Edinburgh University Footlights | Bouquets & Brickbats

14/02/26

Church Hill Theatre, Edinburgh

Seemingly tailor-made for Valentine’s Day consumption, Kiss Me Kate is an ambitious undertaking for any company, but Edinburgh University Footlights handle it with their customary skill. From the first strains of Another Ope’nin, Another Show, the twenty-two strong cast unleash an absolute barn stormer of a production, backed by a 15-strong band.

Theatre impresario Fred Graham (Ewan Rotherston) is putting on his production of The Taming of the Shrew and has also taken on the lead role of Petruchio. He has somehow persuaded his former wife, Lilli Vanessi (Nina Birbeck), to return to the stage after a long absence as the titular Katherine. It soon becomes apparent that the two of them still have unfinished business. Arguments inevitably ensue and further complications arise thanks to lead dancer, Bill Calhoun (Dan Bryant). He’s currently playing Lucentio whilst romancing the show’s flighty Bianca, Lois Lane (Elham Khosravipour) – a woman who seems to have had relationships with just about every man in the vicinity.

When Bill gets involved in a shady poker game and loses a large amount of money, it emerges that he’s cheekily ‘borrowed’ Fred’s identity. Suddenly, the production finds itself with two new additions to the cast: a couple of gangsters (Bella Cripwell and Christiana Doe), who are determined to ensure that the show is successful enough to pay off Bill’s massive debt…

With music and lyrics by the legendary Cole Porter, Kiss Me Kate offers a clever ‘show within a show’ framework, and it’s liberally peppered with memorable songs and frenetic dance routines. Both Rotherston and Birbeck have incredible vocal ranges (Birbeck’s unfettered performance of I Hate Men is a particular standout), while Bryant dances up a storm throughout and Khosravipour embodies the mischievous Lois with relish. Her rendition of every Tom, Dick or Harry is a hoot.

But of course in productions like this, the ensemble work is essential and choreographers Lysa Britton and Caitlin Visser have drilled the cast to perfection. The rendition of Too Darn Hot which opens the second half, led by an athletic Paul (Aaron Ventnor), threatens to blow the roof off the theatre.

And naturally, those two unnamed gangsters are an integral part of the show as they increasingly muscle their way into proceedings until they are performers in their own right. Hilariously personified by Cripwell and Doe, they add the final flourish to a dazzling production. If you don’t come out of this singing Brush Up Your Shakespeare, there’s clearly no hope for you.

4.6 stars

Philip Caveney

16/02/22

Rose Theatre, Edinburgh

The Rose Theatre is packed, the twelve-piece band are noisily tuning up their instruments and the atmosphere of mounting excitement is palpable. It’s only when you return to events like this that you realise how much you’ve missed them.

The Wedding Singer is an excellent choice for a student production. Inspired by Adam Sandler’s 1998 comedy – you remember, back when Sandler was actually funny – and set some time in the 1980s, this is a funny, breezy musical all about the American preoccupation with marriage. While there are a few technical issues with the sound equipment in the first half, it never gets in the way of the general air of exuberance as the ensemble cast dance energetically around the stage, moving in unison with well-rehearsed aplomb.

Robbie Hart (Chris Kane) makes his living as… well, the clue’s in the title. Together with his two best friends, Sammy (Beni Barker) and George (Joey Lawson), he writes customised songs to suit every occasion. He’s also looking forward to his own impending marriage to Linda (Megan Le Brocq), even though he finds himself powerfully drawn to waitress Julia (Phoebe Sampson). When he’s left at the altar by Linda, it ought to be a simple transference of affection, but it’s complicated. Julia has just become engaged to the odious Glen (Mitchell Collins), a yuppie dedicated to making money. What hope is there for a struggling musician who lives in his Grandma Rosie (Rachel Meek)’s basement?

With foot-tapping tunes, some very funny lines and plenty of 80s cultural references, The Wedding Singer offers a guaranteed good night out and the crowd is vocal in its appreciation. Hart and Sampson have genuine chemistry together, while Collins (looking for all the world like a young Mark Wahlberg) is magnificently sleazy, and Meek exercises her comic skills as Robbie’s groovy granny, still well able to strut her stuff. But it’s also important to say there are no weak links here, with every performer giving one hundred percent.

If I have a criticism of tonight’s show it’s of the unnecessarily long interval between acts. The show inevitably loses some of its momentum and the cast have to work their respective socks off to recover from it – but recover they do and the final wild applause feels genuinely well-deserved.

We’ve missed these student shows so much over the lockdown. It’s truly enervating to see so much young talent given the opportunity to shine. Those in need of a guaranteed pick-me-up should head down to the Rose Theatre pronto.

But don’t hang about, it’s only on for three more performances.

4 stars

Philip Caveney