Tag Archives: Edinburgh University

Tom at the Farm (Bedlam: 7-10 Feb ’18)

Posted in Bedlam, Theatre by

“Intelligent and engaging”

Editorial Rating: 4 Stars: Outstanding

A dark, brooding affair, Tom at The Farm sees charming city-boy Tom visit his (secret) lover’s family farm in rural Ontario for his funeral, under the guise of having been purely his friend and co-worker. What unfolds is a tale of grief, secrets, identity and duty, akin to the works of Emile Zola, with the tensions between the characters evident upfront, and an intriguing journey ahead as to how each one will play out.

To that end, Michel Marc Bouchard’s script really is delicious serving up a twisting tale of deceit where Tom falls further and further into an elaborate web of lies in order to keep the family happy, though peppered with enough dark humour and sexual tension to make it enthralling on all levels. Asides and textual motifs are used cleverly to capture the sense of inevitability throughout, while the scene in French is simply a stroke of comic genius.

Director Joe Christie does a stellar job in capturing the overall mood of the piece, and attention to detail throughout each scene gives the production an intelligent and engaging quality – everything happens for a reason, and each contributing factor drives the narrative to its gritty resolution. The production team also deserve credit for transforming the Bedlam space into what could easily be believed as a rundown farmhouse, while the other visual and sound effects all contribute well to the psychologically intense nature of each moment.

With grief being such a strong central theme, it’s a tough ask for the student cast to delve into that level of emotional depth, but on the whole they handle it very well. Yann Davies as Tom is barely ever off stage, and steers the character from pillar to punch-bag with electrifying conviction, and Peter Morrison is every inch the guy you love to hate as Francis, oozing with masculinity and a genuinely frightening presence. Matilda Botsford brings a tender and controlled approach to Agatha, capably balanced out by Kathryn Salmond’s irreverent Sara.

For me the only real downfall in this production are the dips in emotional intensity and honesty that generally occur between scenes. Given the changes in dynamics and relationships throughout the play it sometimes takes the actors a little a while to really establish the tone of each new scene and bring us with them to where they are. The style of the production requires a lot from the audience to follow the journey, believe what happens in between each scene and then be present in each moment on-stage moment, and though it’s a tough ride, it is very well worth it in the end. I’d happily go again.

 

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 8 February)

Visit the Bedlam archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

FAME! The Musical (Church Hill Theatre: 6-10 Feb ’18

Posted in 3*, Church Hill Theatre, Musical Theatre by

“Plenty of individual noteworthy performances”

Editorial Rating: 3 Stars: Nae Bad

Fame! The Musical follows a group of performance arts students through their formative years at the “Fame” high school, and is full of vivid characters, energetic dance numbers, and show-stopping songs. Largely an ensemble piece, it’s the perfect choice and platform to allow Edinburgh University Footlights’ members to present their considerable talents as actors and singers, and there are plenty of individual noteworthy performances throughout.

Mimi Joffroy demonstrates all the ingredients of a stellar leading lady as Carmen, most evident in the goosebump-inducing In L.A.; Matt Galloway delivers a laugh a line as the charismatic Joe, and dance captain Connie McFarlane proves she’s a genuine triple threat in the gospel-tinged Mabel’s Prayer. Alice Hoult and Adam Makepeace show great chemistry as romantic leads Serena and Nick, and Mhairi Goodwin serves up a killer belt as Miss Sherman in These Are My Children. Liam Bradbury never quite convinces he’s actually a hip-hop dancer as Jack, though comes into his own during the character’s signature song Dancing on the Sidewalk.

Yet given all this obvious talent, what holds this production back is being able to effectively embrace the script’s very bitty nature, made up of lots of short scenes taking place over a number of years. EU Footlights’ simple set proves very constraining to this end, often dragging the action to the back of stage, while there’s precious little to link each part and show progression over time. There are pleasing teases of getting it right during Think of Meryl Streep, as action continues behind the singer, so it’s slightly frustrating not to see more creativity in the presentation of each scene throughout to make it feel like one cohesive piece.

Additionally, Fame! is a show that is chock-full of dancing, requiring much more from a cast and choreographer than your average production. The company certainly give it their all during this performance and there are some wonderful moments during the dances (especially some of the daring lifts!), but there’s also a scrappiness to the performance – particularly in the ballet sequences – which, although charming at times, more often detracts from a lot of the other great things happening on stage. Some extra time spent in brushing these up would go a long way to adding to the quality of this production.

Overall, Fame! is a feel-good show with plenty to enjoy, and EU Footlights should be very proud of the job they’ve done with it. Though one can’t help but feel that we ain’t see the best of them yet.

 

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 7 February)

Visit the Church Hill Theatre archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Sister Act (theSpace @ Surgeon’s Hall: 14-20 Aug: 16.10: 1hr 45mins)

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

“Energetic, harmonic and full of the gospel spirit this whole show embodies”

Editorial Rating: 3 Stars

In my experience, condensed versions of musicals generally go one of two ways: they either trim the fat from the full version and present a slick and sizzling highlights reel (as in EUSOG’s Spring Awakening last year), or they come across as a slightly misshapen patchwork quilt of musical moments. Unfortunately, Edinburgh University Footlights’ production of Sister Act falls into the latter camp. However, some of its musical moments are really rather magical.

We all know the story of the show: aspiring and audacious nightclub singer Deloris Van Cartier has to hide away with a group of nuns for her own protection, and in so doing transforms their choir into a team of sensational songstresses. Sarah Couper certainly gives it her all as Deloris, with hugely likeable sass and personality, which is more than capably offset by Tayla Steinberg’s harsh but witty Mother Superior.

It’s Alice Hoult as the timid Sister Mary Robert who vocally steals the show though, with a flawless rendition of the rousing The Life I Never Led. A masterclass in control, it’s a shame some of the other numbers lack the overall quality and power of this one: it really stands out as something special.

Yet when this production hits the sweet spot, it really does soar. The Raise Your Voice scene in particular is energetic, harmonic and full of the gospel spirit this whole show embodies. Caili Crow’s choreography is stylish, intricate and very deftly delivered, and for a few minutes here and there the performance really sparkles.

The main strength of this production overall is comedic characterisation, and director Ansley Clark has done a great job in bringing the best out of each individual throughout the performance. Nicola Frier is a revelation as the excitable Sister Mary Patrick, delivering laughs aplenty with every utterance; Adam Makepeace is a wonderfully dorky TJ; and Mhairi Goodwin brings a whole new level of vibrancy to Sister Mary Lazarus that I didn’t think was possible.

This production is quite hit and miss though, making it difficult to stay fully engaged with it throughout. While I won’t go into details of the technical issues which unfortunately blighted this production, other factors such as the (at times) awkward staging, the very choppy nature of lots of different quick scenes, and lack of palpable tension in the big moments all detract from what has the potential to be a really outstanding show. It all feels a little rushed and a bit too rough around the edges.

This a very commendable effort from the cast and company, but perhaps slightly too ambitious too pull off.

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

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Reviewer: Steve Griffin (Seen 15 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

A Step In Time (The Magnuson Centre, Edinburgh Academy: 10th & 11th March ’17)

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

“The group demonstrates all the qualities that make show choirs eminently lovable”

Editorial Rating: 3 Stars: Nae Bad

In large part thanks to a popular American TV series from the 00s, being in a show choir has become a lot more socially acceptable – even “cool” in some circles – in recent years, so it was great to see a packed house for Edinburgh University Footlights’ latest show, and a stage full of diverse young people who love being there.

In A Step In Time the group demonstrates all the qualities that make show choirs eminently lovable: fun renditions of upbeat popular tunes, killer vocals, show-stopping choreography and smiles big enough to fill the room. But behind all the glitter and grapevines, did the performance itself deliver a knock-out punch? In my opinion, not quite.

Opening number Step in Time set the scene well as a lively and energetic introduction to the night’s proceedings with some clever, subtle changes in lyrics and arrangement to make the song feel like the choir’s own. Accompanied by full-on intricate choreography, it says something about the fitness and dedication of the group that they were even able to breathe for the next ten minutes, let alone perform song after song, complete with dance routines.

For me, it was a shame there was significantly more focus on the “show” rather than the “choir” elements of the performance, with complex choreography and numerous costume changes detracting from the vocals throughout. Harmonies and power were often lost in the frantic flailing of arms and apparel, and what remained was at times imprecise and unnecessary. The flow of the performance was also quite stilted, with some uncomfortable lengthy pauses between songs, hindering the overall enjoyment of the night.

However, it was in the simpler and more stripped backed numbers where the group really excelled: the 90s medley, Seasons of Love and the 00s medley in the second half really showcased the strength and depth of the choir’s vocal talents, and it’s a shame we didn’t see more consistent top quality vocals and arrangements like these from the choir as a whole throughout the show. There were also some beautiful stand-out solo and small group performances (specifically Believe, She Used To Be Mine and I Know it’s Today) which highlighted some really gorgeous individual voices.

I would have preferred more quality over quantity in terms of the choreography, using it cleverly in specific numbers to give wow-factor, with greater focus on the basics of group singing as the overarching emphasis. Overall I think the group tried to do too much too often, which left the lily not just gilded, but smothered in cream and cherries too.

Still, it was an entertaining performance from a talented bunch of young people, that was, on the whole, very enjoyable. I look forward to the next one.

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 10 March)

THIS REVIEW HAS NOT BEEN SUBEDITED

Endgame (Bedlam: 22-26 March ’16)

Posted in 4*, Bedlam, Rated: Outstanding, Theatre by
Thomas Noble as Hamm

Thomas Noble as Hamm

“The best student production I’ve seen in quite some time”

Editorial Rating: 4 Stars: Outstanding

One certainly cannot fault the courage of the students at Edinburgh University this year for taking on so many challenging productions, and to even attempt Beckett – whose works so often have age and world-weariness as themes – is admirable. I was lucky enough to spend an entire term studying Beckett at university, under the tutorship of a renowned expert on his works, but even then I worried that my final performance would be a tragic, naïve offering compared to what had gone before.

Beckett certainly isn’t for everyone, and Endgame is a one-act play with a running time of close to 90 minutes that has very little narrative development or real “action”. What is most satisfying about this production is the group’s sensitivity to Beckett’s text. The great man is notoriously particular about how his work should be performed, and Edinburgh University Theatre Company don’t try any tricks or fancy interpretations to make it new or innovative, but instead use subtlety to let the text speak for itself. Finlay McAfee’s masterful direction teases out various interesting repetitions in the dialogue and hints at some of the political undertones, but never makes bold statements or suggestions.

In saying that, this production also doesn’t take itself too seriously – it’s littered with comedic moments, just as Beckett intended, and is a very well-rounded and watchable show. Sarah Brown’s set is simple yet effective, using black and white as a nod to the “game” element, while all other creative elements are in sync to present a cohesive and professional mise-en-scene.

Thomas Noble as Hamm is the centrepiece of the actors – always on stage, centre stage, he commands attention with charisma and gusto. His moments of anger when flinging props aside are powerful, while he shows great contrast in more intimate conversations with Clov. In turn Clov (Michael Hajiantonis) is excellent as the down-trodden servant, whose development in confidence towards the end, extreme physicality and impressive Irish accent all contribute to a commendable performance.

Jennifer Jones is compelling to watch as Nag, with fantastic control over the small movements and expressions she makes inside the bin. Her physicality is exquisite, and her delivery of the tailor story is achingly on point. Antonia Weir is equally captivating and convincing as long-suffering wife Nell.

To me the only thing lacking from this production is a deeper sense of age and timelessness. The action all seemed a little too fresh and perhaps a touch too “performed” for it to be believable as a snapshot of continual drudgery. In saying that, I’d much rather a slight tip in this direction to keep it energetic and engaging rather than veering down the road of self-indulgent dawdling. In all other respects this show is hard to fault, it’s certainly the best student production I’ve seen in quite some time.

outstanding

StarStarStarStar

Reviewer: Steve Griffin (Seen 23 March)

Go to Endgame at Bedlam Theatre

Visit Edinburgh49‘s Bedlam archive.

Guys & Dolls (Church Hill Theatre, 9-13 Feb. ’16)

Posted in 4*, Church Hill Theatre, Musical Theatre, Rated: Nae Bad by
Adam Makepeace as Nicely Nicely Johnson

Adam Makepeace as Nicely Nicely Johnson

“A feel-good romp of a show”

Editorial Rating: 4 Stars: Nae Bad

Guys & Dolls has a special place in my heart, as it was my first footlights show at university some ten years ago. I remember the hours I spent rehearsing the gruelling dance sequences and complex harmonies, so I was amazed at how well this cast of Edinburgh University students delivered on both counts. The scene in Havana was perhaps a bit ambitious choreographically and could have contained more progression and showpiece moments, but overall the chorus numbers were performed with great vim and pizazz.

The stars of show also delivered with aplomb. Ellie Millar as Sgt Sarah Brown had a voice that danced with the purity and clarity worthy of a leading lady, and her rendition of If I Were a Bell struck a fine balance between comedy and stunning vocal range. Oliver Barker oozed with masculinity and presence as Sky Masterson, while Tom Whiston brought a likeable naivety to Nathan Detroit. Mae Hearons was a delight as Miss Adelaide, and really came into her own in act two with a string of dazzling songs.

While the vocals across the board during the first half of the production were a little shaky (I’ll put it down to nerves in front of a packed house early in the run), the second half was littered with many a five-star moment, including Adelaide’s moving second lament, a Sinatra-esque Luck Be a Lady, and the precise and energetic Crapshooters Ballet. However, for me, the vocal performance of the night was by Adam Makepeace as Nicely Nicely Johnson, who delivered a rousing and extremely capable rendition of the tricky Sit Down You’re Rockin’ the Boat. A special mention also to Tilly Bartholomew as Arvide Abernathy, who was charming and note perfect in More I Cannot Wish You, and displayed great tenderness and well-placed comedy throughout the performance.

This show aimed to take the original musical back to its roots in the 1930s, and some nice touches in Grace Dickson’s choreography – particularly in Take Back Your Mink – felt very reminiscent of that golden era. Director Lucy Evans also cast some females in traditionally male roles as a nod to some of the period’s female gangsters, and, while a brave choice, I felt Evans could have gone one step further in allowing these characters to explore their femininity and interact with the male characters as women, rather than women pretending to be men. Still, Lila Pitcher was commanding as Chicago big-shot Big Jule in an interesting gender twist.

Yet for all the great work by the performers and band (who never faltered under Steven Segaud’s masterful musical direction), I was a little disappointed in the production values of the set and costumes. These elements were quite basic, and with a bit more attention could have added much more “wow factor” and style to be sympathetic to the show’s overall creative aims and chosen time period.

All-in-all, a feel-good romp of a show. Don’t gamble – buy a ticket.

nae bad_blue

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

Reviewer: Steve Griffin (Seen 10 February)

Go to the Edinburgh University Footlights

Visit the Church Hill Theatre  archive.

‘The Vagina Monologues’ (Teviot: 11, 13 -14 February ’15)

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

v monologues

“No hiding.”

Editorial Rating: 4 Stars: Outstanding

Let’s talk about what it means to be a woman, and let’s be real about it.

That is the message of The Vagina Monologues from Edinburgh University’s Relief Theatre.

There was no hiding from the awkwardness of the topic. Director Rachel Bussom was not about to allow for the comfort of anonymity that an audience can revel in, cloaked in darkness and removed from the stage space. This theatre-in-the-round was intimate and uncomfortable and sobering. A lack of props kept this show from feeling like a staged event. Instead, it took on the live and shameless persona of an organic story-telling. The close proximity to the actors in a brightly lit room created a close connection; a sense of shared identity regardless of age or gender.

Sex is a common theme in theatre, but sexuality is more obscure. Obscurer still is female sexuality in all its forms. Not today. Today, women were talking, or in the case of Julia Carstairs they were shouting, about vaginas and everything that comes with them.

For instance: hair. Martha Myers’ exasperation and resignation shone through as she hit home about the societal pressures attached to expectations of body image  – something Julia Carstairs’ first monologue, “My Short Skirt”, energetically pulled apart.

The combined efforts of the narrators, Ella Rogers, Caitlin McLean and Maddie Haynes, along with Marina Johnson’s statistical ‘Factbook’, kept the show current and hard-hitting – an impressive task considering the original show premiered nineteen years ago and society’s views on women and womanhood have changed since then. That this strong production is dedicated to the transgender community is also properly noteworthy.

Carstairs’ second monologue, “Cunt”, was a valiant attempt to reclaim a word used solely now as a derogatory term. Her exploration of sound, language and pace was invigorating and allowed a positive humour to surround the controversial language. That humour was carried on by En Thompson who offered a passionate performance in honour of her “Angry Vagina”. Her bluntness and frustration was eye-opening and tore through long-accepted notions of what womanhood means and entails.

Her anger was shared and increased tenfold in a gut-wrenching performance by Kirstyn Petras who fiercely conveyed the utter devastation of the Bosnian women who had been interviewed by playwright Eve Ensler after being subjected to the horror of rape camps. Petras pulled no punches, emulating a loathing that raised hairs and drew tears – the pain so tangible and the truth unbearable.

Jezneen Belleza may have been talking about vaginas, but her performance certainly took a pair of brass ones. As “The Woman Who Loved Vaginas”, she discussed the life of a sex worker with an honesty and intensity that, despite some more uncomfortable moments, made it impossible not to watch, listen and laugh. She lightened the mood with comedic re-enactments and did so with a grace that kept the story from becoming farcical. Instead, her frank analysis reached deep into the beauty and magic of female sexuality.

Both Isobel Dew and Siân Davies tackled sexuality and body image in a kinder manner – managing to capture the incredible feeling of self-discovery, and the subsequent elation, in a beautiful way. Sophie Harris, too, carried an air of hope in her phoenix-like rising from such a dark place to a position of acceptance and learning. Meanwhile, Ruth Brown’s impressive embodiment of generations gone by in her recollection of “The Flood” brought an endearing humour as well as a sense of pity and despair to the play. For Danielle Farrow it is the sheer beauty of womanhood and nature that matters as she recounted being present for the birth of her granddaughter. Her testimony was infectious and heart-warming.

Leaving the venue, I felt elated and empowered. This  is an inspiring production that entertains, empathises and educates. Bussom, assistant director Mary McGuire and sole male of the team – producer Jacob Close – bring together a group of really talented women who do themselves, and all women, justice.

outstanding

StarStarStarStar

Reviewer: Amy King  (Seen 11 February)

Go to Relief Theatre at EUSA here

Visit the Potterrow & Teviot  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED