5 hectic days in Edinburgh. Reviews coming up in as short a space as possible!
Over The Threshold (George 2, Musical Theatre @ George Square)
The advertising is uninspiring. Black and grey is probably not the best colour combination to catch people's eyes in Edinburgh. The strongest songs ('Women Like You' and one of the female solos I don't know the name of) are very strong but the rest is slightly inconsistent. The book is slightly too neatly tied up for my liking, but still enjoyable.
Bloodbath (George 1, Musical Theatre @ George Square)
Oh dear. Really, just, oh dear. I think any show containing the line "is that like thrush?" has found new levels to scrape at the bottom of the barrel. The cast are fabulous but the show is just beyond awful. Whilst he has a lovely voice, Anthony Costa just cannot pull off being the most popular boy in school. The girls dance around in costumes that get smaller and smaller as the show goes on and the whole thing just seems tacky.
Maggie Service With A Smile (The Wee Room, Gilded Balloon)
An hilarious hour that proves you don't have to swear like a docker and talk about sex non stop to do a good stand up show! Great character observations (I especially liked the new york actress with the taxi driver boyfriend) and transitions from each character very smoothly.
Jerry Springer The Opera (George 1, Musical Theatre @ George Square)
I don't like the show. Not because it offends me or anything like that. I just don't really like it that much. The students (RSAMD) are great (particularly the girl playing Steve, hilariously) and I'm sure that if you like the show, then you'll enjoy this production but it did nothing to convince me.
Hooked (George 2, Musical Theatre @ George Square)
Lesson number 1 when performing a show to backing track - MAKE SURE THE CD DOESN'T SKIP. I spent half the show cringing as the cast stumbled over lyrics as the track skipped behind them. The leading man (whose name I've forgotten) had a nice voice but the choreography was weak, the songs weaker and the whole thing was just a little cringeworthy.
Six Ways (George 2, Musical Theatre @ George Square)
I struggle to find the words to express how much I loved this. Written/devised by a group of LIPA students, this is my one big recommendation for the Fringe this year. Having been a fairly active follower of new musicals for the past few years, I've been consistently disappointed by the strength (or lack thereof) of most books. Not this. The book is strong. The performances are fabulous. You'll laugh til you cry (not least at a FABULOUS quip at the expense of one of the 'stars' appearing at George Square) and then shed actual tears too. Just fantastic.
Chat - The Internet Musical (George 2, Musical Theatre @ George Square)
One of the shows I am biased on as not only does it feature one of my clients, I also did the casting. That said, that doesn't make the show any less fun. It's smart, witty, slick and benefits from being one of the few shows with a live band in that small space. Go see it!
Blondes (Udderbelly's Pasture)
I was bored. Beyond bored. Denise Van Outen has a lovely voice, and she sang the songs well but I found the whole experience utterly unremarkable. The very-clearly-scripted jokes weren't that funny (or at least the delivery wasn't) and whilst her voice is pretty, there is little distinguishable about it. The most exciting part of the whole experience was spotting Clarke Peters (who directed) as I was leaving. I think that says it all.
Showstopper - The Improvised Musical (George 4, Musical Theatre @ George Square)
I love Showstopper. I know there's a formula and I couldn't see it very much more than once a year without spoiling the illusion but that doesn't stop them all being pant-wettingly hilarious. We had 'Sandals in the Wind' - a show about gladiators in ancient Rome, in the style of David Bowie, Elton John, Julie Stein and Jason Robert Brown. Just so, so funny.
Private Peaceful (Udderbelly's Pasture)
A stellar performance by Finn Hanlon in every sense. Completely captivating (no mean feat given the stifling heat). Enthralling, enchanting, heartbreaking and inspiring. A definite go see!
The Great British Soap Opera (George 2, Musical Theatre @ George Square)
Chat's sister show - same cast, alternate days. Smart, funny, sexy, fast paced and energetic. Characters everyone will recognise if you're a sucker for Corrie or Eastenders or even just Heat magazine.
Murder Mystery Musical (George 4, Musical Theatre @ George Square)
My only walk out of the week. So unimpressed. An incredible cast but a Punch and Judy set and not clever enough to manage the irony it needs. Massively disappointing.
Gingers The Musical (George 4, Musical Theatre @ George Square)
The queue made me feel like I was part of some superior race (which I am, obviously). However the show itself only involved one actual redhead and was written, in the most part, by a greek family. Essentially each character sang a song about the trials and tribulations of being ginger backed by a techno backing track. Not really worth the hype, at all.
A Respectable Wedding (C+1, C Venue)
A fabulous way to end the visit. Hilarious, clever, energetic and great fun. Fully deserving of the terrific reviews it's getting and well worth a visit if you enjoy physical comedy in any way.
Showing posts with label Fringe. Show all posts
Showing posts with label Fringe. Show all posts
Wednesday, 12 August 2009
Friday, 26 June 2009
Zanna, Don't!
I fell in love with Zanna last summer, when RSAMD did it at the Edinburgh Fringe and so was excited to see it getting its London premiere finally, not least because it was featuring one of my lovely clients!
Having failed to make it out to The Space to see it, I caught it late on in its run at Upstairs At The Gatehouse. It was as funny and kitsch and cute and charming as I remembered. I defy anyone who has ever felt like an outsider not to feel a little shiver inside in the final moments.
Though the direction and, especially, choreography were unimaginative (and, at moments, bordering on boring), the cast were, for the most part, strong and clearly enthusiastic about the piece. It's a lovely little show that deserves a bigger run than it's had anywhere so far.
Having failed to make it out to The Space to see it, I caught it late on in its run at Upstairs At The Gatehouse. It was as funny and kitsch and cute and charming as I remembered. I defy anyone who has ever felt like an outsider not to feel a little shiver inside in the final moments.
Though the direction and, especially, choreography were unimaginative (and, at moments, bordering on boring), the cast were, for the most part, strong and clearly enthusiastic about the piece. It's a lovely little show that deserves a bigger run than it's had anywhere so far.
Monday, 2 March 2009
Saturday Night
Managed to bag myself the last ticket to see Saturday Night at Jermyn Street last Wednesday. I'm not really a Sondheim fan (with a couple of exceptions) but went along to support a friend involved with the show and I have to say, I was pleasantly surprised.
It was slick, classy and uplifting. The music reminded me a lot of Bugsy Malone (in fact, I have spent the 5 days since the show humming 'We Coulda Been Anything We Wanted To Be') but I thought it was staged nicely and the cast were great - never underestimate how hard an actor/muso works! My only criticism was of the use of the space - having part of the stage raised meant that they halfed their usable space at any one time. The ensemble numbers seemed crowded and the choreography got a little bit lost as a result. But that's a minor niggle really and on the whole was very impressed, and very pleased to see a fringe production so well attended!
It was slick, classy and uplifting. The music reminded me a lot of Bugsy Malone (in fact, I have spent the 5 days since the show humming 'We Coulda Been Anything We Wanted To Be') but I thought it was staged nicely and the cast were great - never underestimate how hard an actor/muso works! My only criticism was of the use of the space - having part of the stage raised meant that they halfed their usable space at any one time. The ensemble numbers seemed crowded and the choreography got a little bit lost as a result. But that's a minor niggle really and on the whole was very impressed, and very pleased to see a fringe production so well attended!
Tuesday, 17 February 2009
Spring Awakening
I went to Spring Awakening not having been impressed by the CD but having had my expectations raised by the phenomenal buzz surrounding the show. At the interval I thought the first act had, on the whole, been beautiful and was really warming to the show as a whole. By the end of the second act I wanted to tear my hair out and scream. I hated it. HATED IT.
I cannot fault the cast. They are immensely talented (especially Moritz, who I just think was phenomenal) and I have such admiration for how organic the casting process for the show has been. But the show itself was just awful and the direction swayed between flashes of brilliance and moments that made me want to gouge my eyeballs out with a rusty spoon.
Its identity was completely lost.... it went from a lot being just implied (ie the violence) to other things (ie the sex scene) being comparatively explicit, making the latter just seem totally gratuitous. I loved the lighting... and the use of the images on the back wall, but the only bits that came close to moving me were Ilse and Martha's song in the first act and when everyone was dropping flowers on the coffin. The weird moving chair bit across the back wall was just thoroughly bizarre - my friend likened it to Rent Remixed when Angel went up the stairs wearing wings... just thoroughly cringeworthy and completely unnecessary and I couldn't agree more.
There is no change of pace at any point in the show. It just kind of lumbers along. There isn't really even a story line, just a sequence of fairly unrelated events. With the exception of Melchior and Wendla, there aren't really relationships between any of the characters and half of them have half a song's worth of 'ooh this is my big solo moment' and then they disappear again.
I felt massively let down by the whole thing and actually a little bit angry that such a talented cast who have worked undoubtedly very hard to get to be in the show are, in my opinion, completely wasted by the fact that the music goes absolutely nowhere.
(I also found it very alarming the degree to which all the cast reminded me of other well known people... so I ended up feeling like I was watching Hermione from Harry Potter having sex with the love child of Lee Mead and Elijah Wood whilst Christina Ricci watched on....!)
I cannot fault the cast. They are immensely talented (especially Moritz, who I just think was phenomenal) and I have such admiration for how organic the casting process for the show has been. But the show itself was just awful and the direction swayed between flashes of brilliance and moments that made me want to gouge my eyeballs out with a rusty spoon.
Its identity was completely lost.... it went from a lot being just implied (ie the violence) to other things (ie the sex scene) being comparatively explicit, making the latter just seem totally gratuitous. I loved the lighting... and the use of the images on the back wall, but the only bits that came close to moving me were Ilse and Martha's song in the first act and when everyone was dropping flowers on the coffin. The weird moving chair bit across the back wall was just thoroughly bizarre - my friend likened it to Rent Remixed when Angel went up the stairs wearing wings... just thoroughly cringeworthy and completely unnecessary and I couldn't agree more.
There is no change of pace at any point in the show. It just kind of lumbers along. There isn't really even a story line, just a sequence of fairly unrelated events. With the exception of Melchior and Wendla, there aren't really relationships between any of the characters and half of them have half a song's worth of 'ooh this is my big solo moment' and then they disappear again.
I felt massively let down by the whole thing and actually a little bit angry that such a talented cast who have worked undoubtedly very hard to get to be in the show are, in my opinion, completely wasted by the fact that the music goes absolutely nowhere.
(I also found it very alarming the degree to which all the cast reminded me of other well known people... so I ended up feeling like I was watching Hermione from Harry Potter having sex with the love child of Lee Mead and Elijah Wood whilst Christina Ricci watched on....!)
Sunday, 7 September 2008
Jet Set Go
Thrilled to see Jet Set Go again at Theatre 503 during its London run. Thought its staging was stronger for being straight on to the audience (as opposed to the three sides they had in Edinburgh), though they did lose a little as a result of the stage being narrower.
Much tighter than it was when I saw it in Edinburgh (which I think was only its 3rd or 4th show). Everyone very settled into the characters and clearly having an absolute ball.
Lovely to see it still with so much momentum, even after Edinburgh.
Much tighter than it was when I saw it in Edinburgh (which I think was only its 3rd or 4th show). Everyone very settled into the characters and clearly having an absolute ball.
Lovely to see it still with so much momentum, even after Edinburgh.
Tuesday, 12 August 2008
Edinburgh Fringe 2008
My thoughts from Edinburgh 2008:
Miss Sign-On:
Music is instantly forgettable and I struggled with some of the characters, but if you work in (or just have very good knowledge of) theatre, then the jokes will ring very true and it's a good giggle.
Jet Set Go:
Hilaaaarious. Lots of room for character development but such a fun, fun, fun way to spend a couple of hours. Give the comparative inexperience of the cast, they are more than holding their own at George Square and completely deserved the 5* review in Three Weeks.
Departure Lounge:
I'll admit my bias, as not only do I know the writer, but one of my clients was also in the show, but I honestly cannot recommend it highly enough. It's funny, touching and resonates so, so well. Everyone has been one of those boys. Deserves to have life post-Edinburgh.
Only The Brave:
Completely underwhelmed. Trying too hard to be Les Mis. The 'epic love story' that they are trailing between Keith and Niamh is about as epic as an episode of The Simpsons. Some nice music - the song with the women typing the messages is lovely - but the book is dreadful as there is just no story and I am really struggling to see why there's so much hype.
Showstopper, The Improvised Musical:
Was fortunate enough to have booked for this on a night when they announced Mike McShane would be appearing. FANTASTIC. There is clearly a formula, but the humour is intelligent and very funny. We wound up with a show about remorse, featuring songs in the style of Disney, Starlight Express, Bombay Dreams, Blood Brothers and an irish folk song. Fabulous.
Sa-Choom:
The 'dancical' at George Square. I was slightly disappointed as I'd heard SUCH good things about it and it didn't quite live up to my expectations (perhaps because it wasn't a very lively audience) but still very entertaining.
A History of Scotland (in 60 minutes or less):
Great fun if you're 7. All the kids seemed to love it but the humour was very childlike.
Zanna Don't!:
So camp it hurts, but fantastic fun. Make really good use of the space, but I do wonder if it's telling that the show is completely stolen by a little blue bird...
The Jonah Boy:
Too lovely for words, and very touching. Worth the ticket price alone for a fantastic performance in the lead role. Haunting.
I Love You, You're Perfect, Now Change (Take Note's production):
I don't think it's as strong as Jet Set Go, but highlighted nicely the strengths of some of the cast.
Perfect Pitch in Concert:
Again, an element of bias as I had two clients involved in this one, but really loved seeing such a strong selection of new British musicals being showcased and being so well received.
Miss Sign-On:
Music is instantly forgettable and I struggled with some of the characters, but if you work in (or just have very good knowledge of) theatre, then the jokes will ring very true and it's a good giggle.
Jet Set Go:
Hilaaaarious. Lots of room for character development but such a fun, fun, fun way to spend a couple of hours. Give the comparative inexperience of the cast, they are more than holding their own at George Square and completely deserved the 5* review in Three Weeks.
Departure Lounge:
I'll admit my bias, as not only do I know the writer, but one of my clients was also in the show, but I honestly cannot recommend it highly enough. It's funny, touching and resonates so, so well. Everyone has been one of those boys. Deserves to have life post-Edinburgh.
Only The Brave:
Completely underwhelmed. Trying too hard to be Les Mis. The 'epic love story' that they are trailing between Keith and Niamh is about as epic as an episode of The Simpsons. Some nice music - the song with the women typing the messages is lovely - but the book is dreadful as there is just no story and I am really struggling to see why there's so much hype.
Showstopper, The Improvised Musical:
Was fortunate enough to have booked for this on a night when they announced Mike McShane would be appearing. FANTASTIC. There is clearly a formula, but the humour is intelligent and very funny. We wound up with a show about remorse, featuring songs in the style of Disney, Starlight Express, Bombay Dreams, Blood Brothers and an irish folk song. Fabulous.
Sa-Choom:
The 'dancical' at George Square. I was slightly disappointed as I'd heard SUCH good things about it and it didn't quite live up to my expectations (perhaps because it wasn't a very lively audience) but still very entertaining.
A History of Scotland (in 60 minutes or less):
Great fun if you're 7. All the kids seemed to love it but the humour was very childlike.
Zanna Don't!:
So camp it hurts, but fantastic fun. Make really good use of the space, but I do wonder if it's telling that the show is completely stolen by a little blue bird...
The Jonah Boy:
Too lovely for words, and very touching. Worth the ticket price alone for a fantastic performance in the lead role. Haunting.
I Love You, You're Perfect, Now Change (Take Note's production):
I don't think it's as strong as Jet Set Go, but highlighted nicely the strengths of some of the cast.
Perfect Pitch in Concert:
Again, an element of bias as I had two clients involved in this one, but really loved seeing such a strong selection of new British musicals being showcased and being so well received.
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