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Fringe 2007 Reviews (22)
Cirque Surreal
Meadows Big Top
***
Circuses, like many things, move with the times, which in Cirque Surreal’s
case isn’t necessarily a good thing. Gone is the seductive glamour
of nomadic travelling acts, and in its place tacky commercialism, with
a foyer which stinks of over-priced hot-dogs selling glow sticks and
other assorted merchandise.
As the lights dim, various archetypal figures emerge onto the stage;
the Venetian courtesan, the sorcerer, the fairytale couple. Many represent
parts of the world such as China, Russia and Africa, however the crudely
drawn stereotypes such as the Kung-Fu expert or tribal dancer do little
to tell us anything new about the cultures they stand for.
This said, there are some striking acts, and the multi-talented cast
range from gasp-worthy aerialists flitting gracefully round the peak
of the big top, to an extreme ballerina who dances en pointe on her
partner’s head.
High points are definitely the pulsing acrobatic duo loping and tumbling
round the edges of an enormous rotating see-saw, and an adorably portly
French clown, who, in boiler suit and beret, proves an unlikely ringmaster
linking the different sequences. It is a shame then that the overall
concept of the show sees the most of the performers dressed like 80s
ice dancers, cavorting to music which could have been sourced from Eurovision’s
greatest hits.
It would be disrespectful not to acknowledge the incredible discipline
and training which goes into perfecting a good circus act: however,
surely there are better ways in which this talent can be showcased.
Lucy Ribchester
Mephistopheles Smith
By Richard O'Brien
Janus Theatre Copmpany
Augustine's
**(*)
It had to be a hit. It has all the hallmarks: script and music by Richard
O'Brien (he of The Rocky Horror Show), an interesting idea (an
evangelist for Hell trying to bring us to the light (dark?), and Paul
Roberts, former front man of The Stranglers, playing the lead. With
a pedigree like that, how could it fail?
It does, though, partially because the spoken parts between songs are
weakly written, partly because, in these same spoken bits, Roberts'
pace varies little so they all begin to sound the same, and partly because
the songs, although good pastiches of a variety of genres, are not particularly
memorable. It also, I'm afraid, outstays its welcome, being rather too
long.
The songs are well presented with two Devilettes (Francesca Casey and
Roxanne Palmer) singing and dancing alongside Mephistopheles Smith,
making occasional asides to the audience and crying out the obligatory
exclamations - but why mic up the lead and not the backing singers?
The lack means that they sound weak, although they are far from it:
their unamplified voices simply cannot compete with the lead singer
and the backing tracks. It's well lit and has a suitable simple but
glitzy set, but none of this is enough to offset the weakness of the
script and the other problems outlined. Sad.
Peter Lathan
The Pitch
By Peter Houghton
Palpable Hits
Assembly Rooms
***
The Australians love this solo comedy. At the Green Room Awards, it
won Best New Play and writer/performer Peter Houghton was Best Actor.
That is quite a reputation to live up to.
It is easy to see why this oblique commentary on the movies might win
prizes, as it goes for populist satirical material and features an energetic
and endearing performance from a man who must surely have cut his teeth
on the stand up comedy circuit.
The concept is simple, start with the premise of an Australian film
maker who has to present the pitch for his latest comedy action thriller
to a trio of demanding producers.
Then let loose Peter Houghton to spend an hour re-creating the movie
complete with text, impressions, sound effects and pictures painted
with words.
Not only does the man tell his story, he also does impressions of stars
such as Michael Douglas, Catherine Zeta Jones, Jet Li and Chris Tucker.
Houghton is at his best with Brits such as Sirs Sean Connery, John Gielgud
and Anthony Hopkins. He also delivers a spoof Oscar acceptance speech
to die for.
Anne Browning's production contains constant action but suffers from
the clichéd nature of its source material, almost every step
of the plot being predictable. That should not detract from an awesome
performance and some good comic moments.
Philip Fisher
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