You had me at “sinister American cult leader” and “dating show”. Everything about this show set itself up to be unique, enjoyable, and chuckle-worthy piece of theatre. And it is. The platform is familiar; office-based comedy where the humour comes from conflicting personalities of the beleaguered employees. That’s only the platform, from there the production takes the already ridiculous world of reality TV and pushes it to it’s logical extreme with cast of lovable and hateable characters either rolling with the madness or being comically bewildered by the whole thing.
Continue reading “REVIEW: ‘Noose Women’ by Bear Faced Moon Company and New Celts Productions”
Of the nine shows I’ve seen at this Fringe (at the time of writing), one third have had ‘Shakespeare’ in the title. What can I say, I’m a English Lit graduate with a fondness for theatre, it’d be weird if I didn’t like Shakespeare. This time, however, was slightly different. Instead of another show featuring interpretations of Shakespeare’s work, here we have a show that explores a slightly liberal interpretation of the bard’s own personal life and loves. An ambitious project, and one easy to get wrong, but, for the most part, I think this show gets it right.
Continue reading “REVIEW: ‘The Shakespeares: Scenes from a Marriage’ by Story Board Theatre”
Going to see an original musical at the Edinburgh Fringe is always a bit of a coin-toss. As a genre and an art-form, it’s a difficult thing to get right. In this instance, it comes down firmly on the side of fantastic. One thing that often makes a new musical work is a unique and original concept to build around. Buried certainly has that; and utilises it brilliantly.
Continue reading “REVIEW: ‘Buried: A New Musical’ by Colla Voce Theatre.”
Communism: The Musical has a disclaimer at the end of the description on its flyers that reads “May not contain actual communism”. That’s all well and good but, the trouble is, it has very little to do with anything else either. I understand that the general point of the show is that it is irreverent, over-the-top, and highly meta but still, the lack of a coherent central point is a real detriment to this production.
Continue reading “REVIEW: ‘Communism: The Musical!’ by Lancaster Offshoots”