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Review, Prom 54, Yo-Yo Ma, Leonidas Kavakos & Emanuel Ax, Royal Albert Hall, London by James Ellis

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out of 5 stars (3 / 5)

Photo credit: BBC/Andy Paradise

This should have been a real highlight of the Proms season. With one of the classical world’s most cherished cellist: Yo-Yo Ma and two other fantastic musicians, violinist Leonidas Kavakos & pianist Emanuel Ax, an afternoon filled with Beethoven should have been everything.

There were several things wrong on the day. We got a notice that the musicians chose to switch the Pastoral Symphony arrangement for Brahms’ Piano Trio No. 2. Was any reason given for this last minute change? The rest of the programme remained the same. It was an expectedly packed concert hall, a humid venue on the best of days. I struggled with a fair amount of audience members who were unwilling to stand as I passed, lazily using the swivel option on their chair. I tripped over before the concert and even then people still were unmoved.

The Brahms left me cold, vigorous moments of musical passion between the three are here, it just didn’t have the wow factor. They make it special, yet I wouldn’t hear it from other players. Another issue is the acoustics which for me were mostly fine, though others in the vast hall struggled. Languid bars are met with typical melodies and had little of true depth. When Brahms misses, it’s a big miss.

Thankfully the Beethoven Piano Trio in B flat major, known as the ‘Archduke’ had more resolve. Ma as cellist exudes a friendly nature, waving when ever coming and going on stage. His playing is forever a joy, his repertoire extensive, his piercing musicianship unwavering. Kavakos on violin keeps the momentum up between the players, some thoughtful findings in the Beethoven rang through. Ax on piano, though fairly reserved played as it should be, these pieces are not for mega concert halls like these. It is chamber music after all. Some of the softer bars in the Archduke opening movement have this pristine grace to them. The fluffy piano also stood out, a meaty component though all three players have great dynamics and a fair amount of chemistry.

Encores of Schubert and Schindler’s List pleased the masses.

Listen to this Prom on BBC Sounds and view on BBC iPlayer.

Art, Circus, Festivals, Theatre, Uncategorized

Review, Horses, Elf Lyons, Pleasance Courtyard, Ed Fringe, By Hannah Goslin

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out of 5 stars (5 / 5)

Elf Lyons is a name I’ve heard around for a long time. All good things, I promise. And is a performer I’ve wanted to see for a long time. So it’s safe to say, I went into this completely blind but very curious.

Lyons welcomes each person at the door which is lovely and unexpected; she is endearing and lovely and already in her clown make up. To do this for each person of this most likely sold out crowd is something in itself.

What comes to pass is every level of absurd, ridiculous, hilarious, dark humoured and insane. And I loved every second. The couple next to me, American tourists, asked if I had seen her before and when I said I hadn’t, they told me they had seen this show as a work in progress and that it would “change my life”. God, weren’t they right.

Lyons takes us through a whistle stop tour of horses, what they did and do for humans, their mythical stories, but retells these in her own way. Pegasus gets new shoes but he’s also going through puberty and so this, while physicality made to look horse-like, comes across in the typical teenage angst. Made up characters boarder stereotypes slightly but again, the way that Lyons embodies them each, physically, vocally, facially is all very different, and entirely her own.

Each story is like a little sketch and each is full of dark, dark humour. And she doesn’t go for the obvious; her tales are her own and absolute comedy genius. To be honest, without all these clever and well formulated stories and characters, Lyons just trotting around for an hour could have kept me entertained alone.

Elf Lyons Horses is unique but comedy perfection and not short of a genius show.

Art, Circus, Festivals, Theatre, Uncategorized

Review, Plewds, Katherine Payne, Summerhall, Ed Fringe, By Hannah Goslin

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out of 5 stars (4 / 5)

Throw together some Queer theatre, clowning, deep therapy, the X Factor and you have Plewds.

Plewds travels through the story of a Queer person as they try to get over a break up, but it’s more than that – it’s about identity, Queer stories and injustices of this.

Katherine Payne starts and ends the show unconventionally, they are very meta throughout, and admit this with not knowing how to start or end the show. The hardest parts, but certainly not the hardest they have experienced. We are taken through high levels of clowning and comedy and then thrown quickly and deeply into reality and despair. This sets us up each time for a roller coaster of emotion and makes the break down of their story even more poignant towards the end.

The characters they create are well constructed, if not clowned versions of stereotypes, helping to deliver the stories but make political and social commentary, A male detective who believes a lesbian interaction is an example of them as “just friends”, continuing to showcase the misconceived ideals through history.

There is of course audience participation (this is fringe) and these elements are just as funny as the pre-planned production. It adds a fantastic layer to the production and the audiences really getting into their tasks brought comedy and a comfortable break in the forth wall.

Plewds has a important message of identity of Queer people and Queer relationships and can resonate with many. But at the same time, it is a lot of fun and full of clown-fuelled comedy.

Festivals, Games, Theatre, Uncategorized

Review, ARCADE, Darkfield, Summerhall, Ed Fringe, By Hannah Goslin

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Darkfield are well known for their shipping container immersive experiences. They seamlessly create brand new concepts and they are always exciting, a little fear inducing but ultimately very interesting pieces of theatre.

ARCADE is a little of what it says on the tin. In this container, a small arcade is set up, with rows of retro game consoles. Lining up, we are asked to put headphones on and understand where the main button is, the token dispenser and token slot. In the pitch darkness, we are plunged into a tale where we are an almost alternate universe, playing as a “host” and the soundscape lets us know we are almost sucked into that body. The world we are in is savaged by war and we are given choices along the way, this is where our button comes into play and our token. The story is in our hands.

In past Darkfield productions, there’s been a bit of cold air or vibration to help you fully immerse. This is no different with ARCADE, when water is splashed at you after a gun shot or air gently blown when you’re going outside in the story. It is surprising and a new level that they have reached. However, whether malfunction or purposeful, there were times of short bursts of air directly at you, seemingly with no reason. The person next to me’s machine kept also flashing random colours – unsure whether this was meant to happen but there seemed no rhyme of reason.

The narrative was interesting – the idea that you’re transplanted into a host and follow this world that feels very real. There’s the odd twist and turn and a sense that there is no way out, no ending but it lacked something for me. I was immersed but the story lacked any meat to it and so, when it was over, it was a surprise as I just wanted more than was given.

ARCADE is on the right track to where Darkfield’s other shows have reached. As always, it is an extraordinary and exciting experience but just had something lacking for me.

Art, Dance, Festivals, Theatre, Uncategorized

Review, A Brief History of Difference, Das Clarks/DAR, Summerhall, Ed Fringe, By Hannah Goslin

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out of 5 stars (5 / 5)

Have you ever felt different? Like you don’t fit in? That something is wrong with you?

Das Clarks, with their sterling performer, DAR, take a deep dive into these thoughts and feelings, looking at identity and belonging. By looking at DAR’s life, we see their transition through it and where these questions rose, what they did about it and how they accepted truth.

In the standard Clarks way, this performance has every element of intimacy, pulses of high energy, physical theatre and also gentleness. We are welcomed to the space, a space full of items that represent DAR, to include A LOT of pigeon items (one of my fav). DAR meets with each of us as an old friend, welcoming us and interacting very informally. We are being welcomed into a safe space and our respect in this is paramount to allow the performance to go ahead.

DAR takes us through their life, from items around the room and their meaning, to short stories they have written at poignant parts of life. We see them as they recount their passions and loves which is entirely heartwarming, to the funny and also heart breaking times of trying to fit in as a neurodiverse queer person. While unique to DAR, this is a story many can relate to and resonates deeply.

Audience participation is key and expected, but there is a level of respect and consent in this and it feels warm and inviting. We discuss labels – the good, the bad, the ugly and what they mean. DAR has this very positive approach and so words we would think of negatively, they have a positive spin – it’s an inspiring approach and we take this with gusto.

Then comes the pockets of physicality or level changing, from physical theatre pieces to DAR’s favourite music, spoken word at a fast pace at the mic or a moment of playing the bass. This heightens the performance in theatricality and breaks us a little from the comfortable lull we feel here in DAR’s room with them. The movements are visually stunning, with DAR clearly enjoying themselves and in the moment, pulling faces or closing their eyes to enjoy. They are representative yet abstract, making this a perfect bit of physical interlude.

As always, Das Clarks work is something of inspiration and perfection. It is quintessentially Welsh in its approach, as I always say, that Welsh theatre is something so unique, different and avant-guard. DAR is a brilliant performer and it was a pleasure to go on a journey with them, finding themselves and resonating with many.

Circus, Dance, Festivals, Theatre, Uncategorized

Review, Stuffed, Ugly Bucket, Pleasance Courtyard, Ed Fringe, By Hannah Goslin

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out of 5 stars (5 / 5)

We knew, while we were in it, that shows of the future would likely contain elements of the pandemic. I dreaded this, thinking it would likely be the same thing over and over. But boy was I wrong.

Stuffed is a production about food banks – not food. Food Bank workers go through a daily cycle, while verbatim voice overs fill the scene. Using this, they take on different characters and drive the story forward by clowning scenes that are inspired by what is said. Everything gets worse and more chaotic until a crescendo of mess. But there is some light at the end of the tunnel.

We are thrown instantly into the production, with drum and bass music, high energy physical theatre and essentially being shouted at but with an important message: this is nothing new, nothing we haven’t heard before. And yet, this disclaimer still doesn’t prepare us for what’s to come.

There are levels of highs and lows in energy and performance, and this keeps us on the edge of our seat. Dark humour fills each scene, from a visceral scene of a person with guts coming out of them but acting as if it is all okay, to a fight over a crumb, the performers acting with elements of pigeon-like physicality. But with this, a more serious darkness comes and this does well to lull us before driving home the gut punch.

Political commentary on the state of politicians, the police and other elements mix between raw real speech to a clowned and hammed up interpretation: when the man with his guts hanging out is met by the police, they firstly ignore him, see we are watching and then embark on futile attempts to soothe to appease the public. Hilarious but extremely to the point and almost not surprising.

The crescendo is a break down of society, government, life and this is represented in an inferno, a building collapse. What is interesting is the performers already have signs on their costume and make up to suggest this isn’t the first time. It becomes raw and painful and delivers yet another gut punch. It is so powerful.

Stuffed is a must see play. Even if you think food banks have nothing to do with you, they have everything to do with everyone. This production has the perfect levels of comedy to then really smack you in the face with reality and it brings real emotion to you. It’s fun, but painful and so very important.

Art, Circus, Dance, Festivals, Musical, Theatre, Uncategorized

Review, Swamplesque, Trigger Happy Productions, Assembly Main Hall, Ed Fringe, By Hannah Goslin

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out of 5 stars (5 / 5)

Rarely have I been in a situation when a review is hard to write because it is such perfection. 

I very much booked this on a whim; I saw plenty talking about this, from fringe contemporaries to general public and as a cabaret, burlesque obsessive and millenial who grew up with and watches Shrek on repeat for comfort, I also couldn’t resist. 

Most burlesque shows run for a couple of hours, with interval and presenters. But at Fringe, this isn’t an option and actually, the consistant pace the show is forced into just helps with keeping the laughter coming. Not that there is a problem with that in the first place. 

As the name suggests, this burlesque show is a satirical take, with drag, burlesque, rude jokes and phenominal singing of Shrek, condensed to one hour with highlight triggers. From pop culture references or if you have just seen Shrek an ungodly amount of time, you’re already speaking the words along with the audio; the surprises and their take on them are all the more funny with extensive knowledge and they have chosen something so brilliant to be creative and get the audience going. 

Transitions are smooth and we are thrown in from the start. Innuendo is writhe and the little details to create jokes are well planned and thought out. And the actual skill of the performers is a gold star – they are professional, having fun and extremley talented. I have probably never been to a show when, the next act comes on and i’m laughing at the sheer impressiveness of their choice and conduct or saying “No F***ing way!”. I was entirely engaged and so was every audience member, by the sounds of the cheers, the singing along, the laughter and clapping. It’s a wonder the Assembly Main Hall is still in tact. 

Swamplesque is everything I wanted it to be and more. Not a foot wrong, so extremely clever in execution, creation and thought, they were meticulous in their choices and artistic direction and I had THE BEST time. Now to go away and question all my thoughts and feelings…

Festivals, Music, Theatre, Uncategorized

Review, Christian Dart: Bigger Than The Christmas Turkey, Gilded Balloon, Ed Fringe, By Hannah Goslin 

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out of 5 stars (4 / 5)

There’s something to say about Christian Dart – the man loves a Fringe and has the secret to unlimited energy. Part of the group, Bad Clowns, Dart has embarked on his own show, only 20 minutes after Bad Clowns HOSTAGE and still seems to smash it. (There is to say they have another show AND did a one off at 11.30pm the same night I saw HOSTAGE, recreating it with different characters… I mean… the sugar these chaps must be eating…)

After seeing Dart run out of HOSTAGE the night before to his own show, I did question what I was coming to see. But Dart doesn’t let on that anything is likely amiss and is on his A game throughout. 

Bigger Than The Christmas Turkey brings together a stand up show, with music, a little like Tim Minchin but much more unhinged. We are transformed through Dart’s life, from a large baby, through break ups, break downs (over guacamole) and the injustice of Disney. The segue to each of these is clean and when it isn’t, it is owned up, purposeful and becomes part of the comedy. 

Dart, like any comedian, is very interactive with the audience and this audience are ready for it. His confident and positive personality helps, engaging us as friends and leaving us feeling part of his life; with knowledge of the vulnerable parts and welcoming us to it. He isn’t afraid to be the butt of jokes, using real images and videos of his childhood and onwards, to tell his story. This candid retrospective is endearing and engages us as, likely, people who could not do that themselves. He is also quick witted with quips and creates new humour through the moment – jumping onto chairs in the middle of the audience to sing about guac, to see how far he could do with the mic lead, even creating new phrases which he owns up to.  He is self aware and can easily use this to his advantage. 

The only quibble to have is – there was no Turkey suit. Something I very much expected or at least as the finisher, it never comes. While dissappointed, as I write this I think… maybe this was too easy and predictable and actually, we are left wanting more? Only Dart knows the truth. 

Christian Dart: Bigger Than The Christmas Turkey is a fun, intimate and hilarious satire of Dart’s life, but, we are very much part of the jokes and along for the ride. 

Art, Dance, Theatre, Uncategorized

Review, FAMEHUNGRY, Louise Orwin, Summerhall, Ed Fringe, By Hannah Goslin

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out of 5 stars (5 / 5)

Tik Tok and social media has taken over our lives. I’ve not escaped this, despite my “I don’t do insta” or “I’ll never go on Tik Tok”… trying to be cool, “old” and against the grain but I caved long ago. And owning it in embarrassment. More only as a voyeur and posting adventures. 

Performance artist Louise Orwin takes this concept and runs the other way with it. As a known (at times) controversial artist (and trust when I say that with entire adoration), Orwin looks at her years of life while in her late 30’s and her choices, other’s choices and the world and asks – did she do all of this to be famous? And is it too late to still be famous?

She begins this as an obscure social experiment. Those who do use Tik Tok will instantly recognise the absurdity she conducts as the usual on this platform but others may think she has either lost her mind or doing some avant-garde performance. The former is felt by 800+ people at the time, as we realise she is live on Tik Tok and performing. Some actively say she needs help; some can’t believe what they are seeing; some think she’s an icon; some are blowing her cover and announcing it is a performance. This live, changeable interaction is likely new every night but also likely to be the same sentiments. When she does anything against the community rules of the app, she gets kicked off Tik Tok, all too soon. She was only licking a lollipop! But there’s jeopardy to this approach and anything could happen. 

To the side of the stage is a pink haired person on a screen – Jax. Jax comes fom working with Orwin outside of the show and eventually, is her “guru” in all things gen z and Tik Tok. Jax has a huge following and the discourse of how this was achieved is discussed, touching upon how children are sexualised on the app and almost forced to grow up all too quickly. But is it for money? Not really. Recognition? Not really. Fame? Who knows. Orwin balances these thoughts between action on stage, on screens and with a written commentary noting projected at the back on forced performance, and uneasy feelings about her life on the web. 

Orwin is frank and open, clear about the complexities in her head but also brings high-level physical theatre to the stage – all live to not only us but random people on an app – and interestingly, after getting kicked off and using another account, simply running on a treadmill racks those likes back up again. Tik Tok is now this bizarre world wide phenomenon that Orwin has been doing on stage for years. Is it competition? Will it make her famous?

With intense spoken word, the physicality and all the existential discussion around the topic, FAMEHUNGRY is entirely captivating. It is thought provoking, perfection and sheer brilliance. And is raising the important questions with no final conclusion at the end – because to go against the grain is to be left behind, but to go with it creates an uncomfortable feeling. What do they decide to do? Just to keep going. Because, what else is there?

Festivals, Theatre, Uncategorized

Review, HOSTAGE, Bad Clowns, Gilded Balloon, Ed Fringe, By Hannah Goslin

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out of 5 stars (4 / 5)

Ever wondered what being taken hostage would be like, particularly at the fringe? or on stage? I appreciate there may be productions that indeed make you already feel that way. But with HOSTAGE by Bad Clowns, you g… well you don’t quite get a real hostage situation but you get a comical, chaotic hour of something like one.

Bad Clowns, a madcap comedy trio, take us on a journey from a fringe show about a character named Timothy Potts, supposedly loosely based on the main actors life, when his ex-writing partner escapes prison and holds all of us hostage. It would be easy for comedy groups to reinvent the wheel from their heroes and inspiration, but this is something different. The concepts and ideas are all brand new, with only the stereotyped themes handed over by us, the audience. What is great is that you can sense the close understanding and relationship the performers have, when things go awry or they improvise, slightly corpsing but clearly having fun, not only in their production but as friends and colleagues.

The acting is brilliant, with each actor having their own fully fledged character. This not only differentiates it well but adds levels to the performance, enhancing any surprises that come our way. They also feel comfortable involving us; we’re not spectators, we are taken hostage and involved in playing devil’s advocate or taking part in a twisted Black Mirror/Squid Game vote for death. They bring us into the performance, as old friends, and sometimes as friends who are just really bloody weird.

HOSTAGE is a fun-fuelled bubble of chaos, leaving sides splitting, a sense of bewilderment but certainly something enjoyed and unlikely to forget.