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Tag Archives: Edinburgh Fringe

Rob Cawsey: Just Cruising

Desperately running out of time to take in everything the Edinburgh Festival Fringe has to offer, I stumbled late into Banshee’s to see Rob Cawsey. Apparently he’s a comedian.

A comedian he may be, but what I saw was a brilliant comic actor presenting slapstick comedy with a cohesive and engaging plot that elicited both laughter and a touch of empathy.

It’s a rare combination.

The story is his own: a big night out trying, increasingly desperately, to pick up. And throughout, there is this splendid balance between humour and despair. It is a great story presented brilliantly. Right up there with the best I’ve seen this Fringe.

 
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Posted by on Friday, 25 August 2017 in British Theatre, Edinburgh Festival Fringe, Theatre

 

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About a Goth

Life is all about transitions. Moving from one stage of life to the next, sometimes gracefully, sometimes stumbling, and sometimes holding on for your life.

About a Goth explores such a transition as a young man grapples with understanding himself.

Delivered as a monologue, the plot is revealed as a series of events that would frustrate the heck out of any gay goth teen: an unhealthy obsession with a straight mate and Starbucks’ lack of Gothic options are compounded by his family’s obstinate refusal to reject him when he comes out. Selfish buggers.

Clement Charles gives a stellar performance, full of energy and life throughout. It is beautifully written by Tom Wells, and explores this young person’s journey through a transition with empathy and humour and spirit.

So far, the best performance I’ve seen at the Fringe.

 
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Posted by on Thursday, 17 August 2017 in British Theatre, Edinburgh Festival Fringe, Theatre

 

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How Eva Von Schnippisch Won WWII

From the moment she has an audience, it’s clear that Eva Von Schnippisch is not going to let anyone leave the room without getting a right belly laugh out.

She engages the audience in the action from the start, telling the story she has kept silent for 72 years, about how she worked with the Allies to infiltrate the relationship between Adolf Hitler and Eva Braun. I was enthralled for the entire hour, which is an achievement in itself.

Stephanie Ware is a consummate performer, dealing with the viariables of live performance professionally, and with excellent humour. Her comic timing is impeccable, and her awareness of the audience remarkable.

Simply one of the best shows I’ve seen this Fringe.

 

 
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Posted by on Thursday, 17 August 2017 in Cabaret, Edinburgh Festival Fringe

 

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Cannonballl

Cannonball starts well.

I’m impressed by the dialogue. I’m impressed by the actors. I’m impressed that it’s genuinely naturalistic and the media being projected is atmospheric and well coordinated.

Slowly, though, it unravels. Maybe I missed a thread somewhere, a vital piece of information that I needed to follow the plot. It started with two mates talking about girls, then one of them ends up with a girlfriend who becomes a wife and has a baby… and he slowly descends into a kind of depression, until the play peters out with us wondering whether he’ll take his own life or not.

By the end it’s feels terribly melodramatic without enough plot to carry the emotion. Which is a shame, given the promise the beginning held.

The quality of the performances don’t really decline, nor does the quality of dialogue, which is why I think it might be me who missed something. If you’re reading this, and you’ve seen it (as opposed to if you’re in it, or maybe even then!), let me know what you thought.

 
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Posted by on Thursday, 17 August 2017 in British Theatre, Edinburgh Festival Fringe, Theatre

 

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Not About Heroes

My first show at this year’s Edinburgh Festival Fringe was this rather intense exploration of the relationship between Wilfred Owen and Siegfried Sassoon. And after flying from San Francisco to Edinburgh and coming directly to the theatre, it’s an achievement not to be understated, that the play held my attention throughout.

The simple set being used for this fringe run works brilliantly, and provides excellent scope for the two performers to establish varied locations and times. Daniel Llewellyn-Williams, playing Sassoon, builds a strong presence in the early stages of the play, and transitions well to the rather more fragile Sassoon who reminisces at the end of the war. Iestyn Arwel, playing Owen, marks an inverse transition. It would be easy to dismiss the strength of his performance in the early stages, but the character is brilliantly established.

This is a strong piece exploring the relationship between two historical figures who were passionate about showing the horror, and not the glory of war. It is especially pertinent in the world’s current state, though it could perhaps draw a slightly longer bow into the present to ensure it doesn’t merely register as a history play.

 
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Posted by on Tuesday, 15 August 2017 in Edinburgh Festival Fringe, Theatre

 

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The Peablossom Cabaret

Peablossom Cabaret Sofa Press ShotAfter a false start yesterday, where the performers found out at the last minute that their venue wasn’t opening, I am incredibly glad we made it back to see this brilliant performance today. Unfortunately the alternate venue they had secured was an over 18s venue so I was unable to bring Offspring Number One along to that performance, and today we had to change our plans to get there, but get there we did, and it was well worth the effort.

The Peablossom Cabaret is cabaret improvised in response to conversations with the audience. And as such, it hinges entirely on the personalities and talents of the two performers, Dylan Townley as Mr. Pea, and Sylvia Bishop as Miss Blossom. These two consummate performers had their audience laughing before the show even started, and it only got better throughout with their clever banter, quick wit and charming voices.

The pair improvised a song about an audient’s sister reading her diary, then about a lad who admires his brother for not being boring. I could go on, but the very nature of improvisation means it would not be terribly interesting; you really have to be there. And the more people who are there the better; these splendid performers deserve all the applause they can get!

 
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Posted by on Monday, 4 August 2014 in Cabaret, Improvisation

 

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Trainspotting

trainspottingI wasn’t prepared for an immersive experience when I went to see In Your Face Theatre‘s production of Trainspotting, and when I realised there was no auditorium, I will admit to a little hesitation. The experience, however, was just as this incredibly grimy story needed it to be, and was only enhanced by not knowing where the performers were off to next.

The venue could not have been more appropriate. This former Masonic Lodge occasionally flashed up glimpses of the names of its members or phrases such as ‘trust in the lord’ all in a gold print that jarred eerily with Irvine Welsh’s confronting story of the lives of urban junkies.

Though I’ve not been able to find the names of the performers anywhere, they were all very impressive (and this is a very large cast). Rents, Sickboy and Tommy were at once pathetic and yet able to command my sympathy. And a chorus, accompanied by a very appropriate soundtrack from the last twenty years was not a mere addendum to the action, but was critically important in establishing the atmosphere and moving the audience to the appropriate part of the space (or distracting us from the set change).

While the script seemed to skim too quickly over some moments of character development, and though I felt the use of narration didn’t really suit this style of performance, in all, I was surprised at how closely this production elicited the same emotions in me as the novel and film did so long ago.

This is a story that has neither aged nor lost its edge, and remains as gritty as it was when it first saw the light of day in 1993.

 
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Posted by on Sunday, 3 August 2014 in British Theatre, In Your Face Theatre, Theatre

 

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