Category Archives: Theatre

Reviews of theatre work.

Columns (theSpace on the Mile: 14-26th Aug: 10.55: 60 mins)

Posted in 3*, EdFestivals, EdFestivals 2017, Plus 3 2017 - Reviews, Rated: Nae Bad, Theatre by

“A really joyous production”

Editorial Rating: 3 Stars: Nae Bad

If there were an award for theatre company I most want to be friends with, The Wax House (formed by Laura Day and Alexander Hartley) would win it hands-down. Their smiles, personalities and passion for what they do is infectious, and that’s what’s most resounding about this performance of new work Columns. It feels more like you’ve popped round to a mate’s house for fun story time than a converted hotel function room on the Royal Mile, and the atmosphere of the piece really does transport you to a happy place.

The story follows two main characters: Sophie (Day), a personal trainer with an estranged mother and rather volatile relationship with her father; and Joe (Hartley), a pot-plant enthusiast whose parents upped and disappeared without a word almost two years ago. At its heart is a theme of reconciliation and helping others come to terms with loss.

The mainstay of the story is Sophie’s quest to help Joe deal with his parents’ unexplained disappearance, and the questionable moral choices (such as impersonating his mother in a voicemail message) she makes along the way in so doing. It’s a simple and effective approach to create tension and drive the piece along, as we do follow her thought process and qualms at each step, though it’s a shame how easily it all turns out in the end: some of the journey and struggle is cut short, cheating the audience of a full feeling of satisfaction.

Indeed, what is rather frustrating about Columns overall is the number of loose ends and glossings over of facts that are rather central to the story: proof of a certain phone call, and Sophie’s motivation to undertake her first piece of exploration being key examples. Yet what is there is performed with such warmth and vivre that these flaws are almost forgotten by the end.

The company make clever use of carboard boxes as their set and props throughout, each painted with different patterns and images on each side, and which are then variously arranged to create different scenes. This action adds to the playful, happy nature of the piece, as do the audio interludes accompanying each scene change, seemingly capturing unplanned snippets of Day and Hartley in discussion about the show.

The performance I saw was a relaxed one, adapted specifically to suit those who find the traditional theatre environment too formal to sit still and quiet in for an hour. Day and Hartley certainly make the space welcoming and friendly one to be in, encouraging us all to be ourselves and respond however we felt comfortable to. I’d never been to a relaxed performance before, but would absolutely recommend it for those who might face barriers to access theatre normally.

Overall this is a really joyous production, but needs more work on the script and details of the story to take it to the next level.

nae bad_blue

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

—

Reviewer: Steve Griffin (Seen 24 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

The Girl Who Jumped Off The Hollywood Sign (Assembly Roxy: Until 28 Aug: 11.30: 70 mins)

Posted in 5*, Assembly Roxy, EdFestivals 2017, Plus 3 2017 - Reviews, Theatre by

“Hartstone inhabits her characters (male and female) much as Liz Taylor was supposed to have simply been Cleopatra”

Editorial Rating: 5 Stars: Outstanding

We enter to the strains of Arthur Dooley Wilson singing As Time Goes By. The mood is glamorously sombre. On stage is the top half of the ‘H’ of the Hollywood sign. Onto it steps a figure in black dressed as though for a funeral. How did she get here? What (and who) have pushed her to this?

The story which writer and performer Joanne Hartstone has to tell is eerily familiar. Evelyn Margaret Edwards (or Evie Edwards, to use her stage name), is a naive young lady seeking to change her rags into riches through the magic of the Hollywood limelight. She has dreamed of becoming a star all through the Great Depression, from the stock market crash, via a Hooverville, and the unending grind of a hand-to-mouth existence. But without a fairy godmother her dreams are outshone by the stark realities of the entertainment industry.

A few days back I was interviewing the star of an American Civil Rights drama. With tongue firmly in cheek I asked if she was grateful to President Trump for helping to keep the issues she tackles relevant. “We’ll he’s great for my ticket sales!” she replied with a sad grin. We reflected on the truth that tragedy and suffering are the Fringe writer’s bread and butter – no one ever paid to see a play about contented people happily pottering through an uneventful life.

The good writer tells a tragic story in its time and place. The brilliant do that too, but they also say something universal about the human experience at all times and in all places. Hartstone has written a piece that falls squarely into the latter category. Her script is at once an insider’s tour of Hollywood’s Golden era (for ‘insider’ read, ‘black and white movie nerd’). It is also a profound reflection on the use and abuse of women – their ambitions, their independence, their bodies and souls.

The delivery is paced, but pacy – never lagging or getting ahead of itself. The story unwinds like a spool of luxury cloth under an exacting tailor’s expert eye. Though this is a one-woman show Hartstone inhabits her characters (male and female) much as Liz Taylor was supposed to have simply been Cleopatra while Richard Burton played at being Mark Anthony.

Hartstone is also possessed of a fine, evocative voice which conjures up the spirit of the age in sparkling speech and song. The movement is minimalist, the set perfectly scaled to allow Hartstone to ascend and descend from the ‘H’ with a minimum of fuss. You can honestly imagine that this is the staging Evie Edwards would have designed to best tell her story from.

The Girl Who Jumped off the Hollywood Sign is Fringe theatre at its best – profound without being maudlin, sassy, smart, and above all edgy. This is an iron fist of a script nestling in a velvet glove.

outstanding

StarStarStarStarStar

—

Reviewer: Dan Lentell (Seen 24 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Oskar’s Amazing Adventure (Gilded Balloon Teviot: Until 27 Aug: 11.50: 40min)

Posted in 5*, EdFestivals 2017, Gilded Balloon, Plus 3 2017 - Reviews, Rated: Outstanding, Theatre by

“The highest praise I can think of is to jump up and down in my seat squealing ‘Again! Again!'”

Editorial Rating: 5 Stars: Outstanding

It’s the middle of a hard winter in Switzerland. The little house on the top of the mountain is snowbound. Oppressed with cabin fever, fun loving puppy Oskar runs off in search of new friends to play with.

The show is based on the picture book by celebrated children’s author Colin Granger. Colin is of course a part owner of Komedia Brighton, and (once upon a time) was the author of the Heinemann English Grammar (which is yet to be dramatised for the stage). All the original characters are present, including Oskar, his friend the Marmot, the hungry Fox, Grandma, the chickens, the other puppies. The only exception is Mrs Goat who lost her seat on the tour bus to Colin.

We enter to find an alpine backdrop hung from rustic timbers. In front is a canvas pyramid with three of the four sides painted with a particular scene from the narrative that is about to unfold. With the occasional turn of this pyramid by performer Natasha Granger, Oskar’s story is revealed. Not since the Pharaoh Khufu walked out of Dunbar and Sons onto Morningside Road, having just purchased the ultra deluxe funerary care package, has a pyramid been put to such effective use.

This production is a grace and flavour mansion giving Colin Granger’s charming narrative a home away from home. The grace is delivered by his daughter Natasha whose fluid movement melts in and out of the liquid lighting and soundscape. The flavour is unmistakably alpine – crisp, simple, elegant. The interplay of stagecraft and performance is balanced and nuanced. The puppetry (including some shadow play on one side of the pyramid) empowers rather than overpowers. The effect is hugely satisfying, whether this is your first ever show or simply your latest.

It’s a safe bet that the Children’s section of the Fringe guide is the growth area to watch and shows like Oskar’s are in the vanguard. A glance at the reviews on EdFringe.com reveals where that vanguard will encounter the sharpest slings and arrows. Audiences love this show (as they should). The “professionals” are noticeably less excited. Why would they be? It’s fairly obvious that they weren’t accompanied by a reliable preschooler.

You might have noticed that it’s really quite expensive to come to Edinburgh in August and this is true for pundits as well as for producers and punters. Bringing a kid along too (without the support of local grandparents in residence) is a big ask, but it must be better answered. As the children’s section of the Fringe guide grows, reviewers and their publishers need to be much better at reflecting the artistry and talent that shows intended for younger audiences are already delivering.

This was my own preschooler’s first ever live show and I am so massively grateful to Theatre Fideri Fidera for making it such a positive and memorable experience for us both. Oskar’s Adventure may not strike a jaded 20-something as particularly amazing, but for preschoolers first noticing the big wide world (and for those of us privileged to attend them on their journey) the perspective offered is just right. The highest praise I can think of is to jump up and down in my seat squealing “Again! Again!”

outstanding

StarStarStarStarStar

—

Reviewer: Dan Lentell (Seen 23 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

Fragile Man (theSpace on the Mile: 10-26th Aug: 11.50: 50mins)

Posted in 3*, EdFestivals, EdFestivals 2017, Plus 3 2017 - Reviews, Rated: Nae Bad, Theatre by

“The structure and story are a stroke of genius”

Editorial Rating: 3 Stars: Nae Bad

Suicide is a topic that’s difficult to talk about on all fronts. It is the biggest killer of men in the UK under the age of 50, and this alarming trend doesn’t appear to be fading away any time soon. It’s refreshing, then, that some shows at the Fringe this year approach the issue in a sensitive, accessible way, and Fragile Man is one of them.

Set on a remote hilltop at dusk we meet two men, one apparently on the verge of committing suicide and one who steps in just in time to save him. It seems like a fairly predictable set-up, yet what unfolds is an attempt at reconciling a frank discussion into the hard-hitting issue of male suicide with a thrilling dramatic play. The two sound like they shouldn’t work together, but they almost do. Almost.

While several elements of David Martin’s script are quite clunky and cliched, the overall structure and story Fragile Man follows are a stroke of genius, cleverly peeling away at the layers of the two characters to reveal a gripping and thought-provoking heart. Only in the last few minutes does it all “click” into place, and with some polishing in the sticky areas, the writing could be the basis of a really intelligent piece of theatre.

As an emotive and challenging two-man show, with a hefty amount of multi-roling, it’s a big ask from actors David Martin and Richard Miltiadis to sustain the tension for a whole hour. They make a commendable effort and absolutely give it their all, but at times both seem a bit out of their depth with the magnitude of the piece, often resorting to overly emotional responses and exchanges, when at times a more withdrawn and subtle approach would help create more contrast and power. Though for new company performing a debut piece, I should perhaps cut a little slack.

When it comes to Jacqs Graham’s direction, the physical nature and more stylised elements of the performance, while creative, sometimes feel disingenuous, not aided by the quite choppy scenes and dominating set the actors variously crawl in and out of during the transitions. For me, a simpler approach to both the direction and design would be more effective to maintain a consistent and honest feel throughout. In saying that, some of the cutaways from the main story – including the confession scene and direct address in the lecture – do work very well, flowing seamlessly and maintaining the integrity of the set-up, and it’s a shame the whole piece isn’t performed at this level.

This is an important and interesting play, which, if not quite worth shouting about, should, like the subject it addresses, at least be talked about far and wide.

nae bad_blue

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

—

Reviewer: Steve Griffin (Seen 22 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

Woke (Gilded Balloon Teviot: 4-28 Aug: 14.00: 60mins)

Posted in 5*, EdFestivals, EdFestivals 2017, Gilded Balloon, Plus 3 2017 - Reviews, Rated: Outstanding, Theatre by

“Quite possibly the best presentation of the nuances of race relations from the unjustly-treated point of view one can experience today.”

Editorial Rating: 5 Stars: Outstanding

Given the many difficulties faced by millions of people around the world in our current climate, every civil rights-focused spotlight is worthy of attention. Apphia Campbell’s Woke, however, is not just another “worthy” civil rights-focused show decrying injustice for being injustice — it cuts deeply into the structures, limits, hypocrisies, and evils that allow racism, injustice, disorder, and oppression to continue and continue and continue. If you have ever claimed or had the urge to claim that the current racial climate is “not that bad,” please let Woke wake you up.

These issues are never simple. Many pop culture statements have garnered great praise, and some rightful ire, for presenting race relations too simply. From Zootopia/Zootropolis to Crash, mainstream outlets seem to eat up stories that are easy to swallow, that present problems as apparently easy to fix. Campbell’s play soars above simplicity by presenting the sometimes charming, sometimes harrowing stories of two black women, one speaking from 2014 onwards, the other speaking from the Black Panther Party of the seventies. She masters not only the nuances of storytelling but of stagecraft as well, as lighting, sound effects, props, and choreography are all of the highest creative quality.

The audio introduction repaints the mental pictures of the shooting of Michael Brown in Ferguson, Missouri in August 2014, and from there Campbell segues into an absorbing rendition of Bessie Smith’s “St. Louis Blues.” The transition, spanning decades yet recalling the same geographical location, Missouri, offers foreshadowing for the overarching structure and central observation of the show — just how far have we come since the ‘Civil Rights Era?’ According to Campbell, certainly not far enough.

What is most striking about the plotting of Woke, is that both characters Campbell breathes life into are not only vividly characterised, with engrossing nuances (credit to director Caitlin Skinner) but also experience a noticeably, tragically similar hardening. Ambrosia, who speaks of 2014, initially believes in the righteousness of the police and questions the legitimacy of the Black Lives Matter movement in her Washington University classes. Yet over time, she experiences so many abusive, prejudiced cruelties at the hands of police officers and the law writ large that she, and the audience, have no choice but to accept that society still fails to treat people like her as equal citizens. The pacing of these developments is gradual, yet her hellish experiences continue and worsen with a palpable, sickening sense of inevitability. Campbell’s writing does well to put the audience in the shoes of Black citizens’ everyday anxieties, from questioning one’s trust in the police to fearing for one’s safety where other citizens would never.

The other character Campbell focuses on is a well-known figure, Assata Shakur, who was convicted of the murder of a state trooper in 1973, and fled to Cuba after escaping prison. The legitimacy of this conviction is dismantled with brilliant progression, as she establishes Shakur’s positivity, righteousness, and honour, before displaying her growing terror as establishment forces seek to slander and imprison her.

The genius of Woke is in its building unease, the sure feeling that something terrible is at play. The steps of injustice are on full display, so the audience can understand it is never just one slight or careless comment that perpetuates racism, but a seemingly impenetrable societal structure. This approach encapsulates the fear at the heart of being “woke” — defined, in my opinion, as learning about, following and speaking out on the injustices faced by disenfranchised members of society. The fear is that one might uncover too much to comfortably continue as a member of society anymore; that understanding the truth of the horrors that white-dominated civilization has inflicted on non-white individuals, it will be too hard to ignore their lasting effects.

In my opinion, Campbell’s production is quite possibly the best presentation of the nuances of race relations from the unjustly-treated point of view one can experience today. Theatrically, it is worth a run of standing ovations. Thematically, it is a revelation. Societally, it is required viewing. Ultimately, Woke is a statement that deserves to be lauded in every way.

outstanding

StarStarStarStarStar

 

Reviewer: Nathaniel Brimmer-Beller

THIS REVIEW HAS NOT BEEN SUBEDITED

A Girl and a Gun (Summerhall: 2-27 Aug: 18.00: 60mins)

Posted in 5*, EdFestivals, EdFestivals 2017, Plus 3 2017 - Reviews, Rated: Outstanding, Summerhall, Theatre by

“A greatly rewarding hour of insight and grace for cinephiles, feminists, and iconoclasts everywhere.”

Editorial Rating: 5 Stars: Outstanding

Louise Orwin is one savvy film buff and her one-woman show, A Girl and a Gun (the title of which is derived from Jean-Luc Godard’s notorious quote “All you need to make a film is a girl and a gun”) is sixty minutes of finely crafted satire/tribute/criticism/fun on that very notion. For cinephiles and non-cinephiles alike, A Girl and a Gun offers laughs, thrills, and intimate insights into some of popular culture’s most beloved genres and setups within film, while asserting a masterfully subversive message.

Orwin is an electric performer, constantly keeping the audience guessing and engaged as she flits from scenario to scenario as “Her,” representing the interchangeable, lazily written female in so many Hollywood films. She is accompanied onstage by an unspecific male counterpart, as “Him,” a random actor who had responded to the show’s online call for male performers, and who is a different person every night. “Him” reads his lines from a teleprompter, and is, charmingly, just as surprised, shocked, amused, and impressed at the show’s content as the audience is at every turn. For Orwin has created an amalgam of sorts, of every misogynistic and abusive male-female dynamic presented in male-ego-centered films, to prove how toxic and destructive masculinity in popular culture can be.

“Him” is scripted to seduce, kiss, betray, bully, abuse, physically hit, and generally mistreat “Her” in carefully structured ways, so that sometimes he has free reign to strut around and take advantage of the audience and damsel in front of him, and other times he has no real choice but to act like a heel. Her commentary is strikingly simple, as she uncovers the terrible unfairness and cruelties beneath many a male/female action hero/damsel dynamics.

What is most impressive and reassuring about the show’s approach is the level of research evident behind the faithful recreations of the films it satirises. It is presented in a format all Tarantino fans will recognise; divided into chapters with pseudo-poetic titles like “Cherry Picker” or “Why You Don’t Have to be American to have an American Dream,” which is a particularly impactful one. Taglines, catchphrases and devices from lots of Tarantino’s writing are featured, including dances reminiscent of Pulp Fiction and Death Proof, and the opening theme from Kill Bill – indeed the piece is chock-full of cinematic observations and criticisms that are spot-on if you are a fan of the retro-worshipping, Western-esque American odysseys Orwin comes after. There is a particularly impressive and hilarious sequence in which Orwin and the male actor recite all the typical names of “Him” and “Her” in these films, like Charlie, Bobby, Big Charlie, Big Bobby, Tommy, Tony, Big Tommy, Big Tony; Suzie, Jenny, Little Suzie, Little Jenny, et cetera.

Points like these are also, in a larger sense, what makes Orwin’s show so clever and incisive; there are no individual films or even individual scenes that are criticised on their own. Rather, A Girl and a Gun takes aim at the sheer repetitiveness and laziness of re-used, tired tropes, with great success. One of the most memorable sequences comes near the ‘end’ of the experience, when “Him” has forsaken “Her” and she must, as she does in so many films, die. Orwin’s “Her” dies at least ten times in a row, in various gruesome fashions, from being shot with numerous types of firearms to being tied to a train track and run over. Her point lands with a surprising amount of grace, as we recall so many female characters who have been extinguished simply to prove the male protagonist’s point, and it is the sheer quantity of such deaths that packs the greatest punch.

The attention to detail in this show is also commendable, from the use of projection and subtitling to recall a movie being written and filmed, and on-screen directions for “Him” to don various costumes, play with numerous prop firearms and “act like he is in an action movie”. This device in particular leaves a meaningful impression, presenting both “Him” and “Her” as pawns of the written scripts, and suggesting it is not necessarily inherent to a man’s composition that he acts so cruelly — he is written that way, much as many men may have learned their behaviour from movies where that very same behaviour got the girl and saved the day.

A Girl and a Gun presents an ingenious deconstruction of male ego, cinematic influence, and the truth beneath the beauty of so many of society’s favourite films. It is a greatly rewarding hour of insight and grace, plus a goldmine for cinephiles, feminists, and iconoclasts everywhere.

outstanding

StarStarStarStarStar

 

Reviewer: Nathaniel Brimmer-Beller

THIS REVIEW HAS NOT BEEN SUBEDITED

Two Sides of the Curtain (theSpace on the Mile: 14-19th Aug: 19.05: 50 mins)

Posted in 2*, EdFestivals, EdFestivals 2017, Plus 3 2017 - Reviews, Theatre by

“Emotive and gripping”

Editorial Rating: 2 Stars:

Two Sides of the Curtain follows the struggle of Ada and Erich – lovers on either side of the “curtain”, who long to be together, but, for whatever reason, can’t. At least that’s what I think it’s about. I’ll admit I’m no expert on the history and politics surrounding the Cold War and the specific reasons why people were and weren’t permitted access to certain places, but even by the end of the performance I didn’t feel much the wiser.

Erich seems to have a job that gives him quite a lot of political and practical clout, including the freedom to travel around the country (presumably Germany) as he chooses, while much of Ada’s reluctance to run away with him seems to come from lack of will rather than fear of being caught in the process, though it’s never particularly clear why she makes the decisions she does. Indeed, it’s quite frustrating how little we get to learn about both characters throughout the piece, making it hard to empathise with them at any given moment.

Shifts in time and place are also difficult to comprehend – I spent much of the show trying to work out when and where the action was taking place, with very few clues – in either the script, direction or design – to assist. Token pieces of props or set – had there been any – may have helped to some extent, but it’s the lack of detail in the script which is the main problem. If writer Jack Kelly aims to create a thick fog of mystery surrounding the piece he certainly succeeds, but more detail up front would definitely help laymen like me wade through it with him, rather than being left languishing in an ignorant abyss.

In saying that, the play does have commendable ideas: the struggle of two lovers on either side of a dangerous line is emotive and gripping, as are the twists that develop in the closing couple of scenes – it’s a shame this all comes so late on. The performances are solid: Rachael Naylor as Ada is very natural and easy to watch, while Andrew Crouch as Erich shows great emotional range and charisma. There is potential here to make a really gripping show.

Overall this is a good effort from Sussex University Drama Society, but the flaws and holes in the script just make it too difficult to fully engage with. If you like a show where you have to do a lot of guessing and detective work to piece together what’s going on, or perhaps are a lot more clued up on what it’s like to live in Cold War Berlin than me on any given Saturday evening, this show might be for you. But I’m still trying to work out who, where and when I am.

Star (blue)Star (blue)

—

Reviewer: Steve Griffin (Seen 19 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

The Gun Show (Space Triplex: 4-26 Aug: 19.40: 60mins)

Posted in 4*, EdFestivals, EdFestivals 2017, Plus 3 2017 - Reviews, Theatre by

“Vin Shambry is one of the most powerful and talented performers at this year’s Fringe.”

Editorial Rating: 4 Stars: Outstanding

Of all the takeaways from E.M. Lewis’s one-actor project The Gun Show, there is none clearer than this: lead actor Vin Shambry is one of the most powerful and talented performers at this year’s Fringe. As the sole actor, his voice, mannerisms, physicality, and humor are magnetic, charming, and immensely human; he could be talking about throw pillows or breakfast cereal for an hour and it would probably still warrant a standing ovation.

But in this play Shambry talks about guns. He talks about them over five stories, which are delivered with grace and rhythm, but written with a somewhat vague sense of pace and subject matter. From a charming opening anecdote comparing the blood-soaked climax of Tarantino’s Reservoir Dogs to modern gun-filled headlines, the tone is set as one of culturally relevant iconoclasm. The plot overall weaves personal stories – such as a retelling of a harrowing  robbery at gunpoint – and very public true ones, including a shocking reenactment of professional lunatic Alex Jones defending the Second Amendment days after the Sandy Hook massacre. Shambry’s performance throughout is engrossing and electric, with clever audience interaction that entertains and commands the room.

The play at first seeks a deceptively simple point about guns in America: that the conversation has devolved into two sides that insult and deride each other without helping anyone. Lewis writes of the Whole Foods-shopping, Rachel Maddow-listening left, and the gun-toting, NRA card-carrying right, lamenting that the vastly larger middle ground opinions are drowned out or ignored. Stories of the responsible, sensible use of guns are convincing, as are cautionary tales and assertions about how guns can be used for true destruction and terror. Points raised later in the play are strikingly personal, and to director Shawn Lee’s credit, masterfully withdrawn.

There is a moral stickiness to elements of the overall approach, however, that one cannot shake. Shambry performs specifically as Lewis, whose identity and backstory are revealed slowly and subtly throughout the performance, and there is a vague sense of a plot-twist as it becomes apparent that Shambry is not playing himself, but speaking of experiences from people of differing genders, race, age, and background. The Gun Show exists on at least three planes in this sense. Firstly, there is Shambry delivering a powerful spoken essay on gun violence and the complexity of personal firearms. Secondly, there is Lewis, writing as a woman who has intentionally chosen a vessel very unlike herself to deliver these statements. Thirdly, there is a back and forth actor/writer dialogue, at times literally shining a light on Lewis, who is present in the audience, with recognisable moments of mutual understanding that he is playing her, and she is writing for him, yet as herself. This aspect of the performance is both disorienting and brilliantly simple.

The stickiness, however, comes from the misleading qualities of the advertising and format. On the poster, Shambry’s face, as a Black man, juxtaposed against an American flag with the tagline “What the hell is happening in America?” seems geared towards a specific set of issues that will be discussed, specifically race-related gun violence. Yet The Gun Show never once addresses the innumerable and unnecessary deaths of Black Americans at the hands of law enforcement, instead favouring a much more general take on the gun conversation, written specifically by a white woman. While the play itself does not necessarily suffer for it, this bait-and-switch from a topic as devastating and unjust as racial inequity can’t help but feel slightly distasteful, as if these stories are teased but minimised in favour of a separate issue. That’s acceptable, given Lewis’s admittedly gripping stories, but The Gun Show will leave a sense of unease in your stomach if you expected something else.

This show commendably begins the conversation of just what the hell is happening in America, and – for Americans and non-Americans alike – proves the conversation is well worth having. The writing could be sharper, and the points broader, but when you’re hearing them from someone like Vin Shambry, it’s simply unmissable.

outstanding

StarStarStarStar

—

Reviewer: Nathaniel Brimmer-Beller

THIS REVIEW HAS NOT BEEN SUBEDITED

The Great Ridolphi (Underbelly Cowgate: 3-27 Aug: 13.25: 55mins)

Posted in 4*, EdFestivals, EdFestivals 2017, Plus 3 2017 - Reviews, Theatre by

“Steve Turner delivers a real tour-de-force”

Editorial Rating: 4 Stars

The Great Ridolphi follows the story of Victor O’Meara, only son of the now deceased (or is he?) eponymous grand illusionist, as he seeks to unravel the hidden messages his father left him to find a missing painting: the inheritance he thought he would never get. Following an unexpected visit from a scrupulous investigator, Victor must solve the clues to uncover the mystery before anyone else can get there.

It’s a rather rollicking adventure from the quill of Chris Isaacs (not unlike a stage version of an episode of TinTin), as Victor chases across countries and meets some rather exotic characters to reach his goal. While the pace is great and the 50 or so minutes of the show absolutely fly by, it is at the expense of some of the mystery and suspense – revelations, deductions and beautiful moments are often over before they’ve barely been set up and it feels like a little bit of the joy of the story is squeezed out too soon. For an ordinary man, Victor is miraculously very good at solving puzzles, riddles, and taking risks without much thought and it is disappointing not to see more of his struggle in this regard.

The tension is helped along, however, by a couple of clever sub-plots: calls from his wife, escalating in desperation the longer he’s away; and his deteriorating health – we start to wonder whether he might drop dead himself before finding what he’s looking for. Both bring a genuine human element to the story, often missing from adventure tales, so it’s pleasing that these details are included – it helps the production feel more grounded in the here and now. There’s also the omnipresent investigator tracking Victor wherever he goes, though it’s never quite made clear whether he’s meant to be trusted or not. It seems to make little difference given the rather rushed ending, so this device feels rather wasted, and greater development of this character would add to the sense of foreboding throughout.

Victor (and indeed every character present on stage) is played by one of the piece’s co-creators Steve Turner, who delivers a real tour-de-force throughout. His performance is confident, clear and honest, never feeling like it’s all one big showman superhero act, but a man simply following his calling and interacting with whatever crosses his path. He shows great dexterity in the swift changes of scene and character, though for me he could go further to explore and expand on some of these to create more drama and individuality.

This is a witty and warming (if a little wild) performance, charming to the last second. One for the shortlist.

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

—

Reviewer: Steve Griffin (Seen 16 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Interview: Edges

Posted in Theatre by

“Our company however is a seasoned Fringe veteran having sent up musicals for many consecutive years.”

WHO: Caroline Mosimann, Producer

WHAT: “Edges is a musical that follows four individuals’ journeys as they step onto the ladder of adult life. From the creatives behind the Oscar-winning ‘La La Land’ and the Tony award-winning hit ‘Dear Evan Hansen’, Edges is a hilarious contemporary show featuring favourites such as ‘In Short’ and the Facebook song ‘Be My Friend’.”

WHERE: C venues – C (Venue 34)

WHEN: 21:05 (80 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Personally this is my first time participating in as well as attending the festival. Our company however is a seasoned Fringe veteran having sent up musicals for many consecutive years.

Tell us about your show.

The show is a modern song cycle by Benji Pasek and Justin Paul the songwriting duo behind the Oscar winning film ‘La La Land’ and Tony winning Broadway hit ‘Dear Evan Hansen’. The piece was written while Pasek and Paul were still in Uni and reflects the issues that young adults face at such an age of self doubt, complicated relationships, social media, tough breakups, and more.

This production is brought up by DULOG, Durham University’s biggest and most prestigious musical theatre group which has been producing professional quality musical theatre and light opera for over 50 years. The show premiered here in Edinburgh and our run is unfortunately limited to the festival as we all have studies and jobs to return to!

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

Absolutely the Durham Review! I’ve seen Durham’s sketch comedy group perform many times and they are relentlessly brilliant and funny.

LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! FIND US ON FACEBOOK! OR SIGN UP TO OUR MAILING LIST!

INTERESTED IN BEING INTERVIEWED TOO? CLICK HERE!