Category Archives: Theatre

Reviews of theatre work.

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

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

“A very heartfelt performance from two fine young actresses”

Editorial Rating: 3 Stars: Nae Bad

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

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

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

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

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

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

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 23 August)

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THIS REVIEW HAS NOT BEEN SUBEDITED

Feature: John Lennon’s ‘In His Own Write’ at the Edinburgh Festival Fringe

Posted in Features, Interviews, Theatre by

In His Own Write-89

John Lennon’s short stories adapted for the stage for the first time since 1968

When actor Jonathan Glew was a humble and hungry student at the Liverpool Institute for Performing Arts, he stumbled across a bizarre book of short stories in a second hand bookshop. That book was the start of a wild love affair that would see him perform the work in its entirety at the Edinburgh Festival Fringe 18 years later.

The collection of stories in question is the little known In His Own Write, by none other than John Lennon. And the show of the same name made its world premiere at the Fringe this summer, presented by Baldynoggin Productions, directed by Jonathan Glew.

While 2015 marks no special anniversary of the work, Glew decided to make it this year for purely personal reasons. He says: “I found the book when I was 20 and knew it would be great for a stage adaptation, but I was in no position then to do anything about it. It was only towards the end of last year that I decided it was make or break: I either did the show or I threw the book away”.

The journey begins

It all started with a letter to the lawyers representing John Lennon’s estate – a worthy work of literature in its own right by the time Glew had finished tinkering it. He admits that it took him three weeks to craft, as he was keen to convey how he didn’t want to impersonate, make any statements, or use Lennon’s name for his personal gain, but simply to present the work faithfully and in full. Easier said than done. “I knew that they must receive countless requests everyday, so it was really important for me to let them know I was in it for the right reasons and to do the book justice”.

After a couple of weeks he got his first response from Attorney Jonas Herbsman, and the dialogue began. Glew continues: “I reiterated my position, and how my approach to present the work as part of the Free Fringe was testament to my not wanting to make a profit from it. I answered their questions, and tried to focus on the artistic aspect – how I just wanted to represent the work in full to see if it would resonate with an audience”.

After that, more waiting, until just after Christmas he got the news he had been hoping for: “I was completely elated – but then when I looked at the book again and it was like I had never read it, as I was looking at it in a completely new light. There are references to old news headlines and outdated language, and I started to worry about how I could make the book ‘live’ for a 21st century audience”.

In His Own Write-80

Creative Development

Glew got straight to work, enlisting actor friends to assist him with reading and staging the piece. He even tried to get in touch with various people that had influenced or shaped the book: its original illustrator, Robert Freeman, and publisher Tom Maschler from Jonathan Cape. And despite what could be seen as huge pressure to present the work by someone so famous, last seen at the National Theatre in 1968, Glew took it all in his stride: “I got my team together and we worked through it slowly, making sure to be as faithful to the book as possible. The amount of serendipity within the creative process was just beautiful”.

Glew admits that yes, he did watch a first edition recording of the original National Theatre production, but in no way did he try to copy it: “Theirs was hugely different to what I wanted to do with it. They presented two pieces (In His Own Write and its sequel A Spaniard in the Works) as a bit of a mash up, and used the performance to make a broader comment about childhood and growing up at the time. But I didn’t want to say anything, rather let the work speak for itself”.

Making the dream a reality

However, aside from developing a theatrical adaptation that Yoko Ono would be proud of (an idea that terrified Glew 18 years earlier), his biggest challenges lay in the production side – just how do you get a show to the Fringe?

He started by launching a Kickstarter campaign to fund the basics like travel and accommodation for the company. He revealed, though, that crowdfunding was “one of the most stressful things in my life” as he felt like he asked everyone he had ever known to contribute. He was perhaps helped in his mission by a tweet about his project from Yoko Ono herself to her 4.7 million followers – certainly not something that happens every day! Thankfully, he raised enough money to develop the show and bring it to Edinburgh without any more worries. Or so he thought.

If all the world’s a stage…

Finding a venue proved to be the biggest challenge of them all. After an application to one of the free venue groups with what he thought would be a sure-fire hit, and a tantalising six week wait for a response, Glew was told in no uncertain terms that he couldn’t be guaranteed a slot, and he started to panic. With time ticking away, he then used his personal network of contacts to come up with a Plan B and get in touch directly with Peter Buckley Hill, who manages the PBH Free Fringe. After pitching his show and his predicament, Buckley Hill responded in less than 20 minutes with an offer of one of the largest performance spaces on the free circuit. He even signed off his email as “Arnold” as a tip of the hat to John Lennon and his work. “I owe PBH a lot, they really saved me”, says Glew.

In His Own Write-105

Now Glew and his production are here, performing to very healthy crowds, and garnering a fair amount of press attention, is it mission accomplished? “It’s been a fantastic experience and I’d love to take this even further. As soon as we finish the run in Edinburgh, I’ll be putting a report together for the John Lennon estate, including some ideas of where I’d like to see the piece go next. I can’t make any detailed plans though, as they may say the project has come to the end of the road, but fingers crossed.” Luckily Glew already has his next acting project lined up though, at the National Theatre no less, but he’ll be back at the Fringe before long, in one guise or another.

 

In His Own Write is showing at The Voodoo Rooms daily (17.10, 1hr) until 30th August.

The Misfits of London: The Gin Chronicles (artSpace@StMarks, 10 – 22 Aug : 18.30 : 1hr)

Posted in 5*, EdFestivals 2015, Other, Theatre by

“An absolute gem of a show, full of class, style and thoroughly enjoyable to watch”

Editorial Rating: 5 Stars

This show is a new take on the “play within a play” format. It begins by introducing each of the characters who are set to perform the first instalment of The Gin Chronicles live on the radio. And as their live studio audience, we are encouraged to clap, cheer, sigh and gasp when the relevant sign is held up. Before long, it does feel astonishingly real, and I was uncontrollably drawn into the world presented on stage.

The set is basic, dominated by four standing microphones in a row centre stage – very reminiscent of a period recording studio. And while much of the “action” is spoken into the microphones, physicality is used to portray various situations throughout – from fight scenes to swimming – so that visually the performance was just as engaging as it was aurally.

The plot follows the rather dim John Jobling (Robert Blackwood), who decides to become a detective when gin magnate Cornelius Juniper is reported missing. To help him in his endeavours, he employs cunning housekeeper Doris Golightly (Helen Foster) to be the brains of his mission. What follows is a wonderful vintage romp to solve the mystery, featuring a sweet heiress, her charming fiance, a cockney newspaper boy, a taxi driver, some mysterious Frenchmen on a boat, and countless other characters, all deftly played by the acting cast of four. Particularly enjoyable moments were when Jobling and Golightly exploited a bouncer’s Achilles’ heel by reciting poetry to make him fall asleep, to the “intermission” section where Nancy Carmichael (Alice Etches) took the chance to eat a biscuit, only to be unable to effectively read the advertisement without choking in a Noises Off style homage.

The acting throughout this performance – especially considering the numerous characters portrayed, the overall styling, and indeed the talent required to play characters playing characters – was exquisite. It seems somewhat cruel to single out individual performances, as the whole cast performed to a very high standard, but Etches was utterly charming as the newspaper boy and Sam Sheldon showed fantastic dexterity across his numerous characters.

Yet what made this performance really special was Luke Lamont, whose responsibility it was to produce a startling range sound effects to support the action. He used an array of objects (all available in the 1940s) to simulate everything from pouring gin to opening and closing doors and even a taxi cab. I’ve never seen vegetables used quite so creatively! Stylish elements and attention to details like this really helped to this put this show in a league of its own

The narrative of this piece is quite basic, but the delivery is nothing short of exquisite – served ice cold with a squeeze of lime. It’s an absolute gem of a show, full of class, style and thoroughly enjoyable to watch. I raise a toast to The Misfits of London and here’s to the next episode of The Gin Chronicles.

 

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

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Reviewer: Steve Griffin (Seen 22 August)

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THIS REVIEW HAS NOT BEEN SUBEDITED

Trans Scripts (Pleasance Courtyard, 5 – 31 Aug : 15.00 : 1hr 30 mins)

Posted in 5*, EdFestivals 2015, Pleasance, Pleasance, Potterrow & Teviot, Theatre by

“Gutsy, inspiring and emotional… get a ticket by any means possible”

Editorial Rating: 5 Stars

Trans Scripts is a verbatim play, which examines the lives of six transgender women, and is performed by six fantastic transgender actresses. It’s simply structured as six monologues, interwoven and staged with very little fuss and theatricality, allowing the stories to speak for themselves.

We follow the women from when they knew something was wrong with their bodies, through reactions from their families and peers, their transitions, and their lives since. Each story is unique and heartbreaking in its own right, but when told as a collection, you do really get to see many different sides to being trans. We see familial acceptance, we see homelessness, we see violence, suicide attempts, broken relationships and even the reaction of a church. There are highs, lows, twists, turns, and a real cross-section of experiences that go some way to representing a very misunderstood group.

One example is Josephine (played by Catherine Fitzgerald), who becomes trans when she’s married with children, and longs just to fit in as a woman. She’s managed to maintain an amazing relationship with her wife, but struggles to comprehend the reaction of her wife’s colleagues and friends. The most touching story for me though, which reduced me to tears many times, was that of Eden, who having been born with both female and male genitalia, was made a “boy” at the insistence of her father. We follow her struggle with her identity, relationships and family, learning about how she almost died during her gender reassignment surgery, and her first steps to meeting her mum again, having been estranged for over 20 years. The delivery of this monologue was gut-wrenchingly powerful from Rebecca Root, who really stood out with impressive physicality and emotive range throughout.

While very much six individual stories, there are occasional moments of interaction between the characters as well. The most interesting of these involved a heated discussion as to the necessity of having the full operation, and how this affects identity. As became evident, even within the trans community there are differences of opinion as to whether such steps are necessary to really fit in, shining further light on the struggle to be accepted and happy in their own bodies.

Overall, this is a very important and engaging piece of theatre, which has been crafted with precision and sensitivity by writer Paul Lucas, and is a gutsy, inspiring and emotional performance from six women who’ve all made incredible journeys in their lives. Get a ticket by any means possible.

 

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

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Reviewer: Steve Griffin (Seen 22 August)

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

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

“Sometimes wry, sometimes touching and constantly captivating”

Editorial Rating:  4 Stars Nae Bad

 

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

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

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

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

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

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

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

 

nae bad_blue

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

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Reviewer: Jacob Close (Seen 17 August)

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To Kill A Machine (ZOO, 7 – 31 Aug : 20.55 : 1hr)

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

To Kill a Machine, a new full length play written by Welsh writer Catrin Fflur Huws about the life of Alan Turing. Director: Angharad Lee Scriptography Productions Dress Rehearsal May 5 2015 ©keith morris www.artswebwales.com keith@artx.co.uk 07710 285968 01970 611106

“One of the finest acting performances I have ever seen at the Fringe”

Editorial Rating: 4 Stars: Outstanding

In a year that has seen Alan Turing receive an official royal pardon and a blockbuster film about his achievements, it seems somewhat surprising that there aren’t more shows at this year’s Fringe about him. However, this work from Welsh company Scriptography Productions is absolutely sensational, and features on of the finest acting performances I have ever seen on the Fringe.

The play starts with Turing as a schoolboy, and goes on to show his first love, his work at Bletchley, and the relationship that would see him found guilty of gross indecency. It’s certainly not afraid to be bold, and at times brutal, focussing primarily on Turing’s sexual identity and personal life.

Turing himself is played by Gwydion Rhys, who brings so much emotional depth, softness and realism to this disturbed character that I genuinely wanted to jump on stage and stand in the way of him being chemically castrated in the play’s final scene. It’s a controlled and commanding performance without ever being over the top, and well worthy of a Fringe award. The supporting cast of Rick Yale, Francois Pandolfo and Robert Harper, who between them play 14 characters, also deliver highly commendable performances.

The production moves at quite a fast pace, but it’s the moments of stillness and sensitivity, which to me were the most powerful. In particular, watching Turing’s mind whir as he develops his theory for the first computer, and his damning confession and inability to lie while in the witness box are utterly compelling.

While I wasn’t 100% convinced by snippets of the high energy quiz show scattered throughout, which posed questions to reflect theories developed by Turing, these sections did serve as a stark Brechtian contrast and awakening to his manipulation and ultimate downfall. I would have liked to have seen a closer integration between these sections and the genuine interrogation he received in the courtroom to really complete the circle of that idea.

It was also disappointing for me that this show was only an hour long, I could easily have stayed engaged for two, and would have welcomed more exploration into some of the other themes – gender identity, machines vs humans, and more cultural context of the period of his life. In saying that, for the length it was, I think it was written and structured excellently, with an engrossing narrative and compelling action. This show is a must-see.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 17 August)

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THIS REVIEW HAS NOT BEEN SUBEDITED

An Improvised Murder (New Waverley Arches, 16 – 22 Aug : 20:00 : 1hr)

Posted in 3*, EdFestivals 2015, Other, Theatre by

“It felt like a real murder mystery”

Editorial Rating: 3 Stars

One can’t really walk for more than five minutes through Edinburgh’s old town in August without someone trying to get you to see something improvised. From musicals to films, Jane Austen to Dickens: you name it, a troupe of overly excited students will improvise it. However I thought I’d see my first “unique” show of the year in a genre I haven’t yet experienced – an improvised murder mystery.

The improvisation follows a familiar formula: a facilitator gathers ideas and directions from the audience as a basis for the players to act out a show. Why? The facilitator needs help to pitch a last minute script to an imaginary producer, and the improvisation will become that script. You’ll follow…

Our show, thanks to audience suggestions, was to be set in a bank in Tyneside, and the troupe got to it right away with barely a moment’s thought. It was a bit of a slow burner to start with as the players established characters and relationships, but when the imaginary producer called to interrupt the action, new suggestions were given to the actors by the facilitator and off we went again.

I was pleasantly surprised at how the group managed to build tension and possible motives for murder following the first interruption. From exposing fraudulent financial activity, to the old favourite of spurned and jealous lovers, it wasn’t long before it felt like a real murder mystery.

As the audience we get to pick who gets killed half way through, and we’re then able to quiz each player with any question we choose, which they answer on the spot. This section was great as we could directly engage with the characters, and I was able to forget that I was watching a completely improvised show.

While it’s a shame that not every suggestion we made was accepted, and that one player had to spend the majority of the show with a pig attached to his leg (not my idea…), the developments and twists did generally turn the drama up a notch, so it was good to have a facilitator adept at knowing when changes need to be made.

It wasn’t perfect though: players at times forgot which accent they were supposed to be doing and occasionally even what their own names were. However, it was certainly a nice change from other improvised shows out there and a very promising Edinburgh debut from Foghorn Improv. As the run goes on and the players get more into the swing of things, I’m sure they’ll shake off these basic errors.

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

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Reviewer: Steve Griffin (Seen 16 August)

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What I learned from Johnny Bevan (Summerhall, 7 – 30 Aug : 16.55 : 1hr)

Posted in 5*, EdFestivals 2015, Summerhall, Theatre by

“A simple story, powerfully written, mesmerisingly performed”

Editorial Rating: 5 Stars: Outstanding

Sometimes I feel I should just give up. I see a show like this that makes me think theatre can’t get any better, so why should I bother going to see anything else? This absolute gem of a show, performed in a tucked away little room at an old veterinary college, is exactly why I keep coming back.

The story follows Nick, a young man from a wealthy background, who is desperate to shake off his family shackles and cultural expectations and discover his own identity at university. There he meets Johnny Bevan – the intelligent, bohemian philosopher from a council estate who opens up that new world Nick has been looking for. And while their initial connection is electric, years later when the two meet again, can Nick save Johnny from the tortured soul he’s become, or does Nick actually need saving from his consumerist lifestyle as a writer in London?

The writing of this piece is some of the best I have ever come across. Part poem, part epic monologue, it oozes style and professionalism, while sounding completely natural when performed. The story arch is perfectly framed, and never once feels indulgent or rushed. Every word is carefully selected to portray character and develop the story, with rhythm and selected rhyming that make it very easy to connect with. My favourite line was when Nick described going to meet Johnny “over lentil-based cuisine”, while some of the digs and views on modern society are captured with terrifying accuracy and wit.

The writing would mean very little, however, were it not for the incredibly emotive and gutsy performance from Luke Wright. He captures Nick’s naive early years, his coming-of-age at university with Johnny, and perhaps most mesmerisingly of all, his look back at the those touching moments and unhappiness with who he has become. Throughout the piece he talks directly to the audience, often very up close, which really engages and brings a sense of honesty to the piece. At select moments he looks back the the projected backdrop in reflection or shame, while his physicality captures every nuance of the characters and situations being presented. It is a truly masterful performance.

The technical aspects of the show are simple, but perfectly sympathetic with the script and style with which it is performed. Hand drawn images projected onto the backdrop show the setting of each scene, while subtle changes in lighting accentuate the mood perfectly. Anything more would detract from the piece’s overall power.

This is a simple story that is powerfully written and mesmerisingly performed – I cannot recommend it highly enough.

 

outstanding

StarStarStarStarStar

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Reviewer: Steve Griffin (Seen 15 August)

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TES (Underbelly, George Square : 5 – 31 Aug : 13.15 : 1hr 15 mins)

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

“Fantastic… exactly what the Fringe is all about.”

Editorial Rating: 4 Stars

Tess of the D’urbervilles reimagined in modern times. With a male hero. Set on a Newcastle council estate. Performed by one person. Oh, and it’s performance poetry. What could possibly go wrong?

You’ve got to take your hat off to writer and performer Steve Larkin just for the idea. It sounds daft, but TES is actually a very compelling story, that interprets enough of the original to make it easy to follow, but without going overboard by trying to shoehorn in every last detail. It’s stylish, it’s quirky, and the issues covered are bang up to date for an audience in 2015.

The show follows the story of Joe Taggart, who, we find out, is a descendent of Lord Byron. As part of a special programme in his school (he’s 14 when the show starts), he gets assigned a new English teacher, the alluring Alice Prycer-Fox, who encourages him to write poetry. However, after a dramatic liaison with her, he finds himself in prison and years later is having to rebuild his life as “Terry” in Leeds. We see Terry’s rise in fortune as a performance poet, and how he develops a relationship with a girl he meets at a recruitment agency. Of course, as this is a Hardy adaptation there are more twists and turns, and an unfortunate ending, but it’s a gripping story and deftly delivered.

It’s written with a real sense of rhythm, and its poetic nature (though not overt) gives it a sense of being a fairytale and having a moral tale. Indeed, many cultural quips and comments on consumerist society are well-placed and go to show the level of intelligence and care with which this piece is constructed.

While the writing is powerful, one of the real strengths of this show is Larkin’s energy as a performer, and his ability to jump between characters and create moods and tension very quickly. He excels further in the sections where, as Terry, he performs his original performance poetry, even getting the audience involved to chant along some lines with him. Larkin is in his element in these sections and commands the stage and the audience’s attention.

My only criticism was that it seemed a little rough around the edges – there could have been starker contrasts between some of the characters, while I also would have liked a slightly more impactful climax. Overall though, a fantastic risk-taking offering, and to me this kind of show is exactly what the Fringe is all about.

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

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Reviewer: Steve Griffin (Seen 15 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

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

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

“Oddly enjoyable”

Editorial Rating: 4 Stars

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

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

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

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

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

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

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

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Reviewer: Steve Griffin (Seen 13 August)

THIS REVIEW HAS NOT BEEN SUBEDITED