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“If you want an audience to truly engage, you have to approach the work with honesty and empathy” An Interview with Theatre Designer, Hayley Grindle

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Hi Hayley, great to meet you can you tell us about your background in the arts?

Growing up, I loved watching all the old musicals on the television. I still remember seeing Grease for the first time, I was sitting on the floor beside our gas fire, completely transfixed. When it ended, I was devastated; I never wanted it to stop. I also adored watching Tony Hart on Blue Peter and desperately wanted one of my drawings to appear in the gallery so I could get a badge. Sadly, it never happened!

Artist Tony Hart

At primary school I was lucky to have a wonderful teacher, Carol Roderick. Despite teaching full-time and raising two children, she also started a youth theatre in our small town. I absolutely adored her, and only now do I fully realise what an incredible person she truly was. I loved being part of that group, I can still remember standing in the wings, wide-eyed wearing too much blue eyeshadow with just a huge feeling of how magical it felt. Looking back, I think that’s where it all really began for me.

You trained in Design for Performance at The Royal Welsh College of Music and Drama in Cardiff and settled in South Wales. What did the course of study involve? Did you enjoy your time at RWCMD?

At the time, I’m not sure I fully understood what to expect from the course. I just knew that when I visited the college, it simply felt right. I remember after the first week realising that it demanded a strong work ethic, and I was ready for that. I wanted it. It was a completely new world for me, and I was also living in a city for the first time, which made the whole experience even more exciting.

The RWCMD Scenic Workshop

What stood out was how we were treated as individuals. Our individuality was encouraged and nurtured, and the support was always there if you were willing to work hard. I also found my tribe there, friendships that have lasted ever since. We’ve all been in many adventures together since.

Welsh College really shaped my world. I’m incredibly grateful for the experience. We worked hard, but we played hard too, and those years gave me both discipline and a hunger to move on.

You have had a very successful career as a theatre designer. Iphigenia in Splott which you designed has won multiple awards, including the 2015 UK Theatre award for Best New Play and the 2015 James Tait Black Prize for Drama and you were named as Stage Sensation to Watch Out for in 2023 by The Guardian. You’ve also worked on some big shows like Animal Farm, Macbeth and Oliver Twist — how do you start when you’re approaching the look and feel of a new production. As you are about to do with Our Town for Welsh National Theatre?

OUR TOWN by Thornton Wilder ;
Theatre Production (Rose Theatre & Welsh National Theatre) ;
Credit and copyright: Helen Murray

When I approach a new production, I always begin with the script, how it makes me feel. I try to summarise in a couple of sentences often alongside the director, what we feel the piece is about.  What is its purpose? Why are we making this production now? What questions does it present to an audience, and how can the design provoke thought or encourage reflection?

Iphigenia in Splott, Photography by Jennifer McCord

From there, I gather as many facts and clues as I can from the text before immersing myself in the world of the play. Sometimes I create playlists, surround myself with imagery, and spend time really examining the characters and their relationships, the inspiration is often all around us in everyday life.

Animal Farm and Macbeth, Photography by Kirsten McTernan

I often describe the process as being like baking a cake. I load myself up with ingredients and then leave them to “cook” for a while, allowing ideas to form naturally. I’m quite a rough, instinctive worker at the beginning; I’ll use whatever is around me to start shaping the world visually. Then, gradually, I build layers of detail, refining and deepening the design as it evolves.

You’ve collaborated with Directors like Amy Leach and Rachel O’Riordan many times — how does the relationship with the Director, shape the creative process for you?

Directors Amy Leach and Rachel O’Riordan

The relationship with the director is everything. You become intrinsically linked. It is an incredibly bonding process where you see each other’s strengths as well as vulnerabilities. This is especially true when working on sensitive scripts or complex subject matter; you end up sharing and exploring very personal parts of yourselves along the way.

If you want an audience to truly engage, you have to approach the work with honesty and empathy. You need to tap into what excites you, what devastates you, and be open and unprecious in the process, letting go of ego. When that trust is there, the collaboration can become an incredibly intimate and powerful experience.

I also think it’s important to allow yourself to be enthusiastic, even a little giddy at times. As a designer, I’ve sometimes encountered the perception that we’re meant to be very serious all the time, but that’s never quite been me. I love having a great time in the process and finding joy in creating. You can be working on serious productions and still have a genuinely joyful experience making them.

I think our job is always to consider the audience and how to make the work accessible. Sometimes that can be in the simplest sense, it’s always about finding the clearest way to tell the story and thinking carefully about who the audience is, whether that’s young people, families, or, in this case, placing accessibility and inclusivity firmly at the forefront.

You have designed lots of productions as part of the Ramps on the Moon initiative funded by Arts Council England. Ramps production focus on accessible integrated production both on and off stage. What have you learnt as a Designer for this type of work? What particular challenges have you faced and resolved!

I think it’s simply encouraged me to think outside the box. Ask more questions, in the knowledge that everyone is an expert in themselves and that there is a lot to learn and explore from that. To design not just through a personal aesthetic. I think learning to sit comfortable sometimes and just let things grow and trust you’ll make the right collective decisions when it comes to it.

You are currently designing Under Milk Wood for Theatr Clwyd, which is the first production as part of the new Welsh Craidd project. “Craidd is a collaboration between five Welsh organisations: Theatr Clwyd, Sherman Theatre, Pontio Arts, The Torch Theatre, and the Royal Welsh College of Music & Drama. Its mission is to improve mainstream representation, for and with Deaf, disabled and neurodivergent people across Wales. It also aims to drive positive change in the partner organisations involved as well as within the wider theatre sector and is funded by Arts Council Wales.” How have you approached the design process for this production? How do you think audiences will respond to this new production, of one of the most popular productions of the Welsh Theatrical cannon?

This particular process has been deeply collaborative. At its heart is our fabulous Director, Kate Wasserberg, who has a profound understanding of Under Milk Wood and its nuances.

Director, Kate Wasserberg

We spent several days together as a team dissecting and interrogating the script, really getting under its skin. Our approach has been quite inventive, leaning into the dreamlike qualities and distinctive characters.

Hayley’s Design Ideas for Under Milk Wood

This version feels fresh, bold, playful and dark all at once, and it truly celebrates our wonderful performers. Of course, you can never fully predict what an audience will think, but we hope we’ve discovered a new life in the piece together and that audiences will come with us on that journey with open minds.

What part of the Designers role do you most enjoy?

I love beginnings! The discovery, the intense focused work of a group of people all working toward a collective goal. The bonds you can make in the most brilliant ways. You share something very special and then you let go.

For young people interested in theatre design, what’s a piece of advice you’d give them as they start out?

Have fun and enjoy the ride. This career is a marathon, not a sprint, it takes time, and there is always more to learn. Stay in your own lane, keep working, and trust that slow progress is still excellent progress; it will stand you in good stead in the long run. Smile, stay curious, and be willing to learn. And always remember that without your team, you can’t exist. You’re part of a larger machine, and every role within it is equally important.

And finally — what cultural activity have you attended recently that you would like to recommend to our readers?

 Recently, I’ve been falling in love with Swansea and the surrounding area. We visited Dan-yr-Ogof, the Welsh National Showcaves, and I’m already planning to take my wider family back next week, it’s something both children and adults can enjoy, and the scenery is stunning.

 Dan–yr–Ogof The National Showcaves Centre for Wales

Theatre, Uncategorized

Review, Guess How Much I Love You?, Royal Court Theatre, By Hannah Goslin

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out of 5 stars (5 / 5)

Forewarning: this review may allude to spoilers and trigger warnings related to pregnancy.

Sometimes, theatre needs to pull back the pomp and circumstance and deliver work that is raw and unfiltered. And this is exactly what the Royal Court Theatre have done with Guess How Much I Love You?

This production shows the relationship between a young married couple, from their 20 week scan and through the unexpected turmoil from the results of this. We watch as their hearts and relationship break and rebuild, through unimaginable circumstances and laid completely bare to us and our own emotions.

Robert Aramayo, who has just won himself two Baftas, and Rosie Sheehy present an intimate and realistic couple, so much so that it almost feels as if we are peaking in through that fourth wall to something private. They bounce off one another in a natural way and present something ever so real.

The writing itself lends itself, along with their fantastic acting, to build us up, wrap us in their love, which packs the punch so much more when the blows come. It makes us feel their pain as raw and heartbreakingly as they may feel and it does not stop when we think it will… it’s almost like Luke Norris when writing the play thought “are those all the tears you have? I want more!” Norris has not shied away from the real conversations, the moments of anger and hatred as well as deep love, unconditional and the juxtaposition between these moments is again, so raw and truthful. No pretending this is some fairy story or happily ever after… which, there is somewhat of one, but, a very difficult happily ever after.

The set is simple – glimpses into hospital wards, their bedroom, their bathroom, and propped up high above us. We look in but the rooms are small and again, we feel like we are peaking into the privacy of their lives. It makes when we meet their baby all the more close and makes them seem even smaller, unconsciously, and we want to reach out and cuddle him ourselves. Scene changes are abrupt, filling the room in pitch black and ominous instrumentals that are neither jolly nor frighting, but creates an uneasiness; and this is so effective to give us the tiniest of reprieves. We’re then treated with this open, full stage, in the end scene, with the two at the beach, almost like the pressure of their feelings and situation has relented. The writing brings the story back around full circle, but not after we’re beaten and bruised by the former emotional roller coaster.

Guess How Much I Love You? is every bit beautiful, painful and hard hitting. Not a dry eye in the house, you’ll come away in awe of this production and needing a few minutes to collect yourself – all in the best way that fantastic theatre creates.

Theatre, Uncategorized

Review, The Sh*theads, Royal Court Theatre, By Hannah Goslin

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out of 5 stars (3 / 5)

In this Utopian meets historical retelling of our past, The Sh*theads at the Royal Court Theatre does not hold back its mercy on bringing the intensity of love, violence and a willingness to live to the audience.

Looking back on early man, the debut from Jack Nicholls looks at how we began, grew, the nature of survival and the core feelings and emotions of human beings. At a state where the world is changing, we assume, for an ice age, a family fight for their survival, fearing the dangers of the world through story telling and belief without any other influence. When someone outside of their family unit joins, it pushes them to the reveal the lies about their way of life and soon the love becomes hatred and violence.

Our stage is kitted out, just like we would expect from early man – a cave with red painting on the wall of it, depicting hunting of animals by humans, with a small staircase of rock and hole at the top shining in light. The set changes little but when we move from the outside, in, to show the development of the family to the “others” (or, Sh*theads as they are known), this becomes a little more sophisticated; a standing lamp, chandelier made from bones, carpets put out – along with the animal print clothing that borders on modern, there’s a unique modernist yet dystopian feeling to this view of the past.

All the characters are larger than life and, while not a “stereotype”, they do lean into a certain differing character; the father is a eccentric man, ageing and a life long injury, the youngest daughter is bubbly and bouncy, with no filter, like most toddlers and Clare, the oldest daughter, while bordering psychotic, is strangely often the leader and voice of reason. The Sh*theads are also well rounded and different characters – a slightly simpler man, almost excitable as a child and his partner who is inquisitive and in her own right pretty fierce. The different dynamics work well, particularly when all descends into chaos.

My favourite part of this production has to be the puppetry. This is in the guise of the Sh*thead’s baby – evoking similarities to a smaller version of Little Amal, with effective and lifelike movement and voice and later a young doe eating grass. However, our first impression of the whole production is a huge, life-like Elk. Similar to War Horse, puppeteers envelope themselves within the structure and you forget that this is not a real animal. It is beautiful and yet made with a raggety-ness to it that feels homemade yet highly professional. It makes the circumstances it falls into all the more emotional.

The Sh*theads is a great production. It is beautiful aesthetically, with well thought out characters and an interesting story-line. However, while I cannot quite pick out what it was, it felt a little like the shining element to make it an outstanding piece of theatre was missing. Enjoyable none the less and worth watching despite it missing that little piece of the puzzle.

Art, Dance, Theatre, Uncategorized

Review, BIGRE / “Fish Bowl”, Compagnie le Fils du Grand Réseau, By Hannah Goslin

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out of 5 stars (4 / 5)

As part of MimeLondon, Companie le Fils du Grand Réseau bring us this hilarious “silent” comedy, Fish Bowl. While part of MimeLondon and, as highlighted by quotation marks over the silent, it is not wholly a silent mime example, it is a whole lot of fun and chaos.

Fish Bowl is about three apartments in the same building, each containing a very different resident. Their tiny living quarters are sliced in half to allow us to see within, for their daily lives spread across all seasons and events. While on a large stage that is the Peacock Theatre, this one set has the sense of its small areas enhanced by the performer’s over-exaggerated movements and clever positioning of the staging interiors. For example, the tiny hallway, in reality, opens across the whole stage, but the performers contort themselves around the boxes and keeping to this small slither to really show how tiny this little world is.

Each character is starkly different, and there is something cartoon-like in the stereotyped universes they inhabit. We have a suited moped man whose flat is all white and clean, helped by his habit of hoovering his shoes as he enters; the hippy type who is full to the brim of items from boxes to furniture, leading to his sleeping area to consist of a hammock which evokes laughter when we first see it; and lastly, a pretty female whose flat is all pink and girly yet full of comfort. Despite these differences, we see the group warm to one another, the men lusting after the woman, friendships begin and fade and rekindle, and these character’s stories go in directions you never would have thought.

The humour is brilliantly done – a lot is reliant on physicality and involves clambering the staging or clever prop trickery, with some of the hilarity coming from age old comedy such as toilet humour or a peak at someone in their pants. Others are a bit darker but no less hilarious and shocks us in the transition.

When I highlighted silent in air quotes, this was to mean that the production isn’t wholly silent. However, this doesn’t diminish from the great physicality and some which is shocking and surprising. Music accompanies parts, there are sound effects and the only vocal sources from the characters are almost “Mr Bean”-like, with exclamatory noises or one words chorused. We understand everything that happens and these sound bites only add to the great action on stage.

Fish Bowl is a highly engaging feat of physical comedy, pulling from ordinary and relatable characters and lives but heightening the action to create a hilarious and fun production.

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Review Cinderella, Venue Cymru By Michelle Mullineux

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out of 5 stars (4 / 5)

We all know the rags-to-riches fairy-tale Cinderella: a beautiful, kind-hearted young woman, stuck scrubbing floors while her stepsister’s parade around in all their wickedness. However, with a little help from her Fairy Godmother, Cinderella is whisked off to the Royal Ball, where she promptly falls in love with the Prince. There’s just one catch- the magic expires at midnight. Cue a frantic exit, one abandoned shoe (sorry, slipper), and a Prince determined to search the entire kingdom for the foot that fits. Spoiler alert: he finds Cinderella and, of course, they live happily ever after. Throw in her bestie, Buttons, a Fairy Godmother with a wardrobe fit for a queen (I’ll let you decide which type of queen!) and a blend of fantastical sets, props and dancing villagers and you’ve got yourself a recipe for a standout Venue Cymru production!

A brilliantly written script, this panto does not disappoint in its nod to tradition with plenty of hilarious one liners, often alluding to well-known North Wales locations, lots of ‘oh no, you didn’ts’ etc., a frenzied 12 Days of Christmas complete with custard pies and, a highlight, Buttons and the Fairy Godmother discussing ‘Billy from Bala’s Bullocks’…you can imagine where this sketch has the potential to go…! The chemistry between John Evans (Buttons) and Simon Nehan (Fairy Godmother/Dame Dolly Penrhyn) is unmistakable- both consummate professionals and no stranger to Venue Cymru’s stage (in fact, Dame Dolly mentions how confusing her feelings are for Buttons as she played his mother last year!) Evans is the master of improvisation and clearly extremely comfortable in this role and Nehan excels as the Dame, with wonderful comic timing and just enough bawdy behaviour!

Another duo with a clear connection is 2025 Britain’s Got Talent finalists Hannah Roberts and Fran Cottington as wicked stepsisters Whitney and Britney Bardashian (see what they did there?!). Both local, Han & Fran are literally ‘living the dream,’ riding on the wave of their talent show success. However, these two are not to be underestimated. They have already proved they can sing and that they’re comfortable in front of the cameras and now this powerhouse pair are conquering the professional theatre world. Both seem very ‘at home’ here and bounce off each other perfectly, neither one stealing the limelight from the other. Performing a laugh-out-loud rewrite of ABBA’s Fernando (an ode to popular restaurant chain Nando’s!) along with other ABBA classics and more, continue like this and Team Han & Fran will no doubt go a long way!

Another local performer is Corrine Cherish who simply shines as Cinderella. Despite being the title character, this role can often be forgettable. However, Cherish truly puts her own stamp on the story’s heroine, and not only does she make a stunning lead, her vocals also stun- no more so than at the end of Act One- as Cinderella makes her way to the ball in her newly transformed coach, Cherish’s soaring vocals, combined with a beautifully magical piece of stagecraft (which I won’t spoil here), create a surprisingly emotional and memorable end to the first half.

This year’s ‘celebrity’ panto stars are Strictly Come Dancing’s AJ Pritchard and his brother, also a professional dancer, best known for Dancing with the Stars, Ireland, and his appearance on Love Island. Unfortunately, both give disappointing performances, often stumbling over lines, and displaying acting talent about as wooden as Cinderella’s broom! I’m not sure I’ve ever attended a production of Cinderella in which the Prince (AJ Pritchard) doesn’t sing at all and, although Curtis Pritchard as Dandini is given a few musical moments, he mimes every time which is very off-putting! I can’t help but think the production would have benefited from some more local talent rather than being reliant on ‘names’ to put bums on seats!

The cast is mostly strong, with a lively and dynamic ensemble who keep the energy up and whimsical, cartoon-like sets, clever lighting design and fabulous costumes all add to the magic. The musical numbers strike a fun balance between timeless classics and modern hits- though, like Cinderella’s night at the ball, some feel a tad rushed. All songs, however, are played live by the company’s fantastic band, led by Musical Director Shaun Critten, who even pops up for his own mini moments in the show, adding an extra sprinkle of charm!

Overall, Venue Cymru’s Cinderella is a true spectacle which could have been propelled to a five-star production with a handful of minor alterations. It was wonderful to see the theatre full on a Sunday afternoon and a pleasure to hear families thoroughly enjoying themselves in the lead up to Christmas. For a feel-good, festive experience with lots of laughs and local talent, I wouldn’t hesitate to recommend a visit to Venue Cymru this panto-season!

Cinderella.
Venue Cymru, Llandudno
Friday December 12th, 2025- Saturday January 3rd, 2026
Cinderella | Venue Cymru

CAST
AJ Pritchard
Curtis Pritchard
John Evans
Hannah Roberts
Fran Cottington
Simon Nehan
Corrine Cherish
Ella Goody
Connor Pearson
Sadie Wagstaff
Sam Woods

CREATIVE TEAM
Associate Producer Laura Taylor
Second Associate Producer Jo Longworth
Writer Tam Ryan
Director Alli Coyne
Choreographer Eddie Slattery
Musical Arranger Steve Clark
Musical Director Shaun Critten
Lighting Designer Ben Payne
Sound Designer Matt Karmios

BAND
Md/Keys Shaun Critten
Drums Michael ‘Ozzie’ Osborn
Bass Dominic Palmer

FOR CINDERELLA
Production Manager Andy Pye
Company Manager Matthew Ollerhead
Deputy Stage Manager Heather Milne
Assistant Stage Manager Mali Barratt
Wardrobe Supervisor Paula Cain
Wardrobe Assistant Imogen Duke
Dresser Alaw Broster
Production Carpenter Simon Somerset Holmes
Lighting Programmer Sophie Schmidt
Production Sound Matt Gibson
Sound No 1 Jason Jones
Dance Captain Ella Goodie

Festivals, Theatre, Uncategorized

Review, Garry Starr: Classic Penguins, Francesca Moody Productions in association with MILKE and Underbelly, Ed Fringe, By Hannah Goslin

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out of 5 stars (5 / 5)

As a book lover, and, despite this, very much being influenced by the “book’s cover” Garry Starr was plastered around all things ed fringe and I knew, I would just need to see what this about. What I actually saw, was way beyond anything I ever expected.

Garry Starr: Classic Penguins is a show that attempts to go through every single penguin book within the time allowed, creating hilarious comedy through quick and basic acting out of the titles, audience engagement and … oh… a whole heap of nakedness. That’s right. As we enter, there’s a aesthetic of a villain’s ice lair, with Starr in a high backed chair and clearly a top hat and tails. But when he swivels around, we see Starr at his full nudeness. The show proceeds in this fashion, with much lewd comedy sought from this, some…ahem… intimate puppetry and zero boundaries in physicality. At some point, you get used to this and suddenly Starr will pull out something out of his hat (metaphorically) that takes us back to the rude comedy basics. I will say, that the nakedness doesn’t really add anything to the performance – there’s no real rhyme or reason, but you can’t be mad because it’s totally absurd and ridiculous and entire chaos. It’s such a mad production, that you actually do not stop laughing, whether specifically prompted or just because you cannot believe what is happening.

The actual “recreation” of the books are very clever. Very to the point and as described, there are bits that are heightened to either gross us out or make us shocked, and others that actually are physically impressive. To ourselves, we start to guess what’s next. Most of the time, the acting begins before we are told the true title and, any book lover, begins to try to get ahead of Starr and what he is recreating.

Starr himself is having a whale of a time – with no qualms of his state of dress or interactions with us, he is laughing and enjoying every moment as much as us. As with any audience interaction, there are curve balls and he relishes this and uses it very much to his advantage to pull more and more laughs from us. In pockets of the production, we actually feel as if we are just Starr’s friends, being as silly and ridiculous as he is, despite being within a large, sold out venue.

Garry Starr: Classic Penguins is an absolutely nuts and nonsensical production, with ranging high to low levels of comedy and concept. It is mania of the best kind and one of the most bizarre but brilliant productions at fringe.

Festivals, Theatre, Uncategorized

Review, KINDER, Ryan Stewart, Ed Fringe, By Hannah Goslin

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out of 5 stars (3 / 5)

If you were expecting a drag act, you are * some what* wrong. KINDER, while all the posters would tell you so, seems as if we are embarking on a drag act, we are in fact embarking on something a lot more.

KINDER is a deep and emotional production based on a drag artist at a time when their plans completely change. Instead of their debut on stage as their drag performance, they are in fact booked for a reading hour at the local library with children. What this triggers is a monologued production, with elements of high quality lip syncing performance, reflecting on a personal childhood and the state of children and families going forward.

The storytelling is deep and personal. We feel privileged to be part of something so sensitive and in a clearly vulnerable place. While the story is told, Stewart is slowly changing into a new outfit, looking through newly moved boxes, finding things that trigger a memory or an opinion. We learn a lot about them and how they came to be, while they also talk out loud their personal opinions and wants for the future. We feel close to Stewart, and they do speak to every one of us in that room. There are occasional moments of comedy, in the way that you find in a conversation, but this isn’t really meant to be that production, or so it would seem.

The lip-syncing moments are fierce and very professional – these injections liven and break up the monologue, much in a way that Shakespeare would use a light relief in one of his serious plays. Stewart easily commands the stage and takes up the space, not allowing your eyes to wander elsewhere. So, when we return to the one sided discussion, they suddenly seem a little lost in the space, and the tidying or searching becomes a little monotonous an action.

KINDER is a bit of a mismatch of a production – it has really strong moments, such as the lip syncing parts or the beginning of the artists vulnerability, but this sadly becomes a bit of the same, losing our attention and wanting something a bit more.

Festivals, Theatre, Uncategorized

Review, 3 Chickens Confront Existence, LookFWD Arts, Ed Fringe, By Hannah Goslin

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out of 5 stars (3 / 5)

As we confront the space, we see three human sized cages in front of us, ready for us to then confront existence with three chickens.

That sentence in itself seems surreal and of course, it means that this production is also surreal. Lights come up and we see three different coloured chickens in front of us in human size, sat in the cages, staring out at us. Over the next hour, these chickens contemplate existence, time, their lives and what’s to come, all while they wait for their randomised fate of the broiler.

Along with the differentiating colours, the personalities of each chicken is different and in some ways giving a sense of the film Chicken Run – we have a hen who is a little wacky, a cockerel who is more matter of fact and another cockerel who is a little more of a higher class. They have been thrown together in unfortunate circumstances, bouncing off one another, creating naturalistic humour in their differences. They do feel like they have been plucked out of the famous film, with similar thoughts, interactions and a desire to escape their fate.

In amongst their interactions, the spotlight is drawn on each of them for a monologue about their life and existence. Their contemplation, while chicken lead, feels philosophical, and does give a feeling of something avant garde and thought provoking. Within these moments and their interactions, there are elements of humour but it is small and subtle, and it’s difficult sometimes to tell if this is meant to be humorous or an attempt at high art. Whatever it is, it is a piece of theatre you’d expect to go to at the fringe, for the eccentricity alone.

3 Chickens Confront Existence is a thought provoking and philosophical and avant garde piece of theatre, well catered for those seeking to discover the unusual at fringe. It however felt a little lost on what it was meant to be, whether serious or a comedy. Either way, it was a well performed and interesting production.

Festivals, Theatre, Uncategorized

Review, Murder She Didn’t Write, Wildpark Entertainment, Eleanor Lloyd Productions, Fiery Dragons, Degrees of Error, Ed Fringe, By Hannah Goslin

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out of 5 stars (4 / 5)

Everyone loves a good murder mystery. Popularity of this genre has increased with Hollywood films such as Knives Out and The Thursday Murder Club, so it feels fitting that it comes to and is popular at the world of Ed Fringe.

As the title suggests, this production takes all the combos of the quintessential murder mystery, but puts the plot into our hands. Murder mystery meets improv – there are prompts and certain things in place to help, but with the help of the audience, how this actually transpires is completely unplanned. In our scenario, this is the case of the big sausage, set in a p*ss up in a brewery, which already gives us giggles and that typical British humour. There are often little innuendos and suggestions that continue the typical British humour in that wink wink nudge nudge kind of way.

The set itself is resplendent – very well made, featuring on quite a large stage with sold out seats. There’s a great sense of “Cluedo” with the chosen aesthetic and the monochrome colour choices – one character is all in yellow, one in green e.t.c. Our host has a essence of Miss Marple meets Jessica Fletcher, with slightly stereotyped and exaggerated elements in her dress and conduct. She has the power to stop and start and entice certain moments, with a tongue and cheek essence that clearly shows a great relationship and banter culture with her fellow actors by cheekily making things a little harder for them. Moments of corpsing comes from all of them; silly suggestions, recognition of Jessica Marple’s attempts to throw them, the comedy that comes from the minds of their colleagues as they improvise and, in this big space, this lets us warm to them and be part of their group.

Overall, Murder She Didn’t Write is a brilliantly and professionally constructed audience participatory improvisation show. It effortlessly links all the stereotypes of a murder mystery, engaging with us for prompts to continue the comedy and showing a real skill in creating a whodunnit on the spot.

Art, Festivals, Theatre, Uncategorized

Review, Wild Thing!, Mechanimal, Ed Fringe, By Hannah Goslin

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out of 5 stars (4 / 5)

More than ever, we are concerned about how the world is. It is slowly decaying and the extinction of wildlife continues. In this one man performance, we really take a look at this on a mass scale in a clever piece of performance art.

Tom Bailey is already in full performance mode. With a basic presentation on the wall behind and accompanied by a vocal announcement, there are bizarre names, latin, some are comical, some unusual, some complex, this prompts Bailey to attempt to impersonate the animal. As soon as we are sat, he interacts with us, climbing amongst us, or encroaching on our personal space, in a way animals would. We are also asked to take a card and later think about what the animal may be, how they may hunt and live. This is all very comical and fun, full of energy and changes in movement.

However, once we are lulled into this comfortable state, we are starkly hit with the reality. A almost pre-show, durational performance, Bailey trekked across miles, with a sheet listing the hundreds of thousands of animals extinct, creating photography pieces in these landscapes. In person, this is accompanied by an explosion of bones across the space, which he continues to perform physical theatre amongst, changing the comical dynamic to something blunt and dark. This combination has not only made us comfortable to accept the change, but puts us in a position of realising reality in a in-your-face way. It is clever and ever so moving as well as highly performative.

Wild Thing! sets out to make a serious point about the state of the world and its demise, with the use of clever comedy to soften us until hitting us with the dark reality. It is fantastically performed and curated to be not only a piece of theatre but performance art with a host of supporting media, making very important commentary on the destruction of the environment.