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Fringe 2010 Reviews (11)
Kindly Leave The Stage
By John Chapman
Hush Theatre Productions
C Central.
***
Chapman's rarely performed play is a well measured balance between farce, slapstick and word play and this neatly edited version retains all of the essential plot points whilst running at just under an hour.
Set onstage during a production of a unnamed comedy (amusing with a few good twists, but no masterpiece is the opinion of one of the characters) the lines between the play and reality become blurred as truths are finally told and relationships begin to crumble. Confessions are made, egos bruised and the true nature of theatrical backstabbing becomes apparent. The real audience are drawn into the situation with constant references from the actor to the 'people out there.' Further confusion reigns when a nurse from the 'dress circle' joins them onstage and critiques their performances.
This is a piece in which pace makes or breaks the humour and this young company do a solid job only occasionally letting it slip. Given that they are all so much younger than the part they are playing, there is good characterisation, especially from the actors playing Mrs Cullen and Edward who have also been aged up with make up.
The character of Edward is a particularly hard one to master as he is an ageing, once brilliant Shakespearian actor with a drink problem and a bad grip on reality at the best of times. As he fails to follow the situation on stage he veers back into the original script and then recalling his youth jumps into two well loved Shakespearian monologues. In the hands of this young actor the part does come to life and it is easy to see why the other 'actors' on stage both admire his flashes of talent and yet find him irritating and worrying to work with.
There are some well thought out comic touches to this production including the character of Sarah getting covered with whisky, Charles nervously fitting around the stage and a nicely conceived ending in the absence of a curtain.
Clearer distinction between their characters when 'acting' and when out of the play may have served to milk the humour even more and tighter blocking in places may have raised the stakes, however this is an enjoyable short show with some good laughs and some clever theatre references.
'I was privileged enough to see his Lear'
'Was it in your direction?'
Amy Yorston
Playhouse Creatures
By April De Angelis
Edwards Theatre Company
Quaker Meeting House.
****
Set in the backstage area of a playhouse in london 1670 Playhouse Creatures chronicles the rise and fall of the first generation of English actresses. This is the expanded version of the play which includes the characters of Mrs Barry, the Earl of Rochester and playwright Otway.
Through a mixture of humour, pathos and wry observation it becomes evident that whilst the actresses enjoy many more freedoms than other women of the time they are just as much manipulated and used as novelties and playthings by the men in their lives. It is a matter of attitude and opinion differing from woman to woman as to whether the sacrifices and the gifts are worth the dangers and potential slurs. Nell Gwyn may catch the King but Mrs Farley ends up destitute.
The play is narrated in part by Doll Common (perfectly captured by Eleanor Ordish) and it is her relationship with the ageing Mrs Betterton (an imperious Kate Finnie) that offers some of the most touching moments of the production. Melissa Hommel makes for a likeable Nell and Chris Stuart creates much from his very small role as frustrated playwright Otway.
The 'onstage' scenes are well executed and differences between their 'on' and 'off' stage personas well portrayed. With period costumes and a set more detailed than many at the fringe the decadence and yet temporary nature of their positions is clear. By creating the right atmosphere with a strong and confident ensemble this is a fine version of the play with a cast of a more appropriate age than previous versions.
Amy Yorston
Five Women Wearing The Same Dress
By Alan Ball
Mermaids
The Radisson.
****
Currently best known for writing True Blood and the screenplay for American Beauty Alan Ball first started developing his unique comic yet dark writing voice with a series of stage plays.
This follows five bridesmaids during an afternoon wedding reception that none of them want to be present at as they all detest the bride. Escaping to Meredith's bedroom (Kirsty Haslam) they find solace in each other and talk candidly about marriage, sex, love, ageing and their disgusting dresses!
As with many other fringe shows the cast are a good ten years younger than the characters they are playing but once you have recognised this fact both the writing and the characterisations are comical enough that it does not become an issue. Running without an interval they have made a few small edits to the script and by using the aisle an an entrance create parameters for the bedroom set.
For such a small space and with audience on two different angles Adelaide Waldrop has blocked the movement well allowing it to look natural and avoiding being too static which is the temptation with such a dialogue driven piece.
Jennifer Russell earns well deserved laughs as the naive Frances as does Emily Bell as the drunk and 'Fucked up' Georgeanne. Hayley Camis creates an upbeat and bright Mindy (which is perhaps the hardest of the female roles to define) and Kirsty Haslam handles the many moods of Meredith with ease.
The pairing of Anastasia Dyakovskaya and Ashton Montgomery as Trisha and Tripp is both sweet and sexy although they do wander the stage a considerable amount.
This is a highly comical production of a play that veers in directions that will surprise and shock. A little more bite in places would have give it even more of an edge but as it stands the cast balance the poignant and the entertaining extremely well.
Amy Yorston
In Memory
By Victoria Harvey-Seldon
Gresham's School
C Chambers Street.
****
Gresham’s School has established an enviable reputation for producing quality work over the past fifteen years and this year’s production continues that tradition in abundance. Victoria Harvey-Seldon has written and directed a powerful and personal play about losing her father to a GBM aggressive brain tumour. This is a hard-hitting ensemble piece told with honesty and sincerity by these talented 13-year-olds.
It’s a heart-rending story beautifully related with strong physical movement and confident, controlled performances. The plot traces the father’s plight from when he is diagnosed with the problem, through his chemotherapy and radiotherapy treatment to returning home to be nursed and eventually face his death. The subject matter is haunting. No young child should have to cope with the loss of a parent. The family try to maintain a sense of normality to their horrendous situation even preparing nibbles and pouring a glass of wine for their father in the evening despite the fact that he can no longer drink it.
The young actors created myriad striking images and new characters; cleverly introducing humour to counterpoint the tragedy of this story. The exploration of coping with loss is dealt with tremendous sensitivity and sends out a strong message of hope.
This inventive and tightly directed production was punching way above its weight. Excellent stuff.
Robin Strapp
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