So, the best Edinbugh fringe for quality and diversity that I can remember for a long,long time comes to an end. DARKCHAT's festival finishes as I spent most of the week, rushing from venue to venue, mainly thanks to over-running-shows.
For a group of sketch comedy fans what better ending could you have than The Great Big Sketch-Off. Basically, it does what it says on the tin. The best sketch groups split into 9 teams, with 3 teams performing over 3 heats with the winners qualifying for a final on the last Friday of the month. We came on the last heat where a fired up and relaxed audience welcomed host Lee Griffiths from Late Night Gimp fight to welcome the teams, featuring a Penny, an Idiot, a Wit-Tanker, a Sheep, Lady Gardener and another Gimp etc.
Some teams had obviously worked harder than others and it wasn't hard to eliminate the middle group featuring Elliott Idiot, whose set included an over-long sketch about " tiny, tiny weapons".
Initial favourites The Beard Group fell at the final hurdle as their mainly inprovised effort could not compete with the genius idea of Thom Tuck in a kimono playing a geisha hosting the Generation Game. The image of him browsing through a copy of the Fest, raising his eyebrows when reading " Mark Dolan - One Star" has stayed with me for a week and makes me smile when the real world drags me down. Sometimes sketches can be overly honed!
A perfect ending to a fabulous week. Roll on 2012, we have booked our flat already!
Friday 26 August 2011
Barb Jungr - 19th August 2011
Each year the quality and quantity of shows at the Edinburgh fringe is astounding. The only area that seems to be diminshing is music. Just when I thought I wouldn't see anything other than drama and plays up pops Barb Jugr to save the day. ( Where was Patti Plinko this year?)
This is the silver anniversary of my first trip to this festival and the person I have seen the most is Miss Jungr, starting in 1989 with her performances with Julian Clary and guitarist Michael Parker, through to Christine Collister and Ian Shaw and her tentative solo steps to her current position as Britain's foremost female interpreter of song.
In recent years she has followed the trend of themed shows and after the success of 2009's show "Sings Songs Of War and Peace" tonight's is devoted to the works of Bob Dylan. These are great songs not always easy to follow and certainly not a barrel of laughs. The justification ( should there need to be one) is to promote her latest CD based upon the songs of the great singer/songwriter " Man In The Long Black Coat", though a lot of these featured come from her previous tribute album " Every Grain Of Sand".
No-one should be surprised by her ability to inhabit a song and turn a perennial favourite upside down and inside out with a great arrangement and perfect piano accompanyist from Simon Wallace. But it is the patter between songs that lifts her out of the category of a great singer into an all-round entertainer. She tells stories about the songs like a true connoiseur bringing them to life with her sheer enthusiasm, injecting them with great humour and such comic timing that many comedians would envy.
After a disappointing audience in 2009 it was gratifying to see the Queens Hall full of adoring fans. Even though she over-ran by nearly half an hour causing me to haul myself at great speed to my last show of the week I don't begrudge a second of it.
Musical and comedy perfection.
This is the silver anniversary of my first trip to this festival and the person I have seen the most is Miss Jungr, starting in 1989 with her performances with Julian Clary and guitarist Michael Parker, through to Christine Collister and Ian Shaw and her tentative solo steps to her current position as Britain's foremost female interpreter of song.
In recent years she has followed the trend of themed shows and after the success of 2009's show "Sings Songs Of War and Peace" tonight's is devoted to the works of Bob Dylan. These are great songs not always easy to follow and certainly not a barrel of laughs. The justification ( should there need to be one) is to promote her latest CD based upon the songs of the great singer/songwriter " Man In The Long Black Coat", though a lot of these featured come from her previous tribute album " Every Grain Of Sand".
No-one should be surprised by her ability to inhabit a song and turn a perennial favourite upside down and inside out with a great arrangement and perfect piano accompanyist from Simon Wallace. But it is the patter between songs that lifts her out of the category of a great singer into an all-round entertainer. She tells stories about the songs like a true connoiseur bringing them to life with her sheer enthusiasm, injecting them with great humour and such comic timing that many comedians would envy.
After a disappointing audience in 2009 it was gratifying to see the Queens Hall full of adoring fans. Even though she over-ran by nearly half an hour causing me to haul myself at great speed to my last show of the week I don't begrudge a second of it.
Musical and comedy perfection.
The Three Englishmen - 19th August 2011
Devotees of the reviewers of DARKCHAT ( and why wouldn't you be) will know we favour sketch comedy. The Penny Dreadfuls and Idiots of Ants generally battle it out at the top of the league with The Ginge, The Geordie and the Geek leading the chasing pack although Wit-Tank are making a bid to seize the trophy this year.
We do, however, always try to see newer acts with visits this week to Betrayal of Penguins and Late Night Gimp Fight & 88 MPH ( who shall remain nameless). Today it was the turn of The Three Gentlemen to show what they have got.
The bigger names generally inhabit the Pleasance Courtyard but I have a soft spot for The Caves. It's title gives you an idea of the sartorial elegance of the venue but it gives you the chance to see lesser known talent on the way up and more importantly it offers ( and provides) two for one pricing which helps a reviewers pockets at the end of a long week.
A big queue ensured we weren't going to get our usual from row seats but by splitting up we managed to get single seats near the stage, essential for Rick who lost his glasses the night before. I thought that for once I wouldn't be involved in a show until I realised I had a dreaded aisle seat & I was wearing a Monty Python T-shirt which had already been mentioned by one of the Englishmen on the way in. This is an increasing trend, performers greeting the audience before and after the show. It did provide the first laugh of the show that despite appearances " the venue was structurally sound". Not just a funny line but some re-assuring Health and Safety advice.
If you are not aware of The Three Englishmen there are actually four of them, all likeable. They started with a series of quick sketches which often are a bit of a mess but they all struck home, I especially loved the horse with a particular party trick. As the show progressed the sketches lengthened but they bucked the trend of re-occuring characters though I felt there was the opportunity for a further appearance of "Shirley Bassey".
It is odd that despite the effort performers put into honing their material often the biggest laugh occurs when someone goes wrong or corpses on stage. So, it proved here with a hysterical French spy scene especially when he actually eats his cigarette.
Oh, and my involvment? Naturally it occurred when a (huge) eagle escapes from its master to hover over me while an Englishmen constantly yelled at me to soil myself.
They are not the finished product yet, but worth following.
We do, however, always try to see newer acts with visits this week to Betrayal of Penguins and Late Night Gimp Fight & 88 MPH ( who shall remain nameless). Today it was the turn of The Three Gentlemen to show what they have got.
The bigger names generally inhabit the Pleasance Courtyard but I have a soft spot for The Caves. It's title gives you an idea of the sartorial elegance of the venue but it gives you the chance to see lesser known talent on the way up and more importantly it offers ( and provides) two for one pricing which helps a reviewers pockets at the end of a long week.
A big queue ensured we weren't going to get our usual from row seats but by splitting up we managed to get single seats near the stage, essential for Rick who lost his glasses the night before. I thought that for once I wouldn't be involved in a show until I realised I had a dreaded aisle seat & I was wearing a Monty Python T-shirt which had already been mentioned by one of the Englishmen on the way in. This is an increasing trend, performers greeting the audience before and after the show. It did provide the first laugh of the show that despite appearances " the venue was structurally sound". Not just a funny line but some re-assuring Health and Safety advice.
If you are not aware of The Three Englishmen there are actually four of them, all likeable. They started with a series of quick sketches which often are a bit of a mess but they all struck home, I especially loved the horse with a particular party trick. As the show progressed the sketches lengthened but they bucked the trend of re-occuring characters though I felt there was the opportunity for a further appearance of "Shirley Bassey".
It is odd that despite the effort performers put into honing their material often the biggest laugh occurs when someone goes wrong or corpses on stage. So, it proved here with a hysterical French spy scene especially when he actually eats his cigarette.
Oh, and my involvment? Naturally it occurred when a (huge) eagle escapes from its master to hover over me while an Englishmen constantly yelled at me to soil myself.
They are not the finished product yet, but worth following.
Thursday 25 August 2011
Jamie Blake - 19th August 2011
Looking through the fringe brochure gets harder every year. So many (some might say too many) choices means that it is almost impossible to decide what to see.
Occasionally though even a general blurb in the listings creates a resonance and you have a gut feeling that this is a show worth investing your time and money in. This is how we ended up at Zoo Roxy on our last afternoon following a delightful and unexpected walk around Arthur's Seat in glorious sunshine beforehand.
After joining a surprisingly long queue we entered the venue to hear Rhys Lewis' s dulcit singing voice whilst accompanying himself on guitar. Immediately we meet Jamie Blake struggling to speak on the phone. My first thoughts were that like "Rose" (see yesterday's review) we were watching a man with a stroke but soon I realised it was just the emotions of a dumped lover begging for another chance.
In flashback, we then see our hero meeting the love of his life, Jade, and the events which lead us to the conclusion. Along the way we meet their friends who experience the highs and lows you would expect from free and single twenty-somethings just having fun. It sounds fairly generic theatrical fare but succeeds because the writing and acting is real and believable.
Like a good referee, the control of director Ashley Scott-Layton (also the writer) is not noticed, as although there are a lot of scenes, often quite complicated, they all allow the story to flow naturally.
The large cast are all exemplary but I must single out Rupert Lazarus in the title role. On stage for virtually the whole show you must believe and care about him to get involved in the story. It is a far from easy role as he has to start at a highly emotional state, regress to a level of innocence and naivety and work himself back up into this dramatic ending.
If this sounds heavy and dramatic you couldn't be more wrong. All along the way it is funny with bursts of musical energy, dancing and beat-boxing that are truly life-affirming. Credit must also go to Rhys Lewis who remained on-stage throughout the show, coming alive to deliver his own songs as well as creating a great party atmosphere with cheesy disco favourites.
For anyone suffering Fringe-lag this is the perfect pick-me-up. I can also recommend getting hold of Rhys Lewis's mini-CD as these songs grow on me with each listen.
A company to be enjoyed not just this festival, but hopefully for plenty more to come.
Highly recommended.
Occasionally though even a general blurb in the listings creates a resonance and you have a gut feeling that this is a show worth investing your time and money in. This is how we ended up at Zoo Roxy on our last afternoon following a delightful and unexpected walk around Arthur's Seat in glorious sunshine beforehand.
After joining a surprisingly long queue we entered the venue to hear Rhys Lewis' s dulcit singing voice whilst accompanying himself on guitar. Immediately we meet Jamie Blake struggling to speak on the phone. My first thoughts were that like "Rose" (see yesterday's review) we were watching a man with a stroke but soon I realised it was just the emotions of a dumped lover begging for another chance.
In flashback, we then see our hero meeting the love of his life, Jade, and the events which lead us to the conclusion. Along the way we meet their friends who experience the highs and lows you would expect from free and single twenty-somethings just having fun. It sounds fairly generic theatrical fare but succeeds because the writing and acting is real and believable.
Like a good referee, the control of director Ashley Scott-Layton (also the writer) is not noticed, as although there are a lot of scenes, often quite complicated, they all allow the story to flow naturally.
The large cast are all exemplary but I must single out Rupert Lazarus in the title role. On stage for virtually the whole show you must believe and care about him to get involved in the story. It is a far from easy role as he has to start at a highly emotional state, regress to a level of innocence and naivety and work himself back up into this dramatic ending.
If this sounds heavy and dramatic you couldn't be more wrong. All along the way it is funny with bursts of musical energy, dancing and beat-boxing that are truly life-affirming. Credit must also go to Rhys Lewis who remained on-stage throughout the show, coming alive to deliver his own songs as well as creating a great party atmosphere with cheesy disco favourites.
For anyone suffering Fringe-lag this is the perfect pick-me-up. I can also recommend getting hold of Rhys Lewis's mini-CD as these songs grow on me with each listen.
A company to be enjoyed not just this festival, but hopefully for plenty more to come.
Highly recommended.
Stripsearch - 18th August 2011
For my second one-man show of the day I headed to The Space at North Bridge to see
"Stripsearch" which was written last year by Peter Scott-Presland for the Homos Promos production company.
Daniel Onadeko plays an ex-squaddie who takes us through his life as a youth turning tricks for money, joining the army and then getting into stripping. Cleverly ( and intringingly for certain members of the audience) at each each climactic point ( pun intended) of the piece he would remove a further item of clothing.
I was expecting a play about a stripping ex-squaddie with nudity and gay overtones but this was a highly layered (pun unintended) piece of drama. It is a detailed and true examination of someone gradually dealing with emotions that they had buried within themselves. The writer, director and producer ( amazingly all one person) allowed the Daniel to understand his own nature after the audience had worked it out, which is a brave and difficult feat to achieve.
Having praised the writing I must strongly recommend Daniel Onadeko's performance. No-one man show is easy but he exposes more than just raw emotion.
In an hour of surprises ( all pleasant) one of the biggest was hearing a lot of references to Caroline Street and The Kings Cross. As someone from Cardiff these were places I wasn't expecting to be mentioned here, but, even without any Welsh connections this is still worth a visit.
"Stripsearch" which was written last year by Peter Scott-Presland for the Homos Promos production company.
Daniel Onadeko plays an ex-squaddie who takes us through his life as a youth turning tricks for money, joining the army and then getting into stripping. Cleverly ( and intringingly for certain members of the audience) at each each climactic point ( pun intended) of the piece he would remove a further item of clothing.
I was expecting a play about a stripping ex-squaddie with nudity and gay overtones but this was a highly layered (pun unintended) piece of drama. It is a detailed and true examination of someone gradually dealing with emotions that they had buried within themselves. The writer, director and producer ( amazingly all one person) allowed the Daniel to understand his own nature after the audience had worked it out, which is a brave and difficult feat to achieve.
Having praised the writing I must strongly recommend Daniel Onadeko's performance. No-one man show is easy but he exposes more than just raw emotion.
In an hour of surprises ( all pleasant) one of the biggest was hearing a lot of references to Caroline Street and The Kings Cross. As someone from Cardiff these were places I wasn't expecting to be mentioned here, but, even without any Welsh connections this is still worth a visit.
Rose - 18th August 2011
As "Bones" ( see previous review) started twenty minutes late at Zoo I rushed round to Pleasance Forth to see another one word title play. With barely enough time to get my breath bakc, let alone clear my head I wasn't really in the mood to see another harrowing drama.
But the minute "Rose" started I was hooked. It helped to have such an experienced and talented actor as Art Malik to watch ,though it was somewhat disconcerting to see him with a bushy-greying beard, lying in a hospital bed following a stroke.
This is the story of Arthur, an immigrant Muslim struggling to bring up his daughter (Rose) alone as his wife had died in childbirth. To make a better life for them both Arthur made himself more British then the British but drove his daughter away and into a more religious way of life. Scenes alternate between the present day and key moments in Rose's childhood.
His illness is an opportunity for them to repair their broken bridges and ironically, despite his inability to speak clearly, they communicate now better than ever.
This is a beautifully written piece, totally believable and involving with an emotional and surprising ending but it is the quality of the acting that makes it real. You would expect a strong performance from Art Malik but for me the star of the night was his real-life daughter, Keira, who displayed impressive stage-craft in her theatrical professional debut. It would be hard enough anyway but facing your famous father must be doubly daunting.
As well as thoroughly enjoying the play it was also nice to discover that I was amongst the youngest and more agile of the audience. A rarity nowadays.
Forget a cross-dressing Simon Callow go and see the Maliks.
But the minute "Rose" started I was hooked. It helped to have such an experienced and talented actor as Art Malik to watch ,though it was somewhat disconcerting to see him with a bushy-greying beard, lying in a hospital bed following a stroke.
This is the story of Arthur, an immigrant Muslim struggling to bring up his daughter (Rose) alone as his wife had died in childbirth. To make a better life for them both Arthur made himself more British then the British but drove his daughter away and into a more religious way of life. Scenes alternate between the present day and key moments in Rose's childhood.
His illness is an opportunity for them to repair their broken bridges and ironically, despite his inability to speak clearly, they communicate now better than ever.
This is a beautifully written piece, totally believable and involving with an emotional and surprising ending but it is the quality of the acting that makes it real. You would expect a strong performance from Art Malik but for me the star of the night was his real-life daughter, Keira, who displayed impressive stage-craft in her theatrical professional debut. It would be hard enough anyway but facing your famous father must be doubly daunting.
As well as thoroughly enjoying the play it was also nice to discover that I was amongst the youngest and more agile of the audience. A rarity nowadays.
Forget a cross-dressing Simon Callow go and see the Maliks.
Wednesday 24 August 2011
Paul Ricketts - West End Story - 18th August 2011
Organising 70 shows for 9 different people is fraught with danger. I have yet to survive a week without making at least one mistake and today I ran out of luck. The problems always arise over shows that have a day off and we all duly arrived at Canon's Gait to see DARKCHAT favourite Richard Sandling, who wasn't appearing that day.
The joy of free shows is that if you see something rubbish all you have lost is an hour of your
life, so we entered the venue with the bonus of having absolutely no idea what to expect.
So, what did we get? Well, while the ladies hid at the back we perched on the side seats to see a likeable London stand-up comedian telling stories about meeting a Swedish girl. As neither of them had any money they had to invent stories to encourage other drinkers to pay for their alcohol for the evening.
One of the tales which was the basis of the show involved a legendary musician who shall remain nameless. We were led down such an extraordinary path that we spent a lot of time afterwards debating whether it could possibly be true. If it is, surely the show is slanderous, if it is false what was the point, especially as no-one else in the group had ever heard of this person (although naturally Anne & I had seen him).
It is such an enjoyable and surprising show that I recommend people to deliberately plan to see the show. Good fun.
The joy of free shows is that if you see something rubbish all you have lost is an hour of your
life, so we entered the venue with the bonus of having absolutely no idea what to expect.
So, what did we get? Well, while the ladies hid at the back we perched on the side seats to see a likeable London stand-up comedian telling stories about meeting a Swedish girl. As neither of them had any money they had to invent stories to encourage other drinkers to pay for their alcohol for the evening.
One of the tales which was the basis of the show involved a legendary musician who shall remain nameless. We were led down such an extraordinary path that we spent a lot of time afterwards debating whether it could possibly be true. If it is, surely the show is slanderous, if it is false what was the point, especially as no-one else in the group had ever heard of this person (although naturally Anne & I had seen him).
It is such an enjoyable and surprising show that I recommend people to deliberately plan to see the show. Good fun.
White Rabbit, Red Rabbit - 18th August 2011
This year I have taken the decision to try and see more drama than usual. This has proved a master-stroke as " A Clockwork Orange", " The Dark Philosophers" and " The Ten Plagues" were all stunning in their different ways.
So, despite, the inconvenience of rushing to the other end of town (St George's West) from our flat at an early (ish) start we were intrigued by what would follow. We were greeted by a member of the production team who handed over the envelope containing the script to today's actor, Pip Upton. Although he is known for his one-man shows on the fringe he looked naturally concerned about what he had let himself in for.
It was left to the playwright via the script to explain what we were about to witness. Nassim Soleimanpour wrote the play in Iran but as he refused to join up for National Service he was ineligible for a passport and couldn't travel. However, he was determined to be part of the performance and requested (and was granted) that a seat was left vacant for him.
Similarly, he arranged for the audience to number themselves and get involved. It was up to me
to announce the full date and frankly after six days here I was struggling to remember my name but somehow I got through.
I was more fortunate than others who came on stage to impersonate the rabbits of the title. The crux of the piece revolves around the possibility of the actor drinking a glass of poison, unlikely but as we were ushered out of the theatre by another member of the audience you could have heard a pin drop. Since there has been no mention of Mr Upton's demise in the Scotsman I assume he survived.
This is an outstandingly riveting and disconcerting play. It does make you realise how much we take our freedom for granted, yet conversely it shows how small the world is nowadays. We were all encouraged to contact Nassim by email or Facebook ( assuming he is still alive) to let him know how the show went.
This is the kind of show you can only really see at Edinburgh. GO!
So, despite, the inconvenience of rushing to the other end of town (St George's West) from our flat at an early (ish) start we were intrigued by what would follow. We were greeted by a member of the production team who handed over the envelope containing the script to today's actor, Pip Upton. Although he is known for his one-man shows on the fringe he looked naturally concerned about what he had let himself in for.
It was left to the playwright via the script to explain what we were about to witness. Nassim Soleimanpour wrote the play in Iran but as he refused to join up for National Service he was ineligible for a passport and couldn't travel. However, he was determined to be part of the performance and requested (and was granted) that a seat was left vacant for him.
Similarly, he arranged for the audience to number themselves and get involved. It was up to me
to announce the full date and frankly after six days here I was struggling to remember my name but somehow I got through.
I was more fortunate than others who came on stage to impersonate the rabbits of the title. The crux of the piece revolves around the possibility of the actor drinking a glass of poison, unlikely but as we were ushered out of the theatre by another member of the audience you could have heard a pin drop. Since there has been no mention of Mr Upton's demise in the Scotsman I assume he survived.
This is an outstandingly riveting and disconcerting play. It does make you realise how much we take our freedom for granted, yet conversely it shows how small the world is nowadays. We were all encouraged to contact Nassim by email or Facebook ( assuming he is still alive) to let him know how the show went.
This is the kind of show you can only really see at Edinburgh. GO!
Sodom - 17th August 2011
This year we welcomed a new DARKCHATTER, Chris to the Edinburgh festival. So, arriving in the Scottish capital on a Wednesday night at 10.00pm, what show best sums up what is on offer to a Fringe virgin? A comedian off the television or some late-night music, perhaps. No, I thought we would pick one of the weirder plays on offer, which explains why we headed to Zoo at 11.00pm. Here, Chris immediately heard two of the Fringes most common statements " oh, you want the venue, round the corner" and " it's running a little late".
Soon, we were seated (in the front row, naturally) for The Movement's production of "Sodom". This was never going to be a conventional show with the opening speeches drowned out by a trombone (which never re-appeared) and an Italian sounding musician, who when not performing, retreated into a small fridge. The play revolved around Toby Parker-Rees's (also taking the lead role) re-working (in rhyming couplets of course) of The Earl of Rochester's story about the King and Queen of Sodom.
Raunchy doesn't describe the language. Every speech seems to mention prick and the c word which gets boring once you get past the intial feeling of shock and amusement. You obviously couldn't produce the play any earlier but after a long day at the fringe (this was my 7th show of the day) my exhausted brain wasn't willing or capable of trying to untangle the sub-Shakespearean dialogue or the plot.
I was amused by the sight of two lads taken from the audience to stand (for quite a while) in a crude pose but generally I wanted the show to end so I could head to Pleaseance courtyard for a much needed drink.
Oddly, despite the subject matter ( sex) and language, only the musician exposed any skin and that was presumably because the fridge was so hot. Overall, although this show polarised opinion Chris was happy to lose his Edinburgh cherry here. Result!
Soon, we were seated (in the front row, naturally) for The Movement's production of "Sodom". This was never going to be a conventional show with the opening speeches drowned out by a trombone (which never re-appeared) and an Italian sounding musician, who when not performing, retreated into a small fridge. The play revolved around Toby Parker-Rees's (also taking the lead role) re-working (in rhyming couplets of course) of The Earl of Rochester's story about the King and Queen of Sodom.
Raunchy doesn't describe the language. Every speech seems to mention prick and the c word which gets boring once you get past the intial feeling of shock and amusement. You obviously couldn't produce the play any earlier but after a long day at the fringe (this was my 7th show of the day) my exhausted brain wasn't willing or capable of trying to untangle the sub-Shakespearean dialogue or the plot.
I was amused by the sight of two lads taken from the audience to stand (for quite a while) in a crude pose but generally I wanted the show to end so I could head to Pleaseance courtyard for a much needed drink.
Oddly, despite the subject matter ( sex) and language, only the musician exposed any skin and that was presumably because the fridge was so hot. Overall, although this show polarised opinion Chris was happy to lose his Edinburgh cherry here. Result!
Tuesday 23 August 2011
Spike Theatre: The Games - Spike Theatre - Edinburgh fringe 2011
Spike Theatre: The Games - Spike Theatre - Edinburgh fringe 2011
Thanks for a great show.
To see your ( and other) reviews please log onto our link:
http://www.darkchat-edinburgh.tk/
Yours is on Monday.
Enjoy
David
Thanks for a great show.
To see your ( and other) reviews please log onto our link:
http://www.darkchat-edinburgh.tk/
Yours is on Monday.
Enjoy
David
Bosum Buddies - 14th August 2011
If you spend a week in Edinburgh there are bound to be some shows you regret seeing in hindsight. Sadly, " Bosum Buddies" was one of them. To be fair it was unlucky to follow shows of such quality as " A Clockwork Orange", " The Dark Philosophers" and " Ten Plagues" in a twenty-four hour period.
We were lured by the opportunity to see one of Jack Klaff's famous one-man shows after we had last seen him here in Robert Llewellyn's " Blue Helmet". But, in contrast to what had gone before this is a bit of a mess. The concept is sound, a variety of real people (some better known than others) talking about their involvement in key moments in history.
The trouble with one person impersonating a number of different characters, male and female, and numerous accents is that it is really hard for the audience to keep up. Jack Klaff is an experienced performer and although he has performed this piece over many years he oddly seemed a little unsure of his material today. Strangely, the only time he seemed in complete control was when he spoke to some late-comers and briefly brought them up to speed with what they had missed.
There is an interesting play here but at seventy-five minutes it is at least a quarter of an hour too long and I feel we caught Mr Klaff on a bad day.
A missed opportunity.
We were lured by the opportunity to see one of Jack Klaff's famous one-man shows after we had last seen him here in Robert Llewellyn's " Blue Helmet". But, in contrast to what had gone before this is a bit of a mess. The concept is sound, a variety of real people (some better known than others) talking about their involvement in key moments in history.
The trouble with one person impersonating a number of different characters, male and female, and numerous accents is that it is really hard for the audience to keep up. Jack Klaff is an experienced performer and although he has performed this piece over many years he oddly seemed a little unsure of his material today. Strangely, the only time he seemed in complete control was when he spoke to some late-comers and briefly brought them up to speed with what they had missed.
There is an interesting play here but at seventy-five minutes it is at least a quarter of an hour too long and I feel we caught Mr Klaff on a bad day.
A missed opportunity.
Ten Plagues - 14th August 2011
After the exhilaration of " The Dark Philosophers" and refreshed by some lovely haggis in the restaurant we were soon raring to return to Traverse One for " Ten Plagues".
You knew from the title that Mark Ravenhill's songspiel depicting one man's attempt to survive the plague in 1665 would not be a barrel of laughs. The choice of Marc Almond to bring these difficult songs to life was inspired as no-one can suffer musically like the former Soft-Cell lead singer.
Any fears I had that this idea couldn't sustain an hour's theatre were allayed as singer and writer beautifully conveyed the different emotions someone living through these extraordinary times would have experienced.
The occasional use of back projection helped to provide a kind of narrative but this is not just a historical drama. There is the underlying presence of the Aids epidemic made even more resonant by Marc Almond's own situation. We all knew he can sing but his voice now seems richer and fuller than ever. He has developed into an old-fashioned torch singer who is now one of the great interpreters of song.
Then just when you think your emotions have been wrung out there is an excellent and unexpected ending which will remain with you long after the show.
Another triumph for the Traverse.
You knew from the title that Mark Ravenhill's songspiel depicting one man's attempt to survive the plague in 1665 would not be a barrel of laughs. The choice of Marc Almond to bring these difficult songs to life was inspired as no-one can suffer musically like the former Soft-Cell lead singer.
Any fears I had that this idea couldn't sustain an hour's theatre were allayed as singer and writer beautifully conveyed the different emotions someone living through these extraordinary times would have experienced.
The occasional use of back projection helped to provide a kind of narrative but this is not just a historical drama. There is the underlying presence of the Aids epidemic made even more resonant by Marc Almond's own situation. We all knew he can sing but his voice now seems richer and fuller than ever. He has developed into an old-fashioned torch singer who is now one of the great interpreters of song.
Then just when you think your emotions have been wrung out there is an excellent and unexpected ending which will remain with you long after the show.
Another triumph for the Traverse.
Sunday 21 August 2011
Bones - Thursday 18th August
At the Edinburgh festival you can easily forget there is a world outside of the Scottish capital. As we are all aware England in July was not a green and pleasant land, although this event has mainly been ignored by the comedians here.
The fires may be out, order has been re-established with the malcontents behind bars or back in their lives. But we are now in the period of recrimination and trying to understand what went wrong and how to avoid such scenes do not recur in this generation.
A lot of people who come up here want to forget what happened but for those who don't want to avoid difficult subjects " Bones" is a must. Based in Nottingham in 1998, Jane Upton's play revolves around Mark a 19 year old lost soul living in some god-forsaken flat with his mother. No money, no job, no future.
Just in case you didn't know what kind of play you are about to witness the opening line " I never knew how hard it was to kill a baby" sets the scene and certainly kept the audience on their toes.
This forty-five minute monologue isn't an easy watch. It is a fairly relentless state of the nation piece about how life and the system can trap an ordinary nice lad. Impressively the play doesn't moralise, preach, take sides or attempt to offer a solution. But it does attempt to un-demonise the so-called under-class and try to show readers of right-wing newspapers that not all young people are born purely to loot, rape, procreate and kill.
The play, however, only comes alive through the stunning performance of Joe Doherty. He is totally natural and believable and avoids the trap of stereo-typing Mark, allowing you to fully engage with the piece and the playwright. It was also endearing that after another rapturous response from the audience he looked sheepish and embarrassed about the deserved reaction.
Harrowing but recommended.
The fires may be out, order has been re-established with the malcontents behind bars or back in their lives. But we are now in the period of recrimination and trying to understand what went wrong and how to avoid such scenes do not recur in this generation.
A lot of people who come up here want to forget what happened but for those who don't want to avoid difficult subjects " Bones" is a must. Based in Nottingham in 1998, Jane Upton's play revolves around Mark a 19 year old lost soul living in some god-forsaken flat with his mother. No money, no job, no future.
Just in case you didn't know what kind of play you are about to witness the opening line " I never knew how hard it was to kill a baby" sets the scene and certainly kept the audience on their toes.
This forty-five minute monologue isn't an easy watch. It is a fairly relentless state of the nation piece about how life and the system can trap an ordinary nice lad. Impressively the play doesn't moralise, preach, take sides or attempt to offer a solution. But it does attempt to un-demonise the so-called under-class and try to show readers of right-wing newspapers that not all young people are born purely to loot, rape, procreate and kill.
The play, however, only comes alive through the stunning performance of Joe Doherty. He is totally natural and believable and avoids the trap of stereo-typing Mark, allowing you to fully engage with the piece and the playwright. It was also endearing that after another rapturous response from the audience he looked sheepish and embarrassed about the deserved reaction.
Harrowing but recommended.
Late Night Gimp Fight - 18th August 2011
There is an awful lot of comedy ( and a lot of awful comedy) at the Edinburgh fringe festival and generally its style dominates the time of day it appears. Free, gentle and sketch shows normally appear from lunch-time to early evening when the stage (literally) is left to stand-up and more aggressive and risque acts. This usually means that fans of sketch comedy are struggling to see anything after 8.00 pm.
This gap in the market was exploited last year by the arrival of " Late Night Gimp Fight". The title explains why they do not appear at the Pleasance Courtyard before 10.30 pm.
The opening theme song in obligatory Gimp masks sets the scene and we are off into a sequence
of short sketches. Gradually though the early euphoria of the audience dwindles away to polite applause as we see a succession of dismal sketches. One about gladiators is poor but better than one regarding a confused terminal diagnosis that I last laughed at in the 1980's and I won't mention the sequence about milking animals.
Even the clever use of clips showing famous videos with " Late Night Gimp Fight" imposed over classic lyrics began to wear thin. But just when I was mentally preparing to adapt Mitchell & Webb's classic sketch about writing sketches into " Hit, Miss, Miss, Miss, Miss etc" they re-found their form.
An impressive fight scene & enactment of Saving Private Ryan's famous " Sssh" death scene stopped this slide and started the trend of good returning sketches. The video pen pictures of the performers improved the links and suddenly they produced increasingly rare comedy moments, hysterical songs, including a musically brilliant rap and a stunning version of " Riot Cell Tango" from Chicago about how they lost their virginity.
`
The best sketches were cleverer with more impressive word-play than I expected, proving you shouldn't tell a sketch group by its title. The highs they hit made the inclusion of some obviously weak material mystifying and rather annoying. This is a potential 5 star show which disappointingly shot itself in the foot.
This gap in the market was exploited last year by the arrival of " Late Night Gimp Fight". The title explains why they do not appear at the Pleasance Courtyard before 10.30 pm.
The opening theme song in obligatory Gimp masks sets the scene and we are off into a sequence
of short sketches. Gradually though the early euphoria of the audience dwindles away to polite applause as we see a succession of dismal sketches. One about gladiators is poor but better than one regarding a confused terminal diagnosis that I last laughed at in the 1980's and I won't mention the sequence about milking animals.
Even the clever use of clips showing famous videos with " Late Night Gimp Fight" imposed over classic lyrics began to wear thin. But just when I was mentally preparing to adapt Mitchell & Webb's classic sketch about writing sketches into " Hit, Miss, Miss, Miss, Miss etc" they re-found their form.
An impressive fight scene & enactment of Saving Private Ryan's famous " Sssh" death scene stopped this slide and started the trend of good returning sketches. The video pen pictures of the performers improved the links and suddenly they produced increasingly rare comedy moments, hysterical songs, including a musically brilliant rap and a stunning version of " Riot Cell Tango" from Chicago about how they lost their virginity.
`
The best sketches were cleverer with more impressive word-play than I expected, proving you shouldn't tell a sketch group by its title. The highs they hit made the inclusion of some obviously weak material mystifying and rather annoying. This is a potential 5 star show which disappointingly shot itself in the foot.
Colin Hoult - 18th August 2011
Colin Hoult first came to Edinburgh prominence in 2009 with his acclaimed " Carnival of Monsters". Last year he consolidated his position as the quirk-meister of character comedy with "Enemy Of The World" and an impressive tour-de-force song and dance performance in " Gutted".
This year he returns to the Pleasance Courtyard with " Inferno". Even as you take your seat ( front-rowers be prepared to be involved) you are greeted by some Brazilian chill-out mood music. Then you are aware of Mr Hoult wearing a natty blue cap, dancing and extolling the virtues of producer of this pleasant noise " Sant Germain" ( ?) while involving plenty of the audience.
Soon, this amusing interlude takes a darker form when this character reveals that his obsession with this perfomer led his wife to leave him and the general disintegration of his life.
This is the theme of the show, seemingly ordinary people turned into grotesques, including a Welsh poet angry that his bear poem has not received widespread acclaim, a Thor-like figure revealed as living in Leeds and an elderly woman in a home constantly asking for Billy. Much to the audience's amusement ( if not exactly mine) I had to come onstage and make this lady a cup of tea with butter and hundreds and thousands.
Determined to get as many people involved as possible the show climaxes with the first couple of rows creating a circle round the whole audience in a dramatic plea to the gods.
As you may have gathered this is a strange show. Not as funny as I expected but gradually I realised that isn't the intention. Pathos is the name of today's game. You may not particularly want to live next to these people but you care about their wellbeing.
Overall an impressive and unexpected hour.
This year he returns to the Pleasance Courtyard with " Inferno". Even as you take your seat ( front-rowers be prepared to be involved) you are greeted by some Brazilian chill-out mood music. Then you are aware of Mr Hoult wearing a natty blue cap, dancing and extolling the virtues of producer of this pleasant noise " Sant Germain" ( ?) while involving plenty of the audience.
Soon, this amusing interlude takes a darker form when this character reveals that his obsession with this perfomer led his wife to leave him and the general disintegration of his life.
This is the theme of the show, seemingly ordinary people turned into grotesques, including a Welsh poet angry that his bear poem has not received widespread acclaim, a Thor-like figure revealed as living in Leeds and an elderly woman in a home constantly asking for Billy. Much to the audience's amusement ( if not exactly mine) I had to come onstage and make this lady a cup of tea with butter and hundreds and thousands.
Determined to get as many people involved as possible the show climaxes with the first couple of rows creating a circle round the whole audience in a dramatic plea to the gods.
As you may have gathered this is a strange show. Not as funny as I expected but gradually I realised that isn't the intention. Pathos is the name of today's game. You may not particularly want to live next to these people but you care about their wellbeing.
Overall an impressive and unexpected hour.
Jessica Fostekew - August 17th 2011
The Edinburgh Fringe festival is a magificent, huge, sprawling beast. But with over 2,400 shows ( mostly comedy nowadays) how do you choose? Reviews, you-tube clips, awards, venues, cost etc? Well, this reviewer decided to go down the lesser used route of accompanying a friend to see the daughter of someone she works with. It may not work for everyone but it worked for me.
Venues this year finally seem to have discovered that not suffocating your audience in sweltering conditions helps to keep the laughs coming. But the unexpected appearance of a fan on my seat was a welcome bonus.
Jessica Fostekew then bounded on stage to explain why she had named her show "Luxury Tramp". We are in familiar self-annecdotal territory though she quickly pointed out this was not a show about lady parts and food, nicely referencing but not naming this year's Queen of Edinburgh.
Instead we heard how her attempts to try & please all the people all the time led her into therapy " not just for mental people". We got to meet more of her family, literally as her Nana was in the audience, ensuring any potentially raunchy material was whispered or mouthed. We learned about her street-savvy young nephew who would only get involved in the show for £2000 and her mother who on discovering an unexpected teen-age smoochy party had occurred in her house threw out the testosterone fuelled youths while offering them lifts home.
This amusing show also contained my favourite line of the week ( impressive as I watched 41 shows) regarding a kebab. To hear it complete you need to rush to buy a ticket.
It was good to see Jesscia Fostekew effortlessly fill an hour's material alone after seeing her with Dan Thompson in " Pecker and Foosh save the world " as part of the Free Fringe in 2009.
Good fun and this hot reviewer got a free fan!
Venues this year finally seem to have discovered that not suffocating your audience in sweltering conditions helps to keep the laughs coming. But the unexpected appearance of a fan on my seat was a welcome bonus.
Jessica Fostekew then bounded on stage to explain why she had named her show "Luxury Tramp". We are in familiar self-annecdotal territory though she quickly pointed out this was not a show about lady parts and food, nicely referencing but not naming this year's Queen of Edinburgh.
Instead we heard how her attempts to try & please all the people all the time led her into therapy " not just for mental people". We got to meet more of her family, literally as her Nana was in the audience, ensuring any potentially raunchy material was whispered or mouthed. We learned about her street-savvy young nephew who would only get involved in the show for £2000 and her mother who on discovering an unexpected teen-age smoochy party had occurred in her house threw out the testosterone fuelled youths while offering them lifts home.
This amusing show also contained my favourite line of the week ( impressive as I watched 41 shows) regarding a kebab. To hear it complete you need to rush to buy a ticket.
It was good to see Jesscia Fostekew effortlessly fill an hour's material alone after seeing her with Dan Thompson in " Pecker and Foosh save the world " as part of the Free Fringe in 2009.
Good fun and this hot reviewer got a free fan!
Sunday 7 August 2011
4 Dogs & A Bone
"Nobody knows anything" William Goldman once famously wrote about Hollywood. Not only is this double Oscar-winning screenwriter name-checked throughout John Patrick Shanley's play but it remains the premise for this seventy-five minute play.
The piece opens in the office of producer Bradley discussing the progress of his latest film with
wannabe starlet Brenda. Naturally the film is in trouble, he wants cuts to save money and she is cunningly trying to get herself a bigger part. Cut to a seedy bar where we meet the previously unseen but mentioned writer and lead actress. More drama unfurls as he gets drunk to recover from the sudden death of his mother and being yet another insecure actress she wants him to re-write the script to increase her part further.
Basically this is familiar Hollywod territory. No-one can be trusted, everyone is obsessed by money, being over-shadowed by fellow actors, having their script decimated whilst lying, cheating and doing whatever is necessary to get themselves on top.
We are not a million miles away from David Mamet's " Speed The Plow" here and again we have the problem that when surrounded by all these grotesques it is hard to care about any of them and their predicament. The only saving grace was the writer but by the end his innocence and naivety has (for no real reason that I could follow) joined the others in their relentless quest for power and control.
Despite these reservations there is still much to enjoy here. The dialogue is crisp and increasingly funy. The battle of the two desperate women is hysteriacally bitter, especially when Collette deliberately misinterprets Brenda's chanting mantra and when the producer suffers worsening pain from the boil on his bum.
But the main reason for coming is the quality of the acting. Despite a hesitant start Daniel O'Meara played Bradley convincingly as a particularly manic Al Pacino ( which as any film goer knows is very manic indeed).
Amy Tez and Laura Pradelski both beautifully capture the differing insecurities that their particular actresses possess. But amongst these horrible characters the role of the writer Victor is vital. Joe Jameson is completely convincing as the innocent lamb trying to avoid being eaten by the pack of scavenging wolves surrounding him. He is the sole character you identify with although he is ultimately and ironically let down by the playwright.
The biggest credit I can give them all is that their accents were so convincing I was surprised to discover in the programme that none of them were actually American! I must also congratulate the Phoenix Artists club on creating such an accessible space. I used to frequent "Fino's" and " Shuttleworths" in the late 1980's & was pleased to have a reason to return after all these years. It is good to have "fringe" venues right in London's glittering West End.
This may not be a great American comedy but it is still worth watching in great surroundings.
The piece opens in the office of producer Bradley discussing the progress of his latest film with
wannabe starlet Brenda. Naturally the film is in trouble, he wants cuts to save money and she is cunningly trying to get herself a bigger part. Cut to a seedy bar where we meet the previously unseen but mentioned writer and lead actress. More drama unfurls as he gets drunk to recover from the sudden death of his mother and being yet another insecure actress she wants him to re-write the script to increase her part further.
Basically this is familiar Hollywod territory. No-one can be trusted, everyone is obsessed by money, being over-shadowed by fellow actors, having their script decimated whilst lying, cheating and doing whatever is necessary to get themselves on top.
We are not a million miles away from David Mamet's " Speed The Plow" here and again we have the problem that when surrounded by all these grotesques it is hard to care about any of them and their predicament. The only saving grace was the writer but by the end his innocence and naivety has (for no real reason that I could follow) joined the others in their relentless quest for power and control.
Despite these reservations there is still much to enjoy here. The dialogue is crisp and increasingly funy. The battle of the two desperate women is hysteriacally bitter, especially when Collette deliberately misinterprets Brenda's chanting mantra and when the producer suffers worsening pain from the boil on his bum.
But the main reason for coming is the quality of the acting. Despite a hesitant start Daniel O'Meara played Bradley convincingly as a particularly manic Al Pacino ( which as any film goer knows is very manic indeed).
Amy Tez and Laura Pradelski both beautifully capture the differing insecurities that their particular actresses possess. But amongst these horrible characters the role of the writer Victor is vital. Joe Jameson is completely convincing as the innocent lamb trying to avoid being eaten by the pack of scavenging wolves surrounding him. He is the sole character you identify with although he is ultimately and ironically let down by the playwright.
The biggest credit I can give them all is that their accents were so convincing I was surprised to discover in the programme that none of them were actually American! I must also congratulate the Phoenix Artists club on creating such an accessible space. I used to frequent "Fino's" and " Shuttleworths" in the late 1980's & was pleased to have a reason to return after all these years. It is good to have "fringe" venues right in London's glittering West End.
This may not be a great American comedy but it is still worth watching in great surroundings.
The Hired Man - 5th August 2011
I must start by saying " The Hired Man" is one of my favourite musicals. I can remember shivering in the long closed Astoria Theatre watching Howard Goodall play piano on the day it closed in 1985. A few years later I was at the Palace Theatre when the cast re-united for a charity performance.
I was therefore pleased to see it was to be revived at the Landor Theatre, Clapham. However, this excitement was tempered with apprehension that a poor production would destroy fond memories or perhaps I'd discover it didn't fulfil the expectations of a 21st century audience.
Fortunately, from the opening bars from the four piece orchestra and the evocative first scene unleashing wonderful voices I could relax, we were in safe hands.
The show tells the story of John and Emily Tallentire with all of life's ups and downs. But 'The Hired Man' is much more than that. It opens up the virtually unknown world of farm labourers at the turn of the century touting themselves for hire.
The premise may be historical but the problems are timeless. A man immerses himself in his work so his wife is tempted by the affections of another. A job market where the number of applicants far outweigh the vacancies allowing the bosses to exploit their workers, though unions promise much but deliver little. Families are destroyed as men are sent away to fight a war no-one understands. Sounds familiar? 'The Hired Man' shows that little changes.
When it opened in 1984 it survived only a few months despite good reviews, though a show about mines and unions was unlikely to prosper during the miners' strike. Nearly thirty years later on its opening Friday night the Landor Theatre was sparsely attended which is a shame as this show is as good as the previous productions I have seen. In many ways it is better, as this intimate space allows you to join the characters on their physical and emotional journeys.
The whole cast is outstanding but the three leads are exceptional. Joe Maxwell and Catherine Mort make their characters utterly believable and as well as possessing glorious voices you fully understand the reasons for their actions. Similarly, the charismatic Ian Daniels makes you care about Jackson Pennington who could easily become the villain of the piece.
Director Andrew Keates helps by adding little touches to keep the action real. Casting men who look as if they have worked on farms & in a pub wrestling scene the women instinctively grab the glasses to avoid breakages etc.
Melvyn Bragg's book was based on his grand-father experiences but everything is brought to life by Howard Goodall's music and lyrics. Written at the age of 26 his understanding of universal truths and human emotions is extraordinary.
My only regret is that this masterpiece is never likely to receive the commercial success it deserves. There is as much drama and a score to match 'Les Miserables' which has run ever since 1985. Oh well, you have until the end of the month to head to the Landor Theatre to prove you are a true theatrical officienado as well as having a great night.
Prove there is more to London than over-priced, over-amplified, soul-less jukebox-musicals. Go!
I was therefore pleased to see it was to be revived at the Landor Theatre, Clapham. However, this excitement was tempered with apprehension that a poor production would destroy fond memories or perhaps I'd discover it didn't fulfil the expectations of a 21st century audience.
Fortunately, from the opening bars from the four piece orchestra and the evocative first scene unleashing wonderful voices I could relax, we were in safe hands.
The show tells the story of John and Emily Tallentire with all of life's ups and downs. But 'The Hired Man' is much more than that. It opens up the virtually unknown world of farm labourers at the turn of the century touting themselves for hire.
The premise may be historical but the problems are timeless. A man immerses himself in his work so his wife is tempted by the affections of another. A job market where the number of applicants far outweigh the vacancies allowing the bosses to exploit their workers, though unions promise much but deliver little. Families are destroyed as men are sent away to fight a war no-one understands. Sounds familiar? 'The Hired Man' shows that little changes.
When it opened in 1984 it survived only a few months despite good reviews, though a show about mines and unions was unlikely to prosper during the miners' strike. Nearly thirty years later on its opening Friday night the Landor Theatre was sparsely attended which is a shame as this show is as good as the previous productions I have seen. In many ways it is better, as this intimate space allows you to join the characters on their physical and emotional journeys.
The whole cast is outstanding but the three leads are exceptional. Joe Maxwell and Catherine Mort make their characters utterly believable and as well as possessing glorious voices you fully understand the reasons for their actions. Similarly, the charismatic Ian Daniels makes you care about Jackson Pennington who could easily become the villain of the piece.
Director Andrew Keates helps by adding little touches to keep the action real. Casting men who look as if they have worked on farms & in a pub wrestling scene the women instinctively grab the glasses to avoid breakages etc.
Melvyn Bragg's book was based on his grand-father experiences but everything is brought to life by Howard Goodall's music and lyrics. Written at the age of 26 his understanding of universal truths and human emotions is extraordinary.
My only regret is that this masterpiece is never likely to receive the commercial success it deserves. There is as much drama and a score to match 'Les Miserables' which has run ever since 1985. Oh well, you have until the end of the month to head to the Landor Theatre to prove you are a true theatrical officienado as well as having a great night.
Prove there is more to London than over-priced, over-amplified, soul-less jukebox-musicals. Go!
Subscribe to:
Posts (Atom)
