Posts tagged ‘threeweeks’

23 August, 2010

Others ****

Pleasance Courtyard, 4 – 29 August 2010

Reviewed for The List (issue 665)

Jemma and Kylie, two thirds of the Paper Birds, perch in an armchair and speculate about Nazim, an Iranian woman Jemma’s been corresponding with by post. Maryam, the third Bird, plays Nazim, updating her performance to reflect her colleagues’ conclusions. Though based at first entirely on Nazim’s own words, the armchair pair’s enthusiastic deductions ramify farther and farther from the facts, bombarding Maryam with illogical abusive husbands and suicide bombings as she vainly attempts to draw attention to their fallacies.

Not only is this intensely comical – a rare achievement for a verbatim play – it’s also a playful dissection of the Birds’ own unconscious assumptions and prejudices, and of the conflict at the heart of all documentary and verbatim theatre: the one between entertaining an audience and being faithful to the source. And that’s just one scene.

What’s truly impressive about Others is its use of such inward-looking subject matter to interrogate a much bigger issue: the national media, which face essentially the same dilemma as documentary theatre, and seem (the Birds suggest) to be veering the wrong way.

Devised by Maryam Hamidi, Jemma McDonnell and Kylie Walsh

Crew includes Ellen Dowell (set design) and Marec Joyce (lighting design)

Need a second opinion?

23 August, 2010

His Eyes Were Like Oysters ***

Just The Tonic @ the Caves, 4 – 29 August 2010

Reviewed for The List (issue 665)

Imagine The Mighty Boosh without the mellowing constraints of consistent characterisation and mainstream success. Oyster Eyes’ sketches are a bewildering tissue of pop culture references, surreal concepts and non-sequiturs gummed together by dour, anti-comic disco DJ Alan Starr. While there are undoubtedly some unconventional ideas on display here, the show revels just that bit too much in its own oddness.

Need a second opinion?

16 August, 2010

The Harbour ***

The Zoo, 8 – 30 August 2010

Reviewed for The List (issue 664)

Peter, a fisherman, falls for a selkie (a seal-woman) he finds in his nets. Peter is at sea a lot, not to mention underdeveloped as a character, so the focus falls on the strained relationship between ‘Sally’ the selkie and Peter’s mother Betty. Sally is an enigma, Betty a caricature, but the original folk tale’s inherent poignancy still manages to show through, aided by stirring live cello and vocal accompaniment.

Need a second opinion?

16 August, 2010

The Vanishing Horizon ****

The Zoo, 8 – 27 August 2010

Review for The List (issue 664)

Did someone accuse Idle Motion of being one-hit wonders? Because as if in response to such an accusation, the company has recreated the success of its 2009 smash Borges and I with near-scientific precision. Recreated, that is, as opposed to surpassed.

Make no mistake, The Vanishing Horizon is still one of the most compelling shows you’re likely to see at this year’s Fringe: an exquisite weaving-together of music, text, movement and design in which each element supports and bolsters every other. But the pattern of the weave remains exactly the same as for Borges and I: suitcases replace books, pioneering aviatrixes replace Jorge Luis Borges and the heartache of an absent parent replaces that of impending sight loss, but the proportions remain comfortably unchanged.

Perhaps there’s nothing wrong with sticking to a winning formula, and winning this formula certainly is: the luggage-based set pieces alone are so delightfully innovative that some spark spontaneous applause when deployed. Surely, though, innovation of this calibre could be put to better use than reliving past successes.

Need a second opinion?

11 August, 2010

Celia Pacquola – Flying Solos ****

Celia Pacquola in Flying Solos

Celia Pacquola in Flying Solos. Image courtesy of the EdFringe Media Office

Gilded Balloon Teviot, 4 – 30 August 2010

Reviewed for The List (issue 664)

If performing stand-up is flirting with humiliation, Celia Pacquola takes humiliation home to meet her mum: having never learned the piano, she ends Flying Solos by attempting a virtuoso piece. She prefaces the attempt by effusively recounting previous ‘solos’, moments when, intentionally or otherwise, she stood out. A buoyant performance, surprising and cathartic for all involved.

Need a second opinion?

11 August, 2010

Poland 3 Iran 2 ***

Promo image for Poland 3 Iran 2

Promo image for Poland 3 Iran 2, courtesy of the EdFringe Media Office

Pleasance @ Thistle Street Bar, 4 – 28 August 2010

Reviewed for The List (issue 664)

Iran’s narrow defeat at the hands of Poland in the 1978 World Cup serves more as punctuation than as the main text of this lecture-cum-barroom shaggy dog story. Lecture because its main visual element is a slideshow; barroom tale because it’s told in a tiny pub, as the bartender wipes glasses.

For Mehrdad Seyf (representing Iran), football is intertwined with politics. For his counterpart Chris (representing Poland; he’s Essex-born but his dad’s Polish), it’s something to obsess over. For both, the relationship between Iran and Poland has affected their family history.

The resulting I-go-you-go slideshow oscillates between the fascinating, the revealing, the confessional and the merely mildly interesting; and there are some lo-res clips of the match in question, as well. While both men are engaging speakers, and the venue encourages intimacy, the show’s demands on its audience are chiefly intellectual: to take in facts and trivia, and only to respond emotionally at infrequent moments (the tale of Mehrdad’s uncle, in particular). The highly emotive closing image therefore leaves us wondering whether we’ve missed something vital.

Need a second opinion?

11 August, 2010

Tiffany Stevenson – Dictators ***

Tiffany Stevenson in Dictators

Tiffany Stevenson in Dictators. Image courtesy of the EdFringe Media Office

The Stand Comedy Club, 4 – 29 August 2010

Reviewed for The List (issue 664)

A quick glance at the leaderboard Tiffany Stevenson uses to rank and display her top five dictators reveals all you need to know about this comic and her style.

First, that she scores power-crazed and often genocidal individuals like they were Top Trumps (stats include ‘Nicknames’ and ‘Death Count’). Second, that she rates her own mother in the top five. Third, that she thoughtfully accessorises the board with a picture of her cat Bumbles sitting in a box looking adorable, as a comforting visual lifebuoy for anyone that feels she’s stepped off the deep end.

That whimsical touch sees Stevenson safely through some pretty toe-curling subject matter. Robert Mugabe executes homosexual people: that’s a harrowing thought. How to deal with him? Book him into Pineapple Dance Studios. Poetic justice. Bashing Mugabe, Hitler and Gaddafi is not exactly a controversial position; the real strength of Dictators lies with the two less conventional entrants in Stevenson’s top five. The worst kind, after all, is the one dictating specifically to you.

Need a second opinion?

11 August, 2010

Babbling Comedy: The Perfordian Show **

C Central, 5 – 30 August 2010

Reviewed for The List (issue 664)

Once you’re over the sight of four grown men capering about dressed unconvincingly as babies, this is perfectly adequate family entertainment. A toybox of props provides pretexts for magic, juggling, balloon modelling and a healthy dollop of slapstick. But beware: the cast’s infantile babbling often continues longer than is necessary to set up each stunt; and those in the front row will be humiliated.

Need a second opinion?

15 August, 2009

Ophelia (drowning) ****

Sweet Grassmarket Swimming Pool, 5 – 18 August 2009

Reviewed for the British Theatre Guide

The clear, rippling water – jets turned up high for maximum eddying – is the source of some striking, moving visuals in this collage of Hamlet, pop lyrics and Deborah Levy’s Pushing the Prince into Denmark. The trappings of marriage – white veil and bouquet – take on a gloss of melancholy unreality when swirling, ghostlike, in the current or lying on the bottom, visible only through a shifting, distorting lens.

Helen Morton’s Ophelia is equally arresting. Her shoulders tense and rounded, her voice as husky and tremulous as if something were tightening around her chest, she avoids eye contact as Gertrude (Rose Walker) attempts, through allegory and outright pleading, to persuade her to let go her hang-ups and move on.

Though it dominates the space, the pool is more set piece than stage, used more as a symbolic watery grave for cast-off props than for swimming in. Other than at the very beginning and end of the play, the action is mostly limited to repetitive circuits of the poolside, as Ophelia and Gertrude debate in figurative and literal circles. Pete Wheller as the Prince, the most frequently submerged character, puts altogether too much effort into both his vindictive glowering and his enunciation, in a contrast to Morton’s more subtly studied performance. Fortunately, the Prince spends most of the play in the corner cosseting his mocking-bird Lover (Serafina Kiszko), allowing the far superior Morton the exposure she deserves.

Written by Daniel Marchese Robinson and Daniel Pitt after Deborah Levy after William Shakespeare

Crew includes Daniel Marchese Robinson and Daniel Pitt (directors/designers)

Cast includes Serafina Kiszko (The Lover), Helen Morton (Ophelia), Rose Walker (Gertrude) and Pete Wheller (The Prince)

Need a second opinion?

7 August, 2009

Who to follow at Fringe 09

Written for The Collective Review, 7 August 2009

If you can’t make it to the Edinburgh Festival Fringe this year, because a banker vaporised your life savings, or because National Express couldn’t be bothered to drive you up the East Coast, or because you usually live in Edinburgh and have gone on holiday to Inverness for the month, never fear!

You can recreate the experience of battling your way along the Royal Mile, accosted every other step by acts and PRs waggling flyers or props or parts of their anatomy in an effort to get your attention, without even leaving your desk.

Everyone who’s anyone at the Fringe this year is on Twitter, so add this little lot, feed the TweetDeck updates through your screen, smart phone or VirtuSpecs* and enjoy the onslaught in the comforting knowledge that, unlike those of us who actually need to get from one end of the actual Royal Mile to the other in a hurry, you can de-inconvenience yourself at the touch of a button.

Venues
Will incessantly plug their own shows, often providing the Twitter usernames of their acts for you to add to your Fringe Friend Frenzy.
Traverse Theatre – @traversetheatre
Assembly Venues – @Assembly09
Pleasance Courtyard/Dome (comedy programme only) – @PleasanceComedy
Underbelly – @UNDERBELLY09
Gilded Balloon Teviot – @Gildedballoon
Bedlam Theatre – @bedlamfringe
The Hive – @TheHiveFringe09

Reviews

They’re already calling it Twitticism – reviewing shows in 140 characters or less.  I’ve tried it.  It’s very difficult to do the show justice unless the … tweview … is backed up by a full length piece elsewhere in print on online.

@EdTwinge is, as far as I can tell, endorsed and possibly set up by the Fringe Society (Professor Ed Hegg of @TheFringeThing has certainly been plugging it for a few days now), and promises a “Realtime, Twitter-based, crowd-sourced Edinburgh Fringe review service”.  Hashtag your tweets #edtwinge to become part of the crowd they’re sourcing from.  Could prove interesting, if only as an experiment; watch this space.

The List (a print listings and reviews magazine, Edinburgh and Glasgow’s equivalent of Time Out, and first to coin the hashtag #twitreview) – @thelistmagazine

Fest (A5 print magazine, festival-only, affiliated with the University of Edinburgh) – @festmag

ThreeWeeks and Broadway Baby (daily or thereabouts A3 freesheets; ThreeWeeks is staffed by students, who are given professional journalism training, then unleashed on the Fringe) – @ThreeWeeks, @broadwaybabycom

FringeGuru (a guide to the festival, and progenitors of the iFringe iPhone app) – @FringeGuru

Official Bodies
Edinburgh Festival itself tweets as @edinburghfest – mostly it just aggregates news about the festivals.
From within the Festival as a whole, the Festival Fringe also tweets at @EdinburghFringe, providing gossip, news and dates for your diary.
And within that, the self-explanatory Five Pound Fringe strand tweets at @fivepoundfringe.
Finally, Professor Ed Hegg tweets all things Fringe along with his attempts to crack the mysterious oviform Fringe Thing, at @TheFringeThing.

*Reference to future technology included to increase article’s long-term relevance, writer’s perceived foresightedness.

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