Murder She Didn’t Write

06/08/17

Pleasance Beyond

Improv comedy seems to be in the ascendent and judging by the huge crowd that’s packed into the Pleasance Beyond to watch Murder She Didn’t Write, the form has now hit peak popularity. Here, Bristol Improv Theatre apply the concept to the classic country house murder, incorporating an Agatha Christie style setting with elements of Cluedo, so that all six actors are colour-coded – Miss Violet, Mrs Gold, etc – presumably to make it easier for us to follow the proceedings.

A resident sleuth invites members of the audience to supply some of the elements the cast must base their story around (today for example, a three-legged race figures quite prominently) and the six strong cast create their show around these suggestions.

It’s early in the run and there’s the distinct feeling that things haven’t quite bedded in yet. There are some sporadically amusing elements here but to be honest, the improvisations we’re given aren’t really on a par with some of the discipline’s best exponents and as the play moves fitfully towards it’s conclusion – the unmasking of the murderer – I can’t help feeling this needs to be a whole lot punchier than it currently is. And actually, once we, the audience, have made our initial suggestions, there really isn’t much else for us to do except sit back and watch. (It doesn’t help that one member of the cast keeps corpsing in response to things that don’t actually seem all that funny). At any rate, for this to work properly, it needs to make the audience feel a little more involved. As it stands, it delivers rather less than it promises.

Still, most members of the audience seem to enjoy it and leave with happy smiles on their faces. Maybe you should go and check it out for yourselves – after all, one person’s lead piping is the next person’s candelabra. 

3 stars

Philip Caveney

The Man on the Moor

06/08/17

Underbelly Cowgate, Edinburgh

The Man on the Moor is a monologue, written and performed by Max Dickins. And it’s really very good indeed. Inspired by the true story of an unidentified body found on Saddleworth Moor in 2015, it examines the idea of what it means to ‘go missing’ – and the impact a disappearance has on those who are left behind.

Dickins plays a man whose life has been profoundly affected by his father’s disappearance more than twenty years ago. He sees his father everywhere and, when he reads in the news about the body, he becomes absolutely convinced that the mystery body on the moor is, in fact, his dad. This belief quickly builds into an obsession.

It’s beautifully written – every word carefully weighted, the rhythm perfectly honed. And it’s performed well too: Dickins’ acting is at once compelling and understated. It’s a serious subject, emotionally charged. There are teary moments, and there is dread. But there is also humour, a mix of light and shade to leaven the atmosphere. The piece is nicely judged, and holds the audience’s attention throughout, no mean feat considering the unholy racket bleeding in from the corridor outside.

It’s sobering to be told that someone goes missing in Britain every eight minutes – and that every year, two thousand people disappear and never return. Shows such as this demonstrate the important role theatre can play in illuminating the pain and heartache of dealing with such loss, and maybe go some way towards encouraging people to actually try to make a difference, not least by raising awareness and collecting money for The Missing People charity (missingpeople.org.uk). A worthwhile project, and an engaging production.

4.7 stars

Susan Singfield

 

Sarah Kendall – One Seventeen

05/08/17

Assembly George Square, Edinburgh

Reviewing at the Fringe, as we do every year, we make a point of trying to see as many new acts as possible – but there are some we just cannot allow ourselves to miss and Sarah Kendall definitely belongs in that category. This skilled storyteller from Newcastle Australia really is a spellbinding performer, who never fails to create a fascinating and highly original show. One Seventeen is no exception, even if I’m left a little confused by the relevance of the title.

She wanders out onto the stage and launches straight into a seemingly unconnected series of events, with recollections from her childhood cleverly intercut with more recent observations of her life in London. The subject matter is so disparate – from an attempt to see Halley’s Comet to a friend’s cancer diagnosis – that, at first, you really can’t see how she’s going to tie it all together. But then she does – effortlessly, satisfyingly – utilising incredible skill and just the right amount of pathos, holding the audience in the palm of her hand all the way through.

Kendall isn’t exactly a comedian, though you will laugh out loud at much of what she says. She’s a talented writer who crafts her material with incredible precision. Little wonder she gets nominated for so many awards.

If you’re at the festival this year, don’t miss her. She’s really rather wonderful.

5 stars

Philip Caveney

 

Francesco de Carlo: Comfort Zone

05/08/17

Underbelly, George Square

Francesco de Carlo is Italian. Of course, his name on the poster means this doesn’t exactly come as a surprise, but – in case you were in any doubt – his accent confirms it. ‘This isn’t a character,’ he tells us. ‘This is my real voice.’ And that’s pretty much what this show is about: being a visible immigrant in Brexit-era Britain (although he’s at pains to point out that he’s not suffering, that he’s not comparing himself to a refugee).

De Carlo came to the UK just as we decided to leave the EU. He’s sad about the decision. His viewpoint is interesting: the show positions him as an outsider, but he has an insider’s knowledge of the European Parliament because he used to work in its press office.His opinions are interesting and informed. He praises Britain too: reminds us of the reasons we should be proud of what we have. We don’t need to be racist or xenophobic; it’s demeaning and unnecessary. Get out, travel, see as many places as you can – that seems to be the underlying message here. If you can learn about the world, you can better understand your own place in it.

His observations are funny too; he has a disarming sincerity, which is very charming indeed. The crowd inside the Wee Coo warms to him immediately, and clearly enjoys his musings on the Italian comedy scene. It’s a lovely, enjoyable way to spend an hour, being gently coaxed to leave our comfort zones. Well worth a look.

4 stars

Susan Singfield

Margarita Dreams

05/08/17

Underbelly Med Quad, Edinburgh

Margarita Dreams is essentially a series of comedy sketches, tied together with a loose narrative. The conceit is simple: Dave (Jason Brasier) is on holiday in Mexico. On the beach, he drinks a few too many margaritas and falls asleep. What ensues is the product of a tequila-and-sun-soaked brain, all fevered imaginings and absurd nonsense.

There are a few standout moments: Jack Baxter’s song about string theory is enjoyably silly, and Bella Speaight’s ill-fated assignation with Brad Pitt is also nicely played.

But, in all honesty, the piece doesn’t really work as a whole. The dreams are curiously flat and it all feels a bit one-note. The jokes, by themselves, are rather weak, and I suspect they need much bigger, more exaggerated performances to make them fly. The actors are clearly giving it their best shot, but there isn’t much of substance for them to work with here. As it stands, there’s a whiff of the end-of-term show about it – and disco dancing isn’t funny in and of itself. There’s clearly some promise in this piece, and maybe it’ll grow with the run, but right now it’s landing somewhat wide of its mark.

2.5 stars

Susan Singfield

John Robertson – Dominant

04/08/17

The Stand 5, Edinburgh

John Robertson is, as ever, in no mood to take any prisoners. After a noisy rock-star intro, the antipodean raconteur bounds onto the stage and starts to lay into us, his beloved audience, tearing us to pieces with a string of savage observations. He tells us he has ‘too much confidence’ and even predicts exactly how the show is going to end. If we think he’s exaggerating for comic effect, we’re wrong. It happens exactly as he describes it and I have to say, it’s probably one of the most bizarre conclusions to any show I’ve seen in Edinburgh. And trust me, I’ve seen a lot.

Robertson is a regular fixture on the Fringe, both with his stand up routines and his interactive Dark Room role-playing game. (This year, he’s even doing a kids’ version of the latter, but don’t be fooled into thinking that means he’s generally appropriate for children – he’s most definitely not!) Tonight’s scattershot barrage of stories touches on all manner of subjects: his sexuality; the shortcomings of the room in which he’s performing (he describes it as a partially-filled broom closet); the strange mannerisms of the people who’ve turned out to see him; the fact that the woman from whom he’s just stolen a drink might have given him herpes; the news that the pet dog, whose death provided the inspiration for last year’s routine, isn’t actually dead because… well, you’ll have to see the show to find out about that.

It’s all (apparently) improvised – he proudly claims to never do the same routine twice – and, unless you’re very prudish, you will laugh yourself silly. You’ll also marvel at the man’s chutzpah, his invention, his intelligence and yes, his courage, because this is genuinely challenging stuff, much more so than what generally passes for ‘edgy’ material – mostly, I believe, because all of his excesses are anchored in some kind of reality.

In many ways, I think Robertson exemplifies the true spirit of the Fringe. When they come to hand out this year’s award, somebody should give him proper consideration, though I suspect he’s thought of as way too dangerous for that to ever happen.

Nevertheless, this show represents Robertson at the top of his game and, if you decide to pass him up for a bigger, safer bet, well, you’ll only have yourself to blame. You’ll be missing one of the best shows at the Fringe.

5 stars

Philip Caveney

Butt Kapinski

 

03/08/17

Pleasance Dome, Edinburgh

Butt Kapinski is a strange man. Called upon to investigate a series of murders, he embodies every  cliché of film noir: he stands beneath his portable streetlamp, pulls his trenchcoat around him, mimes an obligatory cigar – before regaling us with tales of life as an NY PI. The brainchild and alter-ego of American performer Deanna Fleysher, he is an oddly engaging creation, and the audience joins in willingly with this funny, interactive show.

Okay, so maybe it doesn’t dig as deeply as it could – several thought-provoking ideas are introduced and then left hanging – and the narrative, such as it is, could do with a more convincing pay-off. But it’s gutsy and it’s fun, and Fleysher works wonders with what the audience gives her. The character-exaggeration is pushed to extremes (those vocal contortions!) and has us laughing all the time. I can’t say more here without giving too much away, but this is a fascinating and unusual performance, well worth catching if you can. And don’t worry about being ‘picked on’ – the audience participation here is entirely voluntary, and Fleysher has perfected the skill of homing in on those who want to get involved.

4 stars

Susan Singfield

 

The Toxic Avenger: The Musical

03/08/17

Pleasance One, Edinburgh

Lloyd Kaufman’s 1984 movie, The Toxic Avenger has long been held in high esteem by cult movie fans – one of those ‘so bad it’s good’ guilty pleasures, it spawned several sequels and made the transition to musical in 2008. Prior to a new London run, it’s arrived at the Edinburgh Festival, where its riotous blend of rock music, camp silliness and hilarious bad taste make it a perfect fit for fun-seeking audiences.

The town of Tromaville is being overrun by pollution and its citizens are crying out for a hero to come and save them. The nerdy Melvin Ferd (Mark Anderson), longs to be that hero, if only to impress the love of his life, Sarah (Emma Salvo), a blind librarian. But when he gets tossed into a vat of nuclear waste by a couple of thugs, he emerges transformed into the world’s first toxic superhero, taking on the town’s corrupt mayor (Natalie Hope) and her two  evil henchmen, Oscar Conlon-Morrey and Che Francis. OK, so he’s prone to tearing the odd innocent person apart limb-from-limb, but hey, nobody’s perfect, right?

A musical in the same vein that made Little Shop of Horrors such a pleasure, The Toxic Avenger is an unqualified delight, romping happily along powered by its own exuberance and the efforts of a stellar cast, who give this everything they’ve got and then some. Salvo is possessed of a voice so powerful that it occasionally threatens to blow the roof off the Pleasance, while Hope performs an exhausting sequence where two characters do battle with other (she’s playing both roles), that must set some kind of record for lightning-fast costume changes.

You don’t need to be familiar with the original film to enjoy what’s on offer here. Indeed, if you’re looking for a night of galumphing, undemanding entertainment this is definitely worth seeking out.

4.6 stars

Philip Caveney

Loudons Cafe & Bakery

 

03/08/17

Fountainbridge, Edinburgh

Loudons has an enviable reputation around Edinburgh and it’s very easy to see why. From the spacious, scrupulously clean interior to the charming, affable staff and the prompt and efficient service, this place quite simply ticks all the boxes – so when we and our guests decide to step out for a late breakfast, it seems the obvious place to head for. After all, it’s just a quick stroll away. The only slightly strange thing is that we haven’t got around to trying it before now.

We start by ordering coffee and we’re asked would we care to try Ruli Masasa, a new Rwandan blend they’re trialling? Yes, as it happens, we would – and very tasty it proves to be. As we sip, contentedly, we peruse the menu and it quickly becomes clear, that the only major problem is going to be which of the many delights on offer we’re actually going to choose. After some deliberation, Susan orders the American style pancakes, which arrive promptly and prove to be thick and satisfying, layered with bacon and baked banana (shouldn’t work, but trust me, it does!).  The impressive stack of pancakes is topped with maple syrup, icing sugar and cocoa powder. If you have a sweet tooth, this is definitely the one for you.

I’m in the mood for something more savoury so I choose an offering called the ‘Hoots Mon’, which, despite that awful name, is just wonderful. It comprises an English muffin, halved and liberally layered with haggis, black pudding and bacon, then topped with two poached eggs and a tangy tomato ketchup chutney. It is quite simply delightful, the bacon thick and crispy, the eggs poached to perfection, so that when you prod them with a knife, a gloopy yellow yoke gushes over the lower layers. Oh, yes please! Needless to say, I make very short work of eating it.

One of our companions orders French toast, which is served with bacon and maple syrup and looks very nice indeed. The fourth, a person of more modest appetite, plumps for a traditional fresh scone served with butter and jam, and pronounces it excellent. Pretty soon, all four plates are clean and we’re very happy punters.

OK, so maybe Loudons isn’t  the cheapest cafe you’ll find around the city (most dishes are around the £10 mark) but, for a pleasant brunch, you’d be hard put to better it and, since I can’t find a single thing to fault in the order, it must surely receive the maximum number of stars. What about that name, ‘Hoots Mon’? Should I deduct points for that? No, because you could call it ‘desiccated wombat’ and it would still taste incredible. Full marks it is, then.

For those of you contemplating an exhausting day of touring around the many festival venues, this is the logical place to refuel. And for those of you who’ve slept in, I hear they do excellent lunches too.

5 stars

Philip Caveney

Cathy

02/08/17

Pleasance Dome, Venue 23

Ken Loach’s influential Wednesday Play, Cathy Come Home, first saw the light of day in November 1966 and made a powerful impact on the public consciousness. In 2016, his searing film, I, Daniel Blake demonstrated that over the intervening fifty years, very little has changed when it comes to society’s callous treatment of the dispossessed. This production by Cardboard Citizen is very much a homage to Loach and his worldview (at one point it even features a recording of the director speaking about his concerns). It’s a  new play by Ali Taylor, based upon real-life testimonies, showing all too clearly how people’s lives can so easily be affected by the spectre of homelessness – how they can slip through the cracks in the care system to find themselves abandoned and in desperate straits.

Cathy (Cathy Owen) is one such person, a single parent struggling to care for her fifteen-year-old daughter, Danielle (Hayley Wareham). Cathy holds down several zero-hours-contract cleaning jobs and tries her best to look after her dementia-afflicted father, who now lives in a care home. When she falls behind on her rent payments, she finds herself unceremoniously shunted into ‘temporary’ accommodation in Luton, far from the area where she’s lived all her life. Danielle, currently studying for her impending exams, finds it hard to deal with the ensuing rootlessness and, when the possibility of a permanent home appears tantalisingly on the horizon, mother and daughter are momentarily cheered – until they find it will involve a move to Gateshead.

This is a bleak and affecting drama, featuring superb performances from a four-strong cast. While Owen and Wareham stay within their roles throughout, all others parts are taken on by Amy Loughton and Alex Jones, who slip so effortlessly from character to character, I sometimes have the impression that there are actually more than four actors involved in this. The set is minimal, built mostly around a stack of wooden blocks onto which images are projected during the scene changes. If I have a minor criticism, it’s that there may be a little too much time spent dragging the blocks around to create beds, tables and the like – better, I think to trust the audience to know where events are taking place – though the scene where a frustrated Danielle sends the blocks tumbling is undoubtedly a powerful moment. While it may not be the show you’ll seek out to lift your spirits, it’s nonetheless a powerful polemic that tells a really important story – one that occasionally has me on the verge of tears. We don’t usually review previews but this has already been touring solidly for three months before Edinburgh and, after checking with director, Adrian Jackson, I’m happy to make an exception for this.

After the performance, Jackson leads a brief discussion about the problems of homelessness in our society. The overall feeling from the audience is one of helplessness. What can we do to improve this terrible situation? Well, a good way to start would be to go and see this heartrending production. Though it may not claim to have any answers, it certainly asks all the right questions.

4.6 stars

Philip Caveney