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Review, The Happiest Man on Earth, Southwark Playhouse, By Hannah Goslin

 out of 5 stars (4 / 5)

No story about the Holocaust is ever the same. We think we know the basics, we know what happened and continue to be appalled. But story after story comes to us, with each being ever so different to the last, each so horrific and heroic and unfathomable.

The Happiest Man on Earth, based on the best selling memoir by Eddie Jaku, a holocaust survivor, is brought to the stage in this fantastic one man show. From childhood to adulthood, we are taken through Jaku’s life from the happiest to the most horrific.

Kenneth Tigar who plays Jaku, firstly comes in and interacts with us, ad-libbing on the spot and not only making us comfortable but also chuckle. He is friendly and lovely and this sets us up, within a cocoon of security, for him to deliver the spine tingling tale. Tigar somehow delivers the entire, highly theatrical production with a way that feels like he is speaking to each of us individually. He makes eye contact, letting us see the range of emotions, deep from his soul. It’s so easy to forget, this isn’t his story. He delivers it so vulnerably, so intimately and so candidly.

While Tigar is the only performer, sometimes switching from himself to other characters with subtle voice and physical changes, the set and the making of different locations and atmosphere is represented through minimal staging and a range of soundscapes and lighting. It does the right amount of adding to Tigar’s performance but also elevating it theatrically. It gives you shivers and envelopes you within these different spaces and transports you to the range of humble places to the depths of hell.

The Happiest Man on Earth is a fantastic production, delivering a high theatrical performance without taking away the main essence and reality of Eddie Jaku’s life. This is not only down the the fantastic and subtle staging but also to the personable performance by Kenneth Tigar.

Review Yes, We’re Related, Lace-Evans Productions, Purple Door Productions, The Other Palace, By Hannah Goslin

 out of 5 stars (3 / 5)

I must say, it is a daily thought and worry of mine about the (hopefully, very far in the future) moment of losing my parents *touches wood*. I’m not sure my reaction, how I will cope, and whether there will be moments of insanity or even comedy. Yes, We’re Related has already helped my knowledge that this could be possible.

Yes, We’re Related, is the story of two very different sisters, dealing with the passing of their mother, a party to celebrate 1 year on, the memories and angst and… a squirrel. Yes that’s right, a squirrel. Gerald is believed to be their mother reincarnated but what ensues is a stark look at the sister’s relationship, with one another, their mother and one of their partners and how to cope within loss.

A mixture of themes, this production certainly has moments of highs and lows. I wouldn’t say that it touches deeply in terms of sentiment or bringing a tear to your eye, but it brings out sympathies and certainly makes you think about your own relationships with family and friends. The highs are very high, with quick witted humour and a contrasting characterisation between sisters; one is prim and proper, organised and seemingly with her life together, the other, short of a breakdown within grief, is buoyant and erratic and extroverted. The two bounce off each other, with little break for pause, and this works really well. It feels truly natural as a sisterhood and as if we are peaking through that fourth wall.

The partner who is the third wheel of this relationship, is more like his partner’s sister than her; wild and melodramatic but also love-able. However, we know him as Mark, and twice does he accidentally get referred to as Mike. We can only assume this is an ex that the sister is fixated on, but we never reach that revelation and so it doesn’t quite add to the story as it maybe was meant to.

The squirrel, Gerald, is never seen. I’ll admit, I thought would there be some hand puppet or wildly, someone dressed as a squirrel. But no, he is presented in sound and light only, using our figment of imagination when he escapes and this works really well. He is meant to be the mother in animal form and the symbiotic relationship between him and the sister living there is concerning but also heartwarming. Her way of coping. A story, heard many a time in different guises. So when he leaves the story, and she succumbs to her grief, it is heartwarming and tearing all at the same time.

Yes, We’re Related is a roller coaster of comedy, meaningful conversation and a warm hug in what we will all experience, in one way or another. The performances and relationships are impeccable and it tells an age old story in a unique and new way.

The Acts by CRIPtic Arts, Performed at the Barbican Centre, Review by Tanica Psalmist

The Acts is more than just a performance, CRIPtic Arts allows those who identify as neurotypical to watch from a place of humility and awareness. Featuring a disabled cast who played themselves to present political yet integral conversations around their personal experiences due to rigid restrictions disabled creatives often face due to discrimination and therefore, being heavily underrepresented within the world of theatre. Integrated audio description, BSL-interpretation and captioning fulfilled the significance of inclusivity.  

Genuine and authentic monologues revealed personal stories of real lived experiences around cancer, learning difficulties & other unconventional rhetorics linked to disability, impairments and limitations, causing individuals who don’t fit a standard or ideal prototype, to get boxed in consequently which prevents the need to be resuscitated and liberated as a human right need, having to justify yourself in response.

The set design consisted of three projector screens, displaying surreal artistic dimensions to reflect abstract self expression as each cast member metaphorically expanded on candid expressions experienced as a neurodivergent, tapping into internal conflict, self-critical natures & insecurities having to feel, act & be a certain way to get by within society.

The self expression articulated in the form of poetry was impactful, addressing clear distinctions between connection, universal language, freedom of speech, direct communication, togetherness and unapologetic vulnerability. A true testimony to innate perseverance, strength, personal truths which help us as human beings redefine stigmas to reclaim personal narratives to inevitably recover & overcome trauma to restore hope, peace and liberation futuristically.

Overall, The Arts is an enchanting & deeply enriching introspection on the inhumane labels considered ethical, in contrast to humanistic elements seen as taboo within society. This play specifically sits at the centre of realism and humanitarian principles which encourages food for thought from different perspectives & livelihoods where you inevitably feel compassion, empathy and sympathy.

Review, Frontiers, National Dance Company Wales, The Place, By Hannah Goslin

 out of 5 stars (4 / 5)

Plunged into darkness, our eyes becoming accustomed, we start to see the outline of bodies, moving as one. As the lights come up, we are confronted with a team of mismatched and almost fearsome creatures, with mixtures of jagged and smooth movements.

A double bill, National Dance Company Wales bring questioning and critical performances, Skinners by Melanie Lane and AUGUST by Matthew William Robinson. Neither aim to give answers to our changing world but aim for us to reflect on our existence and the change around us.

Skinners particularly looks at the digital age, where physicality is distorted beyond recognition and where we live in a virtual world as opposed to reality. This first piece is what we are confronted with from the dark; creatures with recognisable assets yet distorted some what, move as one and then in separate spheres. The movements themselves move from recognisable, to abrupt, repetitive and unusual. With their costuming and contortion of their bodies, we want to understand but we are quickly pulled away, watching something unearthly, at times robotic, at times… no one knows.

It is a piece that you cannot take your eyes off. Even the repetitive movement hooks you, and there is something always catching your eye. Once the performers peel away their outer layer, they become more humanised, but there is still this sense of something lost underneath, as they continue to move unusually and almost unnaturally. It is a high octaned piece, full of dance moves that seem simple and easy, but clearly requires immense talent and skill to perform.

AUGUST, while noted in the programme as inspired by sunsets and sunrises and the liminal space between, to me, it continued this concept of other-worldly, of a digital age. A horizontal light, that throughout counts down and follows the dancers across the stage, gave this sci-fi effect; of a barrier that could not be crossed. Within this, the movement, compared to Skinners is more graceful and fluid – dancers appear from the dark and as the horizontal light moves up, down, forward and back in movement with them, they are highlighted by the shadows created.

Again, unable to take your eyes off, there is something always appearing or disappearing, with moments of increased energy, within the fluidity of their movements. It is sensual and intense, with the performers working more with one another and their bodies than previously, melding into one and separating into something different.

Frontiers showcases the immense talent of the NDCW – from the unusual and avant guard to the fluid and contemporary, Skinners and AUGUST beautifully compete in excellence.

Review Rebus: A Game Called Malice, New Theatre Cardiff by Bethan England

 out of 5 stars (4 / 5)

With 25 Rebus novels now in publication, Ian Rankin has certainly earned his crown as ‘Britain’s No.1 crime writer.’ Rebus is a hugely popular character, having been immortalised not only in Rankin’s books but also in two TV series, short stories and plays. Personally, I am not a big crime reader, but I do love a good mystery and was keen to cross-examine the characters in this brand new play by the author himself and Simon Reade.

The set perfectly captures the essence of the Edinburgh mansion of Harriet and Paul Goodwin. I was impressed by the obvious effort that had gone into creating this opulent house and particularly enjoyed the movement around the set using the two adjacent doors. The characters move about the space attempting to solve the game, Malice, a crime mystery game which Harriet has written for them all. The action all takes place in the dining room area which eventually leads to an oppressive feeling in Act Two when the characters are not allowed to leave.

Direction is ably handled by Loveday Ingram; the naturalistic approach of the character dialogue is excellent and makes the audience feel like we are truly looking into a ‘slice of life’ and we lose ourselves in the dialogue, no mean feat for a play that lasts almost 2 hours and takes place all in one room. It can all too easily become monotonous and boring, but the direction ensures that this is not the case, maintaining the audience interest throughout.

The casting is perfectly done; Jade Kennedy captures the essence of the 21st century ‘influencer’ with great success. The patronising explanations of social media to Rebus and the constant checking of her phone is eerily accurate of the new phenomenon of social media stars of today’s society. This could be entirely a stereotype, but Jade ably proves that Candida is much more than meets the eye, using her phone to obtain information that ultimately helps Rebus to solve the case and prove that she has brains as well as beauty. Jade struts around the stage and stands her own against Billy Hartman’s Jack Fleming.

Teresa Banham and Neil McKinven as Harriet and Paul Godwin play off each other to huge satisfaction. The character building here is perfectly captured by both actors, initially coming across as the perfect, happy couple but then building to something altogether more splintered and ruptured. The tension bubbles between the two performers in act two especially, especially after the audience has been lulled into a false sense of their perfection in Act One.

Abigail Thaw as lawyer, Stephanie Jeffries is a lynchpin of the action, delivering key information to the plot, sometimes holding back and creating a great sense of intrigue and intensity within the piece. Billy Hartman as Jack Fleming is the ultimate anti-hero, the obvious ‘shady’ character, whom we love anyway. The characterisation is perfect; we know he’s the ‘bad guy, the opposition to Rebus, but we love him anyway.

Finally, Gray O’Brian captures Rebus with ease; he is charismatic, he draws the audience to him with ease and the naturalism here is exceptional. We could really be looking in at a retired detective somehow caught up in a murder mystery game, I really enjoyed his direct to audience segments, cast in a single spotlight as the action moves slowly behind him. I also found myself leaning forward in my seat desperate to hear every word; this was true for every single actor on stage. The writing draws you as you want to solve the mystery for yourself and the dialogue is masterfully delivered by Gray and his fellow players.

Ultimately, this is a great evening out, a fantastic whodunnit, which transforms into dark secrets revealed and true characters being unveiled. If you love crime novels or guessing along with detective programmes on a dark, dreary night, then this is the perfect trip to the theatre for you. A great foray into ‘cosy crime,’ with a fantastically talented group of performers and a conclusion which you’ll never see coming!

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.