Most of the formal work for Spot On this year was done by Rob and Lyndsey. Due to other work commitments, I only managed a short weekend at the Festival but I saw:
Angus, by Horse and Bamboo
Highlights have already reviewed this. Horse and Bamboo theatre are local to Spot On. Its a lovely piece of work, which would work well in rural venues, if we can sell it to an audience south of the border and finds ways of universalising the story
The Boat Factory by Happenstance Theatre
Based in Northern Ireland, this company have a strong track record of touring to communities. The show, written and performed by Dan Gordon, is the story of his father's work life at the Belfast shipyard known for building the Titanic. Its perfect for rural touring. Easy set, great humour, a story of working men's lives which can be appreciated by many, and only 2 actors. If we can find a way to make a tour across the Irish sea affordable, I would book this immediately
End to End by the Gramophones
This young company have been mentored by New Perspectives. Its a tale of three young women who try to get from end to end of the UK using as many difference forms of transport as possible. It details some of their adventures. But its more than that, and by the end reveals a beautifully thought out structure to the project which includes every audience member being given seeds and a challenge to fulfill on a postcard. Needs some shaping and a little development, but I would book it.
Tuesday 9 October 2012
Lyndsey Wilson Spot on
My highlights:
- Dugout Theatre's Inheritance Blues - fabulous show combining a live band, theatre and comedy about three sons at their fathers wake. Think it's finished at Fringe now but check them out for future performances. ****
- Mess - Never thought I'd laugh at anorexia but it was a really sensitively handled and beautifully crafted show.****
- Mayday Mayday - not a dry eye in the house I literally turned around and everyone was crying. Great one man show about the day he broke his neck and the subsequent recovery. I'd love this in our menu.*****
- Translunar Paradise - I finally saw it! Wow. Another audience in tears. Surely we can convince them to tour it? *****
- The Boy With Tape On His Face - Just see it. I doubt it would ever work in a small space because the show needs audience participation within a big group. But if you want to laugh for an hour you should go. Plus you get a free balloon!****
- Barbershopera - The Three Musketeers, great new show. Four part accapella vocal group, with a silly storyline and lots of energy. Shame it was on so late as it would benefit family audiences.****
- End to End at Bannermans, a free fringe show that's well worth a view. Really great story about three girls who take a trip from Lands End to John O'Groats trying to travel on as many forms of transport as possible. The show is made up of conversations and experiences they had along the way. Great staging, lovely company. I'd like to get in touch to find out if they'll be touring. ****
- Beta Males - The Space Race - saw them last year and this new show is even better. Four men improvising in a high energy show about how Britain made it to the moon first. The show has some fantastic video footage, projected on stage. If we can convince them to swear a little less I think we'd have a great show for our audiences. ****
- Molly Naylor and the Middle Ones - My Robot Heart - Fantastic show. Brilliant story which resonated for me as someone about Molly's age (made me realise I'm further along in my wardrobe buying stages than I thought). Not always sure about the soundtrack but a good watch nonetheless. ***
collective reviews from Burnley Youth Theatre
The Drowsy Chaperone
Performed by the Edinburgh University Savoy Opera Group
Review by Joe Heys (Aged 17)
The Drowsy Chaperone is a fictitious 1920s musical in the hands of a middle-aged agoraphobic theatre fan that plays it to ‘cure his blues’. As the audience enter, he gives an in-depth description of his love of theatre and apparent hatred of any ‘rustling crisp packets’ or mobile phones that take him ‘out of that magical world’. This theatre fan, described only as ‘The Man in Chair’, was cast brilliantly with his mannerisms mimicking the archetypal theatre obsessive perfectly. His presence for me was an absolute joy and his subtle sing-a-long actions as he observed the action from his arm chair were just like my own, as I watched the brilliant action and choreography unfold before my eyes.
The plot centres on the wedding day of oil tycoon Robert Martin and Broadway star Janet Van De Graaff, who plans to give up her career for married life. Naturally the ‘forces that be’ in the industry want her to remain in Broadway, and so a battle ensues between guests of the wedding that have much more sinister intentions, such as Feldzieg the director who is naturally missing the star of his show.
The characters were, in essence, what made the piece for me. All musical theatrical stereotypes were there, the over-zealous foreigner (Aldolpho, introduced through a comical musical routine) the titular drunken Chaperone (giving the fact the 1920s were in Prohibition, it made it more comical she waltzed around with a glass of vodka at all times oblivious to the legality of it) and the married couple, the theatrical Janet and the clean-living Robert, who made the show with their hilarious quips and fall-outs.
A single moment summed up the brilliance of the piece for me - when the record player jammed and the cast all repeated jerking motions to signal this whilst repeating the line of the song they had sung. It was a clever mechanism and showed off the true hilarity of the Man in Chair as he frantically rushed to stop the interruption.
The singing was brilliant and the inclusion of a small orchestra behind the curtain to provide the music instead of a speaker was welcomed. However it is notable that after speaking to several friends who sat on the left-front section of the seating next to the orchestra, sections of dialogue were overshadowed and blocked out by the loud musicality. I am sure this is something the EUSOG will hope to address for future performances, but it did not ruin what was a fantastic and memorable musical experience.
Breathing Corpses by Laura Wade Performed by Exeter University Theatre Company
Review by Kailey McGowan (Ages 19)
As you walked into the space a dark mood had already been created by the actors, everything was quiet and the body of a man lay on stage. Everyone sat down eagerly awaiting the drama that was to unfold. The play tells the story of three separate lives that later become linked in an unimaginable way.
As you walked into the space a dark mood had already been created by the actors, everything was quiet and the body of a man lay on stage. Everyone sat down eagerly awaiting the drama that was to unfold. The play tells the story of three separate lives that later become linked in an unimaginable way.
The story was fantastic, it was not a linear structure but instead worked backwards, it had you "ooh"ing and "ahh"ing when the story began to slot into place.
The scene changes were quick and the use of set was clever, the bed at the start became a work bench and later a kitchen table top. The props would need to be placed into a large minibus or a van if it was to be toured.
The acting was incredible, you felt as though you were peering into their lives, it made you forget that you were sat in a church at the fringe festival and for the whole hour you were transported to the lives of three strangers, who at the end you felt you knew quite well.
I would recommend this show to anyone wanting to see a fantastic naturalistic play. I would happily watch it again and it would be fantastic if they toured the production around the country.
The Last Fairytale
Review by Adam Zaman (Aged 17)
Out of all the plays I saw at the Fringe, the one that stood out to me was The Last Fairytale which was performed by Atlas Theatre. The main reason this play stood out to me was the fact that is was almost flawless in performance as was performed in a very small room for about 30 audience members.
There were only 3 cast members and a voiceover. The two main characters were covered head to toe in blue body paint with patterns. They were a boy and a girl and were acting as puppets. I could see this by their physicality which was very slick apart from some moments in which the female puppet named ‘Leela’ tended to forget her character and take naturalistic human positions. The same cannot be said for the male character named ‘Thatcher’ whose physicality remained throughout.
The character that stole the show however was the unnamed cockney Ringmaster who was dressed in a circus style suit complete with white face make-up and white gloves. The reason for this character was to come out of after each scene to give his philosophical thoughts on the puppets situation and events that had taken place yet he did this by playing the stereotypical Ringmaster / Clown. He shouted at the top of his voice, making eye contact with audience members and even blowing in an audience members face. He broke the fourth wall by always addressing the audience yet he did it with such confidence and dedication that I was actually intimidated back in the 4th row!
The set was made to look like a puppet show with curtains closing at the end of each scene. The lights and tech were simple except for the voiceover of the storyteller.
Story wise the puppets were telling stories through movement but yearned to be free from their strings which ended up resulting in a tragedy.
Overall it was a very good play, the likes of which I have never seen before and for me the main reason to watch was the character of the Ringmaster.
The Madness of King Lear
Performed by CW Productions
Review by Rachael Perkin (Aged 19)
It was on a sunny Tuesday that I set out with two of my friends to see CW Productions’ show of “The Madness of King Lear” at the Edinburgh Fringe Festival. We booked the show because we had seen various reviews praising the show. The Guardian and Barefoot Review were among those saying the show was: “A must see”, “deeply moving” and “a master of their craft”. These were only some of the many accolades awarded to this production. The two performers were unknown to us but seemingly seasoned and successful. Leof Kingsford-Smith (‘Clownies’) and Ira Seidenstein (‘Cirque du Soleil’) had toured with this show to Edinburgh, Tokyo and Adelaide. Needless to say we had no doubts that this show would be an engaging and captivating adaptation of one of the Bard’s greatest tragedies. How wrong we were.
The flyer for the show said the production was about Lear and Fool reliving “events of their lives…Shakespeare’s words given a fresh and dynamic treatment.” It began with Smith wearing a smoking robe and Seidenstein a Chinese-style tunic. After a very long speech which included crude gesticulating and lots of prancing around from Smith, the first scene ended with a song that I can only guess was titled “Silence is Sexy” (as these were the only lyrics). Smith left the stage and Seidenstein did a sort of karate-style movement piece which was average at best and didn’t seem to have any relevance to the previous scene. The music played throughout did not add to the atmosphere of the piece or even the story.
As the play continued, Smith lost more and more clothing until at the end he entered in a vest and some small boxer shorts. At one point he proceeded to put his hand inside his shorts where it moved around rapidly for about a minute. Imagine our surprise as we had read that this show was suitable for ages “eight to eighty”. All in all the show consisted of many monologues from Smith. None were particularly engaging and while Smith is not a bad actor he failed to captivate and enthral the audience with this “fresh and dynamic” take on Shakespeare’s works. The best thing about the show was Seidenstein. His physical theatre was sub-standard considering his circus background but his Clowning was at times, quite good.
Whilst the flyer we received has been very misleading, covered in flattering reviews and recommendations it was correct about one thing. It promised that “whether you love or hate Shakespeare, this production will profoundly affect you”.
This, I must admit, is true.
I strongly advise against going to see this production or booking it for your venue. If you appreciate Shakespeare and value entertaining and thought-provoking theatre, then this show is not the show for you.
However, if you wish to be “profoundly affected” then please, see for yourself.
www.madnessofkinglear.com
Facehunters
Performed by The Hungry Bitches
Review by Tom Lund (aged 16)
Wow! The Hungry Bitches left me hungry for more. The beautiful lyrics, the skilful music, the brilliant costume matched impeccable acting in possibly the best thing I’ve ever seen at the Fringe! If the guy that wrote this doesn’t make it, none of us will! I was singing the songs for days! My personal favourites – ‘Take my Picture’ and ‘Juliet’ had me on the edge of my seat, the audience were in their hands. The closely knit cast and incredible ensemble worked together make me laugh, then cry, then laugh again. My only criticism would be the confusing ending, however that was only because I am not familiar with the story of ‘Dorian Grey’. The focus, the energy, the precision, the synth – every single cast member and musician were brilliant. Well done!
Fabled
Performed by Lois Tucker
Review by Joe Davis (aged 16)
After my experience in performing Three Words with Byteback Theatre, I learned how hard and physically demanding s physical, professional piece of theatre may potentially be and after watching the show Fabled, I was amazed.
With a practised cast of one (one actor on stage – various voice actors are used) and a running SFX track to pick cues from, the piece was, from my point of view, a very hard one to perform. To add things to the difficulty scale, the one actor involved never speaks a word. On stage she lip synched her voice on the running track. It was a nearly flawless experience certainly recommendable and for just an hour of your time it would be stupid not to watch.
Review by Bethan Roberts Burnley Youth Theatre
‘A Strange Wild Song’
Performed by Rhum and Clay Theatre
Review by Bethan Roberts
Rhum and Clay Theatre Company bring alive this story of children playing at being soldiers amidst the real devastation of World War Two using a small ensemble and some excellent physical theatre. They master the difficult task of convincingly playing children, and the audience believes in them completely.
The piece was always engaging, but my main criticism is that it felt somewhat lacking in terms of the plot. The main story, of three brothers in a ruined French village who meet an American soldier, is interesting but some ideas felt overstretched. The story did not need adding to as its simplicity is part of its appeal, but I think it may have benefitted from being shorter. The modern day subplot initially seemed interesting, but didn’t really seem to go anywhere or serve any real need in the piece other than clunky exposition, but this is an aspect which could be improved by further development of this aspect of the piece.
These criticisms, are not, however, as serious as they may seem. I never lost my interest in the piece and some of the sections where the boys play at being soldiers are charming and innovative. Ultimately, this is a story that is thought-provokingly and skilfully told and, despite some minor plot weaknesses, still delivers a heartbreakingly sad conclusion.
Three Stars
Katy Flowers Spot On
From Katy Flowers
New to Edinburgh Fringe
I relished the opportunity to go to Edinburgh, I had the ambitious idea that I would have
time to actually blog about shows from Edinburgh.. This was not the case
Edinburgh is so vibrant and busy during the festival that from leaving the
hotel at 10 am to returning in the small hours I had no time to stop and write.
It is truly amazing how much is on free and otherwise, even the street
performers were at times mesmerising. All in all we saw 12 shows over two and a
half days which I think isn't too bad going! From the list suggested by China
Plate we saw; Nola, Bullet Catch, Thin Ice and Once in a House on Fire. We also
saw two ticketed shows we brought on a whim that were excellent comedy shows,
and a fair few free shows or discounted shows mainly comedy that were
excellent. Thankfully nothing we saw really disappointed and the experience
overall was throughly enjoyable.
Suitability for Spot On.
Nola.
'Nola' is a documentary play by Look Left Look Right
investigating the true cost of the BP oil spill and its impact on our daily
lives. The dialogue is taken from interviews with those directly affected by
the spill, from families of victims to local fishermen and Peak Oil scientists.
It is a compelling and interesting play that explores the disaster of the
Deepwater Horizon explosion and its consequences today. The cast of four work
hard to portray the varying persons effected by the spill and to great effect,
this variation in persons and in the dialogue itself works well as it does not
draw to any hard and fast conclusions, the audience are left to make their own
judgements rather than being told what to think. In terms of 'Spot On' this
play could work well in any space and production costs would not be overly
high. There was use of a projector but other than that no real extravagant
technology that would be too hard to come by. Indeed the piece works through
the moving transcripts that make the script rather than anything else so would
work well in a rural setting.
Once in a house on fire.
This play for me echoed back to
plays such as 'A taste of honey' and other 'kitchen sink' dramas for me it took
the essence of such plays drew them all together and came out with this play,
as such I found it not entirely innovative or original but enjoyable and easy
to watch none the less. It followed a childhood of poverty and abuse, showing
how two sisters coped through drama, dance, song and imagination it was
uplifting yet somehow melancholy with an ambiguous ending. The soundtrack of
'The Smiths' was brilliant and added to the smooth set changes and leaps
through time, helping hold the piece together. It had amazing credentials and
has obviously impressed critics indeed show casing young acting and writing
talent it was easy to watch and engaging. It would work well in a small space
and thus would be a good choice for a village hall, especially in the North of
England as it was credited to be a 'distinctly Mancunian play'. However
personally I did not find it different or innovative enough to truly enjoy it
for me it seemed like a remake of so
many other 'kitchen sink' dramas that weren't really in need of a remake or
remodel.
Thin Ice.
This was throughly enjoyable
although the air-conditioning was on full blast and therefore freezing we
debated afterwards as to weather the air con was for atmospheric effect, the
play being set in Greenland! The play chops and changes through time, starting
with a frozen professor in a hut in Greenland as the two other protagonists
arrive to rescue him and the body thaws secrets surface, shown through the
plays chopping and changing through time and memories. It is a very powerful
play about courage in the face of adversity, it questions beliefs, science and
love. At times it is darkly comic at others sad, it is a roller-coaster and
truly gripping throughout. The use of two projectors and a traverse stage maybe
hard to put into place in village halls, however is this were possible this is
an excellent play to be enjoyed by all ages.
Bullet Catch.
This was by far the best piece of theatre I saw and would
recommend it again and again. It was spectacular, not quite a magic show not
quite theatre, it sits between truth and fiction, playing with
the connection between magic and the human mind. It is multilayered and
gripping based on the infamous bullet catch trick which the play culminates in.
Inspired by the real-life case of William Henderson, apparently
killed while undertaking the trick in 1912 in front of 2,000 people. Was it an
accident or did something more sinister take place when a labourer with no
history of violence was grabbed from the audience and invited to pull the
trigger? The piece called on audience participation with one audience
member acting as a secondary character and presence throughout the play. It was
extremely clever, moving and innovative, the audience participation again
thinning the line between truth and fiction magic and reality.Drummond created a convincing atmosphere and the audience is
palpably uneasy when the ultimate trick, which is bewildering and impressive,
is finally executed. It is also remarkable
because it is painfully honest about the choices we make and the way we stare
despair in the face while pretending we are OK. This play is a must see,
however much it sets your heart beating, I would indeed recommend it for
villages halls as the magic is all in Drummond performance rather than any
specific specific special effects. If Spot On could get this as a touring act
it would be truly amazing.
Stu and Garry's Lunchtime Show.
As improvised comedy goes this was very good, it had the
whole audience laughing, and the audience was a pretty mixed bag from about 14
to 80! They were universally entertaining with a lot of audience participation.
They would fit into a village hall setting with no problems and would appeal to
most audiences .‘Anarchic, quick-witted improv
at its fast-paced best’ (ThreeWeeks) perhaps describes it best.
Steve Shanyaski’s Life-Survival Bible.
This was a great surprise of the festival for me we got
tickets to a late night show on the final day of the festival at a cheaper
price, we were a bit worried and thought it could go either way, as it happened
it was truly hilarious the funniest thing we saw second only to 'The boy with
tape on his face-more tape'. It was great relatable northern humour, a show
based on surviving modern life chapter by chapter with physical humour and
great comedy songs thrown into the mix.
The Boy with Tape on his Face- More Tape.
Without a doubt this was the funniest most original act
I saw, it was hilarious from start to finish! It is magical, bringing out the
child within you it is simple, clever, charming, inoffensive humour. A really accessible and enjoyable comedy
show suitable for all the family. I would say this is my must see from the
festival. Definitely suitable for rural touring if you could find the funds!!
Blog:http://edinburghvillagehallfirsttimer.blogspot.co.uk/
Friday 14 September 2012
Mike Moran Productions, Italia n Caledonia, Valvona & Crolla, 21st August
Another unusual venue for my choice of shows at the Edinburgh Fringe. The setting of the show, which is a storytelling, not a play, is the Valvona and Crolla delicatessen - an Edinburgh Institution. One of the co-writers is a direct descendent of the original founder, and this is a personal story of family successes and tragedies.
Italia n'Caledonia is story about the immigration of Italians - craftsmen, musicians, small businessmen - with dreams of a new life in Scotland just before the turn of the twentieth century. Many started successful small businesses which reflected their Italian culture - ice-cream parlours, cafes, delicatessens and the like. These migrant families thrived in many Scottish towns and villages.
But, in the 1940s the clouds of war brought tragedy. Many Italians were labelled 'enemy aliens' and were interned or deported. Tragedy struck when large numbers of those deported, including Alfonso Crolla, lost their lives on the Arandora Star which was torpedoed on the way back to Canada by a German U Boat. It is said that almost every Italian family in Scotland lost a father or a brother.
A well told story - moving and funny, warm and sentimental, atmospheric. The backdrop of the old 1930s holiday films and the accompanying songs and accordion music set the scene perfectly. At just over an hour long it is suitable for family viewing and well suited to Village Hall production.
Elaine Williams
Inverie Village Hall
Knoydart Arts Promotions
Italia n'Caledonia is story about the immigration of Italians - craftsmen, musicians, small businessmen - with dreams of a new life in Scotland just before the turn of the twentieth century. Many started successful small businesses which reflected their Italian culture - ice-cream parlours, cafes, delicatessens and the like. These migrant families thrived in many Scottish towns and villages.
But, in the 1940s the clouds of war brought tragedy. Many Italians were labelled 'enemy aliens' and were interned or deported. Tragedy struck when large numbers of those deported, including Alfonso Crolla, lost their lives on the Arandora Star which was torpedoed on the way back to Canada by a German U Boat. It is said that almost every Italian family in Scotland lost a father or a brother.
A well told story - moving and funny, warm and sentimental, atmospheric. The backdrop of the old 1930s holiday films and the accompanying songs and accordion music set the scene perfectly. At just over an hour long it is suitable for family viewing and well suited to Village Hall production.
Elaine Williams
Inverie Village Hall
Knoydart Arts Promotions
The Arches/Rob Drummond, Bullet Catch, Traverse 21st August
Brilliant show. Bullet Catch begins with a story which sets
the scene for the drama. In 1912, the magician William Henderson was killed in front of an audience of two thousand people in London, by an innocent volunteer member of the audience, who fired a gun which the illusionist failed to catch between his teeth.
Drummond chooses his volunteer carefully.
Drummond chooses his volunteer carefully.
Rob Drummond’s impressive one-man performance combines magic, illusion, psychology and story-telling, with audience participation and improvisation. As the show goes on the audience is kept in suspense, in anticipation of
the nail biting conclusion, whilst Drummond cleverly explores the human nature
of trust, free-will, and fate. It was a Fringe sell out, and hugely
entertaining, and definitely suitable for intimate venues.
Elaine Williams
Knoydart Village Hall
Knoydart Arts Promotions
Tom Sandham and Ben McFarland / The Assembly Rooms, The Thinking Drinker's Guide To Alcohol, 20 August 2012
The Thinking Drinker’s Guide to Alcohol seemed like an
obvious Fringe event to check out for the Inverie Village Hall audience; it’s
certainly most Knoyds' favourite
pastime. We’ve not many children to
entertain here, so worth a punt on an adult show.
It’s a two man comedy show, a few props, costume changes,
dry ice, bit of audience participation, two volunteers called. Easy to put on in any Village Hall, and an
entertaining night out for all (well, over 18’s that is). It was a good gig, and yes, certainly
recommended.
The hour long show takes us through a history of imbibing,
along with a jaunt into philosophy, geography, and economics. Comedy “Infotainment” is the buzz word. Some groaningly awful puns too. The
motto of the sketch is “Drink less but drink better” and to encourage us along
the way are free samples handed out for good example.
Starting with a bottle each of Bishops Finger Kentish Strong
Ale, and then, to illustrate the tales, follow small shots of Jagermeister, Angostura 1919 Rum,
Tangueray No Ten Gin, Pernod Absinthe, and finally Belvedere Pink Grapefruit.
I’m sure the audience laughed louder and louder as the show
went on, and we all left with a warm glow :)
Elaine Williams
Knoydart Village Hall
Knoydart Arts Promotion
Wednesday 12 September 2012
Barbara
Slack. Highlights Edinburgh Village Hall 2012
Barbershopera.
The Three Muskateers. The Pleasance
|
Reviews
Comedy barbershop quartet, but much more than that. Their take on the three muskateers was
really good musical comedy theatre, great singing, good jokes, and quite
bawdy, so pitched at an adult
audience. They are very slick, very professional. The set is quite simple with some
scaffolding at the back and boxes of costumes and props at the sides. There are 3 men and a woman in the company. They work really well together and look as
if they are having as much fun as the audience.
|
|
|
Why is the work suitable or not suitable / ready for rural touring ?
|
High standard of singing and performance. Different type of show for our audiences
|
|
Why would you book them ? or
Why wouldn’t you book them ?
|
Yes, for the reasons above. However,
at present they don’t tour with their own lights/PA and the show isn’t suitable for under 15’s at present.
|
|
Why would it be worth pursuing this company to consider work in the
future? Or not ?
|
Definitely a company that would work for rural touring, but may need to look at shows which have
more of a family appeal and are self contained.
|
Jonny
& The Baptists, The Underbelly, Cowgate
|
Review
Musical comedy blues band.
Lead singer/songwriter/frontman Jonny
carries the show. His onstage
persona was described as a cross between Mat Lucas and Boris Johnson, but
more likeable than both, which just about summed him up.
Very funny, wildly enthusiastic, lots of interaction with the
audience and a mix of topical, satirical, protest songs about anything that
takes their fancy. Accompanied by Amy
on fiddle and Paddy on guitar, they have a great rapport. I wouldn’t say they were polished, but lots
of ad libbing added to the fun.
Content was a bit risqué for our audiences, but they can also offer a
cleaner version and will make songs up
as they tour round.
|
|
|
Why is the work suitable or not suitable / ready for rural touring ?
|
More suited to adult audiences
|
|
Why would you book them ? or
Why wouldn’t you book them ?
|
Not sure about the content for our rural audiences
|
|
Why would it be worth pursuing this company to consider work in the
future? Or not ?
|
Worth considering, would need some discussion with company first
|
Unmythable,
Temple Theatre, Zoo
|
I loved this show, from the minute I walked in and was offered olives
from smiling actors. All the greatest
Greek myths were woven into Jason and the Argonauts quest for the Golden
Fleece. It was delivered at a pace
that was exhausting as the three actors took on an array of Gods, Heroes and
Monsters, with the audience making up the rest. It’s a great show for any age and the
singing is pretty good as well. Book
it!
|
|
Why is the work suitable or not suitable / ready for rural touring ?
|
Accessible, high quality, easy to sell
|
|
Why would you book them ? or
Why wouldn’t you book them ?
|
YES great family show
|
|
Why would it be worth pursuing this company to consider work in the
future? Or not ?
|
Definitely.
|
Jo Gatenby ON Tour Reviews
Insights: 5 emerging dance artists perform short works
I was keen to experience some contemporary dance in Edinburgh, since dance is my real passion. So my first show of the Fringe was 'insights'. The show included short pieces (most no longer than 15 minutes in length) from new dance companies.
Companies included: CoDa Dance Company, Eden Dance Works, Jai Hutchison, NineBOBNote Dance Theatre and John Ross.
John Ross: Man Down
Man Down tells the story of one man's journey and psychological struggle to come to terms with the daily torment of working in a war zone. This solo was beautifully choreographed using spoken text, which impacted on the dancers quirky movement. The spirals and fluidity achieved by the dancer were visually exquisite and made for a harrowing yet stunning experience.
Suitability for rural touring: This short piece would work well on the rural touring circuit, the piece involves much floor work so may need to be adapted or only shown in specific venues geared to dance.
I would highly recommend John as both a dancer and choreographer.
As Yet Unknown: NineBOBNote Dance Theatre
A fun, yet very direct piece using music by The Black keys and Electric Youth as it's back drop. The dancers entered in bras and pants with open checked shirts. The piece explored the relationship between the three women on stage, at one minute the women were best friends, the next they were criticising each other. Spoken voice was used to great dramatic effect and often the audience were left wondering how far the relationship of the three women was going to go.
I found the piece uplifting and amusing to watch, I'm not sure it would work well on the Rural touring circuit as I think it would be a difficult sell to other schemes, but I would still potentially book it.
The pieces by Jai Hutchison, Eden Dance Works and Coda Dance Company seemed to heavy and overly emotive to enjoy as an audience member. I don't think any of these pieces could be developed to create full scale pieces for the rural touring circuit.
Country Boy's Struggle- China Plate recommendation
Having booked Country Boy's Struggle through the recent Strategic Touring Bid blind, I wanted to go and see the piece for myself in order to be able to sell it to our promoters more easily.
I took two friends along to see the show, in order to gather their opinions too, my promoter and director also saw the show later in the week.
I honestly can't fault this one man show, it was immaculately performed by Maxwell who managed to portray all the different characters in his life so vividly through rap, music and dialect. I found myself willing Maxwell along on his new venture in London and was lulled into the audience participation. I am now confident that this show will work brilliantly with our young audiences and would also be interested in booking the show again for further dates in Autumn 2013/ Spring 2014.
A Midsummer Nights Dream- China Plate recommendation
I thought this show seemed rather large scale for rural audiences, there was a large cast, set and the production values seemed large scale too.
The play was well performed, although you didn't instantly warm to the actors, as I have in previous productions. There was much to cram into an hour long performance and I left feeling rushed and unfulfilled. This may have had something to do with that I also had to run to the next venue following this show!
I wouldn't book it for rural touring and feel it was a little predictable.
Beulah by The Flanagan Collective
I went to see this show based on the incredible reviews it had been receiving from professional reviews and twitter audiences.
The show explores how we view life, dreams, reality and the after life. Inspired by William Blake, the show takes you on a journey of how we view our world and the windows available into other people's worlds and time zones. The two actors perform folk music exquisitely throughout the show, which leaves even the youngest audience members mesmerised. A gorgeous little play which would work extremely well on the rural touring circuit and one which I am considering booking for Autumn 2013.
ON Tour Promoter Maggie Corder's Edinburgh Reviews
DAVID VERNON AND DICK LEE ( they didn't have a name for their duo - if they were booked they would need to think up a a catchy name for themselves! - 'Squeeze 'n Blow' perhaps?! )
A brilliant accordion/clarinet duo, these two played a great programme of music to suit all tastes, from Kletzmer and Balkan dance music to jazzed up Scottish airs, French musettes, Ragtime and blues, even a bit of Mozart.
Their presentation style was accessible and fun ( if a bit teehee!), and the musicianship impeccable.
BLUESWATER COLLECTIVE
Dynamic, sexy and energetic renditions of all that music which underpins today's popular music, this Edinburgh based band flew through the history of the Blues, with classic tracks from Delta, Chicago, Muddy Waters, BB King, Screamin Jack Hawkins, Elvis, Clapton, Hendrix Stevie Ray Vaughan all in an hour long assault on the senses. Many in the audience were incapable of sitting still, so dancing in the isles was inevitable and positively encouraged! Brilliant front man kept the pace up, gradually building the size of the band to include brass, percussion and vocal doo wop. Wonderful!
Tuesday
THE FANTASIST Theatre Temoin. Underbelly.
A three hander, this powerful piece of theatre stays with you for days afterwards. An unusual and stunning combination of physical theatre, puppetry and original sounds and music make for a thought provoking piece on a small and cleverly arranged set. It explores the collision between fantasy and reality of bipolarity with sensitivity and humour, leaving the audience with a better understanding of the highs and lows of this disturbing and generally misunderstood condition.
The performance was a sell out, and one of the festivals big hits.
SELF CRITICISM
2 hander.Well acted, the struggle between the wife and the mistress figure, the home maker and the tart... but not really the stuff of local theatre tours!
Wednesday
COUNTRY BOY'S STRUGGLE
Maxwell Golden does a great job in portraying the growing up process in deepest Cornwall ( could be Yorkshire or any other rural outpost ) of a young lad wanting to get somewhere, anywhere, but mainly AWAY, into hip hop and a feeling of belonging. Moves to the big city in his search, and after many disappointments and setbacks, finds his way into the independent life he wants at the end of the rainbow. The story of migration, separation from familiar ties and family, especially his sceptical and judgemental father, to the metamorphosis he has dreamed of. Great rap, stylishly performed.
LADY CAROL MUST DIE one woman cabaret.
Charming Irish girl from Cork, with her ukelele arrives on stage like the original diva and proceeds with the chat, as only the Irish can, about her life and times, her original songs accompanied by the uke in her powerful and hypnotic voice. Slides of Irish childhood and teen years back projected while she sings, the main theme of the piece is her relationship with a difficult father from whom she escapes into punk and goth extremes. Would melt the heart of any audience with its tender and funny observations.
Tuesday 11 September 2012
Jen Henry - reviews 2
Jen Henry - CRTA
Here are the final few reviews I had yet to post.
Many thanks to all the bloggers on here. Its been great to read so many reviews.
Hanfunda Denki
Company - Ryuzanji Company (Tokyo)
A Japanese company bringing a very odd and disturbing piece. Set in a funeral parlour, the piece is based on a Japanese card game. Supposedly set in around 1918 (though the costumes were highly stylised and modern, so it didn’t make much difference when it was set). The premise was that the family who owned the funeral parlour were all dead and would facilitate taking the living into the world of the dead as a business. It was presented mostly as a musical , sung in typical Japanese karaoke style. The story developed as the owners tried to marry their daughter to one of the undead, but she wanted to marry a living criminal. The story went to some very dark and disturbing places, though often without much content, though of course some of that may have been lost in the translation. there were subtitles for the piece. Overall interesting to see , to see a very different style of theatre, but not a piece I would ever book.
Monkeywood Theatre - Northern stage at St Stephens.
Once in a house on fire
A raw and distinctly Mancunian true story about three sisters growing up in the shadow of poverty and domestic violence, based on Andrea Ashworth’s memoir. In a 1970s Moss Side terrace, Andy and her sisters are determined to make their family’s lives better. As their mother descends into hopeless self-destruction and a succession of stepfathers.
The group have worked closely with Ashworth to deliver this piece, and it shows. The feel is very authentic and the story told at a good pace. Occasional let ups in the pace happen during scene changes as costumes are changed on stage etc.
A company to watch for future work if not for this piece.
Gilbert and Sullivan in Briefs
Ingenious Paradox / Nick Brooke Productions / Queens Theatre
I looked at his in a view to presenting some easy to access opera. Done very much in the style of the reduced Shakespeare type plays, its premise is that the 4 singers ( a Soprano, Mezzo, Tenor, Baritone) and piano accompaniment are told they have to go through all of Gilbert and Sullivan’s 13 operas, performing at least one song from each. In between there is some nice character interaction with small stories unfolding between the performers. Lots of frantic costumes and prop changes etc, add to the humour, but the real selling point is the quality of the singing, which was superb. It would appeal mostly to those who knew the operas, but would not exclude those who didn’t at all. Its frantic pace may make it a little hard to follow for those more unfamiliar with the works. All round good entertainment, and quality light opera.
American based production company so not sure if they will be touring.
It may be a bit too specialist for most promoters though.
I would consider booking them if they were touring , and if there was a promoter with an interest in this type of work to want them.
Here are the final few reviews I had yet to post.
Many thanks to all the bloggers on here. Its been great to read so many reviews.
Hanfunda Denki
Company - Ryuzanji Company (Tokyo)
A Japanese company bringing a very odd and disturbing piece. Set in a funeral parlour, the piece is based on a Japanese card game. Supposedly set in around 1918 (though the costumes were highly stylised and modern, so it didn’t make much difference when it was set). The premise was that the family who owned the funeral parlour were all dead and would facilitate taking the living into the world of the dead as a business. It was presented mostly as a musical , sung in typical Japanese karaoke style. The story developed as the owners tried to marry their daughter to one of the undead, but she wanted to marry a living criminal. The story went to some very dark and disturbing places, though often without much content, though of course some of that may have been lost in the translation. there were subtitles for the piece. Overall interesting to see , to see a very different style of theatre, but not a piece I would ever book.
Monkeywood Theatre - Northern stage at St Stephens.
Once in a house on fire
A raw and distinctly Mancunian true story about three sisters growing up in the shadow of poverty and domestic violence, based on Andrea Ashworth’s memoir. In a 1970s Moss Side terrace, Andy and her sisters are determined to make their family’s lives better. As their mother descends into hopeless self-destruction and a succession of stepfathers.
The group have worked closely with Ashworth to deliver this piece, and it shows. The feel is very authentic and the story told at a good pace. Occasional let ups in the pace happen during scene changes as costumes are changed on stage etc.
A company to watch for future work if not for this piece.
Gilbert and Sullivan in Briefs
Ingenious Paradox / Nick Brooke Productions / Queens Theatre
I looked at his in a view to presenting some easy to access opera. Done very much in the style of the reduced Shakespeare type plays, its premise is that the 4 singers ( a Soprano, Mezzo, Tenor, Baritone) and piano accompaniment are told they have to go through all of Gilbert and Sullivan’s 13 operas, performing at least one song from each. In between there is some nice character interaction with small stories unfolding between the performers. Lots of frantic costumes and prop changes etc, add to the humour, but the real selling point is the quality of the singing, which was superb. It would appeal mostly to those who knew the operas, but would not exclude those who didn’t at all. Its frantic pace may make it a little hard to follow for those more unfamiliar with the works. All round good entertainment, and quality light opera.
American based production company so not sure if they will be touring.
It may be a bit too specialist for most promoters though.
I would consider booking them if they were touring , and if there was a promoter with an interest in this type of work to want them.
Chapel St – Young Vic
Wtitten by Luke Barnes
Produced by Scrawl
Underbelly
Brutal honest – from the horses mouth type show. Two Young people narrating to the audience there separate versions of one night out in their home town. Delivered with ferocious pace and vernacular language you can't but be impressed with the skills of this young male and female actors and the quality and honestly of the writing.
It’s exhausting to witness but speaks to all about the reality of that young, chaotic risk taking culture that eventually has consequences.
Would perhaps too obviously be perfect for young people.
It would be hard for regular rtn audiences to take – the language and vulgarity relentless – it would make people very uncomfortable but perhaps that would be a reason for booking it -
Strong Arm – Young Vic
Vicky Graham Productions
Underbelly
A story that doesn't really go anywhere about a fat outsider that gets addicted to exercise and goes a bit mad – not enough depth or skill on show to consider it I am afraid.
SlapDash Galaxy - Bunk Puppets
Underbelly
Excellent – Canadian puppeteer – Single male performer – looked a bit like the Grinch ! Extraordinarily inventive. Using screens on stage and his hands and feet to make shadow puppets to tell a simple story of brothers going to space and facing danger and coming through it and coming home. Works with the audience a great deal with great skill.
Loved it for that off the wall – Family show experience – would definitely book him if e could get him to tour the UK
Nola - look Left Look Right
UnderBelly
Verbatim Theatre piece about the BP Oil spill – love Verbatim – could do with programming more of it. Does politics from the human story angle allowing people room to come to their own conclusions. Loved the quality of the edited monologues and the performances were excellent.
I would discuss this with my programming group – but don't think I would book – just a bit static for my liking – Interesting debate about Verbatim theatre in the bar following the show around the ethics involved in who's story you choose to tell and how you edit what people actually say.
The Fantasist – Theatre Temoin
God love this company – they were working in the smallest of spaces – or maybe just looked like this from the back where I was sitting. Story unfolds to disclose that the main protagonist character is mentally ill and her dream increasing nightmarish world is played out using extraordinary animation so inventive that it was really refreshing. The oversized male Puppet that comes out of the wardrobe that is both the woman protagonist’s lover and demon had an extraordinary presence and the kite made from masking tape made me hold my breathe.
Would definitely like to try and book this show.
Alex Horne and his Orchestra
Bit of a one for me this – heard a lot about Alex Horne but not seen him – So this was a treat – and suggs ( Madness ) guest stared and sung It Must Be Love !
A Thousand Shards of Glass
Jane Packman Company
Northern Stage
One incredibly talented woman actor encircled in a mesh of wires defining her acting space and audience sitting around – She speaks to us all as we come in and includes individuals at times in the show to hold torches or she refers to audience members as characters in the story. The dialogue is poetic but so disjointed that I struggled to make meaning and as a result ended up disengaged. Obviously a well produced piece of work but I am afraid I couldn't find anything in it that engaged any of my senses or my intellect – talking of which - sorry don't think I was bright enough to get what this piece was asking of its audience.
Met mother of director in bar – she was lovely
Rash Dash -The Ugly Sisters
Northern Stage
Wow – what a tour de force – Punk rock panto !! Anarchic at times – powerful contemporary dance at times. Comic and sensational – We just couldn't do this justice would be my feeling – needs a bigger better equipped space than we could offer – would be interesting to see what others think
Oh The Humanity and Other Good Intentions
Northern Stage in association with Soho Theatre
Northern Stage
Monologues delivered to the audience – painfully honest 'Talking Heads' – superbly acted and directed – very classy – beautifully produced and staged – incredibly simple almost clinical in its design. Given the line up – I am sure this would not be available for Rural Touring and not sure I would programme it as I felt very bleak after I had seen it – however had to miss last monologue so maybe there was retribution at the end. ????
Caroline Horton's Mess
Traverse
A woman's story about her relationship with Anorexia. I found this extraordinarily moving. More so because of the style adopted to tell the autobiographical story was very 'comic book' – almost Chitty Chitty Bang Bang delivery and humour . Fabulous performances -difficult content – fascinating style of interpretation. Mad musician/keyboard player that doesn't do as he is told and a massive white mountain on stage which represents the anorexia.
Would book this
Once in a House on Fire
Monkeywood Theatre
Northern Stage
It was quite refreshing to watch a show that reverted to classic theatre conventions. Well drawn characters delivering dialogue to each other and music of the era to mask scene changes
Moving story of dysfunctional mother bringing up two sisters in Manchester
Waiting for Stanley
Zoo Roxy
oooh Wow this was my highlight for 'potential booking' purposes – one woman mime show around a story of a woman waiting for the father of her child to come home from war. The one woman performer had a warmth and humour and gentleness/ vulnerability that communicated vividly with the audience. Breathe takingly inventive.
Definitely book
MayDay MayDay – Theatre Damfino -Tristan Sturrock
Pleasance Dome
One person show – narrated directly to the audience – of an autobiographical tale of how this actor fell off a wall in Padstow and broke his back and the story follows his recovery.
No ordinary actor though – KneeHigh veteran actor Thurrock keeps his audience entertained and engaged through out. He uses the stage well and the one prop/piece furniture becomes many things efficiently in a manner which isn't contrived. He doesn't indulge in pity. The story is his therapeutic retelling in theatrical language of his extraordinary journey. There is a great deal of humour and the actor’s charisma and warmth is evident and is infectious. Great direction – Katy Carmichael
Would book
Bitch Boxer – Young Vic
Underbelly
One woman show narrated directly to the audience – lovely show well written and performed. Topical because of Woman's Boxing and the Olympics. A portrayal of a strong charismatic determined young woman. Tells a very human moving story of her relationship to her Dad and Boxing and what happens when she loses her Dad and discovers she is more venerable than she thought.
Possible – would have to find the right audience for it
Amusements - Sleepwalk Collective
Summer Hall
Audience in lecture theatre with Earphones – woman’s voice and sound scape comes through earphones whilst a woman who is saying the same words is on stage bathed in a red light. Very sensual- I felt cocooned /isolated but aware of others around me – It was almost like listening to a meditation tape. Really liked the experience but felt they needed to have someone to slap you round the face when you came out of the space to bring you back to reality !
Would love to try this idea of audience in headphones
Songs of The Goat – Songs of Lear
Summer Hall
This was a bit like being bathed in warm water – 10 singers and a musician – context set for each song by director – each song depicted an aspect of the story/themes of King Lear.
Polish company intense and extremely committed and talented > The Harmonies soared and were exquisite
Would love to think we could book this
Underbelly
Young contemporary performance poet with a political edge. Beautifully observed and a really likable character.
Would definitely book
Grit – Tortoise in a Nutshell
Bedlam
Seemed to me a bit like a work in progress – lots of intriguing ideas – moving interpretation of a universal horror of child soldiers using animation – doesn’t seem to go anywhere though.
Inheritance Blues
Bedlam
No info in programme about this – It was brilliant – Band with 6 performers – very skilfully performed – Band are involved in the telling of the story as characters . A group of brothers meet at the wake of their recently deceased father in a remote rural pub.
I think this was a student production – but need to investigate further
Would definitely book
Peep - Natural Shocks
Pleasance Courtyard
Intriguing and skin creeping at same time – sat in a booth with a window into a square enclosed performance space – I couldn’t see others. Lasted 20mins – was a series of statements about sex and how sexual activity and relationships change at different times of your life.
Monkey Bars – Chris Goode
Traverse
Adults speaking children’s words. Children had been interviewed on numerous subjects and the actors spoke their words verbatim. The craft of this piece I felt was the way the conversations had been edited and the decision to have the adults in very grown up costume and situations – loved it – but most likely not rural touring
Monday 10 September 2012
Angus,
Horse & Bamboo
Barbara
Slack, Highlights. Edinburgh Village
Hall 2012
|
Genre
|
Puppetry/mask
|
|
Venue
|
Netherbow
|
|
Date
|
21 Aug 2012
|
|
Review
Based on the true story of a crofter from South Uist who was
traumatised during the war and spent 50 years in a psychiatric unit in
Inverness, during which time he didn’t speak a word but wove fantastical hats
and garments from grass. The show used
puppets and masks to convey the story and was accompanied by beautiful gaelic
singing and narration, with the odd
English word thrown in. Some really
lovely poignant moments but I found my attention wandering, possibly
because I was due somewhere else 5 mins after the end. The show will have more of a resonance
north of the border, but could work
anywhere
|
|
Why is the work suitable or not suitable / ready for rural touring ?
|
Would work as a family show with older children but aimed more at
adults
|
|
Why would you book them ? or
Why wouldn’t you book them ?
|
Difficult to sell puppets and masks to adults.
|
|
Why would it be worth pursuing this company to consider work in the
future? Or not ?
|
Horse &Bamboo are well known and worth pursuing. It's some time since they've done rural touring so we'd need to build our audiences again for their work. We're playing safe with a children's show first
|
Subscribe to:
Posts (Atom)