Author: micaanderson

REVIEW: A Very Naughty Christmas

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Rating: 4 out of 5.

Flashy, funny, and fabulously filthy, Woodward Productions’ ‘A Very Naughty Christmas’ is a riotous romp perfect for the holiday season.

Adorned in glittering – if skimpy – festive wear, the eight performers that make up the very naughty ensemble burst onto the stage, ready to entertain from the word go. Stephen Hirst leads the pack as good old Saint Nick, with Shay Debney accompanying him as a hapless elf. Jack Lark features as a Buble-style crooner with a penchant for wearing women’s underwear, while Kirby Burgess dazzles with soaring vocals and eye-watering comedic timing. Alexia Brinsley and Rebecca Rolle are as darling as they are daring, and Chris O’Mara and Rachel MacDougall round out the group with dazzling dance ability. Jo King and Lisa Martin provide musical accompaniment – and occasionally get involved in the action too!

Australians are certainly known for their unique sense of humour – and ‘A Very Naughty Christmas’ is no different. This variety show rings of Aunty Donna, with shades of the Rocky Horror Picture Show. The songs – a combination of reworked (and very saucy) Christmas classics, musical theatre standards, and ostenatious originals (‘Santa Loves You Less Because You’re Poor’ was a particular highlight) are bookended by slick choreography that ranges everywhere from hip-hop to burlesque. While the show is overwhelmingly bawdy, it isn’t full of sex just for sex’s sake – the accompanying gags help to keep the mood light, and the audience loves it.

While the script sometimes reaches for some low-hanging fruit at times, the company are experts at bouncing off the energy the audience provides – especially when, at times, the audience comes out with things that are dirtier than the show. And if you’re squeamish at the thought of audience interaction, or, indeed, nudity – don’t book the tables at the front!

A titillating, tap-dancing extravaganza, ‘A Very Naughty Christmas’ is brilliant for whisking away the holiday blues – it provides a very ‘blue’ Christmas, indeed.

REVIEW: Much Ado About Nothing Remixed

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Rating: 4 out of 5.

A joyous piece suitable for Shakespeare newbies and aficionados alike

Shakespeare, more so than any other playwright, has his work adapted, modernised, and adjusted for today’s audiences. Intermission Youth Theatre’s production Much Ado About Nothing: Remixed seeks to go where many adaptations have gone before, but interjected with some Gen-Z zeal. What this rewrite produces is a joyous piece suitable for Shakespeare newbies and aficionados alike. 

The energy from the young company breathes new life into the bard’s famous comedy – updating the soldiers and attending ladies bickering on the shores of Messina of the original piece to a group of up-and-coming rappers and the women in their circle invited on a holiday by a club promoter. Maria Tara Adedapo shines as Beatrice, perfectly counterpointing Helin Ekin’s bubbly Hero. With Rebekar Sunshine Oluyadi as a formidable Margaret and Deca Wright-Wilson as a comforting Ursula, they create a group of girls to rival ‘DP and the Angelo boys’. 

DP, or Don Pedro as he’s usually known, leads the pack – both in terms of the story and stage presence. His instincts and timing make his moments on stage a highlight, especially in his dealings with Kyle Langlais’ Claudio, and his estranged brother, DJ, or Don John, played by Lucien-Estick Shaw. Indeed, Shaw’s chemistry with his two hapless sidekicks – Borachio (Osahon Alex-Eguavoen) and Conrad (Zervaun James-Raybe) is a comedic highlight. All eyes, however, must turn to Benedick – the reluctant hero of the story. Nicky Dune plays the comedic moments of the character well, but where his talent really shows is in the more dramatic moments – his take on the  Shakespeare language feels fresh, but still accessible.

Rounding out the group of principals is Romarro Salmon’s Leon, reworked as Hero’s brother in the piece, and Francis, played by Denica George. Francis, in this adaption, acts as a placeholder for both Hero’s mother and Friar Francis  from the original text. While George’s performance is strong, she is often bogged down by frequent asides into religious teachings, which sometimes feel misplaced. Her greatest moment, however, and perhaps the highlight of the play for me, is her outburst at the men of their play for their actions against Hero. 

The adaptation of the piece, by Darren Raymond, is strong overall, but begins to lose pace in Act 2. Indeed, this is where the play’s themes become more complicated, but some story choices feel rather undeveloped. I have no doubt that this young company could have reckoned with the more complicating themes of the original text with gusto, but awkward rewrites hold them back from this potential. Still, Nana Antwi has directed a production that bursts with heart. Rounded out by impressive set design by Delyth Evans and sleek costuming by Bolu Dairo, Much Ado About Nothing: Remixed is certainly something. 

REVIEW: Asi Wind: Incredibly Human

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Rating: 4 out of 5.

Wind has the audience in the palm of his hand

What is it about magic shows that audiences find so compelling? Is it the flashy presentation, the sparkling costumes, the smart misdirection? Asi Wind thinks that it’s all of the above – and so his latest show, ‘Incredibly Human’, endeavours to compel us without any of the usual magician’s tricks. He intends not only to dazzle us, but to make us think about exactly why we are dazzled. 

Entering an almost bare stage (save for some props which we know will be used to confuse and delight us later), Wind has a comfortable and dry relationship with his audience. He drops pithy remarks about the acts of magic he is pulling off while he is doing them, taking care to express, at each applause, that what he is doing is not extraordinary – indeed, we could all do it. 

There is a real meta undertone to this piece – it would be impossible to have a show dedicated to unmasking the human side of magic without touching on the fact that we are all aware, despite not being members of the Magic Circle, that there is thorough calculation behind what appears to be spontaneous magic. Wind takes care to include some social commentary – which comes across as underdeveloped, and, at some points, clumsily done. From his set-ups to the thrilling conclusions of his tricks, there is an attempt by Wind and director Seth Barrish to  connect what is happening with some greater emotional point, but they don’t often hit that mark. What seems most obvious about human nature to me by the end of the show, is that we are all more susceptible than we might like to let on. 

All the other marks are hit, however – Wind is a naturally charming performer, has the audience in the palm of his hand. Volunteers from the crowd burst into applause and have genuine shock on their face – and I have to admit, despite my scepticism, I’m left impressed. 

REVIEW: BAIRNS

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Rating: 4 out of 5.

A wickedly funny piece that speaks to the heart

Every woman in her late twenties knows the struggle – to have a baby, or not to have a baby. Balancing laments over the state of the world with the overwhelming maternal urge to reproduce is the subject of much media – BAIRNS, by Annie Davison, addresses this very struggle in a fresh and nuanced way. 

Davison, who also plays the main character of Lottie, struts onto the stage with protruding pregnant belly, and recounts a story of sassing a fellow mother-to-be. But Lottie is not going to be the mother of the baby she’s carrying – she’s decided, amongst the chaos of her own life, to be a surrogate for her older sister, who badly wants a child of her own. Davison is immediately charismatic in her portrayal of the struggling twenty-something woman. There are shades of Fleabag in her interpretation – there is unfounded tension in her family life, her love life is a mess – and, most importantly, she is fiercely loyal to her sister. The scenes between these two characters are the most compelling of the piece – the characterisation of her sister feels relatable and real, while still uniquely fitting the premise.

Davison’s performance style has a distinct stand-up quality to it – indeed, the jokes come thick and fast (her impression of Rory, father of the baby and rather hapless husband, is comedy gold). But the more serious moments of this piece is where Davison’s writing, and Daniel Bainbridge’s direction, shine. On a mostly bare stage, save for a black folding chair and some clever lighting, various hospital rooms are created out of thin air. The birthing scene, in particular, is a highlight, showcasing Davison’s strength both in acting and writing. 

The only point at which I struggled with this piece is in some of the narrative points – Davison’s Lottie is a prime example of a unreliable narrator, but some of the choices the character makes in relation to her pregnancy feel somewhat disjointed and out of the blue. Indeed, towards the end, I found her character’s misanthropic personality veering a bit too close to simply being cruel, and I didn’t quite believe the redemption arc she goes through. The conclusion of the piece is the most emotionally cutting, but I felt the story lost its way a little on the road to it. 

Overall, this is a wickedly funny piece that speaks to the heart – no matter if you are a woman in her twenties, if you have a sister, if you have a baby or if you don’t. With some of tweaking of the narrative, BAIRNS certainly has to potential to grow up into something very special indeed. 

REVIEW: Frank’s Closet

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Rating: 4 out of 5.

An extremely well-heeled show with a meaningful message

A glittery, gorgeous and gay journey through the ebbs and flows (and clothes) of one man’s life, Frank’s Closet at the Wilton’s Music Hall is a brilliant night out. 

It is the night before Frank’s wedding –  and he’s distracting himself from his impending nuptials by sorting through his backstash of costumes belonging to famous females. In times like these,  he wishes life could be more like a musical – and we’re away. Wilton’s is a perfect venue for a show like this – and the piece makes sure to add in small touches that allude to the room’s history. Indeed, while this show is primarily a love letter to queer icons of the past, it also feels like a dedication to the form of theatre in and of itself. 

Andy Moss, with a distinct Robbie Williams-like quality, is our eponymous Frank – and he holds up the circus around him like a seasoned ringleader. His voice is perhaps not as strong as the rest of the company, but his acting choices make him a very reputable leading player.

Bringing the frills and fuss is the incredibly energetic ensemble, made up of Patrick Cook, Olivia McBride, Daniel Walford, and Tayla Watson-Briathwaite. They exude everything from sex to sympathy, and dazzle their way through the snappy and well-instructed choreography by Jo McShane. To say nothing of Luke Farrugia, who, as The Diva, plays everything from a bawdy Ethel Merman to a soothing Karen Carpenter. Where he shines, however, is in his thoughtful interpretation of Judy Garland. With a soaring falsetto and the crude humor of a panto dame, he is a definite highlight. 

Rounding out the cast is Paul Toulson, who bookends the show as a vintage sailor-type, singing a ditty about lost loves. While he has a beautiful voice and even more beautiful physicality, I struggled to understand the point of his character. Indeed, this is the only point in which I felt the show missed – the narrative was not always well-rounded enough to keep the fabulously orchestrated songs (by Stuart Wood) feel like they had a point. 

Sasha Regan, as director, has created a ferociously fun production, with an energy that is infectious – the audience was certainly feeling it. Accompanied by an impressively intricate set design by Catherine Phelps, and stylishly simply costuming by Indie Rivers and Steven Metcalfe, this is an extremely well-heeled show with a meaningful message. 

REVIEW: Holly Stars: Justice for Holly

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Rating: 3 out of 5.

Stars has a good bit of originality in her writing, but the structure needs some more thought

Seasoned comedian and writer Holly Stars brings her new stand-up hour to Fringe – against all odds, as she was just apprehended at the local Superdrug for attempting to make off with some rather fancy lipstick. Over the hour, Stars acquaints us with her small Northern town, the characters that live in it, and what she’s had to do in order to survive them. Unfortunately, at times it feels like all Stars is trying to survive is the next punchline. 

Stars has brilliant timing, but the delivery doesn’t quite match the punch of her dirty one-liners. Pair this with an early evening slot, and a venue that Stars seems to drown in, and I feel I’m watching a rather lukewarm drag act. Stars’ character work is strong, and the attempts at crowd work are well-meaning, but some of the jokes veer a bit too close to the stereotypical. 

Not every show has to have an emotional undertone, but as Stars veers off the piece into a rambling story that has a questionable climax, I have to draw the conclusion that some of the jokes don’t come across as strong enough to stand on their own. I was able to see that Star has a good bit of originality in her writing, but the structure needs some more thought. Stars has made a great start – a unique set of characters and a personable comedy style now just need to be backed up by a tighter narrative.

https://tickets.edfringe.com/whats-on/holly-stars-justice-for-holly 

REVIEW: Laura Davis: Albatross

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Rating: 5 out of 5.

Not a single line misses

Witty, personable, and with a distinctly poetic edge – Laura Davis’ stand-up hour Albatross is a masterclass in nihilistic, yet hopeful comedy. 

Davis enters the room, and is instantly bursting with energy – which is difficult, for a 3pm slot. But you’d be mistaken by thinking that this is a simply comedy show; Davis’ work is a chock full of hopeful poetry hidden amongst slick jokes. Not a single line misses; theirs is a show that doesn’t waste a single second – something of particular importance at the Fringe. 

Davis dissects society – that is, patriarchy, gender, government, politics, mental health – in an accessible and pithy way. They even handles comedy about comedy in a manner that doesn’t feel overdone or gratuitous – when they mention that there are some reviewers in the audience and thanks us for coming on the last day, I feel regret only that this is a comedian I haven’t seen sooner. 

The heart of Davis’ show lies in their feeling that humans no longer connect to one another, and this is something they wish for us all to work on. The more serious moments of the piece still manage to match the tone of the rest of the piece; their social commentary comes as easily as their jokes do. They keep their rhythm right til the very end, in which they leave us both laughing, and with the desire to keep up the conversation they have started.

https://tickets.edfringe.com/whats-on/laura-davis-albatross

REVIEW: Tending

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Rating: 5 out of 5.

A political play truly for made for our times

Using the verbatim words of over 70 NHS nurses, El Blackwood’s Tending is a well-crafted and sobering reflection on trying to save lives whilst working in a broken system. Accompanied by simple but snappy tech and confronting performances from the three-person company, this is a political play truly made for our times. 

There is a great dynamic between our three nurses – Blackwood also appears as a perfomer, alongside Mara Allen and Ben Lynn. Lynn delivers a very believable interpretation of an overworked nurse, while Allen’s exhibits an expert handing of the both comic and tragic elements of the script. Blackwood shines most in a deeply emotional monolouge towards the end, and has produced an extremely strong narrative that manages to be amusing as well as confronting. 

Blackwood’s narrative is artfully crafted – the actors recount the most gut-wrenching details to the audience in a conversational way; the use of clinical terms helps to sanitize of some of the gorier elements. It feels akin to receiving news at a hospital that you may not understand; but the compassion of the person telling you is a comfort. Director John Livesey has brought Blackwood’s story to life with such care – there is some brilliant physical elements that accompany the spoken parts without distracting from them. 

This is an extremely well-written and performed piece – it hits all the right notes, and is thoughtful without ever trying to preach to its audience. In a country with a healthcare system such as ours, this is a show that hits hard, and certainly sticks in the mind.

https://tickets.edfringe.com/whats-on/tending

REVIEW: If Memory Serves

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Rating: 4 out of 5.

A brilliantly paced piece

Sobriety, sex, secrets – Michael John Ciszewski has meditations on them all. And just meditations, in general. In his unique and funny hour chronicling his time in recovery, Ciszewki catapults his way from pop culture reference to hard, sobering truth in an effortlessly charming style. Cizewski is both dry and energetic in equal measure – his anecdotes echo with niche celebrity content (one particular highlight is the ‘Ryan Murphy industrial complex’) but have a surprisingly poetic undertext. Add in the various preludes in which Cizewski pops on a pair of headphones and listens to a self-help CD that waxes both philosophical and absurdist, and you end up with a brilliantly paced piece. 

Cizewski is certainly a master of rhythm, but I am unsure as to whether the form of the show works. It feels a lot like a one-man show that’s disguised as a stand-up gig; the jokes are original, but their delivery is often stylized, leaving me unsure as to how I’m meant to feel about them. There is a beautiful heart to the piece – about acceptance, and ambition, which is marred slightly by some moments that seem to lack structure. The characters that appear feel a bit one-note, and I wished to hear more about his personal journey. The hour ended, however, with a beautiful moment of emotion, and Cizewski had a command over the room you don’t often find; I’m just not sure in what way that command was hoping to make us feel. 

https://tickets.edfringe.com/whats-on/michael-john-ciszewski-if-memory-serves

REVIEW: Long Distance

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Rating: 4 out of 5.

I’ve never quite seen something like this before

While lovers used to pen lengthy love letters to one another in days past, those of us dating in the 21st century are stuck with texting. How much does that affect the poetry of romance – or can some people still find it? Eli Zuzovksky’s Long Distance answers with a beautiful ‘yes’.

Lewis Merrylees and Jonathan Rubin play our lovers – but at the beginning; they aren’t lovers at all. SImply acquaintances – Rubin accidentally texts Merrylees something that was about him, but not meant for him – and we’re off. Merrylees and Rubin build a fantastic sense of tension, from the early days of tentative flirting, to late-night political discussions. Rubin brings a great vulnerability to his character, which juxtaposes well to his comedic awkwardness. Merrylees has great instincts, and his character choices feel natural. Paired with stylised blocking – the two don’t actually face or even look at one another for a majority of the piece, and simple but inspired tech elements means I left feeling that I’ve never quite seen something like this before. 

Adding to this feeling was the nice political undertone that doesn’t announce itself too much; its’ very much present, and you don’t often find that in pieces like these. While it adds a brilliant dynamic to the show, the narrative starts to lose pace very close to the end – and once we reach the couple’s uncoupling, I’m not sure I believe the reasoning behind it. Rubin, however, then delivers a gut-punch monologue as Merrylees leaves the space – and the piece finds its poetry again. 

https://tickets.edfringe.com/whats-on/long-distance