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The
Edinburgh Fringe
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Fringe 2009 Reviews (26)Sea Wall Sea Wall is given devastating resonance by an outstanding performance from Andrew Scott, under the meticulous direction of George Perrin. It seems that Simon Stephens is becoming the master of the 30 minute drama with Heaven and this play both achieving much in a short period. Scott plays Alex, a young photographer who seemingly has everything going for him. His wife gives birth to a much-loved daughter and they enjoy holidays with an old (in every sense) friend in the South of France. Sometimes theatre programming can be strange and this was the third play that this critic saw in the same space on one day about the loss of young children. It is also the most moving, which is a testament not only to strong writing but also the naturalistic acting of Scott. His hands are everywhere and smile nervous on a bare stage, which should have indicated some trauma. However, he gently lulls us with his story of the good life prior to delivering a hammer blow. Keep an eye out on the Best Actor nominations. Andrew Scott will be there, and the talented George Perrin is also proving one to watch. Philip Fisher Scenes From Communal Living Fun and inventive, Scenes From Communal Living charts the inherent human dramas of living with strangers. This cast of six talented young improvisers use audience suggestions to conjure comedy sketches from basic scenarios. When I reviewed this show in April, this premise had appealed strongly to the young London audience who had chipped in eagerly with ideas. Today, however, Leanne Stott's warm up of the audience, and the generally too-swift uptake of suggestions was slightly panicked, leaving the audience too nervous to proffer much in the way of material. After a slightly slow start, the opening sketch about the flatmate's new Funeral Director business generated plenty of laughs. Ben Van Der Velde provides some wonderfully clownish physical comedy as the drunken "bereaved" husband taking advantage of the very funny Rachel Parris' unique service. A sketch about the flatmate who chews the couch is somewhat lukewarm, but is salvaged by its ending. Engaging Carly Smallman and the ridiculously talented Rob Broderick commit beautifully to the closing scene, which is both touching and funny (Broderick's line "We just put Nostradamus to bar chords" creating a huge laugh) and a highlight of the show. This show is unusual and very funny, and if director Stewart McCure's bright young cast can lose the slight Fringe freneticism, it could go from being great fun to a really great show again. Beth O'Brien This Is War Seriously slick and superbly silly, this fast-paced sketch show is outstanding. Andrew Spiers, Elliot Tiney, Benjamin Wilson and James Wrighton's comedy assault uses every weapon available to them; singing, juggling, stage fighting, cross dressing, video, and a lovely piece of gadgetry I won't give away. Oh, and the jokes are brilliant, too. The self-referential World War II sketch which opens the show is a clever introduction, and an Urban Sword Fighter sketch is incredibly creative, completely convulsing the room. Andrew Spiers' Embarrassing Dad is absolutely pitch perfect, and the sketch charting the aftermath of a hen party extremely funny, and successfully negotiates a delicate line in gender politics. The standard of acting is as high as that of the jokes, and the cast's easy chemistry and evident enjoyment generates so much goodwill that even when a sound cue goes wrong, cutting short one sketch, the audience laugh along. Even the audience participation takes some unexpected turns, and the joke is always on the Idiots, not the hapless audience member. Creative set and lighting design add to the polished result, and the merging of video media with the live performances generates creative and unexpected gags. Well written, well acted and well executed, this good-natured show is one of the most blissfully funny hours to be be found on the Fringe- or anywhere. Just go. Beth O'Brien |
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