Author: Rose Murray

REVIEW: Pippin

Published on by Rose MurrayLeave a comment

Rating: 5 out of 5.

Edinburgh University Footlights breathes new life into classic musical Pippin

Edinburgh University Footlights brings Stephen Schwartz’s beloved musical Pippin to vibrant life in this spectacular student production. The show follows young prince Pippin on his quest for meaning and fulfilment. Guided by the mysterious Leading Player, Pippin explores war, love, politics, and simple living, all in search of his true purpose.

The production opens with a sensational, dazzling rendition of Magic To Do, setting an electrifying tone for the rest of the performance. This group number highlights the ensemble’s energy and talent, at once drawing the audience into Pippin’s world of wonder and possibility.

The cast of Pippin is led by the brilliant Dan Bryant, who imbues the titular character with a naive, quirky insecurity that makes us root for his success and self-discovery. The audience are won over by his stumbling through life’s hurdles, which resonates deeply. Bryant’s vocals effortlessly convey Pippin’s inner turmoil and aspirations.

Minnie Cross, as Lewis’s mother, revels in the machinations typical of ambitious and villainous fairytale mothers seeking the best for their children. Her performance is visceral and catty, with silky, sassy vocals that masterfully portray a character often underestimated by the men around her.

Gemina Iseka-Bekane shines as the Leading Player, portraying the character with a beguiling mix of sex appeal, humour, and charm. As Pippin’s otherworldly guide, her powerhouse jazzy vocals are full of depth, even while executing complex choreography. Glory is a stunning, goosebump-inducing example of her epic breath control and vocal prowess. Iseka-Bekane’s acting range allows her to seamlessly transition from a supportive influence to a revealed toxic burden on Pippin, creating a gradual and surprising character arc.

Ewan Robertson’s Charles provides delightful buffoonery and slapstick comic relief, coupled with powerful vocals that match his authoritative position as king and cruel ruler. His eccentric, know-it-all attitude shines during War is a Science, where quick lyrics and ensemble choreography elicit chuckles from the audience. Robertson’s performance evokes comparisons to Hamilton’s King George III while keeping its own rough-around-the-edges unorthodoxy. 

Allison Lavercombe delivers a gentle yet impassioned performance as Catherine, offering moving reflections on widowhood and embracing each new day. Her heavenly vocals trickle through the air as she glides around the stage, yearning for something more while finding solace in Pippin’s love. The intimacy between Lavercombe and Bryant, expertly directed by Rebecca Mahar, feels genuine, infatuating, and comfortable.

Amy Stinton’s direction is exhilarating, creative, and daring, allowing each cast member to shine individually as well as collectively. Her vision brings out the moral core of the story while highlighting each performer’s strengths.

Rose Robert’s choreography, aided by Greta Abbey and Amrit Gill, injects professional pizzazz into every step, expertly executed by the talented ensemble. The dance sequences seamlessly blend with Tom Beazley’s mood-enhancing lighting, particularly effective in the blood-soaked battle scenes. The lighting becomes a character, visually standing for Pippin’s internal struggle and the manipulative forces surrounding him. Roberts pays homage to Bob Fosse’s iconic style while infusing fresh, invigorating elements for modern audiences. Her use of stillness and silence amplifies the impact of war sequences and big numbers.

Orly Benn’s portrayal of Berthe, Pippin’s grandmother, is a comedic highlight. Her performance of No Time at All, complete with audience sing-along, offers sage advice to both Pippin and spectators, reminding us that it is never too late to start living.

Emma Bland is endearing as Theo, Catherine’s son, playing a crucial role in the show’s conclusion and symbolising future generations caught in the Leading Player’s cycle.

The production’s musical numbers are consistently impressive, but Morning Glow during Pippin’s coronation scene stands out as a particular highlight. The fantastic dance numbers and incredible harmonising in this piece are fully fuelled with spirit, energy, and drama, elevating the emotional impact of this pivotal moment in Pippin’s journey.

Falk Meier’s musical direction, supported by Gabby Blackie, Ciara Briody, and Benji Castella McDonald, is nothing short of legendary. The 12-piece band breathes life into Pippin’s journey, seamlessly navigating the show’s eclectic mix of musical genres and evoking profound emotional responses.

The production’s use of audience participation and fourth-wall breaking adds an engaging meta-layer to the performance. It underscores the themes of societal pressure and the search for fulfilment, making the audience feel intimately connected to Pippin’s journey.

Holly Stephens’ set design makes the most of a typical Fringe venue, offering levels, dynamism, and interesting use of space in Pippin. Her creative approach adds to the overall visual impact of the production, proving that innovative design can overcome the limitations of a smaller venue.

In conclusion, Edinburgh University Footlights’ production of Pippin is a tour de force of musical theatre, packed with fun, feeling, and thought-provoking moral questions. This reimagined coming-of-age story, brought to life by an exceptional student cast and crew, showcases the power of engaging storytelling and leaves the audience both entertained and introspective. It is a testament to the talent and dedication of the university’s performing arts community, proving that student productions can rival professional performances in quality and impact.

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

REVIEW: Character Flaw

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Rating: 4 out of 5.

A Vibrant Exploration of ADHD

Written and performed by Philippa Dawson, Character Flaw is a colourful explosion of humour and insight into the world of ADHD and queer identity. Directed by Nat Kennedy, with voice contributions from Charly Clive as Jean and Helen Colby as the train announcer, this one-woman show tackles themes of neurodivergence, sexuality, and mental health with both sensitivity and wit.

From the moment Pip rushes onto the stage—purposefully late for effect after the drumroll—the audience is plunged into the frantic, often misunderstood world of ADHD. This clever entrance sets the tone for a down-to-Earth performance that’s as educational as it is entertaining. Dawson’s stage presence is magnetic; her quirky, expressive, and vulnerable portrayal invites the audience into her struggles with self-esteem and emotional regulation.

A lot of Character Flaw cleverly takes places in train stations which are obviously busy and overwhelming environments. This serves as a perfect physical and metaphorical setting for the crowded, overstimulating experiences that many with ADHD face daily. The stress-inducing sound design including announcements of delayed trains, lost tickets, and the general chaos of public transport is effective and amplifies Pip’s experiences, making them relatable even to neurotypical audience members.

Throughout the performance, Dawson refers to an imposing and weighty ADHD dictionary, using the prop to educate the audience with facts, figures, and definitions. Jean, the personification of Dawson’s ADHD and interrupting thoughts, adds layers of humour, frustration, and clarity to the narrative. This utilisation effectively illustrates what it’s like to be in her head, showcasing instances where her mind jumps erratically, blocks out information, or leads her to dissociate during serious conversations. Through Jean, the audience gains insight into the constant internal dialogue and distractions that characterize the ADHD experience.

One of the most poignant aspects of Character Flaw is its exploration of the isolation and rejection that can come with ADHD. Pip’s admission of running away from people due to mental and physical exhaustion from constant apologies is deeply moving. It reveals the hidden struggles behind her bubbly exterior and highlights the challenges faced in friendships, relationships, work, and financial matters within neurotypical systems.

The show’s commitment to inclusivity extends beyond its content. The relaxed performance I attended provided earplugs and loosened rules for attendees, demonstrating a progressive approach to theatre accessibility. 

Character Flaw is not just a show; it’s an experience that educates, moves, and thoroughly entertains. Through hysterical anecdotes (like losing a passport twice on the same trip) and eye-opening discussions, Dawson navigates the challenges and celebrates the joys of neurodiversity. This performance is a must-see for anyone looking to understand ADHD better or simply enjoy an afternoon of thought-provoking and laugh-out-loud theatre.

https://tickets.edfringe.com/whats-on/character-flaw

REVIEW: Verbal Diary

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Rating: 4 out of 5.

Slapstick and song collide in the delightful Verbal Diary

Verbal Diary, a musical comedy masterfully crafted by John Otway and Paul Bradley, with additional material by Tom Johnson, offers a riotous journey through the mishaps of Gordon, an endearingly unlucky photojournalist.

This laugh-out-loud tale follows the misfortunes of protagonist Gordon (brilliantly and boisterously portrayed by Tom Johnson) as he tackles two ambitious New Year’s resolutions: maintaining a daily diary and wooing his new flatmate, Cheryl. Unbeknownst to our hapless hero, his quirky roommates secretly devour his innermost thoughts, setting the stage for a cascade of hilarious misunderstandings and comedic gold.

Johnson’s Gordon is the pulsating heart of Verbal Diary, anchoring the show with his masterful slapstick and unexpected moments of tenderness. His exaggerated expressions and profuse sweating elicit hearty guffaws, while his nuanced portrayal of Gordon’s vulnerabilities adds surprising depth to the character.

The supporting cast shines equally bright. Georgie Harriet-King infuses Cheryl with a natural warmth that’s instantly appealing. Alex J Carter’s dual roles as Phil and Eric showcase his remarkable comedic prowess, with impeccable timing and outlandish delivery creating distinctly memorable characters. Bruce Murray effortlessly rounds out the ensemble as misunderstood Tristram, the jaded poet who desperately yearns to break into the music industry.

John Otway’s original score, brought vibrantly to life by guitarist Martin Cutmore, perfectly complements the on-stage antics. The innovative set design features a giant book replicating Gordon’s diary, from which his flatmates secretly read entries containing his deepest and darkest secrets. These pages ingeniously serve as scene backdrops, adding visual flair and ensuring seamless transitions.

Echoing beloved British sitcoms like Bottom and The Young Ones, Verbal Diary strikes a perfect balance between physical comedy, sharp wit, and catchy tunes. The Human Menagerie’s production will have you in stitches, humming along, and fervently cheering for Gordon as he stumbles through life and love.

For a night of uproarious laughter and a nostalgic nod to classic British humour, Verbal Diary is an absolute must-see. It’s a feel-good romp that will leave you grinning from ear to ear long after the final curtain falls.

https://tickets.edfringe.com/whats-on/verbal-diary

REVIEW: Surrender

Published on by Rose MurrayLeave a comment

Rating: 4 out of 5.

From womb to cell: Surrender traces society’s betrayal of mothers

HFH Productions presents Surrender, a powerful one-woman play penned by Sophie Swithinbank and brilliantly performed by Phoebe Ladenburg. This intense tour de force explores the labyrinthine relationship between a mother and daughter, sundered by prison walls and twelve years of estrangement.

Ladenburg delivers a mesmerising performance as Mother, whose tale unfolds during a single, emotionally charged prison visit. The audience is instantly drawn into her world, perceiving events solely through her lens – one that may not be entirely reliable. This unreliable narration adds layers of complexity, challenging viewers to ponder the nature of truth and the value of personal experience.

The minimalist set design ingeniously reinforces the themes of confinement and surveillance. A clinical white backdrop is adorned with two coats hanging from hooks – a smart trench coat symbolising the character’s aspirations, and a form-fitting pink coat associated with an uncomfortable audition for The Taming of the Shrew. Mother’s chair, positioned opposite her unseen daughter’s, with an assumed table between, serves as the focal point, emphasising the physical and emotional barriers between them. The omnipresent watchful prison guard contributes to an undercurrent of tension, a constant reminder of the strict limitations imposed on this reunion.

Ladenburg’s portrayal of Mother is nothing short of captivating. She breathes life into a character who is simultaneously bold, quick-witted, and profoundly troubled. Mother’s desperation is palpable as she seeks not forgiveness, but a chance at future reconciliation. The actress masterfully conveys the character’s vibrant spirit and untapped potential, leaving the audience yearning to reach out and offer solace.

Surrender confronts controversial topics head-on, offering a raw, unflinching examination of the challenges facing single mothers. It touches on issues such as poverty, societal expectations, and the criminal justice system, deftly exploring the chasm between romanticised notions of motherhood and the harsh realities many women face, including sleep deprivation and profound isolation.

Small, poignant moments punctuate the performance, adding layers of humanity to Mother’s character. Her gestures – clutching a borrowed vape pen or savouring a sip of apple juice – speak volumes about her longing for freedom and a return to simpler times. These nuanced details render her deeply relatable and human, transcending her roles as mother and prisoner.

The play poses thought-provoking questions about truth, perception, and the power of accusation. It challenges the audience to consider how allegations can take on a life of their own, regardless of their veracity. This theme reverberates throughout the performance, adding a layer of psychological complexity to the already charged emotional narrative.

Surrender is both a deeply personal story and a potent political statement. It illuminates the treatment of women in modern society, particularly mothers who find themselves struggling against a system that often fails to provide adequate support. The play serves as a poignant commentary on the challenges faced by women in a patriarchal society, especially when grappling with the life-altering experience of motherhood.

In conclusion, Surrender is a compelling and impactful piece of theatre. It offers a nuanced exploration of motherhood, societal expectations, and the criminal justice system. Phoebe Ladenburg’s riveting performance, combined with Sophie Swithinbank’s insightful writing, creates a thought-provoking experience that lingers long after its conclusion. This production is essential viewing for anyone interested in powerful, socially relevant theatre. 

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

REVIEW: Burnout Paradise

Published on by Rose Murray1 Comment

Rating: 5 out of 5.

A Breathtaking Sprint Through Modern Life’s Treadmill

Produced by Pony Cam Collective and Parrot Ox, Burnout Paradise is a tour de force of endurance theatre that captivates and exhausts its audience as much as its performers.

The cast – Claire Bird, Hugo Williams, William Stron, and Dominic Weintraub – each mount a treadmill labeled with a different aspect of modern life: Survival, Admin, Performance, and Leisure. For forty minutes, they rotate through these stations, spending ten minutes at each. Laura Aldous serves as the Berocca-providing mediator and host overseeing the grueling performance.

The show begins with a bet: if the four performers do not collectively surpass the previous distance record of 20.70km on the treadmills, Laura will refund everyone’s tickets. This stake-raising gambit adds palpable tension to an already electrifying atmosphere. On the day I attended – the tenth show – the team triumphantly covered 21.16km (more than twice the height of Mount Everest), having failed to meet the target eight times prior.

What sets Burnout Paradise apart is its seamless integration of audience participation. Spectators are drawn into the immersive experience, becoming part of a living metaphor for our daily lives under capitalism. The performance brilliantly emulates the exhausting pressure to “work hard, play hard” and the societal expectation to excel in every aspect of life, often at the cost of mental well-being and inner peace.

Each treadmill station presents unique challenges. At “Survival,” performers must cook a three-course meal for volunteer diners. “Admin” requires writing a £20,000 grant application to Creative Scotland. “Performance” showcases talents ranging from tap dancing to Shakespearean recitals. “Leisure” involves multitasking through various self-care and relaxation activities, from painting nails to solving a Rubik’s cube.

Pony Cam Collective’s critique of modern life is as incisive as it is physical. Burnout Paradise unravels the realization that the capitalist system we reluctantly participate in is fundamentally at odds with human well-being. It’s a delirious celebration of our collective struggle to establish boundaries in lives where we’re expected to juggle countless responsibilities while making it all look effortless.

However, amidst this critique, the show offers a glimmer of hope. The interactions between performers and audience members foster a sense of community, emphasizing the importance of mutual support and burden-sharing. This aspect serves as a poignant reminder of the communal values that have been eroded by capitalism’s individualistic ethos.

Through its innovative set design, physical theatre, and abundant audience interaction, Burnout Paradise delivers a refreshing and topical commentary on our toxic relationship with productivity. It speaks not only to creatives but to anyone grappling with the demands of modern life, from teachers to doctors, to librarians to waitresses.

In Burnout Paradise, Pony Cam Collective has created a powerful, thought-provoking piece that is as hilariously entertaining as it is exhausting. It’s a must-see performance that will leave you breathless, both literally and figuratively.

https://tickets.edfringe.com/whats-on/burnout-paradise

REVIEW: Instructions

Published on by Rose MurrayLeave a comment

Rating: 4 out of 5.

A paradigm-shifting investigation of AI and Humanity

Nathan Ellis’s Instructions is a groundbreaking theatrical experience that pushes the
boundaries of performance art while delving into the complex relationship between
artificial intelligence and human creativity. Produced by SUBJECT OBJECT, this innovative production challenges audiences to confront the ethical implications of AI in an increasingly automated world.

At the heart of Instructions lies a daring concept: each day, a different actor steps
onto the stage without any prior preparation. Guided solely by on-screen prompts,
the performer becomes a puppet to an unseen digital puppeteer. This unique
approach not only highlights the raw talent of the actors but also serves as a chilling
metaphor for the potential control AI could exert over human behaviour and decision-
making. As the actor follows each command, we see a stark representation of a
future where AI systems might dictate our actions, choices, and even our creative expressions.

On the day I attended, Nikhil Vyas took centre stage, delivering a performance that
was equally captivating and unsettling. Vyas’s ability to seamlessly transition
between emotions and keep a palpable sense of vulnerability, created an intimate
connection between him and the audience. His journey became our own, as we
collectively grappled with the implications of an AI-driven future.

David Doyle’s masterful lighting design amplifies the production’s unsettling
atmosphere. The stark contrast between blinding illumination and engulfing darkness
mirrors the dichotomy of AI’s nature—its potential to expose truths and shed light on
hidden aspects of our world, while simultaneously concealing its own potentially dark
and malicious intents. This visual metaphor serves as a powerful reminder that while
AI may offer unprecedented insights and capabilities, its true motivations and long-
term impacts stay shrouded in uncertainty. A particularly haunting sequence bathes
Vyas in crimson light as he rotates on an LED platform, evoking the sensation of being dissected and ensnared by an all-seeing, yet inscrutable, algorithmic presence.

Ellis’s script cleverly weaves in Shakespearean references from As You Like It,
notably the famous quote, “All the world’s a stage, and all the men and women
merely players,” which takes on new meaning in the context of AI-driven
performance. This juxtaposition of classical theatre with cutting-edge technology
underscores the play’s exploration of what it means to be human and individual in an increasingly digital age.

Instructions also forces us to confront uncomfortable questions about the future of
creative industries. As AI capabilities grow, will human artists become obsolete? Is
the pursuit of technological perfection worth the potential cost to human livelihoods
and artistic expression? The play offers no easy answers but compels us to engage with these pressing ethical dilemmas.

While the spectre of AI dominance looms large, Instructions is not merely a
cautionary tale. It is a call to action, urging us to critically examine our relationship
with technology and reassert our humanity in the face of automation. The
production’s recurring refrain, “Are we stuck in a loop?” echoes long after the final
blackout, challenging audiences to break free from the cycles of complacency that threaten to define our AI-assisted future.

Instructions is a must-see for anyone interested in the intersection of technology, art,
and human consciousness. It is a thought-provoking, sensory-rich experience that
will leave you questioning the nature of creativity, identity, and what it truly means to
be human in the 21st century.

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

REVIEW: Flicker

Published on by Rose MurrayLeave a comment

Rating: 5 out of 5.

Flicker blazes a trail for authentic OCD representation onstage.

Presented by HFH Productions and Bethany Cooper Productions, Flicker is a searing, slapstick portrayal of one woman’s relentless struggle with obsessive-compulsive disorder. Written by Gabriella Foley and directed by Zoë Templeman-Young, this lively, thought-provoking show invites the audience deep into the discomfort, self-hatred, and frustration of living with OCD.

The modern-day sex farce opens with the protagonist, Jo (played by Foley herself), enduring an embarrassingly awkward sexual encounter with a man she met online, George (expertly portrayed by Kasper Hilton-Hill). From the moment the lights rise on the cramped apartment set, we’re immersed in the claustrophobic reality of Jo’s world – a Gen-Z nightmare brought to life, where the characters constantly collide, desperately seeking pockets of peace and privacy that forever elude them.

Foley’s performance is a revelation, channeling the neurotic, anxious energy of Fleabag while baring the raw, unvarnished truth of her character’s intrusive thoughts and compulsions. Through Jo’s brutally honest asides, we’re granted shocking access to the disturbing, terrifying landscape of her OCD mind. Initially charmed by her quirky mannerisms, we soon find ourselves as fatigued as Jo, worn down by the relentless barrage of disgusting ideas that infiltrate her psyche without her consent.

The show’s unflinching depiction of how OCD can devastate lives and relationships is both uncomfortable and essential. Even Jo’s well-intentioned friend, Anna (eloquently played by Olivia Michi Shrenzel), perpetuates the judgment and stigma that so many OCD sufferers face, even from their loved ones. And when the narrative ventures into the taboo territory of pedophilia-themed obsessions, the creative team of Flicker demonstrates a nuanced understanding of the disorder, making it clear that these thoughts are a manifestation of illness, not moral failing.

The production elements heighten the emotional impact, with Beth Lewis’ evocative sound design ratcheting up the tension during the manic, high-energy scenes. And Beth Gupwell’s lighting design achieves a particularly striking moment when Jo opens up to Anna about her innermost turmoil, the stage bathed in heavenly, sky-like visuals that convey the profound relief of being truly seen and understood.

Flawlessly executed, with seamless interjections from Foley, stellar intimacy direction by Abigail Kessel, and evocative sound and lighting design, Flicker is a bold, unapologetic work that refuses to shy away from the messy, excruciating reality of OCD. In doing so, it provides a liberating platform for the oft-overlooked voices of those living with this debilitating condition, sparking vital conversations that have been too long delayed.

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

REVIEW: Why Am I (Still) Like This?

Published on by Rose MurrayLeave a comment

Rating: 4 out of 5.

Raw emotion meets comedic brilliance in this unflinching exploration of ADHD

Nicole Nadler’s Why Am I (Still) Like This? is a moving and hilarious exploration of life with ADHD that leaves audiences both crying and laughing. In this captivating one-woman show, Nadler fearlessly delves into her 30-year journey with neurodivergence, using a minimalist set to maximum effect.

The stark staging, featuring a spotlight that isolates Nadler during extreme moments of vulnerability, perfectly emblematizes the sense of exposure and alienation often felt by those with ADHD. The body-length mirror she carries throughout the performance serves as a powerful metaphor for the weight of unanswered questions and the harsh inner critic that plagues many with the condition.

Nadler’s storytelling is a masterclass in pacing and emotional range. She effortlessly transitions between flashbacks and present-day reflections, her rapid-fire delivery mimicking the frenetic pace of an ADHD mind. Her ability to bounce back with renewed energy after deeply emotional scenes is a testament to her skill as a performer. The show doesn’t shy away from the harsh realities of living with ADHD in a neuronormative world.

Nadler tackles both personal struggles and systemic issues, challenging the notion that ADHD’s positive traits outweigh its challenges. Her frank discussion of seemingly simple tasks like timekeeping or grocery shopping resonates deeply with those who share her experiences. Building on the success of her 2023 show, Why Am I Like This?, Nadler’s sequel delves deeper into themes of self-acceptance and love. She references a poignant line from The Perks of Being a Wallflower – “we accept the love we think we deserve” – to underscore the show’s central message: true validation comes from within, not from external sources.

Why Am I (Still) Like This? is ultimately a celebration of self-love and the determination required to achieve it, especially in the face of societal pressure and past traumas. Nadler’s performance is a triumph of storytelling, humour, and raw emotion that will resonate with anyone who has ever felt out of step with the world around them.

https://tickets.edfringe.com/whats-on/why-am-i-still-like-this

REVIEW: Eleanor

Published on by Rose MurrayLeave a comment

Rating: 5 out of 5.

In Eleanor, the personal is political, the historical is contemporary, and the struggle is eternal.

Ganymede Theatre Company’s Eleanor, written and directed by Agnes Perry-Robinson, with additional direction from Eve Hartley, masterfully chronicles the life of Eleanor – a female martyr involuntarily living in her father’s shadow. While tirelessly championing the rights of others, Eleanor, portrayed by Arlene McKay, grapples with personal turmoil inflicted by her manipulative lover, Edward (played by Columbus Mason). The play transports audiences to fin-de-siècle England, addressing issues of revolution, socialism, women’s agency and right to not only be heard but listened to, and the crippling and unforgiving power men hold over women that unfortunately remains starkly relevant for modern audiences today.

The cast’s close-knit camaraderie is reminiscent of Louisa May Alcott’s Little Women, which is complemented by convincing period costumes. Seamless scene transitions and the cast’s unwavering focus create the experience of peering into an old photograph witnessing late 1800s archetypes living their bewilderingly domestic, restricted, yet enchanting lives. While capturing this era’s essence, Eleanor does not shy away from darker themes of abuse, infidelity, and depression.

Eva Johnstone’s effective intimacy coordination lends tactile realism to both couples, Dollie and Ernest (sweet and wholesome), and the tantalising toxicity between Eleanor and Edward. Mason’s Edward exudes grotesque superiority, violently belittling Eleanor through cold, cruel gestures and smug expressions, treating the stage as his own throne room. Arlene McKay portrays Eleanor (nicknamed Tuffy) as headstrong, brave, and passionate – a social justice warrior, however also tragic in equal measures, foolishly in love with Edward. McKay, with her raw and show-stopping range enables the audience to feel the discomfort, suffocation, paranoia, and weight of carrying societal constraints of the era – when security often depended on male approval.

Eleanor also explores the impact of names and reputations, questioning whether ancestral legacy crushes or elevates individuals. Nelly Greig radiates as the caring, nurturing, grounded, and sensible Dollie, offering herself as a soothing soulmate poet to Eleanor.

In sum, Eleanor is a beautifully and poignantly written play that celebrates female friendship and rejects power-hungry structures that confirm mediocre men’s sensations. This narrative resonates particularly in our contemporary world, where issues of gender dynamics and power imbalances continue to persist, especially in the age of modern dating and relationships.

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

REVIEW: Darkfield: Flight

Published on by Rose Murray1 Comment

Rating: 5 out of 5.

A mind-bending journey through the simulation of reality and imagination


Darkfield’s Flight redefines immersive theatre, plunging the audience into an experience so vivid and all-encompassing that you will question your very existence. From the moment you step into the meticulously recreated airplane cabin, complete with familiar seats, overhead lockers, and attentive air hostesses, you are transported into a world that feels unnervingly real. The genius of Flight lies in its ability to lull you into a false sense of security. As you fasten your seatbelt, peruse the safety information, and mentally accept refreshments, the calm, settled atmosphere serves as the perfect counterpoint to the turbulence that lies ahead – both literal and metaphysical.

Equipped with a headset that delivers surround sound of exceptional quality, you are plunged into an auditory landscape that challenges your sense of reality. Are you truly on this plane? Are you alive, dead, or caught in some liminal space between parallel universes? The lines quickly blur, leaving you both paranoid and oddly accepting of your fate. What sets Flight apart is its reliance on sound and darkness rather than visual effects. In the pitch-black cabin, your imagination runs wild, conjuring vivid scenarios that no special effect could match. The soundscape is rich with the ambient noise of fellow passengers – crying babies, nervous flyers – grounding you in a shared experience while simultaneously heightening the surreal nature of your personal journey. Perhaps most intriguing is the sense of being privy to a secret. You are told you are “lucky” due to your seat placement, but is this a blessing or a curse? This uncertainty keeps you on edge throughout the performance, a willing participant in a cosmic joke you do not fully understand. Flight is a testament to the power of suggestion and the human mind’s capacity for both fear and wonder. It seamlessly blends comfort and discomfort, reality and fantasy, in a way that challenges our perception of existence. By the time you “land,” you’ll find yourself contemplating the fragility of life and the infinite possibilities that might lie just beyond our perception. For those seeking an utterly unique theatrical experience that will linger in your thoughts long after it’s over, Flight is an absolute must-see.

Darkfield has created a journey that is equal parts thrilling, unsettling, and profoundly thought-provoking. Fasten your seatbelts – this is one flight you will not soon forget.

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