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Fringe 2005 Reviews (1)
Hook, Line & Sinker
By Mike Woodhead
Flying Pig Productions
C Chambers St
**
This thinly plotted story of two brothers (who supposedly dig up secrets
about their past) out for a stag night cum fishing trip might make a
decent half hour of television, but as an hour-long theatrical experience
it falls short.
Helen Parry's direction is static and uninteresting, and Mike Woodhead's
script lacks any real tension. The two actors (Woodhead as Trevor and
Scott Bradley as Carl) seem miscast, and I never believed for a moment
that Bradley was the older and wiser of the two.
Although there are moments of honest comedy, they are few and far between,
and the plot elements Woodhead has chosen to include (a funeral, a wedding,
family secrets, etc.) are too diverse to contribute to one central storyline.
Hook, Line and Sinker is a dismal place to start for anyone looking
to be entertained in Edinburgh this August.
Rachel Lynn Brody
One Man Went To Busk
By Matthew McVarish
pendfringe@gateway
Week 0 only
****(*)
There are only two shows left before One Man Went To Busk closes
for this year's Fringe - and this is not a show to miss. Having watched
this piece evolve over the course of the last few months (the writer/director/producer/star
just graduated from the same college as this reviewer is currently attending,
though I'll try to remain impartial), it's stunning how much Matthew
McVarish has packed into an hour's worth of performance. One Man
Went To Busk was better than the majority of last year's Fringe
shows in its earliest stages; in its current form it packed the house
and held everyone rapt for its full length.
McVarish tells the story of Matt, a busker who shoots to fame through
a series of happy accidents, but learns in the end that he has been
running away from what he's born to do all along the way. His performance
is goodnatured and endearing, and he shifts effortlessly from one character
to another along the way. It is a bit frustrating to see how seamlessly
McVarish blends his songwriting, acting, and playwrighting skills -
this is the kind of talent most people can only dream of having!
As the only performer in the space, McVarish has cleverly devised a
piece which allows him to use the strengths and possibilities offered
by this seeming restriction. Manipulations of light and sound take place
wholly on stage, and are incorporated into his movements and the movement
of the story in precise and purposeful ways.
Where a lot of shows about the music industry fall down is in the actual
music used. Happily, this is not the case with One Man Went to Busk
- one can definitely imagine McVarish's original tunes sliding effortlessly
up the charts and taking their place alongside today's pop hits. The
tracks are catchy enough to echo in one's mind after the show, and should
McVarish's acting career not pan out (though this would be surprising,
given how well his talents are showcased in this piece) one would think
he had a promising future as a professional musician.
One Man Went To Busk is not controversial or provocative, but
simply a feel-good story pointing out the importance of finding one's
path and taking it. Audience members will leave feeling inspired, and
fringe-goers should take the opportunity to see this genuine, emotionally
uplifting piece of work before it closes on the 7th.
Rachel Lynn Brody
Lilith
Act Provocateur Int.
By Andy McQuade and Victor Sobchak
C Electric (Screen 4)
***(*)
What starts off as an avant-garde experiment in movement and form turns
into the first moments of life on Earth (according to Judeo-Christian
tradition). Audience members watch as Adam (Corin Rhys Jones) and Lilith
(Dominique Panell) are created and begin screwing like rabbits. Things
go awry when Lilith tries to take on a less submissive position, and
we segue into the old story about Eve and the apple.
The entry of Sal Esen's Satan comes just at the right moment, before
there's enough time for us to grow bored with the story. The script
offers some witty dialogue, although at times Sobchak's direction overpowers
the text and some lines begin to feel redundant.
It's unclear what McQuade and Sobchak are attempting to say with this
piece. After her initial stand against being dominated, Lilith devolves
into some sort of strip-club-queen, her every action happening as a
response to one of the two men in her 'life.' The final message, that
Adam will be thinking of Lilith even when he's rutting with Eve, leaves
one wondering what we're meant to take away - that men like sluts?
On a purely technical level, there are times when the sound (which
is well designed, though not credited) overpowers the voices of the
actors; they might want to think about projecting a bit more.
Despite its shortcomings, Lilith is an interesting piece of
theatre, lasting just long enough to tell a story and leave the audience
satisfied instead of looking at their watches. The lights, music, and
design are stylish and enticing, and although the piece suffers from
a bit of over-the-top gothic-chic, in light of how engaging the piece
is, it's certainly worth taking a look.
Rachel Lynn Brody
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