Author: nmcgarrity

22, he/they. writer, director, actor.

REVIEW: The Players of Diadon

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Rating: 5 out of 5.

An incredible and original piece of storytelling about storytelling: a must-see

I have nothing but praise and admiration for the cast and crew behind ‘The Players of Diadon’. It is rare to see a production that feels entirely unique both in its concept and product, and yet that is exactly what Hideout Theatre and Stoke The Embers offer its audiences! Set in “a far off kingdom,” a company of players are given three days to write a new play about their king, or face execution. 

What starts as a wonderfully chaotic comedy ends as a truly thrilling commentary on the truth behind art and history. Each character – from the long-winded yet secretive Polonius and the pompous Mr Porridge to the starry-eyed Huzzah and the scornful Camille – is fully-formed and larger than life. The actors make their interactions onstage a delight to watch: the true joy they have for performance comes through in their every word. Opening with a fantastically – melodramatic Shakespearean monologue and ending with a moment of Renaissance – esque horror, the strength of the actors complements the skill of the writers, creating a show that is honestly brilliant. While the show doesn’t take itself too seriously, it allows its audience and actors to sit with moments of discomfort and realisation, showcasing the ability of dark comedy to be thought-provoking as much as it amuses.

If you are in the mood to be entertained, enraptured, and enlightened, then ‘The Players of Diadon’ is the show for you. I believe this show is a true hidden gem of the Fringe this year, a secret hidden commentary in a world currently overloaded with ‘fake news’ and censorship. 

‘The Players of Diadon’ is a production at the Edinburgh Fringe Festival between the 18th and 25th of August. Tickets are available here: https://www.edfringe.com/tickets/whats-on/the-players-of-diadon.

REVIEW: Peace Circle

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Rating: 3.5 out of 5.

A gritty commentary on the differing variations of grief

‘Peace Circle’ is a fifty-minute production by Sheffield University Theatre Company that asks the question: What is the relationship between grief and justice? On a simply-set stage, six actors explore the dynamics between these two concepts and between themselves in a ‘peace circle’ – a method of restorative justice that brings victim and perpetrator together in one place. 

The play is heavy: there is no doubt about that. Between the grimly flickering lights and the tense conversations that escalate between physical violence and vicious shouting, the company don’t shy away from exploring the difficulties of the situation that the characters find themselves in. A family facing the young person responsible for their son’s death – or so the parents fully believe – is a sensitive and highly complex topic to portray, and the company does it justice.

The script, while commendable in most elements, leaves the audience feeling unsatisfied with the ending. The themes and topics that arise between characters seem to melt away; problems that had far from been fixed are seemingly glossed over; the play concludes with a sense of peace that isn’t quite built up to by the end. Rather than a resolution, which the script tries to offer, leaving us with a sense of perpetuity for these characters may have been a more thematically effective way to go, as that is what the rest of the play seems to hint at.

Nonetheless, it cannot be overstated how fantastic the acting and storytelling was. The decisions made in staging the play, and in creating compelling, intricate characters, is applaudable, and it was difficult not to get hooked. If you’re looking for a psychological play that will leave you with questions and a sense of unease about the efficiency of the justice system, then this is the show for you!

‘Peace Circle’ is a show at the Edinburgh Fringe from the 18th to the 23rd of August. Tickets available here: https://www.edfringe.com/tickets/whats-on/peace-circle.

REVIEW: Service Please

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Rating: 3.5 out of 5.

A witty and sharp script with poignant messages

‘Service Please’, a fifty minute monologue from the perspective of a writer-turned-waitress, is a show with fantastic potential. Oscillating wonderfully between heartwrenching and comic, the protagonist, Lara, regales the audience with her experiences of her first ‘real’ job, and the ways in which the mounting pressure of reality becomes an obstacle for fantasy writing. 

Constance Peele’s script is beautiful. Detailing the painful journey of taking a job you don’t really want, but need to survive, ‘Service Please’ is an ode for all creatives – or indeed anyone who has worked a job not for passion, but for profit. While at times, the acting of emotional breakdown falls short of the script’s intentions, Peele has a talent for making herself look small onstage in moments of tragedy. There are occasional funny moments that channel Gordon Ramsay himself, though Peele’s true talent lies in making the audience sympathise with the character she portrays.

Peele’s clever use of Lara’s original character, Amara, to represent Lara’s true self, is really marvellous, a clever piece of scriptwork. The theme of reality against fantasy stands out as a unique selling point for this show, as does the fact that Lara’s story becomes infinitely more compelling than the character she tries to write! 

Overall, ‘Service Please’ was a joy to watch, even if moments of tension and sorrow could have been built upon more. Clever, compelling, and complex, Peele is a writer to watch out for in future productions.

‘Service Please’ is a production at the Edinburgh Fringe Festival between the 19th and 23rd of August. Tickets are available here: https://www.edfringe.com/tickets/whats-on/service-please.

REVIEW: FRANKENSTEIN: AFTERGLOW

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Rating: 4 out of 5.

A beautifully crafted exploration of a beloved novel

If there’s any show that does Mary Shelley’s Frankenstein justice, it is Frankenstein: Afterglow by Spike Rose Productions. Capturing the tone and atmosphere of the original source wonderfully, this forty-five minute production offers a fascinating new angle to the story we all know and love. Its premise, while simple – “what would have happened if the Doctor and his creation had lived?” – subverts expectations for the show and promises to leave you as an audience member with more to think about.

Spike Rose’s use of puppetry was a fantastic directorial and textual choice. It illuminated the performance, and elevated even the slightly weaker parts of the show with its originality and symbolism. Not once did it feel clunky or out-of-place: in this show about control, life, death, and pain, the puppetry served as a brilliant reminder of the show’s themes and messages.

What surprised and intrigued me most was the deviation from the source material. Frankenstein: Afterglow takes place after the novel, but that’s not the only change – the whole cadence of the story is different. The decision to create a show that follows its own rhythm meant it broke free from Shelley’s original text, giving it life of its own (no pun intended).

An incredibly memorable performance, Frankenstein: Afterglow offers a twist on the classic tale that leaves you wanting more. It is rare to find a show that you don’t want to end, but that is exactly the effect that Spike Rose Productions pull from the audience. The questions that are asked from the outset are not given concrete answers, but instead left for you to ponder: the show offers you another point-of-view, grotesque at first though it seems, and is a powerful commentary on playing god and marginalised perspectives.

(Frankenstein: Afterglow was a show at the Edinburgh Fringe. Find out more here: https://www.edfringe.com/tickets/whats-on/frankenstein-afterglow.)

REVIEW: F.U.D.S

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Rating: 5 out of 5.

The most authentically Scottish show I’ve seen at the Fringe!

F.U.D.S. is a brilliant, gritty, fun performance written by Sam Stuart Fraser and Sean Fullwood that delights and entertains its audience in equal measure. Set entirely in a Glasgow flat shared by the lovable Tinny (Sam Stuart Fraser) and the quiet, ambitious Faolan (Matthew Boyle), the duo invite their high-strung wild dealer, Buzz (Darryl Mair), around for a night he promises will “wake them up”. The fallout that ensues is hysterical and unpredictable, that culminates in a moving performance from all three actors. 

What excites me about F.U.D.S. is how true to life it stays while maintaining an air of comedy and melodrama. The three characters’ predicament seems life-or-death to the audience, because to the characters, it is — and we wholeheartedly believe them. Every emotion that they cycle through is experienced by the crowd: this is especially apparent at the play’s climax, where I found myself literally on the edge of my seat. Though the play begins and ends with two guys on a couch, and the rest of the play’s world unaffected by the action that occurs, the characters’ lives are changed forever. 

Each of the themes that F.U.D.S. explores — addiction, toxicity within friendship, ambition, intelligence (and different types of it), government disillusion, conspiracy theories — is dealt with using tact, humor, and subtle care. While some jokes, at times, didn’t land with the audience, the overall messages told stand out as compelling and vital. This show is a must-see for fans of Scottish comedy and outstanding new writers, capturing the grit and cynicism that often faces Scottish youth. 

(F.U.D.S. is at the Edinburgh Fringe between the 13th and 25th of August, excluding the 19th. Tickets available here: https://www.edfringe.com/tickets/whats-on/f-u-d-s.)

REVIEW: Devil’s Point

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Rating: 5 out of 5.

 ‘Chilling and superbly written’

There are few plays that dare to be as boldly experimental and haunting as Devil’s Point, a forty-five minute horror by Laura Milton. Utilising an unusual form of storytelling, shadow puppets, amidst eerie music and voiceover so subtle you can’t be sure at first if you’re just imagining it, Milton’s play is a masterpiece of technique and experimental theatre.

Both actors – Logan Rodgers playing Sean and Laura Milton herself playing Ailsa – were phenomenal, playing a young couple who had fallen out of love and yet had found themselves on an overnight hike to the infamous Devil’s Point. Through flashbacks, longing glances, reluctantly-given smiles and clever writing cues, the audience gathers the complicated feelings that still remain between the couple.

The audio was perfectly chosen, filling the small venue with a creeping sense of dread even through flashbacks to the couple’s happier moments. It also added to the unease, the inability for the audience to trust what they were seeing: what was real? Were they being tricked, led towards a false conclusion like the stories of several women throughout the play? To have the audience second-guessing their every step was a powerful technique that both actors and director played with brilliantly.

Overall, my only wish for this play was that it had been longer! Devil’s Point weaves together folklore, truth, and relationships in a way that feels expertly handled, exploring troubling and dark themes throughout its short span. Cutty Sark Theatre have done it again: creating a play that will stick with you any time you venture near Scotland’s natural landscapes.

Devil’s Point is at the Edinburgh Fringe between the 12th and the 16th August at thespace. Tickets are available here: https://www.edfringe.com/tickets/whats-on/devil-s-point.

REVIEW: Baxter vs The Bookies

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Rating: 4 out of 5.

A wonderfully charming portrayal of an ordinary man against the (literal) odds

What an absolute joy of a show to watch! From beginning to end, actor Andy Linden embodied the not-so-typical life of a typical tipster brilliantly, it’s not an exaggeration to call ‘Baxter vs The Bookies’ a one-of-a-kind show. Linden, as a slyly earnest yet charismatic tipster, sucks the audience into his problems – from relationships and horses to prophetic postmen and a bet to end all bets – spinning tales that are as charming as they are hilarious. Despite my very limited understanding of betting language, Linden made it part of his vernacular, natural and entertaining, through characters that came alive through his form.

The only unfortunate part of the show was that sitting in the back row made it very difficult to hear every word that was said. Several audience members around me had to crane to hear, and sometimes jokes would land after a beat, when people had processed the quiet jab. The venue was also slightly too small: sitting next to the AC didn’t help in terms of the audio!

Despite this, Andy Linden’s performance is simply brilliant. The several tales he spins from the perspective of a tipster don’t just entertain: they’re representative of an average man rebelling (sometimes simply out of spite) against a world that ruins the game by trying to turn betting into simple statistics. Linden’s show is a triumph for all – and a must-see for anyone with a sense of humour, no matter your knowledge of horses.

(Baxter vs The Bookies is a play at the Edinburgh Fringe between the 1st and 25th August in the Gilded Balloon Patter House. Get your tickets here)

REVIEW: Becoming Maverick

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Rating: 4 out of 5.

Emotive, enrapturing, eloquent – Heather Alexander does it all

Becoming Maverick is a story like no other. Though inspired by Daphne du Maurier’s novel Rebecca (1938), I was immersed despite having no history with the book – in part to the wonderful script, and in part to the immensely talented Heather Alexander. This one woman show follows the life of a young woman who grew up in a home in the early 1900s, and her life as she learns to “do what she must”. 

From the moment the audience step into the venue, Heather Alexander commandeers the stage when necessary, and lets it swallow her up during softer, vulnerable moments. From portraying a young, scared child, to a wild, ambitious woman, the audience was enraptured by Alexander’s every word. Despite some technical difficulties which threw off some of her performance, it wasn’t immediately obvious to the audience, highlighting Alexander’s professionalism and skill. 

The only wish I had for the show was to do with the script: the plot twist in the last five or so minutes was incredible, though it felt jarring, unexpected. I would have liked the play to have been longer – an hour and a half, perhaps, to explore the consequences of this new twist, or to unpack it more – however it was constrained by the fifty minutes it had. Despite this, I found myself captivated by the show as a whole, a beautifully moving depiction of the effects that trauma can have on an individual throughout their life.

Overall, Becoming Maverick is a fantastically performed and written play, a true example of the talent and ability present at the Edinburgh Fringe. As well as giving me a new book to read, Heather Alexander is proof that actors can truly transform themselves into almost any character – keep an eye out for what she may do next: you won’t want to miss it.
(Becoming Maverick was an Edinburgh Fringe production between the 1st and 9th of August. More information here: https://www.edfringe.com/tickets/whats-on/becoming-maverick.)

REVIEW: The Forum

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Rating: 4 out of 5.

‘A gut-punching performance that leaves you questioning your own character’

The Forum isn’t just a show to watch: it’s a show to partake in. Sit back in your seats, because in this show, you as the audience pass silent judgement on the character on trial. Walking into the venue, each of the audience is presented with a slip of paper and a pencil. There are only two options: guilty and not guilty. Theatre has always had an ability to make the audience question what they believe to be true – this is brought to a boiling point by this powerful play.

We are confronted by the story of an FBI agent exposed to radical ideologies and far-right groups, and forced to decide his fate. Desmond Devenish, embodying not just Hitchens, the protagonist, but also his father, his friends, his enemies, and his allies, gives an outstanding performance, capturing the audience with his gritty acting and the open honesty with which he explains his character’s predicament.

While at times the story could be hard to follow due to the speed at which it was told, each character that Devenish portrays is real, flawed, and jarringly human. Though the audience are given only one judgement to make, I found myself making many: the play deconstructs what it means when a person you grow fond of – in this case, the character of Killian Hitchens – becomes a part of something you stand against. 

A riveting piece in both writing and performance, The Forum is not to be missed. It is one of the most thought-provoking shows at the Fringe, and is guaranteed to stick with you for days after watching.
(The Forum is at the Edinburgh Fringe from the 1st August to the 24th August at c aquila studio. Find tickets here: https://www.edfringe.com/tickets/whats-on/the-forum.)

REVIEW: Jumper Bumps

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Rating: 3 out of 5.

‘Wonderfully genuine actors and a script full of potential’

‘What happens when the thing you wished for your whole life turns out to be your worst nightmare? If you’ve ever wondered, look no further than Jumper Bumps, a heartfelt play surrounding motherhood, abortion, abusive relationships, and self-worth. Set in a small venue that works wonderfully as a flat, Jumper Bumps revolves around the friendship between Atlanta and Eris, the latter of whom starts off the play comedically by feigning pregnancy by giving herself a bump with a jumper she has purchased for Atlanta. The play quickly escalates when Eris finds herself pregnant. Both actors do a wonderful job of portraying the highs and lows of friendship put to the test, and explore difficult themes raised with grace and sincerity. 

The script, while applaudable for its unwavering stance for feminism and its gritty portrayal of an abusive relationship, falls somewhat short of the high it starts on. Sections of the play seem to repeat again and again, with Eris constantly seeming to take on Atlanta’s advice, only to consistently falling back into the same patterns in the next scene. To an extent, this was effective in showing the cycle of abuse, and the difficulty between knowing something is unhealthy and accepting it, but it started feeling slightly stale after the third repetition of this. While you sympathise with Eris deeply on her struggle through her painful choices, Atlanta as a character seems to have very few flaws, leaving her feeling slightly two-dimensional, a character who has all the answers for her friend. 

Nevertheless, there were several massively successful moments within the play, such as the portrayal of ‘The Dickhead’, who, while never appearing onstage, becomes a massively threatening character, and through the subtle but sharp critique of the medical system when it comes to abortion. Amelia Roger presents characters thrust into a difficult situation, and deals not only with the aftermath of decisions, but the strain it can put on friendships. A play that deserves more attention for its potential and dedication, I enjoyed the acting immensely, and look forward to seeing what this production company do next.

(Jumper Bumps is a show at the Edinburgh Fringe. It is available from the 1st to the 24th of August, excluding the 12th and 19th. Link to tickets is here: https://www.edfringe.com/tickets/whats-on/jumper-bumps.