Category Archives: Venues

Going Viral (Summerhall, Sat 8th Aug – Sun 30th Aug: 14:10 : 70 mins)

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

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“Daniel Bye’s energy and wit are utterly infectious”

Editorial Rating: 4 Stars  Outstanding

There was no better way to set the tone for Daniel Bye’s storytelling show “Going Viral” than the way in which he began: simply appearing covertly from the audience, charmingly and verbosely commentating. A one man show such as this one requires charisma, boundless energy and utter command of a room to be pulled off correctly: and I am very happy to say that Bye did so with flying colours.

Without revealing too much, the story revolves around two themes: grief, and viruses. It tells the story of a worldwide epidemic of a disease which causes uncontrollable weeping, and along the way the audience expect to learn a surprising amount of information about viral biology. This was the only show I’ve encountered so far which listed a doctor of Epidemiology in its crew, and the touch of real-world expertise lends rock-hard substance to Bye’s tale.

And what a tale it was: intercut with inventive illustrative examples (my favourite being an extremely clever metaphor involving an unholy amount of liquorice allsorts), Bye’s seventy minute story took the audience on a journey through both medical conditions and the human condition, with an atmosphere so thick and engrossing that I often forgot to make notes. As someone who is often disappointed by the predictability of many plots both written and spoken, this realistic and unpredictable tale was a breath of fresh (if pathogen-laden) air.

And by far the most entertaining facet of the story was Bye himself, who approached what for others would be a daunting subject matter with razor-sharp humour and a seemingly ineffable confidence – but his greatest trick was to pull this off whilst still retaining that touch of the everyman which had the audience eating out of the palm of his hand from beginning to end. In short, Daniel Bye’s energy and wit are utterly infectious.

Combined with subtle but theatrical lighting, the drama was solid enough to break a pool cue over.

However, without giving too much away, I was left slightly disappointed by what seemed an oddly enigmatic and anticlimactic ending. After becoming so wrapped in the world Bye creates, it was almost akin to disappointment of the last bite of a cake dropping from your fork and onto the floor.

However, this did little to affect the rest of what was a noteworthy and slick performance. Daniel Bye and his team should be extremely proud of what has proven to be one of the best storytelling performances I’ve seen at Fringe yet. This is not one to be missed.

 

outstanding

StarStarStarStar

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Reviewer: Jacob Close (Seen 8 August)

Visit the  Summerhall  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

The Turn of the Screw (Assembly Hall, Aug 6 – Aug 30 : 21:40 : 1hr)

Posted in 2*, EdFestivals 2015, Other, Rated: Nae Bad, Theatre by

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“Ambitious, but unmistakeably flawed”

Editorial Rating:  2 Stars Nae Bad

The Turn of the Screw, in the words of it’s author, is a tale wherein “the strange and sinister” is embroidered on the normal for dread rather than horror – bold for the time, and even bolder as a minimalistic, two-person stage play. However, what resulted on stage was much like the mind of the story’s governess: ambitious, but unmistakeably flawed.

Rik Grayson proved a strong and surprisingly diverse actor, playing not only the male narrator but also providing powerful and eerie performances as the housekeeper Mrs Grose and Miles, one of the troubled children. His mannerisms were specific, sustained and on point – he turned what was at first a strangely humorous old woman into a figure of suspicion and palpable dread.

The same, however, cannot be said of his stage mate Suzy Whitefield. Whilst at certain points in the production she showed genuine emotional depth (a tense, genuinely unnerving darkness scene stands out), her performance felt oddly flat throughout the rest of the piece – which unfortunately, due to both the small cast size and the show’s dependence upon her character, took much of the essential fear and trepidation out of the drama. Although at times her fear was completely believable, the sense of a desperate, slowly crumbling human being behind it was not. Whitefield shows promise, but unfortunately certain aspects of her character portrayal hold her back.

This was helped, however, by simple yet brilliantly effective lighting design from the tech team, whose use of light and darkness during night and evening scenes carved the atmosphere so deep into the stage that it was nearly inescapable.

All in all, this was the very epitome of a curate’s egg: both actors had scenes which made my hair stand on end, but at the same time, parts of the show were utterly devoid of the tense, sinister fear that makes The Turn of the Screw such an enduring tale of horror. I sincerely wish I had been able to like it more. With an extra sheen of polish and a few tweaks to the pacing and delivery, this is a production which could be much more powerful.

 

nae bad_blue

Star (blue)Star (blue)

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Reviewer: Jacob Close (Seen 8 August)

Visit the Other  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Danza del Caribe: Itara (Assembly Roxy 5-31 Aug : 17:00 : 1hr)

Posted in 4*, Assembly Roxy, Dance, EdFestivals 2015 by

“Full of vibrancy, dynamism, risk and sexual energy”

Editorial Rating: 4 Stars

I knew little of Cuban dancing before this show, so I was very intrigued to find out more about it, and the comparative differences to traditional dance from other countries and regions. However, as expected, it was a performance full of vibrancy, dynamism, risk and sexual energy.

This show was split into three distinct sections, of which, the first, entitled Sulkary, covered the theme of relationships and fertility. To me, this was the strongest and clearest in terms of narrative and accessibility – it started with the three female dancers alone on stage, with motifs of flexed feet and hands, depicting a sense of discovering identity. They were soon joined by three male dancers, each carrying a huge pole, who brought an air of dominance to the stage. When the two groups joined together, a real sense of tenderness through bodily contact became apparent, and three couples emerged and broke off.

The following two sections were both energetic and colourful, with daring lifts and complex unison and canon sections. However, it was less obvious what was going on, and although the movements were impressive it was slightly more difficult to engage in these parts.

The costumes (of which there were many throughout) were bold, intricate and full of the Caribbean spirit. They really added to the sense of “show”, and with a smoke machine in almost constant use, the overall visual was never anything short of spectacular.

The band, and in particular its female lead singer, were incredibly deft at setting the tone of each piece quickly and with such a richness as to really transport the audience to the depths of Havana. The main instruments were traditional drums, which kept up a pulsating rhythm during the upbeat sections while tempering their intensity for the subtler moments.

Unfortunately what let this show down somewhat was the overwhelming feeling that it felt somewhat under-rehearsed. There were several moments, both in lifts and unison sequences, that the dancers were out of sync or unable to cleanly finish individual moves, making them seem rushed or partially forgotten. Because of this I was unable to ever feel 100% absorbed or relaxed with the performance, worried that at some stage there could be an injury or other faux pas.

It was also a little disappointing that in some sections there was a reliance on pre-recorded sound rather than it all being performed live. However, this show was oozing with energy, charisma and flair and with a bit more polishing could be quite spectacular indeed.

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

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Reviewer: Steve Griffin  (Seen 8 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Leper + Chip (Assembly Roxy, 6-31 Aug : 15.00 : 50mins)

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

“Simple story-telling at its absolute finest”

Editorial Rating: 4 Stars: Outstanding

Sometimes the best thing to do with a play is to keep it utterly, utterly simple. Leper + Chip did just that with astonishing effectiveness.

As the audience enters, the two actors are alone on stage, pacing, as if gearing up for a fight. When the house lights dim, what follows is a high octane, turbo-charged, non-stop pummelling of drama, from two fine young actors.

The play follows 24 hours in the life of two young people from different sides of Dublin. They meet by chance at a party and their two social groups end up in a full-on brawl. The next day is a mad-dash tale of pursuit and rivalry as Leper and Chip try to come to terms with the previous evening’s actions.

It is structured as two interweaving monologues, enabling us to see both sides of the story from the night of their meeting. Each frank account goes on to introduce other friends and acquaintances, who, from just a few lines, seem as real as the actors on stage. As the story unfolds, we’re taken through feelings of pride, guilt, anger and desperation, all against a backdrop of the grittier side of Dublin.

The actors are alone on stage the whole time, with no set, props or complex effects to aid the story telling. The piece is driven completely by the energy and expression of Leper (played by Conall Keating) and Chip (Amilia Clarke Stewart), whose chemistry and personalities complement each other perfectly.

Leper is a real “lad” who thinks nothing of downing countless shots and hitting on older women for fun, while Chip is a feisty wee girl with a distinctly challenging home life. Both characters are incredibly likeable despite their many imperfections: their honesty and heart-on-your-sleeve attitude, which drive some of the more tragic consequences, make them true anti-heroes.

It really is a pacey piece that’s full of drama, and I was on the edge of my seat throughout. The quality of the writing (and directing) was such that the play didn’t seem like it was written at all – indeed, the words fell out of the actors mouths so easily that it really felt like it was a true, if at times a little far-fetched, story. It has clearly been very well rehearsed and never once felt staged or unnatural.

Although at times just a little rough around the edges, these were two heroic performances – full of energy, conviction and real sensitivity to every aspect of the individual characters. Simple story-telling at its absolute finest.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin  (Seen 8 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

The Sons of Pitches (Gilded Balloon, 7-13 Aug : 22.30 : 1hr)

Posted in 4*, EdFestivals 2015, Gilded Balloon, Music, Potterrow & Teviot, Rated: Outstanding by

“Their energy and stage presence was infectious”

Editorial Rating: 4 Stars: Outstanding

This is a Fringe show that has brought its own warm-up act. It may be a little arrogant, but once the real deal gets going it’s easy to see why – the sounds made by these lads with just their mouths was simply astonishing.

I’ve seen a lot of a capella groups, especially at the Fringe, and what I liked about these guys is that at just five members, compared to the usual twelve or so one might normally expect, they easily made it sound like there were several more of them on stage creating multiple levels. The layering and blend of voices in different parts is so on point that you can’t really tell who is singing what, while their energy and stage presence was infectious.

From one of the top vocal groups on the circuit, their basic “party pieces” were flawless, but this show attempted to combine a capella with comedy. Support act Love Heart came back on stage half way through to introduce a section where the group would improvise songs around a genre and subject. The improvisation itself delivered incredible attempts at traditional Irish, country and calypso music (all from audience suggestions), and I was desperate to have seen these developed further.

For me there was too much chat and not enough singing in this show, and although the interludes were enjoyable, that’s not what the majority of the audience were there to see.

While I won’t linger on some of the unfortunate vocal cracking from the singers at the higher end, the standout Son from this performance was undoubtedly Midé Adenaike. His beatboxing skills were jaw-droppingly fantastic, and particularly in the night’s closing number he stole the show.

For the most part this was an upbeat vocal party, but for me the real proof of an a capella group’s mettle is in their stripped back numbers. The Sons’ penultimate song was the self-penned Foundations, a ballad about stability within a relationship. Unfortunately without Adenaike on beats the group seemed a little lost, and although delivering a good performance, it wasn’t to the standard of their earlier tunes.

While this is a very impressive troupe with a lot to offer the world of a capella, in this performance they didn’t quite blow me away as much as perhaps they should have done, but it was still an incredibly enjoyable hour.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin  (Seen 7 August)

Visit the Potterrow & Teviot  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Nailed It! (Assembly Roxy, 7-11, 14-17 Aug : 20.15 : 1hr)

Posted in 4*, Assembly Roxy, Cabaret, EdFestivals 2015, Rated: Outstanding by

“They did indeed “nail it””

Editorial Rating: 4 Stars: Outstanding

To describe Nailed It! makes it sound quite basic: two guys; one singer; one pianist; a collection of gloriously lyrical tunes; and fabulous sparkly jacket. But for Fringe debut act Mackenzie-Spencer and Strano this was a masterclass in getting all the basics of cabaret spot in. They did indeed “nail it”.

Andrew Strano’s voice is uncompromisingly musical theatre, and the songs composed with partner in crime Loclan Mackenzie-Spencer more than complement his personality and style. While not a particularly unique voice, he has a fantastic range and used his instrument to bring a full spectrum of emotion and empathy to each number.

With comical tunes covering topics such as the “birds and bees” and having intimate relations with one’s twin sister(!), to a beautiful touching number about relationships, the pair’s songwriting talent is simply wonderful. Nailed It! is comprised exclusively of original songs, all of which could have featured in the latest off-Broadway hit musical.

What makes this show really special though, is the perfect blend of professionalism and fragility on display. It is clearly solid and well rehearsed musically, but with the anecdotes in between Strano showed a real vulnerability and honesty in his imperfections, which made him incredibly likeable.

Special mention should also go to Mackenzie-Spencer’s seemingly virtuosic keyboard playing, deftly belting out complex melodies, all the while making it seem inhumanly simple. His quieter persona delightfully balanced Strano’s more extroverted stage presence and they were clearly very at ease with each other.

One worry many of us face when attending cabaret shows is around audience interaction. Are they going to pick on me? Fortunately Strano makes the audience feel so comfortable that those fears are almost immediately allayed. Questions are asked of the audience in general, and both performers dealt well with the random responses they received (there’s always one…) and seamlessly wove them into the next song as if it were all planned without seeming overly choreographed.

If I had one criticism, and this is very much down to personal preference, it is that theatrically I would have liked to have seen a few more risks taken. While the songs covered some fairly close-to-the-line topics, what was missing to make this show really unforgettable was something a bit out of the box, a real wow factor. However, next year, when these guys come back (which they absolutely must), it will be with a sure-fire five star show.

 

outstanding

StarStarStarStar

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Reviewer: Steve Griffin  (Seen 7 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

K’rd Strip: A Place to Stand (Assembly Roxy, 7-31 Aug : 18.40 : 1hr 10mins)

Posted in 4*, Assembly Roxy, Cabaret, Dance, EdFestivals 2015 by

“Delightfully camp and full of personality”

Editorial Rating: 4 Stars

I’m not often lost for words, but during the first half of this show I was rendered pretty speechless. To be fair, it’s a cabaret performance by six gutsy guys wearing nothing but short leather kilts and heels, so that should have given me a fair idea of what to expect.

However, there were layers of real intelligence, depth and unexpected artistry in among the madness – from the opening tightly choreographed, animalistic dance section – to the warrior dance-like motifs used throughout. In between the obligatory drag queen acts, of course.

In the piece we meet various characters, played out in different mediums, from a questionable contact improvisation dance depicting a one night stand, to an overly camp “lady of the night” known as Destiny. Perhaps the most tragic and painfully relatable of all was “Horsey”, an outcast who clearly had a heart of gold but had been misunderstood his whole life, and whose final scene was a painful reminder of some basic prejudices.

This is unapologetic cabaret – there were plenty of individual songs and dance numbers – my favourite of which was the moving I’m not lost. It was pleasing to see connections between each section, at least stylistically, even though for most of the show I was desperately searching and waiting for the one thing that would really tie all the the elements together and make it into a theatrical triumph. I almost got it when certain characters re-appeared and narratives started to entwine, but even by the show’s emphatic closing number I felt like the troupe hadn’t quite completed the circle.

Overall, the singing was good, the dancing and choreography were good and the acting was good. However for me this show was just missing that sparkle that could tip it into being spine-tinglingly exceptional.

K’rd Strip is absolutely not going to be everyone’s cup of tea – from a traumatic rape scene to a prostitute “shooting up” – both right at the front of the stage – this show doesn’t ’pull any punches. It’s edgy, it’s raw and it’s honest, shining a light on a subculture that is often taken for granted. It’s also delightfully camp and full of personality, if that sounds possible in one show. Definitely one for those with an open mind.

 

 

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

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Reviewer: Steve Griffin  (Seen 7 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

I, Elizabeth (Assembly Roxy, Aug 7-9, 12-16, 19-23, 26-31 : 11:45 : 1hr 15mins)

Posted in 4*, Assembly Roxy, EdFestivals 2015, Rated: Nae Bad, Theatre by

I, Elizabeth at Edinburgh Fringe Festival Banner

“Vaughn’s command of the stage is utterly iron-fisted.”

Editorial Rating: 4 Stars Nae Bad

The two hardest things as an actor, at least in my experience, are to memorise your lines and then make to them appear spontaneous and real. To do so without ever losing energy, alone and over a period of a straight hour is nothing short of astounding – and, a feat which Rebecca Vaughn pulls off as Queen Elizabeth nearly effortlessly.
I, Elizabeth is a monologue act pieced together from the Tudor Queen’s assorted letters, poems and private correspondence, and offers a glimpse into the chaotic and rich emotional life behind one of England’s most memorable rulers as presented by the Queen herself.

Vaughn’s character work is undeniably slick: she channels both regality and humility so realistically and so honestly that, even watching from the front, I often forgot I was watching an act at all. And even more impressive was her talent at making irregular, Tudor-style cadence not only make sense to a modern audience, but do it so well that it becomes compelling and, when she wants it to, genuinely funny. Unlike her character’s sometimes shaky political life, Vaughn’s command of the stage is utterly iron-fisted.

But Vaughn’s considerable talent cannot suspend reality by itself, and was aided by a very talented makeup and costume team; the result being a costume with such substance and attention to detail that it wouldn’t have looked out of place in a high-budget period drama. However, just as Vaughn portrayed a partly flawed monarch, so did her performance. Occasionally her emotional energy bordered on the melodramatic, and her tight emotional u-turns sometimes meant that gaps of monologue were lost as the volume increased. And perhaps I’m simply not smart enough to understand it, but some of the tech decisions- particularly a strange, electrical jolting sound to punctuate the monologue – seemed utterly out of place in what was otherwise a very faithful historical recreation, and sometimes completely broke the show’s atmosphere.

Despite these shortcomings, the rest of the show was nothing short of regal. Vaughn should be praised for her unmistakeable dedication to character work. Short of necromancy, it seems she is the woman to call for bringing the long dead back to complex, compelling life.

 

nae bad_blue

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

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Reviewer: Jacob Close (Seen 7 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

The Very Grey Matter of Edward Blank (Assembly Roxy, 7 – 31 Aug : 17.35 : 55mins)

Posted in 3*, Assembly Roxy, EdFestivals 2015, Rated: Unrated, Theatre by

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“A potential creative masterpiece whose shortcomings locked it into simply being “alright””

Editorial Rating: 3 Stars

I’m a firm believer that the human mind is one of the most complicated and amazing pieces of organic engineering the world has ever seen. Therefore, a witty, entertaining show exploring its contents is like my personal holy grail; and whilst I nearly found it in The Very Grey Matter of Edward Blank, it fell excruciatingly short of something which could have been incredible.

The show tells the story of its titular, reclusive protagonist as he struggles with his own ill mind in a desperate attempt to identify a voice on an old tape; both helped and hindered by his inner voices, who clown and joke their way through his surprisingly dark existence. A nuanced and creative genius, Blank’s goal takes him into the often nonsensical depths of his own sick psyche, and his inner voices are all along for the ride.

To start with, members of the team whose job relies on hardly noticing their work: a huge congratulations to the set and team, who succeeded in creating an on-stage apartment which was not only visually pleasing, but also functioned very cleverly in some of the most simple yet effective visual trickery I’ve seen in a long time. And similar kudos must go to the costume and makeup which went into the creation of the simultaneously ghoulish and comic “Mister Boo-bag” (whose mime work was worth every second).

With regards to the acting talent on show, Edward Blank’s mad, clowning inner characters all had flashes of utter comic genius, and showed a cohesion in their onstage chemistry which many theatre companies could take lessons from. And especial praise must be given to Sam Redway, who played the eponymous Edward, for managing to play an unstable character who remained endearing, charming and dynamic without fail.

However, this was a show which was constantly leaving me wanting to see more, and unfortunately not in a good way. I often wanted to see more energy and dynamism from most of the inner voices, who were always tantalising close to having the physicality and force to really hammer their characters home, but only occasionally hit the target. And perhaps it was a matter of the (admittedly, very witty) writing, or some fault of the occasional silences or unintended moments of stillness, but the show seemed to have a problem maintaining it’s dramatic momentum. And, even worse, the show ended abruptly with a whimper rather than a bang. I was left feeling like I’d gotten to the last glorious bites of a meal, only to have it slapped out of my hand. Had this show’s world been able to maintain itself with the extra needed force, I would have been hooked. But as it stood, I couldn’t quite get into it.

Would I see Edward Blank again? With a few tweaks, gladly. But despite strong performances and clever writing, the show’s shortcomings often ripped me out of what could have been an utterly engrossing story – and even more frustratingly, it’s weaknesses felt just a draft away from being solved. This was a potential creative masterpiece whose shortcomings locked it into simply being “alright”.

If this returns to Fringe in any altered form, I’ll be the first in line – but until then, Edward Blank left me feeling a little grey.

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

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Reviewer:Jacob Close (Seen 7 August)

Visit the Assembly Roxy  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Jurassic Park (Assembly Roxy: 5 – 30 Aug : 18.50 : 1hr)

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

“A show with so much heart mine nearly burst”

Editorial Rating: 4 Stars: Outstanding

I was slightly worried, from the name, that this would be one of those overly geeky shows where the actors become a bit self-absorbed in being dinosaurs that they lose the plot – literally. Thankfully, this production strikes a wonderful balance between storytelling, humour and a moving tribute to one of the world’s best loved films.

It really is a show with everything – packed with laughs from start to finish, touching moments of tenderness, dinosaurs, family dramas, a ballad to the triceratops and even a Britney Spears dance break. More importantly, it’s performed with so much energy, love and conviction that one can’t help but be carried along with the fun.

The premise: a father (Terry) and his two children (Noah and Jade) welcome the audience to the village hall for a screening of their favourite family movie (Jurassic Park), as a tribute to Terry’s wife and the children’s mother Madeline, who died a year ago. What follows is a tale of a broken family, love, heartache… and dinsoaurs.

As a piece devised and performed by a Lecoq-trained company, it is understandably very physical, with each of the actors switching between human character, dinosaur and the cast of Jurassic Park with ease and finesse. Moments involving lifts and embodying the larger dinosaurs are particularly impressive, as is the creative use of props – who knew a rucksack could look quite so much like a Tyrannosaurus’s mouth?!

I would have liked to have seen the initial scene (in the village hall) developed throughout and have gotten to know the character of Madeline a bit better, perhaps at the sacrifice of one or two of the scenes involving the film’s reenactment. If any of these are intended to show parallels to the family’s story, the references are too subtle and disjointed to be effective. Some of the transitions between scenes also come across as somewhat forced, but in all other respects this show is hard to fault.

The cast work incredibly hard to deliver an hour of non-stop action, with personalities that really shine: Maria Askew as Jade is the perfect moody teenager, Frode Gjerløw is perhaps most impressive with his array of character changes, while Simon Maeder is just incredibly likeable – even while pretending to be a porn star!

This is a hilarious yet touching tale of one family’s coming to terms with grief through the medium of Jurassic Park, and I give it a roar of approval.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin  (Seen 6 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED