I do think Improv shows are at their best when they have a specific gimmick or quirk that makes them unique amongst Improv shows.
Anything You Want has that. An existing improv technique yes but the first time I’ve seen it done, and the only one, so far as I know, at the Fringe this year. The interconnecting circle of characters and narratives that stem from a single-word suggestion is a beautiful device and, at least on the occasion I was there, creates a truly memorable and engaging show.
Continue reading “REVIEW: ‘Anything You Want’ by Warwick Improv”
This piece is, it has to be said, a little slow to start, but once it gets to the point, it does it pretty well.
Continue reading “REVIEW: ‘Bad Dog’ by University of York DramaSoc”
So I suppose you’re wondering…did Jamie make it to Edinburgh okay???
Continue reading “Fringe Diary ’18 – Day 3: Jamie Beaucoup”
The morning started much the same as mornings do here: rolling out of bed, chatting in the living room for a fashion, and then mustering the energy to get ready and make our way into town. I went a little ahead of everyone else this time, bought a couple of eye-patches from a costume shop and then stopped by my favourite coffee shop on the Mile for a cup of tea and a slice of cake. I also had a lovely chat with a friendly stranger who let me share her table (one of the best things about Fringe is easily befriending strangers).
Continue reading “Fringe Diary ’18 – Day 2: Burgers, Parcels, and Incest”
August is here and it’s Fringe time again! This time I’m writing and directing again, in partnership with my flatmate this year, Frazer (even if everyone kind of knows I have more power but we’ll leave it there). This year’s show is Upcastle Downcastle, a ‘pantomime for grownups’. It’s been a lot of fun to write, direct, and perform, and with the cast we have, I’ve high hopes for this being another fun adventure in Edinburgh.
Continue reading “Fringe Diary ’18 – Day 0: Coach-Hella”
As per usual (apart from 2016 when stuff went a little awry), I’ll be endeavouring to write a review for every show I see at this year’s Edinburgh Festival Fringe!
It’s one of my favourite things about the festival now, and it gives me the opportunity to keep my writing muscles flexed and in practice.
If anyone reading this happens to be taking a show to Edinburgh this year and would like me to include it in my reviews then do drop me an email with a press release at:
Continue reading “Fringe Reviews”
*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”