|
Fringe 2006 Reviews (54)
Hamburg
By Darren Ormandy
The Sticking Place
Underbelly
****
Hamburg is a small play with a mighty punch that will leave
viewers winded and should do so.
Five people, two RAF types and three residents face the audience and
unemotionally relate the story of the firebombing of the city in 1943.
Their testament is sickening but should act as a warning about the impact
of war, as we hear of smaller scale repetitions around the world, seemingly
almost every day.
From stage left, we listen to the Wing Commander's explanation of why
the bombing was necessary to end the war. His compatriot is a flyer
who explains that he should be long dead as life expectancy was a mere
six missions.
The effect of his bombs is described in horrific detail by three of
those underneath. 40,000 people died, many horribly as the phosphorous
stripped skin from bone.
Hamburg may only last half an hour but its message will remain
with viewers for much, much longer.
Philip Fisher
Miss High Leg Kick's Fashion
Bus
Escalator East to Edinburgh
On Dr Roberts' Magic Bus, Middle Meadows Walk
****
Well, this one is different. A trip on a 40 plus year old number 6
Routemaster with a fashion show thrown in. The destination of this journey
was never likely to be certain as the front sign said Oxford Circus
and the back Tottenham Court Road.
The twenty-minute ride actually ended up in The Meadows of Edinburgh
with a delighted set of passengers, amused and entertained by their
fellows.
This fashion show is accompanied by disco lights and music. It features
a number of archetypal travellers.
The pick were the old lady with her wheeled shopper, the orgasmic shopaholic,
the drunk with the ubiquitous bottle of White Lightning and, by far
the best of all, the trainee bride who has lost her hen party.
Unique fun!
Philip Fisher
The Coma
By Alex Garland, adapted by Marcus Condron
We Could Be Kings
Pleasance Dome
**
This play is adapted from cult novelist Alex Garland's book about a
man who, having banged his head, falls into a coma.
The nature of the work lends itself to the written word. What takes
place is intrinsically undramatic, although the use of filmed images
projected on to a white bedsheet rev things up a little.
Marc Bolton is good as Carl, a man who thinks that he is well on the
road to recovery but gradually ascertains that he is actually lying
inert in a hospital bed and observing himself in a detached way but
with facts missing.
It would also be good to know whether people who have been in and recovered
from comas actually have the thought processes depicted on stage. These
seem too detailed to be likely in a situation where the brain is effectively
turned off.
Philip Fisher
Next
page - - - Index
|
