The Space On Niddry Street | Bouquets & Brickbats

16/08/22

The Space at Niddry Street, Edinburgh

We’ve seen a few of Edinburgh University Shakespeare Company’s productions over the years, and we’ve always been impressed. We’re interested to see what happens when they get “Shakesperimental” with this contemporary reimagining of Macbeth as a politician, only metaphorically stabbing PM Duncan in the back.

It’s a nice idea, and the blending of Shakespeare’s script with the current vernacular is – for the most part – convincingly done by the three writers (Izzy Salt, Clara Wessely and Freddie Stone). Ted Ackery’s Paxman-like news reporter is an interesting addition. Ackery is a strong actor (he excelled as Joe in Miller’s All My Sons, which we saw earlier this year), and this shows in the blistering exchanges he has with the various ministers who dare to be interviewed by him. I’m less convinced, however, by the comic exchanges between him and weather reporter, Claudius (Rorke Wilson), which derail rather than enhance the production. Wilson performs well, but these moments seem to come from another play, and I feel like I’m watching a series of in-jokes that probably seemed hilarious in rehearsal, but don’t really fly on stage. I don’t get it. Is Claudius supposed to be funny just because he’s camp? It seems somewhat regressive, if so.

Maddy Brown’s trouser-suited, city-slicker version of Lady Macbeth is perhaps the standout performance here, her vaunting ambition dismayingly credible – but the characterisations are all good. Archie Turnbull (as Macbeth) delivers some key speeches with real gravitas, commanding the audience in a way that makes us believe the people might just vote for him.

I’m not mad about the frequent blackouts, used to mark the ending of each scene. It doesn’t help that today’s audience decides to applaud whenever the lights go down, as if every section were a mini-play. It’s a bizarre response, and not one I’ve seen before in all the hundreds of times I’ve been to the theatre. The blackouts make the action seem a little stilted, and I think the flow would be much improved by more imaginative transitions.

All in all, while there’s much to admire here, The Macbeth Inquiry just doesn’t quite work for me. Still, I applaud EUSC for giving this a go. At least they haven’t lost “the good we oft might win, by fearing to attempt”.

2.7 stars

Susan Singfield

14/08/15

The Space On Niddry Street, Edinburgh

Based on Joe Dunthorne’s novel (already made into a successful film by Richard Ayoade) Popcorn Productions have scored a bit of a coup by bringing the very first stage production of Submarine to the Edinburgh Fringe. In the close confines of the Space On Niddry Street, a large cast manage to coax plenty of laughs from a near sold-out audience. As Oliver Tate, Jonas Moore makes a strong impression, getting across the lead character’s various tics and traits with aplomb as he begins a halting (and it must be said, rather weird ) romance with his sulky classmate Jordana (Rachel Kelly). The two leads are ably supported by an energetic young cast who portray his schoolmates, his family and his neighbours.

Most of the real laughter occurs in the first half. As matters become more serious, so the story becomes rather less convincing. Maybe the original tale is simply a little superficial, dealing with quite serious issues in a lightweight manner – and perhaps if everyone in the cast had as much gravitas as Josh Hunter, who plays Oliver’s bewildered father, Lloyd, the show would have had more depth. As it is, this is a charming student production that occasionally fizzes into real life – the ‘lecture’ by local mystic Graham Purvis (Tom Titherington) is a particular highlight, ably abetted by the use of clips from his promotional video.

This is a credible attempt at adapting a source novel into a play and all concerned should feel justifiably proud.

3.5 stars

Philip Caveney