If you grew up studying drama in the UK, you will well know Metamorphosis. A surreal tale, it was always a good catalyst for teenage kids to develop their drama devising talents. And we have all heard of Kafka; but here is the crux, I knew little else of him apart from his name and writing of this story.
A juxtaposition of Kafka’s life versus his story, we dip in and out of the two, seeing similarities and just how much he threw himself into his writing. What could be a deep and troubling tale, is somehow lightened and emotive in the way musicals are by turning it into one. There are times of deep ballads and almost standing ovation worthy crescendos, but then there is also a song noting “F*** my life”. There is the perfect balance of comedy and deep feelings.
Throw in some puppetry and we see a popular trend of musicals meeting puppetry since Avenue Q. This isn’t the old children’s puppetry show and something about that innocence when the puppet is shouting obscenities is silly but also well done.
The singing is brilliant. Un-faltered and reverberating in this enclosed space, it hits deep and almost is too much for such a small room (in a good way). The performers are every ounce professional, making eye contact, engaging with us either indirectly or directly and fantastic at picking up on unplanned engagement. They bounce off one another without a foot wrong and it is not only entertaining but fun.
Kafka’s Metamorphosis: The Musical! With Puppets! is yet another new way to take on the well know story, bringing humour and elements of heartbreak while easily jumping and perfecting different unlikely theatrical elements. And for those like me who knew little of Kafka, it is entirely a learning experience of his life.
In the underworld, meets a post apocalyptic, sci fi existence, the unlikely friendship of Mary Queen of Scots and Elizabeth I meet, in a zombie/un-dead state along with Penthesilea and Valkyrie. This bizarre but fantastical story is every element thought provoking, chaotic and camp.
Stuck in limbo, these matriarchs have an almost symbiotic relationship – love and hate, dependant and independent, they touch upon history and pop culture to bring a discussion of appropriate rule within the patriarchy and modern world.
Our main Queens are drag artists, balding heads and darkened teeth, they are hammed up versions of historical portrayals with attention to detail such as the blood under Mary’s pearls. The two are opposites – appropriate in Scotland – Mary is in white and Elizabeth in black. Not only does this feel like a nod to Scotland but against the grain of the virginal Queen versus the evil Scottish usurper. Unsurprisingly from this, Elizabeth becomes wild and unruly, creating a juxtaposition of characters.
It is no surprise that the group are from Berlin and so the no holding back breaking of barriers, absurdity and level of camp fills every bit of the production and it is brilliant. However, there are elements that sometimes are either too complicated or wild that there are certainly gaps of understanding and loss on a British audience. Its crudeness again aims to shock and for the average audience, this works – the uneasy giggling amongst, but it is also Bouffon – shown in their garments and padding all the way to the taboo.
QUEENS encapsulates Berlin LGBTQI+ culture, with the crudeness of a drag show, meeting punk and thoughtful commentary on patriarchy, history and popular culture. A brilliant show but perhaps more of a knowledge of this culture is needed for audiences to alleviate the gaps in energy.
A tale as old as time… well… not quite in the Beauty and the Beast sense, but in a much more relatable, modern way.
Shotgunned is a rom-com meets coming of age story, where love is strong and intense, throwing in life changing events and eventually leading to the sense of “the one that got away”. It is equally heartbreaking and humourous, and follows the lost love story-lines we see more and more of; from 500 Days of Summer, One Day and David Nicholls’ other lost love book, Sweet Sorrow… this is a love story but not with its usual happy ending.
Ros and Dylan, intertwined already by their exes, meet at a party and in time fall in love, get pregnant, lose the baby and lose one another. With the use of blackouts, we jump forward and back in time, to see the happy times and then the breakdowns, mixing the timeline to keep us guessing. This is theatre and so keeping this non-linear is a good theatrical technique. However, the blackouts felt a little amateur and lost a bit of the theatricality for me. Maybe a song and light interlude or a clever exchange of props to slide into the next scene would give this some edge.
The performers have their A game on – like any fringe show, there are interruptions from late patrons and this doesn’t disturb them. Their connection feels natural and so the hard bits feel so much harder and the nice bits feel all the bit more light. You can’t help but get into their love. But there were times where I couldn’t quite gel with them as a couple and therefore [spoiler!] when they break up and never end up together, it isn’t as gut wrenching as it is meant to be. But you’re happy for them either way. It isn’t the acting nor is it the acting… but there’s something about these characters that just doesn’t hold you as a couple.
The writing is fantastic and helps with the bouncing of the characters, using moments of calling back to make you chuckle or gasp in recognition of a former conversation or comment. These are also used to go from positive to negative and visa versa, adding layers to the intimacy of these two characters.
Shotgunned is a lovely show. I really enjoyed it, with it feeling equal parts light and blue. Once further developed, this could be something that could really resonate with audiences.
Clowning. Bouffon. Alienation effect. Utter chaos and hilarity. Marlene Monteiro Freitas brings us 2+ hours of what would seem to be utter craziness on stage. But really, this is a very clever and interesting performance.
It isn’t everyone’s cup of tea. This is very clear when some leave at different points throughout and the lack of interval seems, at the beginning, overwhelming. But it is certainly one of those productions where you need to fully give over to the madness, and it is a lot of fun, evoking and interesting.
Taking inspiration from Euripides, The Bacchae, we see the performers fight between beauty and the grotesque; peace and noise; the search for the calm amongst the chaos. This is seen in the many bodies, all undertaking something different; sometimes repetitive, sometimes unusual, but rarely the same. These are injected quickly and without much preamble to new “scenes”, where focus changes between performers, but the others always still being in view or supporting.
There is a sense of “dance” and certainly performance art, with times of extreme repetition which, at first seems simple but really, the contortion of body and the movement requires a lot of strength and skill. It seems not a bead of sweat is broken and it is effortless, confirming the skills of the performers. Crude and often lewd suggestions, revelations and gestures take place, alongside a provocative and uncensored but also beautiful video of a woman giving birth, which is clever in not only bringing us in but also in pushing us away. There is an element of Brecht and the alienation effect in the narrative and it works to some extent for the traditional theatre goer. The ups and downs of the production, the ebbs and flows all work together to create something dynamic, grotesque and yet wildly entertaining and thought provoking.
Bacchae: Prelude to a Purge is a roller coaster from start to end; at times drawing you in and other times trying to force you away. It is comical and dark, provoking and sometimes just a little lovingly stupid.
A part promenade, part traditional black box, The Trials and Passions of Unfamous Women brings the past and the present in a clash of injustice.
Beginning the production, we are introduced to our guide, our jester who introduces the performance in a casual and relaxed way. This character has its own darkness and path and isn’t one to forget. We are soon introduced to four different figures from past mythologies and stories, where we are given the choice of interacting with their stories. This later propels to the current day, a courtroom and continued injustices of women.
For me, it took a little time to realise and understand the reasoning for the great transition. The style and approach to them seemed very different, a potential disconnect but in time, did begin to culminate. The stories aim to transcend space and time and show that women imprisonment and hardship isn’t a new thing; it is steeped in history, and only changed its appearance from the invention of the justice system.
A clever staging; we are brought initially into opulance of these grand women, with their gold and magnificence over us. However, there was a choice to have different stories happen at the same time; you do not get to see all of them but the ones you do see create a spacial dynamic which is hard to engage with and you really do want to engage! I fear this is more the choice of performance space than a theatrical choice; the square room is pretty large but not enough to separate the sound. Not unusual for a promenade or immersive piece, we miss out on two stories, but all the more reason to come again. Despite the sound clash, microphones are provided and, perhaps a personal choice of mine, were relied upon too much and weren’t effective. They were there to help amplify these women’s voices and only hindered. It was hard to hear all the discussions and interactions. I personally would prefer no microphones in every show and the traditional projection to be used, but appreciate that Clean Break is known for working with non-traditional actors and therefore this may not be a focus.
Despite these nigglings, we get to a point where true stories of the women we see are broadcast. And they are done with informality, with vulnerability and courage. These are powerful and supported with theatricality but not bombarded. This subtlety is immensely effective and providing that moment to hook us in. Their familiarity and kindness to us as audience members in interaction is heartwarming, breaking a bit of the beginning sense of god-like characters and positioning them as one of us mortals, continuing to help tell the story of these ordinary women.
The Trials and Passions of Unfamous Women is a play with a lot of scope. The ideas are there and so is the effort, but some stage and tech choices sadly impacted its effect.
The age old pressure and discussions have been forever on women and the expectation to have children. But this isn’t for everyone and yet, this is still taboo in the 21st century.
Stark Bollock Naked addresses the pressures of age, society, other’s commentary on women’s bodies and the expectation to reproduce. It takes a look at this, at the viability and different situations and noting that it’s okay to not want that life, even after you thought you did once.
We are firstly confronted with a naked lady in front of us. The silence ensues and it needs to be congratulated that the performance starts ensuring that audience is awkward and uncomfortable, to make sure they take on the tricky subject.
The actual silence and pausing throughout is very powerful and at times comical and let’s us digest the relationship between the audience and performers. When the action begins, a really interesting projection is created, shown on the performer’s body and with an essence of stereotypical outfits of women as she monologues her story. This felt quite 1927 and the more hyper-realistic performances they create and was a really unusual and unique theatrical trick.
The narrative is comical, stating the facts and also very bold. There are comments on this person’s story, that are comments we, as women, are told not to say or think or feel. Stark Bollock Naked is throwing these into the ether and with no apology.
For me, it felt quite mismatched with what the performance wanted to achieve. It was really intriguing, performed extremely well and with a great concept and approach, but it felt a little like they weren’t entirely sure whether it was a comedy, an emotional production, a touch of clowning or avant garde. There’s nothing wrong with combining these but jumping from one to the other didn’t seem to sit well.
Stark Bollock Naked is exactly the theatre we need, where the unspoken rules around women are unleashed. However, more work is needed to combine the genres they are trying to touch upon.
We’ve all heard the stereotype of Asian women, mail order brides and all that comes with this. It becomes a joke within plays, movies and our society. But does anyone really think about the person behind this and what they go through.
Unforgettable Girl brings this stereotype to the forefront – comical and satirical, she embodies the Asian bride which is sexual, engaging and self aware. We see and hear her story, from her home to the call that changes everything. She also brings on the attitude and approach from middle class white society and the unforgivable but “nicely” put racism. It is throwing these unsaid issues in our face with no apology.
There is use of multimedia throughout which gives different levels between the performance and creating a hyper-version of reality. The stage and props are mostly made out of “trash” and is referred to, giving the sense of the little these women are thought of. Some slight comparison, while subtle, is made to white blonde barbie dolls, while a creepy voice over sexualises the mail bride over the phone. It is unsettling but powerful.
While the concept is really interesting and unapologetic, it felt slightly stunted between “scenes”. Perhaps there was a lot to change between characters and scenes and whether more physical theatre or theatrical techniques could be used to move between these, keeping the momentum and the dark atmosphere going.
Unforgettable Girl is anything but forgettable and a great concept, but still needs work to help it continue to grow.
I’m going to start this review with a very bold statement: MEAT is the best thing at this year’s fringe and if I could give more than 5 stars, then I would.
This was a bit of a last minute choice for me. After filling my diary with requests, I tried to put in some interesting ones from the festival line up to fill spots. MEAT sounded intriguing and, I’m so glad I saw it. It was my last show of Ed Fringe 2023, and one I will not ever forget.
Coincidentally, I felt that I had seen a lot of feminist theatre while at Edinburgh this year, a lot looking at bodies, of consent, of domestic and sexual abuse. The quantity for sure does not shadow the importance of these productions. But there was something about MEAT that was unlike any thing I’ve seen, within this topic and others.
MEAT looks at women’s bodies, their own and others relationships with them; through weight and puberty, sex and growing up. Elle taps into how the body changing and judgement affects a woman growing up, and digs deeper into their subconscious than anyone making certain comments would think. It looks at sexual assault, how it strips away the empowerment and confidence of women and how we must build that back up. That these events are not our fault or should be felt guilt about from a victim.
Elle swaps from informal discussions with audience members, where we are asked to be involved in movement, with suggestions, discussions – they are always comical and fun and there is a sense of ease with her – we are her friends and nothing less. She transitions into spoken word which is poetic and powerful, engaging and trance like. There are skits of becoming a comedian, of other influences and commentary bundled into a character. There is physical theatre, movement, there is singing and dancing. There’s moments of sheer highs and moments of dark lows. And the way that Elle flows between all of this is graceful, it is so slick and so profoundly emotional. She is also absolutely hilarious and the belly laughs I felt were real; from her incredible ability to improvise, to her genuine humility.
Elle touches on some really tough subjects. She speaks honest and freely, addressing us all in unison but somehow, individually. She tells us that these incidences are not our fault, asking us to sit and live in the feeling we have when she is up front and straight with us about this. She is warm and comforting, and there are little dry eyes in the house as anyone who has experienced such interactions relives this but feels the warmth of Elle’s words. She notes that the production is scheduled for 1 hour, but that she finishes this early to allow a space for anyone to sit and feel their feelings and feel okay again. She even offers sweaty hugs at the door. It’s easy to bring a production to an audience, noting trigger warnings and when the lights are up and the applause had, let them go into the world. Elle notes, whether from experience or empathy, that there needs to be time to adjust to the shock of the topics and likely memories that are conjured. There isn’t a review comment to be made on this from a theatrical sense, but a personal and arts professional comment that this should be included in most triggering productions – a safe space should be provided and time to digest rather than just unleashing unsuspecting audiences back into the treacherous world after touching a sensitive part of their soul.
MEAT is an absolute powerhouse of a production. It has everything that a theatrical production on the fringe circuit would need and yet it is miles ahead of what the industry is achieving. It is emotional, it is powerful, it is utter perfection.
Fairy tales are told in every country and culture in the World. Often, they transcend boundaries and similar stories have their own cultural take on them, fitting that part of the World. They translate and therefore, combining them in one production is a very interesting and smart move.
We know the story of Hansel & Gretel. But what happens when their story is mixed up with Sleeping Beauty’s or Cinderella’s? Lost in the Woods is a fourth wall breaking show where our two well known characters of Hansel and Gretel are mixed up in other stories and need to find a way to finish their own.
Picture mad-capped comedy, bizarre impromptu characters and scenes, when both characters try to re-enact the story the narrator is telling with whatever they have in their suitcase, including fake glasses with nose attachment and a banana. The clowning and chaos ensues, with fantastic banter between our two performers.
The snippets of other stories are hardly named, but you audibly hear children in the audience say they know that story or call the title. They are engaged and the joyous laughter that comes from them at the slapstick on stage is infectious.
The set is minimal, but to create other scenes and characters, such as the witch in the gingerbread house, some shadow play is used and this is effective, bringing away the chaotic notion of other stories and bringing it back to Hansel and Gretel’s story. It adds a theatrical element, as if it were the main stage and what we see when it goes awry is the “back stage”.
Both performers interact well with the audience, inviting them in and reacting to the children’s unplanned interventions. There are even little nods to the adults, noting quietness at one point for a gentleman who admitted a hangover. This brings a little something for the adults to enjoy with it going over the heads of the children.
Lost in the Woods is a unique story, combining the old favourites. It is fun, mad and comedic, drawing on clowning and special techniques to make this something different to other re-tellings of children’s fairy tales.
It could entirely be a coincidence that I feel there has been a lot of puppetry this year at Fringe. Not that I’m complaining – there is something naughty yet comical about turning cute, cuddly puppets into something darkly comical.
Potty the Plant, taking on the adult puppet movement seen by Avenue Q, is the story of anthropomorphic plant in a doctor’s surgery, who helps to uncover the mystery of missing children but also explores his unrequited love for the nurse.
The staging itself is extremely professional – a whole set has been created to create the surgery feel, still using elements such as a bed pan or a wheelchair when a new scene is created, giving that satirical nod to amateur theatre but also not investing too much is lots of extras. The costumes are simple, just where they need to be, with a fancy-dress-esque approach to Dr Acula’s costume as our undercover vampire. The comparison between this less polished aspect to the very well created set only adds to the comedy.
The songs are well constructed and performed very well, drawing satire from musicals and from the narrative with ease. They have adult aspects to them and this is of course comical and in line with this adult approach. The performers are perfection, without a step wrong and the whole performance runs smooth as butter.
Potty is also well created, adorable and cute. Sat mostly on the table, further comedy is drawn from his handler, stuffed under the table and when they bring him out and on stage for another scene, he plays a part so well, as if he isn’t there but also, fully in character. Potty as a puppet is limited to his reactions and facial expressions, but, somehow, the puppeteer does this so well, using silence, beats and a little over-exaggeration which at times makes his reactions very clear but sometimes it’s a real subtle look that you can just tell is there. These in themselves provide endless humour.
However, the narrative felt a little lost to me. As the name of the show, Potty features only minimal in the story-line. Of course, it needs to be set somewhere and I guess it makes sense in a doctor’s office. But when they go on a true crime spree, detecting the story behind the missing children, the nurses dating life and lack of success, it all feels quite mismatched and almost another story, with Potty just a small accessory. It felt as if more could have been made about Potty, his story being told a lot more and him having more of a spotlight in the performance.
Potty the Plant is a fun concept, dark and full of humour. It’s a good production to see and recommended if you’re looking for something easy and to sit back to watch. It only felt that Potty wasn’t our main star and that the story needed to work out what it really wanted to be about.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
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