Category Archives: Theatre

Circus, Festivals, Theatre, Uncategorized

Review, Mythos: Ragnarok, Edinburgh Fringe, By Hannah Goslin

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out of 5 stars (4 / 5)

Why has it taken until now for someone to come up with this concept? Blending Norse mythology and huge viking-like people with wrestling, seems like a complete marriage made in heaven. What happens is complete engagement in the tale and real investment in the competition of wrestling. 

We all know that wrestling isn’t real. But that doesn’t stop wrestling fans from being involved in it like a sporting event, hollering and supporting their favourites and with the developing storyline alongside it. So, replacing the modern characters and stories,  this production brings well known names such as Loki and Odin, their stories from Norse Mythology and use it as the undercurrent for pockets of impressive wrestling on stage. 

I have very little knowledge of Norse mythology; a good amount of what I do know likely comes more from the Marvel universe. But don’t let that put you off if you are like me – it’s very easy to be invested very quickly in not only the story but the action. It’s clear that some in the audience do know this and/or are big fans of this production and therefore already have their favourites. The cheering and the booing all begin from the off and there’s already a buzz in the room for the action. Introductions are short but in keeping with the narrative and you quickly get used to the storyline, picking up on your favourites quickly. Accompanied by fantastic staging with, of course, the focal point being a wrestling “ring”, lighting, smoke machines and music blend to give a dramatic atmosphere and feeling of this mythical place. 

There are also funny bits, leaning into stereotypes of the characters and so at no point do you underestimate a character in being weaker because they are comedic or a bit of a coward because, despite the comedy or funny bits, they are just as fierce in the ring. And to say this – there is absolutely no sexism or misogyny, with the girl crush being so real. The women fighters have much stage presence, don’t shy away from fighting with the males and fully support the fierce norse women we hear about. We don’t know if we want to be their friend or be them. 

Mythos: Ragnarok is a spectacular night out. With an overall essence of theatrics through the narrative, the performances of different characters and choreography of the wrestling, it also balances nicely in evoking the competitive, sports/wrestling fans or making new ones with how fun and engaging each part is.

Festivals, Literature, Theatre, Uncategorized

Review, Dracula: Lucy’s Dream, Plexus Polaire, Edinburgh Fringe, By Hannah Goslin

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out of 5 stars (5 / 5)

You already know the pull for me on this production: did someone say lifesize puppets? I was somewhat anxious about this; I am a self-confessed wimp when it comes to horror and therefore, something that could feel so real was a real jump for me to attend. But I am so glad I did. 

In the very dark theatre, I witnessed a retelling of Bram Stoker’s Dracula like no other. The main character we focus on is Lucy, where we are taken through a changing between her nightmares and real life. Dracula haunts both and she falls victim to this but takes back charge to become our heroine. Or does she? 

The whole production is one crazy feverdream. With a darkened space, limbs, both real and of puppets seemingly come from the air, creating imagery that seems almost impossible to be achieved. There are times when there’s a combination of both; Lucy as a lifesize puppet is rallied around by human characters, but in her dream world, she is human and haunted by a disembodied Dracula puppet. These swaps, which incidentally when they happen are so seamless, that we actually have no idea what is real and what isn’t anymore. Dracula’s head flies out of the dark and the exquisite making of this is so lifelike that it’s only that our logical minds remind us that this isn’t possible to have a floating head twirling around that we know this isn’t real. 

There’s a bit of gore, as you would expect, but it’s so expertly done. Somehow this changes between gruesome to somewhat beautiful, with dance-like movements of fabric representing blood being pulled from bodies and embodying the air seemingly but itself and floating. It would be easy to try the shock factor with spatters of liquid but, in true keeping to the production’s essence, this is avoided but no less uncomfortable. You forever feel in this strange liminal space of not knowing what is truly real but also lulled into senses of security then intense fear. 

The puppetry movements are expertly done. Again, tricking us in trying to determine puppet or human, the movements of the puppets are so naturalistic, smooth and somehow, while completely in front of your eyes, hand placement and the use of a dense dark background, you hardly see the manipulation and it makes it all so much more realistic, effortless and continuing to confuse you in what is real. 

Dracula: Lucy’s Dream is every bit beautiful, gruesome and haunting. The production is a thing to behold, from how realistic it feels to the juxtaposition from the real and the false between human performance and expert puppetry. Not for the faint hearted but something extraordinary to be seen; a masterclass in puppetry theatre.

Circus, Festivals, Theatre, Uncategorized

Review, The Revel Puck Circus: The Wing Scuffle Spectacular, Edinburgh Fringe, By Hannah Goslin

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out of 5 stars (4 / 5)

No Ed Fringe trip would be without a trip to the circus. On The Meadows, the Circus Hub is set up and therefore, in the big tent, we run away with the circus. 

The Revel Puck Circus bring us on a journey of slightly traditional circus, but with a fun and friendly atmosphere. There’s trapeze, acrobatics, jumping from great heights and even a disgruntled lion ,,, Fear not! They haven’t gone mad and brought back real animals but have an underlying developing narrative between our clown and a growing lion who has taken it upon itself to terrorize our clown as a “comic relief” between acts. 

Clad in summer shorts and shirts, our circus troupe don huge smiles, encourage the audience to holla and clap and at the same time, take on daring circus acts that weirdly look very easy (but don’t try it at home kids!). The ability to do this and at a high level of energy clearly takes immense skill, strength and communication and therefore the acts go without a hitch, become more daring as the hour passes and elicit roars of applause when completed. There’s enough jeopardy but accompanied with a laid back and a friendly atmosphere that this is awe-inspiring and exciting for all ages. 

In the gaps of acts and to help with the set up and, likely, a short break for the performers, we have the lion – clown narrative take place. This provokes chuckles throughout as this develops; the lion gets bigger and the accompanying clowning gets more interesting in the clown’s effort to escape the lion’s claws. It references an olden time circus where live animals are used but, while funny, is also clever in turning the story on its head and letting the lion be in charge. These moments as a “break” are useful in changing the intensity level, reducing heart rates and warming us up for whatever there may be next. Overall, with this included, the group are comedic and fun, equally making every part of their performance look enormously easy. 

The Revel Puck Circus: The Wing Shuffle is a modernised take on traditional circus, with a sunshiney and friendly approach. With skilled and dramatic circus tricks and a healthy dose of comedy, it has the right level of everything needed for a circus show for all ages.

Festivals, Music, Opera & classical, Theatre, Uncategorized

Review, Tasmin Sarkany: Now That’s What I Call Bach!, Edinburgh Fringe, By Hannah Goslin

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out of 5 stars (3 / 5)

What do you get when you combine classical music with comedy – Now That’s What I Call Bach! With Tasmin Sarkany. 

There’s first to say: you don’t need to know about Bach or really classical music to enjoy this routine. Sarkany presents us a narrative as Amelia Crotchet, a Bach enthusiast and also one in a deep love with her partner, Violin. Today is a very important concert and, if she can stop getting distracted, she will play for us. 

What is really lovely is this narrative – instead of presenting herself as a comedian, Sarkany has developed a well thought out plot with characters and storyline and therefore giving the ability to throw in different comedic scenarios throughout which all add to the trajectory of the story. In this short hour, we get to know Amelia, why this concert is so important, her love story with Violin and all about Bach. We feel we know this character well by the end and the concept works seamlessly. 

While occasionally slightly left field, the narrative has little plot points which seem random but fully add to the story. You may at first think: what does this have to do with this big concert but it’s all to do with getting to know her and allowing a space for her comedy. I’m not usually a fan of one-liner jokes or puns, I prefer something meatier but somehow Sarkany makes me change my mind on this, by combining both. The puns are genuinely humorous and tickle you, with the occasional slight “dad joke” groan but it all works together so well. She pokes fun at the arts or uses stereotypes of concerts or the Opera to add the essence of a concert; think throwing flowers on stage, asking an audience member to shout bravo and this contributes to the illusion of the narrative but gives the audience something to relate to. 

Sarkany’s musical ability is also fantastic. When there are moments of music, it is clearly from a very clever musician and adds these little highlights. But she also manages to create great comedy with sound – adding to the puns or reoccuring comedy references, sometimes there’s some notes played or with a clever musical technique and this is again, not only musically skilled but highly intelligent comedy. 

The only thing that brought the stars down for me is that Sarkany seemed very nervous. Of course, this is completely understandable and I can only apologise; Sarkany invited me and referenced me in the audience and I hope it wasn’t my attendance that gave her nerves! But the nervousness thread a little through the performance and I desperately wanted her to be confident in her ability and her show because it is smart, funny and engaging. 

Now That’s What I Call Bach! Is a funny take on the arts, music, with witty comedy, supported with a brilliant musical ability. I just wanted Sarkany to believe more in herself and her show and for this to take away the nerves that slightly impacted her performance.

Festivals, Theatre, Uncategorized

Review, Dog Funeral, Zoe Wohlfeld, Edinburgh Fringe, By Hannah Goslin

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out of 5 stars (4 / 5)

I’m not sure why I decided to do this to myself. A huge dog lover, I cry at anything to do with animals, whether happy or sad, and I am more likely to smile and say hello to dogs on the street than their owners. So why I thought “Hey, let’s go to a show about dead dogs” I don’t know. This started off disastrous – with me absolutely sobbing… let’s get into it. 

Dog Funeral, believe it or not, is a highly comical piece of clowning theatre. It’s certainly not what you may expect when you sign up for it. There’s no real “story” as it were – there’s a vague under narrative but the essence is chaos. It firstly begins with a beautiful projection of the tale of the dog we are here to grieve, through drawings meant to look made by a child and simple captions summing up the image and the friendship of the girl and the dog. Until we learn of the dog’s death. This initial part is where I was inconsolable and I can only apologise to everyone in the audience that day. 

What then proceeds is a funeral farce like no other – dressed as something from Tim Burton, Zoe Wohlfeld comes in in her mourning weeds, taking up the stage and with immediate audience interaction. If you think you are safe from this, you are not. What transpires to be something of attention seeking of a young girl means we are all involved in her attempts for attention, her volatile ways and all with hilarious slapstick, contorted facial expressions and moments of sadness that are suddenly turned completely on their head, resulting in shock. Nothing is sacred and respected and this is where the hilarious shock factor comes from. In true adult clowning style, there are moments that feel a bit wrong or taboo and only elicit further laughter. Wohlfeld is a genius in being able to change the atmosphere and move her character from one scenario or feeling to another with a change in volume, intensity, narrative, all which flow effortlessly. Improv is also imperative and she is able to move with this easily, though the odd bit of slight corpsing takes place, this only adds to the comedy factor. 

We end on a beautiful note – after one hour of being repeatedly hit in the face with utter madness, we see real images of Wohlfeld and the past and present dogs in her life. When there’s a slight moment of wondering if this is satire on those who feel a lot for their animals, we realise that, yes it is, but she is also one of those people. It’s almost like she is reclaiming that opinion. In her ending speech as herself, she sells merch and notes that proceeds would be going to help a local dog charity. What is chaos and high clowning turns into something heartfelt and special. 

Dog Funeral is utter madness. Not for the faint hearted in more ways than one or the shy and introverted, this unique and intense show has the comical shock factor, but finishes on a beautiful note.

Festivals, Music, Musical, Theatre, Uncategorized

Review, A Stan is Born – ENCORE, Alexis Sakellaris, Edinburgh Fringe, By Hannah Goslin

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out of 5 stars (3 / 5)

Stan to a millennial is likely to produce memories of Eminem and Dido in the noughties with their hummable, sad tune. The video is about an obsessive fan and where this obsession can lead to in the darkest of places.

Fast forward in time and the word Stan now means to be a fan of something, amongst the youth. Everyone has something, whether it’s a person, place, thing. And Alexis Sakellaris takes this concept and in turn provides a story of finding oneself and discovering ones sexuality in an unusual place. When Sakellaris moves from New York with their family to rural Germany, they find solace in divas and their music, and, in turn, this leads them to friendship and self discovery.

A Stan Is Born firstly takes its name from the film. This is where the comparison ends but the reference aims to draw in one of the many famous stars that they “stan” but also in a hint to the plot later – this is how Sakellaris discovers their voice (in more ways than one) and pushes their trajectory into the arts. With unique songs created and performed by Sakellaris, their story is told through a verbal narrative, original and satirical songs sung and played on the piano and a healthy dose of audience interaction. Sakellaris’s engagement is sincere and friendly, often moving them to being somewhat off-piste but with this, we are definitely getting something unique to other audiences.

The songs are fun and enjoyable but lacked a little variety. While all original and different in concept, there was not really one that I came away with as an ear worm and they slightly felt similar to one another. The blurb for this show notes as a “gay Bo Burnham” but I felt this was slightly misleading as a comparison – Burnham’s songs are all entirely different in delivery and have a often taboo sense to them; this wasn’t the intention with Sakellaris’s songs and it wouldn’t be fitting if it was. It feels as if it would be all too easy to compare this to Bo Burnham as a vague concept, like one women plays at Fringe are all compared to Fleabag.

Their story in itself is very endearing and Sakellaris does well to translate this to us in an honest and funny way, without detracting from the intention. We get an overview, with them swapping into multiple languages and characters, moving levels and letting down their actual hair to represent certain Divas, which all gives us enough to understand a life we very likely cannot relate to as it is so original. But there did feel a bit of nervousness about Sakellaris and this unfortunately slightly fed through their performance.

A Stan Is Born is a heartfelt, unique storytelling piece of theatre, with one of a kind music and a one of a kind tale. It just felt that Sakellaris needed a bit more confidence in this to deliver it.

Festivals, Film & TV, Theatre, Uncategorized

Review, CADET KELLY IS THE BEST MOVIE I’VE EVER SEEN IN MY FRIGGIN LIFE, Ben McCarthy, Edinburgh Fringe, By Hannah Goslin

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out of 5 stars (5 / 5)

Where do I even start? I think I’ll start strong – I’m not sure I have ever consistently laughed so hard in my entire life as I did with this show.

I think it’s safe to say that you don’t need to have seen Cadet Kelly to enjoy this production. BUT if you haven’t, prepare to start the show by being flipped off by McCarthy (in the most hilarious and almost loving way… like you would expect from a Fringe show!). I wanted to see this as I remember it so vividly from my teen years and thought “why not” without any preconception on what this would be. A musical of the show? A reenactment? I had no idea. I absolutely didn’t expect what we actually got.

CADET KELLY IS THE BEST MOVIE I’VE EVER SEEN IN MY FRIGGIN LIFE is an hour of constant laughter. McCarthy is something of a genius for the deadpan comedy and brilliant clowning. He is trying to convey his love for the film but, really, we have a sort of play-by-play of the film but from the point of view of an obsessive. For those who have seen it, it’s a bit of nostalgia and moments of comedy through agreement of opinions. But mainly, we watch McCarthy doing the most brilliant and unhinged clowning ever.

Every moment is a moment of laughter. There isn’t a point that we stop and, as any brilliant performer, when the audience change tact or something unexpected happens, McCarthy has the brilliant ability to turn it so quickly on its head, like it was always meant to happen and was always part of the comedy. The fact this room is PACKED OUT and majority with people who HAD NOT seen the film is testament to word of mouth of the chaotic, completely insane and highly humorous ability of McCarthy and his approach to this production.

CADET KELLY IS THE BEST MOVIE I’VE EVER SEEN IN MY FRIGGIN LIFE has to be seen to be believed. If you love to ache with laughter, come out in a daze from the madness you have witnessed and want to experience something like no other, this is the show for you. For Cadet Kelly lovers or newbies, it doesn’t matter because, dare I say it, this is probably better than the movie itself (McCarthy – don’t come for me!).

Festivals, Museums & heritage, Theatre, Uncategorized

Review, Coco The Time-Travelling Tart, Max Norman, Edinburgh Fringe, By Hannah Goslin

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out of 5 stars (4 / 5)

I have been hooked on Coco The Time-Travelling Tart ever since she sprung across my social media screen. I have always been obsessed with her interaction with audience members within art galleries and museums and the slightly fabricated tales she would tell them. When I saw that she would be doing a show at Fringe, I was so excited.

In one of Underbelly’s small containers, we have an intimate setting with the famous Coco. She is everything fabulous and wonderful, with an air of Diana about her but the filth of a drag queen. At the same time, she is so welcoming, friendly and, suddenly, we’re not an audience but good friends who have come for a journey with her.

I wasn’t sure what I would expect from Coco – I also knew that she would be doing tours at the National Museum as well and wondered how what I had seen on social media would translate to the stage. However, this was something completely different. Coco was still Coco; lewd yet beautifully friendly and ever so glamorous. But there was a narrative to the show; a lost earring meant that we travelled together throughout history, using our imagination and the odd prop to give our imagination something to run with. Obviously, not entirely historically accurate; I MAY be wrong but I’m not sure Coco, nor us (who time travelled with her in a “black cab”) were really there but the embellishments were extremely comedic and there was enough history that it didn’t go over anyone’s head. You didn’t need to be a history nerd to understand the plot and so it was accessible and humorous for everyone.

As any comedy show, a healthy dose of audience interaction is involved; whether you’re the special time travelling slave, you’re asked to offer a lap to Coco for the cab ride, or like me, you’re pulled up on the famous Titanic door or have a glug of your drink taken by the famous Coco herself. With all of this, she makes sure you are okay and comfortable and this is wonderful when we soon learn that the eye contact and nod or shake of the head is a good enough connection to allow or not allow consent. But she is also lovely, ribbing you as a friend in only a way true friends do and it was genuinely hard to say goodbye.

The show is lewd, a little crude and with that, she pushes boundaries for shock factor and this is nothing but hilarious, though maybe not for the faint hearted. And when something goes a little awry (her poor shoe broke part way through) she is so quick to turn it into a comedic moment and be with us in the laughter.

Coco The Time-Travelling Tart is a bunch of dirty, comical fun. With our friendly time travelling guide, we learn much about history and genuinely feel like we have been on one hell of a journey with this glamorous idol.

Musical, Theatre

Review Jersey Boys, Wales Millennium Centre by Bethan England

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out of 5 stars (4 / 5)

After a 12 year stint on Broadway from 2005 to 2017, 9 years in the West End and multiple tours across the world, Jersey Boys marks its 20th anniversary with a new tour sprawling across the United Kingdom. So, with the show ‘working its way back to’ Cardiff, does it still pack a punch and give us all a night to remember in 2026?

The audience demographic of the show is certainly varied, with all ages settling down around me to watch the rise to fame of four blue-collar boys from Jersey. This proves that the music is still as popular as ever and there was plenty of toe tapping and a quick jump to our feet to join in at the curtain call. The songs have truly stood the test of time, hit after hit ringing out from the Donald Gordon stage. It’s great to see that a band that started out in the 60s is still relevant and enjoyed by all age groups.

Jersey Boys differs from other Jukebox musicals in the way it chooses to tell its story. With each band member having an opportunity to tell the story in each of four seasons, (see what they did there?!), it means the plot never has a bias from one band member’s perspective. It also means that each cast member gets an opportunity to shine and connect with the audience. It does sometimes mean that some of the more emotional moments are slightly glazed over, but in a production that needs to pack so much in, this is a minor criticism.

The quartet themselves are excellently portrayed here. We start with Carlo Boumouglbay’s Tommy DeVito, the self proclaimed, one that started it all. He is a charismatic bad boy and Carlo delivers personality in spades. Even when he lands himself, and the band, in financial troubles, you can’t help but love him. Next up to the narrator role is Toby Miles’ Bob Gaudio. He adds another layer to the story of the band, the somewhat softer side, showing us the timeline of the band’s rise to success. Toby also excels in his role; the more reserved band member but holding his own amongst the more boisterous band members.

Third up is Nick Massi, portrayed by Lewis Kennedy. His comic timing is brilliant; his resonant low voice and dry sense of humour is captured so well by Kennedy. He delivers the less glamorous side of the band, giving us the ‘warts and all’ elements of the band’s climb to stardom. Finally, we hear from the frontman himself, Luke Baker’s Frankie Valli. His voice perfectly captures the infamous high falsetto of the man himself and he is certainly a worthy leading man. His rendition of ‘Can’t Take My Eyes Off You’ is a showstopper and earns a worthy, long lasting, huge applause. Certainly a highlight of the evening.

The tour is the latest in a long line of productions of Jersey Boys and I am thrilled the show is still going as strong as it is. It is a Jukebox musical but it stands apart from others in the strong way it chooses to tell its story, its excellent songs which still truly stand the test of time, and an excellent cast who truly delivers. If you really want an evening that’s worthy of shouting ‘Oh What A Night!’ then Jersey Boys is in Cardiff for two weeks only. Don’t miss out on this spectacular 20th anniversary production.

The production plays until the 22nd August, more information and tickets can be booked here

Festivals, Theatre, Uncategorized

Review, Linus Karp Was Hit With an Umbrella, Awkward Prods, Edinburgh Fringe, By Hannah Goslin

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out of 5 stars (4 / 5)

I think it’s safe to say that Awkward Prods have become somewhat of a favourite and clearly have a loyal cult following. Known for their comedy work, Linus Karp and Joseph Martin have brought hilarious satirical productions related to Princess Diana’s life, Gwyneth Paltrow’s ski trial and a take on hallmark royal Christmas rom-com movies.

This time around, however, they’ve decided to get a little closer to home. Linus Karp Was Hit With an Umbrella is, well, what it says on the tin … to some degree. A few years ago, Karp suffered an unprovoked hate-crime attack on a street in Soho in daylight. This production tells this story, with Karp and Martin’s injection of humour along the way and ends with a deep message of support for anyone who experiences such atrocious acts.

It might seem minimal, with the seriousness of the topic, but early doors, I wanted to comment on the staging. Beautiful black and white outlines of notable places in Soho and in the story decorate the background like a skyline outline. It helps set the scene but, in themselves, their artistry is exquisite. The production continues with minimal props, only those that are important, and in the quintessential style of Awkward Prods with the use of screens where images and prompts for audience participants are visible throughout.

Of course, audience participation is a must. Not as involved as previous productions, but from their seats with prompts. This is a great choice as it feels right for the focus to be on Karp and their storytelling. They change it up at one point to bring a singular person on stage but, in the context, this again feels very appropriate and needed for the focus of that moment.

Karp has a way about them that is familiar, welcoming and friendly. While a big audience, we feel included like a friend being told their story and moments of disbelief make you genuinely gasp in shock, like you would over a coffee with a friend telling you the same story. I wanted desperately to hug them and also applaud them and Martin on this experience and for the strong(er) people they have come out as from it. But they don’t forget the humour; Karp is very witty and there’s injections of this humour, quick to improvise at moments such as a phone going off or a left open door, and again, this is friendly but also genuinely funny. What’s the most impressive is that this doesn’t detract once from the seriousness of the story or undermining the overall message. It compliments it so well and is perfectly balanced.

Linus Karp Was Hit With An Umbrella is a unique, powerful and important piece of storytelling theatre, with the right amount of comedy and allows you to leave as supportive new friends to Karp and Martin.