VIEWS: 7 PAGES: 15 POSTED ON: 8/11/2011
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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