Bedlam Theatre

The Cat Man Curse

21/08/17

Bedlam Theatre, Edinburgh

Once in a while you encounter a show on the Fringe that is so off-the-wall bizarre, so downright inspired, so bat-shit crazy, that it develops its own momentum. The Cat Man Curse feels like just such a show. From its crazy coconut shy opening, through its clever spoof of a dumb 70s TV show, this is quite simply one of the funniest productions I’ve seen in a while.

The brainchild of three former Cambridge Footlites members, it tells the story of TV star Charles Heron (Guy Emanuel) famed for his portrayal of TV lawyer, Harry Hardtruth, constantly in competition with his wily onscreen nemesis, Libel (Sam Grabiner). When Charles is asked to star in the role of Cat Man, he thinks his future is assured – but then he learns about the terrible curse that has struck down every single actor that has previously played the part. Understandably anxious to get out of his contract, he engages the services of slick solicitor, Mark Swift (Jordan Mitchell) and the two men go undercover to try and find out who is behind the curse.

Described in those terms it all sounds fairly straightforward, right? But the story takes some very wild diversions along the way – a spot of French cookery aided by a very long-armed gibbon? You’ve got it. A roller-disco dance routine? Well, why not? Endlessly inventive and laugh out-loud-funny throughout, this is the kind of show that could easily spawn a hit television series. An ambitious producer should give these boys a call before somebody else snaps them up.

If you like a laugh riot, don’t miss this one.

4.6 stars

Philip Caveney

Sofie Hagen: Dead Baby Frog

15/08/17

Bedlam Theatre, Bristo Place, Edinburgh

I’m looking forward to this. I first encountered Sofie Hagen via Richard Herring’s podcast, RHLSTP (RHLSTP!), and then through The Guilty Feminist. We saw Shimmer Shatter at the Liquid Rooms last year, and really enjoyed it. So I’m keen to see what she’s offering this time.

Dead Baby Frog is about (trigger warning) emotional abuse. Specifically, it’s about Sofie’s step-grandfather, with whom she lived as a child, and his cruel, controlling ways. He sounds awful – a narcissistic, bullying man, with a fragile ego and a short fuse – and his behaviour has clearly had a huge impact on Hagen’s life.

It’s horribly fascinating, and yet somehow Dead Baby Frog feels like something of a missed opportunity: there’s definitely a good show in there, but it’s not yet fully realised. It’s not bad exactly – this is Sofie Hagen, after all, and there’s no denying she’s a funny woman who knows how to get a crowd onside – but it never really grows beyond its anecdotal origins. She says, “It’s not about me; it’s about people like me,” but doesn’t extrapolate anything from her own story. Nor does she really mine the situation for maximum comedy (which, admittedly, would be hard to do); it’s as though she needs to dig a little deeper to make this into a finished show.

She’s at her most confident and amusing when she’s on familiar ground: the Westlife bit is easily the most engaging. And there are moments when she hints at the profundity that might be there to be unearthed: the crossed fingers, the baby frogs, the art.

I’d be interested to see where this show ends up, assuming she tours it. And I’ll still be watching to see what she does next.

3 stars

Susan Singfield

 

Foxfinder

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07/08/15

Bedlam Theatre, Edinburgh

Dawn King’s Foxfinder is a gem of a play: it’s serious and playful with an awful lot to say. Set in the near future, the Britain we see here is a dreadful place, a dystopia where people are ruled by fear, and where foxes are the enemy. Sam and Judith Covey, whose farm is underperforming after a difficult year, are visited by Foxfinder William Bloor, sent to ensure there are no foxes on their land. If any are found, the consequences will be dire.

Master of None’s Fringe production is a bit of a gem too. The opening, where Sam (Hugo Nicolson) and Judith (Verity Mullan Wilkinson) are waiting anxiously for the Foxfinder to arrive, is beautifully done: the set, costume and lighting cleverly hinting at a bygone time, making explicit the connection with the witchfinders of old. This is reinforced by the arrival of Bloor, whose silhouetted, hatted figure looms menacingly at the door. When the lights go up and the actors move, the more contemporary setting is revealed – and it’s a relief… until we realise what’s going on.

William Bloor is the most interesting character: he is young, idealistic – and troubled. He has too much power and too little insight; he’s not mature enough to realise the truth of what he does. Indoctrinated since the age of five, he is a vulnerable and dangerous man – and Alex Stutt performs the role with charm and subtlety. He is utterly convincing as the conflicted Foxfinder, confused and disgusted by his sexual desires, and unswerving in his hatred of the evil, cunning fox.

This is a multi-faceted play, where the simple plot belies the myriad allegories. Foxes here are scapegoats for all society’s ills – they represent witches and devils, but the way they are treated aligns them with the persecuted too. This young theatre company clearly relishes the complexity, and their performances lay bare the toll such propaganda takes. Zoe Zak is particularly engaging as neighbour Sarah Box, who is forced to confront the limits of her own morality: will she, Stasi-like, inform on her neighbours to protect herself?

The direction is strong, although there is perhaps a little too much stage traffic at times, with a few unnecessary entrances and exits, but, all in all, this is definitely one to watch.

4.4 stars

Susan Singfield