Tag: edinburgh festival fringe

IN CONVERSATION WITH: Briony Martha and Zak Reay-Barry

Published on by Claire McArthur2 Comments

It’s still early in the year to award prizes for most intriguing play title, but Briony Martha and Zak Reay-Barry’s “Do Astronauts Masturbate in Space?” must be a contender. We met with them to find out more about it. 

Hailing from Greenock and Cumbria respectively, Briony Martha and Zak Reay-Barry have studied and worked in the UK and France, before meeting whilst doing a play in Paris in 2021, and immediately becoming friends. After working together in various projects, “Do Astronauts Masturbate in Space?” (aka “DAMIS?”) is their first joint writing venture, premiering at this year’s Edinburgh Festival Fringe.

What can you tell us about “DAMIS?”

Briony: “DAMIS?” is a dystopian dark comedy, set in a very bonkers Britain where due to overpopulation, everyone now needs a licence, or a “Stork Card” to have kids. 

We play Lily and Gareth, a young couple who accidentally fall pregnant and need to attend a one-week ‘Retreat’ where their capacity as potential caregivers and their love for each other is put to the test. If they fail the retreat Lily will be forced to terminate the pregnancy, so the stakes are high. The play is a real firecracker that swings between absurdist comedy and a very human drama about a loving couple being pulled apart by their own Government. Think ‘Gavin & Stacey’ meets ‘1984’.

Can you share a little about what inspired this topic?

Zak: I first had the idea a few years ago when my Dad was refused an insurance claim after an accident because he’d been prescribed antidepressants (which he didn’t even end up taking) when he was a much younger man. It stuck in my mind this idea of your vulnerability and past being used against you later on. At the same time I was reading “The Body Keeps The Score” by Bessel van der Kolk, and the consequences of developmental trauma, the stigma it has in society even today and the impact it has later on when you yourself become a parent. This sparked the question – ‘should some people not have kids? and if so, who decides that? What would that mean for women and abortion rights? What would that world look like if the state controlled who could and who couldn’t become a parent?’ I started a draft but immediately felt I wasn’t qualified enough to write this story so I called Briony, who seemed like the obvious choice given her talent and intelligence to come on-board and tell this story with me. 

Briony: I was really interested in coming on-board because the idea felt really interesting to explore as a play. It also felt extremely relevant given the state of the world today. I think the most terrifying aspect of the play is that it’s set in a dystopian world that doesn’t actually feel too far away, despite how absurd it is at times. It’s a story that talks a lot about women’s reproductive rights, mental health and State oppression, and I believe that this is an important story to be told on stage.

Everyone will want to know more about this title – how many did you discuss before choosing this one? Any notable ones you rejected?

Briony: So, we actually went through loads of potential titles but funnily enough this was the first title idea we had. We knew we loved it but we were just a bit… nervous? I mean, it is a bit out there, isn’t it? We went through a few “tamer” alternatives…we had ‘The Retreat’ ‘The Elder Tree’ ‘Stork Card’, trying to link the title to the themes of the play, but nothing really spoke to us like DAMIS did. So in the end we trusted our guts and went with ‘Do Astronauts Masturbate in Space?’ and it wasn’t until we had our meeting with Greenside (where the play will premiere at the Fringe) that Tara, the artistic director, told us we had one of the best titles she’d ever seen. It was then we realised we had something which people could really latch onto. 

Zak: Without spoiling it, it’s a very important line in the play! Come and see the play and you’ll see what we mean, there’s a method to our madness.

As early career artists, what has the creation process been like so far? Has anyone in particular helped you along the way?

Briony: Oh, we still can’t believe so many have reacted so wonderfully to our little story and come on-board to help us. 

We’d love to give huge shout outs to our lovely director Nathalie Alisson, our stage manager Ruben Sparks and our producer Kevan Salahkar who believed in us right from the beginning and our other producer Camille Dreyfuss who keeps us sane as we muddle through the production side of this play. Two other wonderful people we’d also like to thank are Mirren Wilson and Shelley Middler, both brilliant playwrights and actors, for their wisdom, support and pure friendship. 

Zak: Also just all the people who helped with the production of the play, the poster, to everyone who has shown unbelievable support on our Crowdfunder. 

As far as the creation process is concerned, it’s actually been absolute bliss. It’s so funny we’ve never actually talked about this together, we’ve been so full on with producing the play we haven’t actually had the time to stop and think. 

Briony and I are almost always on the same page. We’re very good at listening to each other, we often agree on where the story needs to go. I’ll often have an idea and before I can message her via WhatsApp to explain what it is she’s already proposed the same idea to me. 

Briony: Totally. We like to say we share the same brain cell. It helps as well that we both have the same sense of humour. We both encourage each other in following through on our wacky ideas, it’s a very safe space for us to try out stuff and follow whatever impulse comes. There’s a lot of trust and it’s really nice knowing you have someone who’ll support you in exploring your ideas, even if they’re not fully formed yet. 

Zak: We are also not afraid to tell each other how we feel, which is super nice. We don’t hide anything.

Briony: No, like, I know I can tell Zak whether I’m not sure about an idea, or when he says “I think we can cut that” I’m not devastated by it. But I’m learning a lot about being a producer. I had a lot of respect for producers before but wow man, since doing this play it’s really opened my eyes.

Zak: Like wow. It’s been crazy. It’s been quite transformative for me personally. I haven’t been so invested in a project as much as this one.

What challenges have you faced getting to this stage in the creative process?

Zak: For the amount of work that we have done, I would still give anything just to have more time. Because when I work Briony’s off and when I’m off work, she’s working so we are in this constant struggle to find a time where we can just focus on the play. 

Briony: This whole process has been incredibly eye-opening:  the development of a play, the marketing, managing people’s availability…

Zak: We spoke about this the other day, there’s always something that needs our attention concerning the production of the play. Like we’ve been working on it since October last year and there hasn’t been a single day we haven’t either texted or called. It’s been a crazy ride and we’re only halfway there.

Do you have any tips for aspiring writers/performers/artists wanting to follow in your footsteps?

Zak: Honestly, we’re not sure if we are the ones to give advice cause we’re still figuring it out ourselves but if you’re called to write something, if you have an idea or if you want to try something just give yourself the license to explore it. Allow yourself to write something without judging whether it’s good or not, that’s not what’s important, what matters is doing it, getting it out into the world. It’s scary but that’s a good sign, it means it matters to you and no matter how hard it is, no matter how many times you get rejected or you fail – own it and keep going. It is a very brutal, competitive world but what’s the alternative? If you have a voice that needs expressing just remember that no matter how tough it is, there’s someone out there who needs to hear what you have to say.

Want a sneak peak of “DAMIS?”

There will be a rehearsed reading at The Wee Red Door, at 7pm on 28th April: https://fienta.com/do-astronauts-masturbate-in-space-rehearsed-reading 

Want to see “DAMIS?” at Edinburgh Festival Fringe? “DAMIS?” is showing at 19:50 from 1 – 23 August 2025, at venue 16 (Willow Studio at Greenside @ Riddles Court). Tickets are available now:  https://www.edfringe.com/tickets/whats-on/do-astronauts-masturbate-in-space

FEATURE: TravFest launch

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Traverse Theatre has announced its programme for TravFest24, it’s yearly festival of Fringe Theatre running in accordance with the Edinburgh Fringe, from Thursday 25th July to Sunday 25th August. This programme encompasses a mix of both some returning popular shows, and eight premieres with talented writers from across the world. The ten plays will be split evenly across the two venues inside the theatre as usual, the larger Traverse 1, and the smaller studio of Traverse 2.

The intentions set out for the programme is to have shows that explore love in all it’s forms, the will to survive an ever changing and threatening world, and our frailty in the face of strife. To reflect this the stories herald from both exciting new writers and established artists premiering shows, from both the UK and far abroad.

Keeping with Traverse Theatre’s ethos, each show is intimate, inventive and explorative, taking the audience around the world dealing with both the larger than life problems of war, to living room couples arguments. Each show demonstrates Traverse Theatre’s range and dedication to shining lights on new writers, ensuring there is something for everyone.

‘My English Persian Kitchen’ by Hannah Khalil (based on a story by Atoosa Sepehr) will feature live cooking accompanied by story telling by Isabella Nefar (Salome – National Theatre) as she tells the story of a woman fleeing Iran, losing her home but in the process finding herself once again, in the bonds of community, and food.

‘Same Team’ by Robbie Gordon and Jack Nurse and written with the Street Soccer Scotland’s women players, follows the players attempting to bring the Homeless world cup home to Scotland. An incredible joyful and uplifting story, it will explore the hardships of the players and how they overcome the challenges both collectively and individually. It had raring reviews last year, so this return is highly recommended

‘A History of Paper’ by Oliver Emanuel and Gareth Williams is a new piece of musical theatre, with a raw, touching, and painful love story following the life of a couple from their first meeting – via her complaint in his letterbox telling him to shut up, through their fruitful marriage until another piece of paper usurps their life.

‘Natalie Palamides: Weer’ by Natalie Palamides is another highly acclaimed play coming to TravFest24. A romantic dramedy centered around a couples argument on a 1990s new years eve. Her unique style of comedy was well reviewed both in execution and the extra dimension it brings to what initially sounds like a pedestrian setup.

‘Cyrano’ by Virginia Gay acts as a twist on the play Cyrano de Bergerac, retelling it with all genders flipped to present a jubilant queer celebration of love, theatre, and hoping for happy endings despite the odds. Virginia promises to take the original plays more negative outlook and instead use it to allow everyone to dream of a world of perfect lines, where we all have the love we deserve.

‘The Sound Inside’ by Adam Rapp makes its premiere as part of Travfest24. Already nominated for six Tony Awards, it tells a gripping story of a writing professor’s infatuation with a freshman student who breaks the rules in brilliant ways. It follows their relationship as a favour is asked by one, leading them into a tense plot spiralling towards a climatic ending.

‘Batshit’ by Leah Shelton and directed by Olivier award winning director Ursula Martinez, follows in it’s namesake in it’s chaotic exploration of female madness. A condition that throughout history has been used to medicalise, punish, abuse and exploit women. It does this by serving as a requiem for Leah’s grandmother Gwen who was locked away for seeking her own independence in Australia. Batshit tries to draw these sexist myths, ideas and techniques out of the shadows to kill them.

‘In Two Minds’ by Joanne Ryan takes the simple set up of a parent and their adult child in the same home, to draw together the different generations feelings of love, mental health and the human condition in it’s other forms.

‘A Knock on the Roof’ by Khawla Ibraheem is a very timely piece set in Gaza. Following Mariam who is so used to the threat of bombs on her, or her neighbours homes, she decides to practice evacuating, carrying as much as fits in her hands in the five minutes the smaller ‘warning’ bombs signal to her. Originally slated to premiere in Palestine, due to the recent escalation it instead is premiering in Edinburgh, promising to shed light on how people find hope, laughter, and reasons to keep going in a life where death is a constant.

Making its World Premiere on the Traverse 1 stage, the Traverse Theatre Company is proud to present So Young by Douglas Maxwell, in co-production with Raw Material and Citizens Theatre. A notable name on the Scottish stage with hits like Decky Does A Bronco and previous Traverse commission I Can Go Anywhere, this touching and funny new play explores the challenges of middle age, shifting friendships, and the impact of losing those close to us. So Young will be brought to life by direction from Traverse Artistic Director Gareth Nicholls.

The full programme and booking can be found at https://www.traverse.co.uk/whats-on/travfest24

FEATURE: First shows revealed for Edinburgh Festival Fringe 2024

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Today, Thursday 22 February 2024, the first batch of shows that will be staged at the 2024 Edinburgh Festival Fringe have been revealed. All shows will be available to view on edfringe.com from 12:00 today. 

The 276 shows span many genres of the Fringe programme, including cabaret and variety; children’s shows; comedy; dance, physical theatre and circus; music; musicals and opera; spoken word; and theatre. They will take place across 31 venues, with more shows to be revealed in the run-up to August. 

It’s Fringe artists themselves who choose which date their show listing will go live on edfringe.com. For many, the reason to go live at this early stage in the year is to have a broader window in which to finance the show, sell tickets and promote their work.   

This year, more than ever, the Fringe Society encourages audiences to start planning their Fringe experience as early as possible; to support the artists, venues, producers, promoters and all the participants of this world-renowned festival. It is a serious investment to put on a show at the Edinburgh Fringe and the only way that Fringe-makers can get a return is if audiences come out, see the shows and support the creatives who are the beating heart of this festival. 

Shona McCarthy, Chief Executive of the Edinburgh Festival Fringe Society, said: “It is always special to see the first batch of shows that will be performing at this year’s Edinburgh Festival Fringe. Those working across the Fringe have been preparing for this moment for months – laying the groundwork for artists to come to this year’s festival and the creative explosion that is August in Edinburgh. Being able to browse the first set of shows always adds an extra level of excitement. It’s a reminder that the 2024 Fringe is just around the corner, and it feels a lot more real for the whole Fringe community. I encourage audiences to support those performing at the Fringe this August by browsing shows and booking tickets as early as you can. 

It’s no secret that the cost of putting on a Fringe show can be a barrier to attending, and our role is in supporting artists in every way that we can, whether that’s keeping registration fees affordable, sourcing low-cost accommodation, seeking out direct routes to funding, or simply providing advice and information. Our Artist Services team is on hand to offer advice around every aspect of putting on a show, so please do reach out to us.”  

Below is a small representative sample of shows available to book from today. The full list of shows released today can be found at edfringe.com. 

Cabaret and variety 

Cameron Young: The Scottish Magician (Gilded Balloon) offers ‘mind-bending illusions, captivating mind reading, and uproarious comedy’, while Ben Hart: HeX (Assembly) is a collection of Ben’s ‘most exciting material from the last decade alongside new ideas fresh from his laboratory, guaranteed to put a spell on you’. 

Musicians Juliette Pochin and James Morgan promise ‘outlandish musical mashups (who knew Meatloaf worked with Mozart) and the entire history of Western music in just under four minutes’ in Music, Mayhem and a Mezzo at theSpaceUK. All-Stars Burlesque is a ‘celebration of bodies, tradition and inclusivity by award-winning, world-class artists and rising stars on the scene’ – it’s at Just the Tonic. At Laughing Horse, Stacey Clare and Gypsy Charms return with their adult Q&A session, Ask A Stripper: No Holes Barred. 

Children’s shows 

A Bee Story (Assembly) is ‘a uniquely Australian physical theatre show for children and families incorporating a kaleidoscope of circus, acrobatics, dance and live music’. Doktor Kaboom: Man of Science! returns to Pleasance with a combination of ‘astonishing live science experiments, stand-up comedy and lessons in empowerment’. The Amazing Bubble Man, Louis Pearl, is at Underbelly, ‘thrilling audiences… with the art, magic, science and fun of bubbles’. 

All-New Crazy Puppet Magic Show at Frankenstein Pub promises ‘crazy puppets, lots of magic and audience participation – young kids and older ones alike will love it’.  Fever Pitch Academy Showcase 2024 (theSpaceUK) is an Edinburgh Fringe debut, ‘featuring music from Charlie and the Chocolate Factory, SpongeBob, Legally Blonde, Grease and loads more’. 

Comedy 

Gilded Balloon hosts ‘the top three acts from the 2023 edition of So You Think You’re Funny?’ – Samira Banks, Christopher Donovan and Lizzie Norm – at their Best of So You Think You’re Funny? line-up show. ‘Transatlantic middle-aged Jewish atheist divorcee’ Leslie Gold brings A Chip Off the Gold Block (WIP) to Laughing Horse. 

Canada’s Ajahnis Charley dies and ‘awakens at the gates of Gay Heaven’ where he faces ‘a mighty, flighty and unabashedly white-y God’ in Thots and Prayers (theSpaceUK). Kemah Bob brings their debut stand-up show, Miss Fortunate, to Pleasance. Character creation Frank Sanazi returns to the Fringe, once again ‘engaging in a spirited battle against the forces of political correctness’ in Frank Sanazi’s Mein Way (Le Monde). 

At Greenside, Laura Rose will perform ‘an autobiographic comedic feast following stories from growing up on an Australian pineapple farm, misadventures abroad, Laura’s crazy family, and her forever loving husband’ in BUSHPIG. Polish-Cockney comedian Dickie Richards is at PBH’s Free Fringe with his show, Sexual Tyrannosaur 2024. Among the comedians representing Scotland at this year’s festival are Adele Birkmyre (Boteco de Brasil), Connor Burns (Just the Tonic), Jo Caulfield (The Stand Comedy Club), Kathleen Hughes (Gilded Balloon), Susie McCabe (Assembly) Raymond Mearns (Hootenannies) and Stuart Mitchell (Scottish Comedy Festival). 

All of the above will be joined by some familiar famous faces at the Fringe: Jason Byrne, Jessie Cave, Rob Auton are at Assembly; Fern Brady is at the Edinburgh Playhouse; Jimeoin is at Just the Tonic; Catherine Bohart is at Monkey Barrel; Catherine Cohen, Chloe Petts and Rosie Jones are at Pleasance; and Geoff Norcott and Rhys Nicholson are at Underbelly. 

Dance, physical theatre and circus 

At theSpaceUK, ‘Hong Kong veteran community theatre company, Art Home, masquerade in masks and physical theatre to confuse the definitions of what is a human and who is a dog’ in Hound in the Light. Caller Ken Gourlay and his ceilidh band are hosting Ceilidhs (Scottish Dancing) at Royal College of Physicians, ‘an authentic Scottish experience in a historic building’. The Black Blues Brothers (Assembly) are returning to the Fringe ‘for the last time’, inviting audiences to join them for ‘the farewell season of this acrobatic celebration joining the energy of Africa with a R’n’B sound’. 

Online, Displaced ‘explores contemporary challenges such as culture, place, race and imperialism’, while Odyssea ‘follows the epic journey of a curious sea traveller as she encounters flora and fauna in fantastical realms’ – both courtesy of C venues. 

Music 

At Novotel, Jazz at Lunchtime offers ‘jazz standards and melodic originals in a comfortable, intimate jazz club setting’ created by Ian Millar and Dominic Spencer. Memphis, Tennessee-born songwriter/singer/guitarist Andrea Carlson offers ‘a delicious evening of swing, jive, romance and occasional special guests’ at Andrea’s 21st-Century Speakeasy! (Argyle Cellar Bar). The Jazz Bar plays host to John Hunt Four O’Clock Afternoon Blues and Swing for his 12th year at the Fringe. Orchestra of Sound (Greenside) is ‘an electrifying one-man show seamlessly weaving unique inventive instruments, hundreds of sounds, and explosive original music into an unforgettable sonic and visual extravaganza’. 

At St Giles’ Cathedral, South Australian cellist / songwriter William Jack performs ‘iconic songs (by AC/DC, Bob Dylan, Oasis and more) dismantled and reimagined for solo cello’ in This Old Cello Box. Marchmont St Giles Church is hosting Marchmont Music, a series of free afternoon concerts ‘from up-and-coming young musicians’. At Bannermans, Driven Serious play folk-rock from their new album Look On These Works, described by NARC Magazine as ‘an impressive experience’. 

There are tributes to a host of popular artists across the Fringe, including (but not limited to) Johnny Cash, Neil Diamond, Elvis Presley and Roy Orbison (Frankenstein Pub); Lady Gaga, Adele and Joni Mitchell (Le Monde); Bruce Springsteen and the E Street Band, The Killers, Arctic Monkeys and Sam Fender (Liquid Room); plus Amy Winehouse, Celine Dion, Blondie, Dusty Springfield and many more at theSpaceUK. 

‘Legendary 70s Tyneside folk-rock pioneers Lindisfarne present a classic five-piece line-up of long-time members fronted by founder-member Rod Clements’ at the Queen’s Hall. Edinburgh trio Curmudgeon play their Traditional Scottish Folk Music at artSpace@StMarks. 

Musicals and opera 

Created by Sarah Bishop, Somewhere (theSpaceUK) is ‘a brand-new fantasy musical with music and lyrics by internationally acclaimed indie-folk duo The Dunwells and other established Yorkshire singer-songwriters’. At Pleasance, Gwyneth Goes Skiing is ‘a story of love, betrayal and skiing – where you are the jury’.  

Spoken word 

‘The distilled 40-year career of an internationally renowned British Army doctor’ is ‘presented as a collection of original poems’ in Frontlines and Lifelines – An Army Doctor in Crisis and War (Forces @ The Fringe). Peter Barratt pays tribute to his great-grandmother in Alice Hawkins – Working-Class Suffragette at the Arthur Conan Doyle Centre. 

Eileen Mahony performs a pair of thematically linked shows at Greenside, each musing on artefacts and memories from the past: Loft Clearance and Loft Luggage. Nikky Smedley, aka ‘LaaLaa (the yellow one)’, returns the theSpaceUk with Confessions of a Teletubby. 

Online via C venues, Hiding Behind the Mask: Jesters, Jokers, and Clowns is ‘a rollercoaster through the joys and sorrows, comedies and tragedies of life’ with Professor Rosemary George. 

Theatre 

Written by Aksam Alyousef and performed by Amena Shehab, Hagar: War Mother (theSpaceUK) follows ‘one woman’s odyssey to escape Syria’s brutal war with her son, who should be having his first birthday party’. At Greenside, Purple Hat Theatre present A Time Traveller’s Life, ‘a Fringe show about the Fringe; a time-travelling odyssey through one woman’s joys, sorrows, triumphs and inability to learn from her mistakes’. 

Sarah Cameron-West brings KAREN to Underbelly, ‘a powder keg of heartbreak and identity crisis which explodes in the ultimate office showdown’. ‘Familiar Chekhov themes of lost opportunity, failed love affairs, sibling rivalry and fear of a changing future are thrown into the blender with 21st-century characters and high comedy’ in Vanya and Sonia and Masha and Spike at St Ninian’s Hall. 

At Assembly, Pali and Jay’s Ultimate Asian Wedding DJ Roadshow follows an ‘uncle and nephew DJing duo’ who ‘must successfully navigate their latest gig to save the company, their future aspirations, and ultimately, their relationship’. ‘Unstoppable 82-year-old Miriam Margolyes returns to the Fringe’ with Margolyes & Dickens: The Best Bits (Pleasance), ‘combining her infectious passion for Charles Dickens with her phenomenal versatility’. 

Online, Theatre Ronin of Hong Kong ‘recreates folklore and contemporary emotional landscape’ in their Wuxia-themed production, Practice of Zen (C venues). 

PREVIEW: No Spray No Lay

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No Spray No Lay is a new original musical following the highs (some literal) and lows of a ladies’ club bathroom in 2005, complete with an all-female presenting cast, original bops and a sweaty glittery heap of nostalgia.

No Spray No Lay was created by friends Kat Dobell and Lara Dunning after a night out at the ballet, a few wines and a run in with a pervy DJ. Sponsored by Bare Productions it plans to hit the Edinburgh Fringe in 2024. We were invited along to the preview/preparatory run last week in Edinburgh, with almost nine months to go to Fringe there’s bound to be refinements made but for now the cast are shining in this production that really captures the chaotic fun aura of a girls’ night out. It’s clear that there is a lot of love behind this production, from the nostalgia-fueled writing to the all-female presenting cast bringing these characters to life. 

The show follows three groups of girls on a night out; the techno-loving, drug-sneaking Sweaty Girls, pouting and posing besties Crystaal and Sahara, and IT-girl Laura with her disgruntled minion Jane in tow. What could have been a knotted tangle of subplots and stereotypes manages to effectively give us three realistic but different girls’ night outs, with an unpredictable but hilarious crossover pulling all three together for the finale (no spoilers but two words: dance battle).

The stage is set with graffitied toilet cubicles, dirty sinks (with the audience serving as the mirrors) and a toilet attendant station, where our main character, Kike Hassan’s Vicki, sets up for the coming evening. Vicki serves as a narrator type role, introducing the tropes of girls to the audience and talking us through the highs and lows of the night. Hassan has an air of authority about her as she tells off the misbehaving nightclub patrons, comforts heartbroken IT-girls and keeps the womanizing nightclub manager in check. Unfortunately however the character of Vicki doesn’t really get to shine amongst the many big personalities who pass through her bathroom. Hannah Childs stands out with confidence in the role of IT-girl Laura, and Abi Price as the in-your-face (literally, in the audience’s face) nightclub manager, Deb, has the audience howling any time she steps into view.

Ruth Harris shines as Laura’s pushover best friend Jane who begins the night too insecure to enjoy herself, but eventually lets go. Harris shows off stunning vocals and handles the audience participation aspect well, though Jane’s character arc could have used a little more nuance – currently it relies on her self-worth being fixed by having sex with a man (as hilarious and well-done as the onstage moment is it’s a little one-dimensional). The two-person ensemble might be an odd choice but works perfectly for the setting and are used effectively to support the main characters and add to the comedy.

Ultimately the techno-crazy Sweaty Girls were the life and sweat of the show, bouncing in and out of the bathroom between bags of powder and hiding from the bouncer. These sweaty underdogs quickly became audience favourites due to Stacey Scott and Chiara Menozzi’s constant high energy and one-liners, and their Techno Trance number was a stand out moment. 

The visuals of the production are a huge asset and the use of projected photos is implemented really effectively. The audience are treated to selfies of the actors as characters take them on stage, using photos to punctuate punchlines and an assortment of photoshopped pictures projected to let us know when we’re speaking to somebody outside the nightclub, or referencing a trip abroad. It is used just enough to keep the audience on their toes, but not too much to be lazy storytelling, and it added to the 2000’s MySpace-crazed atmosphere, which otherwise could have been amped up even more.

No Spray No Lay has the potential to become the ultimate girls’ musical – boppy original tunes, an array of 2000s outfits, and a display of some of the most universal yet often private aspects of the female experience. One to keep a glitter-shadowed eye on!

REVIEWER: Amber Docherty

REVIEW: Picasso – Le Monstre Sacre

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Rating: 4 out of 5.

A compelling but unsettling venture into the mind of a 20th century great.

Fresh from a recent 5 star review from the Edinburgh Fringe, this one man show starring Peter Tate, adapted by Tate and director Guy Masterson takes us on a journey into the posthumous psyche of one of the most famous artists of the 20th century. A set consisting of just a wooden ladder, and paint splashed sheet hung up behind Tate, as he talks us through Picasso’s story from the great beyond. 

And of course we’ve heard of Picasso. The great Pablo Picasso. Our narrator is the man himself, reflecting back on his life, speaking from the present day. A man self assured of his own brilliance. This greatness is not up for debate. It is presented as fact. Save for a few moments, the journey we’re taken on doesn’t dwell on the commercial success that the artist had. 

Instead, the story is framed around the timeline of Picasso’s women. We learn quickly that our artist narrator views women as commodities, as possessions to be claimed. The narrator tells us this himself, so matter of factly, so self assuredly. We’re also shown it through the way that he speaks to and speaks of his sequential love interests. The disdain he shares for his first wife who won’t divorce him after missiles of spite launched in her direction. The mistress who he laments for her inability to let him go. The women he casts aside like a bristle-less paintbrush as soon as he takes his fancy with someone new and exciting. 

We learn how, for our Picasso, his abstract style was his power. He informs us he’s a ‘devout atheist’, though simultaneously views himself as a god. He claims women and the world through painting them in the abstract likeness that he alone can distort and control. Once they are his art, then they are his. He thrives in his unwillingness to distinguish his canvases from the lives he feels he’s claimed. As the play goes on, our Picasso evolves into viewing themself as a god like, powerful, untameable monster. 

The narrator’s story is fleshed out by some adept posture changes from Tate to signify a brief character change, where we witness conversations between Picasso and one of his many love interests. These are executed seamlessly and well performed by Tate. In addition to this, the cotton paint splashed sheet erected behind Tate is occasionally illuminated with short video clips, containing memories of Picasso’s life. These serve as a nice touch to illustrate moments that we can share with our artist narrator as they reflect on moments of their life. Tate’s performance overall is enthralling, and easily captures the intended essence that Picasso claims to have that allowed him his god-like powers over the world around him, for better or worse. 

Only as our Picasso ages and eventually becomes slightly more reliant on having help in his life, do we experience how his narcissism is forced to adapt to women who he can’t easily puppet. We see the monstrous rage that emerges when a woman dare leave him. This isn’t how it works, I’m the one who leaves – Tate’s narrator screams at us. This narcissism catches up to our narrator in the end, and at the climax our ghost is forced to confront how his views of the people and the world around him impacted his lovers, and the family he left behind. 

By the end we’re left without question that the version of Picasso speaking to us is vicious, selfish, and manipulative. However the remorse our ghost narrator feels at the end is left open for debate. Does our narrator regret how he treated those who loved and worshipped him? Have we ourselves been manipulated by the great man into feeling a splotch of sympathy for the ghost in the dying moments? Does our artist think the pain caused was worthwhile collateral damage, a product of his divine rights? Just like the abstract paintings that Picasso created, this is entirely for our own interpretation. All I know is that this was a powerful, fulfilling watch that had us debating all the way home. 

REVIEWER: Chris Wood

REVIEW: I Wish My Life Were Like A Musical

Published on by Gabriel CurteisLeave a comment

Rating: 5 out of 5.

If musical revue and sketch comedy is your sort of thing, this is the one to see; the execution is flawless

Fresh of a revival at the Edinburgh Festival Fringe this year, Alexander S. Bermange’s I Wish My Life Were Like A Musical is back in London and it is FAB-U-LOUS. The concept is four cast members, plus Bermange on piano, performing a series of musical sketches that dive into everything related to musicals. They tell stories of up-and-coming young talent, poke fun at the know-it-all actor, mock the musicals themselves and, at one point, turn the spotlight on the audience to point out performers’ pet peeves about them. The lyrics are brilliantly witty with clever twists, capturing the hardships of the industry, but keeping things light and humorous. It is truly impressive the extent to which the musical language of the songs genuinely reflects Musical Theatre tunes.

As individuals, the performers are able to hold the spotlight, and then transition to play  supporting roles for their fellow cast members. Julie Yammanee is a standout for me; her solo about the thoughts that go through your head whilst singing a solo, is performed with perfect comic timing. Rhidian Marc has a really strong voice and I would have liked to have heard more solo singing from him. Sev Keoshgerian and Jennifer Caldwell both shine as the self-indulgent actor and the diva characters. From the piano, Alexander Bermange keeps the pace moving along, and occasionally chips in with some well-timed gags from the sideline.

Mathew Parker seamlessly infuses the direction with choreography that focusses on the storytelling. Like the material itself, the choreography is often satirical, but it is performed with precision. The setting of it at Wilton’s Music Hall is genius. Parker takes advantage of the space, using the lighting and set pieces to lean into that old-style, music hall aesthetic. There are clever nods through the use of costumes to musicals such as A Chorus Line. I would have been interested to have seen the piece in its different forms and earlier iterations, at fringe etc. Clearly the material holds up well and has done for the last few years, but in this setting and Parker’s direction, the whole show is elevated. It is the perfect blend of satire and silliness, with a completely professional polish.

Is it possible that the reason so many of us are raving about this show is because, as devotees of musical theatre, we are their target audience? Earlier this summer I saw Jack Thorne’s The Motive and the Cue and it occurred to me that a play which focuses and comments on the process of creating a play may only be of interest to the converted. In this case, is a musical that comments on musicals only of relevance to afficionados of musical theatre? This is true to a degree, but at the same time, this production has no pretentions to be anything else. It is marketed as a comedy (tick), nay as a black comedy that cuts to the truth of the industry (tick), with songs and dances, clever lyrics and a whole host of insider jokes (tick, tick, tick). If you don’t like musical revue and sketch comedy, this may not be for you, but if that’s your sort of thing, this is the one to see and I would urge you to see it; the execution is flawless and you will have great fun.

And, even if you aren’t sure whether it’s “your thing”, who knows? The long list of musical theatre references make for a great introduction to the weird and wonderful world of musical theatre. At one point or another, who of us hasn’t wished our life were like a musical?

I Wish My Life Were Like A Musical is running at Wilton’s Music Hall until 9 September.

REVIEW: A Terrible Show for Terrible People

Published on by Scott RedmondLeave a comment

Rating: 4 out of 5.

“A titillating show for easily titillated people”

You could simply watch the audience during A Terrible Show For Terrible People and be greatly entertained by the full spectrum of what Bonnie He’s one woman performance elicits – nervous tittering, audible cringing behind hands, heads shaking in parental-style disappointment, shocked laughter and plenty of raucous cheering. 

A Terrible Show is equal parts burlesque, pantomime and mime – a practically wordless array of absurd, blatantly sexual physical comedy. Pickles are used exactly how you would expect, bunches of flowers less so. However, despite the incessant sexual twist on every look, gesture and prop, the whole thing maintains a feeling of innocence – He emerges on stage accessorized with a Hello Kitty camera, a focal point of one particularly funny bit of audience participation (FYI, if you’re shy you may want to avert your eyes when He starts scanning the rows for who might be game), and there is more than one cheeky stripping routine but no flesh is ever on display. You could assume that the childlike petulance and unabashed glee juxtaposed with over-the-top suggestiveness is one giant comment on the stereotypes laden on Asian woman in pop culture. This certainly seems apparent at the start of the show, but such is the unpredictability of He’s performance that deeper thoughts are quickly replaced with sheer befuddlement.  

Saying that it is somewhat a relief when the show is over is not a comment on its quality, but more incredulousness over the idea that anything could surpass the disturbing hilarity of the final ‘bit’. You will laugh, you will cringe, you will ultimately root for He’s character in her search for love. What you won’t do is forget this 50 minutes of supremely horny splendour any time soon.

https://tickets.edfringe.com/whats-on/terrible-show-for-terrible-people

REVIEW: Blood on the Clocktower: Live

Published on by Natalie GoringLeave a comment

Rating: 4 out of 5.

The most fun I’ve had in ages

From the team that brought us Werewolf: Live. I was thrilled to see another ‘social board game’ live show. The concept: five of your favourite comedians playing the game observed. Boring you think? You’d be wrong.

Blood on the Clocktower is a game of murder and mystery, lies and logic, deduction and deception.  

Don’t worry though if you don’t know the game. It’s still an enjoyable watch.

Our host for the evening was the charming Jon Gracey, who leads us through the fairly complicated rules and setting the scene.

Players will be different throught out the run but we had the joy of, Grubby Little Mitts (Rosie Nicholls and Sullivan Brown), Sam See, Sasha Ellen, and Tom Crosbie.

All bring energy and hilarity to the show and made me want to see their individual showings which you should check out.

Safe to say, if you enjoy comedy and people gaslighting each other when you’re in on it, you’ll have a good night.

REVIEW: How to Be Dumped: A Sort of Magic Show

Published on by Natalie GoringLeave a comment

Rating: 4 out of 5.

Baffling magic with a universal heartbreak theme

Sam Lupton is all of us. Looking for a ways to deal with a break up of a relationship, through escape, feelings, blocking, dating and clearing out. Only Sam decided to write his story into an Edinburgh fringe show. 

One of my least favourite things happens on the way in – I have to do admin. Writing regrets on a piece of card and as we go into the room, putting them in a bin on the stage. This is used at the end of the show for a very impressive mind reading trick – truly unexplainable.

The show is weaved together with anecdotes stripped straight from Sam’s personal experiences which makes the journey raw and personal. Punctuated by original songs and mind bending magic, the audience find themselves baffled and engaged in equal measure.

What stands out here is the talent. Sam sings beautifully, executes magic tricks flawlessly, and then on top of that, plays the piano all while taking us on a journey. The songs themselves are engaging and bring a lightness to what could be a bit of a depressing magic show, Sam has been smart here. 

This is definitely and enjoyable hour if you’re a fan of magic and music. Big shout out to my favourite lyric, Suddenly See More…

How to Be Dumped runs at Gilded Balloon Patter Hoose until 27th August at 7pm.

REVIEW: Pleading Stupidity

Published on by Natalie GoringLeave a comment

Rating: 4 out of 5.

A very funny retelling of an unfathomable true story

Inspired by an incredible true story dubbed ‘Dumb and Dumber Bandits’, this madcap caper is the perfect fringe evening. 

We meet Brad and Chad on their gap year when they decide to rob a bank on a whim. We then follow their journey from their escape, capture and sentencing to their release. With verbatim dialogue we also touch on the victims’ experience of the process and recovery, giving the piece dramatic weight alongside the sheer stupidity. 

The cast, made up of James Akka, Barney Newman, Maggie Moriaty and Gemma Duabney, is very impressive. Multi-roling across accents and characters, the switches are clear and entertaining. Where their skills really stand out is just how much they are listening to each other. I’m a big fan of scripts which have characters talk over each other, and for actors to still be listening in these moments is masterful. 

Production wise, everything was slick, with creative staging and props which compliment the style of the show perfectly. Character changes are bolstered by props/additional costumes and I’m always a huge fan of a useless moustache that falls off during a scene. 

Where I think this show really excels is in the creativity of the storytelling – lots original and out of the box ideas which really feeds into the pace and hilarity. 

The messy ending being cleaned up for production was a nice metaphor for understanding reality in story-telling, but was a bit of an anticlimax when you find the true story is way more complicated.

Definitely go watch this.