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Fringe 2005 Reviews (32)
Barrie's
Farewell Miss Julie Logan
Adapted by Rose MacLennan
Celtic Circle
Greyfriar's Kirkhouse
***
This two-hander is based on the last novella written by J.M. Barrie,
and in its staged form is more an exercise in dramatized storytelling
than an overly theatrical production. Acting from Alex Dee (as the younger
version of the Reverand Adam Yestreen) and Vincent Guy (as the older
version, as well as a number of other characters) is solid, though more
differentiation in characterization would have been helpful, as at times
it was difficult to differentiate between the characters.
For the most part, the company uses the space well, although some strange
choices have been made by director Richard White in terms of how puppets
and blocking are used to depict conversations with characters who aren't
actually played by either Dee or Guy.
Barrie's wry tone has been faithfully adhered to, and fans of the writer
of Peter Pan should enjoy this slightly more adult tale. The
twist at the end of the tale is certainly surprising, though possibly
more because it seems incredible that such weight would be put on one's
political allegiances (though perhaps this shouldn't be quite so shocking,
all things considered) than because of its originality.
Rachel Lynn Brody
Beyond Midnight
By Diane Samuels
Trestle Theatre Company
Pleasance Courtyard, Edinburgh
**(*)
Diane Samuels's play begins many years after the end of Cinderella,
when she has died leaving behind the Prince and a grown-up daughter.
After a year of mourning, the King is under pressure to find for himself
a new queen. Princess Amanda does not like his solution to the problem,
and she sets off to find her own prince. A sub-plot involves the Ugly
Sisters, who mutilate one another horribly after they are banished from
the kingdom but find a role in another to use their talents and show
at the end that they have learned their lesson. As for the Princess,
she goes through a very similar experience to her mother, but decides
on a different ending to her story.
As usual, Trestle combines both full-faced and half mask characters
with unmasked actors and even some simple puppets. However these performance
styles are not used with as much imagination and artistry as in past
productions. The way that the puppet versions of some characters were
used was an interesting idea in itself, but in the production it seemed
like padding as it had no narrative purpose except to help stretch out
a story that already sags in parts to fill the playing time. The dumb
routines between Florence Ugly and Gloria Ugly also seem to be dragged
out for longer than they are effective; so much more could be done with
them, and done better.
Although there are some nice moments in this production, the play is
not particularly original and the production and performances lack the
imagination and technical expertise that we have come to expect from
Trestle.
David Chadderton
Habeas Corpus
by Alan Bennett
Edward's Theatre Company
Quaker Meeting House
***(*)
Bennett's 1973 comedy is presented here by Edward's Theatre Company,
a talented youth theatre group from Louth in Lincolnshire that visits
Edinburgh every year with a production of a challenging play that is
never part of standard youth theatre group fare.
Bennett, who actually appears as a character on the Fringe in Come
Again at the Assembly Rooms, described his own play as 'a farce
without doors'. The premise certainly has a lot of traditional farce
elements to it: a doctor tries to seduce a young patient; his hypochondriac
son fancies his chances with the same girl who happens to be from the
aristocracy; his wife is arranging an illicit meeting with an old flame;
his sister has ordered breast implants to attract a husband - oh, and
there's also a vicar who enjoys looking up women's skirts and a salesman
who loses his trousers. The play mixes bits of Ray Cooney, Wilde, Restoration
comedy and quite a lot of Orton's What The Butler Saw.
The one thing essential to farce that is missing here is a build-up
of pace. This is partly due to the playwright, who it seems cannot resist
throwing in a witty line even when it holds up the plot, and partly
due to the production, which sometimes misses the quick-fire humour
by taking it at too leisurely a pace. To be fair, most of the cast are
probably a little young to get many of the gags they are telling. A
lot of the humour does come across, however, and there are some very
funny one-liners and situations. A bigger problem is the heat in the
venue, which makes it very uncomfortable to sit through an hour and
three quarters of any play, however good.
This apart, this young company performs with confidence and enthusiasm,
and there is not a weak link in the cast. Nikki Pocklington as the flat-chested
Constance stands out in particular as a very natural actor, with very
good support from Chris Casswell as her fiancé, the lustful vicar
Canon Throbbing. There are also some great over-the-top comic characters
from Stefanie Appleton as housekeeper Mrs Swabb and Jane Crawshaw as
Lady Rumpers, amongst others.
Once again, Edward's has created a very watchable and entertaining
production, under the direction of artistic director Carole Ashcroft,
of a play that is not usually performed by so young a cast.
David Chadderton
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