(5 / 5)

History is one of those parts of being a Culture Vulture I love. I wouldn’t say I’m a nerd but I do love me a bit of history. And as a Brit, we all know about holding hot dogs around a bonfire in a field and looking up at fireworks at the sky while we freeze our butts of every November.

But this is a production to tell us about what we didn’t know about the Gunpowder Plot. Remember, Remember! is a hilarious, untrue and re-imagined retelling of Guy Fawkes and the plot to blow up Parliament. It is everything we know and much more we don’t with the change of the story from conception to what really happened; to the change of the main man we know responsible today from someone we’ve never heard of; a camp love affair with the King and endless comedy in the farcical approach to the tale.

This is a slightly hard review to write because it definitely is a show you need to just experience. This isn’t a cop out but that I genuinely don’t think I could do it justice. It is so unbelievably funny, smart, fast paced, that you don’t have a single minute to breathe through laughter. The performers all play a multitudes of characters and they are all hammed up, and/or a stereotype of a figure; for example, Guy is a bit of a too-cool-for-school guy that everyone fancies and is just effortless. The way they do this for the characters is so well done and the element of over exaggeration fits well with the overall approach to the production.

Because they aren’t sticking to the “truth”, the embellishments aim to create comedy and shock you. They take a piece from the history and run with it; King James’s well known love of men is exaggerated, with him as a very camp, almost slimy character, with the tiniest of crowns and pink bloomers. Every element, from performance to costume, set and narrative is so well thought out and just absolutely stuffed to the brim with comical moments.

The performers are just fantastic – while the characters are well formed, there’s these moments of them as a group giving a break for narrative support and in this, they themselves have their own story-line – two have a love hate relationship, flipping each other off, and taking the mick and the lines blur between the historic and the modern. It only makes it more funny and we love each of these performers individually and in how brilliantly they work together.

Remember, Remember! is absolute hilarity from start to finish. Don’t expect to come out having learnt anything historically factual but do expect to come out with your cheeks and sides hurting from laughter and in awe of the absolute absurdity that has ensued.

(4 / 5)

If you were at Fringe this year, you would have been hard pressed to miss the gigantic green monster around the city. Frank has come alive, once again, but this time, in the most unusual way.

This is a clowning show like no other. Slightly in mime, with a Mr Bean-esque approach of only sound and supported with spine-crawling bass, we are introduced to Frankenstein (Frank) from him coming alive to living … well, life.

He interacts with us, making comfortable eye contact, moving with stocky movements of his new limbs and being somewhat imposing. For such a tall man, and one as a “monster” he would be perfect to keep in keeping with the horror genre of this well known monster. But this is where it changes – Frank becomes adorable and friendly, despite shouting or groaning instead of words, and his story trajectory turns into his friendship of a green balloon – something that needs to be handled gently and with care.

By not using words, somehow, he still manages to easily communicate with us. We join in the fun with the balloon and understand the nuances of what he is trying to portray to us. Some audiences are reluctant and this could be misinterpreted as misunderstanding but it isn’t – it’s just a lack of wanting to be involved, because, Frank’s intentions are so clear.

What is wonderful is that this approach to Frank is completely different to the stories we know. This is a more emotional Frank, more adorable, friendly and approachable. This all comes in, somehow, how he interacts with the balloon, with kindness and intrigue and we fall in love with him. The kind of big-teddy bear man instead of something scary and dangerous.

His physicality is so extremley funny. He manages to make us laugh, taking his time and ensuring to take up space with his physical comedy. There’s no urgency, and if you have done any work in physical theatre, you know actually how much control and skill is put in to do these slow and precise movements. Accompanied by some shouting and groaning, it’s absolute absurdity and a fantastic piece of clowning.

TO BE FRANK is an absurd, unhinged and utterly heartwarming piece of clowning and physical theatre. You will go into the unexpected and come away falling in love with this giant teddy bear.

(4 / 5)

We think we know all about the tragic story of the Titanic. Told through many films, productions and documentaries, this disaster continues to unearth story after story, but we still think we know the bare bones. But in this fantastic production, we learn so much more.

A one man show based on the true account from survivor Frederick Barrett, we learn so much more about the final hours of the Titanic from a working class stoker. Down in the stomach of the great vessel, this is where it claimed some of its first victims to the icy seas and we see this recounted through storytelling and immense physical theatre.

The set is very simple, atmospheric and ideal for telling this story. With only a couple of benches and watery lighting that changes to red with the ship lighting, while we may never know what this part of a ship looks and feels like, we get a very good sense of it. We feel like we’re in the belly, in the hot and cramped conditions and instantly amongst the events with Barrett and the stokers.

Performed by one actor, his physicality throughout this is impressive. Mainly, we are seeing the story from Barrett’s point of view, but he occasionally switches into other characters seamlessly. They’re subtle changes, whether that’s vocally, with an accent or a little physical change, and so we get to know these other characters very quickly. We see the comradery prior to the iceberg and we get a sense of these people which makes the tragedies all the more poignant.

When the iceberg hits, the change in pace is immediate and we get the sense of urgency. The performer’s ability to be able to do this whole production must be exhausting and he throws every bit of himself into it. With the little staging, he moves around the space somehow painting images of a ladder, of higher up, of the water coming in, of the corridors and we can see it so clearly in front of us. For us, this whole production is very real thanks to the performers ability to not only story-tell but to create an imaginary set in front of our eyes. Our heartstrings are pulled at incessantly, as we suddenly see these characters we’ve gotten to know disappear. We feel genuine grief at this and sit in the guilt Barrett feels for fighting the odds and surviving. This is all thanks to setting the scene, to creating these characters and immersing us in the story effortlessly.

Boiler Room Six: A Titanic Story is a feat of a one man performance, creating the scene with only physicality and atmospheric lighting. It is emotionally charged thanks to fantastic acting ability featured and successfully tells a new version of the well known tragic event.