine and bring on the cold sweats alarmingly quickly. And while one of the aims of Cowards Anonymous is to create a sense of discomfort and awakening to some rather sticky issues, it is mediated in a relaxed and comedic way that nurtures a safe space in order to openly discuss difficult topics – mainly moral choices and philosophical debates.

Indeed, the main strength of this production is the pace and personality driven through it by performers Izzy Hourihane and Eilidh Albert-Recht who do the bulk of the direct addresses to the audience. They bounce off each other well and successfully navigate the tightrope between likeability and authority throughout. Their performance also gives the frequent sense of having gone completely off-book, adding to that feeling of awakening through nigh-on cringeworthy uncertainty of what happens next. Gripping stuff.

Josh Overton’s script dissects the notion of what it means to be a coward, and indeed what it means to be oneself – given the acting up we all do in different situations to please those around us. Posing several thought-provoking scenarios and more than a fair whack of comedy, it leaves you feeling pleasantly contemplative, even if the killer punch of the piece is somewhat lacking. Many excellent ideas are presented, but none quite strongly enough to elicit purposeful action.

Director Tyler Mortimer does well to highlight the comedic and playful aspects of the production, yet while the pacing is generally quite rip-rollicking and upbeat, some more variation in tone and timbre might help emphasise the points being made by this piece.

For many reasons, this show is likely to be divisive, yet for those open to something new, it’s an enlightening way to spend an hour. For me, this production just needs to shake off some of its scrappy and unpolished edges, embrace its direct and intelligent confrontational approach and go full steam ahead. It’s refreshing to have one’s mind challenged in this thoughtful way, and I’d encourage more people to do the same.

 

 

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

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Reviewer: Steve Griffin (Seen 11 July)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Formation Festival: Conspiracy (11-12 July)

Posted in 4*, Assembly Roxy, Theatre by

“A sterling effort”

Editorial Rating: 4 Stars

Loring Mandel’s Conspiracy, which many may know from the 2001 HBO film starring Kenneth Branagh, dramatises the 1942 Wannsee conference in Nazi Germany – where several powerful members of various agencies and government departments met to discuss and agree upon a “final solution” to the “Jewish problem”. Undoubtedly one of the major turning points in global history, it is almost sickening now to witness the frank discussions from these men of how best to be rid of millions – millions – of Jews. Strap in.

Upon entering Assembly Roxy’s large Central space, you get a feeling something big is going to happen: the impressive design encompasses a crescent shaped 15-seat conference table – complete with place names, glasses and cigarettes – while a full-on buffet spread is arranged behind it. This is a production that doesn’t shy away from details, as the excellent vintage costuming also pertains to.

Stylistically, Mandel’s script doesn’t quite have the wow-factor of some of its comparable contemporaries: the dialogue doesn’t sing as much as in Aaron Sorkin’s A Few Good Men, while it lacks some of the narrative drive of Reginal Rose’s 12 Angry Men. What it does have, though, is a gut-wrenching sense of inevitability as the decision is reached with a pitiful defence of humanity, and it’s this short journey which makes it a powerful ensemble piece – achingly relevant to the political landscape unfolding in America now.

Director Robin Osman gives himself a mammoth task in pulling off this production, and a real strength is managing the cast of 16 at all points to maintain interest and relevant focus. Indeed the down-time moments of the meeting are almost more impressive than the lengthy debate, which often seems at odds with itself when it comes to levels of tension, frustration and power with each character. The overall presentation comes across as slick and well-rehearsed, though some cast members are somewhat guilty of overacting their smaller parts, creating a bizarre sense of imbalance to those with a more subtle approach.

For me, the standout performers are: Alexander Gray as Dr Wilhelm Stuckart, who navigates the most complex emotional journey throughout the piece; Chris Pearson as Dr Wilhelm Kritzinger, for exuding a natural quiet authority; and Ben Blow for his compelling and convincing turn as Otto Hoffman.

Overall, this is a sterling effort for an amateur production of this challenging play. It’s a bit of a slog to sit through, but well worth it for the vital history lesson, if nothing else.

 

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

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Reviewer: Steve Griffin (Seen 11 June)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Formation Festival: Mr & Mrs She (7-8 July)

Posted in 3*, Assembly Roxy, Rated: Outstanding, Theatre by

“Pleasingly disquieting”

Editorial Rating: 3 Stars: Outstanding

It’s not often I’m lost for words when coming out of the theatre, but Mr & Mrs She is one of the most bizarre plays I’ve ever seen. Yet, while its incomprehensibility may be perceived as a negative, there’s something to be said for a play whose questions stay with you for many hours – even days – afterwards.

The show opens with what appears to be a fairly stereotypical wealthy couple enjoying a generous amount of their favourite tipple and getting rather merry. Cue the entry their very eager-to-please staff, a comment about enjoying oneself too much before breakfast, and suddenly the play takes a much darker turn.

Hollie Glossop’s script may well be abstract, but there’s something gripping about the subversion of power from these seemingly stock characters that becomes pleasingly disquieting. The level of detail and pace at which the action develops is masterful, and while I would prefer a greater sense of grounding and cohesion to be able to connect more with the action, Glossop has created a world that begs to be explored further.

Sofia Nakou’s direction embraces and extends the quirkiness with intelligent physicality and proxemics, making the most of the large performance area to highlight the power struggle between each character and the vast emptiness each one is in. As the action creeps closer to the audience, the level of discomfort rises on all fronts and it’s impossible to predict what will happen next, or how you should feel about it.

Kudos to all of the young company performing this work, embracing its weirdness and committing to their roles in it. David Llewellyn in particular demonstrates fantastic range and risk-taking throughout his demise, while Grant Jamieson is suitably sinister as his butler.

It would be fantastic to see this show developed further – it has the makings of a truly memorable piece of theatre. That being said, it seems somewhat unfair to attribute a star-rating to a piece like this, which might easily alienate some audiences while titillating others. Either way, if you’re on the lookout for something different that will leave you with many unanswered questions to debate afterwards, this may well be for you.

 

outstanding

StarStarStar

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Reviewer: Steve Griffin (Seen 8 July)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Formation Festival: Straight Outta Saughton (7-8 July)

Posted in 3*, Assembly Roxy, Rated: Nae Bad, Theatre by

“Charming”

Editorial Rating: 3 Stars: Nae Bad

Straight Outta Saughton presents the unlikely but intriguing scenario of two recently released inmates (and cellmates) from HMP Edinburgh banding together to perform as drag queens, having struggled to find other employment. The senior, and more confident of the two, Peter (Callum Thomson) is old hat and knows his way around a wig and a pair of heels, but his younger (and very vocally heterosexual) counterpart Dave (Greg Sives) is most certainly not in his comfort zone, setting up a potentially juicy 45 minutes of real-time action before the two must take to the stage and lip-synch for their living.

Katy Nixon’s script is charming throughout, setting up a very believable situation, peppered with relevant and laugh-out-loud witticisms. It teases out revelations about each character at a good pace, setting up a fair amount of twists and turns to maintain interest.

What’s missing though is a real sense of narrative drive and urgency to keep the action moving and create more dynamics within the piece. While director Deborah Whyte does well to make the most of the small performance space and create different levels throughout, it does sometimes feel a little flat and laboured. The action often comes across as very “blocked” and unnatural, while it’s disappointing not to see more made of the make-up makeover, which feels a bit rushed and underutilised, both artistically and metaphorically.

It’s the actors who really make this piece shine though. Thomson is a natural on the stage, and commanding in his portrayal of the flamboyant Peter. He also shows great emotional range when opening up about his more personal life and demonstrates great dexterity throughout. Sives is more subtle as the reluctant Dave, but every inch believable in his frustrations and discomfort about the situation he finds himself in. The pair have great chemistry together and I could easily watch them for longer.

There’s definitely something here, that with a bit more workshopping could become a really gripping play. Still, it’s a very enjoyable production as it is, and I hope we see more of it in the future.

 

nae bad_blue

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

Reviewer: Steve Griffin (Seen 8 July)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

The Hour We Knew Nothing Of Each Other (Lyceum: 31 May-2 June ’18)

Posted in 4*, Rated: Outstanding, The Lyceum, Theatre by

“A joy to watch”

Editorial Rating: 4 Stars: Outstanding

Peter Brook famously said he could take an empty space and call it a bare stage, continuing: “A man walks across this empty space, whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.” In a masterclass of simplicity that Brook would be delighted with, The Hour We Knew Nothing Of Each Other is arguably very little more than several people walking across an empty space for the best part of 90 minutes, and the end result is nothing if not engaging throughout.

Inspired by an afternoon spent watching people come and go in a town square, playwright Peter Handke’s script transforms the actions of these normal people into a theatrical event, which is given new life here by directors Wils Wilson and Janice Parker, along with their community cast of over 90 (ninety!) Edinburgh residents.

The decision to use a large community cast works really well in bringing a sense of honesty and integrity to the action. These are people of all ages, backgrounds, shapes and sizes, with individual quirks that are celebrated on stage, but never embellished to make them ridiculous. Sure, there are some larger than life characters and a sprinkle of pizzazz to create some special moments, but the overall sense of realness conveyed by this piece makes it a joy to watch. Perhaps what’s most impressive though is how slick and deft everything is – one can only marvel at the intricacy that must go in to stage managing this huge cast and all their precise entrances and pathways on stage – it’s hard to spot a misstep anywhere.

Performed completely without words, this is a show that does ask quite a lot of an audience to keep with it, and Michael John McCarthy’s sound design and compositions are (excuse the pun) instrumental in creating a sense of wonderment throughout. His whimsical score facilitates a pleasing ebb and flow to the performance, as if you’re never sure if the music is leading the action or merely complementing it. There’s plenty of variety in the soundscape to punctuate different moods, yet enough consistency to keep it connected and grounded in some magical faraway place. Indeed, this is a production where all creative elements – from costume, design, sound, and direction (even the curtain!) – pull together towards a common goal, which manifests in a very high quality output.

In saying that, at almost an hour and a half in duration, this performance does verge on being too long and self-indulgent. In particular, the section where all performers cluster on stage feels like it should be the climax, but ends up being a surprisingly sloppy (in comparison to the rest of the show) and inconsequential few minutes, which peters out rather unceremoniously into more walking.

As a production that could easily be a rather bizarre lovechild of Samuel Becket and DV8, The Hour We Knew Nothing Of Each Other won’t appeal to everyone. But for me, there’s just such a vibrancy to this piece that leaves you 100% rooting for everyone involved. I’d happily go again.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 1 June)

Visit the The Lyceum archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Forbidden Stories (Traverse: 17/18 May ’18)

Posted in 4*, Theatre, Traverse by

“You can almost smell the emotion”

Editorial Rating: 4 Stars

Cyprus. A country torn apart by colonisation, occupation and civil war throughout the 20th Century – the repercussions of which are still deeply felt by its people today. The aptly titled Forbidden Stories is part documentary, part theatre piece bringing new life into the previously untold stories of many of those affected by the political situation on the island over the last 50 or so years.

The stories presented are an equally heart-wrenching and heart-warming collection, with comical, childish moments positioned alongside angry, confused and overjoyed perspectives from all sides of the conflict, dating from the 1960s until the early 2000s. And as a collection it feels like a fair representation of the truth, without ever swaying towards bias for any group or individual.

Much of the staging is basic, reflecting the sense of people at a loss with minimal possessions, and while the presentation in this performance sometimes verges on feeling a bit too low-budget and ill-conceived, the power from this piece comes from the delivery of the stories by the ensemble. Given the strength of the multi-talented and multinational cast, the sense of individual voices comes powering through – you can almost smell the emotion of families being forced to leave their homes or being reunited with their communities, thanks to the subtlety of the acting and deep personal connection with the text. At times it’s almost impossible to consider that they are indeed actors sharing someone else’s words rather than their own experiences.

Yet what a strictly Verbatim-style piece brings an emotional honesty, it can lack in cohesion and narrative, so while there is much insight to be gained from each story, the piece as a whole feels very fragmented, and some of the stories a little hard to follow. What’s disappointing from a theatrical angle is not being able to see individual stories and characters evolve over the duration of the piece to create more narrative drive – I really wanted several of the characters presented to come back and share more of their journey to bring a greater sense of resolution – though the chronological structure of the piece does go some way to completing this loop.

As an educational documentary production, Forbidden Stories is a unique and personal way to learn about the history of Cyprus from the people who lived through it, and it really hits the mark in that respect. As a theatrical performance in its own right, it feels somewhat unfinished and rough around the edges, but still very much worth watching.

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

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Reviewer: Steve Griffin (Seen 17 May)

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THIS REVIEW HAS NOT BEEN SUBEDITED

Gut (Traverse: 20 April – 12 May ’18)

Posted in 4*, Rated: Unrated, Theatre, Traverse by

Kirsty Stuart and Peter Collins.
Photos. Mihaela Bodlovic.

‘Feel it!’

Editorial Rating: 4 Stars

 

Turning over a toy box can be messy but upending the presumption of innocence is in an altogether different ballpark. What happens when a nice kind man in the queue at a place to eat helps grandma out and takes your three old to the toilet? You’re allowed a gut feeling about this one and it’s probably the right one? But are you sure, really, really sure?

OK, it’s not The Place to Eat up in John Lewis’ – writer Frances Poet can only go so far – but it might just as well be. As it is, Fisher-Price’s Laugh and Learn puppy takes the biscuit for product placement. Dad, Rory, another nice bloke, hasn’t found puppy’s On-Off switch and its happy-happy tune is doing his head in. It is not so funny for Mum, Maddy; not funny at all, for where there’s an edge in this ninety minute drama she is well and truly over it. And there’s no soft play area on the other side. Is it The Stranger who pushed her or did she do it all by herself?

It could not happen to a more ordinary, youngish, couple, which is precisely the point. We even have a Glasgow address: 65 Kelvindale Road – and Joshua (3) goes to Nursery and Granny Morven (Rory’s mother) helps out a lot, to begin with. First it’s the baby monitor and then it all goes wrong, which is where is the creative team get it just right. There’s a broad set, minimally dressed: a table and three chairs stage left, and a garden swing stage right; large rectangular panels, one of gauze, at the back. Colours are muted, contemporary greys and creams. The exceptional lighting design by Kai Fischer marks off areas that quickly isolate and focus attention. Various Strangers cast shadows, open to frightening doubt, that contrast with the chilling white of Maddy’s psychiatric stay. Michael John McCarthy’s music is spare and quietly ominous while Zinnie Harris’ direction is one keen judgement call after another. The overall effect is a silent ‘House’ in the grip of a familiar, media churned nightmare that cannot be shaken off.

George Anton and Kirsty Stuart.

The script is conversational, inviting immediate and natural responses that seem at odds with the enveloping paranoia. Kirsty Stuart as Maddy is never more convincing as a loving mother than when she details her appalling behaviour. Rory (Peter Collins), who loves her to bits, can sort out toy trucks forever and still not get close to her. His mother, Morven (so believable by Lorraine McIntosh) can only be bewildered and hurt. George Anton is seven different Strangers, sympathetic in one light, scary in another. Presence is all and Anton delivers each time. The impassive concern of his police officer is especially alarming.

The initial setup is a little shaky, rather plastic. Can Maddy be that brittle? But if that’s a weakness the stage work carries it all the way. Gut succeeds in demonstrating that once parenting turns into child protection then it is a nervy, mind shredding issue. Feel it! Stand behind a swing and you risk getting your teeth knocked out but you can get thrown off a see-saw and bang your head just as easily. That, for me, is the audience’s experience. Up and down, up and down, see the Stranger, and then it’s touch-and-go (so to speak) whether it’s playtime or, ‘Wallop!’ “Mum’s out of it”.

 

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

Reviewer: Alan Brown (Seen 24 April)

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