Tag Archives: Edinburgh Fringe

The Oxford Gargoyles (C : 5-15 August : 13.00 : 50 mins)

Posted in 4*, C Venues, EdFestivals 2015, Music, Rated: Outstanding by

“A flawless vocal performance”

Editorial Rating: 4 Stars: Outstanding

It seems somewhat incredulous that I last saw the Oxford Gargoyles at the Fringe nine years ago. And I guess what’s most pleasing is the evolution in style since then – from what was previously a supremely talented but somewhat serious choir, to a much more risky and fun-loving bunch, with the same level of musical talent.

After a slightly bizarre introduction, the show opened with gospel number from Disney’s Hercules: That’s the Gospel Truth, which although impressive, perhaps had a slightly too complex arrangement that to the average punter would probably have sounded quite chaotic. Indeed, this was a theme that, being harsh, was true throughout their 50-minute set: amazing vocal talent that was sometimes lost behind some very complex arrangements.

What I imagine the group would hail as their “money song” was the most bizarre mash-up that I have ever heard including (among others): Stanford’s Evening Canticles in C, G and B flat; Stevie Wonder’s Signed, Sealed Delivered; Bach’s Magnificat; and even some 90s rock thrown in for good measure. Again, vocally very impressive, and I’m sure music geeks will go nuts for it, but for the layman it is quite difficult to enjoy properly with so much going on.

In saying that, this is a vocal group that absolutely knows is niche in the a capella market, and their songs were in the most part performed in their very individual style. A beautiful, soulful rendition of Let It Be, and a much simpler mash-up of jazz classics including Beyond the Sea were very distinctive to the Gargoyle’s sound. The haunting and simple Blame it on my Youth was perhaps my favourite of the evening though, going to show that they’ve still got all their old tricks, as well as having learnt some new.

The show closed with a song that I never thought I would hear from an acapella, especially a jazz acapella: Shania Twain’s Man, I feel Like a Woman. This number perhaps most evidently summed up the gutsiness this group now has, incorporating humour, original arrangement and a flawless vocal performance. It was delivered with real panache and was a great way to close the show.

For me it’s great to see so much freshness and originality alive and well in university a capella groups, and I hope the Oxford Gargoyles keep up their good work.

outstanding

StarStarStarStar

—

Reviewer: Steve Griffin (Seen 9 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

ErictheFred (Assembly Roxy, 8-30 Aug : 21.45 : 55 mins)

Posted in 3*, Assembly Roxy, EdFestivals 2015, Theatre by

“Lynam is very expressive and engaging, oozing with energy and charisma”

Editorial Rating: 3 Stars

This show is an insight into the life of a performer whose memories still haunt him, and he begins to envision what could have been. It’s a fairly simple concept, which to me is a bit too drawn out and unoriginal, and I would have liked a few more twists or developments to take the piece somewhere new.

There’s no dialogue – it’s just actor Chris Lynam alone with a menagerie of props and projections. He begins standing on stage dressed as a ballet dancer, and in frustration he tears off his costume and throws it away. Then, as if decreed from above, a new costume flies in, which he puts on, and transforms himself into a clown for the rest of the performance. It was never made particularly clear how or why this transformation took place, but as the show progressed, it seemed to become an unimportant detail.

Throughout this performance Lynam is very expressive and engaging, oozing with energy and charisma, and from very early on we are drawn in to his world and visions. Through the twists and turns he suffers, the clown’s physicality and facial expressions are strong enough to portray each emotion and it is a very capable performance.

What makes the show stand out is the interaction with various technical elements. The whole show is seen from behind a projection screen, onto which various scenes and “thoughts” are projected throughout. In addition, there is a vast array of props which enter and exit of their own accord, adding to the sense of mysticism and imagination.
At the end of the show there are two shock moments (which I won’t spoil), that add a fresh dimension to what until then had become a quite tired and monotonous format. It’s a shame moments like these did not come in sooner to give the piece more variety and sense of surprise.

To me, the problem with shows that have a high reliance on technical aspects, especially at the Fringe, is that one never feels quite at ease that everything will go to plan. And while nothing major went wrong in this performance, there were numerous occasions when there was an air of hope as opposed to confidence that the right thing would fly in and fly out at the right time, which prevented me from becoming fully absorbed in the work. But perhaps towards the end of the run these details will be more ironed out.

Overall, a very strong solo performance, but I was left feeling a little bit with the sense of “So What?”.

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

—

Reviewer: Steve Griffin  (Seen 8 August)

Visit the Assembly Roxy 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

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

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

49 +3 Shows to See #EdFringe15

Posted in Dance, EdFestivals 2015, Events, Exhibitions, Music, Previews, Theatre by

It’s been two weeks now since the official programme launch, and we’ve finally made it through all 439 pages, featuring over 3,330 shows. Needless to say we’re VERY excited for what this year’s Fringe has in store.

Being the arts geeks that we are, Alan Brown and I have managed to narrow down a list of 49+3 shows we’re really looking forward to seeing, shared below to help guide your choices.

We haven’t been bribed, cajoled, threatened or in any other way influenced in making our selection, we’re just being honest.

+ Many thanks to Loclan Mackenzie-Spencer and Andrew Strano of Nailed It! for their song in praise of our choices!

So, without further ado…

One from each of the 10 categories:
Cabaret – Nailed It!
Children’s – Dreamkeepers
Comedy – Matt Forde: Get the Political Party Started
Dance, Physical Theatre and Circus – Hitch!
Events – Edinburgh Gin’s Night of Literature and Liquor
Exhibitions – Unexpected Excesses
Music – Afropella Night
Musical Theatre – The Bakewell Bake Off: A New Musical
Spoken Word – TES
Theatre – Trans Scripts

My top 10
The Misfit Analysis
La Meute (The Wolf Pack)
Citydash
Brian Molley Quartet – Britunes
Ushers: The Front of House Musical
Poetry Can F*ck Off
Bloody East Europeans
Clickbait
Willy’s Bitches
Smother

Alan’s top 10
Ada
Down & Out in Paris & London
Light Boxes
Our Ladies of Perpetual Succour
Picasso stole the Mona Lisa
Scarfed for Life
The Sunset Five
The Titanic Orchestra
Wendy Hoose by Johnny McKnight
What Would Spock Do?

19 other recommendations (including returning favourites from former years)
Bromance
Every Brilliant Thing
Homme | Animal
Can’t Care, Won’t Care
Austentatious: An Improvised Jane Austen Novel
Doris, Dolly and the Dressing Room Divas
The Art of Reduction and the Distillation of Humanity: Whisky Theatre
Jess Robinson: The Rise of Mighty Voice
Chicken
The Jennifer Tremblay Trilogy. Parts 1, 2 & 3
We’re not dogs
The Oxford Gargoyles: Jazz a Capella
UKIP! The Musical
Going Viral
Dorian Gray
Lemons, Lemons, Lemons, Lemons, Lemons
Richard III
My Name is…
The Rape of Lucrece

+3 we both agree on!
Crash
E15
Free for All

Phew – bring on August! If there are any other shows you think should be brought to our attention please get in touch with us at plus3@edinburgh49.com

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Kind of a BIG Deal – S02E03 – Neil Mackinnon

Posted in EdFestivals 2015, Features, Kind of a BIG Deal by

“I don’t know how to put this…but I’m kind of a big deal.” – Ron Burgundy

In each episode of Kind of a Big Deal you can listen to an exclusive and intimate conversation between our Features Editor and the kind of big deal folk our world-class arts scene attracts – writers, performers, movers and shakers.

Listen again to Kind of a BIG Deal S02E02 ft. Dr Angela Bartie, historian and author of The Edinburgh Festivals: Culture and Society in Post-war Britain HERE.

This week’s conversation is between Dan Lentell and the Head of External Affairs at the Edinburgh Festival Fringe Society

NEIL MACKINNON

Image credit - Dan Lentell

“Any writer or artist that has something to say should have a space here where they can say it.”

The Edinburgh Festival Fringe Society is the organisation that underpins the Edinburgh Festival Fringe. Its core value is to promote the Fringe as an open-access arts event – meaning that anyone with a story to tell and a venue willing to host them should be able to perform, with no one person or committee curating the overall programme. The society was formalised in 1958, to support the growing number of performers who came to Edinburgh, who weren’t included in the programme of the Edinburgh International Festival. Among other roles, it provides information to artists, publishes the Fringe programme and operates a central box office.

In this interview Neil discusses some of the history of the Fringe and the journey of the Society over the last 60 years, from audience protests to the changes in ticketing processes as technology becomes more advanced. He also shares his thoughts on the changing landscape of the arts in relation to politics, and just what he does after the festival finishes each year…

Dan Lentell talks to Neil Mackinnon

The jingle is used with the gracious permission of Moving On Theatre’s Laurene Hope Omedal (star of Piaf: Love Conquers All) and is voiced by Edinburgh Nights host Ewan Spence.

This season of Kind of BIG Deal interviews is supported by the good people at the superb Cult Espresso – the coffee lover’s Southside choice.

PLEASE NOTE! If you are subscribed to Edinburgh49‘s emailing list, you may not see embedded audio links in your email alert, but they are on the website. (Promise!)