Category Archives: Festivals

Review: Vexations, Marina Abramović & Igor Levit, Multitudes Festival, Southbank Centre, By Hannah Goslin

 out of 5 stars (4 / 5)

What a privilege it is to be able to see Marina Abramović’s work so often in the current day. Being brought up studying her performance art pieces, over the years, Abramović seems to be creating more and more work in London and each one new and as fascinating as the next and I feel lucky to be able to see them first hand and continue to be inspired.

As part of the Multitudes Festival, she has joined with pianist Igor Levit to combine classical music and her quintessential durational work to create a performance across 20 hours. The options to come in and out throughout these 20 hours or find yourself with a 1 hour slot in itself delivers a unique experience for each audience member and the feat of the art is, not only what Abramović is famous for, her bread and butter, but still managing to be something new and exciting.

Vexations is based on a one page score of its namesake. While simplistic on paper, the score is ordered to repeat multiple times and throughout the 20 hours, Levit does just that. But it changes; the tempo, the tone, the volume, the intention, it is somehow different every time and even in a 1 hour slot, it lulls you, surprises you, creates a dreamlike state and shocks you. You find each iteration to be new in some way and never the same as the previous. Levit first performed this over live stream during the Covid lockdown, with an aim to comment on the experience of all but especially the hardships of artists at the time. There certainly feels like a poignant commentary on this, and becomes relatable for everyone; who else remembers the days of doing the same things over and over, but those rare times of something new to break up those long years?

Front and centre, Levit is at his piano, tearing at sheets when a page is complete and throwing it in disarray on the stage, building and building over the hours. He approaches the music each time as if it is something new. By my slot, 7 hours have passed, and the endurance is clear and painful, with movement in his body, changes from sitting to standing, uncomfortable and becoming stiff, an almost madness in his eyes but also something playful alongside it. Untouched snacks are provided to satiate but he never reaches for them. He does however abruptly break, a strange moment when looking around the auditorium, while he goes to the toilet or grabs some food, that the durational audience members treat this as some kind of break, to check their phones or break themselves; almost like a unwritten interval. Watching Levit himself, while directly or through the huge mirror above, looking down like a topsy-turvy world, is intoxicating and strangely, the music at no point becomes unbearable or monotonous.

To accompany him, the black and white tiled stage is littered with well placed seating and audience members, chosen to sit and basque in the performance, eyes closed and in the moment. This is facilitated by two performers who move around with strong intent but at glacial speeds and no emotion. It is somewhat frightening but also calming at the same time. A wave of adrenaline as they come to the audience, breaking the fourth wall, will I be next? Another wave of disappointment (or maybe relief) when you’re not. But there’s also a tenderness in the blank faces and a sense of care by how they move and how they handle the audience members. It feels like a less aggressive selection process for a school sports team, or like becoming a “chosen one” from a crowd, being brought through a wall or veil we cannot see, highlighted by the preparation of shoe removal before stepping on the tiles. And watching this movement also lulls you, it is fascinating, and you can’t quite take your eyes off the performers or how the audience interact – some accept their fate, some are excited, one begins to move almost as if they have been replaced by the performer and copies her when he is released back to his seat, still in this trance-like state. One poor chap, with a wristband to show he is a durational audience member and therefore been here a while, suddenly loses all sense of his body, the performer still in a glacial but sped up way, not breaking character, rushing to him before he falls. He himself seems to have been pushed into a trance, and likely in need of water and nourishment, it is an occurrence that shows the impact it not only has on the audience but the sheer strength of the performers and Levit during these 20 hours.

And while touched upon already, there is a third performer – us. Or more specifically, those (in my opinion, lucky enough) to have been able to be there for the full day. What interesting experiences must they have had over that time, visually and also within themselves. I looked around and they themselves had become part of the performance – comfortable clothing, bobbing along to the music as if at a rock concert, cushions and blankets as if camped out to be the first in line at a festival or to get tickets, their seats marked by coffee cups or their bags on their chosen breaks. It was a social study that they were unaware they were part of and it only added to the essence of this performance.

Vexations certainly brings a new and interesting approach to the intention of the Multitudes festival. Breaking all the rules, it encompasses the whole room, physically and mentally, creating a unique experience and feeling but also an unusual and one of a kind pocket universe through song and physical art.

Review: Daphnis and Chloe, London Philharmonic Orchestra & Circa, Multitudes Festival, Southbank Centre, by Hannah Goslin

 out of 5 stars (4 / 5)

Kicking off the Multitudes festival, a festival that aims to celebrate the collaboration between classical music and other art forms, London Philharmonic Orchestra and circus troupe, Circa explodes in the Royal Festival Hall.

While the concept feels unsurprising and a good fit with one another, the actual viewing of such a spectacle is awe-inspiring and exciting.

Written for and with inspiration from dance, Daphnis and Chloe depicts the story of young love, with star-crossed lovers, a kidnapping by pirates and ultimate earthquake triggered by the rescue, eventually joining the lovers together again. This is followed by a secondary piece, La Valse, created in a time of war, depicting a society of chaos and on the verge of collapse.

The orchestra is on stage for the entirety of this performance. A quick intro by the head of music at Southbank Centre, we are reminded that, a tradition physical performance, such as circus or dance, would see a moment of applaud between pieces or at moments of monumental feats, but we are asked to hold our excitement to the end to also take in the orchestra and their equal part in this. In practicality, this is somewhat hard. A classical music novice, and clearly not the only one, a small break and an actual standing up of the orchestra and point to the accompanying choir prompts a response and so when the performers come back and the music drums back up, only then we know we are not finished. Not the end of the world but a strange sensation none the less. However, there is something lovely and refreshing to not hear an applaud each time the circus perform a death-defying stunt, while not silencing a strong, short inhale, and it gave a platform to take in the whole performance.

Despite this confusion, which is minimal in comparison to the event, the room is filled with the sounds of a typical orchestra. It reminded me how I wish to visit more classical music concerts, while with little knowledge of what to see exactly, as the live music aspect gives you a special tingle from the talent demonstrated and the beauty. As mentioned before, a choir accompanies, high in the seating to the right. Their gentle standing up for appropriate moments to join in with their choral harmonies brings a multitude of feelings, from excitement to sinister atmosphere, accompanying and competing in equal measures with the ever changing tone and range of the orchestra.

While we are unable to miss the orchestra, we are somewhat distracted by Circa. A small strip at the front of the stage is their platform, working linear and occasionally branching to the backing levels of the auditorium behind the orchestra. The feats are incredible, reaching heights using one another’s strength and contortion, it is visually beautiful and provoking of audible gasps. The amazement in itself coming from the small space they easily and effortlessly work in, compared to traditional circus tents or large vacant space. There’s a want, after the starting speech, to try and give attention to the orchestra and the choir, but it’s difficult to look at their “performance” when visually, the area is brimming with both them and the circus performers. However, you are trusting on your ears and the piece never misses a moment where all elements fit together seamlessly.

Daphnis and Chloe gels the different platforms of classical music and circus with ease and beautifully. Does it feel like a breakthrough in the arts? Not really, but you can’t help but love the collaboration and that it paves the way for more live music and preformative art forms to go back to traditional roots and bring them to the modern world.

Review, From Holyrood to Hollywood, Lawrence Chaney, Ed Fringe, By Hannah Goslin

 out of 5 stars (4 / 5)

Ru Paul’s Drag Race has skyrocketed through society in the last couple of years, bringing out new Queens every year and from, almost, every country. As one of the OG fans, its been a wild ride to see this trajectory, but also wonderful to see the UK represented. And well represented it is, with artists such as Lawrence Chaney.

A young, scottish Queen, Chaney jumped onto our screens and stole our hearts. In their early 20’s at the time, it was astonishing for us to see someone so well curated and with their drag act essentially down. No wonder they became the Queen of the season.

I have only seen Chaney once, on the UK Huns Tour, and in an old nightclub from my youth. The focus was very much on the UK Huns song, and lipsyncing from all the girl group. There were elements of stand up from Chaney, but not enough to really see the charm they showed on the show.

From Holyrood to Hollywood takes us, post Drag Race, across Chaney’s life since, from fame to their personal life, to the show the night before with questionable audience members. It’s a laugh a minute, despite Chaney’s failing voice, peppered with lip syncs, specially sliced together with verbal snippets, adding so many levels of comedy to the performance.

Chaney is a true comedian, taking on the audience when they go rogue, quick witted and fast with the jokes and come backs. They are very comfortable on stage, and treats us as if we have known one another for a long time. A big space feels intimate, and as if this show is only for us. They are also crude, rude, with no barriers and not a moment of holding back. They are for sure a comedian who isn’t afraid to offend, but somehow does it in a lovely, personable way. And not to mention, they are fabulous, in thier chic purple air stewardess get up.

Drag Race fans will eventually be absolutely delighted, when they bring out their winning sceptre to finish off the show. We get to re-live the crowning moment and, after some time feeling as if we have had a lovely chin-wag, we feel personally very proud of our purple Queen.

Lawrence Chaney, From Holyrood to Hollywood is every Drag Queen Comedian lovers dream, with a sense of intimacy in amongst the rude jokes and quality lip syncing.

Review, The Ghost Tours Bus Edinburgh, Ed Fringe, By Hannah Goslin

 out of 5 stars (2 / 5)

Noted as one of the most haunted cities in the UK, and a stone throw from the notorious Greyfriars Kirkyard Cemetary, Ed Fringe regulars would have seen the Ghost Tours Bus parked up and taking visitors on a spooky ride through the city.

I’ve always wanted to go on the bus tour, but never found the time to squeeze it in. But, with it being fringe, press tickets were available and, as it is conducted by trained actors, it felt apt to take part.

Joining, coincidentally, at just outside the Frankenstein pub, we are admitted to an old bus that has been kitted out inside with tables and seats, velvet curtains, old lamps, reflecting gothic culture and old horror films. It is plush and feels like taking part in a seance. However, the initial induction was in want: we are greeted by our tour guide, dressed ghostly but who did not seem to want to engage with us. Taking our tickets however, was an man dressed in an ordinary manner, breaking the illusion quite instantly. It was a real shame to have this initial introduction and likely impacted how the rest of the tour felt.

Throughout the journey, there are snippets pointed out to us, of mass grave sites and places where reported ghost sightings have been. These are sometimes elaborated upon, others not. The ones that are are very interesting, but others that would seem likely stories visitors would be more interested in e.g. the ghosts of the castle, are merely commented on existing and swept over, leaving us wanting a lot more.

We have the opportunity to jump off at the oldest graveyard, which did have this spooky feel and started to get your hopes back up of returning to the good ol ghost tour. Sadly, however, our tour guide of the day, while following his script in both spooky facts and the story line, often broke character to bring his own commentary such as a dislike of Ed Fringe, a moment of warning to not venturing a certain way in the graveyard due to thefts resulting in his shouting at the tourist who didn’t listen, and commentary on the traffic. Again, it sadly broke the magic slightly and, perhaps he was just having a bad day, but did not seem relevant information or part of the experience at times.

Throughout, we are introduced to a story line of a supposed ghost lady who slowly breaks down the bus. We are introduced vocally to the driver, an alcoholic ex-prison inmate, and this gave an interesting element to our story. We’re told the bus once carried bodies, we end up in an exorcism, and there are plenty of jump scares through speakers and the screens. Myself as a complete wimp was jumping at all of this, but only proved its sufficiency in this way.

Overall, the Ghost Tours Bus is certainly an experience and a novel way to explore a haunted city such as Edinburgh, after you have done the traditional sightseeing. It adds another element to its past, and the experience is something for all horror lovers. It just happened that this particular tour had many moments of the illusion broken and felt slightly disappointing when so much has clearly been put into the aesthetics and planning.

Review, 5 Mistakes That Changed History, Paul Coulter, Ed Fringe, By Hannah Goslin

 out of 5 stars (3 / 5)

If you’re part of the generation who was informed by Horrible Histories books and later the television show (let’s be honest, it was on CBBC but was purely for us adults) then you grew up with a sense of history not being the stuffy, serious topic and actually one of comedy.

Out of this, podcasts such as You’re Dead to Me and Oh What A Time have developed, and now there is much more appreciation of history and the comical aspects of times gone by. We are also a species who love to know “what if” – what would have happened if that event did or did not happen? Paul Coulter takes us on this journey, spanning decades and lifetimes, to tell us about just 5 Mistakes that Changed History.

We are swung from Alexander The Great, all the way up to Churchill in this lecture meets stand up comedy show. Performed in what actually looks like an old coliseum style lecture hall, Coulter uses multi-media, referencing modern elements such as memes and his own childhood to reflect and relate these ancient tales to us, a modern audience. This has this structured pattern, seen in many solo stand up performances, and is used well to create extra elements of comedy, separate to those from the story alone.

Perhaps it was the choice of venue, but it did in fact feel like a lecture, with a professor who was trying to engage his students. It had its comical moments, but more in an astonished way, mostly at the stupidity of the past. It was of course informative and educational, and as a history lover, I did in fact enjoy it immensely… but as a piece of theatre or stand up? It felt that this could be a loose connection.

5 Mistakes that Changed History is educational, fun and a great modern approach to bringing history to the masses. However, adding this into a comedy or theatrical genre felt slightly tenuous, no matter how entertaining it was.

Review, Crying Shame, Sweet Beef, Pleasance Dome, Ed Fringe, By Hannah Goslin

 out of 5 stars (3 / 5)

As life goes on, it is becoming clearer that society is becoming lonelier, mental health is on the downward track, and its affecting the young and the queer community in a disastrous way.

Sweet Beef, with their show, Crying Shame, aims to bring this epidemic to light, using verbatim interviews mixed in an unreal cabaret, where we are reminded that, while we may be suffering, we are not alone.

While this sounds intense and deep, there are elements of comedy within, in a little bit of a bittersweet way. The characters are all clowns of some sort, with clown-like names, make up and crossed cabaret/circus outfits. They start out engaging us as any cabaret show: we have the compare, the introduction to different acts, they interact with us like friends and welcomed guests… but as time ticks on, it becomes more unhinged, the characters break down, it all goes wrong. There’s this philosophical approach to the production, almost starting with “putting on a smile” to engage us, but pushing us away as soon as things become too much and too real – it resonates, if not ambiguously.

The characters are each fully formed and so when they break, it is very clear that their clown facade has disappeared. However, some moments of chaos were almost too chaotic. Each breakdown seems to draw the other characters out and it becomes a little overwhelming, with competing voices and faces engaging you. The compare continues to keep peace until they themselves break and we get this beautiful moment of their reflection, of a slower and calmer analysis of loneliness. If there were more peppering of this, it would feel more poignant and not at a high energy level that felt a little hard to keep up with.

Crying Shame is visually beautiful, with a socio-political approach that is needed since the pandemic and in an ever downward spiral in our mental health system. It is an important and clever production, but needed a occasional change of pace to allow us to sit in our thoughts on the topic.

Review, Tit Swingers, Le Gasp! Productions, Pleasance Courtyard, Ed Fringe, By Hannah Goslin

 out of 5 stars (4 / 5)

The best thing about the Fringe are the hidden gems. It’s often rare and difficult to find, when the “hidden gems” get critical acclaim and become the talk of the festival. However, this production was certainly one that should have been picked up as a real gem.

Tit Swingers is a punk concert meets unapologetic history re-telling of notorious pirates of yonder time. Anne Bonney, Mary Read and Calico Jack (though he is only the pretty male face in the background) tell us the tales of their seven seas and ambiguous sexuality and how they became feared pirate women of history.

The stories are told through a combination of original sea shanties, punk music and stand up/story telling, with electric guitars, bass and a live drum kit. The songs are catchy, they are engaging and every essence of Punk. Instantly, I knew this was my kind of show. It was one of those “musicals” that you want the CD afterwards (and saying CD shows my age, wait until I ask for a cassette…).

The interaction between the three characters is faultless, comical and with a sexual tension that could be cut with a knife. There is a real “girl power” element, with Calico Jack, part of the story, but in the position of arm candy; a serious change to the social norm. They are all fun, powerful and, while there is clearly some script or guidelines to the narrative, it feels much like we are included in a tale spoken on the spot, with the characters bouncing off one another, ad-libbing and engaging us. Sadly, the performance I went to only had a handful of audience members, and those who were not the most confident in engagement and so this led to the occasional awkward pause, changing the atmosphere. Not a fault of the performers or the content, but it sadly created drops at times that were not deserved.

The story is also very educational; while it wouldn’t be advised to bring kids, for the language and sexual references, it did deliver a element of learning that I feel many would enjoy history more if told in this media. It’s modernised, with current language and slang, and the way that the performers deliver it has you listening to every word. Names I had heard of, but not really engaged with, I came away with brand new knowledge and more love of history, and pirates.

Tit Swingers is a golden nugget of the Fringe; music, sex, comedy and pirates … I’m not sure what else you would want from a show. But you definitely come away with something extra special as well.

Review, An Evening Without Kate Bush, Sarah-Louise Young, Ed Fringe, By Hannah Goslin

 out of 5 stars (4 / 5)

Everyone has a Kate Bush story. Whether you’re a big fan, have only ever heard her from Stranger Things, met her or know someone who knows someone who has met her. She is a staple of the 70’s and 80’s. So what’s the best thing to do with this love in 2024? Go and see a theatrical homage to the great.

This is not Kate Bush, this is without her and to some level, a love story to a childhood. Sarah-Louise Young is our Kate Bush, intimately telling us about growing up, with every element of comedy in her re-telling of wanting to wear spandex and the practice she has undertaken to move just like the great Kate.

The audience is full of those who love Kate, who have been dragged along, who have only heard a few songs, and we all collect together as Young brings us in with comical outfits, movements and “scenes” playing out Kate’s songs. She uses puppetry from a giant eye, to a mop, which weirdly still feels like something Kate Bush would do. But it brings it down from being a tribute act to something more avant garde and stylistic.

Young is very personable; she is in the audience, speaking with different people, bringing them on stage to party with her and we are all welcome in the room like old friends. She shares her love of Kate with us and so this barrier broken down between audience and performer helps us get on her train.

And it would be amiss to forget her phenomenal singing voice – while I’ve not seen anything else from Young, there’s a sense that, while you could close your eyes and swear Kate was in front of you, she effortlessly seems like a performer who is talented in changing her voice and still keeping the range and impact.

An Evening Without Kate Bush balances seamlessly the bridge between a tribute act and a fantastic piece of fringe theatre. With Kate Bush rarely in the public eye, Young’s talent is the closest you will get to a concert by the great moor dancing singer.

Review, N.Ormes, Assembly Roxy, Ed Fringe, By Hannah Goslin

 out of 5 stars (3 / 5)

One thing I felt I missed this year at Fringe was circus. Not that there wasn’t plenty to see but it was one of those years that it just didn’t come my way. So to be able to see this beautiful piece, N.Ormes was enough to satiate that thirst.

N.Ormes is by a circus duo who aim to break down pre-conceived ideas about bodies and gender. By subtle changes in costume, lighting and the swapping of “roles”, they conduct an acrobatic dance to show the extent to which the body can go, no matter the gender.

The piece is fully mute and so much of the story line and emotion is brought through facial expressions and gestures; we begin with the concept of their love, then the exhaustion of the relationship but as it continues, the physical strength between the two genders projected on stage shows an ever swapping support of one another, physically but also emotionally. There are moments of comedy, nothing laugh out loud, but a smirk or a chuckle on the ordinary interactions of two humans… while it happens mid-air is another matter, however.

The two conduct feats that you can only dream of; being pushed up high by feet, in a sitting position, to only come back to the unusual seat, a seemingly small woman able to lift a tall man by just her head and so much more – we know circus artists are super human but they cleverly do this in a way to juxtapose the norm of what we usually see in a circus show.

The production ends with subtle lighting on their bare torsos while they continue acrobatics and it is just beautiful. The bodies merge into one and we are just left with skin and muscle – no idea the gender or the person. It is quite poignant.

My only negative is that the production felt consistently at one note. I wanted there to be a bit where it sped up or got intense but it didn’t quite reach that change. But none the less, it was certainly art.

N.Ormes is a powerful display of physical exertion with all pre-conceived ideals and gender norms thrown out the window. I just wanted something to break up the steady pace they had set.

Review, Gwyneth Goes Skiing, Awkward Productions, Pleasance Courtyard, Ed Fringe, By Hannah Goslin

 out of 5 stars (3 / 5)

I’ll be honest – I had no idea about the Gwyneth Paltrow Ski incident. Maybe I’ve been under a rock. But in a way, this was a great introduction, with all the drama and opportunity to make the story even more theatrical.

If you are like me and been under a rock, Gwyneth Goes Skiing looks back, with artistic licence, at the recent court case between Gwyneth Paltrow and the ordinary member of the public, Terry Sanderson, after a collision in the Utah mountains. Awkward Productions have of course interpreted and hammed up this story for our entertainment.

I was introduced to Awkward Productions with Diana: The Untold and Untrue Story only a few months ago, coming out in stitches and with an appreciation for this company’s approach to theatre. Perhaps my expectations due to this were too high, as this particular show didn’t give me the same wow factor.

Compared to Diana, we see more from the company’s production and Joseph Martin’s portrayal of the ordinary man out of the spotlight was hilarious, with moments of ad lib executed perfectly and still in character. Linus Karp, our Gwyneth is also comical but the character felt too much like their Diana character, with the same narrative hooks, movements and gestures. Karp is a fantastic as a performer, but for me, there was just too much similarity between their two characters for me to be allowed to be taken over by the story line.

Like Diana, audience interaction is paramount and this is done really well, with multi-media use and a surprise in the audience choices. The audiences themselves also gave in fully and this made hiccups or narrative surprises very funny and added another level to the production.

While everything at Fringe is shorter, at just over an hour however, this show felt as if it needed just a bit more trimming. The start was delayed slightly by the sold out audience and therefore, while running over schedule anyway, it lead to a lot of quick dashes by the audience. And perhaps it was this atmosphere, but it felt as if our court scene took a while to reach its conclusion. It was a shame to feel this way and with it running over, it felt as if attention in the room was slightly lost.

Gwyneth Goes Skiing is every bit silly, camp and melodramatic. With a few tweaks, this could easily be up with Awkward Productions Diana: The Untold and Untrue story as a masterpiece of fringe theatre.