Until Death is a one woman show with an amalgamation of characters, a funny stage hand and… a bat.
Nalini Sharma presents the characters she saw and created from her childhood of hospital stays. They range from a sexually enticed old lady, a brother of a little girl in a hospital bed and a sexy bat who also has crazy dreams of Marilyn Monroe after being hit by the nurse/stage hand.
There is no lead up or connection that is very clear from character to character. It doesn’t stop this being comical and a fun, fever dream, but it wasn’t hugely clear exactly what we were watching. It is still enjoyable, the characters are well thought out and clearly reflecting the characters that Sharma created or met in her times in hospital – they are very exaggerated (although, the old lady could very much be entirely real, even after she wees on a plant) and their interaction with us as the audience is real, comfortable and we feel included and part of the fun and the story.
Until Death needed a little bit more direction and black and white blueprint for us to entirely understand where the characters come from and their reason for being. However, it is a fun play with some hammed up and comical characters.
There is something very powerful about theatre being built around you. Even more so when it’s circus, around, in front and above your head.
Walking into the space, we are faced with only a lonely deflated tent, that we are asked to stand around and watch as it comes alive. We start from the outside until we are welcomed in and under the tent. In front of us, the tent grows and grows and is built before us. There’s a sense of consent – that we are only allowed into this magical world when we are invited.
This reminds me a lot of No Fit State, Bianco, where the staging is ever changing and we see the build before us. However, with Brave Space, we are brought in close to one another, in an intimate and close encounter – the space is safe, the space is brave.
My only criticism with this is that we are such a large audience, that this becomes slightly uncomfortable, with the pressure of the tent on your head if you’re at the back. When we are asked to lie down and watch acrobatics above us, again, it feels compact, little awkward and some couldn’t quite find the space to do this so miss out on the impact. If you’re lucky enough to lie down, it’s magical and a new and relaxed perspective.
The actual circus tricks are of course brilliant and awe-inspiring. There’s the occasional mistake but this is picked up quickly and effortlessly, with very little impact on the smooth transitions.
Brave Space is a tranquil and intimate circus show, bringing us together and creating a new world, built before our eyes.
A lover of puppets, but also a lover of bringing these family friendly items into the adult universe, a show about dating and puppets sounded up my street.
Liv has been brought up, as we all have, of the idea of a White Knight and Prince Charming. But in a modern world, we have to wade through the frogs on dating apps that may seem like good deals or quickly not, but there is awkwardness and a need to stick with it to find this dream. Liv is crazed by this and, to bring her dating woes to life, these poor matches become our familiar favourite puppets from Sesame Street.
In between the stories, Ruggiero ties these up with contemporary and musical bops, showcasing her phenomenal voice. With this, her voice and ability to perform musical theatre is spectacular and it’s clear how much talent Ruggiero possesses. To bring this into a fringe show, featuring puppets and adult humour is a brilliant idea and should be commended. Despite this, for one who is not a novice but also not an expert on Musical Theatre, there were many songs and references that I wasn’t clear on their origins, with some being quite niche and so lost me a little with this. I guess, if you are happy to not think too much about where they come from or accept complete lack of knowledge of this genre, it’s great to absorb these but it felt distracting to me with recognition of some and not others.
The concept is of course interesting – it touches on predecessors such as Avenue Q or Hand of God, using puppetry to give a humorous approach to adult topics. However, I found myself a little lost with who was who and the story-line and with this, possibly missed some of the comedy or point of the story telling. With Liv’s dating life being summarised as not tying up the search for the love of her life and instead, realisation of confidence in herself, it felt a little out of the blue without us seeing more work on herself that could lead to that conclusion.
Puppets is great fun, with a beautiful voice belting through the walls and fantastic performance in general. I just felt a little lost with the story and felt that the important elements such as the songs were rather niche for an ordinary audience.
I’m not a reader of a synopsis or a review before I see a show. I prefer to be surprised and to make my own opinion. But I couldn’t help but see the title of this and expect tricks that animals may enjoy. Such as the tricks you see owners do on Tik Tok to a surprised dog, cat, lizard. But this was something different to my assumption and I’m glad it was.
Magic for Animals by Liz Toonkel is a quintessential magic show, meets informative, activist piece on animal cruelty and our impact on animals and the planet.
Toonkel is nothing but glamorous and beautiful, kind, warm and welcoming. It’s a small audience but she takes the time to engage with each of us and utilises the small audience well, making us feel included and her friends. She is dressed in sparkles and a wonderful hairdo, reflecting the traditional magician, meets his glamorous assistant and a bit of sparkle and pizzazz. This isn’t just for the looks of it but her outfit soon becomes part of the act and therefore provides a well rounded performance.
The tricks are of course impressive. Toonkel is self aware and vulnerable and very talented in her magic acts. This soon becomes clear that she uses magic as a way of telling stories and providing information on animals and the cruelty brought on them for our food, fashion and so much more. The tricks are almost like an unusual seminar show and tell and it is effective.
Whether this be due to the smaller audience, there is at times a little beat missing with the atmosphere. There are times that feel a little awkward, sometimes the telling of stories are a little long and sometimes there isn’t quite enough magic. Don’t get me wrong, the concept and approach is fantastic, the audience interaction on par but there were times where it could have done with being a little punchier. Some of the awkwardness could maybe be filled with a background music, more like a magic show and wouldn’t take away from Toonkel’s important messaging.
Like any good magic show, the conclusion wraps up each topic, each trick into one and Toonkel is humble and engaging as ever at the round up.
Magic for Animals is a unique and interesting topic and concept. It is enjoyable and fun and Toonkel is utterly charming. It just needs a little tweaking to keep the momentum.
A small, yet intimate audience, this felt very apt and appropriate for the following content from Auto-Engrain.
Auto-Engrain: A One Woman Show is a tale about domestic violence within a relationship, the after effects, therapy and un-apologetic women. Kate tells us about her traumatic experiences through dating and sex in the wake of coming out of the clutches of a physically and mentally abusive relationship.
Kate is a very funny character. The story line crosses from comedic to serious effortlessly and she is a likeable character that we can all relate to. She is unapologetic for who she is, slightly outspoken, full of curse words and this comparison between who she is and how she changes and emulates her subservient relationship self is effective and smooth.
Kate is a botanist and so touches upon this in her telling or the inclusion of botany wording. However, this felt a little lost in the telling. There is a moment when we are referred to a projection which crosses botany and the levels of red flags in dating but it felt out of place and at points not needed.
We have the odd moment when the “stage hand” doubles as a character or brings on staging and props. But there are other times when they don’t and either the main performer does this or presents an insinuation through one sided responses and lighting changes. He was brilliant in his part but I did wonder whether it was a case of being all or nothing. I refer to a previous review, The Real William Shakespeare… when their stage hand is his own entity and engages in the background. Perhaps it needs to be factored in that the main performer covers these elements or that our stage hand is given more of a platform to support.
Auto-Engrain: A One Woman Show is an important production on domestic violence and the impact this can have on a person and who they are. It is comical and yet emotional but still needs a little honing to give it direction, theatrically.
I was first introduced to Bibby’s comedy when he invited me to his Ed Fringe show back in 2019. Since, I have been an avid follower and fan of his comedy.
So when his invite for his new show came into my inbox, I was absolutely delighted, and even more so, when I saw what it was about… DINOSAURS. I mean, comedy… dinosaurs… what isn’t there to like?
Bibby’s show is about creating a show in between having two children. At the same time, it’s a time machine for us oldies who loved the original Jurassic Park and the 90’s. These seem like contrasting themes, but it works. The nostalgia, meeting the idea of ageing and new life. It all makes sense.
The main concept of the production is hugely involving the audience to create a version of the original film but in a 2023 setting. The millionaire is replaced by Elon Musk, our audience members jump in and out as on stage characters and… in themselves are hilarious and so engaged. We all have a chance to be involved, with queues to shout out and make noises but also with a script passed around to read when we are prompted. Bibby is hot on the responses and ad lib, and enjoys the improvisation and surprises that come from us as much as they come from him. There are some Jurassic Park lovers who clearly love the comedic approach as much as Bibby does, with his love and passion coming through with knowledge and performance.
We begin to think that this is a love letter to the end of his career. His love for his young family and being away from them is expressed, alongside gorgeous images of them and our heart sinks to think this is it, after an hour of pure joy. But, while partially scripted, I like to think our involvement and enthusiasm with said script helped to solidify how much Bibby should continue making these shows. Yes, the outcome is exactly this and the planned conclusion, but I hope our responses help to make it a reality.
Jurassic Park/Dinosaur/children-person or not, Baby Dinosaur is an absolute triumph of a comedy show, from how smooth it ran, to the right involvement of the audience, to constantly belly laughs. It’s everything you want from a comedy show and more.
As long as there are people on this Earth, we will forever be asking questions about William Shakespeare. So many schools of thought as to who he (she? they?) was, their sexuality, the in depth reading between the lines of their work.
Matchmaker Theatre Productions take the unwritten, from the point of view of Shakespeare supposed rival, Christopher Marlowe and unmasked another version of Shakespeare’s history.
A small company, we have the main performer who continues as Marlowe throughout, a ghostly figure who acts as the stage hand meet musical accompaniment and a character swapper who plays a student writing about Shakespeare vs Marlowe but also delves into other minor characters throughout. Of course, we also meet Shakespeare but to tell you more about them would ruin this really interesting approach to the story.
What’s great is that the company doesn’t shy away from LGBTQIA+ suggestions but also doesn’t make it such a big thing. We see Marlowe’s relationships but it’s just like any other and isn’t highlighted particularly as some revolutionary idea – which is exactly how it should be unless it is the main theme.
The changes of scene are shown between clicks of fingers and changes of lights, switching from situation to situation but also back to talk and review the news that has come to light with the student. This is a really interesting take and works very smoothly. Our ghostly figure, while in the background, is constantly “on” with facial expressions and interest in the scene – it really makes each scene well rounded.
For me, however, it felt like there was more to go with what they could achieve. This felt slightly in its infant stage and, while funny, professional and smooth, there is certainly some room for growth.
The Real Shakespeare… is an interesting approach to the age old questions about the playwright and their rival. However, there is great potential and it would be great to see where this company take it.
In a small, circular lecture theatre, we are brought an avant-garde expression of anxiety through the forms of dance, circus, music and .. oh a Llama.
From an Australian duo, Oat Milk & Honey quite effectively use their platform to share how anxiety feels, not only for the person experiencing it but also the impact on others.
There is no narration or vocals bar the occasional breath of the moving performer and pre-recorded voice overs but the silence is filled with beautiful, original compositions which occasionally go off-piste to express the interruption anxiety can create.
It feels relatively slow paced and it would have been interesting if there had been a change of pace. There was a little of this, interrupting the seriousness with an element of comedy when a performer comes in dressed as a Llama, reflecting the fact of serotonin created from watching Llama’s run which we hear at the beginning in a voice over.
There’s no doubt that both of these performers have great talent in their own right; a talented composer and musician and a very flexible and powerful dancer, circus performer. And each part of this performance is really interesting to watch but continues at the same pace which loses attention.
Oat Milk & Honey is transcendental and soothing, with a poke of humour but needed some different speed levels to keep the intrigue.
The best cabaret shows are never the huge, fancy venue-d spaces, where you are lost in the crowd and viewing from afar. The best are in small, intimate spaces and this is what Pink Lotus Cabaret brought us with Hot Queer Magic.
Just like any cabaret show, the production showcases different acts, all introduced with a little comedy and little storytelling in between. And this is of no exception. This means that there is no tie to a theme and it feels right to keep us on our toes this way.
Hot Queer Cabaret features a fairy burlesque act, a rubber ducked obsessed dominatrix act, Drag Kings dancing while making commentary on the patriarchy, a trans King and his maracas and a combination of Indian Dance and Kylie, to name just a few. This eclectic mix is always a surprise and keeps the comedy and appreciation fresh each time.
While enjoyable and especially in such an intimate setting, the whole running felt a little lengthy and in need of some polishing. It felt as if there was a nervousness and it lead to the feeling that much, from the comparing to the acts, was a little created on the spot. Of course, things never go to plan, especially in cabaret but it all needed to be a little punchier. From my theatre training and my own cabaret training, it was instilled in me that making it punchy, prompt and polished, creates a much more finished product and keeps the audiences engaged and wanting more. Some of the acts felt quite long and sadly lost my attention at times. This could be entirely that with this instilled in me, that is my own subconscious reaction but at times, it felt that the whole production could be a little slicker.
Twatoo, the Drag King duo, were probably my favourite. Playing on toxic masculinity, they took Shania Twain and made the characters very camp. Interjected with voices from feminist icons in the shape of characters to real people, noting their achievements, followed by “that don’t impress me much” was endless comedy and poked fun at this type of chauvanism and our society.
It was also great to see Pink Lotus and her combination of traditional Indian dance with burlesque. This combination was something I had never seen and, with a little more honing, is a really unique and beautiful concept.
Hot Queer Magic was fun, full of diverse acts and people and was a fun evening. With practice and time, I’m sure this collective will create a very confident and smooth running show.
The title might be a little misleading. If you are reading this and you think: I’m taken, why would I need to learn how to flirt? Well, my friend, this show is for everyone in every status, of every gender, every age – everyone.
How to Flirt is a satirical seminar from the Drag King, Steve Porters. We are taken through a casual lecture, using the acrostic of “BIRDS” to deliver the best way to get your next partner. Full of dancing, puns, comedy, music and projection, this all rounder show is comical but full of importance.
Steve is what can be described, by today’s youth, as a wannabe “Roadman” or, from back in my day, a “Chav”. Featuring all the physical characteristics of Drag Kings, the make up is impeccable, giving the illusion of masculine features, a body suit to give the illusion of a male torso and general mannerisms and movement to suggest something stereotypical male. The funny thing is, Steve is meant to be a satirical copy of one of those men who think chat up lines work, but yet he still has charisma and a way of flirting with the ladies of the audience. I am only sad that he didn’t deem me attractive enough for a flirt – big thumbs down!
How to Flirt is full of audience participation, but a late night at Fringe is certainly not lacking in this. We are asked to engage, repeat chants, encouraged to talk to one another and it becomes riotous and raucous in just the right amount. We may not always feel the power of Steve’s flirt directly on us, but in a crowd of around 100, we all feel individual and like one of his mates.
The whole production is a painful belly laugh after belly laugh. It plays on the bad dates, on the stories told from dating apps and meeting strange people and plays on the awkwardness between Steve and the audience. Steve is full of confidence and is professional, slick and perfect in every single way.
The production is so well constructed, including any ad libs or improv that are so smooth that you barely notice them. It was a show that I never wanted to leave but sadly, all good things do.
And don’t think that this was just comedy – oh no. There were really important points touched upon. Steve takes these types of men and highlights situations that are creepy, insulting, issues of sexual assault and ensures that, through the laughter, this is clearly a political and feminist show touching on our societal issues. Steve highlights consent a lot, and this is important and meeting modern ideals. It makes it clear that this is non-negotiable in our world.
How to Flirt: The TED XXX Talk is comedy gold, but amongst this, Steve Porters has made strong, concrete feminist comments on today’s chauvinist societal issues.
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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