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Fringe 2008 Reviews (49)
Paul Merton's Silent Clowns
Filmhouse Theatre, Edinburgh
****
Comedian Paul Merton has been promoting early silent comedy for some
time now in a TV series, a book and in this live show which has been
touring the UK and now pays a brief visit to the Edinburgh Fringe.
The show is a light-hearted lecture from Merton interspersed with clips
from some classic silent comedies and accompanied live by the pianist
Neil Brand. He tells us about the early origins of cinema and introduces
us to producers Mack Sennett and Hal Roach and performers such as Charlie
Chaplin, Snub Pollard, Harold Lloyd, Laurel and Hardy and Buster Keaton.
This isn't dry, detailed history but a light skim through a small sample
of the greats of silent cinema with frequent clips to show just how
well their comedy still stands up now, as evidenced by a cinema full
of laughing spectators.
Merton's links are kept short, interesting and witty, and Brand's musical
accompaniment is absolutely superb and adds something very special that
has rarely been available to audiences since the days these films were
first shown. His music is just perfect in mood during every moment of
every film, and even seems to add sound effects right on cue just using
the piano. Brand also talks us through one particular sequence of clips
of comic performer Louise Fazenda, showing us how the music fits to
the images.
This ninety-minute show ends with complete showings of Laurel and Hardy
in We Faw Down from 1928, with a superb and very funny twist
at the very end, and Buster Keaton's incredibly sophisticated and complex
and hilarious Sherlock Junior from 1924.
This show really isn't like anything else on the Fringe, but it is
well worth seeing as it brings back to life some great comedy that is
really worth preserving - not for archival or sentimental reasons, but
because it is still very funny and entertaining. At the reviewed performance,
there were young children, people past retirement age and everything
in-between, and all were laughing at every clip.
David Chadderton
The Self-Murder
SSSR Productions
InvAsian Festival
clubWEST@Royal College of Surgeons
*****
It's said that Russia is the world leader in young suicides. (Not a
record to strive for.) When general statements are made about any negative
in our society, especially medical, herds of nattering scientists compete
for funding and solution. With most patients, they want to be cured.
Help for suicides fits strangly into the equation. How does "help"
manifest itself? Do you "help" them find their solution or
help them discover reasons for them not to suceed? You see where I'm
going with this. Unfortunately, suicides are a small wedge in the mental
health pie. And there is not too much we can do unless the patient fails.
SSSR Production gives a rather romantic view of the issue. August and
Julia have arrange to meet for this endeavor. She: "are you sure?"
He: "yes." She: "are you really sure?" He: "yes."
She's the big motivator. She: "really really?" He (wavering
slightly): "really."
August follows Julia to a bluff along a fiord. Two people meeting to
committ suicide is a unique first date. They challenge each other's
resolve and discover much about themselves, each other, and the world.
The film clip at the beginning illuminates their view of the world.
Their meeting unfolds through the "signing" couple in the
beginning with a voice over translation. The speaking couple cross paths
on a train platform and hailing a taxi and finally on the bluff.
Self-Murder is such a flawless production that I could only
wish for a larger audience. The director and company of two pianists
(we see the piano not the pianist - a great director choice) and four
actors have used the space well. It is so beautifully conceived, choreographed
and executed that one might forget that this is about suicide.
Catherine Lamm
Private Peaceful
By Michael Morpurgo
Youth Arts Leicestershire
Quaker Meeting House
****
Set in 1916 this adaptation of Michael Morpurgo's book tells the story
of young Tommo Peaceful who grows up in hardship with his struggling
family, falls in love with his brother's girlfriend and lies about his
age to enlist in the army. In the last few hours remaining before Private
Peaceful is to be shot for insubordination he reflects on his life and
remembers the journey that has taken him to this place.
This young cast and impressive production create a powerful drama that
highlights the absurdity of war. Despite the relatively small space
the stage never seems overcrowded with the twelve actors and a set of
washing lines and fences. The young performers use squares of muslin
as multipurpose props which become rifles, nets, prison bars and even
the steam of a train at varying times. Some excellent performances and
well directed movement sequences make this a highly recommendable play.
Cecily Boys
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