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Fringe 2010 Reviews (29)
Underneath the Lintel
By Glen Berger
Landmark Productions (Ireland)
Assembly Rooms.
****
In 1987 a Dutch librarian discovers a returned book that was originally checked out in 1873; overdue 113 years. Thus begins the journey he takes to solve the mystery of who the original reader was and why it has only recently been returned. The solution takes him around the world and back in time to 36 AD. One clue solved only leads to a newer and more awesome puzzle.
Underneath The Lintel, originally produced in 2001, is a mystery which could be likened to a marriage of Blow-up and The Da Vinci Code.
Philip O’Sullivan’s librarian tells us of this librarian’s journey as if delivering a travel lecture. This convincing and flawless production/lecture leaves as many questions as answers. The continual answer seems to be “we are here.”
Philip O’Sullivan’s performance is spot on and mesmerizing. We don’t know where he’s taking us but are compelled to follow. The direction and production is breathtakingly natural. We almost forget that we are in a performance and not a lecture. Heady stuff this.
Catherine Lamm
The Day The Sky Turned Black
By Ali Kennedy-Scott
C soco.
***
In February 2009 a young, troubled boy turned his anger to pyromania and set off one of the worst, most deadly fire in Australia’s history killing 173 people and leaving the effect equalling 1,500 atomic bombs. Black Saturday was attributed to several other sources which include the dry weather and lightning.
Ali Kennedy-Scott has collect stories from several survivors. All have been affected but in completely different ways which allow them to survive in different ways. One story is that of Carrie Mulligan whose troubled boy turned his anger to pyromania and the firestorm that followed.
It is so evident that much research and development has gone into this piece. In this one-woman show the power of the writing is diluted by being a little overproduced. Ms Kennedy-Scott, an obviously accomplished writer and actor, has created characters that are sometime two-dimensional. It becomes more about the production; changing her hair for each character becomes distracting. The sound is throughout and a little too present.
This powerful play can stand on its own allowing the audience to complete the work.
Catherine Lamm
Zambezi Express
Music and Lyrics Saimon Mbazo Gumede
Assembly Hall.
****
This high energy, sizzling hot show set to powerful pounding African beats is an uplifting story of a young boy Mzilli, born in the slums of a mining town in Bulawayo in Zimbabwe, who strives to achieve his ambition to become a football star playing in the African cup final in the big city.
The thirty strong skilful cast athletically and powerfully dance their way through this rags to riches tale with dynamism and passion creating moments of sheer inventive choreography. Their beautiful a cappella singing was a joy to hear.
Although the plot is fairly predictable it is told with sincerity and commitment and the audience are given glimpses into the lives of the community, the rival tribe culture and the importance of escaping from the country to the city.
There is so much to enjoy in this production and the acrobatic skill of the actors is awe-inspiring. If you are looking for a spectacular musical treat to start your day at the Fringe then this is the one for you.
Robin Strapp
Ali McGregor’s Jazz Cigarette
Assembly @ George St.
*****
In this delight of a show, Ali McGregor takes the audience though “The songs that made her want to sing”. Despite her penchant for theatrical shoes, there’s a simplicity about this hour, as we’re led through McGregor’s favourite songs with very little fuss. Joined by an excellent band; bass, keys and drums, this show is all about a glorious voice. Her wicked humour is evident in some of the stories which make these songs personal to her, and the playful mash up of Justin Timberlake’s version of 'Cry Me a River' with the original is joyous. Yet McGregor displays a lot of restraint, with a sensitivity and musicality taken from her classical training and absolute passion for the songs she is singing. When she does let loose, whether in a bluesy growl or impressive vocal gymnastics or simply in the soaring bell-clear power of her voice in the big moments, the effect is breath-taking.
An elegant step away from last year’s glorious comedic cabaret show, this hour may yet be the perfect antidote to Fringe freneticism. If the middle aged man seated next to me weeping silent tears throughout the mesmeric version of 'Bewitched, Bothered and Bewildered' is anything to go by, Ali could sing out your heartbreak and put you back together again within the space of one song. He left smiling.
Beth O’Brien
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