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.”
There we have it. My third Fringe has finally crawled to an end. It’s been a long one this year but also the best Fringe I’ve yet done. Being here for basically the whole month has been incredible and allowed me to experience so much more of the festival and the city than I ever have before.
Continue reading “Fringe Diary – Day 26: Edinbye”
And so the last full day of my 2017 Fringe Adventure dawned. Came quite suddenly really, although the last week has been the longest. The time when we were performing just zipped right by.
Continue reading “Fringe Diary – Day 25: Fringenale”
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’ by Courtney Act”
Everyone enjoys a good bit of chaos in a comedy show, chaos is naturally humorous. It happens a lot in improv shows where said chaos comes from the actors’ ability to spontaneously create ridiculous scenarios, and then having to keep with one another’s adlibs and new ideas.
It takes a different kind of skill entirely to script the kind of mania and hijinks that are created on the spot in improv. Neither is truly superior than the other, but both require very disperate type of talent to pull off. Cream Tea and Incest falls into the scripted chaos category and, with a title like that, has a lot of expectation to live up to.
Continue reading “REVIEW: ‘Cream Tea and Incest’ by Benjamin Alborough”
I’ve always intentionally avoided anything by Cambridge theatre groups. I may be myself a bit of a snob but I conversely have always had an inverted snobbery towards the more elite institutions such as Oxford or Cambridge. Being painfully Lower-Middle Class as I am at least allows me to look down in both directions.
Continue reading “REVIEW: ‘Maklena’ by Cambridge University Amateur Dramatic Club”
Another day of deviation from the Fringe norm. No shows today, instead I chose to keep a promise I’d made to myself since I knew I was coming back to Edinburgh this year and climbed Arthur’s Seat.
Continue reading “Fringe Diary – Day 24: Where There’s a Hill”