STAND-UP COMEDY REVIEW: Richard Stott: Afterparty - Underbelly, Bistro Square (Dexter), Edinburgh

An afterparty with a difference. Instead of the usual going round to a friend's house for a few after a night on the town, and then waking up with the dawn not knowing or remembering where you are or why; this afterparty was given in the quasi-deluxe surroundings of a comedy club stage underneath one of Edinburgh's finest university buildings. 

Stott has been through a lot since I last saw him, and this has changed him, he his more disenchanted, not at one with the world and his place in it; and he takes the whole 60 minutes of his set to tell us why.

Now in his mid 30s (something which also doesn't sit well with this up-coming comedian), he takes us through some of the seminal moments of his life to date, all of which, I have been reliably informed, are true. His disability - although really he would prefer to call it a handicap - of being born with Poland Syndrome, his mental health and his panic attacks, his not achieving his ambitions and Lockdown and how both have affected him, are all dealt with simply and candidly.

His story-telling style is interspersed occasionally with the odd actual joke, and his sardonic sarcasm is well placed. His set is sharp, acute, political, angst-ridden, from the heart and very funny.  And I hope he won't mind my writing my favourite joke from his set here (one of the best from the whole Fringe actually!)....

"Before stand-up I was in an Improv Group - I didn't want to be in an Improv Group, but they simply don't take no for an answer".

A confident performer with good diction and character, with a clear through-line and a couple of really good callbacks.

Reviewer - Matthew Dougall
on - 29.8.22 

THEATRE REVIEW: Bad Teacher - Underbelly, Bistro Square (Daisy), Edinburgh.

This one woman show presented on a tiny stage in a stuffy crowded room, on the last day of the Fringe, by Queens Of Cups, was at one and the same time and ode to and a detestation of the modern teaching profession... warts an' all! 

Twenty-something teacher, yes, a "bad teacher", simply because she is still wanting to use her free time to party, get drunk, do coke, have a good time, and find sexual fulfilment, and not yet ready to wear the brogues and tweed skirt; is a drama teacher at a high-achieving sixth form college.

Fantasy and fiction intertwine in her monologue as her internal thoughts mix with reality, but we are clearly shown the failings of a system that should be there to help and protect, and by the end of the show, despite not wanting to like our protagonist, (she is not a likeable chaarcter), we can do nothing else but emote with her, and be on her side. 

If you don't know anything about being a teacher in the current climate, then this will be a real eye-opener for you... Ofsted, Parents' Evenings, Safeguarding, and suicide are all given the runaround, interspersed with a deal of female kick-ass BPE ("Big Pussy Energy").

Reviewer - Matthew Dougall
on - 29.8.22

THEATRE REVIEW: Winston And David - Underbelly, Bistro Square (Dairy Room), Edinburgh.

In this 60 minute drama, Maverick Theatre tried to tell the story about Winston Churchill's early political career, prior to his accepting Prime Ministeship in 1940. We are taken back to the early 1900s before, even, the first world war, and his long-lasting friendship from fellow cabinet minister and again too, later Prime Minister, David Lloyd-George.

This is done mostly through the narrated eyes of Frances Stevenson, who was Lloyd-George's secretary, children's nanny, and mistress; but we also hear from both Churchill's wife (Clementine), and Lloyd-George's (Margaret). However, since the play is called Winston And David, we mustn't forget that it is their relationship, both in and out of office, that is the play's main focus. What makes this play fascinating is that it has been written by Robert Lloyd-George, none other than the great grandson of the aforementioned Prime Minister. We can therefore take for granted the historical accuracy of the writing.

Where this play falls down though, is in the lack of historical accuracy elsewhere. A simple set of a white table and two white wooden chairs sufficed for all scenes, and all props were mimed (some more successfully than others), whilst the costumes were sadly laughable. However I did appreciate the actors portraying Winston (Peter Swales), and Lloyd-George (Geraint Rhys), trying to bring about a certain realism in their vocalisations, with Swales giving Winston a slight lisp and stutter on certain words, and Rhys's natural Welsh tones were used to good effect for his character. 

Directed by Nick Hennegen, the play lacked pace and dynamicity, and so sadly, my and others' attentions tended to wander.

Reviewer - Matthew Dougall
on - 29.8.22

MUSIC REVIEW: Beryl Marsden In Concert: Celebrating 60 Years Of Music - The Epstein Theatre, Liverpool.

Described by compere, local Liverpudlian DJ Billy Butler, Beryl Marsden is UK’s answer to Little Miss Dynamite, Brenda Lee, and he’s not far wrong. At 75 years of age, Marsden has a remarkable voice and can still belt out rock and roll numbers and thrill with beautiful ballads.

This show was a celebration of her musical journey, having been singing from the age of fourteen and finding fame during the Liverpool Merseybeat era in 1962, being one of the very few female singers at the time.

Marsden’s band, featuring Dave Goldberg on keyboards and guitar, bass guitarist Joel Goldberg, drummer Adam Goldberg and lead guitarist Luke Hague opened the show with Booker T And The MG’s classic,‘Green Onions’. After which she burst onto the stage inviting the audience to get the party started. The audience needed no persuasion and Marsden had them in the palm of her hand throughout her performance.

Billy Butler (now eighty years of age), did an outstanding job as compare for the evening, keeping the audience entertained with memories from his Radio show, ‘Hold Your Plums’, and divulging personal anecdotes about his age and life. He introduced Beryl Marsden as being an old friend of his from the 1960s and she started the show with a song she released in 1963, ‘I Know (You Don’t Love Me No More)’ followed by The Shirelles song made famous by The Beatles, ‘Boys’.

A guest appearance from American artist Ralph Kluseman, who entertained with renditions of ‘Norwegian Wood’ and ‘Chains’ came next. Kluseman is in Liverpool as part of The Brian Epstein Legacy Project which has been successful in the installation of a statue of the late Brian Epstein in Liverpool city centre.

Guest artist Daniel Taylor entertained with a short tribute to George Harrison, singing ‘Something’ and ‘While My Guitar Gently Weeps’ featuring a much-admired guitar solo by lead guitarist Luke Hague.

Marsden’s rendition of ‘High Heel Sneakers’ closed the first half of the show after which she was back with her delivery of the Doris Day classic, ‘Everybody Loves A Lover’ and another hit originally made famous by The Shirelles in 1961 and later by the Beatles, ‘Baby It’s You’.

A guest appearance by Karl Terry, formerly a firm Liverpool favourite in the 1960s as lead singer of Karl Terry And The Cruisers, still performing at eighty years of age, he had the audience clapping and singing along to long-standing favourites such as, ‘Shake, Rattle And Roll’, ‘Boppin’ At The Hop’ and sang and danced during a duet with Marsden of ‘Let’s Have A Party’.

Marsden’s band gave an outstanding performance of ‘Oh Well’, dedicated to Peter Green of Fleetwood Mac, who sadly passed away in 2020; and musical theatre star, Gillian Hardie, who portrayed Beryl in ‘One Dream’, the musical about Beryl’s life, gave an exceptional performance of ‘Dancing In The Street’.

The show culminated in a sentimental finale with all those who had taken part in the show plus the inclusion of Billy Hoy and the SingMe Merseyside Choir performing ‘Imagine’ and ‘Hey Jude’.

By this time everyone in the audience were on their feet singing and swaying, hands in the air and calling for more. Looking around at the age of most of the audience, they would have been young teenagers in the 1960s and had probably been part of the Merseybeat scene visiting The Cavern and similar clubs, remembering the bands that played then, so they were positively delighted to have been taken back in time to sing along to the songs performed in the show. Most were most definitely firm Beryl Marsden fans and if they hadn’t been when they went in, they would positively be when they left.

This show was a fitting end to Liverpool’s International Beatles Week; it was a nostalgic trip down memory lane and a very entertaining night due to all those who performed. This was to be one of Marsden’s final concerts and it proved to be a very memorable one and a fitting tribute to a performer who had been undeservedly overlooked during her younger years but one who has stayed the course and made a long-standing career from her remarkable singing voice.

Reviewer - Anne Pritchard
on - 28.8.22

THEATRE REVIEW: Circa: Humans 2.0 - Underbelly's Circus Hub On The Meadow (The Lafayette), Edinburgh.

Circa Contemporary Circus have just become my favourite physical theatre / contemporary dance / contemporary circus outfit.

In a show lasting 60 minutes, 10 super-fit humans presented a show which was so slick, so professional, so perfect, that it is hard to find anything to write about! These are acrobats at the absolute top of their game and peak of physical prowess, and they balance and tumble in a series of almost death-defying feats. Some of the leaps simply took my breath away! Not only that but there was aerial work too. All to a contemporary music score and appropriate lighting.

If I had to make any criticism at all, then I would question the need for such revealing final costumes, as they tended to distract one's eye and attention from the performance, and I didn't understand the need for them.

However, bravissimi tutti, I can hardly wait until I have the chance to watch another of your shows in the future!

Reviewer - Matthew Dougall

on - 25.8.22

THEATRE REVIEW: Cirque Alfonse: Animal - Underbelly's Circus Hub On The Meadows (The Lafayette), Edinburgh.

French company, Cirque Alfonse, have created a hillbilly comedy nightmare of all things farm and farmyard related. A large company of musicans / singers / dancers / circus performers, had been assembled, ranging from grandpa - actually the oldest circus performer I have ever seen! - to bringing on the company's children and babes-in-arms at the end. This was a truly family affair, and it was both highly humorous and very entertaining, although it is quite unlike anything I have ever seen before.

During this one hour show we were treated to European style clowning, dancing with buckets of maize, balancing on a huge tractor tyre, body contortions and balancing, juggling with picks and rakes, and a death-defying routine with extremely large cowbells, to mention just a few. Add to that some tap dancing, yodelling, folk rock music, and a whole load of plastic chickens, and that is your show!

Professional, slick, clever, very funny, and undoubtedly unique. 

Reviewer - Matthew Dougall

on - 25.8.22

THEATRE REVIEW: Hotel Paradiso - Underbelly Circus Hub On The Meadow (The Beauty), Edinburgh.

Lost In Translation Circus are no stranger to our shores, and in this 60-minute farcical show, we meet the staff of Hotel Paradiso - the best hotel on the Riviera.

As the show starts both the bellhop and maid come around the audience warming us up, and then we are introduced to Carmello, the concierge and owner of the hotel. All seems to be going well, until two hoodlums enter, pretending to be from the bank, and saying that they will foreclose on the hotel if they cannot prove the hotel's worth in 24 hours. And so, it is with this premise that chaos ensues.

The company use physical theatre, acrobatics, balancing, aerial, juggling, and a whole load of silliness to bring their story to fruition. It's all very skin-deep, superficial, and actually not very funny at all... and it seems more sad and tired than anything.

Reviewer - Matthew Dougall

on - 25.8.22

THEATRE REVIEW: Land: A Scottish Musical - Gilded Balloon Patter House (Dram), Edinburgh.

With a cast of just three, and a postage-stamp-sized stage, Kick The Door's new folk musical, 'Land', is deeply rooted in Scottish music and language.

Two different stories are told intertwining each other. One takes us back to 1745 and the Jacobite Rebellion, as we see a crofter take pity on an army deserter; whilst the second story is set in the present day (presumably Glasgow due to the power-cut!), as an eldery widower's relationship with a young gay man who lives in the same flat goes from uber-frosty, to caring and understanding. 

Music is provided for by the third cast member - a young girl who plays guitar and sings interludes between the vignettes. Some are more folk styled than others, but there are hints of The Proclaimers on the one hand and Runrig on the other.

The three are talented actor / musicians, but especial mention must go to the older actor, as his characterisations were so vastly different and completely solid, changing at the turn of a head. Very impressive.

Reviewer - Matthew Dougall

on - 25.8.22 

AMATEUR MUSIC REVIEW: Aquapella - Gilded Balloon Patter House (The Other Yin), Edinburgh.

Absolute kudos to this group of Bath University students. The fire alarm was triggered in the building just prior to the concert, and so, while we waited for the fire engine to declare all safe, the choir performed a couple of their songs in the neighbouring street, giving us, and passers-by, a taster of the concert to come.

Dressed all in black in differing styles, this group of talented singers took us through an array of contemporary popular songs all arranged for the choir by their members. As is seemingly the normal modus operandus for such a cappella groups, one of them is their MD, whilst another creates percussion / beat box sounds through a hand-held mic whilst the rest sing., and of course do some fancy choreography too.

Together they made a truly lovely sound when singing the softer, more mellow songs; but when given the faster, louder, up-tempo ones, they did tend to become a little screechy at times. 

Modern a cappella choirs are springing up all over, and this choir was certainly above average and gave a very professionally realised and competent set. It was a little samey after a while, and more variation would have been appreciated; but the choir has the right mood and attitude, and their voices, especially in the close harmony sections, sounded lovely together.

Reviewer - Matthew Dougall

on - 24.8.22

THEATRE REVIEW: A Wilde Life - The Space On The Mile, (Space 3), Edinburgh.

Chevron Theatre, a company of young, one assumes university students, presented their one hour hommage to Oscar Wilde this evening.

The vocals (harmonies) were lush and powerful, loud and clear with excellent diction, and the choreography upbeat and sensuous; but that seems to be, for me at least, where the praise must end. 

We are presented with a Victorian-esque bar of deviants dressed in black and red. We are ostensibly in Paris, and Oscar Wilde enters to tell his life story.. his loves, his losses, and his time in Reading Gaol.  However, none of this seems to be in any way authentic (except the names of the people) and it is as if we are in one of Dante's circles of Hell. In fact, if I may be so bold as to re-quote a pertinent line from the production, the company completely "failed to authentically recreate" the mood, the milieu, and the characters that peopled it. Wilde was nothing like the man himself, and neither were any of his friends and lovers. This was much more a 'Moulin Rouge' style fantasy than anything. 

The company were sincere and talented, giving a high-energy and powerful production, but perhaps they were, as Oscar was himself, just too narcissitic to truly see the wood for the trees. 

Reviewer - Matthew Dougall
on - 24.8.22

THEATRE REVIEW: Mrs. Pack - The Space On The Mile (Space 3), Edinburgh.

Three Chairs And A Hat Productions present a musical based on a slice of history that has most certainly gone under the radar. I was attracted to this show by just that, a small piece of Royal history, the story of a certain Mrs Pack who became a most unlikely wet nurse to baby Prince William, Duke Of Gloucester, in 1689. 

The historical elements of this musical, one has to assume, are correct and researched. But this is very much a tongue-in-cheek, 'Horrible Histories'-esque show, and so one has to accept that choreography, costuming, make-up, hairstyles, and set, are all wrong and far too modern, and of course there is much multi-rolling too, with such a small cast playing many characters between them. 

The actress who portrayed Mrs Pack more or less carried the show, and once you become used to this minimlist and unrealistic format, you are able to sit back and enjoy the humour. 

I wanted to be both entertained and learn something more about King William and Queen Anne, and ultimately came away from this musical feeling a little let down. 

Reviewer - Matthew Dougall
on - 24.8.22

LIVE PODCAST REVIEW: Clive Anderson's My Seven Wonders - Assembly George Square, Studio 3, Edinburgh.

Ever since he was the host / compere on 'Whose Line Is It Anyway?', I have enjoyed Clive Anderson's clipped, somewhat brusque, comedic delivery, and have wanted to see him live...and this afternoon, I finally got my wish!

However, with this particular show, 'My Seven Wonders', we don't just get Anderson, but also a famous mystery guest with whom he will chat, banter, and ask of them to name their own personal seven wonders. Normally done behind closed doors and recorded in podcast format, this was a live recording of said podcat with very much a live and enthusiatic audience. 

Today's mystery guest was comedian Al Murray, and I have to admit I warmed very much to Murray this afternoon. I have never seen him live - his alter ego, The Pub Landlord, being one of my pet hates and would probably ask to put into Room 101 if I ever got the chance; however here Murray came across as a sincere, humble, and down right decent human being, and the bonhomie and chit-chat between the two was both interesting and entertaining. 

Murray's seven wonders were: the Channel Tunnel, drums and drumming, The Edinburgh Festival (of course!), the history of WW2 (especially spitfires), Spike Milligan, computer Windows updates, and France. However to find out why he chose these subjects and to hear him and Anderson have a more than decent crack at a Goons script, you'll just have to listen to the podcast.

Brilliant!

Reviewer - Matthew Dougall

on - 24.8.22

THEATRE REVIEW: The Improv Musical - Gilded Balloon Patter House (Doonstairs), Edinburgh.

Following in the footsteps (and format) of the more famous Showstoppers! Improvised Musical Company, this group of 6 young improvisers from Music Theatre, Warwick, along with a compere and a live 4-piece band, took us through our very own unique performance of 'Space Crime: The Musical'. 

The compere welcomes us and gathers suggestions for locations and characters, and then lets the improvisers loose to bring this incredible story to the stage and have some sort of beginning, middle, and of course end. 

They are a talented bunch, and the show is entertaining; especially if you are lucky enough to have an actor called Robin in the troupe for your show; he was the glue in this.

Reviewer - Matthew Dougall
on - 24.8.22

THEATRE REVIEW: The Sneeze - Gilded Balloon Patter House (Doonstairs), Edinburgh.

In Michael Frayn's lovely translation, this is 'The Sneeze', a set of 5 unconnected small theatre pieces by Anton Chekhov. 

ATS Productions grabbed hold of this play by the throat, and didn't let go until they had brought about an interpretation that was both faithful and fresh at one and the same time. Hardly surprising really when the cast of 9 were all graduates of The Artists Theatre School, and were directed by Amanda Redman and David Threlfall.

With superb use of selected set, props and costume, these very talented performers brought these 5 short one-act plays to vivid life. The acting was exemplary, and their comedy timing and on-stage chemistry was simply perfect. And whoever decided to use one of the cast as the horse in one of the plays was just inspired and genius! I would love to be able to credit these actors and actresses by name, but sadly there was no programme available, however, this production has been thus far my Fringe highlight.

Directed and acted with aplomb, it is extremely funny, very clever, and breathes new life into some of Chekhov's lesser known and yet perhaps funniest writing. Five stars!

Reviewer - Matthew Dougall

on - 24.8.22

THEATRE REVIEW: S.O.E. - Front Room, The Assembly Rooms, Edinburgh.

In this abridged version of the full length play, we are taken back to a time when espionage and secrecy were the keys to success in turning the tables in our favour during the second world war. There was a military branch, the S.O.E (Special Operations Executive), brought together for that express purpose. 

This is the story of one of the trainers, vera Atkins (played with 1940's military poise by Deborah Clair), and one of her female recruits, Noor Inayat Khan (performed by Natasha Jayahendry making her professional debut with this production). We watch as this new but skilled and enthusiatic recruit is put on a plane for her native Paris, and we watch as her story unfolds, her training coming in to play as she sends communciations back to base, meets her contacts, and tries to evade capture, which would lead to torture and almost certain death. 

There is much to admire about this production, which is directed by Dominique Gerrard with confidence. Costuming and set design give an air of authenticity - especially the suitcases and radios / transmitters. However, the directing gives mixed messages... some of it extremely realistic and dramatic, whilst, later on it becomes more fanciful, non-realistic and artistic, using the set in creative ways and a long length of rope (ostensibly a microphone for the radio) forms a metaphorical spider's web. 

We miss much of the grounding and back-story of this play, perhaps because it has been shortened for the Fringe, and this version leaves too many unanswered questions. It also has a strong hint of lesbianism between the two cast members, whether intentional or otherwise, it isn't clear. The ending is also most unclear sadly, and I left the auditorium confused, my questions left hanging in the hot atmosphere of the theatre. 

Reviewer - Matthew Dougall
on - 24.8.22

THEATRE REVIEW: Identical - The Lowry Theatre, Salford.

'Identical', a new musical based on The Parent Trap by Erich Kästner, currently at Salford's Lowry Theatre, is the much awaited, brand-new musical from Stuart Paterson (book) and Stiles & Drewe (music). Produced by Kenny Wax and directed by Trevor Nunn it has the backing of all the theatre big guns – and it shows!

A beautiful, precision piece of visual theatre, 'Identical' is glorious to look at. The set (designed by Robert Jones) is created with stunning videography (Douglas O’Connell) onto moving screens. The transitions are seamless, the images faultless – I have accused digital image scenery of being lazy in the past, but not when it’s done like this! Supplemented with some key pieces (beds, piano, doorsteps etc), mid-century Europe is depicted in a series of breathtaking locations. Jones and O’Connell have made magic. Extra-realism is added by the gentle swaying of trees and even the passing of a tram in the distance - awesome. The visual feast is completed by an exquisite array of costumes designed by Jonathan Lipman. Especial favourites were Miss Gerlach’s entire wardrobe, the ensemble’s harlequin ballet costumes, and the lederhosen!

If you’re wondering why a ‘Parent Trap’ adaptation is staged in mid-century Europe, it’s because this is a pretty faithful adaptation of the original book by Erich Kästner. It tells the story of twins Lisa and Lottie who were separated as babies when their parents divorced. They have been reared in separate cities (Munich and Vienna) and accidentally find each other at a summer camp holiday. By the end of the camp, they have hatched a plan to swap lives – and therefore parents. Despite having schooled each other in their everyday habits, some significant details slip but their parents are none the wiser. In Vienna, Lottie (masquerading as Lisa) can’t help showing her musical talent. Her father is delighted but Lottie is not so happy when she discovers he has a love-interest in the Prima Ballerina who plays the witch in her father’s newly written ballet. She begins to have nightmares and, apart from when she is making music with her father, grows increasingly unsettled. Meanwhile Lisa (living as Lottie in Munich), discovers she really can’t cook and enjoys the great outdoors with her mother. When mother finds a picture of the two girls together at camp, the twins’ plot is uncovered and she and Lisa fly to Vienna…

Being based on a book, there are rich details to be mined and the strong storyline of ‘Identical’ does that to great effect. A standout example was when Lottie goes to the ballet in Vienna – a deliciously staged performance-within-a-performance, showcasing a highly talented ensemble with Hansel and Gretel danced by the wonderful Kirsten Muzvuru and Poppy Pawson. The principal adults are equally talented with previous credits galore listed in the programme. James Darch as the twins’ father, Johan, is an immaculate dancer with a strong voice. His housekeeper Rosa is played with strength and genuine warmth by Louise Gold, and Michael Smith-Stewart’s portrayal of Dr Strobi is understated with a twinkly eye. Gabrielle Lewis-Dodson brings glamour, sophistication, and frustration to life as Miss Gerlach in elegant fashion, which contrasts beautifully with her dance as the witch in both the ballet scene and the nightmare scene. However, Emily Tierney as Lisalotte, the mother, is just a powerhouse of a performer. With her two solos in act 2 she demonstrated her fantastic vocal talents and was the perfect loving mother throughout; bravo! This particular performance, it was the turn of twins Kyla and Nicole Fox to play as Lisa and Lottie, and along with the rest of the young ensemble, they were well-drilled, talented, calm, and confident performers – there was something very poignant about seeing siblings together on stage and what a triumph to take leading roles at such a young age.

The material they have to perform with is a delight; Paterson’s strongly written dialogue tells a clear story and is enhanced by Stiles & Drewe’s magnificent score. This pair are at the pinnacle of musical creation, original and grounded in true quality.  There isn’t a song here that you have heard before and, although their style is recognisable, there was no hint of borrowed phrases or motifs from their other works.

One can only assume that with such an elite production team and steel-strong cast, 'Identical' is on a trajectory for the West End. It’s not entirely flawless yet - both acts were one song too long, especially for children; it needs a punchier start, there was a clunky feel to the opening 10 minutes or so, it felt like the cast were bedding in; and there isn’t that take-home song that everyone will be humming as they leave after the finale – but it’s a damn good show, destined for greatness, in my humble, unqualified opinion. Get a ticket, in a few years’ time you’ll be able to say, ‘I saw that BEFORE it was big!’

Reviewer - Justine Sutcliffe

on - 23.8.22

THEATRE REVIEW: Cicada's Children - The Space on North Bridge (Argyll Theatre), Edinburgh.

In this two-hander presented by Maytree Productions, we are taken into the world of Religious Cultdom by two highly competent and talented actors. 

Based perhaps on real cult horror stories, we watch as a young lady, Bella, uses a coffee-stand outside an office block to pick out prospective 'victims' to join her. One, a certain naive and uber-willing Danny, is so easily drawn into it all, simply because he falls madly in love with Bella - but does he realise his mistake too late? Will his dream, which has now turned into his worst nightmare, end in disaster, or will he be able to find a way out?

Performed from both protagonists' perspectives, it gives us an interesting insight into their minds and motivations, however, we need more background and a deeper understanding of both the cult and Danny to be able to truly emote with this play. I also found it more than unrealistic that a young office executive would act like a cartoon version of a pubescant teenager when seeing a young lady he desires.

However, it was sincerely and adeptly performed by Danny and Bella (real names unknown), and it maintained my interest and attention throughout.

Reviewer - Matthew Dougall
on - 23.8.22 

AMATEUR MUSIC REVIEW: The B-aca-chelorettes - The Space @ Triplex, Edinburgh.

The Rolling Tones, a group of all-female a cappella singers from King's College London, present their Dating Show with a difference.. The B-aca-chelorettes! 10 would-be datees are gathered in front of an audience of prospective males (us..the actual audience) and are taken through a series of questions and games from the show's two hosts, in order to find the lucky winner who will be going on a date of a lifetime! It is hugely American in both concept and execution, but can probably be likened to 'Blind Date' meets Jerry Springer! There are a couple of twists in this format however; the first and most obvious one being that this is a close harmony a cappella choir and so most of the games played are actually sung! The second twist comes later on when they decide as a group that this dating show only perpetuates male patrirchy and sexism, and they decide to be independent females.

The quality of their collective vocal talent was indeed impressive, and individually they also proved to be worthy soloists too. [The French song was by far the best and most beautiful of the concert]. However there were a few technical issues sadly. The group certainly need more practice in using hand-held microphones, whilst the beat-boxing mic was set too high during the first part of the concert. The choreography was simple and rather static for the style and youthfulness of the chorus too.

However, all-in-all, this was a high energy and enjoyable concert given by 12 talented young ladies from London. 

Reviewer - Matthew Dougall
on - 23.8.22

AMATEUR THEATRE REVIEW: Plague - The Space @ Triplex, Edinburgh.

Sidgwick And Sanders present a new musical about the plague... no, not coronavirus, although there are many contemporary parallels (!) - this plague is the one we all learnt about in school, but actually know very little about... The Black Death.

This Yorkshire-based company use the premise of giving a lecture on the Plague by three experts in their respective fields (one, quite literally, since he is a vegetable farmer!), to take us back to 1348 and the village of Bogsfield, where, the village Headman and the head priest are at loggerheads over how best to deal with and contain the plague.

It seems that the only person in the town with enough good-old Yorkshire nowse to be able to save them is Mr Turnip's daughter. But this is the Medieval period in England and women don't have a voice.. this is very much a mans' world.... and so she has to fight twice as hard to get anyone to listen to her. On her quest she meets a crazy old crone in the woods (who has a secret she hasn't shared with anyone in many years), but perhaps together (with a little help from The Carrot Of Destiny) they can make the people of Bogsfield understand and save the townsfolk from certain death...?!

With a whole deal of humour and bonhomie, most of which is very funny indeed; this is a clever, witty, and very entertaining new musical, performed by a very talented cast. I greatly enjoyed the root vegetable expert, and having the plague itself represented through the malevolent presence of an acrobatic dancer was genius. Further, this large cast performed without microphones and their voices were all loud, clear and their diction and singing on point at all times. 

A fun show (despite the title), and definitely worth watching. Bravo.

Reviewer - Matthew Dougall
on - 23.8.22

THEATRE REVIEW: Los Guardiola - The Space @ Triplex, Edinburgh.

Argentine / French company Los Guardiola, consisting of Marcelo Guardiola and Giorgia Marchiori do exactly what the company's tag-line say they do... comedy mime and tango. Taking the Argentinian dance form and playing around with it a little, whilst adding some superb European style mime and French non-verbal comedy, the pair cavort around the stage performing stylised vignettes around the theme of love and desire. Commedia Dell'Arte is paid homage to through the use of half masks and a lovely Pierrot suit for the final scenelet by Guardiola, whilst Marchiori proudly shows off her ballet roots by performing the famous dying swan routine from Swan Lake with aplomb.

This is - if you need any further visualistion - a cross between Laurel And Hardy and Punch And Judy, if they were superb tango dancers, movement and mime artistes, and didn't speak.

Extremely slick, immaculately timed, clever, and humorous. This is European-style mimed comedy at its best.

Reviewer - Matthew Dougall
on - 23.8.22

AMATEUR THEATRE REVIEW: Gatsby: A New Musical - Paradise @ St. Augustine's (Main Theatre), Edinburgh.

A popular and regular visitor to Edinburgh's Fringe, the students of Shrewsbury School are known for presenting original musicals each year, and this year's offering was the story of a certain Mr Gatsby, based on the novel by E. Scott Fitzgerald.

This was a highly proficient and energetic production with some nice attention to detail. A live 8-piece band was at the side of the stage, and a simple wooden rostra and fence sufficed for the entire show's set. This gave the performers more room to manoeuvre when tasked with some full-company up-beat 1920's styled choreography.

Sometimes the sound leveles were not balanced and we had a couple of mic issues during this show, which meant that dialogue underscored by music was lost, and voices sometimes went unamplified.  However, that did not diminish the acting or the talent and enthusiasm displayed. Telling the story of  a certain Jay Gatsby through the eyes of protagonist Nick Carroway, and the women who adored them both, these teenage stars-in-the-making gave their alls to this show, and it paid dividend many times over. However, I have to give a special mention to Kate Woodman who played Myrtle Wilson, as she managed to impress with her triple-threat ability just a tad more than the others.

This is a hugely competent, highly proficient, and fun (despite the tragedy) show, which includes some great original music, toe-tapping songs, excellent choroegraphy, and well-measured and considered characters and characteristaions. Most definitely worth watching - highly enjoyable. 

Reviewer - Matthew Dougall

on - 23.8.22

AMATEUR MUSIC REVIEW: Durufle's Requiem - St. Giles's Cathedral, Edinburgh

As part of Edinburgh's internationally famous Fringe Festival, The National Youth Choir Of Scotland concluded a short local tour, by performing for one evening only inside the stunningly beautiful medieval surroundings of St. Giles's Cathedral.

The only problem with such a venue is sight-lines. Churches were never built with performances in mind, and so pillars and goodness knows what else obstructs the view, and of course the seating is not raked either. However, this is a minor consideration since we were there primarily to listen, not see - and the acoustics with all those vaulted ceilings, were just great. 

The choir started the evening with 'Rejoice In The Lamb' by Benjamin Britten. The sound the choir created was simply dreamy. Lush harmonies of cascading sound. My only slight issue with this work was that some of the enunciation / diction was indistinct. However, the quality of sound produced soon made me forget that I couldn't actually understand everything being sung. Four soloists were utilised for this, and all four were superb, although I had to slightly soft spot for both the contralto and bass.

In this and the subsequent piece, the choir were accompanied on the organ by Michael Bawtree, and conducted by Christopher Bell.

The show-piece was next; Durufle's magnificent and beautiful setting of the Latin Requiem Mass. Each movement flowing from one to another like water over a stone, as I simply allowed the music to wash over me. The diction in the Requiem was never an issue and all the words were, like the ripples of cascading sound, crystal clear. At times intense and dramatic, at others, allowing just a sliver of sound to diminuendo to silence; sometimes soporific, at others stimulating and exciting. But always centred, controlled, harmonic, and technically superb. The breathing control was amazing, and the mass choral sound produced was envy-inducing. I should also like to add that the contralto soloist in Pie Jesu was simply outstanding.  

The absolutely perfect way to end of long and arduous day of binge-Fringe-ing, these choristers ranging in age from 16 to 25, are the future of classical choral music, and if this is what the future holds, then it is in extremely safe and talented hands. Bravissimi tutti.

Reviewer - Matthew Dougall
on - 22.8.22

THEATRE REVIEW: The Zoo Story - Greenside @ Riddles Court (Willow Studio) - Edinburgh

Edward Albee's disturbing but darkly comedic one-act commentary on class and life in 1950's New York is excellently observed, and although it is one of Albee's earliest published works, it clearly shows off many of the great 'traits' that have made him one of America's greatest contemporary writers.

Chimps At Play's production this afternoon didn't cut any corners, nor did it pull any punches (metaphorically or literally), and their two-hander, one hour play, was visceral, emotional, and thrilling, right from the start. 

Both actors (sadly without a programme I cannot credit them), deserve the highest praise. Having trained at the Strasberg Theatre School, this is their first production together.  They have the angst, the emotional drive, and the US accents down to a tee, and their on-stage chemistry is electric. 

Through bleak humour, sometimes quite farcical, but also through suspense and intrigue, Albee's social commentary is brought vividly to life, Greek tragedy-esque in its character arc, development, and style, and yet. Albee's economical script was directed with complete understanding and performed with truth, sincerity and aplomb.

This is a must-see for fans of 20th century classical literature. 

Reviewer - Matthew Dougall
on - 22.8.22

AMATEUR THEATRE REVIEW: Living With Sin - The Space @ Surgeons' Hall (Grand Theatre) - Edinburgh

'Living With Sin' is an original musical composed, performed, and produced by the Cambridge University Musical Theatre Society. It tells the story of a young lady who is now left alone in a large house after the death of her grandmother. At least she thinks she's alone... that is until the seven spirits make themselves known to her. These are not ghouls or ghosts in the conventional sense, but they are certainly not mortal.. they are the seven deadly sins, and have been living in this house for a while. Their mission it seems, is to help this young lady (Cece) by convincing her that her mundane, safe, secure, and single life in this house is not for her. She needs, according to them, to live more... explore life and sex, and all that both have to offer.

The dancing and singing is generally good throughout, and this youthful and dynamic cast certainly put much into the show. Unfortunately the show is let down somewhat by much of the dialogue being far too quiet, and cast turning their backs on the audince when speaking or singing. However, it is an interesting and possibly unique storyline, and kept my attention to the end. 

Reviewer - Mattheew Dougall

on - 22.8.22

AMATEUR MUSIC REVIEW: Illuminations Presents: The 11th Hour - The Space @ Surgeons' Hall (Grand Theatre) - Edinburgh

Illuminations is the University of Exeter's mixed a cappella dance choir; and in this 50 minute extravaganza they took us through 11 popular songs, all arranged by members of this 13-strong chorus, with beat-boxing, immaculate and visually interesting choreography, and a whole bucket-load of sass. 

Contemporary pop songs and songs from modern musicals were given the 'Illuminatiuons' make-over this afternoon, starting with 'Feeling Good' and ending with Florence And The Machine's 'Dog Days Are Over'. Each song featured one or two soloists whilst the rest of the choir sang backing vocals etc, and this made it seem like we were watching a pop concert by a girl / boy band - just minus the instruments. 

The whole show was up-beat and fun. Dressed in a colour-code of oranges, blacks and whites, they introduced themselves and asked for a little audience participation too throughout which made it a more personal event. We were even asked to vote for our favourite song of the 11 sung, which they would then encore as their finale.

With solid and interesting harmonies, and a somewhat unique take on the traditional a cappella choir, these young adults gave a high energy and enthusiatic performance which was very well received by their audience this afternoon. Highly enjoyable.

Reviewer - Matthew Dougall

on - 22.8.22 

AMATEUR THEATRE REVIEW: Matilda Jr - The Space @ Surgeons' Hall (Grand Theatre) - Edinburgh.

'Matilda Jr' is the shortened 60-minute version of Tim Minchin's beloved musical (from the Roald Dahl novel), which keeps most of the songs and storyline,  and still delivers all the punches.

In this version, presented for the Edinburgh Fringe Festival, local theatre-training establishment, The Nardone's Academy Of Performing Arts, from Lochgelly in Fife, showed us exactly what punches this show could deliver! 

Using two different age groups, with primary school-aged children as the youngsters and teenagers for the adults, this made the show not only more believable and realistic, but created some truly lovely dynamics within the ensemble too. And my over-riding thought as I left the theatre this afternoon was simply...WOW! The amount of energy, talent, energy, enthusiasm, energy, dedication, and energy, that these students expounded was phenomenal. Their acting area extending beyond the stage into the front row and part of the central aisle, there was absolutely no coming out of character, and their commitment to the show was just inspiring.

I have seen this show now perhaps 5 times, and never before has it excited me the way it did this afternoon. The accents were all very good, the characterisations were all superb, the costuming and set both perfect. In fact it is impossible to find any fault with this show at all. 

The young girl playing Matilda was stunning, the young boy Bruce Bogtrotter was incredible, and the older student taking on the role of Miss Trunchbull was West-End worthy. Absolutely the best characterisation of this role I have thus far seen. Bravo! But those are just three of a very large cast of skilled and dedicated young performers.

The singing and choreography were excellent every time, and I am so dissapointed that I live so far away (Manchester), but hopefully I shall have the opportunity of seeing these talented yougsters and youths perform again some day soon. Absolutely amazing!

Reviewer - Matthew Dougall
on - 22.8.22 

AMATEUR THEATRE REVIEW: Boom Town - The Space @ Surgeons' Hall (Grand Theatre) - Edinburgh

An original musical, 'Boom Town' tells the story of a Mid West USA shanty town, which, as the title suggests, boomed during the gold rush period, but now is in a state of decline. An outlaw is terrorising the town, the mines have been closed, and the tumbleweed is tumbling... what is to be done?

This enthusiatic cast of 19 - 27 year olds which go under the moniker of 'Matilda's Booth' are all students at the University of Chichester, and they put their hearts and souls into this production. 

Their characterisations were good, and a good attempt was made at authentic costuming and accents, whilst the set (crates used creatively and a couple of cut-out cacti) sufficed adequately. My over-riding concern with this show was the lack of audibility. The pre-recorded backing tracks were set at the correct volume, and the music was very much in-keeping with the style and era of the show's setting; however the cast needed amplification, not just in their singing but also in their speaking too. I missed several sections despite being seated on the front row.

A fun storyline, with stock, recognisable characters from almost every Western and Western-themed musical ever written, portrayed in a tongue-in-cheek, caricatured way, making it humorous and entertaining.. but there is also a [sadly all-too-predictable] modern story twist too.

Reviewer - Matthew Dougall
on - 22.8.22

MUSIC REVIEW: Elsa McTaggart: Her Story - The Space @ Surgeons' Hall (Fleming Theatre) - Edinburgh.

Elsa McTaggart is one of 11 children, and her grandfather, William McTaggart, a famous artist with works hanging in Scotland's National Gallery.... but we weren't there to talk about that, we were there to listen to Elsa McTaggart's music-making.

In the 55 minute show, McTaggart chats to us about her life. her loves, her losses, her escapades and narrow escapes, but mostly of her undeniable joy of life and belief that all will turn out right in the end. And it certainly seems to have done so for McTaggart. Along with her husband Gary accompanying her on keyboards, the two entertained with her self-composed songs which ranged in style from Folk-Rock, to Blues, to more traditional Irish and Scottish country music.

McTaggart has a rich and powerful voice, which melts into beautiful soprano one minute and raunchy sass the next, whilst her diction is crystal clear. The music is "easy-listening" (which is meant as a compliment!), and I was tapping my toes and stomping my feet throughout. 

An honest, and interesting life story, told her way.... through her own music.A hugely personable and entertaining songstress.. my only grumble... I wanted more...!

Reviewer - Matthew Dougall
on - 22.8.22

THEATRE REVIEW: Monoslogue - The Space @ Surgeons' Hall (Theatre 2) - Edinburgh

In her solo show, Tali Foxworthy-Bowers takes us on a very personal journey - her journey. For a girl who found her passion and her source of inspiration in dance (especially ballet), it was earth-shattering news for her when, just as she was reaching puberty, to find that she started having severe pains in her back. Her chroniuc back pain has been with her for the last 16 years, and in this performance, Foxworthy-Bowers takes us through those years with sincerity. honesty, a deal of humour, and a whole load of sympathetic storytelling, which makes those who don't suffer from chronic pain, far more knowledgable and understanding of those who do; and for those who do, it is a connection and acknowledgement to say, 'you are not alone'. 

In what must have been a form of self-therapy and/or coping mechanism, this show takes the form of a pre-recorded inner-monologue, whilst FoxworthyBowers spends the whole 50 minutes of the show miming, moving, dancing, ameliorating the narrative and expressing her thoughts and feelings in perhaps the only way she knows how.. through dance.

A well thought-out and candid show, compassionately told, in a self-effacing and entertainingly theatrical way. Bravo.

Reviewer - Matthew Dougall

on - 22.8.22 

THEATRE REVIEW: Much Ado About Nothing - Hope Mill Theatre, Manchester.

Not all of Shakespeare’s works are stuffy, political histories or histrionic tragedies, and 'Much Ado About Nothing', as the title suggests, is some of his lightest, and funniest, writing. Maybe this is why it is so popular at the moment, standing as an antidote to the woes of the world. The story centres on two potential love-matches: Hero and Claudio – smitten young lovers assisted to betrothal by Don Pedro; and Beatrice and Benedick – jaded and stubbornly single but easily manipulated to confess their true feelings. Don Jon (Don Pedro’s jealous, scheming brother) is the fly in the ointment and the bumbling, inept “Watch” provide both comic relief and evidence of Don Jon’s treachery.

The fourth in a series of predominantly female-cast reworkings of Shakespeare classics by this company, this production is a modern, bright and breezy adaptation of Shakespeare’s funny, ribald farce. This is not one for the Shakespeare purists - who in this reviewer’s opinion are too precious in any case! It is set in a modern back garden, with no deference to characters’ status, gender or age, is accompanied by a litany of '90’s pop hits, has naughty dashes of sexual activity, and is delivered in a natural, mainly Northern voice - and hurrah for all that! The cast relished their performance – it was high energy and fast-paced with lots of easy laughs along the way. The brilliant selection of music buoyed the atmosphere all night, making the whole thing feel like a week-end long house party.

Taken as a whole, and forgiving some slips of the choreographed business, HER Productions ostensibly gave us a fun-filled night. But the devil is in the detail and some attention to that detail was missing.  One point where the choreography was excellent was the masked ball – very funny and a great use of the remote-controlled music! But, we lost characterisation here as even Don Jon was happy and enjoying himself – despite his lines to the contrary very soon after. There were some entertaining set-pieces: the use of a neighbourhood watch sign; the seducing scene in the garden; and the scenes where Benedick and then Beatrice “hide” in plain sight, all of which gave rise to many laughs, but with a little more discipline in the delivery, they could have been hysterically funny. 

It is never easy condensing Shakespeare’s stories or combining characters, and some of the editing choices in the script led to some blurring of the lines in terms of story-line, chronology and characterisation. In the re-writing of Antonio as Innogen, moving from Leonato’s brother to his wife under-mined the character’s intentions making her less believable, especially at key moments in Act 2 – not the actor’s fault in my opinion, Janelle Thompson gave a good account of herself, playing well against Louise McNulty as Leonato. McNulty was a strong presence, who would have been at home in any of Caroline Aherne’s best writing. Lucy Keirl and Rachael Gill-Davis as Beatrice and Benedick were also well paired, as both have a talent for timing and used their facial expressions to underline the delivery

With a high energy cast, pacey delivery of the dialogue, and a healthy disregard for the traditional reverence towards Shakespeare’s text, HER Productions played up to all the comic elements of this production, holding the audience’s interest and amusement all night.

Reviewer - Justine Sutcliffe
on - 18.8.22

THEATRE REVIEW: Dots And Dashes: A Bletchley Park Musical - NWTAC Theatre, Moston. Manchester.

Bletchley Park is a country estate outside Milton Keynes in Buckinghamshire, and was used during the second world war as a secret code-breaking school and facility, intercepting and decoding enemy messages, which were then passed on to the relevant armed force to action as appropriate. Due to its secrecy, both its location, and even existence were never acknowledged or divulged until long after the war had finished, and those working there also had to lie about their work and whereabouts in order to maintain this secrecy. 

Mancunians will be more aware of this perhaps than many, as the Bletchley Park facility was where the Enigma code was broken, and local LGBTQ hero Alan Turing was employed. However, this particular musical concerned itself with the band of female employees whose work there was just as important, just as secret, and yet has gone unrecognised. This musical tries therefore, at least in part, to rectify this injustice. 

This musical's historical accuracy is meticulously researched; it is such a huge pity that the same can not be said of the six cast members' costumes, make-up, deportment and speech. The set was impressive for a small-scale fringe theatre company. Some trouble had been made to try and make the whole look as authentic as possible, with decoding machines, period photographs, wireless, globe, maps etc; whilst a large screen at the rear of the stage ameliorated this with archive footage of Pathe newsreels and Churchill's speeches.  

The show started well enough. The company coming forward to sing their opening number; using their own lyrics to tell the story and set the scene to the tune of 'In The Mood'. This was a nice idea and the 1940s feel of the show was cleverly brought to life through the music and the choreography. However, it became abundantly clear that these six actresses needed vocal amplification, not just in their singing, but also in their dialogue too. I was sitting on the front row of a small fringe theatre and still was unable to hear much of what was being said and sung.

The main story concerns these six young ladies' crucial part in the D-Day landings, and for bringing this story to our attention, (one that I was certainly unaware of previously), huge commendation and applause should be given. However, this story was diffused and obfuscated by too many other sub-plots concerning the ladies' personal lives. There was lesbianism, unmarried pregnancy, and one not being able to continue work after marriage. Relevant as these themes might be to the era, it did feel like the company was trying to perhaps box-tick by including such storylines.

The denouement of the show had the cast of six singing and performing towards the front of the stage, whilst on the screen at the rear, the historical information pertaining each storyline was given. Sadly however, the screen was obscured from view for majority of this. Perhaps the writing could have been written higher or elsewhere, or maybe the cast could have performed on the stage's extremities. 

This one hour show is worth seeing, if only to learn about the role of some of the unsung heroines of the war and what their jobs actually entailed; but the whole lacks oomph and dynamic drive.

Reviewer - Matthew Dougall
on - 13.8.22

THEATRE REVIEW: A.Rosa By Any Other Name - Platt Fields Park, Manchester.

One hundred years after its creation, the Shakespeare Garden in Platt Fields Park, Manchester, is something of a hidden gem. Surrounded by a varied array of impressive tall trees, this formal garden, featuring only plants mentioned in Shakespeare’s works, provides an idyllic setting for recitals of the Bard’s sonnets and plays.

The Shakespeare Garden Players, an ensemble created to mark the centenary of the garden, used the rich assortment of paths, lawns, flowerbeds, hedges and woodland verges to full advantage, blending selected excerpts from some of Shakespeare’s best-known plays with sonnets to create an eclectic bouquet of comedy and tragedy. The capacity audience was guided to each performance area by a Victorian-costumed lady. This character, based on an actual person from Manchester, progressively told her story throughout the promenade, whilst giving some social commentary from around the time of the park’s inception.

Julie Root as the Victorian Lady was perfectly in character in an impeccably authentic black costume, putting each selection in context whilst taking audience to each performer, variously awaiting them from amidst the foliage or emerging from varied entrances. A nice added touch was the recruitment of audience members into minor roles, giving an inclusive feel to the celebration of the bard.

Toby Hadoke brought lively comedy to the evening, particularly as Bottom from ‘A Midsummer Night’s Dream’, appearing genuinely surprised at finding he had donkey’s ears. Mark Rowlands created a memorable Malvolio, leaping onto a park bench in delight upon finding an apparent love letter. Mary Gerardine Hooton expressively delivered a soul-searching sonnet from an ornamentally hedged lawn but as a playful queen Titania, quite literally led audience members down the garden path.

Rebecca Fenwick showed great versatility in initially giving us a happy romantic girl playing amidst the trees to the disconsolate Orphelia from Hamlet, mournfully singing as she outlined her tragedy, giving flowers to the audience. Guy Michael Thompson looked every inch the Shakespearian romantic hero, with his neatly trimmed beard, powerfully delivering lines whilst flexing his well-toned biceps. Nadia Watson, having sensitively portrayed Viola from ‘Twelfth Night’ fittingly brought the evening to a close, delivering the epilogue from ‘As You Like It’, from the flight of stone steps leading to the balcony level above the garden.

The evening had the good fortune to be blessed with a warm climate and clear sky, and the enthusiastic response of the audience suggested that the evening has every chance of becoming an annual event (or should that be hardy annual?). This was an imaginative concept which was well put together and delivered with genuine feeling and enthusiasm, admirably giving a good insight into some of Shakespeare’s most memorable characters.

Reviewer - John Waterhouse

on - 7.8.22

THEATRE REVIEW: Gymnopedies - Guide Bridge Theatre, Guide Bridge, Ashton-u-Lyne, Greater Manchester.

Presented by 'New To You Theatre', a company championing new writing, and finding new venues to perform in, this was the company's last stop on a short 4-venue local tour. 

For those of you who know your Greek, then the title of this play won't be so much of an enigma... coming from 'gymnos' [the same as gymnasium], and meaning naked dancing and sport / physical exercise. [There are also a set of three piano pieces by French composer Erick Satie called 'Gymnopedies' - but the play covers that, so no need for me to do so here].  And, as to why the play is so titled... well, you'll have to go along and find out for yourselves! 

Written by Martin Paul Roche, the script is incredibly well written. It is tight, consise, and very relevant. It is also caustic, sharp, and some of the humour will have you belly-laughing, missing the next couple of lines.. whilst other lines are so pithy that they make you stop in your tracks. Classical references and (mis)quotes abound throughout, and although the play starts off in quasi-comedic vein, by the end, you'll have taken a journey with the three actresses of the piece, and are in quasi-Greek tragedy mode. 

These three actresses have been asked, via email, to come along to a theatre to audition for a play. The last time these three ladies were in the same room together was 30 years' ago, and it was in the same theatre. They are now waiting for an unknown director to audition them for an unknown play, and none of them know the company or even why there are just the three of them, and no-one else. The last time they were in that theatre, 30 years' ago, they spent 10 weeks rehearsing a play called 'Gymnopedies' which, for reasons that will become clear, was pulled before the first performance, as the producers refused to back it.

What follows is a conversation between these three women, now 30 years older, and as memories come flooding back, so do old wounds and new revelations - but reconciliation and 'closure' could be just around the corner. 

The play is also directed by Roche, and I have to admit that during the interval I was convinced I had worked out the ending [I hadn't!]. But that is because the staging ('blocking') of the play was very theatrical. Chairs were facing the audience, with the three actresses trying to fill the stage as much as possible and not be close to each other, whilst facing straight ahead when speaking... it felt like a cunning double-bluff, and this was a play-within-a-play scenario. It wasn't.

However, the three actresses themselves gave sterling performances. These completely disparate characters, all sharing the same secret, worked superbly together. Rachel Harrison's supercilious Joan Dupre, Tracey Rontree's pragmatic Diane, and Stella Hutchinson's 'honest-to-goodness' worm-that-turned Catherine, had me involved right from the first moment, and I was gripped until the end. Their performances were - a few dodgy un-American vowel sounds notwithstanding - sincere, focused, engaging, and together, formidable. 

This is certianly a play for today and our #metoo times. Obviously written in the wake of the Weinstein debacle, the play tackles some uncomfortable issues and universal truths, which need to be told. And tell it they do! The play continues at Guide Bridge Theatre until Saturday, so cancel all your plans, and go!

Reviewer - Matthew Dougall
on - 4.8.22