21 posts categorized "Edinburgh Fringe" Feed

Edinburgh Fringe Review: Killymuck, Underbelly - colourful, touching and powerful insight

There is on doubting Killymuck's powerful message, it is moving and tough but there is also love and laughter along the way.

Killymuck_-_courtesy_of_Javier_Ortega_Saez_(3)_399x500
Killymuck photo by Javier Ortega Saez

Kat Woods' play Killymuck is the story of Niamh who lives on a council estate in Northern Ireland with her alcoholic father, mother and sister.

She's bright, sassy and resourceful but learns early on the disadvantages of living with little money. It's a personal story of growing up in difficult circumstances and one which aims to not only expose class stereotypes but also demonstrate how they exacerbate the problems. 

In an engaging monologue, slickly performed by Aoife Lennon, we track Niamh's life through school the narrative peppered with factual interludes, stats and research that relate to what is going on in her life.

Woods' evocative writing brings colourful and touching insight from the mind of the child and teenage Niamh, through amusing first encounters with boys and porn to the isolation of being bullied for where she lives and having hand me down clothes.

There is an ease in her storytelling and Lennon's performance that brings out fun and laughter in Niamh's life while exposing the injustice of the cards she has been dealt.

Continue reading "Edinburgh Fringe Review: Killymuck, Underbelly - colourful, touching and powerful insight" »


Edinburgh Fringe Review: The Vanishing Man and The Extinction Event, Pleasance - magic, clever and lots of fun

They are plays of sleight of hand, seemingly explaining how tricks are done while performing another that just bamboozles and astounds even more.

Simon Evans and David Aula
The Vanishing Man and The Extinction Event (David Aula and Simon Evans). Photo: Michael Wharley.

Simon Evans and David Aula have written and are performing in not one but two shows back to back at the Fringe. Mad? Perhaps.

Known for directing dramas such as Killer Joe and The Cement Garden, here they play magicians - are magicians - performing a series of spellbinding card, vanishing and mind-reading tricks.

But there is a narrative too, these are more than magic shows and each play has a theme and a personal story - and lots of amusing and clever audience participation (sit further back if that makes you uncomfortable).

They are plays of sleight of hand, seemingly explaining how tricks are done while performing another that just bamboozles and astounds even more.

The Vanishing Man

This play centres on a trick by Edwardian magician David Cedar in which he seemingly vanished into thin air, never to be seen again.

Described as the magic trick that got away, Evans and Aula explore the concept and theory of magic in order to work out how it was done - recreate it to explain it. Sort of.

They cleverly work the audience or rather get the audience working not just with assisting and close up observation of tricks - picking cards etc but also feeding lines of dialogue.

It is funny but not at anyone's expense and cleverly draws you close while distracting you with amusement.

Fast-paced, there is a lot that is impressive from the magic itself to the way the narratives weaves and how seemingly random threads come together.

It is frolicking, clever fun and ends with a poignant punch line.

Continue reading "Edinburgh Fringe Review: The Vanishing Man and The Extinction Event, Pleasance - magic, clever and lots of fun" »


Review: Peaky Blinders comes to the Edinburgh Fringe in Tobacco Road, Pleasance #edfringe

Incognito Theatre’s style is to blend segments of more conventional dialogue with movement and it is the latter which impress

Incognito Tobacco Road Tim Hall
Incognito Theatre Company - Tobacco Road. Photo: Tim Hall Photography

If you’ve watched Peaky Blinders then with Incognito Theatre's Tobacco Road you’ll be on familiar territory.

The real-life, Birmingham-based gang whose world is depicted in the BBC TV series is not only name-checked but so are several other characters.

Tobacco Road is set in London between the wars and charts the rise and fall of the Tobacco Road gang from their early days involved in petty theft and organised fights to large-scale organised crime and hedonistic notoriety.

Incognito Theatre’s style is to blend segments of more conventional dialogue with movement and it is the latter which impress.

From a boxing ring sequence to bar brawls and nightclub revels, each is brought evocatively to life with skilful and imaginative choreography.

At the start is it two female gangsters that are on top, using their brains as well as a bit of brawn and running rings around the more muscle-heavy local male gang.

Continue reading "Review: Peaky Blinders comes to the Edinburgh Fringe in Tobacco Road, Pleasance #edfringe" »


Some things I've learned about the Edinburgh Fringe on my first day #EdFringe

Fringe  media pass 20181. OMG, there are venues everywhere. Everywhere. And posters for shows.

2. People queueing to get into the venues are lovely and chatty; great camaraderie, sharing recommendations and tips.

3. The actors say a few words at the end of a play and often will big up each others' plays.

4. The venues can get very warm.

5. Actors walk around the streets in costume like its normal.

6. And Barry Loves me.

IMG_9796


Edinburgh Fringe: Ladykiller or how to use gender stereotypes to get away with murder, Pleasance

'Her' is a perverse figurehead for female empowerment and it is that contradiction and the darkness that I loved.

Pleasance_4A hotel room, a dead body, a maid covered in blood with a knife in her hand. This isn’t what it looks like, it definitely isn’t.

Writer Madeline Gould’s pitch black play perverts stereotypes to explore female criminality but more than that.

Her (Hannah McClean) uses female stereotypes to her murderous advantage.

Gould has done her research. She knows the psychological profiles of different types of killers, knows the assumptions and the boxes into which criminals are placed.

When Her describes blood it is sensuous and she revels in it as you would a more innocent substance.

Gould has created a deliciously complex character: duplicitous, despicable, clever, brutal and admirable. And McClean superbly captures the contradictions at times vulnerable, fun, charming and terrifying.

Her is a perverse figurehead for female empowerment and it is that darkness and contradiction that I loved.

Continue reading "Edinburgh Fringe: Ladykiller or how to use gender stereotypes to get away with murder, Pleasance " »


Edinburgh Fringe interview: Writer Kat Woods on frustration with theatre elitism and breaking working class stereotypes

Award-winning writer/director Kat Woods returns to the Edinburgh Fringe with Killymuck, here she talks about breaking working-class stereotypes - and why you should always perform like its press night. 

What inspired you to write Killymuck?

Kat woods photo
Kat Woods

Killymuck is a piece of theatre inspired by my own council estate, benefit upbringing. I have become increasingly frustrated with the elitism that exists within the realm of theatre and the constant portrayal of the benefit class stereotype which is perpetuated in the media. This constant negative ideology that becomes almost biblical rhetoric needs to be rewritten. 

Why is it important this story is told?

If we don't start to tell stories from all classes and all minorities then we are not representing society as a whole. How do we open up the doors of the theatre to the underclasses or the working classes if they are not reflected in the narratives that are being told?

You won an award for a previous fringe piece - Belfast Boy - does that make it easier or harder coming back?

I've actually had two pieces on since Belfast Boy - Wasted and Mule. I found it incredibly difficult coming back after having a success.

My follow-up play was Wasted, a piece about consent. That was in 2015 and I think we may have been a year or two too early with it. It has had more success now and is returning to America this year. 

I wasn't really mentally prepared for how tough I would find it. The scrutiny can be so overwhelming and it’s very easy to slip mentally when reading reviews and comments on the piece of work that you have worked so hard on. 

 

Continue reading "Edinburgh Fringe interview: Writer Kat Woods on frustration with theatre elitism and breaking working class stereotypes" »


Edinburgh Fringe interview: 'We don’t go to the theatre to watch sane people talking about normal things' - Simon Evans and David Aula

Not content with performing one play at the Edinburgh Fringe director/performers Simon Evans and David Aula are performing two - back to back. The two plays - The Vanishing Man and The Extinction Event - are described as a 'marriage of poignant theatre and spellbinding close-up magic'.

Two plays back to back, are you mad?

The Vanishing Man (Simon Evans and David Aula) - courtesy of Michael Wharley_3
The Vanishing Man and The Extinction Event (Simon Evans and David Aula). Photo: Michael Wharley

Probably, but we don’t go to the theatre to watch sane people talking about normal things. We’re actually very lucky: both these shows are very audience-centred. We don’t like to throw “audience involvement” around much, as it tends to induce feelings of horror and fear of embarrassment, but we do ask a thing or two of the very kind people who’ve chosen to see us (and not just “Pick a card”). 

The audience is our uncredited third character, and that means the show takes on an energy and momentum that you just don’t get from more there’s-a-fourth-wall pieces. The energy is infectious, so we tend to come out the other end more elated than fatigued.

That said, David is also the recipient of a brand new baby boy. It’s possible that the added pressure of looking after a one-month-old might be the straw breaking our camel’s back. Also, Simon tends to get very sleepy around 3 pm and that’s far from ideal in a 2.10pm-4.40pm slot.

Honestly (and I’m aware these words may come back to haunt me) it’s two 60 minute shows separated by a generous 30-minute interval, so we’ve got it better than a lot of other actors currently treading the boards. I’m optimistic. What I mean is, you certainly won’t see two tired performers up there.

How are you preparing?

That’s a good question when you consider that there are two separate elements in the shows we’re presenting. The more standard elements (dialogue/staging/storytelling) are handled in a fairly standard way.

Both of us are established theatre directors (Simon currently has Killer Joe on in the West End with a Donmar show coming up, and David’s production of The Cement Garden recently headlined the Vault Festival) so we enjoy the process of building the show up physically.

We’ve spent a lot of time in each other’s company as we've written the script, re-written it, shown it, learned from it, re-written it, tried it again, cut it, cut more of it, re-written it, learned it, worked out where to stand while we say it.

On the other hand, our plays are also magic shows of a kind. There are individual tricks and a more arching idea that an entire show can be an effect in-and-of-itself if handled right.

Magic is entirely audience led; you can see a play that refuses to acknowledge an audience and still think “That was a good play”, but a magic trick which fails to amaze/delight/confound an audience, is a dead thing.

Continue reading "Edinburgh Fringe interview: 'We don’t go to the theatre to watch sane people talking about normal things' - Simon Evans and David Aula" »


Edinburgh Fringe interview: Actor Angus Castle-Doughty on untold gangster stories in Tobacco Road

Incognito Theatre Company, winners of the Les Enfant Terribles' 2018 Greenwich Partnership Award are back at the Edinburgh Fringe with a new piece Tobacco Road. Actor Angus Castle-Doughty talks about subverting the gangster genre with untold stories and gives his top tips for first-time Fringe attendees.

Angus Doughty - courtesy of Jacob Sacks-Jones
Angus Castle-Doughty. Photo by Jacob Sacks-Jones

What can the audience expect from Tobacco Road?

With Tobacco Road, we have worked really hard to make to make an exhilarating, cinematic experience for the audience. Storytelling is at the heart of our philosophy as a company and Tobacco Road follows the rise and fall of five young men and women in the gritty underworld of post-WW1 London.

We have tried to create a living, breathing world on stage that brings London in the 1920s to life and together with stunning physical sequences and an exciting story the audience will hopefully be left catching their breath.

Why should this story be told?

On the surface, Tobacco Road is a gangster story. However, we are also really interested in subverting audience expectation and exploring the stories that are otherwise left untold; we look at the epic strength and brutality of London’s Victorian Lady gangs and how they survived in such a male-dominated world.

We look at the effect the Great War had on the young men that were forced to come home and piece together their lives that had been otherwise shattered, before trying to carry on as normal. We look at the intensity of pressure that post-war masculinity placed on both young men and women alike in London.

Every physical sequence we do in Tobacco Road is to serve these stories and we are really excited to tell them.

 

Continue reading "Edinburgh Fringe interview: Actor Angus Castle-Doughty on untold gangster stories in Tobacco Road" »


Edinburgh Fringe interview: Director Madelaine Moore on bloody unlikeable female characters in play Ladykiller

Director Madelaine Moore talks about Ladykiller, its charmingly murderous female lead, preparing for the Fringe and what she's looking forward to seeing. And writer Madeline Gould pops in to talk about creating murderous characters.

Madelaine MooreWhy is Ladykiller a must see at this year's Edinburgh Fringe?

Ladykiller really is unlike any character you have seen on stage before. She is unlikeable. She says and does all the things you might fantasise about doing when someone wrongs you, but wouldn't dare... mainly because they would mostly be illegal.

She's a character who toes the line between victim and perpetrator with such saucy alacrity.

She manages to charm the pants off you while covered in blood up to her elbows, and with a dead body at her feet.

At previews as well as loud guffaws we've had a woman mime a tiny fist pump while quietly hissing "YESSSS!" and another who would not (could not) look at Hannah (McClean who plays 'Her') throughout the show.

My favourite audience quote so far has been, "so dark it was like a beautiful black hole."

With that darkness, we wanted to push the boundaries, because for us it was really about answering the question, how much is too much? It's going to be very interesting to see how audiences answer that! 

Writer Madeline Gould is described as having a knowledge of serial killers, women in crime and all things generally gruesome which is 'second to none’ - dare we ask how come?

So Maddie, and me to a certain extent, both have a fascination with people who kill; serial killers in particular.

I used to have a collection of books about serial killers that lived next to my bed until I realised it might look a bit weird to anyone who made it in that far, so I got rid of them. But Maddie is a voracious reader, podcast fan and researcher so she's really gone in. 

Continue reading "Edinburgh Fringe interview: Director Madelaine Moore on bloody unlikeable female characters in play Ladykiller" »


Edinburgh Fringe interview: Su Pollard on her fringe debut and what she wants to see while she's there

Su Pollard will be making her Edinburgh Fringe debut starring in Harpy, a play written especially for her by Fringe-first winner Philip Meeks.

Su_Pollard-hary-edinburgh-fringeIn this preview interview, she talks about playing Birdie, a woman ostracised by her neighbours because of her hoarding, embarking on her first fringe and what she wants to see when she isn't performing.

How does it feel to have a play specially commissioned for you?
 
When I first met the playwright Philip Meeks about three years ago he said he was going to write something for me.  

I don’t think either of us thought much more about it until Suzanna Rosenthal suggested it because we knew each other.  

I’ve often been asked to go to Edinburgh but I’ve either been busy with other shows or the right play hasn’t been sent my way.  

What’s fantastic about this is I’ve been there from the start and Philip’s told me about every stage of his thinking and the writing process.  I feel as if I’ve really helped to create the role.

What was it about Birdie that made you want to play her?
 
Because she’s a woman of my age with a story to tell and believe me when you hit your sixties the great parts become few and far between.  

As soon as Philip said her story was about her hoarding the whole concept of hoarding seemed to be everywhere. In the papers, on the telly, I had friends admitting to suffering from it.

I realised it’s a phenomenon that people are fascinated by and it’s a dilemma people are facing increasingly because of the times we’re living in.  

So Birdie's story is very real and relevant and touches many people.

Her story also touches on the idea of mental health and how we all probably suffer from it. But what makes society decide who’s mad and who’s not these days when all our values and ideas seem to be getting eroded away on a daily basis.
 

Continue reading "Edinburgh Fringe interview: Su Pollard on her fringe debut and what she wants to see while she's there" »