Tag Archives: Edinburgh Fringe

+3 Review: [title of show] (C Cubed: 4-29 Aug: 21.20: 1hr 30mins)

Posted in 3*, C Venues, EdFestivals 2016, Musical Theatre by

“The company’s voices blend beautifully to create some lovely moments”

Editorial Rating: 3 Stars

I always get excited when a new and ambitious theatre company decides to put its own spin on a show that only received limited success its first time around, in order to try and find that winning formula. In this case, Cobbles and Rhyme attempt to give a very minimalist makeover to [title of show], which, though enjoyable, unfortunately ends up languishing in musical theatre mediocrity.

[title of show] is by nature the anti-musical – intentionally flying in the face of the fourth wall and big production values, using just a keyboard, a bare stage, four actors and and four chairs. This makes it perfect for translating to Fringe venues, and with some clever staging Cobbles and Rhyme effectively create sympathetic intimacy and a stripped back feel that really suits the show’s themes.

However, beyond this it is a shame to see that some of the basic flaws in the musical itself were not addressed, making it at times painfully obvious exactly why the show wasn’t a huge hit on Broadway. Granted, this is probably more down to terms within the performance rights than the company’s ability, but I can only critique based on what I see.

It takes the best part of 25 minutes and six songs to get past the “Let’s write a musical/I don’t know what to write” stage, and throughout the first half of the performance I felt like I learned next to nothing about the personalities of each character. It is only towards the end in Awkward Photo Shoot when tensions start to emerge and priorities conflict that we really discover their mettle, and it’s a shame this occurs so late. This is a show that just needs to get to the meat faster and stop being quite so self-indulgent and self-important.

Musically, it’s ok – there aren’t really any standout numbers, though closing tune Nine People’s Favorite Thing is quite hummable as you exit the auditorium. Complex harmonies are well delivered throughout and the company’s voices blend beautifully to create some lovely moments. The cast certainly give it their all, even though for me it’s the supporting characters of Heidi (Heidi Parsons) and Susan (Charlie Walker) who outshine their male counterparts with stunning vocals and gripping stage presence.

Overall it’s nice, it’s funny and it’s well sung, but I think it lacks that killer punch to have a really big impact at the Fringe.

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

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Reviewer: Steve Griffin (Seen 10 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Growing Pains (Underbelly, Cowgate: 5-28 Aug: 16.30: 1hr)

Posted in 5*, EdFestivals 2016, Musical Theatre, Theatre, Underbelly by

“Oozes a quality that is rare and valuable”

Editorial Rating: 5 Stars

There’s a lovely tradition at the Fringe whereby all companies performing at a certain venue are permitted “standby” tickets to other shows at that venue: once all paying ticket holders have been admitted, any empty seats are then up for grabs – if there are any. For this performance Underbelly companies didn’t just fill the few empty seats: staff were frantically laying out two extra rows at the back to cope with a level of demand I’ve never seen before. Within about 10 seconds of the performance starting, I could understand the hype.

As is so achingly trendy at the moment, Growing Pains is written like a performance poem, with rhyme and rhythm, ridiculously clever wordplay, and a lot of witticism. It’s brutal, honest and unflinching in its portrayal of a young man growing up on an estate in Salford and wanting to make it as an actor. Energy is red raw from the get go and you can tell this is going to be an intense and emotional hour.

Central character Tom introduces his friends, portraying each with clear physicality and accent, and we get to laugh at their banter and endeavours to get served at the local pub while underage. Later on we see those same friends grown-up, stuck in a rut and stifled in small-town mentality that Tom so desperately longs to break away from.

Tom Gill gives absolutely everything in this production – from emotive, heart-wrenching pleas to his dad, amusing turns as his Caribbean neighbour and a posture-perfect well-heeled yuppie, to more puns on London tube stations than you can count and a stripped back and haunting break-up scene with an ex-girlfriend: it really is a one man tour-de-force. For me, it’s 2016’s Johnny Bevan.

Oh, and it’s also a musical. With poetic lyricism that effortlessly floats in and out of song it only seems right to blend the two, and it just works. Not in a corny, musical theatre I’m-just-going-to-burst-into-song kind of way, but in a genuine expression of music being the only way for Tom to be able to communicate what’s going on in his head. It’s funny. moving, and incredibly well performed.

However, it’s not perfect – there are several odd little skips, jumps and glossings over within the narrative that could be made clearer or more cleverly interwoven without the need to go to a blackout – but everything about it oozes a quality that is rare and valuable and definitely worth buying a ticket to. Just ask anyone else doing a show at Underbelly.

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

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Reviewer: Steve Griffin (Seen 8 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Hot Brown Honey (Assembly Roxy, 5 Aug – 28 Aug : 20:20 : 1hr)

Posted in 5*, Assembly Roxy, Cabaret, EdFestivals 2016, Rated: Outstanding, Theatre by

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“Gleefully challenges stereotypes of sex and race with a full grin, bared chest and raised middle finger.”

Editorial Rating: 5 Stars Outstanding

I sat for some time before writing this review trying to think of an introduction which best captured what I thought of Hot Brown Honey. But the truth is, there’s not much else which can compare to the bombastic gut punch of a burlesque show Assembly Roxy has somehow managed to contain inside their theatre. From the second that the glass-panelled hive lights roar to life, this show is a nonstop ride that has the audience welded to their seats.

Hosted by unapologetically badass MC Kim “Busty Beatz” Bowers, Hot Brown Honey is a raucously funny and entertaining trip through acrobatics, beatboxing, song, dance and everything in between. But don’t be fooled – despite considerable comedy thrills, it never strays from what makes it so compelling: a show which not only celebrates the power and complex femininity of women of colour, but gleefully challenges stereotypes of sex and race with a full grin, bared chest and raised middle finger.

To talk too much about the acts would lessen their impact, but it cannot be said enough that each segment of performance was distinct, feverishly well executed and consistently jaw dropping. Every single honey from this hive is impressive enough to warrant their own review, let alone packing every single one into a single critique. Of course, for those who aren’t fans of audience participation, proceed with tentative caution: a show like this one demands to spill out into the aisles, to surprising and hilarious results.

The honeycomb that links up this show, however, is both more subtle and infinitely more loud than the performers themselves. There are West End shows that could learn things from the tech team behind the burlesque extravaganza. The sync between every technical element and the behaviour of the set is nothing short of breathtaking, for those who can bear to concentrate on anything but the inspired spectacle going on centre stage.

But what makes Hot Brown Honey such an outstanding show goes beyond its strength in immediacy. When the applause stops and the doors are open, that doesn’t mean the show is over: the messages, ethos and enthusiasm for equality, sexuality and sensuality stick around far after the day is done. As a piece of burlesque, Hot Brown Honey is outstanding simply by merit of its performance. But as a complete show, its greatest triumph is that it fully achieves the vision set out by creators Bowers, Lisa Fa’alafi and Candy B: not simply social activism masquerading as entertainment, but a genuinely thought provoking thrill which, at least personally, will open the eyes of many to any issue they never even know existed.

If you like your shows sexy, superbly skillful and socially conscious, you cannot miss Hot Brown Honey this Fringe. It’s a rare show indeed.

 

outstanding

StarStarStarStarStar

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Reviewer: Jacob Close (Seen 6 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Tiff Stevenson: Seven (Assembly Roxy, Aug 8-14, 16-28 : 19.10: 1hr)

Posted in 4*, Assembly Roxy, Comedy, EdFestivals, EdFestivals 2016, Rated: Nae Bad, Theatre by

https://www.cityvarieties.co.uk/ArticleMedia/Images/CVTiffStevensonbig.jpg

“Stevenson has a presence you could smash a wine bottle on”

Editorial Rating:  4 Stars Nae Bad

When you see a comedian on TV, it’s almost a coin flip as to whether they’ll stand up to their digital performance when you’re maybe ten feet away. For some, it’s clear that they’re funnier as a bundle of pixels – but, as in the case of Tiff Stevenson, proximity makes joke grow funnier.

Even when loping around the stage, Stevenson has a presence you could smash a wine bottle on. Despite being wrapped up in a thick web of humour, it’s clear from the outset that there’s an iron core to every joke: it’s as if scientists managed to fuse Belva Lockwood and someone’s drunk aunt. Pushing their own distinct beliefs is something, consciously or otherwise, all comics do; and Stevenson is a masterclass in delivering it without sounding evangelical. Even if you don’t agree with what she’s saying (however you’ve managed to come to that outcome), you’ll be hard pressed not to laugh along with her.

From the get-go, it’s an unmistakably zeitgeist-y set. In a surprisingly speedy hour, Stevenson runs the full gamut from bus bombings to baby showers, joyously flicking up v’s behind her as she runs from topic to topic. We might be awash in a sea of Macintyres, but Stevenson is one of many happy islands where comedy’s rebellious, fringe roots are still dug deep. No subject is too taboo, as she very happily reminds the audience throughout – however, often the transitional link between these subjects can wave from tenuous to unneeded, but as it takes up perhaps a minute of time in total, it hardly spoils the bunch.

If there ever was a complaint, it was that sometimes Stevenson doesn’t seem to trust her own considerable wit enough. Several times throughout the show, a fantastic joke was extended far beyond its peak, simply for the sake of explaining it. Whilst none of these jokes fell into “unfunny”, it certainly blunted the otherwise fantastically sharp tongue which dominate the rest of the show.

To talk too much about Tiff Stevenson’s set at the Roxy is to do her a disservice: half of the enjoyment comes from the unexpected directions she swerves with every punchline. But if you’re looking to start your evening on a high note, you’ll have no tiff with her.

 

nae bad_blue

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

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Reviewer: Jacob Close (Seen 6 August)

Visit the Assembly Roxy  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Life According to Saki (C: 3-29 Aug: 14.15: 1hr 10mins)

Posted in 5*, C Venues, EdFestivals 2016, Theatre by

“As good as Fringe theatre gets… a triumph”

Editorial Rating: 5 Stars

It’s always telling when I leave a performance I’ve been reviewing with an almost empty page of notes. It doesn’t happen often, but in this case I was so engrossed that I simply forgot to write much down.

Set in the trenches in WW1, Saki writes to his dear Ethel at home, recounting stories to kill time. His fellow soldiers become the characters in each story and the piece flows seamlessly from one to the next like waves crashing against the shore.

Written by children’s author Katherine Rundell, the script maintains a playful and slightly mischievous feel throughout, expertly capturing the style and tone that Saki’s short stories are known and loved for. For those unfamiliar with his work, think Roald Dahl, but a bit more grown up. Among others there are tales of a man who becomes a living work of art, a couple who can’t get married due to already having 13 children between them, a politician forced to share a room with a pig and a chicken, and a small boy who believes his ferret has god-like qualities. It’s all good clean fun, but with a moral lesson behind each one. Oh and they are funny. Very funny.

The cast keep the piece moving at a fair pace, whipping out props and costumes seemingly from nowhere ready to set the scene the moment it is introduced. Their dexterity is something to be marvelled at, and Jessica Lazar’s direction makes the most of every look, tableau and minor character for maximum impact. It’s a show that pays great attention to detail, which I very much admire.

While the ensemble cast is fantastic, playing a multitude of characters of differing genders, ages and nationalities to comic perfection, it’s David Paisley (playing Saki himself) who stands out at as the star performer. Gentle, engaging and with great emotional sensitivity it’s almost impossible not to fall in love with him.

Yes, the props and set are quite basic and the narrative is little more than Saki recounting stories while killing time in the trenches, but the soul and spirit of this piece are really what makes it. And when I really think about it (which in this case I did, long and hard), in my humble opinion this is about as good as Fringe theatre gets. Simply, a triumph.

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

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Reviewer: Steve Griffin (Seen 7 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: The Rooster and Partial Memory (Dance Base: 5-14 Aug: 14.30: 45 mins)

Posted in 4*, Dance, EdFestivals 2016 by

“Stark and powerful”

Editorial Rating: 4 Stars

Knowing very little about Middle Eastern dance, I was delighted to get the chance to experience it for the first time. The Rooster and Partial Memory, brought to us by El-Funoun Dance Troupe from Palestine and SHAMS/Marhabtain from Lebanon is a real eye-opener culturally, and it’s wonderful to have them here on a global stage.

The Rooster interprets the idea of the male bird as many different things – not just ruler of the “roost” but disruptor of the peace, chauvinist, dictator, celebrity and general troublemaker. It fuses together Lebanese “dabke” folk dancing with contemporary styles to create a work that celebrates and shares traditional culture but which is also accessible to other audiences.

Much like a rooster first thing in the morning, it starts very slowly and calmly before waking up into an explosion of noise and energy. The role of “the rooster” switches between the dancers throughout the piece, allowing them to add their interpretation of what it means to them, while showing how any man become a rooster at any time.

Thematically, the rooster character generally remains physically separated from the rest of the pack to show their power and prowess over their fellow men, though there are interesting moments of unison depicting how, despite everything, equality sometimes wins through.

The piece creates many different moods and scenarios to demonstrate the different sides and interpretations of the rooster. At times it feels like an intimate solo contemporary piece with a chorus of four cowering behind the leading man, while at other times there’s a party atmosphere full of rhythm and energy.

With so many different interpretations, meanings and moods throughout, it can be a little tricky to follow what’s going on in this piece, especially for those unused to watching contemporary dance, so try not to read too much into it and enjoy it for what it is.

Partial Memory is much simpler to grasp, and also more emotive. It follows one man’s attempt to reconnect with his childhood through a series of projected photographs. With some spoken narrative to aid comprehension, we see him desperately struggle to understand his father’s absence with confused, incomplete sequences, followed be ferocious energy as he interprets his father’s desire to become a fighter.

As the projections speed up and he loses control, we seem him frantic and desperately trying to grasp the images – a feeling we’re all familiar with as something we try to recapture slips away. As the projections start to move around we really do feel his pain as he chases them and it’s a very stark and powerful end to the performance. It would be great to see this developed further.

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

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Reviewer: Steve Griffin (Seen 6 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Early Doors (Pleasance pop-up @ The Jinglin’ Geordie: 5-29 Aug: 12.00: 1hr)

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

“A stunning piece of site-specific theatre”

Editorial Rating: 4 Stars: Outstanding

After the general bustle of buying drinks, finding seats and, of course, choosing your pub quiz team name, Early Doors opens with an introduction to each character, performed almost like an African tribal chant, which makes it feel like we (the bijou, but sell-out crowd) are being truly welcomed into their community. It’s rhythmic and theatrical but never over the top, and sets the tone for the lyrical, poetic styling of the piece as one long fable.

Our landlord and landlady are a young brother and sister who inherited the place when their mum died. They start by sharing memories of her, and set the scene for a potentially fractious relationship between them. We also meet various other characters in the community: the pub quiz master, who can’t help but share some details of his ongoing custody battle with his ex-wife; the bouncer, who recalls the end of his relationship with one of the local punters; and the “village idiot” who brings the comedy to proceedings. The characters are flawed but lovable, and the ensemble cast do a great job of sharing their world with us.

As the show progresses we get hints of the tensions and relationships between different characters, which help bring interest and drive the story. I did feel slightly robbed in some characters having comparatively little action, while others seemed quite unconnected to the main narrative, so for me, a little further development to see clearer links between each would really make this show spectacular – but this is only a small niggle considering the quality of action and overall performance value.

The piece is performed with wonderful energy, and the writing – in particular the language – of every aspect is exquisite, giving just enough detail to hook the audience without verging on rambling. Yet while some of the transitions between each section are smooth and logical, it is a shame that in other instances the show progresses by simply having one character leave and another mysteriously appear for no apparent reason.

There are so many wonderful aspects to this performance – the characterisation, storytelling, and sense of really being “in it” really are top notch and encapsulate everything I love about the Fringe. I would have just preferred some clearer links between sections and less disjointedness between some of the characters to give the piece a bit more cohesion.

Overall, I raise a glass to Not Too Tame and this stunning piece of site-specific theatre and urge you to go and join them at the Jinglin’ Geordie for a pint, a pub quiz and an engrossing performance.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 6 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Lords of Strut: Late Night TV Talk Show (Assembly Roxy: 5-28 Aug: 19.00: 1hr)

Posted in 4*, Assembly Roxy, Comedy, EdFestivals 2016 by

“Crams so much ridiculousness into an hour that you can’t help but laugh at something”

Editorial Rating: 4 Stars

Sometimes you have to see a DJ dressed as a bunny, a man pretending to be a rock and a Michael Flatley tribute to really feel like you’ve experienced the Fringe properly. This show crams all that and so much more ridiculousness into an hour that you can’t help but laugh at something.

It’s very full-on and upbeat, if a little chaotic, and the energy of our hosts Sean and Seamus is infectious – striking that perfect balance between confidence and self-deprecation to form an instant connection with the audience. We join them in their attempt to put on their own late-night tv talk show, and we are their live studio audience. Of course it doesn’t go at all to plan and they have to make various fudges to keep things running – and that’s when the hilarity ensues.

As with any chat show the format is a serious of skits and characters making guest appearances, the funniest of these being the appearance of the hosts’ mother as a last-minute stand-in – a plus-sized, randy cougar who of course makes her rounds in the audience to find a man. I won’t spoil the surprise, but let’s just say I (along with various other male members of the audience) was invited to do something I have categorically NEVER done before, and something which caused much hilarity (and a little disbelief) among the crowd. To those with a delicate disposition, look the other way and run, fast!

In saying that, what is pleasantly surprising about this show is how talented the Lords are: early on we are treated to a no-holds barred dance routine to one of Queen’s greatest hits, with various acrobatic tricks thrown in for good measure, and both gentleman are genuinely funny and creative in their costume designs and skit ideas. The “rough around the edges” and slightly improvised feel adds to its charm, if not to my personal taste.

With stand-up, storytelling, dance breaks, weird and wonderful characters, fight sequences, and of course, a healthy dab of audience interaction this show does have something for everyone, but having a drink or two before going to see it might be advisable…

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

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Reviewer: Steve Griffin (Seen 5 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Countermeasure: 14 Characters (theSpace @ Surgeons Hall: 5-13 Aug: 17.30: 55mins)

Posted in 4*, EdFestivals 2016, Music by

“Beautifully layered harmonies”

Editorial Rating: 4 Stars

The Fringe always seems to be a breeding ground for a capella groups: so many of them pop up from all over the place, and this year is no exception. My first (of I’m sure, many) this year is Countermeasure all the way from Canada. Dressed smartly in coordinating outfits and taking the stage like they mean business, they certainly look the professional outfit.

Overall their style is very modern, and, dare I say it, trendy, with lots of complex layering, mixing, and blending of tones. I was a little disappointed in the use of vocal looping for a couple of the songs – despite being recorded live, it slightly detracted from the power of pure unadulterated a capella of the rest of the show.

Most of the repertoire performed in 14 Characters I was unfamiliar with, which in some ways was nice as I got hear completely new songs, while I would have liked a couple more songs that I knew to really appreciate the group’s originality and quality of arrangement to suit their style. Under My Skin was given a very fresh and electro swing vibe, and All Aboard the A Train underwent a thoroughly modern makeover to accompany an original animation (shown on screen during the song).

In general, the group’s arrangements are quite electro and upbeat, and while this worked for many of their songs, I would have perhaps preferred a bit more variety to show the group’s depth. Midway through the set the male members of the choir were left alone on stage to sing Fox in the Field – a beautifully stripped back song with simple harmony and a real focus on the lyrics, and for me, this was the real highlight of the show. Later on, a slightly more traditional rendition of The Proclaimers’ 500 Miles gave a glimpse of different styles the group can turn their voices to, and this was a very enjoyable and intelligent song choice for their run in Edinburgh.

It’s not just the prepared and rehearsed numbers that Countermeasure excel at. Partway through the show they venture into the audience to find out more about who’s at their show, before constructing songs on the spot about what they’ve learned – impressive stuff. Add that to the substantial choreography the group deliver and this really is a show with everything.

Countermeasure are a very likeable group with great personality and beautifully layered harmonies, they deserve to do well in Edinburgh.

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

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Reviewer: Steve Griffin (Seen 5 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Teatro Delusio (Pleasance Courtyard: 5-29 Aug: 13.45: 1hr 15mins)

Posted in 4*, EdFestivals 2016, Pleasance, Potterrow & Teviot, Rated: Outstanding, Theatre by

“Physical mask theatre at its finest”

Editorial Rating: 4 Stars: Outstanding

After last year’s sell-out smash Hotel Paradiso, I was excited to see what Familie Floz would come back with in 2016, and for the first 50 minutes at least, Teatro Delusio more than meets expectations. It’s physical mask theatre at its finest, with three actors playing well over 20 individual characters between them, each of whom are clearly defined, consistent and a joy to watch.

The setting is backstage at a theatre, where we see the stage crew attempt to set everything up (without killing themselves or each other in the process), and then assist various members of the orchestra, singers and ballet dancers onto stage, even though they may hate, love or just be plain bored with them.

There are tricks and treats aplenty, from simple slapstick moments of falling through ladders and playing with exploding lights, to sword fights and disappearing through trap doors. Familie Floz’s real strength, though, is their character work and dexterity of changes, from a grumpy stage manager to a diva singer, and my absolute favourite: a blind and deaf violinist who has no clue where he is. The changes are so slick you’d assume there were at least six performers constantly running around, while the physicality required to define each character was so perfect that simple gestures often had the audience howling with laughter.

Yet for all their great character work and ability to build a believable world on stage, I feel that Familie Floz perhaps tried to reach too far with this production, by introducing a few too many characters, and deliver a story that could easily have been at least 10 minutes shorter and not lost any of its power. About three quarters of the way through the performance, when ends could have been tied up and rounded off, still more new things happened, and the performance hit a new level of ridiculousness that I think lost me, and many of my fellow audience members. What began as a perfectly plausible, if a little stylised, day or two in the life of a Stage Manager seemed to turn into a dream sequence with stabbings, stage crew achieving their lifelong dream of filling in for wounded ballet dancers at the last minute and unexplained resurrections that pushed the suspension of disbelief a little too far.

A beautiful piece, but be prepared to get uncomfortable: those seats in the Pleasance Grand don’t give much wiggle room and by the end of this performance you’ll need it.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 5 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED