Faith, Rebellion and Lashings of Glitter: Jesus Christ Superstar at Edinburgh Playhouse
In an effort to remain contemporary over the years JC Superstar has often leaned into an alt/rock aesthetic – at times looking more like Rocky Horror than many productions of Rocky Horror did. The staging has, in a way, acted as a lens for whatever the current notion of superstardom was. Sometimes this worked, sometimes it didn’t – it can be tricky trying to make God cool.
This production opts for a simpler, sweat pants and gym-wear wardrobe, housed inside an abstract, industrial, set. Whilst I don’t think I had any great desire to see Jesus in a Gap hoodie and baseball hat, it works as an unfussy blank slate, and is in a way closer to the 1973 movie than it might seem. It is also, for better or worse, a fairly accurate account of mainstream iconicism today.
The cast were undeniably the highlight of the show and the vocals consistently fantastic throughout. The ensemble were strong but special mentions should be given to Ian McIntosh, Shem Omari James, and Hannah Richardson in the roles of Jesus, Judas, and Mary, respectively. McIntosh in particular absolutely nailed (no pun intended) the emotional intensity of the Garden of Gethsemane, belting out some insane rock opera Big Notes. Timo Tatzber is also deserving of a shout out for his scene stealing turn as Herod, and whose flamboyant, dark-caberet performance brought a welcome dose of black humour to the proceedings.
Jesus appears, in this production more than most, to be somewhat lost and aimless amongst the chaos around him for much of the show. At times it’s even visually hard to pick him out from the crowd. This is not a criticism of the performance, and McIntosh is 100% present when the time comes, but this Jesus is very much more a man born into a situation not of his making than a charismatic cult leader.
The second act of the show is a non stop fireball of energy, emotion and glitter-drenched betrayal, but while the director’s vision for the darker aspects of the story was evident, there were moments where the gentler parts felt somewhat overlooked. “I Don’t Know How to Love Him” in particular felt like a missed opportunity, despite a strong performance from Richardson. The contemporary, interpretive, choreography came into its own in the latter half, but often felt awkward and out of place earlier on. Any critiques I have in these areas are easily overshadowed by the sheer energy and momentum of the second act however, and it absolutely goes out on a high. If you can call the crucifixion of Christ on a cross made out of microphone stands a high, which I do.
It’s a difficult show to pitch tonally, there is a certain joyful ebullience to some of the songs but of course it’s never going to end well (spoiler: he dies). While not without its flaws, the production delivered where it mattered most, with stellar performances and moments of genuine emotion. If you’re a fan of the musical or just looking for a night of high-energy, blood soaked, entertainment, this is one you won’t want to miss.
Edinburgh Fringe Festival 2023 Wrap Up
Featured Fringe Review – Aidan Sadler: Melody
Aidan Sadler cuts a striking dash. Mixing David Bowie’s eyeshadow with Tim Curry’s saucy grin and a glam-punk-future-retro vibe all of their own, they skilfully combine down to earth, rather British, humour with heartfelt socio-political statements, some (consensual) audience participation and electro-synth bangers. This show was both much funnier and far more musically adept than I was expecting.
The humour is edgy enough that Sadler is never a bland, or entirely benign, presence and it is the high-voltage volume of their charisma that propels the show. Relatable, human and hilarious dialogue leads the audience to be pleasantly blind-sided by the skill of the musicianship when it happens, a difficult trick to pull off and the true heart of Cabaret. I was reminded of seeing the original Fringe run of Hedwig and the Angry Inch, or Festival favourite Dusty Limits, where the small venue, rough edges and raw honesty only make the otherworldliness of the music more arresting. Sadler has the visual aesthetic of a being beamed directly to us from another planet, but also the musical chops to go with it. One standout track in particular named This Song Isn’t Funny But I’m Quite Proud Of It (and so they should be) could stand comfortably next to some of the 70s and 80s classics it recalls.
Whilst Melody doesn’t delve into personal tragedy or trauma-porn (unless you count an alarming confession regarding Babybel consumption) it is not a shallow or frivolous show, even if it does a good job of pretending to be. Sadler leads us to peer into the maws of the 21st century, examining how it feels to be teetering, in high platforms, on the precipice of modern life. The conclusion is inconclusive but I suspect may involve more Babybel.
Edinburgh Fringe Festival 2023
It’s Edinburgh August madness time again and I’m chasing down the best Theatre, Music and Comedy that you might not already have heard of.
Skip to review:
A Bit Too Much Hair
Absolute Improv!
Aca-sino Royale
Aidan Sadler: Melody
All is Pink in West Berkshire County
And Then The Rodeo Burned Down
Angel Monster
Antonio!
The Blondie Story
Brief Candle
Bubble Show for Adults Only
The Canonized Club
Crap Ballet
The Dead Of Night
Death by Shakespeare
Dickie Must Die
Double Goer
Electra/Haimara
Graveyard of the Outcast Dead
Il Burattino
Locomotive for Murder
Macbeth by the Sea
The Mystery of the Dyatlov Pass
Norma
The Ocean And The Star
Pirates: You Wouldn’t Steal a Boat
ShakeItUp
Solve Along A Murder She Wrote
Soul Mate
The Thin Place
Vocal Vengeance: A Murder on the Stage Floor
Young and Moxie
All reviews by Susan Sloan
FEATURED REVIEW
Norma
I can never be mad at a retelling of Marilyn Monroe’s life that starts with a jab at the recent Netflix show ‘Blonde’, based on the equally risible ‘fictional biography’ of the same name by Joyce Carol Oates. So much of what has been written, dramatised and expounded on Marilyn over the years could be classed as fictionalised biography, each writer presenting their own version of the mythical Monroe. Each ‘Marilyn’ a photocopy of the last, slightly altered, like Warhol’s prints. She has become in our pop culture sub-consciousness more than a movie star, or even an icon – a chimera, an avatar for all our desires, paranoia and neurosis.
Olivia Denton does a great job in Norma of unpacking all of this and condensing it into a neat 50 minutes of refreshingly factual story telling, using Marilyn’s own words as the jumping off point. Laced with direct quotations, the original parts of the script provide context, wit and poignancy without ever straying into novelisation or overwrote metaphors. Her performance captures just the right amount of vocal, verbal and physical mannerisms that it is a recognisable rendition, particularly to anyone who has watched or listened to her interviews outside of movie roles. However, crucially, it is a portrayal of Marilyn herself, not Lorelei Lee or Sugar Kane and she dials down the breathy voice just enough that it never becomes a caricature.
The time went too quickly and with the perfect mixture of joy and sadness, I could have easily spent another hour in this Marilyn’s company. I won’t spoil how the show ends, but it skilfully sidesteps the many lurid theories surrounding her death and I applaud the humanity and genuine care with which Denton approached the subject matter. I finished the show with a smile on my face and a slight tear in my eye.
A Bit Too Much Hair
Led by the powerhouse vocals and abundant charisma, both big enough to fill a venue many times larger, of Evan Michael Smith (he/she/they/them – ‘call them anything you like just call them’) this show is much like spending an evening with good friends who just happen to be hilarious and talented. With an endearingly ramshackle house band set-up and some (strictly consensual) audience participation the show combines strong musical composition and story telling with more throwaway, cabaret moments to keep the pace moving and the energy in the room warm and welcoming. A celebration of affirmation and a jolly good time. Just how much A Bit Too Much Hair is Too Much? Certainly not This Much.
Absolute Improv!
Hilarious free-form comedy from Scottish based TBC Improv based around a series of ‘Whose Line Is It Anyway’ style games, using prompts from the audience to provide the jumping off points. I laughed from start to finish and the time flew by – when host Charles said there was only one game left to go I couldn’t believe it was nearly over. Since the cast alternates and the show is completely unscripted Absolute Improv really will be different every night but, if this performance was anything to go by, every night will be a riot. Repeat visits feel essential! If you want a fun, relaxed show to shake off any festival stress, this is the one for you.
Aca-sino Royale
A slick, moody and dramatically choreographed take on the a cappella musical format based around a high stakes espionage card game gone wrong. Peace Mburu, Anna Armitage, Casey Lim and Hana Fujii Bennet provide standout performances, along with a show-stopping beatbox turn from Morwenna Emrys. The Rolling Tones have talent to burn however, with each member of the group contributing to the overall powerhouse of vocals. Their take on Rhianna’s Shut Up And Drive and (naturally) Paint It Black being particular highlights.
The emphasis of Aca-sino Royale does tip more towards the songs, with the connecting storyline less of a focus, but if you enjoy a cappella I can’t imagine you won’t love this show as the musicianship and arrangements are outstanding.
Aidan Sadler cuts a striking dash. Mixing David Bowie’s eyeshadow with Tim Curry’s saucy grin and a glam-punk-future-retro vibe all of their own, they skilfully combine down to earth, rather British, humour with heartfelt socio-political statements, some (consensual) audience participation and electro-synth bangers. This show was both much funnier and far more musically adept than I was expecting.The humour is edgy enough that Sadler is never a bland, or entirely benign, presence and it is the high-voltage volume of their charisma that propels the show. Relatable, human and hilarious dialogue leads the audience to be pleasantly blind-sided by the skill of the musicianship when it happens, a difficult trick to pull off and the true heart of Cabaret. I was reminded of seeing the original Fringe run of Hedwig and the Angry Inch, or Festival favourite Dusty Limits, where the small venue, rough edges and raw honesty only make the otherworldliness of the music more arresting. Sadler has the visual aesthetic of a being beamed directly to us from another planet, but also the musical chops to go with it. One standout track in particular named This Song Isn’t Funny But I’m Quite Proud Of It (and so they should be) could stand comfortably next to some of the 70s and 80s classics it recalls.Whilst Melody doesn’t delve into personal tragedy or trauma-porn (unless you count an alarming confession regarding Babybel consumption) it is not a shallow or frivolous show, even if it does a good job of pretending to be. Sadler leads us to peer into the maws of the 21st century, examining how it feels to be teetering, in high platforms, on the precipice of modern life. The conclusion is inconclusive but I suspect may involve more Babybel.
HIGHLY RECOMMENDED
All is Pink in West Berkshire County
Eat the rich? I think we all know the opposite is more likely to come to fruition any time soon. Hilariously, laugh out loud funny from start to finish in the blackest of ways, All is Pink in West Berkshire County is a tack-sharp satire of class, consumption and capitalism. The four person cast deliver strong performances, with particularly scene stealing turns from Matthew Dangerfield and Siobhan Ward as the grotesquely bourgeois and decadent Michael and Denise Abbey.
Harry Daisley’s script does an astonishingly successful job of tackling a lot big issues at once without becoming confusing or self indulgent. Tightly plotted, with not a wasted line of dialogue it makes it’s point unequivocally, but without lecturing or boring the audience for even a second. It’s conclusions are bleakly dystopian, but delivered with such an irresistible dark wit that you will laugh at the time but find yourself thinking about it for much longer afterwards. So delicious is the presentation in fact, you almost find yourself rooting for the amoral ‘apex predators’ in the end. Almost.
HIGHLY RECOMMENDED
And Then The Rodeo Burned Down
This show was my ‘one that got away’ of 2022. Having gathered an impressive buzz around it during the course of the festival and going on to win the Fringe First Award for Outstanding New Writing, it has been touring to acclaim ever since. Within a few minutes of the opening – an odd, edgy and endearing tears-of-the-clown synchronised routine set to Dolly Parton’s 9-5 – it was easy to see why audiences have reacted so positively. What follows is a tightly choreographed and original performance that creates its own unique blend of comedy, drama, physical theatre and fourth wall breaking meta-commentary. Chloe Rice and Natasha Roland work so seamlessly together it becomes almost impossible to know where one ends and the other begins. Whilst the characters, and perhaps even Rice and Roland themselves, are world weary and old before their years, the show has a vigour and unpredictability that keeps the audience on it’s toes and the energy high. The cigarettes are fake, but the fire is real.
Angel Monster
Award winning Australian company Phluxus2 Dance Collective serve up a challenging, forceful and witty exploration of the female experience. Occasional dialogue, installation-like set-come-props and audience participation give the piece something of an abstract performance art feel, but Nerida Matthaei’s powerful choreography and outstanding performances by the six dancers keep the show from becoming unfocussed or inacessible. Angel Monster may be an unsettling watch for many, but its resonance is much of its strength, and at the heart of its message.
Phluxus2 Dance Collective
Book Here
Antonio!
This ‘queer punk pirate musical starring Shakespeare’s ultimate love interest’ is a feisty, fun and surprisingly touching, queer take on some well worn stories. Antonio! is stuffed with fabulous pop-punk musical numbers (the first song was a particular standout for me, and not just because of the line about wanting a boy who buys Ikea art) and delivered with gusto by the cast. William Duignan serves up gallons of glam fuck-you energy as the titular Antonio, whilst Andy Manning, Evan Michael Smith and Felix Crossley-Pritchard each add their own ‘hot, romantic’ flavour as Antonio’s unsuitable suitors.
Antonio! is a fun frolic through history not-as-you know-it, but with a few solid messages weaved into it along the way – be yourself, love yourself, live your life to its fullest. Oh, and never trust a married playwright to adapt your story.
The Blondie Story
Night Owl Shows have become a popular fixture of the Edinburgh Fringe in recent years, packing out venues and winning awards left, right and centre. Having cornered the covers market with their fresh take on the tribute act, Night Owl eschew the usual tackiness of the format, no lookalikes in bad wigs and party shop costumes, but instead serve up solid, credible musicianship and an entertaining, potted history of the subject matter backed by archive footage and interesting trivia.
So it is with the Blondie Story where Reine Beau neither looks nor sounds particularly like Debbie Harry but instead storms through an hour of Blondie hits in a feisty, energetic manner that is both all her own and entirely fitting for the songs. Beau also makes an engaging and entertaining host, leading us through Debbie’s history from her early days in a folk band up until the present day. Backed by interview snippets and old footage, the show is a treat for fans but would be a great primer for anyone less familiar with their history too. The time flew past, feeling as though we had barely scraped the surface of such an astonishing back catalogue and I could have easily watch another hour, both due to the quality of the material and the performance.
If you think tribute acts aren’t your thing, you just haven’t seen this one yet.
Brief Candle
Emma Ford gives a superb solo performance as Isla, a fifteen year old inhabitant of Edinburgh’s infamous underground vaults on the eve of the Great Fire. Aided by by David R. Ford’s excellent script, Brief Candle keeps the audience engaged and entertained from start to finish and the compact 45 minute runtime flew by for me. Many single-actor shows focus on reflection or personal experience with little in the way of plot, but Brief Candle manages to weave a surprisingly intricate one involving a whole host of characters, all vividly drawn. This is skilfully delivered by Ford with wit and nuance, but without any of the more grating, broader excesses that can sometimes come with playing multiple characters.
Whilst the subject matter is serious at heart, and the oppressive horror of the protagonist’s life is keenly felt, the show provides enough levity through it’s sparky heroine that it rattles along in an enjoyable manner, and with the audience invested in knowing the fate of Isla and her family.
Brief Candle is an artful example of a tale delivered in a pure, and fittingly old fashioned way. With only a chair and a few candles to accompany her on stage it also illustrates perfectly that, without elaborate sets and props, sometimes all you really need from theatre is a great story and a great story-teller to tell it.
Bubble Show for Adults Only
Last night I learned two things about myself: 1) I love a bit of saucy rave dancing and 2) I love bubbles even more.
Bubble Show for Adults Only is a naughty-but-nice mixture of edgy humour, great music and fun costumes wrapped around some genuinely impressive bubble-related skills. Whilst the show is probably not for those of an overly nervous disposition it also has a fun, entertaining energy that places it more in the realm of cheeky than offensive.
At the end of the show the hosts announced that they also do a children’s show, which got a big laugh despite being true, but I don’t find this so hard to imagine. Despite the kinky latex and explicit sex jokes there is an innocent playfulness at the heart of the show which saves it from being just another horny hen party night out.
The Canonized Club: The Curious Lives and Deaths of the Saints
When Pope Paul the Whatever gets sick of all those tedious feasts disturbing his downtime he decides it’s time to restructure and axe some Saints (apologies Catherine). A furious X-Factor worthy battle ensues as the Holy Souls compete to keep their place in the club. Satirical, raucous and lightly sacrilegious, The Canonized Club is not for the easily offended, but concludes with an ultimately wholesome message on the separation between faith and religious bureaucracy. It just takes quite a lot of bickering, drinking and torture-kink to get there.
Hardly Working Promotions
Book Here
Chaotic, anarchic and utterly insane, Crap Ballet is a surreally hilarious experience from start to finish. If you imagine peak era Vic & Bob high on cocaine and dragging a baby doll called Irma around on a string, you might get halfway to imaging what kind of treats lie in store. There is romance, there is suspense, there are many fabulously rubbish props. And the dancing.. so much sexy dancing! Described in their online bio as specialising in ‘repurposing recyclable material, writing dick jokes, and packing audiences into spaces where performance of any kind could be considered a fire hazard’ Lil Wenker and David DeRuite work as a perfect double act with DeRuite as the slightly straight(er) man to Wenker’s unbridled lunacy. Possibly not recommended for the feint hearted, this show is a non-stop riot for the rest of us. Get your tutu on and Dream Big..
The Dead Of Night
On the edge of sleep, the monsters creep. Based around three classic tales of treachery our young protagonist grapples with the call of the monster within, in this compact slice of original musical theatre. Standout performances from the two MC’s leading us on this merry dance tie the show together.
Death by Shakespeare
An impressively choreographed spectacle of spectres leads the audience through a highlight reel of The Bard’s best departures. Occasionally funny and frequently creepy, Death by Shakespeare combines impressive physical theatre with powerful performances to give a fresh, if macabre, take on an a well worn subject.
Dickie Must Die
Witchcraft – it’s all fun and games until someone ends up dead under a pile of broken Nespresso machine. Dickie (or Richard, not Dick) gets Karmic payback for ghosting his ex, leading to screwball comedy and some searching questions. Funny and sweet, Dickie Must Die offers an entertaining evening and a solid warning against dabbling in the occult whilst doing shots.
HIGHLY RECOMMENDED
Double Goer shot by Mark Fernyhough
Double Goer
A surreal, witty, raw and captivating exploration of female competitiveness both internal and external. With simple but striking lighting, some unexpectedly outré costuming and a wonderfully immersive soundtrack, this is a slick production with a messy, emotional heart. As the titular doppelgängers Rose Philpott and Tamsyn Russell tear through this tightly choreographed piece with grit, intensity and candour. An occasionally untethering but thoroughly fantastic experience.
Electra/Haimara
Irisa Kwok’s writing brings a new angle to the well known tragedy, set seven years after the Trojan War and Agamemnon’s assassination. The show itself delivers the classical tale in a solidly classical format, with a standout performance from Victoria Ubenyi to anchor it.
Graveyard of the Outcast Dead
Based on Frank Turner’s song of the same name Graveyard of the Outcast Dead is a funny, moving and occasionally challenging exploration of life, death, love and loss. Mixing music and drama, the show features a strong ensemble cast with a standout performance from Ewan Burns as the trickster Tender and a gloriously lurid retelling of Little Red Riding Hood you won’t forget in a hurry. Graveyard of the Outcast Dead may be spectral in concept, but it’s full-bodied in content.
Reverb Theatre and Not So Nice! And New Celts
Book Here
Following the story of Tino, a young boy desperate to prove himself as a man, whose naivety and optimism is slowly crushed on the battlefield, Il Burattino is a powerful illustration of the gap between the ideologies and realities of war. Engaging performances and tight direction, along with a superb script by Morgan Turner so consummate I found it hard to believe it was not an adaptation of some well loved classic, turn what could have been the kind of tedious, torture-theatre that occurs when dealing with heavy topics into a pacy and spirited production. Miguel Mota is charismatic and empathetic in the lead role, with strong support from Luke Feechan and Luke Lindemann as his trench-mates. A thought provoking experience which brought me close to tears on more than one occasion without feeling punishing.
Set around an Agatha Christie / Murder on the Orient Express style conceit this is a skilfully guided improv show that was big-loud-laugh-out-loud funny at every turn. Whilst the cast rotates each night, Will Beynon and David Fenne were particular standouts for this performance, with Lottie Davies doing an admirable job holding the whole crazy mess together as Compere and detective Miss Jane Marbles. Taking suggestions from the audience we followed Mayor Shipman, Grizzabella Greasepaint and Rev. Cath Edral on a steam train trip to Bangkok (!), unpicking the dastardly murder of explorer Tara Sahara as she travelled to visit the Pyramids… of… er, Bangkok. Locomotive for Murder is huge fun and I hope to catch a second showing if I can to see whodunnit next time, with what bizarre object and whether all performances have as shaky a grasp of geography as this one.
Macbeth by the Sea
Being a King isn’t all stabby, stabby, kill, kill you know? Although there does seem to be rather a lot of it in the infamous Scottish Play. Retold with more Bon Jovi, fatal Tennis injuries and 1920s beachwear than you might remember, Macbeth by the Sea is a gleefully silly take on the well known tale of murder, witchcraft, and paranoia in the Spa. The compact cast all put in entertainingly unhinged performances, with Ric Walker bringing a bucket (and spade) of charisma to the titular monarch. If you are looking for a fun way to spend an hour (and maybe even learn something about Scottish history) this is the show for you.
John Hancock Productions
Book Here
The Mystery of the Dyatlov Pass
A thoughtful exploration of the infamous unsolved, and grisly, deaths of nine hikers making their way through the Ural Mountains in 1959. This interpretation refocusses the story from the many theories – some plausible, some less so – that still surround it to consider the human lives that were lost. A moving and melancholic production which is strongest when it is challenging the irresistible, but salacious, desire to ‘solve’ the riddle of their demise and instead mourn their passing. Standout performances from Oscar Mackie as Semyon (Sasha) Zolotaryov, Tinah Hongo as Zinaida Kolmogorova and Yasmeen Hindawi as the titular Dyatlov lead a strong cast who, along with effective staging and some haunting musical moments, create an atmospheric and thought provoking production.
The Ocean And The Star
An emotionally intense two hander featuring a strong performance from Jad Sayegh as the titular Ocean, confronting his past whilst on the precipice of death. Angelika Christoforou gives a (pun intended) star performance as the nebulous entity pushing him towards resolution in his search for peace, forgiveness and an ending for his story. Mixing movement and music (the highlights of the show for me) and dealing with themes of guilt, shame, sexual assault and generational trauma, The Ocean and The Star is a tough watch but a provocative one.
Pirates: You Wouldn’t Steal a Boat
An anarchic, chaotic and hilarious tale of daring deeds, not so daring deeds and corporate drink sponsorship on the high seas.
Delivered with infectious energy and fabulously rubbish props this is a seriously silly show that acts as the perfect pick me up for anyone suffering from Fringe fatigue. Will our heroes find the treasure? Will Orlando save his lost love and/or father? Will the Captain ever remember Louie’s name? Find out the answers to these questions (maybe) at Pirates: You Wouldn’t Steal a Boat!
(Excessive rum consumption optional.)
ShakeItUp: The Improvised Shakespeare Show
An entertainingly shambolic hour of Shakespearean improvisation. Prompts from the audience as well as online submissions are used throughout the show to inject absurdity into the already surreal proceedings. Last night’s production was an ‘unusually bloody’ one based in Iceland (the place, but also the shop), who knows what strange tales will unfold for you…
Tim Benzie leads us, in varying Fletcher-esque outfits, through a classic episode of everyone’s favourite Cabot Cove crime fighting show, challenging the audience to solve the murder before the big reveal. With help from the handy ‘Suspicionometer’ the various guest stars are graded on their likelihood of having committed the dastardly act, stopping along the way to enjoy essential components of the show such as middle aged running, wonky geography and dubious accents.Benzie is an excellent host, admirably dealing with some hecklers who had been hitting the sherry decanter a little too hard on the night I attended, and successfully balances the kind of in-jokes and niche trivia sure to delight fans along with a genially silly tone and accessible audience participation that anyone with a pulse should enjoy. No pun intended.A great night out that felt a bit like a great night in, with a hilarious friend and your favourite TV show.
Skilfully balancing humour and drama, Soul Mate leads the audience through an intriguing sci-fi premise examining the age old question of what makes us who we are – body or soul? Executed with a tangible, everyday humanity, there are big ideas to chew over here, but it never becomes all concept and no heart. Sally Britton and Lyud Hristov bring a raw intensity to their scenes as Ruby and Nathan, particularly during the fantastic movement pieces. Meanwhile, Lucy Assassa is an irresistible and effervescent delight as Becky, adding a much needed lightness and warmth to the show. The sharp script never drags or patronises and is backed by effective, tight direction. Simple but clever use of props and sound design add the finishing touches to an excellent show that is punching above its budget, and which I would highly recommend.
The Thin Place
As an exploration of grief and complicated family dynamics, The Thin Place takes what could easily be an overbearingly oppressive, or cliched, subject and turns it into something nuanced, visually arresting and compelling. Clever staging and choreographed physical theatre give the piece a performance art feel, whilst the cast deliver powerful, and relatable performances throughout.
The script deftly presents the audience with slices of each character’s story, gradually weaving them together as the show progresses. It never over explains or dumps needless exposition, but is instead gripping and focussed in its delivery. An early musical moment, Irish lament The Keen For Art O’Laughaire, is a gorgeous piece of raw folk emotion, and provides a touchstone for the themes of the show.
The Thin Place tackles subjects many of us have dealt with in our lives, and most will at some point, but in an artful and unusual manner. It is careful not to sugarcoat the narrative or tie everything up with a neat bow, but the overwhelming feeling in the end is still surprisingly redemptive and comforting. An intelligent and insightful piece of writing, staged and performed in a unique and arresting way.
Vocal Vengeance: A Murder on the Stage Floor
I never knew I needed an a cappella take on Agatha Christie in my life, but apparently I did. Hilarious, over the top dialogue (“these kids are poisoning each other over solos”), sharp choreography, dramatic lighting and outrageous buckets of vocal talent from all involved combine to create fifty minutes of pure, joyous entertainment. Highlights include a fantastically moody rendition of ‘Cell Block Tango’ from Chicago and a suitably camp cover of Britney’s ‘Work Bitch’. Vaishalini’s You Better Watch Your Step is also used to great effect as a signature tune, re-sung by each suspect with varying degrees of menace.
You don’t need to be a buff on the a cappella sub-culture to love this show (though it surely won’t hurt) but if you are looking for something fun and fabulous, backed up by great song choices and solid talent, this is the show for you.
Steelworks A Capella
Book Here
Young and Moxie
Half Scottish, half American mentor-and-student double act Cameron Young and Moxie Jillette may trade on the latter’s parentage for laughs (Penn of the legendary duo Penn and Teller) but this is a fun, quick paced and entertaining magic show that stands on it’s own merits. With the help of some audience participation they cover off several well known tricks whilst adding their own spin and a good dash of humour. Young’s version of the glass and bottle swap is particularly impressive and was the highlight of the set for me. The closing section, a mathematical ‘human calculator’ speed test, I can only assume was accurate as my poor numerically-illiterate brain couldn’t hope to keep up! Catch them while they are still Young, and full of Moxie.
Edinburgh Fringe Reviews 2022 »
Theatre roundup – Edinburgh Fringe Festival 2022
Ballet Freedom
The Freedom Ballet of the Ukraine
A cavalcade of raw sexuality and dark glamour shot through with wry humour, gorgeous cabaret costumes and ingenious staging.
★★★★★
Mythos: Ragnarok
The Mythological Theatre
A raucous, riotous mixture of action, comedy and Norse mythology – you won’t find anything else like it at this year’s Fringe.
★★★★★
Freddie Hayes: Potatohead
Freddie Hayes
If the elevator pitch of ‘Doctor Faustus but starring a potato’ isn’t enough to get you in the door then the promise of surreal puppetry, sing-along karaoke and more spud based puns than you ever knew existed should be.
★★★★
Murder Ballads – The B Collective
There seem to be an unusually high number of shows that fall loosely under the bracket of ‘country’ at this year’s fringe, but this is likely to be the only one with such a gleefully twisted approach to manslaughter.
★★★★
Joffrey! The Pantomime
Quintuple L
A thigh-slapping, topsy turvy vision of Game of Thrones season one (‘before it got shit’) as seen through the eyes of everyone’s most hated child despot. The cast, and most notably kitten-jumper wearing King Robert, power through the material with great enthusiasm, and the odd ad lib thrown in where fitting. Knowing nods towards the original source, several entertaining running gags and more than a dash of Starkid in the lead performance make this a thoroughly enjoyable show that you don’t need to be a GOT geek to appreciate.
★★★★
Plague
Sidgwick and Sanders
A notably larger cast than most fringe productions helps add to the already credible ‘broadway’ feel of this show. This is a mostly light and humorous take on the pandemic / plague metaphor, but it does have its moments of bleakness. These darker undertones are perfectly, and eerily, embodied by the twisting, silent masked figure that appears with increasing frequency as the situation grows more dire. There are shades of Les Mis, both in the score and the theme, but with considerably more laughs and an unexpected, scene stealing, singing carrot.
★★★★
Pillows
Sam Adlam
Billed as must-see for 20 somethings, Pillows is in fact far more universal than that. Honest, raw, blackly funny and horribly relatable to anyone who has ever had one of those down-the-rabbit-hole ‘is our relationship broken beyond repair’ conversations. Naturalistic, believable performances from the actors and a script that kept me gripped from beginning to end make this one of my fringe highlights of the year.
★★★★★
You’re Dead, Mate
Edmund Morris and Harry Duff-Walker
It’s inevitable that a show dealing with the immediate confusion, panic and surprising bureaucracy of the afterlife will fit somewhere under the banner of ‘black humour’, but whilst You’re Dead, Mate is without doubt holler-out-loud funny it’s also warm, confrontational and touching. From the comforting revelation that G&T still tastes good on the other side to the less comforting suggestion that even Death doesn’t know what happens when you die, this is a jagged exploration of mortality, and by extension living, delivered through strong performances and a tight, intelligent script.
★★★★
Dot Dot Dot Dash
Two Ladders Productions
Part ‘Allo ‘Allo! style farce, part vintage spy radio play, Dot Dot Dash is a frenetic production that makes the most of both its actors versatility and that of the props. The staging is inventive and witty, becoming almost a star of the show in its own right, whilst the cast bring a chaotic feeling energy to what must in practice be a tightly choreographed piece.
★★★
Once Upon a Midnight Dreary
Quids In Theatre Company
Unlike many productions of its scale Once Upon a Midnight Dreary is at its best during the musical numbers. Eschewing a typically ‘west end’ score for something that leans towards bluesy pop rock, it has a surprisingly full sound for having only three cast members. In the dramatic moments a strong lead performance by the actor playing Poe, delivered with the rigid, morally indignant confusion of Hugh Grant in Polanski’s Bitter Moon, helps to anchor the play whilst madness descends around him.
★★
The Ecstasy of Victoria Woodhull
Owl & Pussycat Theatre Company
A fascinating first-person monologue (as long as you don’t include the other spirits that join in from time to time) detailing the extraordinary, and mostly forgotten, life of Victoria Woodhull. Delivered through the, pun intended, medium of seance, it is lightly comedic but with a dramatic, theatrical sensibility and should hit the spot for feminists, historians and paranormal spooks alike.
★★★
Laurel and Chaplin: Before They Were Famous
Jordan Conway, Matt Knight and Crazy Comedy Company
A delightful and suitably slapstick depiction of this little known chapter of movie history. Mostly hilarious but frequently moving, the two leads deliver energetic and charismatic performances backed by a small but equally strong cast. By rights the success of this company will go on to mirror that of the titular characters, rather than the overlooked and forgotten story of how they met – and parted.
★★★
007 Voices Of Bond
Night Owl Shows
A delightful tour of both classic and more recent Bond themes interspersed with behind the scenes trivia and history. Maia Elsey has a stunning voice and powers through even the biggest of the numbers, but really excels when she shifts gear for the smoother songs such as Nobody Does It Better. The band are fantastic and Another Way To Die was an unexpected highlight for me for this reason, despite not liking the song itself all that much. I particularly appreciate that they put their own stamp on the tracks rather than tried to mimic the original recordings, Elsey included, and controversially in the case of No Time To Die I even preferred their version.
★★★★
It’s Fraser Brown, I’m Afraid
Fraser Brown
A highly entertaining, and occasionally close to the knuckle, tour of Brown’s psyche from post millennial nihilism to necrophiliac family members. Despite being occasionally edgy this is on the whole an empathetic hour of comedy where you laugh with not at, other than when the glare of scrutiny is turned upon himself.
★★★
The Greatest Hits of Lily and John
Tritone Theatre
Bleakly funny, with as much if not more drama than either comedy or music, this is an offbeat exploration of depression and anxiety told via a not-so Happy Horse singing songs about suicidal intent. The meta, meta, meta structure – albeit one that refuses out loud to break the 4th wall – comes alive when the music happens, and for me it was the highlight of the show. Two emotional, raging, theatrical numbers sung by Lily in particular left me wanting more. A sweet play that seems to encapsulate much of the ennui of the modern age, the eternally complex tangle of dealing with the emotions of other people, and the importance of allowing yourself to be looked out for.
★★★
Joffrey! The Pantomime
Quintuple L
Plague
Sidgwick and Sanders
Pillows
Sam Adlam
Dot Dot Dot Dash
Two Ladders Productions
Once Upon a Midnight Dreary
Quids In Theatre Company
Freddie Hayes: Potatohead – Edinburgh Fringe Festival 2022
If the elevator pitch of ‘Doctor Faustus but starring a potato’ isn’t enough to get you in the door then the promise of surreal puppetry, sing-along karaoke and more spud based puns than you ever knew existed should be. Not to mention the shocking revelations concerning Garry Linekar’s darkest secret..
Interspersed with out of character asides about her real life love/hate relationship with (and occasional crushes on) puppets this is a bonkers, charming and completely unique trip around the stranger corners of one woman’s fantastical psyche.
Freddie Hayes is a delight to watch and, despite including a surprising and mount of puppet based innuendo and a fairly grotesque depiction of what doing a line of Smash looks like, the overall feeling of the show is a strangely sweet. A sweet potato.
★★★★
Pleasance Courtyard – Pleasance Below
14:00
Aug 18-29
1 hour
Mythos: Ragnarok – Edinburgh Festival Fringe 2022
Billed as the only theatre show in the world to use professional wrestlers, Mythos: Ragnarok is a raucous, riotous mixture of action, comedy and Norse mythology – and you won’t find anything else like it at this year’s Fringe.
The cast in this production have the unenviable task of fulfilling triple threat roles – to look the part, to be great wrestlers and to be able to act. It’s no mean feat and they carry it off admirably well. Particular standouts for me were the half-brothers Odin and Loki at the centre of the story, acting as the narrative and comedic lynchpins of the piece.
The direction is tight, with almost every moment forming a classical tableaux, and along with effective costumes and lighting there is the feeling of something of a far higher budget than it presumably is.
Whilst the insanity of the high-energy wrestling up close (unnervingly so at times) is undoubtably the main draw, the presentation of it as a theatrical production is what makes it stand out. The show perfectly balances the plot and the poundings so that neither aspect drags, and the script combines a clear love of the traditional tales with enough Marvel-informed humour to keep even the most accidental audience member engaged.
In fact it’s been a long time since I was in a theatrical audience quite this engaged – whooping, cheering, yelling – the atmosphere was, deservedly, rabid. At one point, just as everyone’s favourite God of Mischief was about to do something suitably mischievous, someone behind me let out a ‘Yassss, Lokkiiii’ under their breath in anticipation.
If you get a chance to catch this one please do, but be quick because I would put money on it becoming the word-of-mouth hot ticket of the Festival.
★★★★★
Gilded Balloon Patter Hoose – Other Yin
22:15, Aug 15-28
1 hour 10 minutes
Freedom Ballet of Ukraine present BALLET FREEDOM at the Edinburgh Festival Fringe 2022.
A cavalcade of raw sexuality and dark glamour shot through with wry humour, gorgeous cabaret costumes and ingenious staging.
BALLET FREEDOM follows a series of loosely narrative vignettes based around a boudoir wardrobe, scored by an eclectic mixture of music from classical to alt-pop including an homage to Belleville Rendezvous and an entertaining blast of The Tiger Lillies. A poignant and exuberant show that explores the darkness and voraciousness of human desire.
Even without knowing that the production almost didn’t make it to Edinburgh due to its male performers requiring special permission from Ukraine’s Ministry of Culture to leave the country, this feels like a must-see recommendation. My only concern is that my 2022 Edinburgh Festival may have peaked too soon!
★★★★★
4th – 28th August, 9pm & 4pm, at Pleasance at EICC.
Tickets on sale now at Pleasance.co.uk.