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The
Edinburgh Fringe
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Fringe 2008 Reviews (70)Involution Set in the not too distant future in London, Cohen and his sister Dorcet suffer from DBD, an unexplained, potentially fatal degenerative disease. While Cohen pursues genetics and medical solutions, Dorcet (Joanne Miller) and her friend Tallulah want to believe in their Christian faith and mind over matter. However this is a world of genetic coding, excessive government power and the influence of a single dominant church. Inevitably comparisons with the science fiction film Gattica come to mind. However this is less the sterile world of science fiction and more the fertile plain of conflicted relationships, loyalties and what beliefs make you human. While this is a thoroughly engaging plot to begin with that mixes both religion, genetics and the question of self-fulfilling prophecies, it wobbles towards melodramata by the end. When one feels the most amount of sympathy for the character playing an android, you know something's gone wrong. Although the question of whether the government worker Violet (Jane Lesley) is actually a robot is worth discussion, her counterpart, the swaggering Cohen (Ben Murray-Watson) makes up for her cold manipulative nature with rather too much brash conceit. The immature nature of Dorcet and Tallulah make their performances veer more towards childish than childlike and we are presented with some rather unrefined characters all jostling for space in a very small venue. This is partly due to the decision to try to fit what appears to be a single roomed flat into very cramped conditions, with a rather unnecessary bed which thrusts the set too far forward and limits the space even further. It is a pity that this stimulating subject matter is supported by such a hideously amateur set. A painted bed sheet with holes cut out of it does not easily transport one to a futuristic society of scientific sophistication. A thought provoking play with problematic production values. Cecily BoysLear (Chamber Shakespeare
Cycle Part IV) This is the fourth part of the Chamber Shakespeare Company's cycle of four of the Bard's tragedies, the others being Hamlet, Macbeth and Othello. With just three actors, they cut the show down to Lear's scenes, thoughts and perspective. Lear retires, bestows his kingdom on his two eldest daughters only to be rejected by the vulturous, pitiless harridans. And in this production they really do circle their prey, creating an unforgettable picture of their calculating greed. In the cavernous basement bar of the Hudson Hotel the protagonist and director William Mann turns up the intensity of his spellbinding character construction to devastating effect. When the storm rolls above the King and his Fool on the heath, you really do fear for the safety of Lear's head. While this production does not quite have the edge on the triangular relationship of The Chamber Shakespeare Company's Othello, it is without a doubt one of the most impacting productions of Lear I have seen. For all serious Shakespeare lovers The Chamber Shakespeare Company are an extraordinary and unmissable experience. Cecily BoysVolpone Anarchic theatre company Belt Up present Jonson's comedy in which the miscreant Volpone and his sidekick Mosca plan to manipulate three gullible men out of their money in Venice. Their deeds culminate in a court case in which they must plead their innocence, but further than this I cannot recount the plot. Whilst their praiseworthy energy creates fascinating characters and scenarios, the chaotic nature of this production resulted in a lack of coherence in the basic storytelling. You or your fellow audience members are at risk of being pulled up at any moment which leaves you either part of the action and losing the threads of the plot or watching their next victim gathered into their festive revels. If this is your sort of theatre experience then go and see their wonderfully inventive production of Tartuffe, which outshines Volpone by far. Cecily Boys |
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