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Fringe 2010 Reviews (56)
Something About Jumpers
The Bridge Theatre Company
Sweet Grassmarket.
****
“Abandoned in the dump of the city, Levi struggles to cope inside the social care system.” The “jumpers” here are firstly about the piece of clothing. But that doesn’t mean that this tight, fast-moving snap of this disposable and disposed generation isn’t loaded with symbolism.
This large cast inhabits this smallest of stages. We follow Levi through the adventure of navigating the new world he is thrust into. His one foundation is the “jumper” that he has stolen away with him. Tony Portsmouth as Levi is ultimately sympathetic and endearing. And he fits into a suitcase.
The cast should be acknowledge for their commitment to the project; not a weak link. They do each other and the material service. The production elements, especially the videos that are projected onto the “jumper”, add to the production. The Bridge Theatre Company are true to their mission statement; “to create theatre that reflects day to day living.”
Catherine Lamm
Lidless
By Frances Ya-Chu Cowhig
High Tide
Udderbelly.
****
Alice has taken her job as interrogator so seriously that she, like so many soldiers, is suffering PSD and memory loss. Back stateside she carries on with her life as wife and mother until one of the tortured finds her 15 years later. We are witness to the effect that this has on her, her husband, her daughter and Bashir, the man.
This is a tight cast with Penny Layden as central character, Alice. We have seen this through the eyes of Private England, the scapegoat of our bad behaviour. But here, playwright Frances Ya-Chu Cowhig gives us the kind of insight into the humanity that is unsettling.
Anthony Bunsee as Bashir is a flawless casting choice. We continually question our sympathy of this “enemy” on our own soil. Christian Bradley is almost too likeable as her husband. Greer Dale-Foulkes stretches credulity as the 14 year old daughter. Nathalie Armin rounds out the cast. The accents are plied a little heavily.
What makes this all the more effective is that the audience is forced to watch this in an embryonic and prison-like environment of a white box on tightly squeezed camp chairs.
Catherine Lamm
Midsummer Night’s Madness
By The Company after William Shakespeare
Hackney-Harlem Theatre
C Chambers Street.
*****
>Midsummer Night’s Dream is probably one of the most produced of Shakespeare’s plays, probably because of the universal theme and that it is the easiest to understand and follow. It has also been adapted, with varying success, into such extremes as The Donkey Show and, here, the hip-hop version Midsummer Night’s Madness.
You are welcomed into the theatre by the cast noisily exercising and exorcizing their theatrical demons. The audience is seduced into the form by the high energy and enthusiasm of the cast. The best thing about this production is that director Susie McKenna and choreographer Samantha Francis fully utilise the talents and capabilities of each of the actor / dancers. The music and dance are well integrated. But don’t be mistaken; the dance and music do not overrun the plot; we even hear a few familiar quotes.
This production is about as faithful to the story as you can get within this genre. There is rarely a moment when we are not engaged. It’s no wonder that this is such a successful company and production. Suitable for all ages. Bravo!
Catherine Lamm
Thoroughly Modern Willie
Far From Kansas - The London Gay Men's Chorus
C main.
****
Far From Kansas are back again, with more bite. Last year's Oklahomo! had great songs but was rather lacking on the plot front. This year the group has a good script with a stronger narrative, but they still shine at what they do best: belting out the numbers whether they be gay parodies or sung 'straight'.
Willie is the new teacher shaking things up at St Sebastien's, a school where boys learn how to become the ideal gay man. So its Dead Poofter's Society, a camp send-up of all things educational from Miss Jean Brodie to Miss Harry Potter. The Hogwarts skit was interactive and I found myself on stage in a deportment book-off.
A great mix of songs fit the story perfectly, from classics like 'Anything You Can Do' to the less well known, but a personal favourite of mine, 'You Gotta To Look Out For Yourself'. Not just pretty voices, there is superb synchronisation in the dance routines, aided of course by a classroom of little chairs for all the gay debutantes, plenty of Liza-like writhing.
Let's hope Far From Kansas are back next year with another of their own special creations. I know I am.
Seth Ewin
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