Summerhall

Joanne Ryan: Eggsistentialism

07/08/17

Summerhall, Edinburgh

Eggsistentialism is an absolute gem of a show. Written and performed by Irish actor Joanne Ryan, it tells the very private story of a woman trying to decide whether or not she’d like to have a child. But it’s a lot more than that: it’s also a history of Ireland and its social, sexual history. Deftly constructed, so that it feels light and palatable even when it’s punching hard, this is a clever piece of work, which made me laugh out loud, but also brought me to tears.

Ryan is an extremely engaging performer, with wit and warmth enough to envelop her audience. There are animations too: this is a multi-media piece. But it never feels heavy-handed, or techy-for-the-sake-of-it, like such things sometimes do. The animations here are charming and quirky, and used to excellent effect, contextualising Ryan’s modern-day dilemma and adding layers of meaning to the fears she faces. Veronica Coburn’s direction is lovely too: there’s an ease and subtlety to the whole production, which makes it most enjoyable to watch.

This is a must-see: a deeply personal play with universal appeal. Don’t miss it.

5 stars

Susan Singfield

 

The Trial

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08/08/16

Summerhall, Edinburgh

Adapted by People Zoo Productions, as part of the Rose Bruford College season at Summerhall, Franz Kafka’s ultimate tale of paranoia and alienation is presented here as an absurd farce with the volume cranked up to eleven. On his 30th birthday, Josef K (William J Holstead) wakes one morning to find himself under arrest. He has no idea what his supposed crime is or even exactly who is accusing him, but he has embarked on a slippery downward path that will eventually lead him to his own destruction.

This stylish and thought-provoking production has already won a couple of prestigious awards at this year’s Manchester Fringe Festival and it’s easy to see why. There are elements of physical theatre here (the stage combat is particularly assured) and characters are played in a grotesque, almost cartoonish fashion. The scene in which K is instructed to beat three teenage girls in order to prove his innocence is particularly chilling. I liked the simple but effective staging of the story and the way in which the six strong cast switched effortlessly from character to character, providing their own musical accompaniment along the way.

It’s always daunting to take on such a famous work but People Zoo rise to the challenge. This powerful and effective play, ably directed by Craig Sanders, is definitely one to watch at this year’s fringe.

4 stars

Philip Caveney

If There’s Not Dancing at the Revolution, I’m Not Coming

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04/08/16

Summerhall, Edinburgh

Julia Croft’s ‘performance collage’ is an unconventional piece of theatre, laying bare  -quite literally – the representation of women’s bodies in contemporary popular (western) culture. Swathed in an extraordinary number of layers, Croft’s exploration evokes the shedding of skins, as she sloughs off costume after costume to reveal yet another unpalatable image of womanhood. Finally, she stands before us, naked and silent. The preposterous outfits are now heaped on her head, disguising her face, but exposing the truth: this is a female body.

It’s a serious, disturbing and thought-provoking production, but there is laughter here too: Croft is an engaging performer, interacting with the audience, prolonging eye contact and forcing us from our comfort zones. But the apparent simplicity is deceptive; our expectations are subverted here. The familiar is exposed as absurd; what we have come to accept is clearly unacceptable. The juxtaposition of The Ying Yang Twins’ The Whisper Song with Taylor Swift’s Love Story makes for a particularly discomfiting vignette, as does a mirroring of a scene from horror movie House of Wax: while Paris Hilton, clad improbably in underwear, flees a serial killer on screen, Croft, similarly dressed, crawls around the small performance space, climbing over and under the audience, bringing the horror far too close for comfort, showing how brutal the scene really is.

This is an important piece, I think, that a lot of people should see. Be one of them. You won’t regret it.

4.2 stars

Susan Singfield

Thread

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16/08/2015

Demonstration Room, Summerhall, Edinburgh

So, we’re in the Demonstration Room at Summerhall, waiting for the show to begin and I can’t help but notice that four young women in the audience are staring intently at their Macbooks. And I’m just thinking that this is a bit rude, when ambient music starts up and the women begin to clamber across the benches and descend to the performance space, where three of them start to leap and whirl, while the fourth inscribes the words ‘blind trap’ on the floor in chalk.

OK, an interesting start but, for our money, at least, this is about as interesting as Thread gets. As the women interact with each other, we remind ourselves that this piece is about the myth of Ariadne and the blurred lines between reality and fantasy. To us it just looks like four young women bullying each other.

There are some nice moments; we like the conceit of the dancer being confined by the chalk circles being drawn around her feet, nimbly side-stepping them, but ultimately being ensnared.

And there’s some tantalising projection, which works best when illuminating the dancers’ bodies, incorporating them with their set. But somehow it’s a bit restrained; to be fully effective it needs to be more spectacular.

In all honesty, this feels just a bit… teenage. Which would be all well and good if this were a school production (and if it didn’t cost £10 a ticket), but it isn’t (and it does), so it’s, well, not quite good enough.

2 stars

Philip Caveney and Susan Singfield

The Human Ear

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16/08/15

Roundabout@Summerhall, Edinburgh

Sian Reese-Williams and Abdul Salis must surely be the hardest working actors at this year’s fringe. Starring in no less than three duologues at Roundabout (Our Teacher’s a Troll, Lungs and The Human Ear), the number of lines they’ve managed to learn is impressive in itself; that their performances are consistently first-rate is nothing short of amazing.

All three pieces are directed by George Perrin, and there’s a distinctive style to his work. There’s no set, no props, no fancy costumes. Instead, there’s a blank stage, two actors – both casually but anonymously clothed – and a lot of clever lighting (designed by Emma Chapman). There’s no attempt at naturalism here, no attempt to physically create a space. Where the characters are (on the doorstep, at home, in bed, in IKEA) is told us through the dialogue; the actors’ movements represent instead the characters’ emotional distance – they circle each other, move close together, far apart – and it’s done so well we never question it.

In The Human Ear, Reese-Williams plays Lucy, a recently bereaved young woman, whose estranged brother turns up unexpectedly. Salis plays both the brother, Jason, and Lucy’s policeman boyfriend, Ed. He switches effortlessly between roles, without relying on any of the usual techniques: there’s no obvious change of stance, no particular mannerism added, no vocal tic or new accent. He just is, somehow, a different man.

Time-shifts are similarly deftly shown. There are no pauses in the dialogue – the flashbacks are unbidden thoughts within conversations – but the lighting (a masterclass in precision) makes clear exactly where we are.

There is a lot to admire about this play. The premise is exciting and it’s beautifully performed. If, in the end, the pay-off isn’t quite as satisfying as what’s gone before, it’s still a production well-worth seeing.

4.6 stars

Susan Singfield

Happy Birthday Without You

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12/08/15

Roundabout@Summerhall, Edinburgh

Meet Violet Fox, “award-winning-live-and-visual-spoken-word-vegan-solo-artist-and-occasional-collaborator,” with her autobiographical tale of unhappy birthdays and emotional trauma (“Yes, it’s all about meeee!”).

This is a satirical piece, expertly skewering the self-obsessed posing of a certain type of wannabe, and, if this truly original slice of comic nonsense is difficult to categorise, it’s certainly a pleasure to witness it unfold.

Sonia Jalaly, as Violet, is a gifted comedian, with a penchant for wild emoting and exaggerated gesture. This is clowning at its most engaging, and there’s some decent mimicry and singing here as well, with pastiches of Marilyn Monroe, Judy Garland, Julie Andrews and Shirley Bassey, cleverly woven into the narrative. There are beautifully clumsy references to Plath and Woolf as well, underlining both Violet’s pretentiousness and her immaturity. There’s a lot going on within this script.

The play works well in the round, and Jalaly uses the space effectively, laying out her boxes (‘This is my emotional baggage”) and props to create a real sense of her myopic, chaotic world. The mother character is evoked by a scrunched up facial expression and the use of two cigarettes as props, and the climactic moment when we, the audience, become involved, is deflated instantly by Violet’s joyful declaration: “Oooh, immersive!” We are reminded, all the time, that Violet has one eye on the way her performance makes her look, however personal the story that she is telling us.

If there’s any criticism here, it’s that it’s all perhaps a bit one-note. It might be more compelling if our empathy were allowed to develop further on occasion – before the balloons are popped.

This is a funny and entertaining performance, and deserves to be seen by a bigger crowd than is here tonight. Make the trip; you won’t be disappointed.

4 stars

Susan Singfield