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Fringe 2010 Reviews (23)
Cautionary Tales
Newbury Youth Theatre
Zoo Roxy.
****
Children rule in this ensemble piece by the Newbury Youth Theatre. Written in verse, often of the Ogdan Nash meets Oliver flavour and reflecting the sensibilities, although ageless, of Victorian England, this production features the group rather than an individual character or actor.
Here, the children rule and hopefully the adults learn. In a stylized fashion the meter and rhyme is seamless and becomes invisible thus allowing the humour to excel. Aimed at children or families, this works as a general theatre piece. This exceedingly fun and engaging piece is a surprising delight. Applause and giggles abound throughout.
Catherine Lamm
Face
By Haerry Kim
ETS Theatre Company
C soco.
*****
Playwrights have been the political voice of the people – well, probably as long as theatre has existed. Recent voices have covered causes addressing the ethnic cleansing, sexual orientation, war, crime, social injustices, terrorism, etc. Theatre does this well, especially when it speaks on an individual level.
Eye To Soul (ETS) and writer / performer Haerry Kim offer up a unique and personal insight into the effects of the assault on and sexual exploitation of mostly Korean, Japanese and Chinese women during WWII; the Comfort Women. Soldiers felt the military’s sanction of the use and abuse of these women. Often they have been accused of being prostitutes.
Ms Kim’s position is that the Japanese government either won’t acknowledge this wrong or put forth the theory that these women should be “proud” of their contribution. The video projections, direction, lighting and sound is subtle and effective. Especially noted; Ms Kim’s research, writing and performance is flawless and elegant. She captures the transitions between ages, time periods, and characters with effortless precision. This is a production that should be seen not only for its content but for all of the production elements.
Catherine Lamm
Tokyo Love Song
By Shoko Ito
Ito-Gumi: Shoko Ito's Solo Theatre
C soco.
***
Shoko Ito, the creator of her own brand of theatre, here explores the idea of love. No doubt she attacks her theme is gusto and energy. No doubt she is unique in her somewhat naive and extremely unique approach to theatre; not to everyone’s taste. This piece is grounded in her own experience and standpoint. Her production ranges between “obvious childlike simplicity” to “difficult to follow”. You have to admire her unflagging commitment.
Catherine Lamm
En Route
By One Step at a Time Like This
Richard Jordan Productions
Traverse.
****
En Route is part of a new genre that might be called iPod Art. It comes from the same theoretical stable as Would Like to Meet, which played at the Barbican earlier in the year.
This though is much more ambitious and, despite a few teething problems, effective. That must, in part, be credited to that Edinburgh exception, a gorgeous, clear day.
It all started in Melbourne and looks set to conquer the world. A brief description of the methodology is necessary, as some might argue that this has nothing to do with theatre, although it has been created by theatre practitioners.
You are asked to bring along a mobile (cell) phone and provided with an iPod. Following instructions primarily provided by text, but also telephone, iPod and paper (and even a running lady), you go on a strange treasure hunt, where the treasure lies in the hunt rather than at its conclusion.
For around 90 minutes, the messages lead you (and three other intrepid travellers) through unknown backstreets of Edinburgh, coming across gems of architecture, passing locals and Festival visitors and encouraging existential reflection.
This last pastime is promoted by the audio track, which combines ambient music and instructions with a big dose of New Age wisdom.
The journey culminates in a coffee but before that, the ascendancy of a car park staircase leads to an experience that justifies the walk, particularly on a sparkling day like the one where your lucky reviewer found himself en route to a glimpse of Edinburgh heaven.
The project was inevitably going to have teething troubles, even after three weeks of meticulous preparation but by the end, a couple of wrong turnings and long waits were forgotten.
And what does it have to do with theatre? That is a good debating point preferably over a dram or two of single malt rather than too many tinnies.
Philip Fisher
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