In recent years the International Festivals brochure has included little to interest me. However, the moment I read about this concept I was tempted but I didn't book up until we arrived in Edinburgh and realised this was arguably the event of this year's festival.
Despite coming to 14 festivals over 26 years I have never yet climbed Arthur's Seat and so we chose to end this week's madness up this peak over-looking Scotland's capital. Naturally we took a chance on the weather and despite torrential rain the night before we picked a gloroius night to start our ascent.
We were warned that some parts would be strenuous and although I thought this was over-cautious Health and Safety speak, they were right. But armed with our light-sticks we headed ever upwards leaving the noisy chaos of a Friday festival night far beneath us.
This piece is several shows for the price of one. Firstly, it is an impressive work-out and after a week of indulgence ( including eating our weight in Indian food and downing a couple of bottles of wine just beforehand ) we felt we needed to. Secondly, with dusk falling the landscape was glorious and as we rose further the views of Edinburgh and beyond were spectacular.
Then there was the artisitic element of this show. The light stick was kept alight by the energy provided by previous walkers and runners and the flickering element at the top was generated by your own movements. Similarly, each stick was primed to release its own noise relating to your particular walking style and the resonances you created.
All this still isn't enough. As you walk along trying not to slip or slide off the path your eyes are constantly distracted by runners moving along the countryside wearing their own body lights. Whether you think they are ghostly figures, occasionally noisy as they cheer along, mad joggers or magical representations of the outdoor life etc you can make up your own mind.
Ulitmately, though this is a totally unique event especially as it was designed purely for Arthur's Seat as part of the 2012 Olympiad. I gather there are discussions with Rio De Janiero to adapt this spectacular for the 2016 Olympics. Let's hope they succeed.
For us, this was the perfect end to another astonishing festival.
Thanks to all concerned especially the group leader who always appeared just when I was about to experience problems and ensured I returned safely. Always a bonus at the end of a hectic week.
Sunday 26 August 2012
Hi-Kick -17th August 2012
Every year we try to see as many diverse shows as possible in our Edinburgh itinerary. We always like to select a dance piece but it is never easy knowing what to pick. So, for once I took the lead from the reviews and after seeing 5 stars scattered around I chose Seol and Co's "Hi-Kick" for our penultimate show.
This was billed as featuring "stunning dance and football" and it fully ticked both boxes. We meet some keen yet less than prolific footbalers having a gentle kick-around until they are out-played and outmuscled by a self-confident group of bully boys. Gradually, our underdogs improve their technique and have a final showdown against their less than gracious opponents. You don't have to be John Motson to guess how this ends.
This is an enjoyable show but at an hour it does outstay its welcome. The ability to control a football and invent rhythmic movement was impressive but there was only so much they could do with this format. They did, however, successfully connect with the audience ( today featuring a lot of children) getting them to clap along and even getting a couple of volunteers onstage to play keepy-uppy.
So far so predictable but I didn't expect this show to pull an emotional punch. So, when a female character ( whose catch-phrase had been " I love fotball") remonstrated that "fighting not football! I got unexpectedly choked up as this seemed to encapsualte why I have fallen out of love with the game at the top level.
A great way to enliven a festival goers week!
This was billed as featuring "stunning dance and football" and it fully ticked both boxes. We meet some keen yet less than prolific footbalers having a gentle kick-around until they are out-played and outmuscled by a self-confident group of bully boys. Gradually, our underdogs improve their technique and have a final showdown against their less than gracious opponents. You don't have to be John Motson to guess how this ends.
This is an enjoyable show but at an hour it does outstay its welcome. The ability to control a football and invent rhythmic movement was impressive but there was only so much they could do with this format. They did, however, successfully connect with the audience ( today featuring a lot of children) getting them to clap along and even getting a couple of volunteers onstage to play keepy-uppy.
So far so predictable but I didn't expect this show to pull an emotional punch. So, when a female character ( whose catch-phrase had been " I love fotball") remonstrated that "fighting not football! I got unexpectedly choked up as this seemed to encapsualte why I have fallen out of love with the game at the top level.
A great way to enliven a festival goers week!
Saturday 25 August 2012
SADFACES REMEMBER IT DIFFERENTLY - 17TH AUGUST 2012
After the strangeness of yesterday's shows ( see Thursdays reviews) it was surprisingly refreshing to return to watching comedy.
For the last few years 4 Sad Faces have been plying their sketch comedy trade in the Free Fringe. This year they have changed tack, dropping 4 from their name, adding Rosie Fletcher to their gang, moving to a paid venue (the Underbelly) and I think, most importantly, leaving the unconnected sketch comedy format behind.
Sad Faces " Remember It Differently" does what it says on the tin. It takes one narrative story but we see it from each of the performers perspectives. This allows for a lot of silliness, ridiculous accents and props and unexpected plot variations. Each of the talented performers is allowed their moment in the spotlight, but it is Jack Bernhardt with his boyish, confused optimism (often misplaced) and Rosie Fletcher's assertive, self-confident (often misplaced) personas that steal the show.
The only suggestion I would make for future improvement would be more audience involvement. The show we watched was quieter than the quality of the material deserved but getting a rapport with (at least) one member of the audience should immediately get them on the performers side and therefore more vocal.
This was my 27th show of this year's festival and naturally shows are beginning to overlap with each other. But, one of my over-ridding memories of the entire week was " The profit of Poundland" sequence. Comedy gold.
Well done to all involved, you have found your true niche.
For the last few years 4 Sad Faces have been plying their sketch comedy trade in the Free Fringe. This year they have changed tack, dropping 4 from their name, adding Rosie Fletcher to their gang, moving to a paid venue (the Underbelly) and I think, most importantly, leaving the unconnected sketch comedy format behind.
Sad Faces " Remember It Differently" does what it says on the tin. It takes one narrative story but we see it from each of the performers perspectives. This allows for a lot of silliness, ridiculous accents and props and unexpected plot variations. Each of the talented performers is allowed their moment in the spotlight, but it is Jack Bernhardt with his boyish, confused optimism (often misplaced) and Rosie Fletcher's assertive, self-confident (often misplaced) personas that steal the show.
The only suggestion I would make for future improvement would be more audience involvement. The show we watched was quieter than the quality of the material deserved but getting a rapport with (at least) one member of the audience should immediately get them on the performers side and therefore more vocal.
This was my 27th show of this year's festival and naturally shows are beginning to overlap with each other. But, one of my over-ridding memories of the entire week was " The profit of Poundland" sequence. Comedy gold.
Well done to all involved, you have found your true niche.
The Blind - 16th August 2012
A children's show about a huge vegetable, an acapella modern opera about a dying boy falling in love with the Moon, how on earth could I follow that? Well, how about an open-air virtually unspoken Polish dance show ending in a mini monsoon.
A few years ago we were impressed by a very physical Polish "Coriolanus" here and tonight we weren't disappointed. Although you can never take the Edinburgh weather for granted it is normally trying some site specific open-air performances.
Our first realisation that the show had started occurred when various performers rushed from the audience and began Central American style dancing. The tone of the piece soon changed following the intervention of military force and the use of tear gas. From here on the performers were generally restricted to moving either with white sticks or on hospital beds. This may sound odd, and indeed it was. What it never was, however, was dull!
The events may not have been easy to watch but it was always interesting and often beautiful. As it ended I stated I didn't really understand what was happening but I still loved it. A loud and ryhthmic soundtrack always gave something for your ears to feast upon while your eyes followed what was on show in front of them.
The performers were extraordinarily vibrant throughout the show and a cloudburst towards the end may have dampened the bodies of audience and artistes alike , but never their (or our) spirits. This is an outstanding antidote to being boiled alive in stuffy, sweaty, claustrophobic venues.
A few years ago we were impressed by a very physical Polish "Coriolanus" here and tonight we weren't disappointed. Although you can never take the Edinburgh weather for granted it is normally trying some site specific open-air performances.
Our first realisation that the show had started occurred when various performers rushed from the audience and began Central American style dancing. The tone of the piece soon changed following the intervention of military force and the use of tear gas. From here on the performers were generally restricted to moving either with white sticks or on hospital beds. This may sound odd, and indeed it was. What it never was, however, was dull!
The events may not have been easy to watch but it was always interesting and often beautiful. As it ended I stated I didn't really understand what was happening but I still loved it. A loud and ryhthmic soundtrack always gave something for your ears to feast upon while your eyes followed what was on show in front of them.
The performers were extraordinarily vibrant throughout the show and a cloudburst towards the end may have dampened the bodies of audience and artistes alike , but never their (or our) spirits. This is an outstanding antidote to being boiled alive in stuffy, sweaty, claustrophobic venues.
Moon - 16th August 2012
Well, what a truly Edinburgh day. After spending the afternoon trying to entertain lively three year old twins (including watching my first children's show) it was time to rush to another production.
Feeling hungry and thirsty we were surprised (to put it mildly) to be approached on the steps to the venue and asked if we were prepared to be on fire extinguisher duty for the evening. We are nothing if not game and armed with a carton of juice ( to quence my thirst and not to be used in case of fire)and a muffin we headed into the auditorium.
This being Edinburgh they were still tearing down the set of the previous show as we entered, naturally passing a perspriring Liza Minelli look-alike. After receiving our fire-fighting instructions my wife and I were duly placed at opposite ends of the theatre and despite this being a large and plush venue the first other audience member demanded to sit next to me in case she needed a quick exit. Later, I discovered in the kerfuffle that I had inadvertently knocked over my drink, not only causing a nice puddle of liquid to ooze from under my seat but ensuring that if any fire broke out ( it didn't) my area was already protected.
So, once my pre-show activities were complete I could finally concentrate upon the matter in hand. "Moon" is a modern piece of music by Gordon Hamilton, using a poem by Venero Armanno and sung by The Australian Voices, a group of male and female singers. Together they tell the story of Sam, a sickly boy, dying in his bedroom,but Diana, the Moon, sees him and falls in love. The ending could be sad yet somehow, here is uplifting as he finds peace, happiness and love.
At festival time Edinburgh as a 100 miles an hour city which never seems to sleep. As I know from experience it is easy to get caught up in the frenetic lifestyle. "Moon" is an increasing rarity, an oasis of calm and beauty amongst an increasingly noisy and mad world outside.
To be honest I am not a great fan of choral music but the sound they made, individually and collectively was truly wonderous to hear. They were helped by the musicality of the score but I must stress this wasn't just a treat for the ears. Sam's story was enhanced by screen projection and although most of the words was easy to follow, the visibility of the lyrics was a bonus.
The liveliness of the piece was also helped by placing the conductor in an aisle so his enthusiastic, physical presence was a additional piece of theatricality. The choir wasn't just restricted to static singing, using their bodies they helped to explain the action by movement, swaying, lying down and even writhing on the ground when the situation needed it.
The fringe is about taking chances. This one more than repaid our gamble. Even if you miss this performance in Edinburgh check their website as they are about to embark on a tour of the Kingdom, singing a mainly classical repertoire. I hope to catch them in October in Cardiff.
Feeling hungry and thirsty we were surprised (to put it mildly) to be approached on the steps to the venue and asked if we were prepared to be on fire extinguisher duty for the evening. We are nothing if not game and armed with a carton of juice ( to quence my thirst and not to be used in case of fire)and a muffin we headed into the auditorium.
This being Edinburgh they were still tearing down the set of the previous show as we entered, naturally passing a perspriring Liza Minelli look-alike. After receiving our fire-fighting instructions my wife and I were duly placed at opposite ends of the theatre and despite this being a large and plush venue the first other audience member demanded to sit next to me in case she needed a quick exit. Later, I discovered in the kerfuffle that I had inadvertently knocked over my drink, not only causing a nice puddle of liquid to ooze from under my seat but ensuring that if any fire broke out ( it didn't) my area was already protected.
So, once my pre-show activities were complete I could finally concentrate upon the matter in hand. "Moon" is a modern piece of music by Gordon Hamilton, using a poem by Venero Armanno and sung by The Australian Voices, a group of male and female singers. Together they tell the story of Sam, a sickly boy, dying in his bedroom,but Diana, the Moon, sees him and falls in love. The ending could be sad yet somehow, here is uplifting as he finds peace, happiness and love.
At festival time Edinburgh as a 100 miles an hour city which never seems to sleep. As I know from experience it is easy to get caught up in the frenetic lifestyle. "Moon" is an increasing rarity, an oasis of calm and beauty amongst an increasingly noisy and mad world outside.
To be honest I am not a great fan of choral music but the sound they made, individually and collectively was truly wonderous to hear. They were helped by the musicality of the score but I must stress this wasn't just a treat for the ears. Sam's story was enhanced by screen projection and although most of the words was easy to follow, the visibility of the lyrics was a bonus.
The liveliness of the piece was also helped by placing the conductor in an aisle so his enthusiastic, physical presence was a additional piece of theatricality. The choir wasn't just restricted to static singing, using their bodies they helped to explain the action by movement, swaying, lying down and even writhing on the ground when the situation needed it.
The fringe is about taking chances. This one more than repaid our gamble. Even if you miss this performance in Edinburgh check their website as they are about to embark on a tour of the Kingdom, singing a mainly classical repertoire. I hope to catch them in October in Cardiff.
Friday 24 August 2012
THE MILLER'S TALE - 15TH AUGUST 2012
Having watched a lot of comedy in the early part of the week it was time to look for some unusual drama. And shows don't come much odder than a Nigerian version of Geoffrey Chaucer's " The Miller's Tale", from his epic "The Canterbury Tales".
Classic drama transcends time and culture and, amazingly, this unlikely mix works incredibly well. African theatre is generally lively and their natural exuberance perfectly fits this 14th century morality tale of laziness, infidelity, the perils of marrying a young wife etc. This isn't a production where you can hear every word but this doesn't matter. You can easily follow the plot and most importantly, get carried away with the liveliness of the performers.
It disappoints me that each year people increasingly feel Edinburgh is just a comedy festival. This was a highly enjoyable show with 8 in the cast and (on the day I went) just 12 in the audience. So, if people want to experience something different to generic stand-up and experience what the real fringe festival is about head to C on Chambers street.
PS. I would love to see Overo Productions tackle another of Chaucer's tales next year.
Classic drama transcends time and culture and, amazingly, this unlikely mix works incredibly well. African theatre is generally lively and their natural exuberance perfectly fits this 14th century morality tale of laziness, infidelity, the perils of marrying a young wife etc. This isn't a production where you can hear every word but this doesn't matter. You can easily follow the plot and most importantly, get carried away with the liveliness of the performers.
It disappoints me that each year people increasingly feel Edinburgh is just a comedy festival. This was a highly enjoyable show with 8 in the cast and (on the day I went) just 12 in the audience. So, if people want to experience something different to generic stand-up and experience what the real fringe festival is about head to C on Chambers street.
PS. I would love to see Overo Productions tackle another of Chaucer's tales next year.
Thursday 23 August 2012
Tales From Edgar Allan Poe- 14th August 2012
Today was a true Edinburgh festival day. After walking a long way to see a disappointing free show I then saw two successive five star shows. Whatever came next had some hard acts to follow and Backhand Theatre's " Tales from Edgar Allan Poe" wasn't up to it.
It didn't help that we walked straight past the venue and arrived a few minutes late. I suspect we didn't miss much as a doctor was still showing a sanitorium inspector around his mental asylum. This was their premise for the show with each inmate relating a well-know Poe story. "The Raven" had the bonus of a good performance from Sally Preston, the voice of a famous Shakespearean actor but the disadvantage of a ridiculously amateurish (and huge) paper-mache Raven ( which oddly was partially obscured to anyone sitting to the right of the audience). "The Pit and the Pendulum" was well performed by Gavin Maxwell but the advertised "daring circus" generally involved wobbling in, out and around a hoop.
There was another goor perfomance by Davey Kelleher but unfortunately the play also featured the worst acting I have seen at this festival. The idea itself was fine but the execution needed tightening, the ending was predictable and sadly, the show was boring.
It didn't help that we walked straight past the venue and arrived a few minutes late. I suspect we didn't miss much as a doctor was still showing a sanitorium inspector around his mental asylum. This was their premise for the show with each inmate relating a well-know Poe story. "The Raven" had the bonus of a good performance from Sally Preston, the voice of a famous Shakespearean actor but the disadvantage of a ridiculously amateurish (and huge) paper-mache Raven ( which oddly was partially obscured to anyone sitting to the right of the audience). "The Pit and the Pendulum" was well performed by Gavin Maxwell but the advertised "daring circus" generally involved wobbling in, out and around a hoop.
There was another goor perfomance by Davey Kelleher but unfortunately the play also featured the worst acting I have seen at this festival. The idea itself was fine but the execution needed tightening, the ending was predictable and sadly, the show was boring.
Ali McGregor's Alchemy - 14th August 2012
Preparing an Edinburgh festival itinerary is tricky. I like to be organised and pre-book a reasonable amount of shows but I also like to leave some gaps for impromptu amendments.
Having decided not to see Simon Evans and drop a free show I had some unexpected time to visit the half-price ticket booth by the Mound & was pleased ( from our point of view) to see it included one of our favourite cabaret artistes. This allowed us to see Ali McGregor in a full show for the first time, having previously seen her host a BBC radio show "Curiosity Killed The Cabaret" a couple of years ago.
The concept for this year's show was adapting 1980's & 90's pop songs and putting them into a Jazz environment and to accompany her stunning voice she surrounded herself with three impressive musicians.
I'm not sure what most of the audience was expecting but I suspect "Tainted Love" wasn't high on the list, especially as this was followed by "Barbie Girl", " Song 2", "La Isla Bonita", " Push It" etc.
As well as being a fun and novelty evening it was interesting how these songs actually thrive in a Jazz setting. Anyone who knows Miss McGregor will be well aware of what a fantastic vocal range she possesses and her infectious sense of mischief she displayed in the links between songs.
Just when we thought the evening couldn't get any wierder ( or better) her encore number was the Britney Spears number "Oops, I've Done It Again" where she hit a note I'm sure I have never heard before. Yes, it was that kind of a magical night.
Having decided not to see Simon Evans and drop a free show I had some unexpected time to visit the half-price ticket booth by the Mound & was pleased ( from our point of view) to see it included one of our favourite cabaret artistes. This allowed us to see Ali McGregor in a full show for the first time, having previously seen her host a BBC radio show "Curiosity Killed The Cabaret" a couple of years ago.
The concept for this year's show was adapting 1980's & 90's pop songs and putting them into a Jazz environment and to accompany her stunning voice she surrounded herself with three impressive musicians.
I'm not sure what most of the audience was expecting but I suspect "Tainted Love" wasn't high on the list, especially as this was followed by "Barbie Girl", " Song 2", "La Isla Bonita", " Push It" etc.
As well as being a fun and novelty evening it was interesting how these songs actually thrive in a Jazz setting. Anyone who knows Miss McGregor will be well aware of what a fantastic vocal range she possesses and her infectious sense of mischief she displayed in the links between songs.
Just when we thought the evening couldn't get any wierder ( or better) her encore number was the Britney Spears number "Oops, I've Done It Again" where she hit a note I'm sure I have never heard before. Yes, it was that kind of a magical night.
Bane 1,2,3 14th August 2012
There are many ways of choosing a show to see at the festival, reviews, flyers, adverts and blurb in the official brochure amongst many others. Well, we attended "Bane, 1,2,3" as the actor is a friend of a friend & I was fed up making excuses about why we hadn't seen it. I had been aware of the "Bane" franchise over the last couple of years after seeing regular glowing reviews but as it was featured in the theatre section of the fringe brochure I assumed ( wrongly) it was a straight play.
The omens weren't good as the ticket checkers pre-warned us about the extreme heat in Ace Dome, recommending we take as much water and preferably ice with us. as possible. DARKCHATTER Anne then refused to sit in a seat without a back so we found ourselves a few rows away from the front in a pcked and baking venue.
The fact that we were captivated and mesmerised by what followed is a tribute to the skills of Joe Bone. We were open-minded about what we were about to witness but we didn't expect a man appearing in an overcoat and proceeding to deliver a Philip Marlowe/ Sam Spade style American gumshoe style story for an hour. He is accompanied by Ben Roe on guitar providing an atmospheric soundtrack but otherwise this is a man show as he plays all the roles from the lead character, his nemesis, the moll etc down to the stall holders selling vegetables and the worlds largest cushion.
Not only is this an extraordinary tour de force it is hysterical throughout as well is being a slimming aid for Mr Bone as he must shed a stone in weight every day. But, the coup of this show is that as it heads towards a predictable conclusion something occurs which makes most of the audience gasp out loud. This is my 14th festival and that was one of the most unexpected events I have witnessed.
I cannot recommend this highly enjoyable show enough. So, if you don't go you are depriving yourself of a great theatrical experience.
The omens weren't good as the ticket checkers pre-warned us about the extreme heat in Ace Dome, recommending we take as much water and preferably ice with us. as possible. DARKCHATTER Anne then refused to sit in a seat without a back so we found ourselves a few rows away from the front in a pcked and baking venue.
The fact that we were captivated and mesmerised by what followed is a tribute to the skills of Joe Bone. We were open-minded about what we were about to witness but we didn't expect a man appearing in an overcoat and proceeding to deliver a Philip Marlowe/ Sam Spade style American gumshoe style story for an hour. He is accompanied by Ben Roe on guitar providing an atmospheric soundtrack but otherwise this is a man show as he plays all the roles from the lead character, his nemesis, the moll etc down to the stall holders selling vegetables and the worlds largest cushion.
Not only is this an extraordinary tour de force it is hysterical throughout as well is being a slimming aid for Mr Bone as he must shed a stone in weight every day. But, the coup of this show is that as it heads towards a predictable conclusion something occurs which makes most of the audience gasp out loud. This is my 14th festival and that was one of the most unexpected events I have witnessed.
I cannot recommend this highly enjoyable show enough. So, if you don't go you are depriving yourself of a great theatrical experience.
Wednesday 22 August 2012
BELT UP THEATRE'S THE BOY JAMES - 13TH AUGUST 2012
It would be easy to spend a week just watching comedy at the Edinburgh festival but it is important to select a balance of shows before your funny muscles explode. Trying to find a good new play is a mine-field, there are obviously gems to be uncovered but there is also a lot of boring crap.
In the last few years Belt Up Theatre have acquired a growing reputation for interesting theatre and this year have three productions running. Children's books appear to be their theme, with their other shows revolving around the works of Frances Hodgson Burnett and Lewis Carroll while "The Boy James" concentrates on James Barrie.
We are ushered into a large Victorian style living room and meet our narrator. The unnamed boy introduces us to a forgotten world of forgotten childrens games where I prove I am the worst person to be selected to be the murderer in the game of wink/murderer.
He is then joined by a young (unnamed) girl (making impressively dramatic entrances and exits) who tries to make him rebel, throw away childish things and head towards adulthood.
This is a play about growing up. We see the older James Barrie and we know he retained his childhood innocence, especially in his writing. This is a well-acted play with a beautifully designed set and ultimately extremely disturbing. There is one particularly upsetting scene (the audience are very close to the performers) which makes its (unsubtle) point in an unnecessarily graphic scene. If the director and writer wanted to unsettle the audience it worked but ultimately left a nasty taste in the mouth, surely not what James Barrie would have wanted.
Interesting but horrific.
In the last few years Belt Up Theatre have acquired a growing reputation for interesting theatre and this year have three productions running. Children's books appear to be their theme, with their other shows revolving around the works of Frances Hodgson Burnett and Lewis Carroll while "The Boy James" concentrates on James Barrie.
We are ushered into a large Victorian style living room and meet our narrator. The unnamed boy introduces us to a forgotten world of forgotten childrens games where I prove I am the worst person to be selected to be the murderer in the game of wink/murderer.
He is then joined by a young (unnamed) girl (making impressively dramatic entrances and exits) who tries to make him rebel, throw away childish things and head towards adulthood.
This is a play about growing up. We see the older James Barrie and we know he retained his childhood innocence, especially in his writing. This is a well-acted play with a beautifully designed set and ultimately extremely disturbing. There is one particularly upsetting scene (the audience are very close to the performers) which makes its (unsubtle) point in an unnecessarily graphic scene. If the director and writer wanted to unsettle the audience it worked but ultimately left a nasty taste in the mouth, surely not what James Barrie would have wanted.
Interesting but horrific.
HELEN KEEN:ROBOT WOMAN OF TOMORROW - 13TH AUGUST 2012
Organising a DARKCHAT itinerary for a week is a balancing act. We like to choose new acts as well as revisiting previous favourites. Sometimes the latter is a mistake as current material may be weaker, or worse, the same as previous shows. On the plus side it is a joy to watch a performer blossom and that is the category in which Helen Keen can be found.
Three years ago we really enjoyed "The Primitive Methodist Guide To Arctic Survival" but the following year " It Is Rocket Science" was a show we had mainly seen before.
The Hut at Pleasance is an intimate venue which is perfectly suited to her gentle, friendly, all-encompassing personality (who else would include soothing breaks so we can all remain focussed). We hear about her upbringing and how her interest in science helps her to deal with a succession of dull admin temporary jobs.
"Robot Woman Of The Future" revolves around what may happen and is a show bordering on a lecture ( albeit hysterical) featuring a life-size Robot figure, shadow puppetry and a powerpoint presentation. A screen allows us to play a strange game of guessing from a photograph whether a woman was a Futurist or
Felon and see a variety of slides including an HG Wells sculpture in Woking and robots designed for personal fulfilment.
The material is consistently funny and our host is more confident than we have seen previously. As an audience member you can relax, you are in safe hands.
Three years ago we really enjoyed "The Primitive Methodist Guide To Arctic Survival" but the following year " It Is Rocket Science" was a show we had mainly seen before.
The Hut at Pleasance is an intimate venue which is perfectly suited to her gentle, friendly, all-encompassing personality (who else would include soothing breaks so we can all remain focussed). We hear about her upbringing and how her interest in science helps her to deal with a succession of dull admin temporary jobs.
"Robot Woman Of The Future" revolves around what may happen and is a show bordering on a lecture ( albeit hysterical) featuring a life-size Robot figure, shadow puppetry and a powerpoint presentation. A screen allows us to play a strange game of guessing from a photograph whether a woman was a Futurist or
Felon and see a variety of slides including an HG Wells sculpture in Woking and robots designed for personal fulfilment.
The material is consistently funny and our host is more confident than we have seen previously. As an audience member you can relax, you are in safe hands.
The Trench - 13th August 2012
The Terrible Infants have been DARKCHAT favourites since we were mesmerised by "The Terrible Infants". They followed this up with the darker " Ernest and the Pale Moon" and the event entertainment
"The Vaudevillains".
This year we are back in more familiar territory, a well-acted piece with puppet inter-action. Bert is conscripted to fight in the First World War, digging undeground to lay mines under German mines. Naturally all does not go well and the trench collapses but he is unexpectedly offered salvation from a creature which seemed to have escaped from Sesame Street.
I was particularly impressed by the language, especially as it was mainly spoken in rhyming couplets adding weight and importance. This was balanced by Alexandder Wolfe playing and singing his own music, a perfect accompaniment to the drama we were witnessing. The only minor criticism I would make was that Bert's background story was emotionally manipulative but it certainly packed a punch to me.
Every festival there is one show which divides DARKCHAT reviewers and this show was out 2012 talking point. My current wife felt it was wrong to set a Tolkien type tale amongst the true-life horror of the First World War and the modern style of singer/ songwriter did not fit that period.
She is clearly wrong but the only way you can make up your mind is to see "The Trench".
"The Vaudevillains".
This year we are back in more familiar territory, a well-acted piece with puppet inter-action. Bert is conscripted to fight in the First World War, digging undeground to lay mines under German mines. Naturally all does not go well and the trench collapses but he is unexpectedly offered salvation from a creature which seemed to have escaped from Sesame Street.
I was particularly impressed by the language, especially as it was mainly spoken in rhyming couplets adding weight and importance. This was balanced by Alexandder Wolfe playing and singing his own music, a perfect accompaniment to the drama we were witnessing. The only minor criticism I would make was that Bert's background story was emotionally manipulative but it certainly packed a punch to me.
Every festival there is one show which divides DARKCHAT reviewers and this show was out 2012 talking point. My current wife felt it was wrong to set a Tolkien type tale amongst the true-life horror of the First World War and the modern style of singer/ songwriter did not fit that period.
She is clearly wrong but the only way you can make up your mind is to see "The Trench".
MACAULAY & CO - 13TH AUGUST 2012
This year at my 14th festival I seem to have finally discovered how to survive on virtually no sleep. After not getting to bed until the hours of Monday morning I was in the queue for Fred Macaulay's radio show at 10.00am.
He is joined on stage by his co-host Susan Calman for gentle banter with themselves and the audience. This action-packed ninety minutes was kickstarted by the ever lively Frisky & Mannish ( oddly using the same Lily Allen/Noel Coward segment I had heard on a previous radio recording " Curiosity Killed The Cabalret" a couple of years ago.
Rob Deering provided more musicality ( weirdly I heard the same clip on the Penny Smith arts programme a couple of weeks ago). I was less impressed by an improbably accurate predictor but loved Irish comic Martin Mor before we were spoilt by 3 Edinburgh comedy gods on the sofa, Rhod Gilbert, Adam Hills and Rhod Gilbert.
Here, for thirty minutes we were treated to humour of the highest quality as they tried to up-stage each other. They were all on top form but nothing could top the incredible discovery that not only had Mr Brigstock worked on an oil rig but on his weeks off he would perform as a podium dancer. Rhod Gilbert's look of incredulity had to be seen to be believed.
Free BBC tickets are hard to get hold of but when shows are as good as this you can understand why they are like gold dust. Thank you Auntie Beeb.
He is joined on stage by his co-host Susan Calman for gentle banter with themselves and the audience. This action-packed ninety minutes was kickstarted by the ever lively Frisky & Mannish ( oddly using the same Lily Allen/Noel Coward segment I had heard on a previous radio recording " Curiosity Killed The Cabalret" a couple of years ago.
Rob Deering provided more musicality ( weirdly I heard the same clip on the Penny Smith arts programme a couple of weeks ago). I was less impressed by an improbably accurate predictor but loved Irish comic Martin Mor before we were spoilt by 3 Edinburgh comedy gods on the sofa, Rhod Gilbert, Adam Hills and Rhod Gilbert.
Here, for thirty minutes we were treated to humour of the highest quality as they tried to up-stage each other. They were all on top form but nothing could top the incredible discovery that not only had Mr Brigstock worked on an oil rig but on his weeks off he would perform as a podium dancer. Rhod Gilbert's look of incredulity had to be seen to be believed.
Free BBC tickets are hard to get hold of but when shows are as good as this you can understand why they are like gold dust. Thank you Auntie Beeb.
Tuesday 21 August 2012
Dan Mitchell - 12th August 2012
Dan Mitchell is a friend. I know him and met him in Cardiff for a pre-Edinburgh interview. He is here due to reaching the final of ITV's " Show Me The Funny", which I think he should have won, but I am biased.
So, here he is in his 1st full length show at the festival with "Free Egg". No, this is not an inducement to gain a bigger audience with the promise of gaining complimentary farm produce but a vomit reference.
Dan Mitchell is not your average observational comedian. He sees things differently to the rest of us. Few comedians would appear on stage in a household appliance pretending to be a West End musical star singing an Andrew Lloyd Webber song. The focus of the story is what happened in his head when he was ill and unable to leave the house.
The material is solid and includes some trust and tested stories from previous shows but it is when he riffs with his audience that the evening comes alive. Suddenly his brain is in warp- factor drive and he is a Geordie seagull talking to other long-necked birds.
This is a highly enjoyable hour and depends upon the quality of the audience. If you supply sufficient ideas he will reward you with comedy gold. Sadly, he has yet to make a name for himself at the festival so audences could be bigger. So, do yourself a favour, go and then you can say " I saw Dan Mitchell before he was famous".
(These comments come from an Edinburgh reviewer, not a friend)!
So, here he is in his 1st full length show at the festival with "Free Egg". No, this is not an inducement to gain a bigger audience with the promise of gaining complimentary farm produce but a vomit reference.
Dan Mitchell is not your average observational comedian. He sees things differently to the rest of us. Few comedians would appear on stage in a household appliance pretending to be a West End musical star singing an Andrew Lloyd Webber song. The focus of the story is what happened in his head when he was ill and unable to leave the house.
The material is solid and includes some trust and tested stories from previous shows but it is when he riffs with his audience that the evening comes alive. Suddenly his brain is in warp- factor drive and he is a Geordie seagull talking to other long-necked birds.
This is a highly enjoyable hour and depends upon the quality of the audience. If you supply sufficient ideas he will reward you with comedy gold. Sadly, he has yet to make a name for himself at the festival so audences could be bigger. So, do yourself a favour, go and then you can say " I saw Dan Mitchell before he was famous".
(These comments come from an Edinburgh reviewer, not a friend)!
Andrew O'Neill and Marc Burrows Do Music And Comedy And Hideous Murders - 12th August 2012
2 years ago "The Men Who Will Not Be Blamed For Nothing" won the DARKCHAT award for Best Music. Last year Marc Burrows won the DARKCHAT award for Best Free Show so the expectations were high for his show at Canon's Gait.
These were somewhat tempered with the news that Andrew O'Neill would not appear tonight as he had a better gig elsewhere. However, Marc Burrows had wisely recruited three comedians to fill the gap.
He still gamely played and sang a few numbers from his band, impressively as normally he is only the bass player. Despite a big build-up I was expecting some generic unknown free comedians and was surprised to discover the opening act was Wil Hodgson with a highly impressive set ( a possible addition to next year's spreadsheet). He was followed by Rob Auton, hitherto unknown to me, discussing his love for the colour yellow and his sketch about a builder mistakenly painting his room maroon is one of my festival highlights. ( He is a definite for next year's spreadsheet if he returns).
Sadaly, the final comedian (whose man I thankly can't remember) had no discernible material instead spending too much time finding out exactly why a couple were late and asking what a heckler didn't like about him. Fortunately, the man concerned decided not to provide a full critique of how this performer had forgotten the basic role of a comedian, TO BE FUNNY.
This was a strange show. It was still enjoyable though, any chance to hear songs from our favourite Steam Punk band is always appreciated. It must be stressed that this performance was a one-off and when Mr O'Neill returns the show will return to its normal format. Go and see what we missed.
These were somewhat tempered with the news that Andrew O'Neill would not appear tonight as he had a better gig elsewhere. However, Marc Burrows had wisely recruited three comedians to fill the gap.
He still gamely played and sang a few numbers from his band, impressively as normally he is only the bass player. Despite a big build-up I was expecting some generic unknown free comedians and was surprised to discover the opening act was Wil Hodgson with a highly impressive set ( a possible addition to next year's spreadsheet). He was followed by Rob Auton, hitherto unknown to me, discussing his love for the colour yellow and his sketch about a builder mistakenly painting his room maroon is one of my festival highlights. ( He is a definite for next year's spreadsheet if he returns).
Sadaly, the final comedian (whose man I thankly can't remember) had no discernible material instead spending too much time finding out exactly why a couple were late and asking what a heckler didn't like about him. Fortunately, the man concerned decided not to provide a full critique of how this performer had forgotten the basic role of a comedian, TO BE FUNNY.
This was a strange show. It was still enjoyable though, any chance to hear songs from our favourite Steam Punk band is always appreciated. It must be stressed that this performance was a one-off and when Mr O'Neill returns the show will return to its normal format. Go and see what we missed.
Dead Cat Bounce - 11th August 2012
Garlic bread? Cheesey chips? Comedy rock? These are combinations that shouldn't work, but, fortunately Dead Cat Bounce proved that this premise can work if you are talented musicians and wordsmiths. Oddly enough, though, the evening wouldn't have been such a success but for excellent sound. Clever and funny lyrics are pointless unless you hear them all and the sound crew ensured this was not a problem.
All three musicians possess the rock god status many of us aspire to but few achieve. This was our third show of this year's festival and they had the disadvantage of following Pappy's Last Show Ever ( 5 stars) but after their opening number "Border Control" we realised we were in surreal yet funny territory. The songs were often laugh out loud funny ( an increasingly rare talent) and impressively the link between songs were just as amusing.
As each year passes I feel the music aspect of the festival weakens but "Dead Cat Bounce" helps to rectify the balance. If you like the music and laughing, go. "Howl Of The She-Leopard" is truly a two for one show.
All three musicians possess the rock god status many of us aspire to but few achieve. This was our third show of this year's festival and they had the disadvantage of following Pappy's Last Show Ever ( 5 stars) but after their opening number "Border Control" we realised we were in surreal yet funny territory. The songs were often laugh out loud funny ( an increasingly rare talent) and impressively the link between songs were just as amusing.
As each year passes I feel the music aspect of the festival weakens but "Dead Cat Bounce" helps to rectify the balance. If you like the music and laughing, go. "Howl Of The She-Leopard" is truly a two for one show.
Monday 20 August 2012
The Space Race - Wednesday 15th August 2012
Despite being a little disappointed by their alternative show " The Midnight Movie" we were back for their latest comedy play. Upon arrival we are met by the unexpected sight of them Morris dancing, with occasional help from audience members.
This introduces us to the quaint village of Lower Birchley which we later discover houses a secret military base where they plan to launch a rocket and beat the Americans and Russians to land on the moon. Oh, did I mention we were back in the 1960's? Naturally, all does not go well and in the best traditions of science fiction movies there are evil aliens determined to take over the world.
This is the style of comedy the Beta Males excel at. Silly situations, silly characters and silly audience interplay. They are clearly following the gap left (hopefully only temporarily by the Penny Dreadfuls) in the comedy play genre. (Though they had better watch out as Sad Faces have shown a change of style this year and are close on their heels).
As usual the performances are impeccable ( Guy Kelly excels with his facial contortions and Richard Soames does some real acting) and they rapport well with an adoring audience. The plot could be tighter and some jokes are predictable but there are few shows on the fringe as funny as this.
This introduces us to the quaint village of Lower Birchley which we later discover houses a secret military base where they plan to launch a rocket and beat the Americans and Russians to land on the moon. Oh, did I mention we were back in the 1960's? Naturally, all does not go well and in the best traditions of science fiction movies there are evil aliens determined to take over the world.
This is the style of comedy the Beta Males excel at. Silly situations, silly characters and silly audience interplay. They are clearly following the gap left (hopefully only temporarily by the Penny Dreadfuls) in the comedy play genre. (Though they had better watch out as Sad Faces have shown a change of style this year and are close on their heels).
As usual the performances are impeccable ( Guy Kelly excels with his facial contortions and Richard Soames does some real acting) and they rapport well with an adoring audience. The plot could be tighter and some jokes are predictable but there are few shows on the fringe as funny as this.
The Enormous Turnip - 16th August 2012
A few years ago trying to find a show in the festival to entertain three year old twins would have been a nightmare. Recently though, ( like most of the other sections) the choice of children's shows is becoming quite impressive. Spotlites Theatre productions are becoming experts in this genre, producing two shows, this show alternating with " The Magic Porridge Pot".
Along with drunks children are possibly the hardest audience to please as you will discover if they are bored or restless. Two ways of holding their interest are to recreate a story they know or use a lot of participation. Spotlites Theatre are not silly, they use both.
Upon arrival they give the children a programme also acting as a ticket to a cushion in front of a chair occupied by an adult. The helper is very clear about how they can get involved, raise their hand when they are asked for help and then ensuring they return to the designated white line.
Then we are introduced to the three performers who play a variety of roles and are excellent in relating to the youngsters. The story is simple, basically planting a seed, watering it, protecting it from predators and watch it grow.
This synopsis does not capture the looks of wonderment of the children which is of course the reason for coming. Sadly, their run has ended this year but I am sure they will return, as will the children.
Along with drunks children are possibly the hardest audience to please as you will discover if they are bored or restless. Two ways of holding their interest are to recreate a story they know or use a lot of participation. Spotlites Theatre are not silly, they use both.
Upon arrival they give the children a programme also acting as a ticket to a cushion in front of a chair occupied by an adult. The helper is very clear about how they can get involved, raise their hand when they are asked for help and then ensuring they return to the designated white line.
Then we are introduced to the three performers who play a variety of roles and are excellent in relating to the youngsters. The story is simple, basically planting a seed, watering it, protecting it from predators and watch it grow.
This synopsis does not capture the looks of wonderment of the children which is of course the reason for coming. Sadly, their run has ended this year but I am sure they will return, as will the children.
Tuesday 14 August 2012
Allotment - 12th August 2012
Everyone knows there are an increasing amount of performances in the Edinburgh festival, a lot of which are comedy or generic student shows in stuffy, hot, cramped venues. Each year it becomes harder to uncover different and unusual events.
Site specific shows occasionally appear each year and though the weather in Scotland's capital is changeable ( to say the least) it is generally worth checking out those performances set outdoors.
Nutshell theatre's " Allotment" amazingly is set in an allotment in Inverleith. To be fair I doubt if many people make the trip to a venue in A1 of the fringe brochure but the journey itself is worth the admission price alone. We haven't visited this area for a long time and it was lovely being re-united with the lovely sights of Inveleith Park and the Botanic gardens. It was so peacfeul and tranquil you would not have known there was a festival going on until you reach the designated allotment and are warmly greeted with a lovely cup of tea and a scone.
The show revolves around two sisters, Dora & Maddy from childish exuberance to ageing resentment. The gardens are a vital ingredient of the play but it is the quality of writing acting that grips the audience from beginning to end. Nicola Jo Cully and Gowan Calder beautifully capture the essence of these souls over countless decades without ever resulting to caricature or mawkishness. The weather was kind & as the play reached its climax the sun made a welcome appearance just at the most opportune moment.
This reviewer was enchanted and moved. Please go, but take time to enjoy the beautiful scenery around you.
Site specific shows occasionally appear each year and though the weather in Scotland's capital is changeable ( to say the least) it is generally worth checking out those performances set outdoors.
Nutshell theatre's " Allotment" amazingly is set in an allotment in Inverleith. To be fair I doubt if many people make the trip to a venue in A1 of the fringe brochure but the journey itself is worth the admission price alone. We haven't visited this area for a long time and it was lovely being re-united with the lovely sights of Inveleith Park and the Botanic gardens. It was so peacfeul and tranquil you would not have known there was a festival going on until you reach the designated allotment and are warmly greeted with a lovely cup of tea and a scone.
The show revolves around two sisters, Dora & Maddy from childish exuberance to ageing resentment. The gardens are a vital ingredient of the play but it is the quality of writing acting that grips the audience from beginning to end. Nicola Jo Cully and Gowan Calder beautifully capture the essence of these souls over countless decades without ever resulting to caricature or mawkishness. The weather was kind & as the play reached its climax the sun made a welcome appearance just at the most opportune moment.
This reviewer was enchanted and moved. Please go, but take time to enjoy the beautiful scenery around you.
Beta Males Midnight Movie - 11th August 2012
The Beta Males leapt to prominence at the Edinburgh festival last year with "The Train Job" a success with critics and public like, They return with their latest comedy play " The Space Race" but in true fringe fashion they have an additional show running. For four performances only they show a truly horrific film with comedic inserts so hopefully we can literally die laughing.
A late start ( actually Sunday morning) allows other performers to join them (after their own shows end) in a variety of unexpected guises. One well known sketch group's sole contribution was a silent impression of a large static insect at about 1.30am, ( I would have loved to have listened to that particular sales pitch).
There is no doubting that these comedy inserts were internded to liven up proceedings and stop you from thinking you are just watching a film. Unfortunately, they were generally under-written or repetitive , though I enjoyed the concept of the director's commentary gradually petering out as he became increasingly involved reading an Agatha Christie novel.
Thnis evening would have been disappointing if the film hadn't been absolutely hysterical in its own right. Badly written, horrendously acted, poorly directed with a special effects budget not exceeding £5 this was perfect late night cult viewing. Sadly, technical problems ensured we never saw the ending and even sadder is the fact that we are tempted to track down the original and its (unnecessary and unwanted) sequel.
Having been critical of the additional material this is an Edinburgh event that you won't see elsewhere, surely the reason the festival exists. So,if you fancy being part of something unique and watch a truly awful film on a big screen head to one of the last two performances this week-end.
A late start ( actually Sunday morning) allows other performers to join them (after their own shows end) in a variety of unexpected guises. One well known sketch group's sole contribution was a silent impression of a large static insect at about 1.30am, ( I would have loved to have listened to that particular sales pitch).
There is no doubting that these comedy inserts were internded to liven up proceedings and stop you from thinking you are just watching a film. Unfortunately, they were generally under-written or repetitive , though I enjoyed the concept of the director's commentary gradually petering out as he became increasingly involved reading an Agatha Christie novel.
Thnis evening would have been disappointing if the film hadn't been absolutely hysterical in its own right. Badly written, horrendously acted, poorly directed with a special effects budget not exceeding £5 this was perfect late night cult viewing. Sadly, technical problems ensured we never saw the ending and even sadder is the fact that we are tempted to track down the original and its (unnecessary and unwanted) sequel.
Having been critical of the additional material this is an Edinburgh event that you won't see elsewhere, surely the reason the festival exists. So,if you fancy being part of something unique and watch a truly awful film on a big screen head to one of the last two performances this week-end.
Monday 6 August 2012
Short and Curly - 29th July 2012
Having seen three pre-Edinburgh review shows in Cardiff yesterday I then moved Capital cities to see a couple of events in the Olympics. Amazingly, en route to a relative I discovered there was a Free Edinburgh festival at The Bedford, a large pub in Balham.
I headed straight to see "Short and Curly", a sketch comedy duo. I believe comedy succeeds because of good material, good performers and the ability to connect with an audience. One out of three is sufficient to make you laugh but "Short and Curly" impressively ticked all three boxes.
Rebecca Shorrocks and Paul Taylor are both charismatic in their own right and combine well together. As usual with sketch comedy some sketches work better than others but all of them have funny moments. Refreshingly, there is no theme linking them all, though the better characters do reappear throughout the show.
Anyone attending a show in Edinburgh runs the risk of getting involved but I thought I was safe sitting in the middle of the third row. I was wrong and soon became involved in a line-up before being found guilty of an unnamed crime. Calling a reviewer a criminal is normally a bad idea but I enjoyed them so much I will not be contacting my lawyer.
There are a lot of complicated costume and prop changes and being a preview things do not go smoothly including a completely mis-timed set of music cues but this only helped to add to their natural charm as they ad-libbed their wat through the mishaps.
The Edinburgh fringe is increasingly turning into a comedy festival and you could now spend a week only seeing Free shows. The down-side is that there is no quailty control. Well, there is here. Go and see "Short and Curly". If you find a better free show you will be lucky. You won't be disappointed!!
I headed straight to see "Short and Curly", a sketch comedy duo. I believe comedy succeeds because of good material, good performers and the ability to connect with an audience. One out of three is sufficient to make you laugh but "Short and Curly" impressively ticked all three boxes.
Rebecca Shorrocks and Paul Taylor are both charismatic in their own right and combine well together. As usual with sketch comedy some sketches work better than others but all of them have funny moments. Refreshingly, there is no theme linking them all, though the better characters do reappear throughout the show.
Anyone attending a show in Edinburgh runs the risk of getting involved but I thought I was safe sitting in the middle of the third row. I was wrong and soon became involved in a line-up before being found guilty of an unnamed crime. Calling a reviewer a criminal is normally a bad idea but I enjoyed them so much I will not be contacting my lawyer.
There are a lot of complicated costume and prop changes and being a preview things do not go smoothly including a completely mis-timed set of music cues but this only helped to add to their natural charm as they ad-libbed their wat through the mishaps.
The Edinburgh fringe is increasingly turning into a comedy festival and you could now spend a week only seeing Free shows. The down-side is that there is no quailty control. Well, there is here. Go and see "Short and Curly". If you find a better free show you will be lucky. You won't be disappointed!!
Richard Herring - 28th July 2012
Simarly, to Catie Wilkins Richard Herring is previewing his Edinburgh show and claims to be under-prepared. However, his traditional machine-gun delivery and easy rapport indicated he was in complete control of his material and even technical glitches failed to put him off his stride.
"Talking Cock" is a revival of his 2003 show, his male version of "The Vagina Monologues". This, of course provides him with the perfect opportunity to deliver a succession of "knob" gags which never fail to hit the target.
Everyone who has seen him will know he is a great comedian but in many ways the biggest laughs of the day come from the public. Over the past few years he has set up (anonymously) on-line polls to ask the most personal of questions from both sexes. Incredibly (and fortunately for him and us) people seemed happy to
reveal the most intimate and often hysterical details about their private parts and lives.
There are no great revelations or universal truths to be uncovered here but if you want to see a master comedian at work for an hour and laugh constantly "Talking Cock" is the show for you. (Prudes need not apply).
Most stand-up performers use recurrent themes but I have never before seen a joke referenced from a previous show. Outstanding.
"Talking Cock" is a revival of his 2003 show, his male version of "The Vagina Monologues". This, of course provides him with the perfect opportunity to deliver a succession of "knob" gags which never fail to hit the target.
Everyone who has seen him will know he is a great comedian but in many ways the biggest laughs of the day come from the public. Over the past few years he has set up (anonymously) on-line polls to ask the most personal of questions from both sexes. Incredibly (and fortunately for him and us) people seemed happy to
reveal the most intimate and often hysterical details about their private parts and lives.
There are no great revelations or universal truths to be uncovered here but if you want to see a master comedian at work for an hour and laugh constantly "Talking Cock" is the show for you. (Prudes need not apply).
Most stand-up performers use recurrent themes but I have never before seen a joke referenced from a previous show. Outstanding.
Catie Wilkins - 28th July 2012
A year ago today I saw Catie Wilkins Edinburgh preview show " Chip Off The Old Block" at St David's Hall. A year later we are now at Chapter to see this year's Edinburgh show "Joy Is My Middle Name".
This was basically a statement about how ironic it was for a shy, hesitant woman to take up a career as a stand-up comic. Her marital situation may have changed but her stilted and less than confident style hadn't. She openly admitted she hadn't learnt the script and blatantly read her links from her tiny phone.
This was a shame as her material was funnier than last year's show but her referral to her notes lost all the momentum she had built up. But, this is why performers have previews and hopefully once she knows her show she can win over her audience with her amusing stories and likeable, engaging personality.
Sunday 5 August 2012
The Two Worlds Of Charlie F - 28th July 2012
Every now and again a play comes along and re-defines what you think about theatre. Is acting about convincingly playing a different character to yourself, relating your own experience or playing a character based on the re-interpretation of events relating to your life? What happens if the actor in the play isn't an actor at all? If you go and see "The Two Worlds Of Charlie F" you can answer these questions.
Playwright Owen Sheers has listened to the stories of soldiers ( male and female) injured during the current Afghanistan conflict and created a drama from their tales. Nothing new about that you might think. The next astonishing act is to persuade the actors to appear in the play in a one-off performance at the Theatre Royal, Haymarket. The success of this unique event has resulted in a tour at the coveted Pleasance at the Edinburgh festival.
So, why has this been such a critical success receiving such a glowing endorsement from Ray Winstone ( check out his outstanding Youtube advertisement)? Well, firstly I can't think of such an unusual project and whatever you think about the rights and wrongs of war most people admire (though don't really understand) why people wouild put their lives and bodies on the line.
Great theatre is about connecting with your audience. Ultimately, that is what " The Two Worlds Of Charlie F" is about. You are forced to confront how you deal with people missing limbs in everyday life while listening to their stories of how this occurred. This show works because it is real and avoids the obvious traps. It is not mawkish, it does not manipulate your emotions, it is honest and brutal. The language does not belong in an Ayckbourn play, the description of war is not always easy to hear and most importantly, none of them play the blame game. There is no finger-pointing about the morality of the conflict, any failures of equipment etc, it is just a statement of fact about army life, what happened to them and how they are coping.
The above sounds heavy-going but the playwright wisely includes a lot of humour and amazingly new songs. Some (none professional) performers naturally look more comfortable on stage than others, the self-confidence of Cassidy Little in the lead role is extremely impressive, but overall the performances are outstanding. ( The programme is also particularly illuminating about why most of them have agreed to be in the play).
The only suggestion I would make to improve the play is to cut the interval and run it through in one act, which I believe will happen in Edinburgh.
So, if you want to experience an extremely unusual theatrical event rush to see " The Two Worlds Of Charlie F". You won't be disappointed.
Playwright Owen Sheers has listened to the stories of soldiers ( male and female) injured during the current Afghanistan conflict and created a drama from their tales. Nothing new about that you might think. The next astonishing act is to persuade the actors to appear in the play in a one-off performance at the Theatre Royal, Haymarket. The success of this unique event has resulted in a tour at the coveted Pleasance at the Edinburgh festival.
So, why has this been such a critical success receiving such a glowing endorsement from Ray Winstone ( check out his outstanding Youtube advertisement)? Well, firstly I can't think of such an unusual project and whatever you think about the rights and wrongs of war most people admire (though don't really understand) why people wouild put their lives and bodies on the line.
Great theatre is about connecting with your audience. Ultimately, that is what " The Two Worlds Of Charlie F" is about. You are forced to confront how you deal with people missing limbs in everyday life while listening to their stories of how this occurred. This show works because it is real and avoids the obvious traps. It is not mawkish, it does not manipulate your emotions, it is honest and brutal. The language does not belong in an Ayckbourn play, the description of war is not always easy to hear and most importantly, none of them play the blame game. There is no finger-pointing about the morality of the conflict, any failures of equipment etc, it is just a statement of fact about army life, what happened to them and how they are coping.
The above sounds heavy-going but the playwright wisely includes a lot of humour and amazingly new songs. Some (none professional) performers naturally look more comfortable on stage than others, the self-confidence of Cassidy Little in the lead role is extremely impressive, but overall the performances are outstanding. ( The programme is also particularly illuminating about why most of them have agreed to be in the play).
The only suggestion I would make to improve the play is to cut the interval and run it through in one act, which I believe will happen in Edinburgh.
So, if you want to experience an extremely unusual theatrical event rush to see " The Two Worlds Of Charlie F". You won't be disappointed.
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