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The
Edinburgh Fringe
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Fringe 2008 Reviews (94)Tony of Arabia Like a political version of Cliff Richard getting back together with The Shadows for a final tour, The Tony Roadshow keeps on rolling with this sequel to White Rose Theatre's Tony! The Blair Musical. Indeed, here David Cameron even proposes to rename the Shadow Cabinet 'The Shadows', such are his efforts to be 'down with the kids'. Tony's out of office and off to the Middle East, waved off by a gleeful Gordon Brown, wooed by the French President Nicolas Sarkozy, unable to resist the clueless George Bush whilst ignoring the needs of his ambitious wife Cherie. Cherie prays to her patron Saint Hilary Clinton, wishing she could emerge from her husband's shadow and achieve fame like the American Democrat. With a soul satisfying voice and mesmeric performance Ellie Coxx gives her role as Cherie such impact that if Mrs Blair really could sing like this then perhaps she could be forgiven the Memoirs. Perhaps. Tony of Arabia lacks the strong central story line of Tony! The Blair Musical but still has all the elements of wit and political punch that made the first such a success. The standard of the composition is impressively maintained with an unforgettable Deep South Hoe Down of Bush and his cronies in orange jumpsuits. The seductive Mandy (aka Peter Mandelson) is back to pull on Tony's heartstrings and Alistair Darling is addressed in the manner of Blackadder Goes Forth, as 'Darling'. Like the less showy Labour of Gordon Brown's government this political musical is thoroughly capable but lacks some of the spin of its predecessor. However it is again a thoroughly entertaining and inventive piece from creator Chris Bush and we can only look forward hopefully to the end of Brown's term in office (for various reasons) and might one suggest Gordon! The Brown Musical…?! Cecily Boys Romeo and Juliet Firstly, the Globe Touring cannot be commended highly enough for their refusal to capitulate in the face of pouring Scottish rain. Whilst the first half passed in relatively dry conditions, the second was soaked not only in tragedy but also in water. On a bare stage of boards that quickly became hazardous and saw many of the actors slipping up unceremoniously, Shakespeare's famous star-crossed lovers fought for their tale. With Inverleith House as the secondary backing, one of the most charming things about this production is Anthony Lamble's brilliant design of an old powder blue VW camper van that provides the immediate backdrop to the stage. From this the actors spill out of the side doors, enter from the driver's door, peep out from behind the red checked curtains, climb down the rear ladder and Juliet plays the balcony scene from the roof. A simple yet disarmingly clever centrepiece that becomes an old fashioned jewel in the middle of this touring production's unfussy Romeo and Juliet. The first half moves forward merrily with a jovial Nitzan Sharron as Mercutio and a Jamaican accented Marsha Henry as the Nurse both giving fine performances. However it, of course, becomes harder to hear the actors in the second half with the rain pelting down on one's umbrella but this unfortunately impedse Dominique Bull's Juliet further. Where in the first half she rushes her delivery, most notably in the balcony scene, in the second she becomes almost inaudible. Alan Morrisey's Romeo is far more engaging, with his boyish looks and playful hiding in the audience when Mercutio shouts for him, he becomes the very picture of impetuous, immature youth. With only a cast of eight this production of course incorporates various doubling of parts. While Conrad Westmaas' gentle Friar offers fatherly advice to Romeo, it becomes problematic that his Lord Capulet is hardly far removed from this in his mild and unimposing presence as the master of the house. In this respect the lack of a Lord Montague at the very end presents a very weak picture of two households uniting over their dead children's bodies. In muted coloured costumes this is altogether a tame production of one of the greatest love stories ever told. While the design in inspired, the direction leaves a lot to be desired. With the prospect of thoroughly uninviting weather for the next few days here in Edinburgh, the Globe Touring's Romeo and Juliet is not so exceptional that it demands sitting in the pouring rain for an evening. Cecily Boys Transient Set in Germany just after the Second World War, Transient looks at the experiences of four displaced people searching for family members. They might well have come from the concentration camps but even so, there is little sympathy for them from an overly-busy official. Marilyn O'Brien's Maria might be one of the searchers, having become separated from her unfaithful husband, but is still a harsh judge when others come seeking help. It all seems hopeless but the twist occurs when Germany is divided into zones, leaving this quartet on the opposite side from their loved ones. Only the bold Jurgen (Tom McDonald) takes action, procuring a motorcycle with which he hopes to cross over and become a hero. Under Will Mortimer's direction, Transient mixes text with physical movement and spreads through the dungeons also used for another play with a similar theme, The Factory. It is drawn on a small scale and makes little use of the massive space, despite beginning to explore the pain of uncertainty at the end of a long and tortuous experience. Philip Fisher |
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