Tag Archives: Poetry

Lyceum Variety Nights (Lyceum: 4th June ’17)

Posted in 4*, The Lyceum by

“Resident host Sian Bevan never fails to amuse”

Editorial Rating: 4 Stars

Ding ding, it’s round three of the Lyceum Variety Nights, and the last in the current season.

This latest outing had a very contemporary and slightly alternative feel, and it’s good to see curator Jenny Lindsay flexing her little-black-book muscles to bring a more diverse line-up of music, theatre, poetry and dance to proceedings.

Overall the night was a pleasing mix of more established artists sharing some of their fondest work from yesteryear, performing alongside some red hot and right now acts, sharing pieces from their latest collections. Among the red hot and right now were dancer Jack Webb, whose inclusion as the first dance act of the programme I was really excited about. He performed an emotive and powerful contemporary-style piece to a discordant soundscape, which, while not the most accessible of pieces, certainly brought some zing to proceedings. Musical acts The Miss’s and Maud the Moth were also bang up to date and on the pulse, sharing genre bending tunes and stunning vocals that just left me breathless.

It was nice too, to have the quieter moments, perhaps most finely shared by Caroline Bird, whose rather more introverted stage presence created a lovely balance between a lot of the madness and noise of some of the other acts. Her poetry was awash with splendid imagery and moments to cherish, that really left me longing for more. Mairi Campbell, accompanied by viola, brought a touch of the traditional to the night, and even had us all singing along with her folk-style music at the end of her set – delightful.

Yet while the variety of the performers was wider than in previous instalments, thus making it feel a little more niche, for me it’s the quality of all the acts which is key to the night’s success. Each night’s line-up never fails to include award winners, experienced practitioners and well-regarded artists from across the spectrum, and though they may not all appeal to individual tastes, those with a wider appreciation for the arts should be able to at least enjoy the overall skill on display. A special shout-out too to resident host Sian Bevan who never fails to amuse with her witty and sometimes humorously irreverent compering!

I have to say that this was not my personal favourite evening of the programme, but that’s variety for you – you can’t win ‘em all! I very much hope another season of these nights is programmed for next year, and I look forward to attending them all.

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

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Reviewer: Steve Griffin (Seen 4 June)

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THIS REVIEW HAS NOT BEEN SUBEDITED

Melody (Clerk’s Bar, 8 Aug – 29 Aug : 16:45 : 50mins)

Posted in 4*, EdFestivals 2015, Other, Rated: Nae Bad, Spoken Word by

https://www.thestage.co.uk/wp-content/uploads/2015/08/Melody-Jemima-Foxtrot.jpg

“Foxtrot embodies the sensations of the everyday”

Editorial Rating: 4 Stars Nae Bad

One of my favourite things about poetry is the great dissonance you often get between the initial appearance of the poets, and the sheer power of their voices and minds. Watching Jemima Foxtrot perform is like watching a pistol shoot anti-tank bullets – there’s a very sincere and powerful energy to her work.

Taking the audience on an evocative journey through city streets “Melody” explores the memories they summon as Foxtrot wends her way between heartbreak to joy, with a warmth and oddly dreamy sort of lyricism that fits her imagery’s day-to-day beauty to a tee.

The biggest boon to this performance is how easily Foxtrot embodies the sensations of the everyday, and presents familiar emotions and thoughts in a way that makes them rough yet compelling. It’s not very often that a performer’s vocal skill and physicality mirror each-other so well, but as she bounces from piece to piece, she embodies each new feeling with vigour.

However, Foxtrot’s lack of pretense and startling sincerity in her work also forms a needed cover to the inevitable inertia when solo, unbacked vocal work pauses to become spoken word – but her energetic yet laid back style still suffered slightly in the sometimes jarring empty space. However, this hardly detracted, thanks in turn for the sheer power of her lyrics and honesty of her imagery.

This is definitely a free fringe find. Foxtrot’s presence onstage utterly transforms the familiar atmosphere of the Clerks Bar basement – no mean feat. As the 2015 Fringe starts to roll to a close, make sure you make your way to Jemima Foxtrot – “Melody” definitely impresses.

 

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Reviewer: Jacob Close (Seen 25 August)

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THIS REVIEW HAS NOT BEEN SUBEDITED

Learning to Live (Espionage, Pravda room, 24 – 30 Aug : 19:45 : 1hr)

Posted in 4*, EdFestivals 2015, Other, Spoken Word by

“The craft of every word is excellent, the delivery spot on”

Editorial Rating: 4 Stars

Learning to Live by Isla Cowan is a collection of poems from a young woman who shares her journey of moving to university, the search for a new identity and the struggle to connect with old friends after time apart. The showcase also includes an honest and unglossed ode to a parent, a poem about poverty and a poem called Shakespeare in the sunshine – certainly not a combination one comes across every day.

Cowan’s opening poem is The Night We Went to Life – a reflection on those nights spent clubbing and not being entirely sure why. This is a piece with great rhythm and musicality, with comic moments and a story that all of us can relate to. Next up, The Library is slower and more contemplative, showing great maturity and sense of perspective. Every poem in this show is full of fantastic imagery and a sense of a captured moment, but the last in the set is one called Memories, in which she utters the inimitable line “I am nothing but memories”. To me this summed up the overall ethos of the performance – a collection of lessons learned, delivered simply and beautifully.

My favourite poem from the collection performed was The Lightbulb, which to me demonstrated an accessible and educated view on mental turmoil through clever use of metaphor. Indeed, when Cowan does use metaphor throughout her work, it’s both selective and effective. Great examples include the idea of being “between dinner and dreamland” after a night and morning with that special someone, and carrying “worries in a basket” along with the rest of one’s shopping. Though the subject matter of her work is relatively simple, there’s a lovely feel about it all that reflects her coming of age, but without trying to be too pretentious or flamboyant.

The craft of every word in Cowan’s poetry is excellent, and the delivery of her work is also spot on. She clearly knows the pieces inside out, and captures every rise and fall, rhyme and pause with precision. The tone of her voice carries perfect sympathy with the subject matter of each line, and the whole show just felt very natural and comfortable.

If I were to be really picky, I felt that some of the poems ended quite abruptly, causing the odd jar in what was otherwise a very smooth and enjoyable evening. I’d also like to see her take a few more risks, both in terms of style and content, but perhaps that’s one for next year, as, for a debut show for a novice performer of tender age this really was cracking stuff.

 

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

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Reviewer: Steve Griffin (Seen 27 August)

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THIS REVIEW HAS NOT BEEN SUBEDITED

Unexpected Excesses (Edinburgh Drawing School Gallery : 9 -30 Aug : from 11am)

Posted in 5*, EdFestivals 2015, Exhibitions, Other, Rated: Outstanding by

Unexpected Excesses

“Prepare to be dazzled”

Editorial Rating: 5 Stars: Outstanding

Walking through the doorway into Unexpected Excesses (an exhibition of work from Jan Knibbs and Lizz Watts), my immediate impression was a riot of colour, texture and form. However, thankfully Watts was there to guide us through the collection and how it was created.

One of the most striking pieces, a framed collage called The Return, juxtaposes broken ceramic teapots with papier mache flowers, which appear to grow from the ground in which the pottery has fallen, representing the circle of life. It was full of vibrancy and energy, and a great example of the vivid style of the work on show.

In talking to Watts about her pieces, she revealed that she likes her work to develop organically. She may start off with an idea but at some point it develops a life of its own, and many pieces tell a story. A favorite theme is nature and the changing seasons. A particularly impressive vase with a group of swans’ necks curving from the lip was always intended to be connected to swans thematically, but the final form they took in the piece was completely organic and unplanned. There are certainly no two pieces alike.

The clothes, hats, shoes and other gloriously opulent and embroidered textiles by Jan Knibbs were displayed on mannequins and elsewhere scattered through the exhibition, the effect combining gracefully with the ceramics.The philosophy behind both the textile and ceramic creations is concerned with practicality as well as being stunning to look at: the clothes and shoes are wearable, the bowls and vases usable.

What really makes this exhibition special is that it is both interactive and experiential. Not only are visitors able to talk to the artists but they are also positively encouraged to handle the pieces, feel them and examine them closely. In doing this it can be a pleasant surprise to find a continuation of the decorative motif on the inside or throughout pieces, as well just on the surface. On top of this, when I visited, a harpist (Bianca Watts) appeared and played for us to give an added layer of decadence, and I was lucky enough to be given a glass of Prosecco to enrich my Sunday afternoon with further “unexpected excess”. If that weren’t enough, visitors are invited to contribute a few lines to a daily poem, started by poet in residence Dawn Gorman, in order to really become part of the work.

Unexpected Excesses

As one might expect, this exhibition is an extravagant, beautiful and seemingly chaotic collection of work. Yet there was a real cohesion to it – the ceramics complemented the textiles, and all the added extras fit perfectly into the overall theme. On close examination there were many hidden treasures: ribbons at the back of dresses, decoration inside pots, and lots of small details that made me want to keep examining every piece further. The atmosphere in the room was intimate and relaxed without feeling stuffy or overpowering.

This exhibition is called Unexpected Excesses, and it’s easy to understand that some visitors may see the room, and indeed some of the pieces in it, as too much, too ornate, a gilded lily. But whether it’s your personal taste or not, it’s definitely worth experiencing. There is a varied programme of guest artists and things going on, from poetry to music, as well the incredible art on display. Check the programme before planning your visit, or just turn up and prepare to be dazzled.

outstanding

StarStarStarStarStar

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Reviewer: Steve Griffin (Seen 16 August)

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THIS REVIEW HAS NOT BEEN SUBEDITED

Photo credits: Bill Johnston

Poetry Can F*ck Off (Summerhall, 14 – 22 Aug : 15.30 : 55 mins)

Posted in 2*, EdFestivals 2015, Spoken Word, Summerhall by

“The idea and thinking behind this piece is great”

Editorial Rating: 2 Stars

Possibly the most ironic title of the Fringe this year, this show is, in essence, a very one-sided performance essay about exactly why poetry shouldn’t “f*ck off”. I use the word “essay” deliberately, as it is scripted very much like one, making statements about the power of poetry, giving quotes from poems in different times and cultures to back these up, and assessing the impact these poets and their readers have made in each instance.

While the idea is commendable and shows a lot of well thought-out research, as a performance it didn’t really work. The piece was delivered incredibly quickly and it was difficult to keep up with all the different examples that they all became lost in one another, while I spent the whole show waiting for a counter-argument to balance out the very liberal and pro-poetry point of view.

However, what I found most irritating about this performance was the very overused technique of repetition to emphasise a specific point. It seemed that almost every thirty seconds one actor would say a line, only to have the others repeat the last few words like some sort of robotic echo, or for three performers to simply repeat the line three times. It got very tired very quickly, while at some points it also got a bit shouty, contradicting the notion of this being an intelligent and mature piece.

With four performers on stage doing the “reading”, an additional musician was used to add rhythm and dynamic to the performance throughout. The playing was impressive, and kept the piece moving with variations in mood according to specific anecdotes. However, the music did little to alleviate the sense of non-stop pounding this show delivered, as there wasn’t enough variation in tempo or dynamic to break the monotony of delivery.

In saying all that, I admit I may have missed the point somewhere along the line, and this piece’s intentional styling may be a metaphor for a bigger message. Overall I think the idea and thinking behind this piece is great, but the form and delivery of it leave a lot to be desired – it seemed so wrapped up in making a statement that it neglected a lot of the basics of good performance.

 

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Reviewer: Steve Griffin (Seen 15 August)

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THIS REVIEW HAS NOT BEEN SUBEDITED

TES (Underbelly, George Square : 5 – 31 Aug : 13.15 : 1hr 15 mins)

Posted in 4*, EdFestivals 2015, Spoken Word, Theatre, Underbelly by

“Fantastic… exactly what the Fringe is all about.”

Editorial Rating: 4 Stars

Tess of the D’urbervilles reimagined in modern times. With a male hero. Set on a Newcastle council estate. Performed by one person. Oh, and it’s performance poetry. What could possibly go wrong?

You’ve got to take your hat off to writer and performer Steve Larkin just for the idea. It sounds daft, but TES is actually a very compelling story, that interprets enough of the original to make it easy to follow, but without going overboard by trying to shoehorn in every last detail. It’s stylish, it’s quirky, and the issues covered are bang up to date for an audience in 2015.

The show follows the story of Joe Taggart, who, we find out, is a descendent of Lord Byron. As part of a special programme in his school (he’s 14 when the show starts), he gets assigned a new English teacher, the alluring Alice Prycer-Fox, who encourages him to write poetry. However, after a dramatic liaison with her, he finds himself in prison and years later is having to rebuild his life as “Terry” in Leeds. We see Terry’s rise in fortune as a performance poet, and how he develops a relationship with a girl he meets at a recruitment agency. Of course, as this is a Hardy adaptation there are more twists and turns, and an unfortunate ending, but it’s a gripping story and deftly delivered.

It’s written with a real sense of rhythm, and its poetic nature (though not overt) gives it a sense of being a fairytale and having a moral tale. Indeed, many cultural quips and comments on consumerist society are well-placed and go to show the level of intelligence and care with which this piece is constructed.

While the writing is powerful, one of the real strengths of this show is Larkin’s energy as a performer, and his ability to jump between characters and create moods and tension very quickly. He excels further in the sections where, as Terry, he performs his original performance poetry, even getting the audience involved to chant along some lines with him. Larkin is in his element in these sections and commands the stage and the audience’s attention.

My only criticism was that it seemed a little rough around the edges – there could have been starker contrasts between some of the characters, while I also would have liked a slightly more impactful climax. Overall though, a fantastic risk-taking offering, and to me this kind of show is exactly what the Fringe is all about.

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

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Reviewer: Steve Griffin (Seen 15 August)

THIS REVIEW HAS NOT BEEN SUBEDITED