|
|
|
|
|
||
|
Articles
|
||
|
Articles |
The 2004 Edinburgh Fringe - Philip's StoryDateline: 23rd August, 2004The general consensus is that Edinburgh 2004 has not been a classic. Having said that, they have been a number of outstanding shows and the British Theatre Guide has moved on to a different plane with no fewer than six critics in town at various times. Two weeks in Edinburgh gives one a lot of time to sample the best, and unfortunately the worst, of what is on offer. The first two plays in the International Festival were a real contrast. Calixto Bieito's hot-blooded reworking of the Spanish classic Celestina, starring the wonderful Kathryn Hunter, contrasted with a clinical new version of Andromache. Regrettably, none of us had the energy (or the guts for that matter) to tackle the 11 hours of Le Soulier de Satin by Paul Claudel! This year, the Fringe stretched its bounds with what was effectively a preview run for a West End star vehicle, One Flew Over the Cuckoo's Nest. This play was beset by disaster and therefore it was perhaps unfair to judge it on its Edinburgh production. However, Frances Barber is a wonder, Christian Slater very good, if not quite Jack Nicholson, and the support of varying quality. There is little doubt though that this will be a success in the West End as a reprise of an iconic film starring a Hollywood name has hit written all over it. The Traverse had a mixed year although, to an extent, beauty was in the eye of the beholder, as there were divided opinions about many of their shows. The one that probably got the most positive response was Jonathan Lichtenstein's The Pull of Negative Gravity, produced in association with the Mercury Theatre, Colchester. It combines a picture of a Welsh hill life with drama about the horrors of war. More mixed reviews came through for Shimmer, Linda McLean's mystical and very beautiful new work and, to these eyes at least, the greatly overrated Irish drama, Take Me Away. For sheer entertainment, the energy of Andrew Buckland in Fuse, a science-fiction comedy worthy of Woody Allen was hard to beat. Chuck in a low key but rather touching Canadian biography of a very special nurse, Tempting Providence, and a Palestinian in view of the war in Israel, When the Bulbul Stopped Singing, and there was a good mix of the sacred and profane at what has always been the Fringe's most professional venue. This year, the Assembly Rooms was not far behind. As well as One Flew Over the Cuckoo's Nest, it also offered John Clancy's satire on American excesses, Fatboy, starring Mike McShane and Nancy Walsh, which divided audiences, if not critics who almost universally loved it. Yet another American work, Kenneth what is the Frequency? by 78th St Lab, was quirky but very original. Mark Jenkins' biography of Orson Welles, Rosebud featuring a fantastic performance from Christian McKay, and Scottish rap musical Fierce add to the impression of an extremely varied programme. For the more traditionally minded, Des Keogh's performance as John B Keane's Love-Hungry Farmer was as funny as one would expect and the South African Amajuba as moving. Pleasance has done well critically with shows such as New York Fringe success, How to Act Around Cops, another American work Will Eno's Thom Pain and Chris Goode's one-man show about Morris Dancing his way to Norwich, Nine Days Crazy. They also have yet another play from the remarkably prolific and promising a young Australian, Van Badham, a lady who has written more plays than she has lived years. On smaller samples, Stacking at the Gilded Balloon demonstrated Katy Slater's ability to write a memorable 15 minute show and The Magnets at Pod Deco demonstrated themselves to be incredibly professional and talented performers. Underbelly is fast becoming one of the best venues on the Fringe. It has a much grungier feel than the big names but the quality of the programming is high and this was recognised by the award of two Fringe Firsts in the second week. Certainly judging by Manchester Girl and a revival of Phaedra's Love by Sarah Kane they have a lot to offer. Another up and coming venue, C has theatre spaces dotted all over the city. They seem to champion younger companies and works such as the up-to-date Winter's Tale and Holocaust biography These Four Walls were both at a very high standard. They also one of surprises dotted around Edinburgh of which perhaps the pick of the bunch, and certainly the most professional was theatre babel's almost Greek reworking of Macbeth. The two plays based on works by Bohumil Hrabal, A Quiet Afternoon and Too Loud A Solitude, were excellent with the former challenging the very best work this year. Another book adaptation that really worked this year was A Paradise It Seemed, based on three short stories by John Cheever. Venue 13 continues to specialise in Welsh drama presenting works such as Football, a play that had more to do with art than sport, and coming-of-age drama, The River. George Square stepped in at the last minute to take over from the defunct Wigwam and were lucky enough to grab the very touching Snapshot but sadly very little publicity. Overall, this is unlikely to be a festival that will live long in the memory although much good work will tour as a result. It will be interesting to see which shows, if any manage to follow One Flew Over the Cuckoo's Nest onto a West End or Broadway stage. And all too soon we will learn what has become the 2004 First of the Firsts. It is always tempting to make predictions and to get proved right but this reviewer is far too canny for that. Come Friday all will be revealed. Philip Fisher Articles Indices:
|
|
|
|