Tag Archives: Edinburgh Fringe

Louise Reay: Hard Mode (The Stand Four: 3-27 Aug: 17.55: 60mins)

Posted in 3*, Comedy, EdFestivals, EdFestivals 2017, Plus 3 2017 - Reviews, Stand-Up, The Stand, Theatre by

“A unique and insightful project perfect for Fringe audiences”

Editorial Rating: 3 Stars: Nae Bad

This is a very clever show. Through a healthy mixture of character work, pre-recorded videos, impressive knowledge of modern Chinese society, and truly human moments, Louise Reay has crafted a unique and insightful project perfect for Fringe audiences. Some fine tuning of the details and the flow of the show would be useful to make its 60 minutes shine brighter, but overall Hard Mode is a worthy offering.

The show’s title derives from the idea that in modern China, life is lived as if in ‘hard mode.’ Reay takes care to share a genuine taste of what that kind of life means, from tampering intrusively with audience members to stationing masked cronies around the room to watch and possibly punish the viewers at all times. She uses clever techniques like distributing identical napkins for all audience members to wear (to recall authoritarian homogeneity), and leading the room in hive-mind chants in between musings on what having a free society means now and what losing it could mean later. The masked guards do stay unsettlingly in character the whole time, even banishing non-compliant individuals who dare to remove the napkin to the ‘jail,’ which is the corner of the room. Though some of the points on surveillance are presented somewhat simplistically, the dark sense of forced enjoyment is done well. This show, to its credit given its subject matter, is effectively unpleasant.

Reay bases this societal reenactment on her lived experiences in China, thankfully. A few lines and jokes would seem like sweeping (and potentially offensive) generalisations if she hadn’t proven her extensive knowledge of Chinese culture, from the language to the media to the in-jokes. On the comedy end, the highlights of the show are her stagings of a possible future where the Chinese government has bought and hawkishly runs the BBC. Her David Attenborough-centered skits are hilarious, and her all-Chinese rendition of ‘Far-EastEnders’ is impressive for her sheer capability with the language, as a native English speaker.

On the dramatic side, and yes, there is a somewhat unexpected dramatic side, Reay mixes in her own real life in ways that teeter on the edge of too much. Without giving anything away, the sense of ‘hard mode’ in a societal sense is re-purposed in a personal sense, which at times is truly affecting, and at others feels like retreading and backtracking on points that have already been made.

Reay’s use of an actor to portray Chinese artist and social activist Ai Weiwei in a pre-recorded video conversation Reay apparently had with him feels strikingly off-kilter with the rest of the piece, and not only because it is never truly verified that Weiwei actually said any of the statements in the video. The actor’s timing is jarring, the delivery is confusing and flat, and points are muddled and indistinguishable — under what is admittedly fabulously intricate facial hair. For me, these filmed asides are revisited too often, and though most of Reay’s recurring jokes are quite funny and/or poignant (special nod to the unforgettable Loneliest Newsreader in the World), the Weiwei scenes feel poorly executed.

Overall, if you are looking for a bizarre yet poignant hour at the Fringe, and happen to be in the relatively far away lands that house the Stand Four, Louise Reay’s Hard Mode might be for you. Just be sure to set your expectations to Weird Mode.

nae bad_blue

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

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Reviewer: Nathaniel Brimmer-Beller

THIS REVIEW HAS NOT BEEN SUBEDITED

Jane Doe (Assembly George Square Studios: 2-28 Aug: 3.00: 60 mins)

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

“Thought-provoking and sincere”

Editorial Rating: 4 Stars: Outstanding

Eleanor Bishop’s Jane Doe is a thought-provoking and sincere piece of theatre looking at the subject of rape culture. The performance is entirely led by trained lawyer and theatre maker Karin McKracken, who up until recently was a specialist educator for the Sexual Abuse Prevention Network. Her ease with and care for the audience are apparent from the get-go as she introduces herself and welcomes each person – we know this is going to be a safe space and some difficult subjects are going to be covered.

The show begins with some innocent musings about being a young girl and all of those exciting yet scary experiences everyone goes through – the first time a boy asks you to dance, that first kiss etc. The narrative is endearing and at times amusing, the atmosphere is relaxed, and a sense of reminiscence about one’s own awkward teenage moments is encouraged: this is very much a show for everyone and anyone, at any time, with any amount of experience.

Soon the show takes on a more serious note, getting straight to the main issue of sexual assault and consent. The main story covers a real-life incident involving Jane Doe, a young girl who goes to a party, has too much to drink and is later sexually assaulted by male comrades of a similar age to herself.

Throughout the performance attitudes and boundaries to his incident are explored. We experience the trial after the assault, where different parts of the official transcript are read out by volunteer members of the audience. This device of audience participation helps reassert the feeling of this show and issue being relatable and necessary to and for everyone. It brings a sense of togetherness and mutual support amongst the audience, which is rare and uplifting.

In addition to the live performance element, there are several interludes of recorded video and audio, including shocking recordings of media coverage of sexual assaults by high profile characters such as Piers Morgan. These act as a great contrast to highlight the different responses and attitudes to the subject matter being discussed, and the difficulty of gaining clarity on the issue.

At one or two points during the performance the audience is given a small breather, where everyone is invited to submit anonymous messages about their thoughts and feelings via an online form. All the messages are then displayed on the screen at the back of the stage, so we can see what other people are feeling. This is another interesting device which helps build unity and support within the room, and allows for a genuine conversation. These sections work well in making the show seem less like a performance and more like an open discussion, which ultimately was the aim. Personally I find the topic of rape culture and sexual assault difficult to talk about, as do most, and I guess this is one of the main issues we have in our society.

Although at times the show is emotionally overwhelming, it is incredible how Karin McKracken takes any awkwardness away with her calm and open personality. She broaches a difficult subject in an honest manner, making us feel completely at ease. This may not be one of the more pleasant and glitzy shows at the Edinburgh Fringe, and at times it is frustratingly stringy with the amount of content actually performed, but it’s absolutely an eye-opening experience and an important watch.

outstanding

StarStarStarStar

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Reviewer: Iona Young (Seen 10 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

Was it good for you? (Paradise in the Vault: 5-12 Aug: 19.25: 60mins)

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

“This play is a delight.”

Editorial Rating: 5 Stars: Outstanding

Yes it was. This play is a delight. Much of its charm comes from the clever surprises and twists in the internal monologues of the two protagonists (played by Isobel Lewis and Chris Pope) during their one-night stand, which itself wavers between passion and cold, hilarious reality. The rest comes from the whip-smart writing, rollicking pace, and excellent individual performances all around. By the time its 60 minutes are up, Bareback Productions’ first Edinburgh Fringe venture will have made you smile, think, empathise, sympathise, and laugh out loud like a freight train.

Some plays about sex are lazy, cruel, and invariably ineffective. was it good for you?resists most adolescent urges to shame the participants in this dramatised tryst, and rather opts to earnestly ridicule the silliest impulses in all young lovemakers. During this show almost every sexual and behavioural “step” of a night together is presented, discussed, picked apart, and painfully explained, to glorious comedic effect, and anyone with sexual experience will be able to sympathise with some aspect of it, from the inner musings of what the other person is really thinking/enjoying, to the manic preparations involved in making oneself appear and perform just right for the upcoming act.

In order to aid such a discussion and diagnosis, playwrights Rosie Harris and Luke Smith include a range of advisors, gurus, and confidantes in shifting forms to comment on and represent the protagonists’ psychologies surrounding sex. These include Clint Eastwood (played by Chrisitan Hinrichsen, whose timing, for the most part, was spot-on), and Sharon Stone in full Basic Instinct mode (played by Suzy Oxenham, a truly gifted performer and a highlight of the show). To reveal any more of the special guests would detract from the utter glee of the surprise: Isaac’s third visitor and the girl’s second, in particular, are strokes of genius. You’ll know what I mean when you see it.

What particularly charms about was it good for you? is that the writing is strong but sincere, with clever references and legitimate points among its spot-on but somewhat sillier asides. A Tim Curry lookalike (Fergus Macphee, whose audience interaction is genuinely delightful) may compare sex to a pizza, with politeness as the bread base and all the kinks and depravities as the naughty toppings, but the play also dives much deeper in its analogies and observations. Without giving too much away, there is more than meets the eye between the performers, and the script does very well when peeling back more of the sexual reality than we’d think of as funny.

To Chris Pope’s credit, his performance as Isaac is so genuinely charming (once it grows on you) that even when his cluelessness interrupts serious revelations it feels neither jarring nor inappropriate. Of course Isaac would be comparing his thrusts to jazz music and calling himself “Cunnemingus,” (a joke at which I laughed probably too loudly) because was it good for you? does not sacrifice its realistic take on what men and women really think during sex at any cost. Shaving, peeing, manual technique, and lube are discussed at great length, and it is this attention to detail that truly elevates the experience.

Dutifully representing the physical actions going on throughout the internal monologues, silly and otherwise, are Jack Harrison and Emily Tandy, who commendably act as shadow performers at the back of the stage. While this aspect is hilarious on its own, it is hard to take one’s eyes off Lewis’s fantastic facial expressions in the foreground as she comments on Isaac’s techniques, and Pope’s skittish overthinking and under-thinking at every turn.

It has to be said, the play and its mannerisms do work best as a nudge-nudge wink-wink within British — very British — society, and I am sure Americans and others will, at best, come out understanding a few more British tics about these things that hadn’t occurred to them before, and at worst not really understand what all the fuss was about. This is not to say the play is inaccessible; was it good for you? may sound like it was written by somewhat smart-Alec upper-middle class Britons, but it is, commendably, for everyone.

outstanding

StarStarStarStarStar

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Reviewer: Nathaniel Brimmer-Beller

THIS REVIEW HAS NOT BEEN SUBEDITED

A Sudden Burst of Blinding Light (Gilded Balloon Teviot: 2-19 Aug: 14.30: 60mins)

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

“Commendably earnest.”

Editorial Rating: 2 Stars

Cambridge University Amateur Dramatic Club’s A Sudden Burst of Blinding Light is structured and effectively performed like a cosmic nightmare. Two contestants on a bizarre game show, Jude (Maya Achan) and Leon (Malcolm Ebose), are tormented and ridiculed by bubbly but sadistic show hosts and forced to explore their own shame and pain through reenactments and flashbacks of previous traumas. The stuff of nightmares. The question the show and its artistic choices raise most consistently is: whose nightmare?

The game show format can be entertaining for a live play, but the script of A Sudden Burst of Blinding Light, written by Ben Maier, does not use the format very well, as frequent flashbacks, monologues, and freeze-frame asides not only jar the audience but muddy the point of the play as a whole. Is this a comedy? A tragicomedy? A through-and-through parody/satire of the flippancy and crass positivity we employ when discussing mental illness? I’m not sure we ever find out.

The contestants, at least, are effectively characterised. The melancholy Ebose conceals within the role of Leon and the mousiness Achan hardwires into Jude are well developed and rehearsed.  The show hosts, Terry (Ed Paget) and Fizz (Charlotte Cromie), lean more towards slapstick insanity, but as unpredictable sadists, they certainly remain in character the whole way through. However, its hard to shake the sense that the whole tone of the piece is off somehow, from the half-hearted and half-delivered punchlines to the rushed backstories given to what could have been interesting characters.

Aesthetically, the show is colourful, but inconsistent and dizzying. Though the costumes are appropriately tailored to the wearer’s characteristics, and the lighting, designed by Avi Pluskoska, flashes and twirls well (most of the time), this play seems to have skipped any consideration of stage geography and audience comprehension. Following where and when the actions and flashbacks are taking place is near impossible, and the production team could have benefited from designing more specific regions of the stage and uses of lighting to differentiate between the game show environment and the myriad other settings where scenes take place.

There is something to be said for layering truly tragic revelations with comedic flippancy. At times, the striking cruelty that marmalade-suited host Terry (played at breakneck speed by Paget) hurls at timid Jude and humble Leon begins to recall the uncaring approach we can all sometimes take to mental illness and other people’s serious issues in general. The whirlwind incomprehensibility of the game show begins to mirror what a world may look like to someone with debilitating trauma like the contestants. To their credit, the actors do a fine job of selling this nightmarish tone. Paget’s manic voice and Cromie’s devilish mannerisms as Fizz convince the spectator that what they are seeing is crass and cruel indeed, and these performances are commendably earnest.

The show comes into its own more successfully around the second half, as the hosts themselves show signs of trauma and characterisation, the pain is spread around, and we get to sees signs of weakness in the tormentors. The implications that Terry and Fizz’s cruelty stems from their own self-hatred is momentarily interesting, yet these moments are too quickly presented and discarded to be of any note. And then there’s the highly questionable entrance of a ludicrously costumed crooner named Frankie Valium, (ha), played by Harry Burke, who does a somewhat charming ditty, then fails to project enough for any of his lines to be understood, returning for one late monologue about a bear attack that just halts any trajectory the play had going for it. This scene in particular is frustratingly unnecessary, ill-advised, and poorly written, that any hope of coherence is blown away completely.

All that said, commendable moments shined through. Malcolm Ebose, playing Leon, is a highlight; he manages to portray his inner anguish with a striking tone of beauty. Whenever he does, however, A Sudden Burst of Blinding Light shows its hand by quickly cutting back to crass, cold, cheap laughs that end up turning the tasteless nightmare on the paying audience more than anyone. Whatever director Carine Valarché had in mind, this reviewer cannot recommend it. Game over.

Star (blue)Star (blue)

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Reviewer:  Nathaniel Brimmer-Beller

THIS REVIEW HAS NOT BEEN SUBEDITED

Auditions (Sweet Grassmarket: 3-13 Aug: 3.30: 65 mins)

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

“Fun and upbeat”

Editorial Rating: 3 Stars

An interesting concept for a musical, Auditions presents a series of vignettes from those who have been doing the rounds for a long time, sharing their highs, lows and learnings after years in “the business”. While many musicals seem to feature – and be aimed at – younger and lither casts, it’s nice to hear the voice of experience or a change, especially when there’s something there we can all learn.

The content covers everything you would expect of such a show, with a range of stories from type-casting, competition, nervousness, over-confidence, and sexually predatory producers, and each one, while brief, is a pleasant insight to the side of being a performer that’s not often put on stage.

My main problem with this show though is how bland it is, which perhaps suitably fits the theme: being about the almosts, maybes, and not-quite-good-enoughs. The songs are nice, with a consistent pop/musical theatre feel and tried-and tested structure and chord progressions, though there’s nothing musically or lyrically to make them stand out: I felt like I had heard each one a hundred times before. There’s a very touching moment late on covering a sensitive subject which brings some much-needed variation to the overall mood, but it’s almost too little too late to save the show from mediocrity.

The same can be said of the cast. Each of the four members have good voices – they capably hold their own – but don’t expect to be blown away by any powerhouse vocals. Perhaps the lack of radio mics means they are forced to keep something back to protect themselves, but for seasoned pros I was still expecting a bit more wow-factor.

While there is generally a good mix of songs in terms of subject matter, they are full of lyrical clichés and heard-it-all-before melodies. I lost track of how many references there were to skies of blue or the importance of staying true to oneself. Indeed, much of the staging and choreography is also very dated, with raised hands and dropped heads being very common features. Again, perhaps a hark back to yesteryear for how things used to be, but more originality and creativity would help make this show feel like something special.

However, what this show lacks in originality it makes up for in positivity: the numbers on the whole are fun and upbeat, with plenty of toe-tapping to be done. It’s a harmless hour of fun, which could make a very pleasant retreat from some of the more challenging work out there this August.

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

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Reviewer: Steve Griffin (Seen 9 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

Gossip (Zoo Southside: 4-15 Aug: 20.30: 75 mins)

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

“A chocolate box of visual delights”

Editorial Rating: 4 Stars: Outstanding

Gossip is a subject we can all relate too, and in a world of hearsay and “fake news”, the theme of Lenka Vagnerova & Company’s latest production is achingly relevant. Yet for a topic so closely associated with words, how does a dance piece explore its intricacies? On the whole, with zeal.

The action begins at a party, as guests arrive and go through the rigmarole of introductions and drinking. The movement is jarring and robotic – a cutting reflection of the forced politeness many of us display in social circumstances – and the skill and dexterity of each dancer’s exaggerated stilted reactions is really wonderful to watch. Tensions soon arise as gossip spreads, and then the real fun begins.

The whole piece follows different characters’ reactions to being gossiped about, joked with (or worse), with creative interpretations of what that experience feels like. From dancers being puppets on an evening out and inadvertently ending up in bed together, to another being physically swamped in a cape made up of all the things she doesn’t say about her husband, the whole performance is energetic, stylish and performed with the swagger one might expect of one of Czech Republic’s most lauded companies.

Yet while gossip is the overall theme, the undertones of the piece are much darker than you might expect – the taunts and fights are at times frightening, and the dramatic ending may be a lesson to us all in keeping our mouths shut and thinking about others before we act. It’s scintillating and dramatic, yet at times very funny, as facial expressions and stylised reactions add a slapstick feel at choice moments, giving the overall performance depth and balance.

The artistry, choreography and control are all stunning, with solos, duos, and ensemble moments, blurring the lines between dance and theatre. Daring lifts, throws and balancing acts will keep you on the edge of your seat and the clever use of changes in dynamic and music keep the performance moving and engaging throughout. This is a company that feels very natural on-stage, with all the creative elements and personalities working together to present of chocolate-box of visual delights.

For me the only disappointing aspect is the lack of clarity of through-line (dare I use the word “narrative”?) throughout the piece. At times it feels like a stream of ideas and explorations following no particular order or structure, and while some loose ends are tied up at the climax where the opening party scene is revisited, I would have liked for the piece to feel like it had more cohesion and completeness.

Overall, Gossip is a very high-quality performance with something for everyone. It certainly deserves to be talked about.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 5 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

Shows to watch at the Edinburgh Fringe Festival 2017

Posted in EdFestivals, EdFestivals 2017, Previews by

With less than two weeks to go until the Edinburgh Festival Fringe officially kicks off, we at Edinburgh49 have put our heads together to present our pick of shows we think are well worth a watch this year, including a few that may not have been picked up by the mainstream media – yet! Our list features lots of new work, returning work, personal favourites and ones to watch out for in the future. Enjoy!

Bright Young Things

Over the years we’ve seen some wonderful performances from young companies and performers, and it’s great to see them continuing to develop and produce work. I can’t start this section without first mentioning Stiff and Kitsch’s By All Accounts Two Normal Girls, so named after a comment I made about them in my 4* review of their debut show last year. I really enjoyed that production and have an inkling their second outing will be even better. Similarly, 201 Dance company, who we championed after seeing their blistering 5* Smother two years ago, are back with new work Skin, which looks set to be another powerful piece charting one boy’s journey through gender transition.

My joint-favourite show of the Fringe in 2015 was Luke Wright’s debut verse play What I Learned From Johnny Bevan (which went on to win A LOT of awards), and this very talented young man is bringing both that and his second, Frankie Vah, to this year’s Fringe. We expect these to be very hot tickets so grab them while you can!

Back, for good!

My other joint-favourite show of 2015 was Doris, Dolly, and the Dressing Room Divas, which is also making a very welcome return to the Fringe this year after its previous sell-out success. Another 5* favourite of ours from 2015 was The BookBinder by New Zealand company Trick of the Light and it’s great to see them back again this year with their enchanting family piece The Road That Wasn’t There.

My personal favourite show from 2014 is also returning: Thrill Me is a gripping musical based on the true story of the infamous Leopold and Loeb, and has a fresh new cast for 2017’s Edinburgh run. Its previous stars have since become leading west end names, so this could be a very good chance to have a “we saw them before they were famous” moment.

Local talent

As an Edinburgh-based publication, we know the local arts scene very well, and we’re looking forward to some great home-grown work. We’ve never seen a bad show by Edinburgh University Savoy Opera Group (their 5* production of Spring Awakening in 2016 was really special), and they’re back again this year with the Sondheim classic Company. Disclosure Group, headed up by Robert Lucas, have been bubbling away for a wee while and are finally about to unleash not one but three world premiere musicals this Fringe. Expect catchy tunes and challenging points of view in Porn, Suicide and X.

A special mention also to Edinburgh People’s Theatre, who are celebrating their 60th consecutive Fringe with comedy Wedding Fever, which if their recent production of The Diary of Anne Frank is anything to go by, will be produced to a very high quality.

Just good theatre

Eleanor’s Story is a fascinating staged memoir about an American girl in Hitler’s Germany, and, sticking to the WW2 theme, Chamberlain: Peace in Our Time is an exploration of the man who led us into it. The artists amongst you will no doubt appreciate The Flying Lovers of Vitebsk (directed by Emma Rice), while fans of Ol’ Blue Eyes will be sure to enjoy Sinatra and Me – Again!, featuring the award-winning Richard Shelton.

There’s plenty of Shakespeare on offer (as always) though we think the highlight of these is the glorious return of the award-winning Richard III (A One-Woman Show) from the all-female pairing of director Kolbrún Björt Sigfúsdóttir and actor Emily Carding. Another all-female success story returning to the Fringe this year is Lucy Porter’s The Fair Intellectual Club, which I very much enjoyed in 2012; while Eleanor Bishop and Karin McCracken’s debut verbatim piece, Jane Doe, covering the subject of rape on US college campuses is also one to look out for.

For the little ones

There’s been something of an explosion in popularity in recent years of shows for families, some of which we’ve covered already. However for younger children, we think the best of the bunch include: perennial Fringe favourite The Amazing Bubble Man; a charming interpretation of David Walliams’ The First Hippo on the Moon; a magical, musical adaptation of the classic picture book The Gruffalo’s Child, and the imitable Hairy Maclary.

An international flavour

The Fringe is renowned for bringing artists from around the world to share their work here, and we’re always excited to be entertained and educated by those from far-flung places. Chill Habibi is a laid-back cabaret combining Middle Eastern and Scottish Voices, China Goes Pop! is set to be a visual feast of circus and physical theatre from (you guessed it) China, while Un Pojo Royo looks set to be a dazzling showcase of Argentinian contemporary dance. Oleg Denisov will be providing some alternative Russian comedy with a unique take on Putin’s leadership, while Otto and Astrid’s Eurosmash! looks set to encompass all our favourite things about Berlin in a rather mad hour of pop tunes.

And for something a little bit different…

We love the Fringe as there’s always something mad just around the corner, or voices you can hear that you wouldn’t normally come across. Our selection for those looking for something a little bit different this year includes: Breaking Black by Njambi McGrath, which explores mixed-race identity in post-Brexit Britain; The OS Map Fan Club (what’s not to love about a play about maps?); Guardians of Imperfection, which sees two disabled Dutch comedians discuss the need to be “perfect”; and The Gardener, which explores partner loss combined with the joys of gardening. Alternatively, how about an insight into an Absurdist Belgian Fleamarket or taking part in a 250-hour tabletop role-playing game?

There’s so much to experience at the Fringe, we hope you get to enjoy as much of it as we do!

+3 Review: Criminology 303 (Venue 13: 6-27 August: 21.30: 35 mins)

Posted in 2*, EdFestivals 2016, Theatre by

“An intriguing drama”

Editorial Rating: 2 Stars

Criminology 303 is an interesting concept – flipping between alternate scenes 40 years apart. Initially we meet retired detective Norma Bates (Jilly Bond) in 2016 reflecting on an unsuccessful investigation from her past, before the action reverts to 1976 where she is in the thick of it. We learn early on how this (the only unsolved case of her career) clearly still haunts her, so an intriguing drama is set up as to whether she might finally solve it on our presence.

Bond does a great job in switching between the two ages of her character – the crabby older version is a distinct progression from her greener and more confident younger self. And although prone to some overacting (I think her initial terror at the power point presentation misbehaving is a bit extreme), she shows great skill and stamina to drive the action in both scenarios.

This production’s main downfall, however, is its length. At barely half an hour, it feels like it only just gets going before very abruptly ending. There is no satisfactory resolution, no real sense of progression in either story beyond some scene-setting, and consequently the whole thing feels a bit pointless.

I would have liked to see the 2016 scenario develop into a discursive and positive look back at the case with a view to at long last solving it, rather than being a very rushed ghost story that scares Bates away from her own lecture. The pace of Bates’ descent into terror in this part feels very disingenuous, subverting the strength her character should have had (after 40 years in the force), so to me a more subtle and drawn-out approach here would have been more powerful.

In the flashback scenes Julian Gartside is commandingly creepy as Mr McLeod, yet Tommo Fowler’s direction has him physically touch and overpower Bates as detective on more than one occasion, which again feels forced and comes across as a cheap way to demonstrate status quickly, when other techniques would have had greater impact. The scene-setting and background to the background of the case in this scene is very well developed and delivered by Gartside, if seemingly a little irrelevant from the main story, but again I can’t help but feel this all would have been so much more effective if we got to see more about how the action panned out in the end – it is a frustrating beginning to a chapter that ends mid-sentence.

Star (blue)Star (blue)

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Reviewer: Steve Griffin (Seen 24 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Penetrating Europe, or Migrants Have Talent (Paradise in Augustines: until 28th Aug: 21:35: 1hr)

Posted in 3*, Comedy, Musical Theatre, Other, Rated: Nae Bad, Theatre by

“Sandalovych doesn’t simply engage the audience, she immerses us in the tumultuous narrative.”

Editorial Rating: 3 Stars:  Nae Bad 

Our host (Dave Strudelbar) for this evening’s episode of Migrants Have Talent bounds down the stairs before introducing the evening’s two judges: immigration officer, Nigel Nobson (Uilleam Blacker) as well as glamorous former illegal immigrant, Nigella Smith (Lesya Liskevych).  Nigella explains that she was talent-spotted after five years of cleaning the toilets at Television Centre. She cleaned toilets under her original name, she minor celebs with a new one, changed by deed poll. Together Nigel and Nigella decide who stays and who is deported, with the audience voting in the event of a tie.

There are five contestants. Actor Iaroslav Tsigan’s character is from Ukraine. He traveled to Britain on false Polish papers. A likeable character, his honesty fails to impress the stern judges. Interwoven with the talent show format are the stories of two young people, who relate how it is to travel and cross borders. One is going east to Ukraine for an adventure; the other west, by land and sea, to join family already in Britain.

These paired stories, delivered solo with other cast members playing the role of various officials, are the most effective part of the production.  The contrasting experiences and expectations of the two young people are increasingly moving. Actor Ira Sandalovych compellingly portrays a descent into fear. Sandalovych doesn’t simply engage the audience, she immerses us in the tumultuous narrative.

Most of the large cast are employed in the Migrants Have Talent sections.  Writers Blacker and Olesha Khromeychuk deploy a tongue in cheek style of satire that seeks to lighten what are, in reality, stories of genuine human suffering. At no point are we allowed to forget that not a million miles away from the Fringe, real people are really living through such uncomic tragedies. Still, this is above all a theatre piece. How effective (as opposed to affecting) is it?

The message is crystal clear. Humanity is common: borders and suffering man made.

If there is a problem it’s is one of counterpoint. Does the satire sparkle bright enough against the darkness of the immigrants’ tales? The lighting is handed well and sound, with the ensemble song describing cranes flying away to die in foreign lands (a poem from 19th century Ukraine) is truly beautiful in such a small venue.  However, with such a large cast, the staging does slip into awkward moment but, overall, this is a more than likeable production whose heart is definitely in the right place.
nae bad_blue

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

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Reviewer: Martin Veart   (Seen 23 August)

Visit the Assembly Roxy Bedlam Church Hill Theatre Festival Theatre King’s Theatre Other Pleasance, Potterrow & Teviot Summerhall The Lyceum The Stand Traverse 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.

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Reviewer: Steve Griffin (Seen 17 August)

THIS REVIEW HAS NOT BEEN SUBEDITED