list.co.uk/festival Reviews at a Glance | FESTIVAL THEATRE
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Major Tom
American Gun Show ●●●●● In American Gun Show, theatrical performer Chris Harcum uses a range of methods to get across his anti-gun message: a mix of anecdotes, jokes, songs, audience interaction and ad-libbed banter with his crotchety stage manager. Despite all the show’s failings, it’s hard to believe that Harcum’s heart isn’t in the right place, but his message gets lost in an air of self- indulgence and off-Broadway affectation. (Niki Boyle) Gryphon Venues at the Point Hotel, 07531 392 327, until 24 Aug, 5.30pm, £8–£9 (£7–£8). Artaud: A Trilogy ●●●●● A naughty priest, a sexy nurse and a topless Greek warrior all join in the orgy of depraved sex and religious mockery, before a climax in which they merge together as a bloody female monster. Apart from general mayhem, it’s hard to discern any coherent intention behind the dated shock tactics. This confusion is part of the fun: clumsy attempts at audience interaction aside, all five performers throw themselves into the show with gusto. It may not always engage or educate but it does entertain through its single- minded mania. (Gareth K Vile) C nova, 0845 260 1234, until 26 Aug, 6.10pm, £9.50–£10.50 (£7.50–£8.50). Big Daddy Versus Giant Haystacks ●●●●● This production was written especially for actors David Mounfield and Ross Gurney-Randall (Haystacks and Daddy respectively, as well as numerous other characters). Mounfield and Gurney- Randall are likeable performers, often poking fun at the obvious limitations of the adaptation. If there’s one failing of the show, it’s that this politically turbulent era is only hinted at but this also serves to show that the personalities involved most likely kept their focus on the dramas inside the ring. (Niki Boyle) Assembly George Square, 623 3030, until 26 Aug, 12.15pm, £10–£12. Bobby Gould in Hell ●●●●● Mamet’s mouthful of a script aside, the cast of Bobby Gould in Hell make a decent fist of things, and at times the interrogation of the befuddled sinner Gould (Danny Hutton) by two frustrated demons (Scott Oakley and Paul McCloud) glides by fluidly. There’s a well-executed running gag about the gates of Hell that hints at a very quick-witted tech (Lauren Carter Allen), and Oakley’s subtle incorporation of a malfunctioning fishing pole into his act shows a talent for adaptability. (Niki Boyle) theSpace on the Mile, 0845 508 8316, until 24 Aug (not 21, 23), 3.50pm, £7.50 (£4.50). Boris & Sergey II Perilous Escapade ●●●●● After the dramatic finale of their previous adventure, Boris & Sergey II Perilous Escapade, accompanies the infamous brothers on an unforgettable journey to the underworld that tests their unique brotherly bond to its limit. Utterly hilarious from start to finish, Flabbergast Theatre have created a sequel which deserves an audience, and another instalment, while proving that serious skill is no impediment to engaging, funny and intriguing theatre. (Amy Taylor) Pleasance Courtyard, 556 6550, until 26 Aug, 11.10pm, £9–£11 (£8–£10). Conversations Not Fit For The American Dinner Table ●●●●● The killing of Trayvon Martin in February 2012, and the acquittal of his murderer, George Zimmerman, reverberated deep in the collective American consciousness. The issues of race and injustice are covered to some extent in Conversations . . . , a one-man play penned by former Washington speech writer Sol Max. Max’s heart may be in the right place, but this shrill, shallow propaganda only gives the political right a stick with which to beat their enemies on the left. (Niki Boyle) Bedlam Theatre, 225 9893, until 24 Aug, 3pm, £9 (£7).
Death and Gardening ●●●●● When the company acknowledge, after the applause, that this is still a work in progress, the lack of depth becomes explicable: however, the ambitious claims made for the show – gardening is barely relevant, let alone the poetry of Munch’s statement – undermine its gentle charm and energetic performances. The poignancy of relatives’ grief is obscured by the comic antics of the angels and the comedic moments jar against the beauty of the final scene when the dead man ascends to eternal life. (Gareth K Vile) Assembly Roxy, 623 3030, until 26 Aug, 6.10pm, £11.50–£12.50. Dinner is Swerved ●●●●● Having more in common with a surrealist happening or a middle-class dinner party than Shakespeare or Pinter, this late night party serves food with short sketches between courses: the performance happens in the conversation between the audience members. Dinner is Swerved is part of a trend in theatre to find new ways to communicate. It is a risky strategy but the company provide enough entertainment to make this more than a mere curio. (Gareth K Vile) C nova, 0845 260 1234, until 25 Aug (not 21), 11.30pm, £14.50–£16.50 (£10.50–£12.50). Forest Boy ●●●●● Forest Boy is a new musical based on the events that gripped Europe in 2011 when Robin ‘Ray’ van Helsum, a young Dutch boy, claimed he had been living in a forest in Germany for five years. While the message that you have to make decisions when you’re growing up is overplayed, Forest Boy is mostly well-executed, creating a fresh take on events that captured the world. (Lydia Willgress) Assembly George Square, 623 3030, 21, 23, 25 Aug, 3.20pm, £10–£11 (£8–£9). Genesis/Golgotha ●●●●● Genesis/ Golgotha is a pair of monologues that attempt to reimagine two crucial Biblical characters: Eve, the mother of us all, and Jesus, the Messiah. While the minimal staging limits its emotional impact, as either caustic view of the universe or attack on religious sensitivity, Genesis/ Golgotha is a full-throttle ride through the philosophical problem of a loving God and an imperfect world. (Gareth K Vile) Assembly George Square, 623 3030, until 26 Aug, 12.30pm, £12–£14 (£10–£12). Live Love Laugh ●●●●● Eilish O’Carroll’s hour-long monologue is a confessional. She speaks rather frankly about her family life. These themes could be the stuff of modern tragedies, and there are moments from her life that certainly warrant such treatment, but O’Carroll cloaks everything with honest insight and warm humour, allowing her to rise above it all. Her candid monologue indeed paints a life filled with love and laughter. (Michael Cox) Pleasance Courtyard, 556 6550, until 24 Aug, 2.45pm, £15–£17 (£13-£15). Major Tom ●●●●● On the surface the play is a very funny look at people’s competitive nature and quest for attention. But look deeper and Victoria Melody’s play charts rather frightening statements about how judgemental we as a society can be. This could have been treated with anger and sarcasm, but Melody presents a much warmer portrait than that, resulting in a production that combines humour and intelligence with two protagonists easy to root for. (Michael Cox) Summerhall, 0845 874 3001, until 25 Aug, 4.45pm, £12 (£10). Now Leasing ●●●●● A solo show that sits comfortably as both theatrical monologue and variety show – Lea McGowan is as adept at acrobatics as acting out episodes from her biography. Now Leasing is uncomplicated fun and a peek into the life of the artist that does not get lost in grand statement. It is a showcase for both McGowan’s skills and the possibilities for using physical theatre and cabaret for a strong storytelling session. (Gareth K Vile) C nova, 0845 260 1234, until 26 Aug, 3.35pm, £9.50–£10.50 (£7.50–£8.50). On the One Hand ●●●●● Ranging in age from late teens to 80s, the characters embody distinct phases in a woman’s life. The student, the woman with a would-be husband beckoning but a desire to travel burning inside; the 40-something trying to explain her role in life and a mother and daughter re-defining who the carer is in their relationship. All rich, fertile material – but a desire for directorial quirkiness wins out over mining the emotional depths of these complex
women, and really allowing their stories to be heard. (Kelly Apter) Northern Stage at St Stephen’s, 558 3047, until 24 Aug, 6.35pm, £14 (£11). Pants On Fire’s Pinocchio ●●●● Although it gives the fairytale an interesting visual style, Pants on Fire’s updating of Pinocchio to the 1950s, via B-movie kitsch is unsatisfying. The puppet boys journey to real life is played for laughs, and the procession of crude stereotypes ensures that there is no emotional force to the production. The musical interludes are well executed, however, and the cast has a youthful vibrancy. (Gareth K Vile) Pleasance Dome, 556 6550, until 26 Aug, 1pm, £8.50–£10.50 (£7.50–£9.50). A Respectable Widow Takes to Vulgarity ●●●●● Although a barrage of f-words and c-words is a tough call first thing in the morning, Douglas Maxwell’s plea for a more tolerant attitude to bad language is hidden beneath a fast-paced and witty comedy. The chemistry between Scott Fletcher and Annabelle Love ensures that the torrent of filth is charming rather than crass. The compassion Maxwell feels for both widow and worker shows that swearing can be big and clever. (Gareth K Vile) Traverse, 228 1404, 22, 24 Aug, 9am, £14. Sock Puppet ●●●●● An absurd black comedy written by and starring comedian John-Luke Roberts, Sock Puppet manages to do a lot with a little. Entirely performed by only Roberts and his besocked hand, it’s a cleverly constructed piece of comic theatre that manages to make virtues of its weaknesses. Roberts’ variable successes with accents and the physical similarity he bears to most of the characters get two of the biggest laughs of the show. (Niki Boyle) Pleasance Courtyard, 556 6550, until 26 Aug, 2.10pm, £8.50–£11 (£7.50–£10). Solstice ●●●●● In a croft in the north of Scotland, we find a couple (a combustible Englishman and a seemingly distraught Scottish woman many years his junior) standing over the wrapped body of a man they have just murdered. The unexpectedness in Ness and Davies’ drama is punctured by moments of dreadful predictability. (Mark Brown) Assembly Roxy, 623 3030, until 26 Aug, 1.45pm, £10. Threeway ●●●●● What happens when an ordinary Glaswegian couple, Julie (Gabriel Quigley) and Andrew (Brian Ferguson) invite seasoned swinger Mark (Joe Dixon) into their home for a no-strings-attached evening of debauchery? In the midst of themes of sexual discovery and reawakening lies a cheeky and thought-provoking comedy, which challenges issues of identity and prejudice. Skilfully presented by a strong and open cast, Threeway is an interesting yet slightly overlong piece. (Amy Taylor) Pleasance Courtyard, 556 6550, until 26 Aug, 12.30pm, £12–£16 (£10–£14). [Title of Show] ●●●●● The brainchild of Jeff Bowen and Hunter Bell, [Title of Show] is a refreshing and original piece of theatre that gives the audience an insight into what makes a musical. Written in just three weeks, this ‘musical about two guys writing a musical about two guys writing a musical’ is a unique and unforgettable show: see it at the Fringe before it tours. (Amy Taylor)Assembly Checkpoint, 226 0000, until 26 Aug, 3.10pm, £10.50– £12.50 (£8.50–£10.50). The Year I Was Gifted ●●●●● Writer and performer Monica Bauer chronicles her single year spent at a performing arts school. Once at the school, Bauer decides to protest the headmistress’s expulsion of gay students; although not expelled for this, Bauer has to drop out due to lack of funds. The main problem is that the audience is not emotionally involved in Bauer’s journey, and it’s difficult to empathise with her desperation to escape her home. (Kirsty Logan) Sweet Grassmarket, 243 3596, until 25 Aug, 2.50pm, £8. 22 Aug–19 Sep 2013 THE LIST 123