4.5-⭐ · Fringe Reviews 2018 · Reviews · Theatre Reviews

REVIEW: ‘Murder She Didn’t Write’ by Degrees of Error.

4.5 Stars

(Performed in August 2018 – Review published in November 2018)

I’ve reviewed this company and show last year. And saw them the year before that. I know they’re good. They’re never not good. And I’ve said a lot about why they’re so good, and why Murder She Didn’t Write works so well as a show. But I’ll have a brief go again for this edition.

The new twist I saw from them this year was “Mass Murder She Didn’t Write”, their new late night concept. It’s good to see them still doing things to keep it fresh (even if I did miss the drag a little). Luckily the mass murder concept increased the onstage mayhem five-fold and resulted in yet another beautifully chaotic evening.

The cast remain as strong and talented as every with some of my favourite like Caitlin Campbell, Peter Baker, Tessa Gaukroger, and Lizzy Skrzypiec still being among them. I still don’t think I’ve seen improv talents that have matched them.

For more on my opinions on this show, please see my reviews from last year:

HERE.

4.5-⭐ · Fringe Reviews 2018 · Reviews · Theatre Reviews

REVIEW: ‘World in Progress’ by Merde! Theatre Company

4.5 Stars

(Performed in August 2018 – Review published in November 2018)

You know? I don’t think I’ve ever seen anything quite like that before. I’ve probably called a lot of shows “unique” in my time, but sometimes you see a show that’s so uniquely unique that its unique uniqueliness hangs around in your head for a long while after (more than two months after, at time of finally writing this review). World in Progress really was one of those unique shows, that I’m likely to remember for a long while yet. 

From quaint folk music with pagan overtones to an evangelical gospel bop about the Earth’s impending immolation, and all apparently composed the same astoundingly talented composer, Colm Molloy, there was a delightful smorgasbord of music to be had here. There’s something so beautiful about different voices coming together in harmonious song, and the voices of Nicola Demosthenous, Rosa Lennox, Hannah Baker, Patrick McHugh, and Ben Everett Riley made for some particularly gorgeous harmonies. 

One of my great regrets in life is that I’m not very musical. I adore it but can’t play anything to save my life, and my co-ordination disorder has always made it tricky for me to learn instruments. As such, I am forever in awe of the furious talent and dedication it takes to be as musical as this group were, with each having a flawless command of at least two instruments (by the best of my recollection anyway).

The show had an important underlying message about environmentalism (one we need more than ever what with recent warnings) but never got to preachy about it. It was a celebration of a planet we’ve neglected but nevertheless remains beautiful in its suffering. If nothing else can make you realise we need to save our planet, the way this group be this group sang about it just might.

4.5-⭐ · Fringe Reviews 2018 · Reviews · Theatre Reviews

REVIEW: ‘Narratively Satisfying’ by Jennifer Lack

4.5 Stars

The last of the three one-person shows I saw this year, Narratively Satisfying was one heck of an emotional journey. It takes a special something to make a one-person show work, and Jennifer Lack has not only that special something but liberal sprinkle of extra special somethings on top of it. 

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4.5-⭐ · Fringe Reviews 2018 · Reviews · Theatre Reviews

REVIEW: ‘Artificial’ by Split Note Theatre

4.5 Stars

This was one of the most moving theatre experiences I had at the Fringe this year. In terms of straight drama, perhaps the most moving. I’ll have to think about that. What’s certain is that I came out of this production near the point of tears from what I’d seen and heard on that stage.

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4.5-⭐ · Fringe Reviews 2018 · Reviews · Theatre Reviews

REVIEW: ‘Same Old, Same Oldies’ by Queen Mary Theatre Company

 4.5 Stars

It’s always lovely to encounter shows that manage to perfectly balance drama and comedy in such a way that the two compliment and further the effect of each other, rather than conflicting. Getting this right comes down, as so many things naturally do in the theatre, to the combination of writing and acting. If even one of the two is off, then the comedy and drama cannot coexist effectively. In the instance of Same Old Same Oldies, the comedy and drama smoothly orbit one other, each coming to the forefront and then retreating exactly when they should. 

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4.5-⭐ · Fringe Reviews 2018 · Reviews · Theatre Reviews

REVIEW: ‘613 Seeds’ by Zoë Sapienza and Philip Lindsey

4.5 Stars

Yet another show I chose on a whim because it was on soon and I hadn’t seen anything at a Greenside Venue yet this year. As I always say about the Fringe, you stumble in to some of the best shows by accident. My only regret is that I saw it on its last day, otherwise I’d be recommending it to everyone I knew here.

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4.5-⭐ · Fringe Reviews 2018 · Reviews · Theatre Reviews

REVIEW: ‘Sweeney Todd’ by Ethereal Theatre Company

4.5 Stars

(Written from the showing on the 06/08/2018):

My first proper musical of this Fringe and what an absolute cracker to start it with! I’ve only seen a handful of productions of Sweeney Todd, all amateur or semi-professional bar the film, but I’m pretty confident that this is my favourite (yes, probably even more so than the film – largely because Johnny Depp needs to burn but I won’t go on a rant). 

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4.5-⭐ · Fringe Reviews 2018 · Reviews · Theatre Reviews · Uncategorized

REVIEW: ‘The Last Sesh’ by Ball Pit Theatre

4.5 Stars

I went into this performance with my expectations up. Having seen this group perform Tom Basden’s Party last year, and absolutely smash it, I had high hopes for what they would bring this year. I was, I admit, just a little trepidatious. This was the first time I’d seen this group perform original writing, so I was nervous as how it might compare. 

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