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Name of Company Show

VIEWS: 7 PAGES: 15

									Name of Company
Sadari Movement Lab
Show Woyzeck
Genre Dance
Venue: Aurora nova
Audience: 400
IN a truly international production, a Korean theatre company takes on the
work of a German playwright using the music of an Argentinean composer.
It's an unexpected blend, but one which creates a soulful visual masterpiece
of physical drama. In a beautifully drawn interpretation of Georg Buchner's
unfinished play, the bleak story of doomed soldier Franz Woyzeck is told
through a series of flawlessly executed episodes. Dance and movement form
the main motor driving along the plot, with a helping hand provided by English
subtitles.

Woyzeck, bullied by his compatriots and financially destitute, agrees to take
part in a medical experiment. He tips over into madness when he discovers
his lover, Marie, is having an affair. With a blank stage, a black colour scheme
and wooden chairs as the only props, Sadari Movement Laboratory combine
lyrical choreography with staccato passages of jerky mime and caricatures.

Buchner's text explores the similarities between humans and animals, and in
this production the chorus of dancers framing the lead characters seem
interchangeable between the two.

From the nightmarish scurrying of the dozen doctors prodding at Woyzeck, to
the carnival procession at the barracks, abstract movement is balanced with
elements of clowning, but always performed with clockwork precision and
energy.

But the decision to use Astor Piazzolla's haunting music as a score is the true
star of this piece. The dark and chaotic blend of violin, accordion and piano
carries the weight of Woyzeck's demise to its tragic climax.

„In Woyzeck, Sadari Movement Laboratory (Korea) assembles all the
elements required for a compelling, movement-based study of Georg
Buchner‟s play: strong and capable movers, well-constructed set pieces,
atmospheric music (by Astor Piazzolla) and lighting (by Tae-Han Gu). But
taken all together, this performance never generates enough electricity to
prod the audience with the sharp loathing, compassion, or despair that the
soldier‟s tragic story should elicit. Instead, clever tricks with chairs, or
moments of comic byplay elicit appreciative applause or chuckles, but no
gasps, no tears, no outrage.‟ („critical dance‟ web posting )

It was a visual spectacle of precise movement and balance but I can
recognise the final critical comments above. However, it was rich and vibrant
creative work and should be seen by a wider audience.


Name of Company Company Chordelia based in Glasgow
Show The Red shoes
Genre Stand –Dance
Venue: Zoo Southside
Audience: 45
Excellent- Magical realism, haunting, vibrant and delicate.

 Lloyd-Jones and her collaborator, Michael Popper, himself a choreographer/
director and dancer, bring not just real insider knowledge to this piece, but
the kind of dryly resilient humour that somehow emphasises the
vulnerabilities, pathos and longing of the three women who determinedly
wear red shoes. There's the eager girlie who's going for "private coaching
with Madame", there's Madame herself - an antique Russian in lurching
pointe-shoes with a mantra of self-denial and punitive discipline - and there's
Miss Lloyd-Jones, caught up in a swither of nerves and elation, unable to
resist the fascinating rhythms that compel her to dance. As for the witty aerial
episodes - sometimes she's floundering, sometimes she's strung up,
sometimes she's like a sylph on the wing - they're a perfect way of
expressing the hopes and fears of what it's like when those red shoes won't
even let your feet touch the ground.
Mary Brennan
 The Herald
"witty and good fun and full of charm"
 The Times
"lively and attractive mix of styles done with a lightness of touch"
 The
Herald
"full of lovely witty touches"
 Sunday Herald
"a darkly comical and quirky show for those who like their dance fast, fresh
and very contemporary"
 Scotland on Sunday

"Company Chordelia are not scared to make dance funny"
Scotland on Sunday
 " a tongue-in-cheek caper about girl-power on the dance floor ... great
 fun"
 The Herald
 "a sassy bit of fun ... this is a dance show with balls - glitterballs that
 is"
 Sunday Herald
 "It's certainly a good dance night out"
 Edinburgh Guide
 "brings together positive energy and social commentary"
 The Guardian
 Guide
 "Injecting the art form with fun, energy and character"
 Evening News
 "fun dance programme full of inventions and humour"
 Edinburgh Guide

Audience Feedback
Red Shoes 2007

"Perceptive, unique and utterly brilliant. Bravo!"
"Loved it, different! Loads of ideas, well done."
"Brilliant. Some wonderful metaphors."
"Humourous and exciting, very enjoyable!!!"
 "Spectacular performance"
 "Really enjoyed it! Lovely work"
 "Very enjoyable!! Different for sure!"
"Intriguing and innovative"

I felt that these reviews echoed the thoughts I had in this performance, in
which the production values were excellent.

The venue would have to able to accommodate the precise and effective
flying requirements. (Mid scale theatres)

Name of Company
Show The Queef of terence
Genre : Comedy
Venue: Pleasance
Audience: 40
The Queef of Terence
PLEASANCE DOME (VENUE 23)

OLIVIA Poulet and Sarah Solemani do their utmost to eke out the laughs in
this strangely- monikered show, which takes the form of a pilot for a morning
chat show with a restoration comedy slant (not that old chestnut again...) But
their fine comic acting and silly powdered wigs cannot disguise the
underwhelming material.
Review by Gerald Berkowitz. Published Monday 6 August 2007

The Queef of Terence

PLEASANCE DOME, EDINBURGH
This three-hander comedy is built on a clever if fragile conceit, that two totally
unqualified women could get a TV chat show and proceed to foul up every
aspect of the job, from celebrity interview through consumer advice spot to
supporting a worthy cause. But the limits of the concept become apparent as
what might have made a passable five-minute revue sketch is extended far
too long, and indeed it is at five minutes that the first audience walkouts begin.
The two actresses are unable to develop any significant variations on the
single basic gag, and the piece is stretched to 45 minutes by extending every
individual bit far beyond its comic potential, with the sequence in which the
women can‟t comprehend a guest‟s simple financial advice proving
particularly painful to sit through.
These reviews summarise the quality of a sometimes amusing but essentially
weak set of repetitive comic sketches.
Name of Company                  Show Shoo Shoo Baby

Genre Cabaret/Comedy
Venue: Gilded Ballooon Teviot venue 14
Audience: 50
SHOO SHOO BABY - NEVER UNDERDRESSED!
GILDED BALLOON TEVIOT (VENUE 14)

TANYA and Anna, with their long-suffering pianist Michael, are preparing their
show for the opening of the 2008 Peking - sorry, Beijing - Olympics,
representing the People's Republic of Shoo Shoo Baby.
Dressed in post-Mikado Oriental finery complete with extravagant parasol
hats, they are unsure about who invited them (was it Mao?) and of current
Chinese (or is it Japanese?) realities, but they sing their way through an
eclectic selection of largely unknown yet captivating songs on a loose oriental
theme.
From Kurt Weill and Cy Coleman to Puccini and Meat Loaf, the musical reach
is wide, even allowing them to yodel.
This is a tight, clever and totally enjoyable show. At one level it's just two
fabulous singer-actresses and their "impossibly good-looking" pianist having a
fun, tongue-in-cheek time, revealing personalities and eccentricities on the
way.
On another it's a silly story that allows exploration of personal illusions and
delusions and the ways they are dealt with that enables friendship to survive.
What sets the Shoo Shoo Baby duo apart from many cabaret acts is their
musical wit. In superb harmony, they subtly juxtapose songs such as Big
Spender and I Wanna Be Loved By You so they comment playfully on each
other.
And while the show is obviously a hilarious spoof, you get the feeling that
these women reveal their true selves during a performance which is sheer
delight.

However, as comedy does, it missed my humour and I felt there were some
awful moments. I thought the production values were dreadful and
embarrassing but I recognise they are valued and have gained great reviews
and made a lot of parties go with a fizz and a bang.

Name of Company Au Cul Du Lop
Show Score
Genre Dance
Venue: Aurora Nova
Audience: 400
Fringe First and Herald Angel winners in 2002 with the highly acclaimed
Mousson, French company Au Cul du Loup is back with another stunning
piece of physical and musical theatre that once again defies description.

As soon as they step onto the stage, the six performers take the audience on
a brilliantly humorous and enchanting journey through the world of competitive
sports – from whistling skiers to buzzing tennis players, sticky-taped wrestlers
to arrogant jockeys. And just like at the Olympic Games, expect a lot of
drama!

Inventing new sports, adapting others, tracing the event of competition, the
event of theatre … a ballet of objects, figurative and abstract, all create
sounds … SCORE (Terre d’Arène) is a rhythmic tone poem surfing across
music that is at once concrete, minimalist and choral.
For the past five years Au Cul du Loup has been working on the relationship
between movement and sound, the former provoking the latter through the
objects that we create. So the idea of investigating and re-investing dynamic
places like the boxing ring, the sports arena or even the chess board seemed
a natural and rich environment for staging some musical jousting!
Aurora Nova website


ASSEMBLY AURORA NOVA (VENUE 8)

THE humour in Score is reminiscent of Marmite - you'll either love it or hate it.
French company Au Cul du Loup have taken the world of sport and turned it
into an artistic endeavour. Using no small amount of ingenuity, the company
has fashioned a plethora of sporting instruments - tennis rackets, skis,
wrestling suits - each of which makes an unusual noise.

The equipment is then ridden, thrown or strapped on to the performers, and
away they go. Whether you find this funny or not is a matter of personal taste.
It left me cold, but there was no shortage of laughter in Aurora Nova. That
said, it would be hard not to raise a smile at the sight of two gaffer-taped
wrestlers, hurling themselves at each other and sticking noisily.

Similarly, the show's closing moments prove why this company plays to sell-
out crowds. With a simple piece of rope they throw stunning light shapes into
the air - no funny faces, just mesmerising beauty.

KELLY APTER

I enjoyed it and imagine that it would be very well received at somewhere like
Salisbury Festival by less experienced dance audiences in a large dark tent.

Name of Company                 Show     Rhona Cameron
Genre Stand -up

Venue: Gilded balloon
Audience: 200 35-70yr olds

A high-energy rant about being a lesbian.
A grumpy 41 year old angst about technology, nuts and some good
observations about her mother‟s generation but not resolved or consistent.

Although very energetic the show lacked sympathy or empathy.
It seemed a very urban perspective and I would not book her for
my audiences.
Minimal production values

Name of Company                       Show Love‟s Labour Won
Rogue Shakespeare Company
Genre Original Verse Comedy
Venue: Underbelly
Audience: 130
...a romp with serious undertones... but it‟s not just pastiche: Smith takes
these ingredients and makes them his own, knowingly winking in
Shakespeare‟s direction all the time. It‟s great fun – well worth seeing. And in
fact is doing very good business: there are not many Fringe productions which
are pulling the size of audience this is.”
British Theatre Guide (2006)

 “Ryan J-W Smith is often described as a “Shakespearean Verse-style
playwright”. He writes in Iambic Pentameter (and more) and, his writing is
astonishing. Witty, funny, dramatic in a way that makes you think he has the
Old Bard‟s brain in a jar and is using electricity in an illegal and shady
manner. The verse is a delight and don‟t go thinking he is copying the style for
its own sake. Smith makes it all his own and gives it all a modern twist. This is
a tale of love lost and love won, in classic style with enough irony and satire to
keep you smiling and engaged. ...all the ingredients of a marvellous hour of
entertainment. As a writer, Smith is one to watch. As a show, you‟ll thoroughly
enjoy yourselves.
Fringe Review (2006)

I went to see this because of these reviews but found it just awful and left after
40 mins. It seemed to be an overblown parody, a piece of „Shakespearean‟
self-indulgence and the
Production values were dreadful.
Not suitable touring in SW rural venues.

Name of Company         Show Lemons are for Emergencies Only
Genre Stand –One Woman drama
Venue: Gilded Balloon
Audience: 50
Claire Titelman's solo piece is a semi-existentialist jaunt through the mind of a
young woman trapped in a kitchen of deviled eggs and fatal birthday
memories, awaiting a saviour wearing a chiffon party dress.
'Known for her role as Mandy on the TV show 'Veronica Mars', Titelman gives
a haunting and powerful performance.. As fun as it is bizarre' LA Weekly
'.. Unsettling, funny and ultimately fascinating.. This is as unique and
surprising a piece of work as your likely to see anywhere.. She does it
brilliantly' Entertainment Today
www.lemonsareforemergenciesonly.com

Not Suitable for Children

13+ only

CLAIRE BLACK
KOOKY is the best way to describe this slight but enjoyable one-woman
performance. A dramatic monologue focusing on a girl whose life has fallen to
pieces after an incident at a birthday party, it's quirky with some deft touches.

Against a backdrop of hyper-colour photographs of birthday cake, glossy roast
chicken and plate upon plate of devilled eggs ("egg eyes"), our heroine takes
us through her life - complete with Obsessive Compulsive Disorder routines -
eventually coming full circle to what has contributed to her mental breakdown.

Known from her role in TV's Veronica Mars, Claire Titelman's performance is
interesting; in a small space in Gilded Balloon, she fixes a few front-row
dwellers with her gaze, addressing them directly at times, and coolly controls
the pace and feel of the piece.

Looking like a watered-down Baby Jane, she's bedecked in pink frock and
sparkly hat, stuck in a permanent unseen party. There's nothing
groundbreaking in the writing (also by Titleman), but it's an entertaining,
darkly humorous tale of an American picket fence childhood gone wrong.


A well observed review, this was an excellent tiny set constructed by high
colour photographic panels of a kitchen filled with party food. Self contained
and sharply played.

It was a very intense and haunting subjective realism. This is a narrative of
loss and mental illness. The character is trapped in a childhood tragedy.

Not very suitable for rural touring, because of its darkness and brevity. Better
for a drama showcase in education for older students.
Production values excellent

Name of Company                  Show : Comedy Reserve
Genre 4 Stand ups – 15mins each
Venue: Pleasance
Audience: 60…
Raw and rude talents, developing talents but sometimes silly, obscene and
clumsy. Not very suitable for rural touring, because of offensive and immature
sexual references.
However,
Tomi Walamies Finnish humour very dry and particular surreal syle, good
observations, well delivered. It would be interesting to see how he performs in
SW England.

Name of Company Pip Utton         Show Chaplin
Based at the Merlin Theatre Frome
Genre Stand –One man drama
Venue: Pleasance Dome
Audience: 70
Review by William McEvoy. Published Monday 13 August 2007


Chaplin
PLEASANCE DOME, EDINBURGH
Pip Utton has an uncanny knack for transforming himself into the characters
he is playing. He did so brilliantly, by all accounts, with Adolf Hitler, and his
portrayal of Francis Bacon was astounding. This portrayal of Charlie Chaplin
is no exception. Before our eyes, he changes from an ageing old man into the
white-faced figure of cinema legend and real-life notoriety.

Utton’s qualities as an actor include tight control over his physicality and a firm
mastery of language and intonation. Here, he depicts a Chaplin in his twilight
years, looking back on his past, taxed by the fact that everyone remembers
the bowler-hatted clown but has forgotten the real man behind the mask. This
is something of a contradiction within the terms of the play, since as an
audience we are also accused of not being interested in the old silent movie
stars anymore in a rather jarring modern aside.

Intercut with black and white silent movie images, this is strong work but not
Utton’s best, for a number of reasons. The text simply does not have enough
substance to it, and the figure of Chaplin that emerges is not as multi-layered
as you might expect. The transitions between Charles the man and Chaplin
the clown are not handled fluidly, nor are the film images comical or
coordinated enough. There is too much narrative and factual information and
not quite enough of Utton’s acting.
I agree with this reviewer, in that Utton provides challenging and thoughtful
theatre that would engage our audiences but I would like to discuss with him
how a really satisfying combination of film and stage could be integrated to
create a great 100 min event. It was an effective tiny set using a few curtains
props and some projection. Self contained and sharply played

An intense and intelligent retrospection upon the life of Chaplin and his
creator, now in exile, despair and anger.
This is a narrative of loss and mental confusion. The character is trapped in
his memories and celebrity construction.

Very suitable for rural touring.
Production values were generally good, sometimes excellent

Name of Company               Show Carry on Shappi
Shappi Khorsandi
Genre Stand up/Sit down
Venue: Pleasance
Audience: 80
An excellent performance & by someone 8.8months pregnant.
Acute observations of own her Iranian/British background, including bright
insights into her mother and father‟s generation.
Very energetic, I hope she gains a wider audience, I believe she will be even
funnier as a mother and could grow into a strong and well loved voice for
contemporary Britain.
Production values good very appropriate.

Name of Company           Show Camille
Genre Cabaret
Venue: Spielgarden
Audience: 500 35-70yr old
Camille
SUE WILSON
SPIEGEL GARDEN (VENUE 87)

LIKE a cross between Sally Bowles, Patti Smith and PJ Harvey, French-Irish
chanteuse Camille O' Sullivan is a true cabaret diva for the 21st century.

Vampishly clad in black and scarlet, topped with a tiny net veil (until she
teasingly unpins her hair halfway through the set), she certainly looks the part,
and positively oozes seductive charisma, meanwhile unleashing a vocal
performance of sensational power and brilliant theatricality.

It should be emphasised that this isn't the light, witty, Champagne-cocktail
style of cabaret - more the type you might find in an absinthe bar. Jacques
Brel and Nick Cave top Camille's list of favourite songwriters, featured
prominently here among others attracted to the murky netherworld of death,
depravity, desire, corrupted innocence and dark nights of the soul. After
opening with a brooding, compellingly strung-out version of Cave's God is in
the House, she lets rip with a searing, ferocious take on Lou Reed's Waves of
Fear, delivering its refrain - "I must be in hell" - as an elemental scream. "As
you'll gather," she goes on to purr, "I'm going to be up to no good this
evening."

Even greater heights (or depths) of anguish and rage are reached, if possible,
when she lays into the brutal, whore's-eye-view diatribe of Next, by Virgin
Prunes founder Gavin Friday, backed by a slashing, punkish travesty of a
military march from her excellent five-piece band. Less overtly savage, but no
less dangerous, is the mounting venom with which she imbues Cave's The
Mercy Seat, or the unstinting bleakness of Tom Waits's Misery is the River of
the World.

There are lighter moments, too - including a superb reprise of Bette Midler's In
These Shoes? - and quieter ones, among them Brel's Chanson des Vieux
Amants, delivered with bittersweet starkness over minimal piano and clarinet
accompaniment, and a piercingly desolate arrangement of Dillie Keane's Look
Mummy, No Hands. Packing more drama into an hour than most theatre
companies, this is a stunning tour de force from a performer surely destined to
be a major star.
This was a superb theatrical cabaret artist, great storytelling and singing,
audience delighted. I guess she will continue on her global tour to greet more
sold out audiences.

Name of Company Giles Ramsay                    Show Callate
Genre Comedy –Physical Theatre
Venue: Assembly George St
Audience: No. 60…
This production came with a great range of international sponsorship and
support and was described as..”Hilarious, a complete delight”
However, it did not touch my funny bone and I found it very silly and clumsy.
This was not very suitable for rural touring, because of the constant repetitive
offensive and immature sexual and racial references.
I could find no sympathy with the characters or story. It has deliberate poor
production values

Name of Company                 Show Alyssa kyria
Genre Stand Up Comedy
Venue: 38
Audience: 50

Alyssa Kyria: (In)famous For 5 Minutes!
COMEDY
By Zofia Niemtus - Thursday, August 23, 2007

Whether she's playing an American stripper, nymphomaniac tennis toff or
bitter wedding crasher, Alyssa Kyria is never less than totally engaging. And
with character comedy so often walking a fine line between passable
amusement and utter tosh, her new show is an unexpected treat.

For an unapologetically lady-centric hour, she sticks fitness crazes, sex toys
and celebrity culture under the comedy microscope, ruthlessly dissecting the
lot. The aforementioned posh bird is frighteningly accurate, and a dinner date
with an array of vibrating buddies – set to the soulful strains of Roberta
Flack's Tonight I Celebrate My Love – is mildly ridiculous but enjoyable.

Kyria's finest creation by far, though, is Greek WAG-turned-author, Ariadne.
After urging the audience not to be jealous of her immense beauty, power and
wealth, she breaks out the megastar anecdotes with bang-on analysis of Paul
McCartney's love life and Jordan's parenting skills. To make the characters
shine more brightly, however, Kyria could do with a more subtly played
assistant than the one she's currently got.

This was a strident show of comedy that was loved or hated by reviewers. It
was centred on the mainstream media/urban experience and you needed to
be in with pop magazine/tabloid commentary to catch all the references. This
was probably not suitable for rural touring. Good fun in a rowdy rural pub
though.
Name of Company            Show : I‟m a Lab rat Get Me out of here.
Tictek Productions
Genre New writing /Drama
Venue C SoCo
Audience 90
Well written, well directed and well acted on the whole.
An Oxford University student production that revealed a range of potential
talents.
The drama, set in a studio, or is it a lab? Explores the possible manipulation
of „reality TV‟. It is a good idea that could be extended into even more violent
outcomes.

It sat well with Jeremy Paxman‟s Festival lecture and question.
Just what is television for ?

This play asked the same question by our contemporary undergraduates.

Edinburgh show reports- Peter Gregory

Tom Tom Club-

A high energy mix of circus, acrobatics, aerial , break-dance and human beat box- set
to music / mixing by a live DJ. Unashamedly high energy show that took great
delight in getting the youthful audience involved, shouting and hollering. Great skills,
thoroughly enjoyable and went down a storm – the performers are the product of
Australia’s fruit fly circus.
8/10


Vortiger’s Kingdom- Shakey Theatre

Swansea based Shakey Theatre present a mix of old Welsh myths and tales told
through part narration and acted out. This 4 handed show works in parts and is
competently done though let down by some average acting in parts and predictability
of script.
6/10

La French Touch-Paris Spectacle

Not something I’d normally expect to like this show features 3 fine musicians and
Isabelle George, comic cabaret singer who has a great voice and is instantly watch
able. Her passion and enjoyment come across and you can’t fail to enjoy this musical
review of her life so far. Very much what it says on the tin this is a theatrical cabaret
review but done with class , style and a sense of fun.
8/10

Low Life- Blind Summit Theatre
Storming puppetry this show features sketches inspired by the stories and poems of
Charles Bukowski, American chronicler of low life. Set in a dead end bar where
puppets and puppeteers hang out Blind Summit make puppetry adult, watch able and
hugely enjoyable. Every movement and action seems to have value and meaning and
the sketches vary between sad and haunting to supremely funny.
I loved this- though difficult to sell unless you have an audience who want or are used
t something a bit different.
The blue man sketch is a classic.
9/10

The One Tree- Atomic 80 Productions
3 hander children’s show that fails to deliver on many counts. Once again a story that
may work in a book but its not enough to just have a puppet and narrate/act it out.
Kids shows can be so much more and this is lacking many of those elements that
separate great shows from the average.
4/10

The Man Who Planted Trees- Puppet State Theatre Company

A delight full piece of family theatre based on the story of a French man who spent
his life planting trees eventually creating a huge forest and regenerating an area.
2 hander that is simple yet beautifully performed at a very relaxed pace that gives it a
unique charm. Loved by both the adults and kids in the full house and loads of rave
reviews- and the puppet dog absolutely steals the show.
Book it now
9/10

Coast to Coast -Hard Graft

2 hander autobiographical stand up based on the performers walk from Bangor to the
East coast of England. The premise is a nice one that they had to trade performances
for food and accommodation. I had high hopes of this and had recommended several
halls and potential stops to the company before they embarked on the walk.
Ultimately it was a show that disappointed-not funny enough for pure stand up, not
enough meat for a theatre show and once they resorted the age old line about Wales
and sheep………
5/10

The Terrible Infants -Les Enfants Terribles

Twisted tales of Tum, Tilly, Thingummy boy and friends- presented through a great
mix of puppetry, theatre, music and performance- looks great, well performed, works
on numerous levels- as its funny and slightly dark. A winner with children and adults
in the audience who loved it- as did I.
Work well in theatres.

Chase up -
8/10
Story of a Rabbit- Hugh Hughes

After loving floating last year I was expecting great things and was ultimately
disappointed as this just seemed like a poorer version of the same, just not as funny or
engaging. Went down well, and still think Wales needs to get Floating here on tour.
7/10


Astronomy For Insect- Black Sky White

Russian company that create an atmospheric, weird, exhilarating, terrifying, stunning,
perplexing- the list goes on-show This Russian company create an almost nightmare
scenario of sound and movement that looks stunning and defies description. Required
viewing for anyone doing a theatre course but for me it went on too long and
ultimately I started to switch off (or was that the product of seeing my 6th show of the
day at midnight). Really glad I have seen it – just not your regular sort of programme.
7/10

Into The Hood
Large scale feel good break-dance piece that was a huge success with the large
audience.
Based on up dated version of the fairytales our two children wander into the hood
and meet various dubious characters on the way. Narrated by a voice over with an
animated back drop this features big scale street dance routines and good skill levels
from the young cast of 15-20.
For me a bit simple and predictable and have seen better dancing but I was definitely
in the minority- loved by young and old in the audience and reaches that teen market.
7/10

Billy & The Bwca- Living Theatre Company

Having got a good 4* review in the Scotsman I expected better and was disappointed
with this Welsh based companies children’s story that failed to deliver for me on
several levels.
The story was weak and predictable, dialogue poor and once again- lets have a puppet
and it’ll be ok !!!! No you won’t we have to care- you have to manipulate it well
……
For me no real atmosphere or connection mean this did not transfer onto the stage and
the actors found it hard to bring the weak characters to life.
4/10

Miracle in Rwanda-Leslie Lewis Stafford

Well performed one woman drama about the Genocide in Rwanda told from the
perspective of Immacule Llibagiza who was forced to hide for months in a tiny room
with many others and how faith in God led to forgiving her families killers. Well
performed and moving for me it did lack a bit of an edge as a piece of drama but was
well received by 99% over 50 female audience in attendance.
7/10
Insect Circus-

I was disappointed with this show- which is based on a beautiful idea (and truck
installation/art work) of an insect circus in the traditional old fashioned circus style. It
just didn’t translate onto stage for me as the skill level was low and characters weak-
especially the ring master who needs to hold the whole show together. Having said
that there is a real charm and beauty t the whole set up- old fashioned tent, look and
feel all beautifully done and the audience were obviously up for having a good time
and enjoying the fun
6.5/10




Emergence-see Danielle Beaty

One man play about the day a slave ship rises out of the river in front of the Statue of
Liberty. This was witty, moving and brilliantly performed by Danielle Beaty who
plays at least 30 characters seamlessly moving from one to the next. Very much a
journey through black New York characters exploring what it means to be free. Great
well worth booking- but he is based in USA
8.5/10

The Honeymoon Suite- Mikelangelo & Undine Fransesca

Occasionally at Edinburgh you find yourself in a late night cabaret club and you get
to see some weird and wonderful things. This was one of those- and I’m still not sure
how you come up with ideas like this. A transcontinental rock ‘n roll tour of hotel
honeymoon suites from behind the Iron Curtain. Cabaret Noire sums it up well- well
performed with an intensity and dark humor it was like Elvis meets Morticia from the
Adams family- but don’t forget the Eastern European accents.
Starnge, dark and Intensely watchable- but did I enjoy it – I’m still not sure!

7/10

Orkestra Del Sol-
Edinburgh’s own brass band present a great musical carnival mix of tango, waltzes
and polkas from around the world. Great fun- get up and dance music from this
15plus line up who looked to be having as much fun as the audience. 7/10

The Beauty Of Science –Visualise

A mix of live science demonstrations, projections and music this Cardiff based duo
have a show that has some great moments and is not that far from crossing the bridge
between performance and science.
It makes no bones that it is a science display but there is nice interaction between the
two presenters on stage and some great effects to inspire and get you interested. Be
interesting to see how this develops as they are off on a British Council tour to a
variety of destinations abroad.
6/10 but has promise.

								
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