Tag Archives: Edinburgh Fringe

+3 Review: Mixed Doubles: Fundraiser (Just the Tonic @ The Caves: until 28th Aug: 17.25: 1hr)

Posted in 4*, Comedy, EdFestivals 2016 by

“A really enjoyable show, I’d thoroughly recommend it”

Editorial Rating: 4 Stars

Having seen Mixed Doubles trying out new material in London a couple of years ago, it’s pleasing to see them back in Edinburgh after a year off to present a new full length show. Fundraiser is set up as a village fete where four assorted characters from the village are trying to raise funds to replace the old pavilion, and this is their show. Yet while the framing of this piece is charming and shows intelligence and professionalism beyond a let’s-just-perform-some-sketches approach, at times it also works against them a little, as the changing in and out of these characters between different sketches does get a little confusing.

For me, Mixed Doubles’ trademark is all about the delivery. Timing is everything (they know how to work and audience and let a joke settle before moving on), while facial expressions from all four performers throughout are priceless. In this performance there were a couple of times when jokes fell a little flat, or weren’t quite delivered with the knock-out punch of confidence that they really needed, but given then fast pace and slickness of the show these are quickly forgotten, and the overarching impression is one of playfulness and enjoyment.

My favourite sketches include a parent who takes their child to see a doctor as they suffer from “the g-word” which has a hilarious twist, while the one where a young man introduces his friends to his bizarre flatmate is absurdly funny. Overall there’s a great blend of topical humour, creativeness and recurring characters to make it a really well thought-out and balanced show.

As well as being a traditional sketch show though, fundraiser incorporates a couple of improvised or more random elements. In one sketch two of the performers are challenged to instantly embody objects one might discover when showing someone around a house, and one audience member is pulled on stage to join a stag party… These touches add a nice variety to the piece and show that the group have more depth than simply being able to spout pre-learned lines.

On entering the venue, we’re also asked to come up with a new name for the village bowls club, writing suggestions on slips of paper which get added to the “hat”. While at least one of these is picked to be read aloud, it’s a shame more isn’t done with this device – perhaps a live debate between two or more of the suggestions that the characters debate on the spot would have really tested the group’s mettle.

Overall though, a really enjoyable show and I’d thoroughly recommend it.

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Reviewer: Steve Griffin (Seen 17 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

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

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

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

Editorial Rating: 4 Stars

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

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

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

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

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

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Reviewer: Steve Griffin (Seen 15 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Clare Plested – Flock Up (Ciao Roma: 6-27 Aug: 17.50: 1hr)

Posted in 4*, Comedy, EdFestivals 2016, Other by

“Squeezes the last dregs of pulpy laughter “

Editorial Rating: 4 Stars

As folk descend into the basement of the Ciao Roma Restaurant, Clare Plested wastes no time in working the audience, asking if they are up for being selected and happy with participation. Plested is an excellent warm-up and soon the entire audience are settled in with the expectation of a good show.

Plested does not disappoint: soon the first character of her creation is ripping into the audience like a barracuda through a shoal of baitfish. No one is safe: even after coming out of character she utters “Christ! I’ve just picked on the reviewer.” I was eviscerated with the rest but everybody, including me, was left laughing instead of floating belly-up.

The laughter is leavened with some pathos for the next persona: Kala Kale. It is clear that Plested is a fan of old television because there is little doubt that, physically at least, her model is Diana Moran, a.k.a The Green Goddess from breakfast TV of the 1980s. Character development for Kala is done perfectly and she culminates in a real belter of a gag. Less successful to my mind is Missy Marple. Perhaps her motivational drive is revealed a bit too soon, leaving the performance with less options. What openings there are left though, Plested really goes for them with good results.

Gaps between costume changes are filled in by videos of another of Plested creations: #KellyZee, the girl addicted to hashtags and stick-it notes. Some gags work, others not so much. We are going to need a bigger Twitter.

For the finale, Plested combines all the elements that go before and adds a thick layer of social satire with excellent effect. The laughter was loud and the applause, long.

Clare Plested is both funny and genuinely witty, which allows her to interact fully with audiences, whether in or out of character. She is also energetic and physically brave performer who squeezes the last dregs of pulpy laughter from people.

If you enjoy banter, interaction (or love seeing it happen to others) plus comedic character creation, invest an hour at Ciao Roma. Please feed the artists on the way out. Oh, and Clare: hope the rash clears up soon.

If you want to know what that means, see the show.

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

Reviewer:  Martin Veart (Seen 16 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

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

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

“Masterfully performed with moments of brilliance”

Editorial Rating: 4 Stars

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

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

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

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

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

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

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

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Reviewer: Steve Griffin (Seen 14 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Paper Hearts the Musical (Underbelly Med Quad: 5-29 Aug: 18.40: 1hr 15mins)

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

“Potential to be a real best-seller”

Editorial Rating: 3 Stars: Nae Bad

A musical about finding love in a bookshop sounds like pretty much all of my favourite things in one. And just like everyone’s favourite independent bookshop, the first thing that strikes me about Paper Hearts is how little space there is to move around in on stage.  Unfortunately in this case it doesn’t work in the group’s favour, and if they had been used to rehearsing in a larger space, the translation to this venue isn’t effective enough to overcome many of the obstacles faced by that challenge: the choreography looks clumsy, performers squeeze past each other when moving about and the musicians are a bit too dominant visually – it’s a shame that this is the lasting impression I have of this show rather than the artistic merits, of which there are many.

The story follows Atticus Smith (Adam Small) – a book store manager and hapless writer – who is determined to finish his novel, even though his store is very quickly going out of business and is set to be bought by a corporate giant. But of course, there’s a convenient young writers’ competition he could enter and win to save the day. So far, so so. Throw into the mix a difficult relationship with his father and a chance meeting with the consultant set to take over the bookshop and an intriguing plot unfurls.

What I particularly enjoyed about this show in terms of narrative are the clever parallels between Atticus’s own life and the characters in his book, and the relationship he as a writer has with those characters. Even though the book is set in Russia in the 1940s, Atticus channels his situation through his leading character and inadvertently ends up resolving his own problems.

From a performance perspective, bizarrely it’s the Russian scenes that come across as the most genuine and accomplished, and these are the most enjoyable to watch. Much of the rest of the performance, however, feels very rushed. From the opening scene where characters are introduced, to Atticus’s break-up with his girlfriend, meeting someone else, having a huge argument the next day and winning a writing competition, it all seems quite superficial. There are lots of lovely ideas in there, but, much like the stage, everything is a bit too crammed in.

Liam O’Rafferty’s music and lyrics are tight, with several great original songs. Hot is a fun and sassy number with great personality, Shame is a cutting and comedic look at the flaws of the two central characters, and title song Paper Hearts has a real West End ring to it. All songs featured within the Russian scenes have great folk authenticity, so musically this show has a lot going for it.

I’d love to see Paper Hearts come back as a longer, more developed piece, and performed in a different venue that gives it room to breathe. It has the potential to be a real best-seller.

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 14 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Gobsmacked! (Underbelly George Square,

Posted in 5*, EdFestivals 2016, Music, Rated: Outstanding, Underbelly by

“These guys should be selling out arenas…the best show I’ve ever seen in Edinburgh.”

Editorial Rating: 5 Stars:  Outstanding

With their own set and taking the stage in individual black and white outfits to reflect their own personalities, Gobsmacked! look every inch the “cool” a capella group, and their opening number – an energetic rendition of Queen’s Don’t Stop Me Now – shows just how much they mean business.

The group’s arrangements – all by former Sons of Pitches star Jack Blume – are quite poppy by nature, allowing each member of the group to have their moment as lead vocalist, with plenty of supporting lines and balance, despite there being just seven members. Throughout the show there are blends and mash-ups aplenty, especially the closing medley, which somehow managed to link over 20 pop songs into one cohesive number, and every arrangement is just as rousing and unique as the last. This is a show that just has quality at every level.

Many a capella choirs these days claim to have slick choreography to accompany their singing, but few I’ve seen have come close to this group’s overall visual presentation with movement, drama and tableau so effortlessly working alongside their singing. In particular, the mash-up between Gnarls Barkley’s Crazy with Adele’s Rolling in the Deep depicts a relationship break-down, jealousy and attempts to move on in a perfect combination between flawless singing and creative staging.

It’s almost impossible for me to pick any standout moments, as the show is all so polished in wow-factor, but award-winning beatboxer Ball-Zee’s solo section midway through the performance left me genuinely gobsmacked for about ten minutes, and in a sea of up tempo numbers I can’t not mention the beautifully stripped back rendition of I Will Wait. If, midway through the show, I was worried that Gobsmacked! might be leaning a bit too much towards the pop-dance genre, this song went a long way to demonstrating the variety and depth of music that this group can more than capably deliver.

I suppose I should attempt to highlight areas of the performance that didn’t work as well, but the only very slight blemishes I noticed were that a couple of the performers seemed a little less flamboyant and stage-aware than their choir-mates (though we can’t all be divas), and it was a shame that some live vocal looping was used in a couple of the songs (though only the really keen observer would notice this). Otherwise, for me this show is as close to perfection as you can get.

After this performance Gobsmacked! are now my absolute favourite a capella group in town – these guys should be selling out arenas. I honestly think this is the best show I’ve ever seen in Edinburgh.

outstanding

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Reviewer: Steve Griffin (Seen 14 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

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

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

“A beautiful and emotional journey”

Editorial Rating: 4 Stars: Outstanding

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

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

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

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

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

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

outstanding

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Reviewer: Steve Griffin (Seen 14 August)

Visit the Summerhall  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

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

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

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

Editorial Rating: 3 Stars: Nae Bad

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

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

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

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

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

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

nae bad_blue

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Reviewer: Steve Griffin (Seen 12 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: One Day Moko (Gilded Balloon: 5-29 Aug: 15.45: 1hr)

Posted in 4*, EdFestivals 2016, Gilded Balloon, Theatre by

“A wonderful performance that really deserves to be seen.”

Editorial Rating: 4 Stars

My third review of the day, and my third on the topic of homelessness is really quite a mystery – for the first few hours afterwards I had no idea what to make of it. One Day Moko follows the life of a young homeless man through the encounters he has with others and inadvertently, or perhaps on purpose, says very little about homelessness itself.

Moko is a charming character, who, rather than asking for money, simply asks for requests of songs he can sing. Indeed, it appears this is how he survives. With the thick skin homelessness must give, he’s not afraid to ask direct questions of the audience, and those of us with that stiff British upper lip who might normally just walk past a homeless person are unable to in this experiential performance. It’s confrontational, but in a really charming way. Be prepared to chip in to help make this show come alive.

Stylistically it’s very clever – absorbing, hard-hitting, and unlike anything I’ve ever seen before. It’s a shame that narratively it seems somewhat incomplete. Moko tells various stories of people he meets or observes throughout his day, from Margaret who likes her coffee on a Saturday morning, to James who is bored of his relationship with his girlfriend but doesn’t know how to tell her, and many others. The storytelling is animated and engaging, though we only get teasing snippets – perhaps in reference to the snippets a homeless person may overhear as people walk past. Only James’ story is returned to and developed throughout the piece, and though for the audience it’s not clear why this one gets so much attention, I’ll admit the subtlety may have been lost on me.

While it’s teasing not to know more of each story Moko begins (one feels that they will tie together or thematically link in some way), there are some commonalities identified and shared by Moko, giving an intriguing outsiders’ perspective as to how the “other half” live. One of these is the importance of communication and saying what’s on your mind, perhaps a lesson Moko himself has learned, but sees the normal working person fail at so often.

At times this piece is achingly awkward, but it’s also utterly compelling. Tim Carlsen’s charisma, surprisingly impressive singing voice and physicality make Moko a really likeable and naiive character that it’s genuinely sad to say goodbye to at the end. It’s a wonderful performance that really deserves to be seen.

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Reviewer: Steve Griffin (Seen 12 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Spring Awakening (Paradise in St Augustine’s: 5-13 Aug: 21.30: 1hr 30mins)

Posted in 5*, EdFestivals 2016, Musical Theatre by

“I’d encourage anyone into musical theatre to go and see it “

Editorial Rating: 5 Stars

With the band clearly visible on an otherwise bare stage, looking cool and every inch the 00s rockers in white t-shirts, EUSOG’s interpretation of Spring Awakening feels more like a concert than a traditional musical. The full (Broadway) version runs over two acts and well over two hours, but this is a stripped back, 90 minute version, which I have to say I prefer. It centres on the songs as vehicles to express emotion, with narrative, dialogue and choreography seamlessly fitting in around them. As a performance it’s compact, it’s flowing, it gets to the point and stays there, and to me one of the real triumphs in this production is how each number and scene overlap and blend, rich with energy, tenderness and life.

While musically Spring Awakening may not be as powerful as other rock operas like RENT, this cast do a fantastic job of squeezing every drop of emotion out of each song to make each lyric really hit home, and William Briant’s band let rip with rousing and powerful accompaniment throughout. The company perform every chorus number with great vitality, from the loud The Bitch of Living, to the very delicate and uplifting The Song of Purple Summer. The harmonies are great, the blending on point, and individual solo lines delivered with aplomb.

Some of the acting was a little shaky: Wendla’s rape and Moritz’s suicide didn’t ring as emotionally true as the rest of the performance, but this is a young company dealing with very difficult material, so we must cut a little slack – sometimes the professionals slip-up too.

It’s the power and energy of the cast that make this show a real treat though, demonstrating talent and professionalism far beyond what one might expect from students. Nitai Levi has astonishing control and presence as Melchior, Greg Williamson is a wonderfully pained Moritz with a great pop-rock voice while Isabella Rogers is also beautifully understated as Ilse. Caroline Elms and James Strahan capably perform all the adult roles between them, with great changes in character and authority to make them believable. A special mention to Strahan for his quick turnaround from the emotional funeral scene to playing a completely different character literally seconds later.

It’s such a shame EUSOG’s run ends this weekend, as I’d encourage anyone into musical theatre to go and see it – it really is a masterclass in getting the basics right. If I could, I’d go again.

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

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Reviewer: Steve Griffin (Seen 10 August)

THIS REVIEW HAS NOT BEEN SUBEDITED