Charlotte O’Leary

Edfest Bouquets 2019

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It’s that time again when we award (virtual) bouquets to the best shows we saw at this year’s EdFringe. From a plethora of performances over three weeks, here are our highlights. Congratulations to all concerned.

Theatre

Endless Second – Theo Toksvig-Stewart/Madeleine Gray/Camilla Gurtler/ Cut the Cord

Who Cares? – Jessica Temple/Lizzie Mounter/Luke Grant/ Matt Woodhead/ LUNG & The Lowry

Shine – Olivier Leclair/Tiia-Mari Mäkinen/Hippana Theatre & From Start to Finnish

Ripped – Alex Gwyther/Max Lindsay/Robin Rayner Productions

On The Other Hand, We’re Happy – Toyin Omari-Kinch/Charlotte Bate/Charlotte O’Leary/Daf James/Stef O’Driscoll/Paines Plough & Theatr Clwyd

Comedy

Jo Caulfield: Voodoo Doll – The Stand Comedy Club

Daliso Chaponda: Blah Blah Blacklist – CKP and InterTalent Group

Showstopper! the Improvised Musical – The Showstoppers/Something for the Weekend

Fishbowl – SIT Productions with Le Fils Du Grand Réseau

Beep Boop – Richard Saudek/Crowded Outlet

Special Mentions

Chris Dugdale – Down To One – Chris Dugdale Int Ents

Sexy Lamp – Katie Arnstein/Victoria Gagliano

 

Philip Caveney & Susan Singfield

Dexter and Winter’s Detective Agency

18/08/19

Summerhall (Roundabout), Edinburgh

Surely the hardest working trio in Edinburgh, Toyin Omari-Kinch, Charlotte Bate and Charlotte O’Leary are performing daily in not one, not two, but three plays here at Roundabout. I don’t know how they do it: so many lines to learn; such physicality required. But even now, as we head into the final stretch of the Fringe, they all look perky and healthy. Maybe they’re revelling in the joy of working with such interesting scripts, or maybe they’re just good at faking it. Whatever.

We’ve already seen them in heartbreaking, thought-provoking mode in Daughterhood (https://bouquetsbrickbatsreviews.com/2019/08/09/daughterhood/) and On the Other Hand, We’re Happy (https://bouquetsbrickbatsreviews.com/2019/08/11/on-the-other-hand-were-happy/). This time, we’re here for their children’s show, an altogether lighter affair, all high-octane energy and fast-paced storytelling.

Dexter and Winter’s Detective Agency, written by Nathan Bryon and directed (again) by Stef O’Driscoll, is all about friendship. Dexter (Omari-Kinch) has his world torn apart when his mum, Ange (Bate), is arrested, accused of jewellery theft. But his best friend, Winter (O’Leary), has a plan. Of course Ange is innocent. All they have to do is prove it, by finding out who the real culprit is.

There’s a serious undercurrent to the piece – there’s debt and immorality, betrayal and loss – but there are lots of jokes too. The performance is exuberant, the characters larger-than-life, and yet still credible. Special mention here to Bate, who plays countless roles, switching at breakneck speed, adding a hat here or an apron there: she’s Winter’s mum, she’s a policewoman, a train guard, a butcher, a bailiff… it’s endless.

Once again, Paines Plough deliver quality theatre, the direction totally in harmony with the performance space. Roundabout is the Fringe venue I can most rely on; I’ve never yet been let down by what they have to show.

4.2 stars

Susan Singfield

Daughterhood

Summerhall (Roundabout), Edinburgh

We enjoyed last year’s Paines Plough/Theatr Clwyd collaboration, Island Town, so we’re keen to see what they have to offer us this time. Philip and I are from North Wales, and Theatr Clwyd featured heavily in both of our young lives. It feels good to have a slice of home right here with us in Edinburgh.

Charlotte O’Leary is back, this time playing Rachel, a Little-Miss-Sunshine younger sister with an exciting job in London. Her sister Pauline (Charlotte Bate), who’s nine years older, still lives at home, caring for their disabled father, growing steadily more miserable as life passes her by. Daughterhood is an examination of their relationship, of duty and fairness and doing the right thing.

It’s brutal: Pauline is stuck; she can’t find a way out. Someone has to look after Dad. Bate exudes despair, her face locked in a silent scream; it’s a stellar performance. Rachel cares too, but she’s busy lobbying parliament for access to better medication; she’s not there, clearing up the shit. When she does visit, Pauline’s resentment bubbles over, and they find themselves trapped in an endless argument, repeated ad nauseam each time they meet.

O’Leary portrays Rachel as sparky and likeable, her energy and sense of purpose a stark reminder to Pauline of what she could have had. The dynamic between the two is compelling; they’re on opposite sides but I’m rooting for both of them.

Toyin Omari-Kinch plays a range of supporting characters: Rachel’s colleague, her teenage bestie, a doctor, a professor – and their sick father. The first time he switches roles, I’m momentarily confused, but I soon work out what’s happening from the context – and he changes his accent and demeanour too. From thereon in, it’s always clear who he is, and he steps up to the challenge most impressively.

I like this play. Stef O’Driscoll’s direction means that the frequent flashbacks are well signalled, and we’re always sure of when and where we are. Despite the bleak subject matter, Charley Miles’ script is often laugh-out-loud funny, the humour helping us to engage with both women. I like the relentless repetitiveness of the sisters’ rows, entrenched as they are in the roles they’ve come to inhabit. And I like the fact that redemption, when it comes, is small and tentative.

A lovely piece of theatre in my favourite Fringe venue.

4.3 stars

Susan Singfield

Island Town

13/08/18

Paines Plough at Roundabout, Summerhall, Edinburgh

We’re big fans of Roundabout here at B & B. Paines Plough’s portable, in-the-round theatre is a wonderful space and we’ve  seen some fantastic performances here. Island Town is an especially exciting prospect for us, being a co-production between Paines Plough and Theatr Clwyd; as North Walians, we’re keen to see what this collaboration brings.

Writer Simon Longman clearly knows about small towns, about the stifling going-nowhere feelings that make people feel trapped. The location here is unspecified, ‘this town surrounded by fields’, circled by a ring road, is impossible to escape. It’s anywhere and everywhere, as symbolised by the actors’ regional accents: one Derby (I think), one Manchester and one Welsh.

This is Kate’s story, and Katherine Pearce is captivating in the role of the angry teen, full of impotent fury, raging at the injustice that sees her marooned, caring for her dying father, permanently drunk because it’s the only outlet she has. She yearns for something better, longs to head off beyond her narrow horizon, to see more of the world. But she’s tethered: too poor, too tied down, too ill-equipped to leave.

Her friends, Sam (Charlotte O’Leary) and Pete (Jack Wilkinson), are more accepting of their lot. Sam’s main concern is protecting her little sister from their violent dad, while Pete’s only ambition is to be a dad himself. Pete in particular is a tragic case: he’s a sweet character, positive and hopeful; he doesn’t ask for much. But the system seems designed to grind him down. He hasn’t any qualifications and there are no jobs locally. He can’t even get the benefits he’s entitled to, because the bus service has been cancelled so he can’t get to the job centre to sign on.

There’s no doubt about it, this is a bleak play, but there is humour too, a nicely balanced tug of war between hope and despair. And, as we draw towards the teens’ inevitable fate, we start to make sense of the strange jerking movements they’ve been making in the transitions between scenes…

Perhaps the penultimate section is a tad too long, a little too spelled-out, but all in all this is an impressive piece, a darkly accurate commentary on those society leaves behind.

4.5 stars

Susan Singfield