Gilded Balloon

Louisa Fitzhardinge: Comma Sutra

07/08/19

Gilded Balloon Patter House (Nip), Edinburgh

Louisa Fitzhardinge is an engaging performer, her nerdy enthusiasm both infectious and entertaining. This is a show about language and pedantry, and about learning to embrace who you really are. Fitzhardinge opens with some grammar gripes, then sings us her autobiography, explaining how an early love of reading led to a modern languages degree.

I relate to Comma Sutra well. I too completed a BA in German, and – like Fitzhardinge – went on to study Theatre. I’m a stickler for proper punctuation, and a fan of the Oxford comma. Her subject matter appeals to me.

In places, Comma Sutra is very good; there’s a lot of sprightly wordplay, and the final multi-lingual number is particularly impressive. Fitzhardinge has a lovely voice, and the songs are witty and fun. Sometimes it feels a little superficial though, those gags about apostrophes and misplaced commas perhaps too easy and unchallenging. I don’t mind the dad jokes and the terrible puns – but  they’re not exactly demanding, and I find this section drags somewhat. I think I’d just like her to dig a bit deeper, to explore less charted territory.

Overall, though, I enjoy myself. It’s a pleasure to spend an hour in the company of this charming pedant, and I leave with a smile on my face as I think about ‘oak croissants’.

3 stars

Susan Singfield

 

 

Advertisements

Shattered

06/08/19

Gilded Balloon Teviot (Balcony), Edinburgh

Shattered is an intense and bruising journey into Diana Varco’s psyche, as she details her struggle to piece herself together after facing several traumatic events. Her fragmentation is physicalised, the warring factions within her performed as distinct personae. Shame, for example, is a snivelling wretch, all malice and insinuation. Security means well, but is sometimes out of its depth, defensive when it lets her down. Truth is a nagging ‘actually…’and Denial a fixed fake grin. In all, some thirty-five traits are personified here; Varco’s performance is a real tour-de-force.

But it’s a difficult watch, and not just because of the disturbing subject matter. Maybe I’m just too British (or too old), but – if I’m honest – I find this level of self-analysis a little alienating. It’s a brave, soul-baring piece, but a bit too introspective for my taste.

Still, there’s no denying the quality of Varco’s acting, nor the strength of character required to emerge triumphant from such calamity.

4 stars

Susan Singfield

From Judy to Bette: The Stars of Old Hollywood

05/08/19

Gilded Balloon Patter House (Doonstairs), Edinburgh

We last encountered Rebecca Perry back in 2015, when we saw her Confessions of a Redheaded Coffeeshop Girl. We enjoyed that show, but this latest offering – a celebration of four Old Hollywood greats – is an altogether grander and more ambitious affair.

The greats in question are Bette Davies, Judy Garland, Betty Hutton and Lucille Ball. Perry clearly idolises her chosen subjects and, through anecdote and song, reminds us why they still matter. It’s a compelling performance: her voice is powerful and her depictions engaging. She doesn’t exactly give us impersonations; instead, we get a flavour of each character, with a dash of old-style glamour thrown in. Perry’s admiration for the women shines through each and every song.

The venue is ideally suited to the piece, the architecture and décor both evoking the feel of an old cinema. The acoustics are good too, which matters a lot in a piece like this, where one showstopper after another is belted out across the auditorium.

If I have a criticism, it’s a very minor one. Because Perry introduces the women chronologically, the climactic emotional moment (her stunning rendition of Over the Rainbow) occurs somewhere around the mid-point of the show. I understand why she’s chosen to present the stories this way, but it does seem a shame not to end on that poignant note.

No matter, From Judy to Bette is a mighty fine show, and well worth going to see.

4.3 stars

Susan Singfield

Leave a Message

04/08/19

Gilded Balloon (Patter Hoose), Edinburgh

Ed (Ed Coleman) arrives at the flat of his recently deceased father, Nicholas. He’s been saddled with the thankless task of clearing the place out. Luckily for him, he’s soon joined by his close friend, Sarah (Eleanor Fanyinka), who makes valiant attempts to jolly him through the process, but it’s no easy matter. Nicholas was a loner, who walked out on his marriage years ago, and has been estranged from his son ever since.

Poking through the paperwork, Ed discovers several references to Linda (Denise Stephenson) and begins to realise that there are things about his father he doesn’t know – and that the two of them might have more in common than he wants to accept. So he calls Linda and invites her over for a heart-to-heart.

Co-written by Coleman and James Mitchell,  Leave a Message positively crackles with taut, witty dialogue, coaxing plenty of laughs out of what could so easily be a maudlin tale of self-destruction. Indeed, the scene where Ed and Sarah cavort through the rubbish-strewn apartment to the strains of A-Ha’s Take On Me comes close to being downright joyful. The performances are uniformly engaging, the actors breathing real life into their respective characters. These feel suspiciously like real people.

If you’re looking for sharp insightful writing and assured acting, then this is a perfect place to look. Go, enjoy this and tell all your friends.

Leave a Message is a cracker.

4.5 stars

Philip Caveney

The Pat Hobby Stories

02/08/19

Gilded Balloon Teviot (Sportsmans), Edinburgh

Until today, I’d never heard F. Scott Fitzgerald’s Pat Hobby stories. I’ve read Gatsby, of course, and Tender is the Night, but these witty so-called ‘throw away’ tales are completely new to me.

And I like them. Pat Hobby is a dissolute writer (think Ed Reardon, but in 1930s Hollywood), clinging to the vestiges of a once illustrious career. His meagre writing skills have been rendered obsolete by the arrival of talkies, and the subsequent requirement for actual scripted dialogue. He hangs around the studio lots, blagging food and calling in favours, taking on odd bits of jobs to earn a buck or two. He’s a gift of a character: all bluster and envy, lurching perilously from scrape to scrape.

No wonder Fringe Management wanted to put him on the stage.

Paul Birchard brings the loveable rogue to life with consummate ease, telling the stories as written, describing Hobby’s actions in the third person, yet still embodying him convincingly. There’s real warmth in the performance, and personality; the grit behind the Hollywood glitz is revealed in this small room.

The room, however, does not do this production any favours. The soundproofing seems to be non-existent, and the show next door is some kind of rollicking romp, with loud music, mic’d performers, and lots of raucous laughter and applause. I have no idea how Birchard manages to concentrate, but he’s clearly a seasoned professional, ignoring it completely, not letting the disruption interrupt his flow. It doesn’t spoil the show exactly (I get used to the noise after a while), but it is annoying, and threatens the intimacy of this detailed portrayal. Hopefully (sorry Jacob Rees-Mogg), the venue will get this sorted for tomorrow, and Birchard will be able to perform in peace.

A clever, amusing show – this deserves to be seen.

4 stars

Susan Singfield

Normaler Than Everyone

31/07/19

Gilded Balloon Teviot, Nightclub

The first show of the Fringe is always an uncertain affair. Audiences are still warming up, the performers are finding their feet and the ticketing system is going through the difficult process of ‘settling in.’ So it’s gratifying to start with something so good, and so ideally suited to a Fringe setting. It’s intimate, confessional and thought-provoking – everything you’d want in one handy package.

The lights dim and out strolls Brian Joseph, a tall affable American, clearly brimming with self-confidence. He picks up an acoustic guitar and plays in a style that evokes the great Don McLean, a whimsical song about how ‘normal’ he is, how he’s just an ordinary guy with nothing much to say. But don’t be fooled. He has plenty to tell us and it helps that he’s so versatile, delivering songs in a range of styles on a variety of stringed instruments and, at one point, even bashing out a jaunty Randy Newmanesque piece on an electric keyboard.

His set is regularly punctuated by his photographs – indeed, he takes a few pictures of the audience along the way and invites us to return the favour – and, as his story unfolds, it gradually begins to dawn on me that there is a darker subtext here, one that is finally revealed in a moment that actually hits me like a punch to the solar plexus. I won’t spoil it by revealing what it is, but prepare to be moved.

Joseph guides us expertly through his ‘based-on-real-experience’ story, manipulating his audience with real aplomb and somehow, after dragging my emotions over the coals, he still manages to send me out of the show, singing the chorus of his final song over and over. (Apologies to anyone unlucky enough to be in earshot.)

If this is a portent of what’s to come this year, then bring it on. But whatever the case, Normaler Than Everyone is well worth your attention.

4.2 stars

Philip Caveney

Theatre Bouquets 2018

Bouquets&Brickbats

Bouquets&Brickbats

Bouquets&Brickbats

Another year, another plethora of exciting theatre. We’ve been moved, motivated and mesmerised by so much of what we’ve seen. And here, in order of viewing, are our favourites of 2018.

The Belle’s Stratagem – Lyceum Theatre, Edinburgh

bellesstrat1

This production looked ravishing, the brightly-hued costumes blazing against the simple monochrome set. Fast, furious and frenetic, this was a real crowd-pleaser.

Rhinoceros – Lyceum Theatre, Edinburgh

rhinocerous2.jpg

A truly glorious production, as witty and vivacious as it was prescient. There were some great comic turns, and the sensual, Middle Eastern-inflected music added to the mood of transformation.

Creditors – Lyceum Theatre, Edinburgh

creditors-1.jpg

We thought we’d seen all we wanted of Strindberg, but Creditors made us think again. Because this production was a prime example of the director’s art: the realisation of a vision that illuminated and animated the playwright’s words, breathing new life into old ideas.

Sunshine on Leith – King’s Theatre, Edinburgh

sunshine2.jpg

Sunshine On Leith was an absolute charmer. From the opening chords of the climactic I’m Gonna Be (500 Miles), the entire audience was delightedly clapping hands and stamping feet with a force that seemed to shake the beautiful old theatre to its very foundations.

Home, I’m Darling – Theatr Clwyd, Yr Wyddgrug

home-im-darling-1.jpg

A clever play, with a lot to say. Katherine Parkinson starred as Judy, a woman obsessed with the 1950s. Through her brittle fetishisation of the past, the script laid bare the problem with rose-tinted reminiscence and looked at the present with an eye that matched Judy’s gimlet cocktail.

Not in Our Neighbourhood – Gilded Balloon, Rose Theatre, Edinburgh

kopae2.jpeg

This powerful and compelling production, written and directed by Jamie McCaskill, tackled the difficult subject of domestic abuse and featured an astonishing central performance from Kali Kopae. We saw some superb acting at the Fringe this year, but this was singularly impressive.

Six the Musical – Udderbelly, Edinburgh

six1.jpg

An inventive and exuberant pop-opera, which felt like the most exciting, vibrant history lesson ever. The band and actors powered effortlessly through a whole range of different musical styles, from straight pop to power ballad, from soul to Germanic disco. The songs featured witty lyrics which related the women’s experiences in modern day terms – and we’ve been obsessed with them ever since.

The Swell Mob – Assembly George Square, Edinburgh

swell2.jpg

The most genuinely immersive theatrical experience we’ve ever been part of. We were free to wander the 1830s tap room, replete with a real bar, and mix with a whole host of extraordinary characters: a crooked American doctor, a fortune teller, a soldier, a card-player… The more we engaged, the more was revealed… Superb and truly innovative.

Macbeth – Festival Theatre, Edinburgh

macbeth3.jpg

We were relieved and delighted that this touring production was so good. We knew that this interpretation of the play had been quite controversial, but it really worked for us. It captured the very essence of Macbeth and illuminated the themes and characters with great clarity.

The Unreturning – Traverse Theatre, Edinburgh

unreturning2.jpg

A tale about young men and the shattering effect that war can have on them, simultaneously a requiem for the past and a chilling warning for our potential future. The haunting prose was augmented by incredible physicality as the actors ran, leapt, clambered and whirled around the stage in a series of perfectly choreographed moves.

Beauty and the Beast – King’s Theatre, Edinburgh

allanstewart.jpg

There’s panto – and then there’s panto at the King’s, where the ante is well and truly upped. Here, we were treated to an absolute master class in the form: there’s an art to making the precise look shambolic, the crafted seem accidental. And it was so funny – even the oldest, daftest jokes had us roaring with laughter.

Mouthpiece – Traverse Theatre, Edinburgh

neve-mcintoshlorn-mcdonald.jpg

Powered by searing performances from Neve Macintosh and Lorn MacDonald, Mouthpiece was, quite simply, an astonishing play. Kieran Hurley’s ingenious circular narrative eventually brought the two protagonists head-to-head in a brilliant fourth-wall breaking climax.

Susan Singfield & Philip Caveney