*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”
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”
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”
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”
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”
Antonym Theatre were one of my favourite companies the first year I came to Fringe, and I remain forever gutted that I had to miss them last year because of scheduling conflicts. This year, however, fortune once again smiled on me, and allowed me to see another show by this creative and talented company.
Continue reading “REVIEW: ‘Side Orders’ by Antonym Theatre”