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Fringe 2008 Reviews (77)
Mong Yeon (A Love In Dreams)
Modl Theatre (Korea)
C
*****
In 1998, a pair of 400 year old hemp shoes and a letter were discovered
at a building sight. This letter is the spark for Mong Yeon,
“a Korean tale of love, loss, reincarnation and philosophy”
Mong Yeon is the story of a young woman who “cannot live
as a widow. Please take me with you. I am full of sorrow.” It is
in her dreams that she can be with him.
This beautifully conceived and executed piece is a representation of
the polished productions that are coming out of the East. The actors/musicians
work hard at making this production flawless. Although not good for
very young children, it is a suitable family draw.
This gets my vote for the best thing on the Fringe this year. It exemplifies
the art and cultural exchange which we strive for. The story is universal.
The singing, music and dance are mesmerizing. All the performers are
wonderful and especially the leading actress, a noted singer of the
National Company of Korean Opera and Theatre, and the leading actor
who is a powerful dancer.
This is a must see!
Catherine Lamm
The Bird and The Bee : The
Bee
By Matt Hartley
Kandinsky
Underbelly
**
The Bee is an exploration of The Diana Effect for the Facebook
generation. It centres on lonely 15-year-old Chloe, played by Rebecca
Whitehead, who at the start loses her elder brother Luke in a car accident.
Rather than being allowed to grieve, she becomes embroiled in the unbearably
tacky efforts of her classmate, Hannah, to set up a tribute site to
ordinary Luke.
Hannah makes it clear early on that her only interest is her own CV
and self-glorification, though a by-product is a stream of virtual "friends"
for Chloe. The finale is far from inevitable, not well connected to
what has gone before.
While the subject of public and private grieving is the stuff of intriguing
drama,, the writer of this heavily schematic piece is far too intent
on expressing his own opinions, such that with the exception of Chloe,
none of the characters is rounded out, nor is the plot particularly
plausible.
Philip Fisher
Potency
By Michael J. Flexer
Apikoros
Edinburgh Sports Club, Belford Place
****
The site specific work has almost disappeared this year but, loosely
under the auspices of Pleasance, Apikoros have created a play set in
a squash court, complete with viewing gallery.
Set out early, as the venue is only signposted once you get beyond
the side road if you are travelling out if town. As a result, sadly
a really good and highly original play is struggling to bring in the
audience that it deserves.
Michael J. Flexer uses the sport as a metaphor for the kinds of power
games that people play in real life. We are witnesses to a meeting in
Washington between a Rolling Stone journalist, Amanda Wright's
Leslie, and the aptly named Rick Power.
Mr P, played by an increasingly bombastic Christopher Ashman, is one
of those Masters of the Universe who knows his own worth and proclaims
it at every opportunity. By profession, this conservative Republican
runs a private security firm or, in the words of his Liberal interlocutor,
an army of mercenaries.
As the pair bat a squash ball around, reasonably well though at different
standards, an epic mental struggle ensues, primarily centred on Power's
mentor, who has recently committed suicide.
During the five sets, as the story develops, we build good pictures
of the White warrior and feisty African-American investigative journalist,
as well as their wider agendas.
This setting proves a perfect medium for an exploration of power and
morality in an age where the USA seems willing to protect us all but
at a cost to freedom.
As such, Rachel Grunwald's clever production that builds tension both
in the match and the debate proves a real eye-opener.
Philip Fisher
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