*Note: The following review was written over a month after the fact due to writer’s block and my being a disaster of a person.*
Brought to us by the ever-talented Degrees of Error, creators of Murder She Didn’t Write, The Writers’ Room provides a new and creative set-up for an improv show. It’s very much a ‘what it says on the tin’ kind of show; a group of screenwriters pick through crumpled suggestions in a wastepaper bin trying to find something with which they can create the next big blockbuster.
Continue reading “REVIEW: ‘The Writers’ Room’ by Degrees of Error”
Perhaps a bit of an audacious choice in name but Best Play Ever certainly does its best to live up to it.
Continue reading “REVIEW: ‘Best Play Ever’ by Delicious Theatre”
Sometimes, at Fringe, you wander into a show with little to no idea of what you’re about to see. This is one of my favourite ways to do Fringe; researching shows before hand is great, getting handed a flyer on the Mile is great too, but every now and then there is really something to be said for just strolling into the nearest venue and getting a ticket for whatever’s on next. This is how my friend and I spent our last couple of days at Fringe, as using our Space performer passes gave us the luxury of not needing to worry over wasting money and take gambles on shows we might otherwise take more time to consider.
Continue reading “REVIEW: ‘The Gun Show’ by CoHo Productions”
I believe I saw three one-person shows this year. Of those three, #Vile was the only one that fell into the genre of outright comic. Standups aren’t usually my thing at Fringe but character-driven, narrative, comic monologues very much are.
Continue reading “REVIEW: ‘#Vile: The Untimely Demise of a Manufactured Pop Star’ by Wound Up Theatre”
I’ve described a lot of shows at this year’s Edinburgh Fringe as “unique”. It might seem that using the word so often devalues and diminishes the meaning but that’s not the case. The fact is that every particularly “unique” show I have seen has been unique in it’s own…well…unique manner.
Continue reading “REVIEW: ‘#Instalove’ by Catherine Duquette”
There’s a lot to be said for silliness. Pure unashamed silliness is one of the finest forms of comedy, especially in the theatre. Like with every other kind of comedy, or style of entertainment in general, getting it right can always be a gamble. Achieving a form of silliness that works takes precision of timing, language, and physicality. Taking all this into account, Angels in Erotica has the art of silliness down to a tee.
Continue reading “REVIEW: ‘Angels in Erotica’ by Phoenix Theatre Company”
Performed at the same time, in the same venue, in the room right next door; this show was always in direct competition to our own while we were on. It’s just as well we didn’t know how good it was at the time. That might have been a little bit disheartening.
Continue reading “REVIEW: ‘Changelings’ by Pucqui Collaborative”
I had to run to make this show. And even then I missed the first minute or so due to a slow-moving queue. I was ushered into the theatre in the middle of what I could tell was a gorgeous opening number, and I was sold from there. I’d been a little worried that maybe this new musical wouldn’t live up to the legacy of its predecessor, Scarlett Lane, but I had nothing to worry about.
Every single aspect of this show is given ONE. HUNDRED. PERCENT.
Continue reading “REVIEW: ‘Cashmere’ by October Boy Productions.”
Sometimes, shows have a promising premise or story but are, for whatever reason, unable to execute it satisfactorily. Wishing on a Stopgap is, I fear, one of these shows.
Continue reading “REVIEW: ‘Wishing on a Stopgap’ by Newcastle University Theatre Society”
I don’t normally see ‘famous’ people’s shows at Fringe. I generally prefer to steer clear of big names and focus on amateur or start-up performers and companies as being more inline with what I feel the Edinburgh Fringe is about.
Continue reading “REVIEW: Courtney Act: The Girl from Oz”