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Fringe 2006 Reviews (1)
Wasp
By Steve Martin
Collapsible Theatre Company
C Central
**
Made of cut-out cardboard, the scenery is the most three-dimensional
thing about this production, while both the acting and script fall flat.
On the bright side, the pace is brisk and the whole thing is over in
40 minutes.
Rachel Lynn Brody
Esme-Tales
By Jen Anderson, adapted by Joseph Murphy
Exeter University Theatre Company
C Central
***(*)
This gothic/victorian fairytale has only the minimal amount to do with
its blurb in the fringe guide. Rather, the company creates a series
of wistful glimpses into the lives of a group of characters. The centre
of the dramatic wheel is the story of young Esme's parents, and her
own difficulties in fitting into the monochrome world her father has
constructed. Although shorter than anticipated, the show does suffer
a bit from a lack in variation of pace, but it is still a gentle and
enjoyable experience. The costume design and music make critical additions
to the atmosphere and overall quality of the production. A piece that
would benefit from a bit more development and focus, and one which I
would be interested in seeing progress.
Rachel Lynn Brody
Bat Boy: The Musical
Story and Book by Keythe Farley and Brian Fleming
Music and Lyrics by Laurence O'Keefe
Cambridge University Broadway Savoyards
C Too
*****
When I saw the West End production of Bat Boy: The Musical last
year, I was floored by the originality of both the music and text of
this show. The all-singing, all-dancing tale of how, 'in a cave many
miles to the south/lived a boy born with fangs in his mouth' fused biting
satire on down-home American living with high-cost West End production
values.
The news that Bat Boy would be coming to the Fringe this year
therefore gave me a mixed reaction - if it was done well, this show
would blow Edinburgh audiences away with its spunk and vivacity. If
done poorly, it was going to be laughably upsetting.
Arriving a few minutes early at the venue, and having collected my
tickets earlier in the day so as not to observe things incognito, I
happened to overhear director Chris Adams giving some last-minute notes
to his cast. Apparently the show needed to be paced up a bit and tightened.
I was encouraged when I heard a few cast members going through bars
of their songs, and realized there was actually a chance these guys
(and gals) had the voices to back up Laurence O'Keefe's rather demanding
songs.
Within a few seconds of the opening number beginning, this was confirmed
beyond a doubt. The standout voices in the production belonged to Alexandra
Spencer-Jones as Meredith Parker, who takes the deformed bat child into
her home and her heart, and Holly Morgan as her daughter Shelley. As
in the West End production, these two women had strong and complimentary
voices in addition to stellar performance abilities. As the title character,
Tom Johnson showed brilliant physicality and a strong voice, while Colin
Richardson did a fantastic job as the malevolently unhinged, jealous
Dr Parker. Rory Mullarkey also deserves special mention for the sheer
comic chutzpah exhibited during Rick Taylor's rap number.
Most comics know that timing is everything, and when playing with O'Keefe's
lyrics this is definitely the case. The cast didn't miss a beat in rhythmically
complicated numbers like 'Christian Charity' and 'Comfort and Joy.'
They portray the tongue-in-cheek numbers with straight faces (even in
the face of audience members reduced to near-hysterics), with Rob Heard
stealing the scene as Pan in the number 'Children Children' (a surreal
back-to-nature scene which I had forgotten was a part of the story until
about thirty seconds before it started).
The intimate setting also lets audience members to connect more with
the characters on a human level, opening up the meaning and bringing
clarity to some aspects of a show which, at the Shaftsbury, became at
times muddled and difficult to follow. During 'Let Me Walk Among You,'
a song which had previously seemed simply like a plea for understanding,
it occurred to me that the song also highlights the importance of not
trying to fit in with people on their terms, but on your own - ultimately,
Shelley's acceptance and love for the Bat Boy includes, rather than
being in spite of, his appearance, diet, and personality foibles. The
message here is to be yourself and allow the people who will accept
you near while not making compromises for those who don't want to understand
you on your own terms.
That the Savoyards can take a show which at the Shaftsbury relied heavily
on spelunking, gory effects, man-sized cages, and acrobatics and successfully
perform it in a room with a few props and about ten minutes' get-in
time is a testament both to the strength of the book and the dedication
of this company. The only 'complaint' possible is that at times it's
a bit difficult to hear the voices over swelling music, but that should
be easily fixed with a twiddle or two of the sound levels.
Meanwhile, one only hopes the cast - especially Morgan, Spencer-Jones,
and Johnson - can keep up their stunning vocal performances over the
next three weeks. A few other voices seemed to be showing early signs
of strain, and one hopes that won't become more of an issue in later
performances, as this is a musical that, more than most, can be made
or ruined by the ability of the cast to keep up with O'Keefe's challenging
score.
Thus far, though, they're doing just fine - and despite the late time
slot, their excellent performance should earn them dedicated audiences
throughout the Fringe, as soon as word starts getting out.
Rachel Lynn Brody
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