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 Musicals & Opera |
Rating Guide The Mikado: County USA (page 110) Drams None needed Venue George Square Theatre (Venue 37) Address George Square Reviewer Jonas Green By the time this review is published, the run will be over - but the company is a strong recommendation for next year. Briefly, this is the freshest version of Gilbert and Sullivan's warhorse that I have seen, and one of the cleverest. Also, some of the individual performances are superb. HWS Rembiko Project is effectively a Californian High School group who have been visiting the Fringe for 5 years. This oddly-named show gives The Mikado a twist of satire on corporate ethics, which W.S.Gilbert would undoubtedly have applauded. There are a few missed opportunities, where they stick to the original lyrics, such as the Mikado's Punishment fit the crime number, but mostly the concept works brilliantly. Much of Gilbert's dialogue - or its outline - is retained; where that dialogue usually sounds laboured nowadays, this company make it work convincingly, largely through their enthusiasm and convincing characterisation. Similarly, many of the production ideas - such as the use of imagined modern lifts as enclosed spaces - are simple, original and fresh. Enough of the original material is cut, even a few favourite numbers, to deliver a slick show. This all demonstrates a skilled production team. All the chorus work and individual performances are good, especially the trio of Jon-Michael Miller as Ko-Ko, David Hyman as Pish-Tush, and Adam Frank as Pooh-Bah. Spencer Case as Nanki-Poo has the perfect light tenor voice and looks. However Siobhan Heard as a scary, eye-rolling Katisha absolutely steals the show. Go and see whatever they do next year. © Jonas Green, 5 August 2003. Published on www.EdinburghGuide.com Run: 1-10 August
A Most Curious Murder – The Madeleine Smith Story (Page 111) Drams 
Just a wee nip.Venue Sweet at the Crowne Plaza (Venue No 39) Address 80 High Street Reviewer Fiona O'Hanlon We all know the saying 'Hell hath no fury like a woman scorned,' yet if the defence's case for Madeleine Smith is to be believed, the statement is as applicable to men as it is to women. In a re-examination of the infamous Madeleine Smith murder trial of March 1857, A Most Curious Murder investigates the events between Madeleine breaking her engagement to Emile L'Angelier and Emile's death by arsenic poisoning on the 23rd March 1857. So did she kill him in a panic for fear her explicit love letters would be revealed to her family, or was she set up by a man who'd sooner kill himself and have her hanged for murder than her marry another man? Let us consider the evidence… A fifteen strong cast enact the case in a ninety minute long production which incorporates eighteen musical numbers. Singing voices are strong, especially that of Alana Bell as Madeleine, and speech in dialogue scenes is both well projected and clear. The set perfectly reflects the décor of the 1850's manor house, whilst the fifty two costumes are well made and serve to highlight the social class distinctions so important to the case. The potential for Act II (the court case scene) to become monotonous is skilfully avoided by the fact that many witnesses testify in song. A well written, well performed piece which is much less sinister than its title and late show classification indicate…go, it really is a most curious murder. © Fiona O'Hanlon 17th August 2003 - Published on www.EdinburghGuide.com Runs to 25th August, daily at 23.30. Company – Recusant Music Theatre. Company Website www.amostcuriousmurder.com
My Baby Just Cares For Me (P111) Drams  Venue Stage by Stage Edinburgh Academy (Venue 70) Address 42 Henderson Row Reviewer Fiona O'Hanlon It's the day before the premiere and lead dancer Antoinette contentedly sings 'My Baby Just Cares For Me.' The 'baby' in question is Bill, the choreographer of the contemporary Parisian production, but the audience soon becomes aware that Bill doesn't just care for her, but is also dating Myra … .and Nina... In Ian Trafford's work My Baby Just Cares For Me Bill's complex web of deceit gradually unravels, causing tension to mount in the run up to the potential disaster that is the opening night. The plot itself is fairly transparent, and although the props within Myra's abode (a chaise longue and a changing screen) astutely reflect the sexually predatory personality of the character, the production itself does not fully recreate the atmosphere of the Jazz Movement. Disappointingly, the grand piano (which takes pride of place on the right hand side of the stage) is more often used to dance and lean upon than as an instrument. Rather, the music is pre-recorded, with the piano only used to accompany one basic musical number. Nevertheless, the actors give a commendable performance - singing voices are strong and the characterisation is convincing despite slips in accents. Particularly notable is the smooth voice of Vicki Parks's Myra, her command of the Jazz numbers seems effortless. A modern tale of betrayal which perceptively portrays what it is like to be The Other Woman, Ian Trafford's piece is an entertaining production that will leave you Feeling Good. © Fiona O'Hanlon 7th August 2003 - Published on www.EdinburghGuide.com Runs to 23rd August, daily at 14.00. Company Kickline Touring Theatre Company.
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