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Barry and Stuart: Show and Tell

Martin Miller — Fri, 26 Aug 2011 12:22:52 +0000

Look out Paul Daniels, avert your hypno-eyes Mr Piffles, for Barry and Stuart are back to bring their dark magic tricks to the Edinburgh crowds and this time they are going to show you just how they do it. With blatant disregard to the magician’s code, Barry and Stuart are going to perform two shows tonight, one “The Show”, a gloriously inventive hour of entertainment and, a little later, you have the option of returning for “the tell”, an in-depth blow by blow account of how every single trick is done. It’s one hell of a gimmick and with magic like this you simply have to return to find out how on Earth they pull it off.
The show itself is as playfully macabre as ever, as blood trickles down their back after sitting on a nail bed, they really have created a suspenseful hour of magic where you aren’t sure just what will happen next.
Barry Jones and Stuart Macleod are brilliant front men, funny and charming yet managing to keep the illusion of danger at the forefront of the audiences mind. But it’s the involvement of modern technology that makes them stand head and shoulders above the rest. They encourage the crowd to go to Twitter and Facebook during the show to aid them in tricks and have a genius use of 3D glasses, were wearing them will, quite literally, make the world Rose-tinted, allowing the coloured powerpoint in the background to show how the trick is done.
It is clever stuff but it does seem a little odd to reveal the tricks during “The Show” and then later in more detail with “The Tell”. However those who choose not to return for the second portion really will miss out. For the “The Tell” is an excellent show in itself, combining new tricks with detailed reveals that really show the huge and impressive knowledge they have for magic.
A thoroughly entertaining, blisteringly energetic show that manages to shock and thrill even at the cost of the mystique.

4/5

Shlomo: Mouthtronica

Mike Turner — Mon, 22 Aug 2011 10:45:40 +0000

The art of producing drum beats, rhythms and musical sounds using only the mouth, began among hip-hoppers on street corners in the US during the 1980s as a cheap alternative to pricey sound systems. However, in his shabby brown blazer, grandad sweater and thick-rimmed glasses, Shlomo looks more like an erudite scholar than a beat boxing world champion.
It’s a contradiction which the articulate, mild-mannered hip hop star gleefully messes with, initially leading the expectant audience into a false sense of security before blasting them with a voice which can only be described as a pneumatic blast of deliriously mixed beats, bass and hypnotic rhythm.
More familiar with playing short, high energy sets, the Mouthtronica tour is Shlomo’s first, solo show and it’s therefore unclear how much of his initial awkward stage presence is purely for theatrical effect.
Nevertheless, the moments of quiet calm as he reflects on his journey from a precocious eight-year-old, obsessed with recreating the number one hits of Top of the Pops using only the power of his mouth, to his big break collaborating with Icelandic pop pixie Bjork, act as neat springboards for Shlomo to launch into some astounding vocal performances.
With the help of a little technical wizardry in the form of his trusty loop station, he builds layer after layer of sound, until a symphony of music leaves the audience breathlessly excited and roaring with applause.
The show also features collaboration with a different guest every night. Tonight it was Rob Broderick from abandoman, who was superb. The tracks recorded with guests are all available to buy, with the proceeds going to the doctors without borders charity. The collected works will be available at the end of the tour.

4/5

Street Dreams

Adrian G. Velazquez — Sun, 21 Aug 2011 08:45:46 +0000

There are several high profile puppet shows at this year’s Fringe, and they are each unique in their own way. While none reach the heights of the magnificent “The Adventure of Alvin Sputnik”, some do come close and are very worthwhile. “Swamp Juice,” for instance, was inventive but slightly lacking on the narrative front and “Street Dreams” exhibits the same strength and weakness.
Visually, “Street Dreams” is beautifully simple. The lead character is a man living in a dumpster of sorts, wishing for adventure and a better life. He lives among other types of creatures with whom he doesn’t get along, and has nothing to do but try and find food, read and pass the time. Eventually, he leaves the dumpster and, using a broken umbrella as a boat, sets out on the open sea..
It is in this section that “Street Dreams” excels. The sea and underwater sequences are mesmerising, and the show really picks up the pace. The problem is that, up to this moment, not much has really happened, and not much happens after it either. It’s never dull and we are amused throughout, but when the story flags it’s just hard not to see the potential for something more.
The puppeteers are extremely talented, and there are some real moments or brilliance, like the aforementioned sea section and when the puppet interacts with the puppeteers themselves, creating something quite special. It’s a shame there’s not more of these moments and perhaps it’s unfair to compare, as “Street Dreams” really is entertaining, skilled stuff in its own right – but with a stronger narrative and a couple of minor tweaks, it could easily rival the wondrous “Alvin Sputnik.”
Not perfect then, but highly recommended nonetheless.

4/5

The Hermitude of Angus, Ecstatic

Martin Miller — Fri, 19 Aug 2011 10:45:42 +0000

Winner of last years Melbourne Fringe Comedy, Vachel Spirason has brought his unique one-man show to the Edinburgh Festival, playing Angus a socially excluded loner, whose only wish in life is for you to be having a great day. Think Harvey Krumpet with a severe learning difficulty and you’re half way there. He sits in the park and tries to encourage the weird and wonderful characters around him to join him in his dance.
There is much to admire in this sincere and endearing production but your enjoyment is solely based on if you can get behind Spirason’s style of clowning. Playing Angus, his Mum and a host of other unique characters, each is performed with a vibrant, frantic and hyper energy, it is so in your face that some will be swept along and others will absolutely hate it with a passion. Be prepared to have biscuit crumbs spat at you or force fed a chocolate bar, something which didn’t go down well at all to the allergic woman in front who had a hard time getting him to leave her alone.
But if you are able to get into the story there are some genuinely sweet and unexpected moments. From a heroine addict intelligent musings on Haruki Murakami to that beautiful ending where the audience are invited to come on stage and dance with him.
Spirason is a fantastic performer and this is a well written but unfortunately though some moments are beautiful, the amount of characters and constant screeching becomes irritating.

3/5

Worbey and Farrell: Well Strung!

Adrian G. Velazquez — Fri, 19 Aug 2011 08:45:20 +0000

The sight of these two playing a single piano at the same time is a spectacle to behold. Their fast fingers perfectly play intricate tunes and at times they play so elaborately well that we’re not sure whose arm is whose. Their tempo and rhythm is flawless, and their coordination is majestic.
But after ten minutes we begin to wonder if this really is it, for as fantastically talented as they are, the sight of two men playing the piano has limited appeal in such a comedy show. Thankfully, Worbey and Farrell have more to offer.
Apart from their musical talents, both men are good comedians, and even if their gags and jokes are slightly on the panto side of comedy, their cheeky spirits easily lift the show. Their fondness for visual gags (like making margaritas while playing the piano) also helps, while their history lesson on the life and tribulations of some of the classic pianists draws the biggest laughs.
Arguably, they shoot themselves in the foot at the start of the hour, when they announce that they will not be performing any Lady Gaga or Glee tributes, as this could have been a real source of humour. And although there’s plenty to enjoy – it’s fun spotting the variety of famous tunes, from E.T. and Jurassic Park to Murder She Wrote – something more risqué in their repertoire would have been welcome.
Their audience interaction is pretty good and even if a round of pub quiz tunes is slightly embarrassing , hilarity once again ensues when they bring a member of the public on stage to sing with them.
On the whole, Worbey and Farrell are a delight, and even if better jokes are needed, their impressive command of the piano is astonishing. The things these guys do with their hands is a sight to behold!

3/5

Do-Eared Collective: You’re Better Than This

Martin Miller — Wed, 17 Aug 2011 14:40:18 +0000

For those that like their sketch shows to be inventive, imaginative and just a little out there you cant go wrong with the Dog-Eared Collective. Now in this seventh production, this comedic four-some have, over the years, slowly become something of a household name, gaining glowing reviews with each new show. The good news is they show no signs of slowing down, in fact they are better than they have ever been, and this just might be perhaps their strongest show yet.
The format hasn’t changed, it is still a host of disconnected, fun, sketches interlinked by one dominant event. In this case the wonderfully super-powered, Diddy Man who is here to defend the rights of the short people out there. The characters are still as odd and wonderful as ever – musical sketches about snooker balls seducing one another and St Johns ambulance workers hunting out an audience member sit comfortably alongside the more out there ideas of a Street Dance (re-enacted in 3D!) and a brilliant scene involving a unicorn having the mother of all domestics with her sarcastic partner.
Silly but never puerile, this is a gloriously anarchic hour of comedy. It has taken a long time but finally they seemed to have gotten past the pit-trap of previous years – which while always an enjoyable experience, was slightly hampered by some inventive scene set-ups but poor punchline. This year they have never been so confident, delivering a weird, witty and utterly hilarious hour of comedy.
You would be hard pressed to find a sketch show better than this.

4/5

Young Pretender

Sam Laydon — Wed, 17 Aug 2011 08:15:28 +0000

Nowadays, it’s hard to associate Scotland with revolution, and tartan has rarely been rock and roll (unless you count the Bay City Rollers and that’s really stretching it). Nevertheless, Nabokov Theatre Company’s ambitious new show attempts to link the familiar story of Bonnie Prince Charlie to modern concerns such as fanaticism, rebellion and celebrity culture, with modern dialogue and music from the Libertines. Throughout, the young Prince extols the cult of youth and rejects the wisdom of his older peers. Yet when his plans backfire, he proves a dangerous influence too. Refusing to accept defeat, he is happy to egg young men on to their deaths to satisfy his ego rather than negotiate a compromise.
Paul Woodson has terrific energy and does a good job of conveying the egotism of Charlie although it does seem peculiar that the young nobleman has a Geordie accent and it isn’t always easy to see quite why he would inspire such devotion. He is ably supported by his two supporting actors (when they manage to get a word in edgeways), especially Rebecca Elise who excels as both a star-struck servant and a rather scornful Flora MacDonald, the daughter of one of Charlie’s willing lambs-to-the-slaughter.
At times the piece feels a touch over-ambitious and rather wordy, but it is a bold attempt to make this well-worn tale relevant. And it’s themes of the generation clash and lack of understanding between age and youth could hardly be more topical.

3/5

Dr Brown Brown Brown Brown Brown…

Catriona Ruth Paterson — Tue, 16 Aug 2011 12:55:42 +0000

Absurdist clowning comedy for all ages, this show opens with a stage strewn with plastic toys, ski boots, tennis rackets and fruit. As we wait patiently for Dr Brown (ad infinitum) to appear, a grown man in a tiger suit plays the ukulele and keyboard as a soundtrack.
A large laundry bag on the floor begins to shuffle. As the audience giggles, Dr Brown slowly emerges from this bag. There is a large badly drawn map taped to the back of the curtains that falls at one point and Dr Brown makes attempts to re-stick it, first one side, then the other. Then the first side again, then the other. He repeats and it gets funnier as he does as you see the inevitability of its failure.
Dr Brown invites audience participation from the children present through gestures (the show is performed in silence) and two eager bodies assist him in various silly tasks. It quickly becomes apparent that they are enthralled with Dr Brown to the point of refusing to leave the stage and, irritatingly unrestrained by their parents; wreak havoc child style.
It is testament to his mastery of the genre of clown that he seamlessly copes so admirably with the child obstacles in his path whilst acknowledging his pain to the laughter of the adult members in the audience.
The show is meandering and formless and some may find this lack of structure a pointless experience, but to others we are simply happy to be taken on this bizarre gentle journey.

4/5

Michael Winslow

Martin Miller — Sat, 13 Aug 2011 07:30:19 +0000

Twenty-five years on and despite a hugely successful career in voice work and acting, Michael Winslow will always be known as Cadet Larvel Jones from the Police Academy films – aka the guy who could do all those incredible sound effects.
It’s only when you hear him live that you really comprehend just how amazing, hilarious and spot-on his sound effects are. Super-market beeps, fighter jets and the odd impersonation of an unsuspecting audience member off to the toilet are pretty damn hilarious, but it’s the big showpieces that really astound.
No where else in the Fringe will you see the jaw-dropping spectacle of a man simultaneously singing AND imitating all the instruments of Led Zepplin’s ‘Whole Lot of Love,’ or better yet, playing a muted clip of Star Wars while adding back in every single sound effect. These moments really astound and had the crowd whooping and cheering throughout.
But aside from the noises, Winslow is a very funny stand-up comedian who finds ways of recreating true life events and incorporating into them his vocal talents, including a very funny recreation of tormenting an air hostess as she attempts to locate the source of an ‘in need of assistance’ button.
No-one could call this the most cerebral of stand-up but it is a hell of a lot of fun. Warm, funny and endlessly engaging, this is a real crowd pleaser and an essential ticket purchase.

4/5

Swamp Juice

Adrian G. Velazquez — Thu, 11 Aug 2011 08:50:02 +0000

To define Swamp Juice in a few words is a very difficult task. This quirky little show can certainly be branded “original” and “different”, but this doesn’t really do it justice, as it is so much more. Mixing different types of puppetry, this one-man show enthralls children and adults alike from the get go and doesn’t disappoint at any point throughout.
The magic here is not only in the puppets themselves, but the skill with which Canadian puppeteer Jeff Achtem brings them to life. At all times he’s in full view of the audience (at least until the amazing ending), and our eyes move between Achtem himself and the screen where the shadow puppets enact their story. It’s so skillful, like a fun peek behind the scenes as the play itself unfolds.
There are two moments throughout the play that are absolutely amazing. The first, towards the finale, involves a homemade, live 3D section which has the audience open-mouthed in awe – ten minutes of sheer simplicity, beauty and brilliance. In the second, Achtem creates the most ingenious audience participation of this year’s Fringe (and don’t worry, this is one audience participation you’ll happily be part of, so best sit in the first two rows if possible). Without giving too much away, it involves the audience becoming puppeteers and earns the biggest applause of the show
If there’s a niggle to Swamp Juice it’s the lack of a coherent storyline to tie it all together. Also, the lead character is slightly unlikeable, and we never truly understand his actions, never mind his emotions. It’s a pity, since a tighter narrative would truly make this production soar. The sound system is also too loud, which means you loose some of the funny lines Achtem says. Nevertheless, this is still one of the top puppet shows at the Fringe this year, and it would be foolish to miss it.

4/5