Musical Theatre Matters (MTM:UK)

Aging Is Amazing

Fri, 15 Aug 2008 00:00:00 +0100

Laughing Horse @ The Argyle 31 July - 25 August @ 22.50 Lynn Ruth Miller

74 year old Lynn Ruth Miller has come over from the States with wigs, feather boas and burlesque costumes to entertain the late night festival goers, and for me, she completely captures the spirit of the fringe.

Ohio born Ms Miller treats the crowded audience and unsuspecting boozers to a fun 50 minutes of anecdotes, song and comedy. With the modesty of youth gone, she grapples life’s dilemmas head on, and with a song. Based on her own colourful experiences, her audience are taught self help cures for impotence, incontinence, and how to enjoy old age. The show is regularly interspersed with classic songs; such as “Take Back your Mink” and “Music!, Music!, Music!" delivered with a gravely pleasant voice.

Although the flow of the show is a little shaky, it is free apart from a voluntary contribution on the way out. Some of the enthusiasm of this odd and eccentric performer stayed with me, for as I left the venue, and stepped into the late night darkness and rain of Edinburgh, I felt a small stir of exhilaration for how good life can be - at any age - thanks Lynn Ruth Miller.

Editors Note: We found that this show was not eligible for any of our awards in 2008.

Alice in Wonderland

Thu, 21 Aug 2008 00:00:00 +0100

Rocket @ Demarco Roxy Art House 11-16, 18-23 @ 11.00 About Turn

A white rabbit jumps out of a wooden box. He's late, it's late! And from then on, this charming show doesn't take a breath. If you're going to do children's theatre, Lewis Carroll is the go-to guy.

Helen Coles is a lovely Alice, just perfect, and Will Jones and Daisy Fellows knock their socks off being everyone else to great effect.

The big kid in me loved it, and so did the wee ones.

Apocalypse The Musical

Tue, 05 Aug 2008 00:00:00 +0100

C 30 July, 1, 3, 5, 7, 9, 11, 13, 15, 17, 19, 21, 23, 25 @ 20.15 Feed The Ducks Productions

I had to strain my eyes to see the details of this production through the dim lighting, and listen intently through muffled diction for some of the dialogue. What was readily apparent, however, was that most of the chortling audience around me were enjoying this musical, even if I was not.

There were dancing cows with protruding pink udders stitched directly on the costume groin, a demented Satan with an uncanny resemblance to the James Bond villain Oddjob, and a bespectacled balding God in a long cream frock with gold sash, who might have been my assistant bank manager at a fancy dress bash. And yes, about half an hour into the show, a group of singing nuns appeared. There were some pleasant voices, including the milkman & the whore, but the transitions from dialogue to song were awkward, as was the dancing and staging which gave the show a clumpy feel.

The house was three quarters full, and the audience genuinely enjoy this show. Plus, it has returned to the fringe after a successful 2005 run. Perhaps this show will tighten up (and light up) during the run, in which case it would work better, and could even come back again to Edinburgh in 3 years time?

Assassins

Wed, 27 Aug 2008 00:00:00 +0100

C 30 July - 16 August @ 19.55 Through The Window

Everybody who studies and loves musical theatre knows Assassins, Sondheim's neglected (in the UK at least) masterpiece. Maybe its anonymity has to do with the fact that the narrative is about the American psyche rather than the story of an individual or inter-personal relationships.

Whatever, it's difficult to give such a cerebral work much humanity, and it's a bit much to pick holes in the production values of any Fringe show, when we know that turn around/set up time is a matter of minutes.

Through The Window make a decent fist of it - no, better than that - they're a young team and the singing is terrific. There's one young guy with a great pop tenor voice. And these are great songs.

Barbershopera!

Fri, 15 Aug 2008 00:00:00 +0100

Pleasance Courtyard 31 July - 11 August, 13-19, 21-25 @ 21.50 Toni and the Guys

In the crammed-out make-shift container venue of Pleasance Beside, Barbershopera are humbly fighting the fight for an outstandingly unconventional four quartet. Created by two of its members, Rob Castell and Tom Green, the story charts the journey of ‘Toni & The Guys’ as the ‘three men and a girl’ group battle head to head with a Swiss Quartet to win the Eurovision Song contest. Beautifully pitched, both musically and comedically, splurting forth witticism after witticism, Castell, Green, Mark Hole and Lara Stubbs bounce gregariously from scene to scene for a breathtakingly enjoyable 60 minutes. This fledgling group are undoubtedly one to keep your eye on, with writing and performances this solid, a tin container in the Pleasance Courtyard is surely only the beginning.

Big Bruvva - The Musical

Sun, 31 Aug 2008 00:00:00 +0100

George Square 4 5-18, 20-25 @ 15.00 Racky Plews

By the time I'd realised how clever this score is, I'd given up caring about the caricatures (definitely not characters) in the Big Bruvva gaff.

There's a good idea here - or maybe it was a good idea a couple of years ago - but it's unrealised. It should make up its mind whether it's about "reality" TV, or a joke about musicals and their ingerent absurdity. The way it stands, it's a bit woolly. Satire, if that's what we're trying here, needs to bite. This show gives you a nasty suck.

However, the performances can't be faulted - they give it serious welly - and the score, as I say, is really clever (although, if I had a six-part contrapuntal card up my sleeve, I'd have hinted at it earlier). The problem is in the words - although "chutzpah" and "foot-spa" earn a couple of brownie points.

Butler Did It?!, The

Thu, 21 Aug 2008 00:00:00 +0100

Gilded Balloon Teviot 1-25 @ 14.45 Handsome Chin Entertainment

Everything about this show - the set (a middle-England drawing room), the costumes, the script, the characters, the erformances (the young Bertie Wooster-type has a speech impediment, the obviously tranvestite French girlfriend turns out to be a guy etc.), the music (which is competent enough) - screams 1950s.

To go further, the show perhaps needs to update itself for an audience who wants to see it.

Cannibal! The Musical

Tue, 12 Aug 2008 00:00:00 +0100

George Square 1 31 July - 17 August @ 23.15 + 14 @ 20.45 + 18-24 @ 22.45 The Rival Theatre Company

The UK premiere of Cannibal! The Musical tells the real life story of convicted cannibal, Alfred Packer.

The play is taken from the cult 1996 film, written by Southpark co-creator Trey Parker, and follows the highs and lows of a group of six hapless cowboys who set out across the Colorado territories in search of gold. Packer is the only man to make it back to civilization alive, but he is quickly caught and arrested, being sentenced to death for cannibalism.

The production has some strong qualities, and Trey Parker’s script contains the same sparky wit that made Southpark a cult hit, but the Rival Theatre Company’s production seems a little swamped by its surroundings in the George Square lecture theatre, and the comedy is unpredictable. However the cast are superbly matched to their roles and turn out some sterling performances.

When the humour hits the mark it is hilarious, and it is refreshing to see a new stage musical with the ability to appeal to a wide audience, but the plot’s reliance on the tongue in cheek makes it a little predictable, and Parker’s humour may prove to be better suited to the screen than the stage.

Cloudcuckooland

Mon, 11 Aug 2008 00:00:00 +0100

Pleasance Courtyard 30-31 July, 2-12, 14-25 @ 12.50 The Onassis Programme

This is a children’s musical based on Aristophanes’ The Birds. In their attempts to force humans to take better care of the planet, the birds – with the help of a renegade human – use their ultimate weapon to force an encounter with Gordon Brown. It’s absurd and playful and good-natured and it kept even the most restless children in the small audience fascinated.

While the songs aren’t terribly memorable, some of the stagings of them certainly are – particularly the flying bird’s song, which manages to make a little magic out of a unicycle, some fairy lights and little illuminated globe.

This production is engaging and played with great style by the young company of 7 actor-musicians, who play an impressive range of instruments. The narrative drive wobbles slightly about ¾ of the way through but at this point the overall physical exuberance and creativity of the company carry the project afloat with great energy and imagination.

A real treat on a rainy afternoon and the parents were as delighted as their children.

Coming Up For Air

Fri, 15 Aug 2008 00:00:00 +0100

George Square 2 12-17, 19-25 @ 17.45 SennovA and Alliger Arts

Every now and then something happens at the Festival that truly demonstrates what great theatre is all about. These really rare pieces remind us that we go to the theatre hear stories in voices we’ve never heard, or to get right inside the heart of someone we’ve never seen, or to find ourselves swept up into a world where we’ve never been. And when theatre is working like this, we come face to face with an imagined world that can speak to our passions, rekindle in us a sense of what is important and make us realise that whatever else is going on in our lives -- we’re not alone.

Stan Strickland’s dazzlingly musical and wonderfully inventive performance is this kind of theatre. Constructed around a near-death experience, Strickland is so phenomenally alive and so full of heart and musical genius that one can only be profoundly grateful that he was spared to bring this story to Edinburgh. One man show it may be, but Coming Up for Air is packed full of people, volcanoes, papaya smoothies, and glorious, soul-deep music. Drop whatever you are doing and go see this production now. It is an absolute delight.

Departure Lounge

Wed, 13 Aug 2008 00:00:00 +0100

George Square 4 4-25 @ 21.00 West End International, Newpalm Productions and Andy Barnes Productions

Setting a musical in the departure lounge of an airport doesn’t sound like it should work, yet Douglas Irvine’s musical comedy aptly named, um, ‘Departure Lounge’, does just that. And to great success.

Four eighteen-year olds are stuck at Malaga airport following a ‘Brits abroad’, sex and alcohol infuelled holiday on the Costa Del Sol. When their flight home is delayed, events of the previous few days begin to unfold and the boys embark on a journey of self-discovery.

The opening number is injected with a fierce energy which continues throughout the show. Cleverly directed, the lads jump around the stage with an unstoppable enthusiasm, using just four plastic chairs for a set. Performed by an exceptionally strong cast, and accompanied by two acoustic guitars (almost as impressive to watch in action as the show itself!), this is an evening’s entertainment that is funny and moving, shocking and cringe-worthy…and ultimately brilliant.

Go see it! (But only if you’re over 18…)

Edges

Mon, 11 Aug 2008 00:00:00 +0100

C 30 July - 25 August @ 22.30 Nimbus Theatre

Written by Benj Pasek and Justin Paul, Edges demonstrates tremendous promise. The piece feels too familiar with the ‘who-am-I-really?’ opening and the ‘it’s-gonna-be-all-right’ closing (with all the usual ‘does-s/he-love-me?’ stops along the way. Still, there is pleasure to be found in the superb compositional/lyrical craftsmanship employed by Pasek & Paul while treading this rather old ground.

The company work hard and their acting has real integrity. They are likeable, funny, warm, human, and terribly overwhelmed by the music. The songs are incredibly range-y and require much more technical skill than this otherwise engaging company of young performers can muster and that’s a shame.

Matt Woodgate who acts, sings and directs deserves praise for his creative staging (these kind of sung through pieces with little action can be very tricky). Benj Pasek, Justin Paul and the company are extremely well served by Oliver-John Ruthven, the company’s MD, whose lovingly felt and technically brilliant performance of the score and overall sensitivity to the piece was the musical treat of the night.

The promise of the writing team is heartening. The programme notes that they are currently working on two new musicals – we would all be wise to book our tickets now.

Ella, Marilyn, Marlene and Me

Fri, 15 Aug 2008 00:00:00 +0100

The Vault 1-2, 4-10, 12-17, 19-25 @ 22.10 Melissa Western (Australia)

Returning to the Fringe with last year’s sell-out success, Melissa Western charms and beguiles as Abigail, the young performer who yearns for success in front of her bedroom mirror. Her Granny gives her a keepsake from her days as a lavatory attendant in Carnegie Hall – a gift that channels the greatest divas of the stage through our heroine. The worldwide TV show, ‘Search for a Diva’, is the opportunity to grasp stardom, if only she can overcome the dreaded ‘what-if’s’ that destroy her self-confidence in public.

This show is all about the real ‘x-factor’ – the essence of great performance that distinguishes between the merely good to the great. The divas (Ella, Marlene and Marilyn) each pass on their worldly advice and give the opportunity for Melissa to deliver very good impressions of each charismatic performer.

The audience were enthralled by each and every one of the diva performances and I became a bit of a fan myself. Melissa Western is not only charismatic and engaging, but she has a warmth in her performance that transcends technique and training to create an onstage presence only very rarely seen. Highly recommended for the night-owls – a great end to a day on the Fringe.

En-Suite Charity

Fri, 15 Aug 2008 00:00:00 +0100

Sweet Grassmarket 31 July - 24 August @ 20.35 The Uplifters

En-Suite Charity is a brand new musical comedy which follows charity shop manager, Sheila (Hilary Palmer), in her efforts to save the business from an evil property developer (Miss Tweedie, played by Natalie Barker) and wed love of her life – Monty (Rowan Dixon).

This is a commendable first attempt by The Uplifters at a musical, recreating Acorn Antiques – The Musical! in a different setting. But the idea doesn’t always work despite the enthusiasm of the cast (particularly Palmer and Dixon), and the piece lacks the charm of Antiques which feels like its source material. A lot of the characterisation is based on stereotypes, which is all fine and amusing, but when you’re relying on an unpredictable audience to provide enough laughter to cover the cracks…and they don’t deliver, the piece falls down flat.

For a musical, one of the most important components is the musical score and in this case, Harriet Thomas’ pre-recorded synthesised compositions don’t fit at all with the action on stage, the CD player dictating the speed of delivery.

It’s good fun if you buy into it, but the show needs developing more if The Uplifters wish to take the piece further professionally.

Faeries

Sat, 09 Aug 2008 00:00:00 +0100

George Square 1 31 July - 10 August @ 11.45 SL Productions

This is the intriguing story of cousins Elsie Wright and Frances Griffiths who, providing a welcome relief from the horrors of the First World War, took pictures of supposed fairies – the infamous Cottingley Fairy photographs. At a time when home photography was still quite exotic, the girls probably had no idea of the nationwide interest and controversy the pictures would provoke. But provoke they did, and the images polarised opinion, hoodwinked a few, but captivated the imagination of everybody, including Sir Arthur Conan Doyle and Harry Houdini.

This musical version of the story is by Stephen Langston (book, music & lyrics), with co-writing by Wendy McPike, There are a few good songs, but otherwise the music is unmemorable, with too much recitative that tends to hinder rather than propel the action forward. Some cuts, especially in the last half hour, would help sharpen the audience interest. The set and rich costumes (Izzy Carrick / Yvonne Allan) and the lighting are aptly magical. The cast are strong, despite the hammy overacting by duo John McGlone and Victoria Lochore, and the over camp white-coated laboratory workers - there are already enough fairies in this show.

Funk It Up About Nothin'

Wed, 13 Aug 2008 00:00:00 +0100

George Square 4 7-10, 12-18, 20-24 @ 17.15 Chicago Shakespeare Theater

From the team behind The Bomb-itty of Errors comes a brand new Shakespearean romp in the form of Funk it Up About Nothing, a rap-tastic version of Much Ado About Nothing’. The cast of six speed through the plot with breathtaking energy and numerous costume changes! The hip-hop beat hits you as soon as you enter the theatre, and continues throughout the show as a backdrop for clever word-play, with the rapping working especially well for the Benedick/Beatrice love story, a relationship traditionally based on witty exchanges.

At times the show meanders into the ridiculous, with camp policemen, an overbearing sheriff, and a love scene between a man and a ‘life size doll’. But if you like silly humour you’ll find it funny rather than over-the-top. Having said that, the actors’ main characters are by far their best, and the strength of this show lies in the clear way in which they present the Claudio/Hero, Benedick/Beatrice stories.

A fast-paced 75 minutes, a brilliant and clever use of language, a surprisingly good “ad-rap-tation” of a classic play and a thoroughly entertaining show.

George M. Cohan Tonight!

Fri, 15 Aug 2008 00:00:00 +0100

George Square 4 12 - 17 August @ 13.15 Dave Herzog

Having seen both George M. Cohan Tonight! and the latest Batman film within the last 10 days I find myself musing on how many interesting ways we can learn history. As a particularly poignant lesson in sound of America nearly 100 years ago – when superheroes were not ‘conflicted’ and where moral universes had clear and muscular divisions – George M. Cohan Tonight! doesn’t just tell us about American history. It tells us so much about today.

Written by Chip Deffaa, the show is a skilfully constructed bio-piece played engagingly by David Herzog. The wealth and depth of Cohan’s vision as an artist is lovingly displayed, and his voracious appetite for life is infectious. This is a great show that reminds us what a positive noise America once made when it was first finding its voice. Both Herzog and his director, Nick Phillips, have found the right balance in this shortened version of the show and it if you don’t know Cohan’s work – it is an absolute delight to discover. If you do, you’ll love some of the lesser known works featured here – notably the great “You Won’t Do Any Business if You Haven’t Got a Band”!

Editors Note: We found that this show was not eligible for any of our awards in 2008.

Great American Trailer Park Musical, The

Wed, 06 Aug 2008 00:00:00 +0100

C 30 July - 25 August @ 22.00 Maximum Entertainment Productions

Straight from New York, The Great American Trailer Park Musical deftly shows us what is great about American Musicals! An incredibly slick show, the crowd were cheering from start to finish as we watched a picture of life at the Armadillo Acres Trailer Park. A Little Shop of Horrors-esque trio narrate us through the story of a marriage on the rocks and life on ‘This Side of the Tracks’.

This is America at its best (and worst), racking up to Bonny Scotland to say, ‘hey guys, this is how it’s done’. Starting out at the New York Musical Theater Festival, this show has clearly gone from strength to strength, bringing with it an outstanding cast. Betsy Kelso’s book portrays a smart snapshot of the setting, with Daid Nehl’s adept lyrics and music giving a slice of Americana to the action.

In many ways, the show is hard to fault. There are a few very American references that don’t quite transfer onto these shores, but overall this is not to the detriment of the show. Okay, it won’t change your life, but you’ve got to be an utter sour puss to not enjoy the essence and energy of this slice of pie (or perhaps flan, I’m still not sure what that is). A highly recommended, bloomin’ fun show.

Greyfriars Twisted Tales

Sat, 09 Aug 2008 00:00:00 +0100

George Square 2 2-4, 6-10, 12-17, 19-25 @19.30 The Bridewell Theatre Company

With an audience composed of a, possibly tipsy, British drama school group and a gaggle of American teenagers, it’s difficult to say whether the reception of Greyfriars Twisted Tales was particularly representative of their general appeal festival wide. However, it is fair to say that in this demographic, the energetic pop-trio of John Kielty, Gerry Kielty and Houston (collectively known as The Martians) found the apposite recipients for their witty, didactical, ‘feel good’ choruses.

Leading us through a rough history of Edinburgh from the reformation to the contemporary mystery of Nessie - via an enlightening explanation of the exploits of the infamous duo Burke and Hare - the main thread of Greyfriars Twisted Tales is, unsurprisingly, Greyfriar’s Bobby. The highlight of the piece must surely by Gerry Kielty’s uncanny performance as the terrier, reaching octaves that prepubescent choirboys could only dream about. While a mid-narrative digression into a sentimental rift over the Kielty’s late pet ‘Jamie’ somewhat extinguishes the pace, it is soon re-established with the wonderfully unorthodox melding of Mary Poppins and the third Reich. All in all, the scat-ish, almost meta-production values of Greyfriars Twisted Tales lend themselves well to the fractured material, preventing any descent into a hackneyed history lesson in verse form.

Gruffalo, The

Tue, 12 Aug 2008 00:00:00 +0100

C too 31 July-11 August, 13-25 @ 14.10 Tall Stories

What a treat. This company of 3 are not only delightful to watch, they manage the very tough trick of keeping an audience full of tiny literary scholars (every child around me seemed to have chapter and verse knowledge of Julia Donaldson’s little classic tale) very happy indeed. While not particularly memorable, the music had just the right blend of wit and tunefulness that keeps a young group engaged and all the songs managed to serve the tale well.

Olivia Jacobs’ inventive staging has a rambunctious charm that makes the most of the company’s quick-wittedness and all the players managed to take the full house of under-5’s improvisational outbursts in their stride. Caroline Garland and Ross Hugill as Mouse and Gruffalo turn in great performances, but Alex Scott Fairley’s comic predators are a wonder – and his Joachim the Rattlesnake not only steals the show but has got to be one of the funniest comic performances of the festival. Beg, steal or borrow a child and get over to C too – you won’t regret it!

Happy Prince, The

Thu, 21 Aug 2008 00:00:00 +0100

The Space @ Jury's Inn 11-16, 18-23 @ 14.05 Peculius Stage Company

I'm guessing this handful of handsome, healthy young people rehearsed this piece in the common room of their school, a good deal more spacious than the postage-stamp they find themselves in here, eight floors up in Jury's Inn. They would also have no way of knowing there was no stage, or rake to the auditorium so that any business below waist-height would be invisible to anyone behind the front row, especially little kids. And there's a lot of sitting down in this production.

So cramped is this space, the cast bump into each other a lot hunting around for the props, of which there are far too many. On the plus side, they are very nice to look at, they sing well together (although the recurring theme of "nah-nah-hey-hey" was a little incongruous to this reviewer), and this is one of Wilde's masterpieces, a rich fable of society and a great choice.

HappyLand

Sun, 17 Aug 2008 00:00:00 +0100

C 31 July, 2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 22, 24 @ 20.15 Feed the Ducks Productions

On the face of it, this musical follows the classic arc of set up, travel to a foreign land, crisis, love, a battle – then, the triumphant return. All the elements are there, but the execution requires much tighter threading of all these elements to fully realise the dramatic arc of the story. I had to admire the sheer scale and imagination of HappyLand, but that scale caused problems in the linking of scenes and the through-line of the narrative. When embarking on a production such as this, the director must secure all the scene changes to make sure the musical flows seamlessly. We are in an unbelievable world here, so there cannot be any time in the action where the audience is allowed to sit back and question what is happening in a functional way. The pace and attack suffered greatly due to an inconsistency of style and energy. All that said, the music and lyrics were bold and inventive. With a more polished production I could well see HappyLand being a very entertaining show. The work has clearly been put in with the lyrics and the score. Now the book needs attention, and how you deliver that overall story. Good music alone does not a musical make.

History of Scotland, A

Tue, 05 Aug 2008 00:00:00 +0100

George Square 2 31 July - 25 August @ 12.15 Sleekit Productions

I am not sure this is a musical, but I am sure it’s great fun. Ostensibly a show (with songs) for kids of 5+, it is equally enjoyable for the 50+.

“A History of Scotland” is emulating the successful formula of condensing a vast subject or popular author (think Shakespeare, Dickens and Bible) into a zip-a-long 60 minute spree. The hour is delivered by Tania Dron, David Wallace & guitar playing Andy Thomson. They sing, dance (sort of), and leap Jim Carrey style before a delighted audience. The songs by John Kielty are snappy, and the voices strong with clear delivery of words for the kiddies.

Delivered at breakneck speed, because we start off at around 79 AD in the time of Julius Agricola. The audience are then whisked through a myriad of Scottish delights including kilts and castles, the entire monarchy, many battles and wars, Jekyll & Hyde, and Dolly the Sheep. However this is not an exclusively Scottish themed hour - Spiderman makes a guest appearance, in full garb, half way through the show.

Directed by Rachael Drew, this is education at its funniest....

I Love You, You're Perfect, Now Change!

Fri, 08 Aug 2008 00:00:00 +0100

George Square 2 31 July, 1, 4, 6, 8, 11, 13, 15, 17, 19, 21, 23, 25 @ 15.45 Take Note Theatre

This show could be likened to a really good cappuccino – all light, sweet and frothy on top with dark bitterness underneath. Take Note Theatre’s ensemble of eight, backed by a live on-stage band, focus on the froth and sweetness, only very rarely exploring the bitterness that lies beneath.

The vocals of the ensemble are joyous to hear – beautifully sung with note-perfect harmonies. In a space that is bursting at the seams, the audience lap up the humour and wit of the performances of this young, energetic ensemble and there are some strong performances here that hint at stars of the future. Of particular note are Nick Cork, Maddie Moate and Katie Birtil who make the most of this showcase opportunity to demonstrate their star quality.

The focus on ensemble work leaves a great deal of the solo/duet numbers feeling a bit under-developed. The sketch format demands a great deal of effort to find the character beneath the caricature and the balance suffers slightly because of this.

All in all a fun romp, that just misses in finding that we bit more that made this show such a long-running hit.

InvAsian Festival: Soul Traders

Fri, 15 Aug 2008 00:00:00 +0100

clubWEST @ Quincentenary Hall 3-25 @ 19.15 West End Property Productions

In Soul Traders, Eastenders meets Oliver in a narrative that lets its impending arc be known from the outset. A moral struggle for Salvation Army funding sets the backdrop for more love stories than one audience should have to endure. While the book leaves much to be desired there are some startlingly fresh voices and young actors in the ensemble. Clumsy hand held mics and various prop mishaps detract from an otherwise polished, if overly long, production. Excluding the heady potential of the younger cast members, the main draw of Soul Traders is the slickly executed choreography which injects a large dose of cockney energy into the otherwise lacklustre proceedings.

Jet Set Go!

Sun, 17 Aug 2008 00:00:00 +0100

George Square 2 2, 3, 5, 7, 9, 12, 14, 16, 18, 20, 22, 24 @ 15.45 Take Note Theatre

This was a tour de force in mini–musical making. I do hope there is a full scale one on its way. Full of energy, pace, wit and tongue-in-cheek laugh-out-loud humour, Jet Set Go! delivered on every level. The fundamental understanding of style and delivery by all the writers of the book, lyrics and score elevated a fun production into and excellent production. Show-stopping numbers and complete audience engagement at all times made Jet Set Go! the musical to see this year. What more can I say? Go and see it. I defy you not to come out smiling and singing the tunes in you head for the rest of the week.

Jonah Boy, The

Tue, 12 Aug 2008 00:00:00 +0100

George Square 4 6, 8, 10, 13, 15, 17, 20, 22, 24 @ 19.00 RSAMD

This show is very beautiful and quite tough to watch. The characters and what happens in this piece are not nice but they are clear and strong and comprehensible. The action takes place in a driven community. Motives are emotions come through resonantly in both the writing and the performances and the piece as a whole has a great coherence. The Jonah Body is the painful story of a lost but loving boy, his uncle, and a dead whale named Collette. It is good to see music theatre edging towards the territory of opera at the fringe.

The plot is clever and complex and the vocal ensemble writing and the performance by the RSAMD company is exhilarating. The venue is not ideal but nevertheless the audience is transported into the world of the piece. The set and lighting work well in the space and ‘less is more’ for a lot of effects which leaves the audience to imagine what is not seen.

The score, for keyboard, cello and percussion, is beautifully executed. It reminded me of 1950s operatic writing.

Key performances are given by Onor Orkut as the Uncle, Darren Brownlie as the Boy and Kirsty Malone as the Woman.

Kiddy-Fiddler on the Roof

Tue, 12 Aug 2008 00:00:00 +0100

Rocket @ Demarco Roxy Art House 31 July - 9 August, 11-16, 18-25 @ 22.00 The Bad Taste Ideas Factory

Well, the production company here lives up to its name -- just in the title alone. The show features a hard-working and mostly interesting motley crew of a cast, who are seriously hampered by the acoustics of the venue. It was very hard to hear the lyrics, but where one can hear, there are some interesting ideas. Nice ensemble work throughout and the piece certainly pleased its audience.

The narrative thread follows the ways in which hysteria grows over a young boy’s false accusation of paedophilia, and has much to say about the unsavoury places in which self-righteousness takes root. Rather disconcertingly, it finishes by spelling out the moral of the tale, but then gets the moral completely wrong (whoever said writers knew what they were writing about?!?). The proclaimed moral is that there a little ‘kiddy-fiddler’ in all of us, which is blatant nonsense. This is pretty neatly driven home by the overall likeability of the ‘strange’ characters here – a sexually hyperactive agony aunt who is supremely comfortable in her eccentric look, and a persistently supportive and empathetic ‘fat kid’ who manages to put the whole story right.

Little Shop of Horrors

Mon, 11 Aug 2008 00:00:00 +0100

C too 31 July-11 August, 13-25 @ 20.00 FirstMinute Productions

It’s hard to know quite how to respond to this piece. If this is a young performing arts BTEC course performance, then well done to the company for making bold, sustained choices and for attempting something that – for all its surface silliness – is a technically very demanding piece. On the singing front, the voices are young and not ready for this kind of challenge and at least half the company very wisely choose to keep vocal choices very low-key.

In terms of acting, even a performing arts BTEC company should keep in mind that big characters require an even greater dimension of honest observation and are always impoverished by imitation or ungrounded ‘theatrics’ – a problem with a few of the performers. They might take a lesson from the young man playing Audrey II, who manages to inhabit the big dimensions he brings to a role so often vulnerable to hammy overplay.

Overall the production simply feels like a night out at the local high school and in those terms it’s credible enough. One comes away with admiration for the overall durability of the piece, which seems to be able to please an audience in both amateur and professional guises.

Lost Soul Music

Sat, 02 Aug 2008 00:00:00 +0100

C central 1-8, 11-15, 17-22, 24-25 @ 22.00 White Rose Theatre for Belt Up

We are invited into a space combining a Bedouin tent with a junk-filled attic and the atmosphere of a séance. Sofas, beds and easy chairs are the seating – get in early to avoid sitting on the floor! A real-time railway station clock hangs above the performance space, marking each minute of James Duckworth’s solo performance. In this piece time is warped and bent in many ways, not least of which is ‘Tom’s’ 1930’s style of speech and manner, struggling to fit in with the society of 2004.

Tom’s great love, Rachel, is beautifully described and his obsession with her is delivered in a Stephen Fry-esque style, packed with wit and self-deprecations. The few songs echo the style of Coward’s patter-pieces and melancholy of unrequited love.

The description of today’s young men in particular had the audience laughing out loud: Tom’s dismisses the fashion for ‘fcuk’ t-shirts as ‘the sartorial equivalent of dyslexic tourettes’. One such fashion victim is Simon, Rachel’s lover.

Finding the mysterious Lost Soul Club for Gentlemen gives Tom the chance to be with Rachel, but at a price.

This is one of five stories being told by White Rose Theatre over the course of the Fringe.

Miss Sign-On

Mon, 04 Aug 2008 00:00:00 +0100

George Square 2 31-10, 12-17, 19-25 @ 21.25 Read Dance and Theatre Company

Do you ever wonder what it is like for the great musical theatre performers after the work dries up? What happens when the lifestyle that they had become accustomed to all of the sudden ceased to be? Well, Miss Sign-on will show you exactly that. With a slogan of "The untold story of a Diva on the Dole", Miss Sign-on is the hysterically witty story of The Diva, played by the brilliant Marnie Baumer who finds herself out of work and a bit strapped for cash. We follow her through several disastrous auditions, an illicit romance with an artist, and a mortifying casting in a "commercial film", all which send The Diva on her way to the Dole.

Written by Stefan Bednarczyk and Jamie Read and directed by Elizabeth Park, Miss Sign-on is not to be missed. Nestled snugly into the cozy space of Geroge two at the Musical Theatre at George Square Venue, there is not a bad seat in the house. Without a doubt, Miss Sign-on will have you rolling in the isles and begging for more!

Misterstourworm and the Kelpie's Gift

Wed, 27 Aug 2008 00:00:00 +0100

George Square 2 12-25 @ 10.30 Circular Music

This is a game of two halves and, on this showing, the second one is a lot better than the first. There are a couple of reasons for this. The first half needs audience involvement, and at this performance the audience was tiny, so the responses just weren't there. The introductory routine feels over-written and a bit of tightening up should get us into the story-telling.

Two big kids (siblings or friends? Probably the former - I had a sister like that once) played with great style by Jim Webster and Kim Gerard, "make up" a story about the Giant Sea Monster Misterstourworm, as they go along. Then, and this is where it takes off, they tell the story more formally with a lovely soundtrack and accompanying movie.

The theatricality of this second part eclipses the first half easily. The music is by Savourna Stevenson and is great. The book, by children's theatre master Stuart Paterson, has the makings of a classic. This will be a delightful show.

On The Island Of Aars

Thu, 21 Aug 2008 00:00:00 +0100

Pleasance Courtyard 30 July - 5 August, 7-12, 14-25 @ 14.10 Quup Productions

To rhyme "dust pan" with "husband", we can forgive. The Chicago pastiche number we can forgive - it's almost obligatory, after all. Some atrocious puns we can forgive.

In fact, let's forgive the whole thing; it's childish, absurd to the point of stupidity, and it's great fun. The score is terrific, played brilliantly live, the characters are surreal, the gags work and the over-all goonish feel hits the spot.

My favourite so far.

Only The Brave

Wed, 13 Aug 2008 00:00:00 +0100

George Square 1 31 July - 25 August @ 18.15 + 8, 9, 10, 12, 13 @ 20.45 Daniel Sparrow and Patrick Gracey

A lot of hype has surrounded this much anticipated new musical, starring Keith Jack and Niamh Perry of reality TV fame, and indeed in part it did not disappoint. The musical score, written by Matthew Brind and Stephen Coleman, is one of the best I have heard for a long time, with souring songs reminiscent of Les Miserables. Assisted by a whopping seventeen-piece orchestra and large cast of West End performers, every note is charged with emotion.

Sadly though, I cannot say the same for the story. Inspired by “true events” in World War II, there are no exceptional heroes, no original plot lines, and under-developed characters you can’t warm to. Love, loyalty, bravery and hope are all incorporated into a story trying hard to engage your empathy, but nothing is covered in any depth, and basic dialogue struggles to hold the show together between songs. Even allowing for unfortunate technical problems the night I saw the show, I couldn’t help feeling that the production was performing under par.

To be fair, this is a shortened ‘Edinburgh’ version, and perhaps in its full form the show can become the potentially brilliant musical the score deserves… I do hope so.

Pipers' Trail, The

Tue, 12 Aug 2008 00:00:00 +0100

George Square 4 6-17 @ 11.00 The Army in Scotland

Part of an Army initiative to celebrate their links with Scotland and to bring their message of courage and respect for other people, to a wider audience, The Pipers' Trail feels very didactic, a trait which is exaggerated by the fact that an army officer is present to say a few words both at the beginning and end of the show. Looking beyond the contrived informational aspects of the show (this production has previously toured around communities in Scotland), there is a heart warming, if predictable, story about a young boy who finds the courage and strength of character to help himself and those around him.

The set is well designed and director Bryan Lacey is clearly talented at creating visually impressive scenes from basic building blocks. Gary Morrison, although a little too old to be believable as the fifteen year old Jamie, has a soft toughness about him which fits the character well, and Julie Anna Castro, is strong in both acting and music. There is traditional Scottish bag piping and dancing, making this show a good family production, although it may be a little overbearing for younger children.

Plague! The Musical

Wed, 06 Aug 2008 00:00:00 +0100

C 30 July - 10 August, 12-25 @ 21.30 Bubonic Productions

The Bubonic Plague, which hit London several times in its long history, is not a subject matter which would usually be considered for a Musical Theatre treatment. However, it’s here at the Edinburgh Fringe – cunningly titled Plague! The Musical.

At 1hr45mins, it’s one of the longest productions the festival is offering this year and it unfortunately shows in both the piece and the audience experiencing it. Introducing the actual subject matter about an hour of the way in and a major character shortly before the end of the show doesn’t make it the strongest writing in the world, but a tightening of the book and a few well-placed cuts here and there (a few less groan jokes please!) could do wonders.

It’s very plain that the material by Matthew Townend and David Massingham isn’t made for the big time, but the audience seemed to enjoy themselves, despite the long running time and heat of the auditorium. Townend, who also directs, has also managed to present some kind of Monty Python-esque story which one can kind of follow, and a clever cartoon backdrop (by Robert Massingham) which sets up the location of each scene.

An enthusiastic cast really saves this musical with particularly fun performances from Robert Wainwright (The Alchemist) and Daniel Tyler-Smith (Pied Piper/Begger Lord). Not one for your “must see” list, but not a definite miss either.

Pot Noodle - The Musical

Sun, 10 Aug 2008 00:00:00 +0100

Assembly @ George Street 31 July - 10 August, 12-17, 19-25 @ 22.30 Mother Vision

There is a tradition in Fringe-goers to find a show of such lunacy that you couldn’t possibly be anywhere but the Fringe – Pot Noodle - The Musical fits the bill.

Parallel stories – one of a reluctant bridegroom and his mate; the other set in the idyllic Pot Noodle Farm – are played before a golden noodle fringe curtain with a relish owing a great deal to pantomime tradition.

The songs are catchy, accompanied by an onstage keyboard player who actually relates to the action! A few tongue-in-cheek references to musical theatre greats like Phantom, Cats and Riverdance pepper the eclectic score.

The plot is fantastically ridiculous, sweeping from soap opera to Hamlet with the punch of a 60 second commercial, carrying the audience along with sheer exuberance. Direction is slick, spontaneity abounds, but this show needs to make a few more choices about what it wants to be – or is it like the Pot Noodles on the farm – full of monosodium glutamate rather than real ingredients?

The cast of five are undoubtedly talented, but maybe Pot Noodle is more potential than realisation. A fake snack rather than a nourishing meal – but sometimes just what you want to tuck into late at night.

Queen of Wyoming

Tue, 05 Aug 2008 00:00:00 +0100

George Square 2 31 July - 10 August @ 17.45 + 12-25 @ 14.00 SenovvA

This autobiographical one woman show is a stark realistic recounting of how misfortune and addiction will affect the most talented and attractive individuals, like singer/songwriter Maggie Simpson. Coming from a privileged Wyoming background, her spiral into alcohol and eating disorders contrasts starkly against her respectable political family roots.

This well constructed hour long piece is directed by Laura Crook. Maggie Simpson recalls episodes in her life with passion and verve, in loose chronological form, interspersed with songs. Although these episodes can be sad and stark, the hour is neither drama nor musical, nor is it an unusual or unique story.

The highlights of the performance for me are the songs and the singing. Original and beautifully rendered in a folksy style, with clear open voice and guitar. I could have happily spent the whole hour listening to them.

Return to the Forbidden Planet

Sat, 02 Aug 2008 00:00:00 +0100

C 30 July - 25 August @ 18.15 Hartshorn-Hook Productions

If you want a fun escapist musical where classic pop is cleverly interwoven with a dollop of Shakespeare, this musical - itself inspired by the cult 1956 sci-fi film of the same name, starring Walter Pidgeon & Leslie Nielsen - is a show I might suggest you see. However, if you don’t wish to sit through a slapdash show of strutting and fretting, then avoid the current version running at C venue 34.

The attractive young actor/musicians leap around, looking like they are enjoying themselves, and often stare directly at you as they deliver their songs. There are some strong voices, and the cast take turns at the odd musical instrument. Backing up the cast, and worthy of note, is a trio of very able musicians - two boy guitarists and a girl drummer. Usually in the best productions of this musical, the musicians share the spotlight. Unfortunately, in this version, they are never allowed to show off their musicianship, but are instead kept firmly behind the action. The drummer was almost totally obscured behind a silver screen, with just a tantalising glimpse of the top half of her head from my back row seat. Some basic restaging would benefit this show.

Riot Showgrrrls Club, The

Tue, 12 Aug 2008 00:00:00 +0100

Gilded Balloon Teviot 30 July-25 August @ 22.15 Dworkin

This show bills itself as feminist and it certainly takes a non-mainstream look at sex and pornography – but with a light touch. There is certainly no hint of the political heaviness that sometimes comes with the feminist banner. There are many likeable qualities to this show. It has a clarity and a humanity, a sensitivity, an intelligence and a sense of humour that are very attractive. The two female performers are full of vitality and the mostly original songs ripple by at great speed. There is food and drink and light-hearted competition and time spent at the Billiard Room at Teviot passes very quickly. The occasional non-original songs, especially Tom Lehrer’s Masochist’s Tango, are a pleasure to hear and the mixture of what I hope was live piano playing and recorded music worked smoothly.

The set is bright and cheerful and the costumes alluring. In a more sophisticated venue, better lighting would have added a lot to the production, but it is easy to forgive that at the fringe.

This show, as it says itself, is a ‘musical romp’ and within it all is a message full of life about celebrating ourselves and living life to the full. See it.

Sa-Choom

Fri, 08 Aug 2008 00:00:00 +0100

George Square 1 31 July, 1-3 August, 5-10, 12-25 @ 13.45 Dobecom (Korea)

Billed as a “dance musical” by the producers, this extravaganza from Korea is more circus or revue. The exquisite standard of dancing and acrobatics is astonishing, and equal to any act on the Royal Variety Performance. The troupe, polished and proficient, are trained in several physical disciplines, including martial arts, from toddlerhood.

There is a Tarentino style physical ferocity and perfection in this show that is almost intimidating. One sequence is aptly called “Battle”, and indeed, this could be the Korean army dancing. So, when the troupe invited the audience to participate and have a good time, I felt myself shrinking back into my seat. In some sequences the performers act out comedy routines, which sit uneasily with the seriousness and dedication of the drilled training.

A couple of tips if you go to see this show - don’t bother with the platitudes projected on the side screens, watch the live action which is much more interesting. And, if you don’t want to get hauled up on stage and ridiculed, don’t sit on the front row.

There is not much Korean culture here, but there is a jaw-dropping, lightening fast display of technical procientcy in dance, acrobatics and martial arts.

Somewhere Over The Westway

Fri, 15 Aug 2008 00:00:00 +0100

Gilded Balloon Teviot 30 July - 24 August @ 16.15 The Portobello Panto

This show takes a sideways swipe at the Pantomime tradition, subverting The Wizard of Oz. Covers of pop songs abound and, because the lyrics are all but inaudible over ‘The Hungry Munchkins’ band, it is difficult to be certain how much has been changed.

The ‘black and white’ world of ‘Dee’ is the Portobello Road Market; Dee is a pregnant, teenage, ‘wannabe’ chav who is transported to the Westway after a car accident. Along with her trusted ‘Pototo’ (a toy Mr Potato-head) she meets equivalents of all the Oz characters and they set out to find ‘Bob Gandalf’ who runs Wizz-Aid.

Along the way, the Witch (the transformed Health and Safety officer from the market) tries to foil their journey in an often funny send-up of Kate Bush. The funniest character was the one who kept appearing from another panto – he’s Jack the Giant Killer, Robin Hood and a tipsy Cinderella – good device for moving between scenes.

This is a show that is probably great fun if you know someone in it – they certainly enjoy their performances – and may be an inspiration to amateur companies tired of the ‘same old script’ for their annual local pantomime.

Songs For A New World

Tue, 12 Aug 2008 00:00:00 +0100

C too 31 July-11 August, 13-25 @ 22.00 Rubber Duck Theatre

Originally produced off Broadway in 1995 with a cast of four, this is an ’abstract musical’, a series of songs connected by theme rather than narrative. The performers do not play the same characters throughout but nevertheless have consistently developing character arcs. This production, intriguingly, has an extra female performer and consequently divides the material between the performers somewhat differently.

The production is very basic and the set is functional. The performances are mixed vocally. The women sing better than the men, and, taking a more flexible approach to voice production, there could certainly be a way that this cast could embody the whole score, but there were times when they struggled.

The musical direction of this is very slick and it’s inspiring to experience a show with a good live band on the fringe.

Composer and lyricist, Jason Robert Brown, has said of his show, "It's about one moment. It's about hitting the wall and having to make a choice, or take a stand, or turn around and go back.” The situations and the musical styles are wide and varied but the writing has a core strength of integrity to it and the songs are great.

Well worth seeing.

Spitfire Grill, The

Sun, 17 Aug 2008 00:00:00 +0100

George Square 4 7, 9, 12, 14, 16, 19, 21, 23, 25 @ 19.00 RSAMD

There’s something reassuringly old-fashioned about this show – it has an actual story to tell, the people are believable, and it’s set a long time ago. The tunes are old-fashioned – these are all pluses in my book. The country feel is perfect for the small-town setting and the small band, under the brilliant Hilary Brooks, are spot on.

The post-grad Musical Theatre students of the Royal Scottish Academy of Music and Drama make up the excellent all-singing cast, with Nicole Rowley – a particularly watchable (and listenable) leading lady – the jail-bird trying to start a new life.

This musical will break no barriers, but its roots in myth and story-telling are noble. I loved it.

Striking Gold

Mon, 18 Aug 2008 00:00:00 +0100

Hill Street Theatre 1-4, 6-11, 13-18, 20-25 @ 23.15 El Dorado Cabaret

Glamorous Morgan Carberry leads us on a journey, following her own footsteps round the world in a revue peppered with geographical landmarks related through standards such as ‘New York, New York’, ‘April in Paris’ and even ‘I Belong to Glasgow’. Morgan is an ultra-talented American, now resident in Scotland, and dazzles with her voice, tap dancing, flute, piano and violin playing in the El Dorado Cabaret, ably supported by Simon on keyboards and Jamie on Saxophone and percussion. There is even a guest spot or two to a visiting artist, giving the principal cabaret act changing and breathing space.

The audience were very warm and Morgan’s CD’s sold out at the box office, so keen were they to take a bit of her talent home with her.

She is at her best in her ‘lower key; moments – ‘The Man Who Got Away’ and ‘I’m Always Chasing Rainbows’ were thrilling and I would advise giving the audience time to absorb these changes in tempo and mood rather than going for the ‘big money’ numbers. A good late night revue, just the job to finish a hard day at the Festival!

Editors Note: We found that this show was not eligible for any of our awards in 2008.

Tony of Arabia

Tue, 12 Aug 2008 00:00:00 +0100

Pleasance Dome 31 July - 2 August, 4-5, 7-9, 11, 14-16, 18-19, 21-23, 25 @ 17.30 White Rose Theatre

Tony of Arabia is the sequel to White Rose Theatre’s hugely popular hit from last year’s Fringe Festival, Tony! The Blair Musical, and it looks set to follow in the same footsteps.

With an extremely clever book, combined with fantastically funny lyrics and some great one-liners, the piece seems to bring the audience closer to an understanding of the personal situations that the man himself was involved in. In fact, rather than throw punches, the show does more to humanise Blair than any of his spin doctors or PR people were able to do. I suspect that what Tony of Arabia presents us with - through all the satire, gags and gentle nudging – is far closer to the truth than one might expect.

The plot is superbly supported and narrated by a great cast including James Duckworth’s unnervingly accurate Blair, Ellie Cox as the beautifully sung Cherie, and Gavin Whitworth’s hilarious George W Bush. The writing/composing team of Chris Bush and Ian McCluskey is certainly one to watch. They’ll grow out of their Blair years, but I’m sure the talent will keep growing with other shows – hopefully before Duckworth becomes too much like the character he’s portraying!

Tony! The Blair Musical

Fri, 15 Aug 2008 00:00:00 +0100

Pleasance Dome 30 July, 3, 6, 10, 13, 17, 20, 24 @ 17.30 White Rose Theatre

Having seen this show’s new sequel, Tony of Arabia, prior to coming along to see this original - which won over Edinburgh and London audiences last year - the material feels very familiar. I’m not sure that I like the second viewing of the company as, despite the different titles, both Tony of Arabia and Tony! The Blair Musical are essentially the same shows – just slightly different content. That’s not meant as an attack on the quality of the production – if you like it, then it’s just more of the same.

There’s no denying that the talented cast (again) make this show. It’s a shame that the vocal ability, as an ensemble, isn’t as high as some other musicals at the Fringe Festival this year, but that’s one of the only points which lets them down. Portrayal of the characters is accurate, but the company’s ability to artfully poke fun at the relationships which exist at the top is the factor which gets the audience cheering for more – particularly Peter “Mandy” Mandleson (played by the marvellous Jethro Compton).

Critics and audiences still love it, but now it’s time for White Rose Theatre to continue to move other pieces forward. Watch out for them.

War of the Worlds

Sat, 09 Aug 2008 00:00:00 +0100

Underbelly's Baby Belly 31 July - 11 August, 13-24 @ 16.20 Pip Utton

The famous 1898 novel by H.G. Wells “The War of the Worlds” is an epic story of Martian invasion. The book has spawned, amongst other things, a spoof broadcast of alien invasion by Orson Welles in 1938 that struck panic into Americans, and two film versions in 1953 and 2005. The production at Underbelly is a one-man stage version, written by Doreen Wayne with music by Jeff Wayne. The Wayne album was a big success 30 years ago, with Richard Burton as narrator.

This show is tenaciously performed by fringe veteran Pip Utton. The problem is one of conflicting scale where the epic soundtrack score sits uneasily in the narrow action of the performance space. I think this musical version would work better if supported by a large technological production. At Underbelly however, the audience’s imagination is restricted by being both focused on one performer, and limited in this small arena of war. The unrepentant music is almost irksome at times, when trying to concentrate on the well delivered spoken story. I think I would prefer to listen to Pip Utton, sitting peacefully centre stage, just reading the original novel.

We All Fall Down

Wed, 27 Aug 2008 00:00:00 +0100

Underbelly 31 July - 11 August, 13-24 @ 16.15 En Masse Theatre

Classic gothic story telling, terrific ensemble playing, imaginiative scene-setting. This is a fast-paced, spooky adventure yarn for children with a cast of what seemed like hundreds (or dozens) and lots of gags and scary moments.

I would have liked more of the excellent music, but can we really get away with the hysterical Irish accents in this century? Recommended, big time.

Whiskey Bars

Sun, 17 Aug 2008 00:00:00 +0100

The Vault 3 @ 21.00 + 4-10, 12-17, 19-25 @ 20.40 Bremner Duthie

For my money, this was a fine solo performance, brave and inventive. I confess I just could not get my ear into the songs as I just wanted more. This may well be my fault and not the shows. I found it all too much on one level. I am looking at this, and writing these notes based on a musical and what musicals must have to offer and should deliver. Whiskey Bars was, for me, an off-stage cabaret or a very gentle homage with interspersed songs to evoke the mood of the piece. I felt I was watching the latter and not the former. If this was the case it was a compelling and boldly-delivered one man show full of energy and impassioned acting. What can I say? Whiskey Bars sits between to two camps of a monologue with songs and a musical with not enough songs. As a monologue with songs it was very well delivered; inhabited by a performer who fully understood the world he was in. And, for a time, we were transported to that world.

Whisky Kisses

Mon, 11 Aug 2008 00:00:00 +0100

George Square 1 31 July, 2, 5, 7, 9, 12, 14, 16, 19, 21, 23, 25 @ 16.00 RSAMD

Whisky Kisses may very well have been sponsored by the Scottish Tourist board. Geared almost certainly for the American tourist trying to re-connect with their 1/28th Scottish heritage, the piece charts the woes of a failing distillery in the tranquil, and wittily named, mystical valley of Glenigma. While the production values do hold some authority in the proceedings, the lyrics are often derivative and some of the tunes are about as allusive as the fabled malt around which the story is based. A large ensemble cast work well together, if at times faltering individually. But however cynical this critic may be, the general narrative is unarguably positive, with the drunken celidh scenes and heart warming conclusion rousing more than a few of the audience.

Zanna, Don't!

Tue, 05 Aug 2008 00:00:00 +0100

George Square 1 1, 3, 6, 8, 10, 13, 15, 17, 20, 22, 24 @ 16.00 RSAMD

RSAMD (Royal Scottish Academy of Music and Drama) has mounted a jewel of a musical at George Square 1, with the European premiere of off-Broadway hit “Zanna Don’t” with book, music & lyrics by Tim Acito and Alexander Dinelaris.

Expertly co-directed by Andrew Panton and Sally Rapier, the pace of this exuberant musical never flags, and the action never falters. When the full company dance numbers flood the stage, you could be on Broadway or in the West End.

Concise direction keeps an improbable plot (based around other people’s attitudes of who we love) from falling into the trap of becoming maudlin or indulgent. The standard of singing, dancing and acting from the post graduates performers of RSAMD has a professional excellence which sets an exacting standard for competing musicals at the Edinburgh Festival.

The expertise of lighting (James Gardner), and costume and set design (Martin Mallorie & Jenny Gamble) give this show an optimum look for this spacious stage. Credit also to a fine band of musicians under David Higham.

This is a musical for lovers of musicals, as well a those who want a good night out. Book your ticket soon - there are only 12 performances.