Category: Review

REVIEW: Derek Mitchell: Double Dutch

Published on by micaandersonLeave a comment

Rating: 5 out of 5.

A side-splitting social anthropology lecture

An American, a Dutchman, and an Englishman walk into a bar – and Derek Mitchell is ready to take the piss out of all of them. An absolutely brilliant, jam-packed hour of frenetic accents, absurdist character comedy, and crowd work worthy of Nobel Peace Prize. 

Mitchell bursts onto stage in clogs, and the energy stays at eleven for the entire hour – the physicality of their comedy combined with the quickness of their jokes barely leaves the audience time to register the true depth of a lot of Mitchell’s bits. There’s references only a few people will get (Derek, if you’re reading this – I understood the Liza with a z joke); but it doesn’t feel alienating. As Mitchell speaks on their experiences immigrating from the States to the Netherlands to England (and there and back etc.), there is a real intellectual grounding to the surface-level comedy. 

As someone who grew up moving from country to country every few years or so, Mitchell’s show rings very true – but more than this, as participants in a society that is growing more and more multicultural, we recognise parts of ourselves in Mitchell’s pastiches. Our obsession with where people come from and why they are here – but Mitchell doesn’t seek to make us feel bad for this. Instead, they deliver a side-splitting social anthropology lecture as to why our differences, though not insignificant, should not divide us. 

Mitchell is quite possibly one of the wittiest and most physical comedians at the Fringe – so whether you’re American, Dutch, English, or none of the above, make sure you catch Double Dutch.

https://tickets.edfringe.com/whats-on/derek-mitchell-double-dutch

REVIEW: My Mother’s Funeral: The Show

Published on by jamesrobertson42Leave a comment

Rating: 5 out of 5.

When Abigail’s mum dies, the only thing she can afford is writing a play about it to fund her funeral

My Mother’s Funeral: The Show, written by Kelly Jones, follows Abigail, a struggling playwright who’s mum Linda passes away. Without any money to give her the funeral she believes she deserves, Abigail, who’s current script holds no interest for the big theatre she is attached to, decides to create what they are looking for: a piece that is gritty, real and authentic. So she makes a play about the death of her mum.

Abigail is brilliantly brought to life by Nicole Sawyerr, who evokes the anxiety of organising a funeral while dealing with grief dialled up to eleven. Samuel Armfield deftly switches between Darren, Abigail’s brother, and the head of the theatre, giving both of these characters the injection of sincerity and satire, respectively, that they both deserve. Debra Baker is a true standout, shining as Abigail’s Mum with an ease that will surely put a smile on your face.

The play flows fluidly from scene to scene, brought to life by Charlotte Bennett’s incredible direction. Adorned from the start with just a microphone through which Abigail can “speak her truth”, the stage is layered with reminders of her Mum, utilising the Roundabout’s space in intriguing ways.

The play deals with class in thought-provoking but hilarious ways, as the prospect of Abigail forced to write something that is “true to life” becomes quickly disingenuous. Must she fictionalise her own mother in order to have enough money to pay for her to have a proper funeral? Why is so much importance placed on whatever a “proper” funeral actually means?

A true highlight of the Edinburgh Fringe this year, My Mother’s Funeral: The Show is not to be missed. 

https://tickets.edfringe.com/whats-on/my-mother-s-funeral-the-show

REVIEW: The Emu War: A New Musical

Published on by jamesrobertson42Leave a comment

Rating: 4 out of 5.

 Hilarious musical retelling of the only war Australia lost – to the emus

Have you ever thought about how the famed Emu War would make a great musical?

That’s what writer Lotte Pearl thought. From Pearl Whirl productions, The Emu War: A New Musical hits the Pleasance Theatre’s stage at Edinburgh Fringe, bringing with it a performance that is brimming with character and silliness.

In 1932, the Australian government declared war on all of emu kind, after they destroyed many farmers’ crops in Western Australia. The farmers are distraught and the military are hapless, resulting in a measly outcome where Australia failed to make any difference to the emu population.

The musical dramatises this major historical event in a quirky way. Following farmers Greg, played by Violet Morris, and Steve, played by Tom Brace-Jenkins, who only want to grow as much wheat to bake bread, their decision to ask the government to assist takes a dark turn as the military get the guns at the ready to kill as many emus as possible.

With music composed by Pearl and co-composer Toby Little, the songs do well to convey the story, with some hilarious stand out tunes. Consisting of only a piano and sometimes guitar, accompanied by an emu on box drum, its really the ensemble’s vocal chops that take centre stage and fill out the sound of the performance.

Although the comic potential of the emu war may have been under developed in some aspects, The Emu War: A New Musical shines as a funny, heartfelt and wacky musical comedy. 

https://tickets.edfringe.com/whats-on/emu-war-a-new-musical

REVIEW: The Fabulist

Published on by Mark LloydLeave a comment

Rating: 3 out of 5.

Some fabulous vocal performances in The Fabulist

The Fabulist is a new show (opera? musical?) based on the music of Giovanni Paisiello, the classical Italian composer who died in 1816. It is revived into the modern day with book and lyrics by James P. Farwell. Well I say modern day, this show is set in 1929 in Mussolini’s Italy on a film set run by 2 sisters, one of whom is looking for love, and one of whom wants nothing of the sort. This show describes itself as a “playful new musical with an operatic edge”, but I would say there is far more than an “edge” of the operatic. If you go and see this show, go in expecting to see operatic songs and music with some dialogue in between them, rather than anything akin to a new modern musical. I know for me it took me a few moments to re-adjust my expectations once the first song began. 

There are some really strong vocal performances in this show, with particular shout-outs to Lily De La Haye as the uptight director/auteur Cassandra, and Reka Jonas who plays her soft hearted sister Clarice. Both gave incredible performances both vocally and physically and really helped to sell the emotion and playfulness in the script. All of the performances are very heightened and melodramatic, sometimes veering into panto-esque territory, and I do think this perhaps could have been dialed back a bit for a few moments to give the show more variety in tone.  

The story is a classic romantic comedy but as a consequence of this it is very much full of cliches and is entirely predictable throughout. This may have been intentional and an ode to other comedic operas and plays, but it does mean this show does not have too much about it which makes it stand out. The show’s title “Fabulist” refers to essentially very good magicians, and Dan Smith performs some cool magic tricks on stage, but these were sadly limited in scope and on occasion went on too long. I admire the work to perform “real” magic tricks on stage which you might see at actual magic shows, but as magic is actually real in the world of this show, some more theatre magic might have helped to sell the fantastical nature and given more gravity and spectacle to the show. With other magic themed shows being a long running feature of the London theatre scene now, more could perhaps be attempted here to help match the new elevated audience expectations for what is possible on stage.

This show also has some pacing issues, with the middle section of the show, before and after the interval, seeming to lose all momentum and far too much time is spent pondering faux political concepts rather than driving forward character or story. It is all done quite entertainingly, but after a while you do just start to feel like you are waiting for something of actual consequence to happen.The interesting and eclectic set, and faultless to my ears musical performances work well in a smaller theatre such as the Charing Cross Theatre, and certainly help to give the show a real sense of professionalism and polish.

In conclusion, there are some definite high points in this show, but unfortunately not enough to keep general audiences entertained throughout, and I would not recommend this as anyone’s introduction to musicals, opera, or musicals with an opera edge. However, if you fancy seeing something a bit different from the usual offerings and want to watch some very accomplished opera singers live, then this is a show I can recommend for you.

REVIEW: Caitlin Cook: The Writing on the Stall

Published on by Claire McArthurLeave a comment

Rating: 4 out of 5.

The most charming show to be sung on a toilet

“Since writing on toilet walls is done neither for critical acclaim nor financial rewards, it is the purest form of art – discuss” might sound like an exam nightmare, but in the hands of LA-born Oxford-educated Caitlin Cook, we explore the beauty that lurks in the most unexpected of places. And who does takes a pen to the bathroom? 

Entering the stage, yanking down one of what is later to be revealed as several pairs of underwear, Caitlin takes to her throne, and spills her soul to the audience inhabiting the toilets of a dive bar. She shares petty gripes about a frenemy, and she ponders the bonding experience of women in a bathroom. 

Caitlin then uses the graffiti scribblings as lyrics to her songs, which are sweetly sung and picked out on her guitar with disarming charm. Displayed on the screen behind her, we roll through various inscriptions, woven together with deceptive ease, raising gales of laughter from the audience. We explore the duality of these messages – from the life affirming, to the opposite extreme, from the prosaic to the sexual, and back again. So many women appear to have met the same transport-related man, and there are some innovative reinterpretations of nursery rhymes (essentially, with added tits). 

Unsurprisingly, men’s toilets prove to be entirely more phallic in nature. What is surprising, and very entertaining, is the academic perspective that Caitlin follows. Her studies on anatomy and statues, and a query about what determines what is art vs graffiti, form the focal point here, and she has a gift for translating the academic into everyday parlance (she can prove it under timed conditions too).    

Caitlin made an effort to tailor some references to be Edinburgh specific (yes, the Hive really does smell that bad, and also gives an explanation for why she’s been banned from bars on Cowgate), but some are perhaps still a bit too US-centric to translate fully. Similarly, some of the graffiti elements are just a bit too cutesy and could have been sharper – although this might be more reflective of Scottish toilets than the rest of the world (a phrase I wasn’t expecting to write this Fringe). I’d be surprised if a Buzzfeed writer hadn’t made a listicle of some of the more generally appealing ones already. However, this doesn’t detract from what is clearly a well-honed and meticulously planned show. 

The twist in the climax of the performance is shocking, and quite rightly, produces an abrupt change in flow. Without giving away the story, it’s revealed that Caitlin has a traumatic experience from her teens that has shaped her experiences, and there’s a particular piece of graffiti that has spoken to her in this time. Although deeply affecting, this felt like it might be one element too far, but again, this is a minor point in what is a very entertaining and unique show, with mass appeal. Just stay away from men named Bus Stop. 

https://tickets.edfringe.com/whats-on/caitlin-cook-the-writing-on-the-stall

REVIEW: Knapsack

Published on by chelseajinaLeave a comment

Rating: 3.5 out of 5.

Benedict Esdale’s one-man show, echoes of allegory with its set of caricatures and winding narrative

Benedict Esdale does it all in this entertaining 50-minute piece. He portrays a plethora of characters and serves as the production’s primary narrative driving force. The play opens with a whirlwind of characters, Esdale switching between them with impressive speed. While at first it seems impossible to keep track of who-is-who, Esdale’s immensely specific and distinct character choices make the characters quickly fall into a logical cerebral order. It becomes easy to follow the piece’s narrative despite one person playing every single character. In many one-man productions, productions generally stick to a small number of characters for the sole performer to switch in between. Knapsack flies in the face of this generality, creating a play that hosts a myriad of complex people that fill the life of the piece’s protagonist. 

Herman, Knapsack’s main character, feels generally isolated. He doesn’t have any friends, and feels terrified whenever the potential to make some arises. He avoids talking to others, fearing ridicule and embarrassment. He believes wholeheartedly that the world is out to get him, stemming from deep-set childhood angst. All this changes when his one colleague, Helena, asks him out for a drink. 

A series of delightfully absurd circumstances later, Herman finds himself in the midst of some strange metamorphosis. He discovers that he needs to literally and figuratively come out of his shell if he is ever to find happiness. As he emerges, he discovers that the world is not, in fact, out to get him and that his coworkers are, in fact, nice people who would like to be his friend, if given the chance. 

Knapsack is a short and sweet piece that leaves audiences with a sense of hope, something everyone could do with a little more of in this arguably difficult world we inhabit.

REVIEW: The Imitator

Published on by Claire McArthurLeave a comment

Rating: 4 out of 5.

Vocal talent like no other

Julián Fontalvo is a man who believes in the power of his dreams. Starting from his childhood in Columbia, he sews together the story of his life, with the songs he loved, and takes us on the journey of his life through school, to New York City, and then to Madrid, meeting the love of his life along the way, and finding his calling. 

In a sold-out venue, he demonstrates his gift for imitating voices, in speech and in song, in a tightly choreographed routine, that showcases his extraordinary vocal talent. After an initial showcase of Sting, and Rick Astley, we are dropped into Julián’s childhood, as he explains his passion for music and dance, how that boosted his social life, and how that contradicts with his mother’s view of a career. A marine biology degree later, and our hero is in New York City, working 3 jobs and trying to make it as a star. There, he meets the woman he’s destined to marry, and ends up in Spain, where he finally makes his dreams come true. 

The storytelling is neatly constructed, with some lovely accent work portraying the various characters from his life, and occasional apt sound-effect from the backing track. His Scottish accent was probably hammed up a little for this performance, but landed nicely with the crowd. His timing is impeccable, and doesn’t miss a sound cue throughout the show. However, the highlight of the show is without doubt his singing voice, and the array of his vocal talent is displayed in full.       

Aping not only the vocal performance, but also the characteristics of the original performers adds an extra dimension to the show. Some of the songs are played as they were recorded – sometimes varying in length from a line or two, up to a verse and chorus. We race through the Proclaimers, Bryan Adams, some Latin numbers (in a charming call-back to his heritage), a variety of vocalists from We Are The World, Macy Gray, The Cure, James Blunt, Eminem, and more. At the climax of the show, Julián increases the tempo yet again, and we plough through snatches of Gnarls Barkley, Phil Collins, Maroon 5, Elton John, Shakira, Pavarotti, Green Day, U2, Queen, Elvis, Amy Winehouse, Bee Gees, Bon Jovi (among others!) and superb renditions of “Simply the Best”, and “Non, Je Ne Regrette Rien”. However, my personal favourite was the Bohemian Rhapsody parody between Julián and his mother, where they squabble and he ends up being grounded with no tv. This comic element was a delight, and I’d have loved to have seen more of this playfulness in his show, as he really shone here.      

The dramatic round venue, together with staging and lighting matched the tone of the show perfectly. The ecstatic reception from the crowd was more than befitting for the spectacle we witnessed, and there is surely more to come from Julián in the future.

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

REVIEW: Oedipus Rex

Published on by Feiyang XiangLeave a comment

Rating: 4.5 out of 5.

A dynamic operatic feast for the community

Scottish Opera’s Oedipus Rex is an adaptation of Sophocles’ ancient Greek tragedy, based on Igor Stravinsky’s opera, is staged in the National Museum of Scotland. Conducted by Stuart Stratford and directed by Roxana Haines, the production features a mix of professional and community chorus members.

The play introduces a very interesting role, the speaker, played by Wendy Seager, who would occasionally interrupt the narrative and offer. Shengzhi Ren as Oedipus delivers a stunning performance with a powerful and emotive voice, while Kitty Whately’s portrayal of Jocasta is also highly impressive.

It is a movable operatic feast for the community, with the performance flowing through the entire atrium space, encompassing both the first and second floors of the museum. The central area of the atrium featured a rectangular platform surrounded by several tiers, with the orchestra seated within the rectangle. On both sides of the platform and on the second floor, the audience gathered to watch. Even before the performance officially began, chorus members were dispersed throughout the first and second floors, blending in with the audience. The chorus members on the first floor represent the traditional Greek chorus, while also symbolizing the members of society. Meanwhile, the royal characters—Creon, Jocasta, Oedipus, and Tiresias, stand on display platforms, perfectly integrating into the museum’s setting alongside exhibits. On the second floor, elaborately dressed actors stand in various positions, portraying the gods, silently observing the human activities below. Even before the performance began, just entering the museum performance space left me deeply moved.

As an audience member, you can freely choose to watch from different views, experiencing different theatrical effects and emotional depth. If you choose to stand on the first floor, you become part of society and the royal family, and may have a very close interaction with the performers. If you chose to watch from the second floor, you become the god, observing the human world from a third-person perspective. I stood on the first floor. When the performance began, the chorus standing beside me started to sing, and their voices resonated throughout the museum, creating a powerful and immersive experience.

This production breaks the traditional dualistic spatial separation of stage and audience, and offers an immersive experience that deepens emotional resonance. It immersed the audience in an interweave of history, culture, and theatre. However, the production is somewhat flawed by emphasising form over content. The director’s ideas are demonstrated through the unique spatial setting rather than through the performance. Additionally, performing in the museum diminishes the sound quality compared to that of a theatre, and the audience’s view of the performance is somewhat restricted.

https://www.eif.co.uk/events/oedipus-rex

REVIEW: Temping

Published on by jamesrobertson42Leave a comment

Rating: 5 out of 5.

Temp for an hour in this immersive, interactive, one-participant theatre experience

Didn’t think you would spend an hour at Edinburgh Fringe as a temp?

Temping, crafted and devised by Dutch Kills Theatre Company, is an immersive piece that puts you in the shoes of a temporary temp, filling the shoes of a former employee at a firm. Written by Michael Yates Crowley and directed by Michael Rau, slipping into this life for an hour will turn out to be one of the strangest things you can do at fringe.

You, a singular audience member per performance, is firstly given a waiver to sign and a handbook to read before you are taken into a hyper realistic office cubicle and left to begin your new job by yourself. The room is rendered in fine detail, with postcards on the wall, chocolates in the drawer and a photo of former employee Sarah Jane’s nephew beside the computer.

Slowly you begin together the lives of all of the people that work at the firm, through voice recordings left by Sarah Jane instructing you how to perform your job, emails from Diego and answer phone messages from James. The printer has a life of its own and deposits new messages and titbits of information.

You are instructed to alter a spreadsheet full of the details of the company’s clients when they die, altering the status to Deceased. Each time, you are presented with a snapshot of the lives that these people rendered as numbers lived.  

Temping tries to cut through the facade that office life can erect, showing that people are more than just numbers on a screen and that maybe there is more to life than this mere cubicle. The piece is transcendent and will live in your brain far longer than the poultry hour that you spend in its mundane but poignant world. 

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

REVIEW: The Waiting Room

Published on by beckidouglassLeave a comment

Rating: 3.5 out of 5.

The Waiting Room is a vivid and bold representation of the toxic stains anxious attachment style can have

Moon Kim’s creation of the psychological drama The Waiting Room is an explorative, vibrant insight into the depths of the Anxious Attachment Style. The one-woman marvel of a plot investigates Kim’s character ‘Lemon’ relationship with her girlfriend ‘Catus’. Throughout the 60 minutes we go on the journey of uncovering why ‘Lemon’ behaves and clings to her girlfriend the way she does. 

Through the direction of Esalan Gates, this play is simply a beautiful and clear portrayal of how mentally draining it is to suffer from anxious attachment style. Having the constant need to be near your loved one, the need to know what they are doing, the need to know they are happy being with you. The confusion and self-hatred caused by needing them to stay. Kim’s performance and writing of the play comes from a place of truth and hurt. 

Kim’s physical performance is breathtaking. Her commitment and large physicality is passionate and compelling. From starting the performance by walking along the wall, feeling the texture with her hands to her mad dash to open Catus’ door at the end, the physical aspect of the play is a masterpiece and Gates’ clearly aided this triumph. In addition, the idea of changing the costumes on stage and the use of props were a bold choice that worked perfectly in showing the vulnerability and desperation anxious attachment style causing those who are affected by it. 

However, the pacing of the show at times was flat and stagnated. On occasions, it felt as if we were sitting around waiting for something to happen. Scene changes or the scenes themselves are just too long to keep engaging. Furthermore, the choice of the flashing lights with the voice-over of Lemon’s thoughts was a clever idea but incredibly overused to the point it was predictable. 

To conclude, The Waiting Room is a delicate, transparent play which everyone should see as it’s a perfect example of what anxious attachment style really is. With a few little alterations with Kim’s writing skills and command of the stage, The Waiting Room has the capabilities to be an outstanding show.