Category Archives: Theatre

Reviews of theatre work.

+3 Review: Karmana, Songs of the Roma (Summerhall: 12-20 August: 21.15: 1 hour)

Posted in 4*, Music, Summerhall, Theatre by

“Fantastic, moving and highly recommendable”

Editorial Rating: 4 Stars

Karmana, Songs of Roma is performed in the Library Gallery of Summerhall. As the Scottish guitarist and composer Simon Thacker and Polish cellist Justyna Joblonska walked in to the room the small crowd fell silent. They did not introduce themselves which I found a little odd but as Thacker began his solo instrumental performance of Albedo I guessed this was to add to the dramatic effect of the song. Immediately I could see that this is one very talented musician who is clearly passionate about his work.

For the second song Thacker was joined by his playing partner Jablonska who’s performance was equally captivating. The flowing sounds of the cello combined with the intricate sounds of the guitar hypnotised the crowd, who remained so  silent throughout you could have heard a pin drop.

Throughout the show Thacker takes the audience on a Romani musical journey with songs from the gypsy tradition. In between songs he explains the history and meaning of each song including his thoughts and reasoning behind each composition. His own personal experience with Indian, Balkan and Spanish music add a special twist to the performance from beginning to end.

Personally I thought the highlight of the evening was when the endearing singer and violinist Masha Natanson joined to complete the trio. Originally from Lubin, Poland, Natanson adds a new, traditional element to the performance. As cliché as it may sound, I really did get goosebumps when she began to sing Ne Govorite Mne O Nem (Don’t Talk To Me About Him). Natanson sang with such emotion that although I couldn’t understand the Russian lyrics I could tell she was portraying a heart-broken woman. At one point she even charmed the audience with her premiere of speaking in English to a crowd and no one could help but smile and giggle as she tried her very best!

Perhaps I have been caught up in the excitement and excess of the Fringe but the only thing I would like to have seen improved was the set. The whole room was lit in a romantic red but I feel focusing more of the lighting on the performers would have added to the dramatic effect of the songs.

Overall it was a fantastic, moving and highly recommendable show – particularly for those interested in the traditional music of different cultures.

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

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Reviewer: Iona Young (Seen 16 August)

Visit the Summerhall archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

 

+3 Review: Care Takers (C, 3-29 Aug: 18.35: 55 mins)

Posted in 5*, C Venues, EdFestivals 2016, Theatre by

“Astonishingly powerful”

Editorial Rating: 5 Stars

They say good things come in threes. To me, good theatre must have three essential ingredients: good concept, good script, good actors. Many shows have one or two of these, but this show has all three – and then some – making it very good indeed.

Care Takers analyses a simple conflict between a secondary school teacher who suspects one of her pupils is being bullied and the Deputy Head who will do nothing about it unless there is hard evidence. The tension is palpable, but a complex relationship between the pair unravels during four private meetings on the subject over a period of several weeks. What makes this show so engaging is the balance of how both sides of the story are played out – I found myself agreeing with both perspectives on more than one occasion, and power shifts from one to the other throughout to keep suspense all the way through.

From the opening phone calls she takes in her office, it’s immediately obvious that Deputy Head Mrs Rutter (Penelope McDonald) is busy: juggling budgets, workloads, staff, curriculum, and of course, her own career. She has experience and authority, and doesn’t suffer fools gladly. Cue the entry of Ms Lawson (Emma Romy-Jones) a newly qualified teacher: great at her job and genuinely concerned about the children in her care. The conflict that follows goes beyond what is best for an individual child, scraping away at personal prejudices, and questioning the very nature of what is best, and for whom.

McDonald and Romy-Jones both deserve awards for this performance, portraying characters so real that it’s easy to forget you’re watching a play. McDonald is infuriatingly powerful and charismatic as Mrs Rutter, giving the most compelling acting performance I’ve seen at the Fringe so far this year, while Romy-Jones creates a perfect balance as underdog Ms Lawson, with a more subtle approach to her character.

The acting is superb, but the script is also first class – seamlessly and succinctly giving the titbits of information needed to develop the story and create a situation that makes you want to jump on stage and sort it yourself. The dialogue is very natural, with each interaction sounding like a genuine conversation that tries hard to keep professional though personal tensions clearly want to take it elsewhere. Narrative development is a bit on the slow side, though I wouldn’t sacrifice this for the amount of depth we get to see from each character.

When things turn more dramatic towards the end of the play, the question arises – who’s to blame? Did the individuals involved really do all they could? It’s the kind of production where everyone will have an opinion that makes for a very lively discussion in the bar afterwards – and that’s exactly what makes this a five star show.

It’s a tense and gripping piece of theatre, which, although occasionally verges on being a little bit samey, has the potential (moreso than many of the shows I’ve seen this year) to make a big impact in the commercial market. I’d love to see it picked up by the Traverse or another producing theatre to take it further and watch it soar. With a few small tweaks it really could be very special indeed.

Care Takers is astonishingly powerful – a must-see for anyone working in secondary education or with responsibility for children of that age.

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

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Reviewer: Steve Griffin (Seen 17 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: The Master & Margarita (Zoo at St.Cuthbert’s: until 29th Aug (not 19-20, 25th) Aug: 22.00: 1hr 30mins)

Posted in 4*, EdFestivals 2016, Other, Rated: Outstanding, Theatre, ZOO by

“A Hell of a show”

Editorial Rating: 4 Stars: Outstanding

It was with a certain amount of trepidation when I met The Sleepless Theatre Company on the Royal Mile and discussed with the crew their production of The Master and Margarita. How on earth are they going to do it?, I thought.

Action opens with the procurator of Judea, Pontius Pilate, in court session over an apparently worthless vagrant, Yeshua Ha Nostri. The procurator is ill and it would be so simple to dismiss this tramp with two words: “Hang him.” Nineteen hundred years later, it is a hot May night in Moscow and the committee members of the exclusive Communist Party writers’ guild, are sweltering in a small meeting room, waiting for the Chair, Mikhail Berlioz, to arrive. He is late. None of them can know that dark powers have already entered the city.

For Russians, The Master and Margarita by Mikhail Bulgakov is the Soviet Union’s most famous novel. It is a wide-ranging satirical fantasy and the changes in location (across Moscow and Jerusalem), space and time are a daunting challenge for any adaptation. In this interpretation Sleepless Theatre does well at capturing those changes, using the magnificent setting of the St.Cuthbert’s Church to great effect. Like the cast, the audience too are expected to be mobile, following the action around the hall and even being participants if the scene demands. I found the flight of Margarita (Iona Purvis) over the rooftops of Moscow particularly effective: Purvis is obviously dance-trained and her graceful physical acting really added to the dreamlike quality. Against my expectations, the company’s low-tech approach often overcomes the staging challenges inherent in the novel and they should be highly commended for this.

The central relationship between Margarita and The Master (Jonny Wiles) is wonderful: both actors touchingly portraying the sacrifices each make for the other in the cause of their mutual love and Woland (James Blake-Butler) is suitably all-powerful and sinister. Gwenno Jones captures the tortured soul of Frieda perfectly; though as Yeshua, to me, Jones fails to show the calm and almost playful wit possessed by the character, even in the face of death. Coupled with Pilate (Georgia Figgis) lacking a real menacing streak, the opening scene rings slightly less true than the others, which are on the whole excellently delivered.

Narration is a large part of this production, with actors taking this in turn, and in the first scene I did have some concerns about the delivery (and, indeed the existence of) some crucial lines. During the interrogation Pilate lays too much emphasis on a certain word than is appropriate and leads the witness. The script sees the narrator point this out, rather than it being obvious from the acting, and it is a shame that writer Alexander Hartley keeps to narration here, rather than letting the acting speak for itself. Apart from this minor blip, the rest of the narration remains faithful to the book, and dedication to original text should otherwise be praised.

The Master & Margarita is a massive challenge for any company to take on, and for the most part Sleepless Theatre Company do a really good job: the central themes of the book come shining through. If you know the book, see Master & Margarita for the joy of seeing it live. If you have never read the book, go see. You are in for one hell of a show.

outstanding

StarStarStarStar

Reviewer: Martin Veart (Seen 16th August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Please Excuse My Dear Aunt Sally (Pleasance Courtyard: until 28 Aug: 12.50: 1hr 10mins)

Posted in 3*, EdFestivals 2016, Pleasance, Potterrow & Teviot, Theatre by

“A compelling story”

Editorial Rating: 3 Stars

Walking out of the auditorium I knew I’d need a decent amount of time to gather my thoughts and be able write this review properly, but even 36 hours on my mind is just as confused as it was then. The reason for this is two-fold: Please Excuse My Dear Aunt Sally is the story of an affair told from the point of view of (and narrated in the first person by) a mobile phone. It’s a fantastic and original concept, but does take a bit of getting used to. Couple that with the fact the role of the narrator (the phone) switches between all five actors on stage at alarming speed and suddenly you find yourself struggling to keep up with who’s who and what’s what.

As a device I can absolutely see the merits of the decision to share the narration – at times it creates great dramatic tension with multiple voices reminiscent of a Greek chorus, while some of the physicality of the group narration is really powerful. However, I don’t think these effects are enough to counter the sense of it all being just a bit too artsy and unnecessarily complicated. For me it would make much more sense to have just one actor as the narrator throughout. Given the concept, I feel this production needs to let it resonate and allow the audience to grasp it properly before trying to add additional layers of complexity.

The same can be said of the styling and direction of the piece. Performed in a stark open space with a few movable white blocks, a huge hole in the middle of the stage and various other stylised props, it seems like the actors are constantly trying to work around or fit into the design, rather than have it support them. Sequences within cars and the tennis match in particular come across as the most forced and restrained. In saying that, some of the physical aspects of the direction (like the lifts) work really well – there just seems to be a jarring between all the different elements going on, adding to the sense of confusion.

Putting all that aside, the absolute star of this show is Kevin Armento’s script. It’s inventive, dramatic and adds wonderful detailing to make the phone really feel like a character with thoughts and emotions of its own – happiest when at home (in its owner’s pocket), and knowing when it needs to be hooked up to its drip (to charge the battery). The plot is well-developed, unfolding the story piece by piece, with tensions arising as each character learns more about what is (or what they believe to be) going on. The final quarter does get a little far-fetched for my liking, but the end manages to work itself out well enough.

As an ensemble piece of theatre, the acting from the cast is very good – the actors blend in and out of narrator and individual character roles, showing great depth and versatility. For me the stand-out performer is Sarah-Jane Casey, who displays great energy and emotional range as Red’s mother, and is captivating to watch throughout.

Overall this is a compelling story presented by a great cast who create some wonderful dramatic moments, I just feel like it needs to go back to the drawing board creatively and adopt a simpler approach.

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

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Reviewer: Steve Griffin (Seen 16 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Still Here (The Tent, ZOO @ St.Mary’s South Lawn: 5-24 Aug: 19.15: 1hr)

Posted in 4*, EdFestivals 2016, Theatre, ZOO by

“I hope Theatre for Justice are back soon with the next instalment”

Editorial Rating: 4 Stars

I’ll admit that before this show I had no idea where Eritrea was, and I wasn’t even sure how to spell it. I knew nothing of the religious persecution going on in the country or the hundreds of people who flee it every day. For these insights alone Still Here is worth watching. Yet while being a “worthy” piece of theatre, it never veers into being preachy: rather, it is a simple account of one student’s (Rachel Partington’s) trip to a refugee camp and the people she met there. It’s honest, frank and – I hate to use such a word to describe theatre – interesting.

With tickets checked by border control officials, a mismatching array of seats (including deck chairs) for the audience, and performed in a tent outside a church far from the central hub of normal Fringe venues, Still Here goes to great lengths to create an authentic experience that is central to its overall aims. The show opens with the two main characters telling interweaving stories of their journeys to Calais – six hours for the interviewer, and six years for the refugee. It’s a great way to set the contrasts for the piece, and is creatively staged to give it interest.

Actors Afolabi Alli and Rachel Partington both do an outstanding job with clear, engaging performances that strike the perfect balance between honesty and theatricality. They bring a real fresh-faced look to an age-old problem and their vitality makes them a joy to watch.

Water is used creatively throughout, from sound effects to projections, and it’s great to see this young company using intelligent recurring motifs within their work. Other props are fairly minimal, as the performance uses a more physical and human approach to its storytelling – again a sympathetic match with the subject material. More powerful is the use of a child’s puppet, whose unspoken presence towards the end of the piece is made even more stark when Partington utters the words “I can’t help. I can’t do anything to help.” Stirring stuff.

Yet while everything in the performance is done very well, content-wise it is somewhat lacking. Largely centred around just one 15 minute interview with a single refugee, it’s disappointing that as a production it seems a little unfinished, with so much more potential to create a really powerful and inspiring show with more depth to it. It’s a great first chapter, and I hope Theatre for Justice are back soon with the next instalment.

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

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Reviewer: Steve Griffin (Seen 15 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: The Vaudevillains (Assembly George Square: 4-28 Aug: 22.10: 1hr 10mins)

Posted in 4*, EdFestivals 2016, Musical Theatre, Theatre by

“Masterfully performed with moments of brilliance”

Editorial Rating: 4 Stars

Les Enfants Terrible are old hats at making great theatre, with many awards and accolades to their name. On paper The Vaudevillains sits right in their sweet spot of immersive, stylised, historical storytelling – so do they land the killer blow with this one? Almost.

Framed around the murder of the music hall owner before the start of “the show”, the compere (Oliver Lansley) declares that it must still go on, and each of the acts is then introduced and invited to plead their innocence through skit and song – in old fashioned music hall style. It’s a simple concept and powerfully delivered, but, disappointingly, not particularly unique or innovative.

It’s only when the skits start that creativity and individual talents come to light. Each character’s back story is complex and engaging – showing great writing on Lansley’s part – and it’s enjoyable getting to know more about each one. All performers play supporting roles in each of the other’s stories, allowing them to demonstrate their seemingly endless individual skills as performers. My favourite characters are the Cerberus Sisters (stripping Siamese triplets), given their unique characteristics, while for me the standout performer is Tsemaye Bob-Egbe, who gives a simply stunning rendition of her song as Mephisto –a real highlight.

Overall the skits are funny, bawdy with a good variety from the loud and brash to the whimsical and mysterious and everything in between. The pace keeps it entertaining without dragging, and despite being quite fragmented, the show has the sense of being a real team effort. Tomas Gisby’s score also deserves credit – he’s created some great stick-in-your-head songs that stay with you long after the show ends.

After the skits are complete, one expects some sort of Agatha Christie-esque finger-pointing and deduction in order to work out “whodunit” – indeed, I feel that this is what a lot of us were waiting for. However, when the big reveal occurs, I am in no way surprised by the outcome, and let out a small groan at the lack of creativity shown in this respect. I feel that this part of the show lets down the rest, and more work could be done to beef up the suspense.

Overall, The Vaudevillains is masterfully performed with some wonderful moments of individual brilliance and great storytelling along the way, but it is perhaps just a little obvious.

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

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Reviewer: Steve Griffin (Seen 14 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Albatross (Paradise in Augustines. 5 -28 Aug. Times vary. 1h35m.)

Posted in 4*, EdFestivals 2016, Other, Rated: Nae Bad, Theatre by
Image: Andrew Brilliant/Brilliantpictures Inc.

Image: Andrew Brilliant/Brilliantpictures Inc.

” .. full-on theatrical broadsides”

Editorial Rating:  4 Stars: Nae Bad

Inbound from Watertown, Boston, MA, the Albatross has landed. Samuel Coleridge’s fantastic and ghastly Rime of the Ancient Mariner is rewritten and adapted for the stage by the Poets’ Theatre. It’s an expansive work that barrels along with bits of Pirates of the Caribbean about its rigging but where it matters, down on its spar strewn deck of a stage, it’s sound and faithful enough. It owns, as does Coleridge’s greybeard, ‘strange power of speech’ and compelling presence.

Despite water, water everywhere this is more wrap-around than immersive. You don’t sink into the Mariner’s story but Benjamin Evett, co-writer and solo performer, fastens it upon you and won’t let its folds drop until he’s done, which is how the poet would have it anyway. Evett’s acting is impressive, possessed by character, because there’s only penance left for an Irish American who knows he has ‘done a hellish thing’. He starts as a grouchy, foul-mouthed and dirty sailor and stays that way because he’s immortally cursed to tell his phenomenal tale. He holds his audience with his ‘glittering eye’ (and occasional insult) as he himself is held by his demons.

We’re told for fancy’s sake that the old sailor met Coleridge once, in Bristol, and mocked his lilting verse. You’ll hear the ballad quatrain in Albatross but in only in key snatches. The narrative shape of the ‘Rime’ is still there but is considerably amplified, particularly in Part 1 where the dastardly Black Dog, privateer at large, shanghaies the Mariner, chases down a treasure galleon and chews off noses. The visuals, sound and SFXs that accompany this action are full on theatrical broadsides with the Mariner hauling ropes, hoisting sails and … corralling penguins.

Nevertheless, Albatross would be serious about depicting a ‘soul in agony’, which is a must-have for any treatment of Coleridge’s poem. This is where Evett is most tested and where co-writer Matthew Spangler must have reached for words. I’m slightly surprised that they did not make more of the dice game between Death and Life-in-Death (a dead ringer for Lady Gaga?) and of its glaring image making. However, in our day and age the questions are as existential as they are Christian and it’s the philosophical open season when the Mariner snarls a reply as to ‘Why?’ Why, for Heaven’s sake, did he shoot the bird? Was it, God forbid, for fun? There is the prayerful close, which is good, but I was a little sorry to hear of a ‘zombie crew’ and not ‘this seraph band/Each one a lovely light’. No matter. If not for the Mariner, times are still a changing for the rest of us and this is a fullblown modern production in which caution is thrown to the to the wind.

 

nae bad_blue

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

Reviewer: Alan Brown  (Seen 11 August)

Go to Albatross at Paradise Green & at Poets’ Theatre

Visit the Edinburgh49’s Other archive.

+3 Review: Don’t Panic! It’s Challenge Anneka (Summerhall: 5-28 Aug: 14.50: 1hr)

Posted in 4*, EdFestivals 2016, Rated: Outstanding, Summerhall, Theatre by

“A beautiful and emotional journey”

Editorial Rating: 4 Stars: Outstanding

Much like deviser and performer Sophie Winter, I was also a huge fan of the TV programme Challenge Anneka in the 90s, so I couldn’t miss the chance to see a show featuring my favourite presenter from yesteryear. As the audience enters, Winter embodies her heroine – complete with bright jumpsuit, blonde wig and bumbag – welcoming us to the performance and offering treats. It’s a great way to set the tone as one of comfort, support, nostalgia and togetherness.

The piece follows the story of Holly – someone who suffers from anxiety – and we learn what brings it on and how it affects her and those around her. Anneka soon arrives on the scene to help restore Holly to her former happy self, and her challenge unfolds throughout the performance. Winter plays every character throughout the piece, showing great dexterity in capturing personas of people we can all relate to, including the boss who doesn’t listen, the doctor who uses too much technical jargon and the mum who tries to help buy doesn’t really understand.

The performance uses a lot of video, played through an oversized TV on stage, which, as well as demonstrating the level of care and attention put into this piece, allows Winter (as Holly) to react to these characters, and for us to see and feel these reactions close up. Holly comes right into the audience at times, showing her to be just another person like us, and it’s really engaging to see her honest and personal accounts and every side of suffering from anxiety.

I have to say that structurally I did get a little lost and at times I couldn’t quite tell when or where the action was taking place. But this a show where narrative is far less important than the beautiful and emotional journey we are taken on. The overall soul and spirit are absolutely intact and it is a real joy to experience.

As Winter points out at the end, there is no grand resolution to Holly’s anxiety, and that it may well be with her for the rest of her life. Drawing parallels with Anneka Rice’s challenges, the overall message of the piece is that just because a first big step is achieved, that doesn’t mean that the problem is solved. Ongoing support, nurturing, care and hard work are still required, and I think it’s right that this is highlighted, as it shows a real connection and openness with the subject matter.

An important an enjoyable work, on a highly topical subject matter. Please go and see it.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 14 August)

Visit the Summerhall  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Dreaming under the Southern Bough (theSpace @Niddry St, Aug 05 – 13 : 10.55 : 50 mins)

Posted in 3*, EdFestivals, EdFestivals 2016, Other, Rated: Nae Bad, Theatre by

 “Consistently charming and fun to watch”

Editorial Rating: 3 Stars Nae Bad

If asked for which playwright 2016 marks four hundred years in the grave, you could be forgiven for answering “William Shakespeare”, rather than Ming dynasty writer Tang Xianzu. And with Fringe Shakespeare productions soliloquizing on every street corner, it’s almost refreshing to celebrate another famous, dead bard.

Telling an Alice-in-Wonderland-esque tale of transformation, reflection and po-faced absurdity, Dreaming under the Southern Bough follows the story of a veteran soldier gone to the dogs. However, a chance encounter with retainers from the Kingdom of Ants thrusts him into a world of royal intrigue, prophecy and war.

This is a performance which hits its stride when the surreality really hits the fan. As the plot goes into full swing, it’s hard not to be charmed by the performances at play: drunken retainers, pantomimic warlords and purer-than-thou royalty make for an experience which, whilst somewhat eclectic in terms of energy, is consistently charming and fun to watch.

Even with minimalistic lighting, stage and props, the atmosphere of classical mysticism is heavy even with the seemingly lightest of touches. Incorporation of the original Chinese in particular lends this production an often enthralling sense of place and context, adding significant substance to what in other hands may have been flimsy and unconvincing. Although the scenes taking place in the “real world” seem strangely jarring and stiff, the prose and flow of the writing feels right at home as soon as things hit microscopic.

The strongest aspect of this adaptation is the original writing, and it is a significant shame that the edition presented to Edinburgh is abridged – it would have been far more gratifying to spend more time amongst the follies and twists of the Ant Kingdom, rather than the emotionally unsatisfying ersatz-grit of the modern day bookends.
Despite its flaws, Dreaming under the Southern Bough is a pleasant and entertaining way to spend a lazy mid-morning. Whilst its denizens may be ants, it’s clear they’re standing on the shoulders of giants.

 

nae bad_blue

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

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Reviewer: Jacob Close (Seen 12 August)

Visit the  Other archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: 2044 (Greenside @ Infirmary Street, 5-20 Aug: 11.30: 50min)

Posted in 3*, EdFestivals 2016, Greenside, Rated: Nae Bad, Theatre by

“Twists, turns and tensions aplenty to keep the audience on their toes”

Editorial Rating: 3 Stars: Nae Bad

I’m normally wary of anything that describes itself as dystopian, as I have found that many such works (across all art forms) often struggle to create a world believable or compelling enough to hold my attention. 2044, however, is an intriguing and thoughtful piece, and while a little far-fetched, makes some very interesting conjectures on the future – made all the more timely given the current political landscape.

An independent Scotland, spurred on by a new right-leaning political wave, has developed extremely hostile relations with England, and when floods batter the English coastline, many “southerners” seek refuge north of the border. But, given the political situation, only one member of each family is allowed in – provided they meet the required standards of health, age and skills required for work.

It may seem reminiscent of various events in history, but the situation is presented with a very current and engaging interpretation. The script centres on two such refugees, and their struggle to follow the rules, lest they be seen as a burden on the country’s resources and be punished accordingly. The plot is structured in such a way as to slowly unfurl the background, giving hints at what’s to come, in quite a gripping story. Indeed, the craft and writing of this piece in terms of narrative development are spot-on, there are twists, turns and tensions aplenty to keep the audience on their toes.

Unfortunately though, at times it’s all a little bit melodramatic, and would benefit from a bit more development and depth to allow for greater variation in tone. Every scene feels like yet another “woe is me” announcement, and while intriguing plot developments, it is quite an intense 45 minutes and should really be a longer piece to give itself time to develop and unravel.

Because of the intensity of action, the acting also suffers somewhat. The constant chopping makes it quite frantic and one dimensional, and while some great subtlety is shown by Megan Matheson-Adams as Maria, the cast never feel like they fully hit their stride so the performance falls a little flat. I don’t think it helps that a couple of the monologues are quite forced and obvious, when a more creative way of communicating that information could be found.

Overall, a really commendable effort, particularly with the writing, but not quite the finished article yet.

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 12 August)

THIS REVIEW HAS NOT BEEN SUBEDITED