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Fringe 2010 Reviews (18)
The Tempest
By William Shakespeare
EGTG
Mary Of Guise Barge.
***(*)
Many site specific shows start with a brilliant idea which is never developed. This is not one of those shows. This production uses all of the barge, shore and even the waters around it cleverly using moving the audience and actors around every inch of the space.
We experience Prospero's cell in the belly of the boat, a magical feast on the deck and even look out through the portholes onto the shore to eavesdrop on Trinculo, Stephano and Caliban as they plot. With portraits of Prospero and Miranda hanging from the walls, drinks tables, fairylights and Irn Bru containing a sleeping potion, the space is not just used as a basis for performance but truly as a set.
For anyone familiar with the story of The Tempest, however, one thing will strike you immediately. This production features a female Prospero. By substituting the occasional line it has little effect on the plot which remains unchanged from Shakespeare's original but does make intriguing viewing given Hillary Davies's hard drinking, tough talking approach to the role. This is a bitter and cynical Prospero and whilst there can be no mistake in the power she yields (and yielded) there is little light and shade in the performance displaying little maternal love for Miranda. The famous speeches are well handled however, and she certainly creates and imposing figure.
Her offspring Miranda could not be more feminine and Yvonne Dallman's softly spoken, wide eyed portrayal makes for one of the sexiest Mirandas I have seen. Despite her passion she could not quite manage to carry off Beyonce's 'Single Ladies' however even with assistance from Ariel's slightly embarrassed looking 'bitches.'
I appreciate the decision to include music and to have live instruments is definitely a bonus but I'm not entirely certain as to the reason why pop songs were chosen to be implanted into scenes in such a seemingly random way. The only addition which truly seemed to fit was a celestial version of Amy Winehouse's 'Rehab' to bewilder Trinculo and Stephano which worked within the comic dynamic of the scene. The actors in question (Cari Silver and Matt Davies) interact extremely well together and manage to avoid the temptation of completely overplaying their drunken scenes. Their upbeat antics rightly attract Caliban the slave and in the hands of Jacques Kerr the character is suitably sinister and sleazy in his ripped evening wear. His sneer is reminiscient of 'Nasty Nick Cotton' from Eastenders and I can't help feeling as the run continues his character will develop much further.
There are some strong performances here and some cheeky ones too (Ross Hope as a wonderfully grungy Ariel) and whilst the production is well thought out it lacks subtlety and heart in places and perhaps tries too hard to make magic in others. It is though an intriguing evening of site specific Shakespeare and demonstrates once more that these classic texts do not need to be confined to traditional theatrical spaces.
Amy Yorston
The Cage
By Dugald Bruce Lockhart
Pleasance Dome.
****
If you enjoy theatre in which you genuinely can't guess the direction of a plot then this is the show for you. From the moment Dugald Bruce Lockhart steps onto the stage and introduces himself to the audience it becomes evident that this will not be a straightforward play. He tells us quite candidly that the house he is in is not his and quickly reveals the gun which he is carrying with him.
I have no desire to spoil any of this tense and twisted plot other than to say you need to take a leap of faith to follow it and that leap is rewarded in awkward humour, sheer drama and a beautifully abrupt ending. It's not quite tied up but with such a beginning how can a neat finish be expected?
There are shades of Denis Kelly's Orphans in the dialogue as meanings are twisted as they are uttered and by involving the audience there is a sense (similar to Ben Elton's Popcorn) that they are complicit in the eventual outcome. Deftly directed by Richard Baron the cast all shine in this edgy contemporary piece.
Amy Yorston
Max and Ivan
C Central.
****
The duo are back and bring with them brand new material (and just a couple of favourites from last year's extremely well received show). As their publicity proclaims, Max is the taller and Ivan the 'cuddlier' and they are indeed very different men. This however, is their greatest strength as it allows them to create a combination of both well observed and broadly caricatured comedy creations.
There is no straight man in this pair as they take it in turns to drive a sketch and very often share a punchline. By introducing their definition of sketch show at the very opening they then proceed to keep to their own rules with scenes in quick succession keeping the pace at an appropriate speed allowing the gag to grow without it being overdone.
If you want wordplay - they've got it, if you want song and dance - they've got it, if you want a bit of mime thrown in - they've got it, if you enjoy cross dressing - they've got it and if you want a good laugh I suggest a ticket is what you need to get.
Amy Yorston
Long Live the King
By Ansuya Nathan
Theatre Tours International
Assembly Rooms.
****
Long Live the King is a kind of pre-autobiographical solo play, since it takes place in the latter months of the pregnancy of Ansuya Nathan’s mother, Mina.
This took place in 1977, commencing with the day that the Nathan family landed from Singapore in their new home town of Adelaide.
This was also the fateful day when Mina’s hero Elvis Presley died and the tale advances to the accompaniment of his songs, several expertly reproduced by the writer/performer.
What sounds like a thin tale is given real heart, thanks to strong literary ability and performing skills.
Mina and her doctor husband Francis undergo some sticky episodes, not helped by the presence of her mother Connie, enough to drive any son-in-law to distraction, and Robert from the flat above.
They come through in the end with a bouncing, sometimes screaming baby girl, who grew up to be an actress.
Ansuya Nathan also makes the most of her Elvis inheritance, singing like the King, whether dressed in the legendary tight, white jumpsuit or black sari.
Best of all is when she accompanies herself on white glove, which has to be seen to be believed, so effectively does it evoke the shade of the singer with the famous pelvic thrusts.
Philip Fisher
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