Category Archives: Review

King Lear – Review

Mill Productions

Mill Theatre Dundrum

11/10/17

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Having already seen five productions of King Lear since 2013 and lusted after tickets for numerous others, I am of the firm belief that this play is one of Shakespeare’s greatest tragedies and that there is always something new to be drawn out of its rich text, and I suspect I am not alone in this belief. It is regularly produced on stage, Beckett drew inspiration from it for Worstward Ho, there have been multiple screen adaptations of it, and quotes from the text abound in our daily speech. Under the direction of Geoffrey O’Keefe, Mill Productions’ King Lear certainly recognises the versatility of the text and, while producing a straightforward enough production particularly aimed at Leaving Cert. students, capitalises on it successfully in a number of instances, particularly with its gender-swapped Fool.

The interactions between the Fool (Clodagh Mooney Duggan) and Lear (Phillip Judge) are some of the highlights of the production as the nuances of their relationship evolve and the ever-intriguing and affecting power-dynamic between the two characters is well developed. Judge’s overall portrayal of Lear is, however, inconsistent; the transitions between different emotions and states of mind often come across as abrupt and contrived, losing some credibility in their haste.  Similarly there are instances where Goneril (Sharon McCoy) and Regan (Maureen O’Connell) fall into a character type and play their characters with broad strokes that are not always plausible. Despite these issues (which may be resolved as the cast settle into the script after opening-night), the performances are mostly impressive. Michael David McKernan delivers an excellent Edmund, finding the precarious balance between the deplorable elements of his character and the seductiveness of his conspiratorial role as written by Shakespeare in his numerous asides to the audience.

There is strong symbolism in the design of the production, with Gerard Bourke’s set design evoking a three-pointed crown looming large over the action on stage and Kris Mooney’s lighting design playing with shadow to great effect. The sound design, created by Declan Brennan, is less successful. Though it hints at interesting ideas around territory and competition, the running theme of animal noises, a symbol which is also introduced in the feral, animalistic movement in the opening scene, is not woven through the direction of the piece enough to be effective throughout. Instead there is a sense that it was an idea that was inserted into the production rather than one that evolved through it. Alongside this, the sheer volume during the storm scene drowns Lear’s speech, detracting from the strength of the scene.

In the words of the Fool, “Have more than thou showest, speak less than thou knowest.” Had the symbolism been more subtly woven throughout, and had the performances indulged in a little more grey than black and white, some more of this production’s potential may have been realised. Mill Productions’ King Lear explores interesting and promising approaches to the play, but suffers from a lack of flow in terms of performance and sound design that disjoints it and at times leaves the audience feeling jolted through the play.

The Power of Wow – Dublin Fringe Festival Review

Bewley’s Cafe Theatre at Powerscourt Centre

Dublin Fringe Festival

21/09/17

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Image Credit: LUXXER

It is a truth universally acknowledged that weddings are often dramatic affairs, but what wedding could be dramatic enough to happen night after night at Dublin Fringe Festival?

What’s that I hear you say?

Yes, that’s right; it’s the wedding of Xnthony and Tiffany.

Following his repeated Eurovision rejections, pop-star Xnthony has decided to rebrand and create a new image for himself as a man “like Dónal Skehan,” by getting married to co-collaborator Tiffany Murphy. The ensuing wedding is an intense, yet comedic and entertaining, exploration of fame, desperation, misogyny and power. From the very opening of the wedding there is an evident tension between the two characters, with each vying for attention and Xnthony repeatedly sidelining the bride. As this tension develops we see the reasons behind the wedding revealing themselves, and a desperation for fame and recognition that becomes more and more destructive.

From simple suggestions, such as the timings of the vows, with Tiffany never getting to finish her sentence, to the more explicit grappling on the dance floor, The Power of Wow produces a layered exploration of misogyny and the expectations of marriage. Tiffany gradually begins rebelling against the rules she is supposed to follow and reveals that she is also marrying Xnthony for the purpose of boosting her fame as a “celebrity wife.” Murphy’s interludes in which she increasingly breaks down her initial speech that reminds us that there are certain sacrifices women are expected to make if they want to marry, certain rules to be followed, reflect the dilemma of marriage that women have been faced with for centuries. If they marry, certain social benefits accompany that, but at what cost?  This then leads both characters to reflect on their own decisions in trying to become famous, and the costs of those choices. From belly-laughing beginning to thought-provoking end, through comic songs, wild dances, a sharp script, a few shots of Mickey Finns, and a lot of bananas, X & Co. bring a challenging, at times hilarious, and consistently absorbing piece of work to the stage.

By interrogating the characters and their motives so thoroughly on stage, as well as making the audience complicit in the misogynistic behaviour in the production (while still maintaining a high-energy comic and musical show) X & Co. present a strong piece of theatre that leaves its audience unsure of whether they should laugh and clap. Exposing and delving into some of the recurrent forms of misogyny in society, and in marriage in particular, The Power of Wow delivers a punchy message and forces the audience to question their own position while never appearing didactic; this was a show with a message, and not (the currently all too common) message with a show.

This production is an engaging and challenging progression of the characters of Xnthony and Tiffany (who previously appeared in Douze) that involves the audience in both light-hearted and provocative, searching ways. The Power of Wow is a brave (and at times bizarre) work of art that is not afraid to push boundaries and does so with confidence, conviction, and bananas.

The Power of Wow runs at Dublin Fringe Festival until 23rd August.

 

The Extraordinary Time-Travelling Adventures of Baron Munchausen – Edinburgh Fringe Review

New Town Theatre

27/08/17

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As is the case with anything improvised, it is difficult to review it in the same way as I would another theatre show; the stories I saw on Saturday are not going to be the same as those you might see on the day you see it. However, I can say with confidence that the stories you will see in The Extraordinary Time-Travelling Adventures of Baron Munchausen will probably be hilarious and entertaining.

The trio of performers base their sketches off of The Adventures of Baron Munchausen (a 1988 film directed by Terry Gilliam), but take suggestions from the audience, which brings an even greater touch of the absurd to the tales than was there to begin with. Using characters such as Magesterious Wizard and Sir Jonah of Wales, the performers deliver confident, quick-thinking performances in which jokes and gags abound.

On the day I attended Jeremy Corbyn was conveniently speaking upstairs, lending himself as material for many topical jokes throughout. Alongside this, the performers retained information they gathered from the audience and, rather than simply incorporating it into the piece at the time that they asked for it, they created running jokes throughout that had the audience joining in conspiratorial laughter as they anticipated the directions of the tales.

Blending smart comedy and daft gags, The Extraordinary Time-Travelling Adventures of Baron  Munchausen is an entertaining production that is as unpredictable as it is absurd.

There May Be Dragons – Edinburgh Fringe Review

Stories Alive

The Hispaniola

26/08/17

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As part of a pair of shows, There May Be Pirates…There May Be Dragons, Eden Ballantyne of Stories Alive presents the exciting story of Gilly and the dragon egg she finds while playing hide and seek. Having found the egg, but not knowing what it is, Gilly takes it home with her, and when a dragon hatches, the adventure begins.

The story is an engaging and dramatic tale that captures all of the excitement of classic fairytales, but it goes one step further. While it captures the thrill of a classic fairytale, it doesn’t leave the adventures to knights or princes, instead, our protagonists are both young girls who decide to take matters into their own hands, and raise and protect the dragon themselves. It is a refreshing story that opens itself out to everyone listening.

Playing the role of Gruff, the troubadour, Ballantyne narrates the story with a magically infectious enthusiasm. Though the production is, for the most part, a simple and pared-back storytelling session, the few props used are truly beautiful and very effective. The main prop used is a dragon puppet, used to portray Crackle the dragon. It is a well made puppet that seems to take on a life of its own under Ballantyne’s direction. Another notable point in the performance is when Gruff calls for children to volunteer to help in acting out scenes from the story. With a light-hearted, low-pressure approach, Ballantyne involves his young audience in the show and lets them share in the excitement of the story.

There May Be Dragons,  is an excellent storytelling show that takes a classic style and format and breathes new life into it in the form of the adventurous characters of Gilly and Brenna.

Shakespeare for Breakfast & Dickens for Dinner – Edinburgh Fringe Review

C Theatre

C Chambers Street

26/08/17 & 27/08/17

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Charles Dickens, author of such novels as Hard Times, Oliver Twist and Great Expectations, wouldn’t exactly spring to mind as a cheery soul (though there can be no doubt that he has written some belly laughs dotted through his works), however, C Theatre’s production Dickens for Dinner takes his classic A Christmas Carol and turns it into an irreverent comedy.

After warming their audience with soup on the way into the auditorium (no pleas for gruel here), C Theatre presents a story of Scrooge, failed popstar and confirmed curmudgeon. Narrated by a leather-clad Dickens, this 1980s themed take on the classic novel maintains a surprisingly strong connection to the source material, while seemingly changing just about everything in some way. As in the original, the story revolves around the fact that Scrooge hates Christmas; good luck to anyone who utters the words “Christmas Number One” in his presence. He is visited by the spirits of three famous musicians who remind him of the mistakes he has made in his life and the changes he needs to make to avoid the same purgatorial fate as his late musical collaborator, Shirley Marley.

Full of self-referential gags and clever word-play on Dickens’ original material Dickens for Dinner is by no means a serious literary examination. It is a silly and witty production that serves as a light-hearted introduction to a classic story.

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In a similar vein, C Theatre presents Shakespeare for Breakfast, in which they dissect Macbeth and stitch it back together in the shape of a comedy rather than the tragedy Shakespeare wrote it as. From the very start of the show, when the actors remind us that we cannot call the play or character by its real name and so re-name it McGary, it is clear that this is a production that, rather than indulging in any reverential treatment, will turn the bard on his head and tickle his feet.

The show takes modern references and references to other Shakespeare plays, blending them together to create this humorous tale of McGary’s dastardly attempts to become President of the Thistly Bottom Allotment Society, spurred on by his rather spoiled and power-hungry wife, and some unconventional witches wearing Love Island t-shirts.

Once again retaining the original plot while playing with the finer details, C Theatre create an hilarious production of Macbeth, sorry, McGary, which delights in its own adept silliness.

The Complete History of Europe (More or Less) – Edinburgh Fringe Review

More or Less Theatre

C Chambers Street

26/08/17

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Fitting about 5000 years of European history in to an hour-long show is no mean feat, but Malcom Galea and Joseph Zammit of More or Less Theatre do so with a generous helping of gusto and mischief. The Complete History of Europe (More or Less), takes its audience through a whistle-stop tour of European history, covering events from the Bronze Age to Brexit, dispensing lots of facts (and a little bit of fiction) on the way.

The performers make a strong double act, with Zammit playing the joker, while Galea plays the more straight-laced, long-suffering historian of the pair. Zammit’s character provides gags aplenty as he plays on puns of historical figures’ names, devises ridiculous characterisations and appears in increasingly outlandish costumes. The combination of fast-fact delivery and comedy is reminiscent of Terry Deary’s successful Horrible Histories, though More or Less Theatre provide their own distinctive, theatrical style. The structure of the production, with a large map of Europe in the centre, onto which the performers stick labels of the important events they cover, is simple and open but bright and engaging. Their final song about the European Union is a definite highlight, blending comedy, history and politics in a family friendly song. The self-awareness of the performances suits the style and subject of the production, adding to the comedy with lines such as the one referencing James Watt’s “perfectly serviceable Scottish accent” safeguarding this theatrical history lesson from ever taking itself too seriously.

Even as a grown up, a bit of a history nerd, and someone who studied history all the way through to my Leaving Certificate, I learned some new facts during this jam-packed show; as a family show this production really has something for everyone. The Complete History of Europe (More or Less) is a feast of laughter and learning that’s not to be missed.

Me and My Bee -Edinburgh Fringe Review

ThisEgg

Pleasance Courtyard

26/08/17

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Bees are pretty tiny. Humans are pretty big. Even so, we humans depend on bees much than we realise. As Josie, Greta and Joe are here to tell us, without bees (who pollinate 70 of the top 100 crop species that feed 90% of the worlds population) our way of life would change forever; avocado toast would be no more, but millenials still wouldn’t be buying houses because our economies would probably crash as bees unwittingly sustain many of our multi-billion euro industries. But bees are in danger, human actions such as the use of pesticides, mass production of single crops, industrial development, and the increase in global warming all contribute to the decimation of bee populations worldwide.

ThisEgg Theatre Company’s production Me and My Bee takes a serious, though comedy-filled look at the plight of bees in our world. After meeting a bee named Joe, Greta and Josie set up “The Bee Party,” a political party, disguised as a party, disguised as a show, to protect and support bees. They want to win the audience over to joining the party, and in order to do so they have decided to share Joe, the bee’s sad tale of losing the beloved flower he pollinates. Creating engaging characters, including the truly memorable, somewhat power-hungry party leader, Josie, ThisEgg blend their important message with an entertaining performance so, while there is no doubt that the show is intended to educate its audience about the importance of consciously protecting our bee populations, it feels less like a lesson and more like a party.

There are a couple of points at which the narrative progresses a little slowly, but in all the production is energetic and interesting, with simple but effective, bright and colourful lighting and stage design that appeals to the upbeat nature of this political party disguised as a party disguised as a show. The flipchart which is used throughout serves to reiterate the information given in the show and encapsulates the blend of information and entertainment that characterises the production.

Giving each audience member a role as a solitary bee (for example, I was a mason bee in their “focus group”) and presenting them with a party bag of flower seeds on their way out of the auditorium, the production involves the audience in its message and empowers them to act on it after leaving the theatre. Me and My Bee is a production that does not skimp on the gravity of its message while it has fun and ensures its audience does too.

Dr Zeiffal, Dr Zeigal and the Hippo That Can Never Be Caught – Edinburgh Fringe Review

Mouths of Lions

Assemby Roxy

26/08/17

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Have you ever spotted a wild hippopotamus of the “United K.?”

What’s that? There aren’t any hippos here you say?

Well that is where you would be wrong. Dr. Zeiffal (Georgia Murphy) and Dr. Zeigal (Oliver Weatherly) have been studying Hippopotami for years; they have all of the special equipment, their hippo map for tracking sightings, and their special hippo packaging. However, despite tracking many sightings, the problem is, Dr. Zeiffal and Dr. Zeigal have never actually seen a hippo, but they hope that will change as a wild hippo has been spotted right here in Edinburgh.

Dr. Zeiffal (with help from her assistant, Dr. Zeigal) takes her audience of hippo enthusiasts through a lesson on hippopotami and how to catch them. Upon learning that she may finally get the chance to see a wild hippo, it’s panic stations as Dr. Zeiffal, Dr. Zeigal and the audience try to catch a glimpse of the infamous hippo. After putting on their Hippo Google Goggles and learning the hippo signal, the audience is equipped to warn the performers when the hippo appears, but it’s not as easy as all that; Murphy and Weatherly deliver high calibre classic comedy as they frantically chase a hippopotamus around the theatre.

The production is well paced, involving the audience in the action and playing well to the room. Both Murphy and Weatherly have strong stage presence; Murphy delights as the eccentric Dr. Zeiffal, developing a memorably frenetic and enthusiastic character, while Weatherly demonstrates versatility in his performance as he doubles as the haphazard Zeigal and the elusive but sweet hippopotamus.  The direction and the writing both adeptly cater to the younger and older members of the audience, with well-executed physical comedy, verbal jokes and word play providing laughs for all ages.

If you think you know all that you need to know about hippopotami, I guarantee you will find something new in this production; I bet you didn’t know that hippos are terrified of umbrellas, and I’m sure you have never seen an invisible hippo-catching blanket!

Well…you still won’t exactly see the invisible hippo-catching blanket, but you’ll see its effects in this exuberant and entertaining show that is fun for all ages. Dr Zeiffal, Dr. Zeigal and the Hippo That Can Never Be Caught is a hilarious and clever production that uses tried and tested comic techniques to make a fresh and energetic piece of family theatre.

La Vie Dans Une Marionette – Edinburgh Fringe Review

The White Face Crew

Gilded Balloon at the Museum

24/8/17

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Hailing from New Zealand, La Vie Dans Une Marionette is a charming and captivating story of friendship, love and companionship. It evokes silent films and clowning styles of yore, while remaining fresh and retaining a distinctive, contemporary mark.

The audience is left unsure of what to expect from the production, as it begins with a short bit on the qualities of a good and a bad audience member, which seems relatively unconnected to the rest of the show, but this is part of the productions strength. Just as you begin to expect a pure frivolous comedy, a sentimental element is introduced, and just as your (or at least my) tears are about to brim over, a moment of daftness or humour is thrown into the mix.

All three performers deliver strong performances, with Tama Jarman demonstrating impressive mime skills, Chris Ofanoa, fluidity and control in movement sections, and Nikki Bennett shining in her various comic roles as she has the audience dissolving in laughter at her turn as the moon and her Scottish-ish accent.

The costume and stage design beautifully compliments the performances, with the simple set containing just enough pointers to convey context for the story, without cluttering the space in which the performers move. Everything on stage serves a purpose and it all fits together to create a defined aesthetic in an effective combination of prettiness and practicality.

Finding that borderline between laughter and tears, the happy and the sad on which good clowning treads, La Vie Dans Une Marionette is an enchanting production that would win over even the most stony-faced audience member.

La Vie Dans Une Marionette runs until 28th August as part of the Edinburgh Festival Fringe.

Eaten – Edinburgh Fringe Review

Summerhall, Cairns Lecture Theatre

24/08/17

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Lionel the Lion is a lion with a dream; he wants to become a vegetarian. However, he has just eaten a human, Mamoru, with whom he forms a friendship as Mamoru sits in his stomach awaiting his inevitable digestion. As Mamoru and Lionel talk to each other, and to Suzi who (alongside other characters) teaches Lionel about food, digestion and nutrition, the audience is taken on a bizarre and unexpected exploration of how, why and what we consume in Eaten, developed by Mamoru Iriguchi.

This show presents some interesting theatrical ideas and raises intriguing questions, but ultimately its overall approach and the conclusions it drew left me with numerous questions. The production explored the well-worn phrase “you are what you eat” in a more literal sense than perhaps it was initially intended. The conclusion the show comes to seems to run along the lines of: once something or someone has been eaten, it or they live on as a parts of whatever creature did the eating, this is the natural order and it is acceptable, or even commendable to eat other animals as they have another life beyond the digestive juices of their consumer.  It is an interesting concept to explore, and building an awareness of what we consume is important, but overall as a play billed at ages 6+, it is a rather confusing production that creates more questions than it answers. This can be seen in the use of puppets which appear from the stomachs of the characters as characters such as Conceptual Cow and Conceptual Mamoru. While this is a fun dramatic technique and bred some amusing lines, it is (as demonstrated by the small voice that piped up from the front rows to ask her mother what the word “conceptual” meant) perhaps a technique which required its audience to have a bit more experience and knowledge than is within the reach of the younger members of the audience.  On the flipside, when the performers were delivering facts and information themselves, their delivery was often stilted, exacerbated by the fact that many lines were read directly from the script, creating a sense of detachment from the audience and each other.

That said, the audience were in stitches at many points; with audience members recruited as other animals, a performer playing a poo, and a giant lion costume full of surprises, the physical and scatological humour abounds. For the older members of the audience, some of the jokes that may not land with the young target audience are entertaining and smart, playing with a sense of self-awareness on the part of the performers.

Eaten  is a production which, though it introduces intriguing ideas and delivers some strong comedy, potentially overloads its young target audience with concepts and over-stretches its possibilities for exploration of the topics it tackles in the short period of time available.

Eaten runs until 27th August as part of the Edinburgh Festival Fringe.