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| Edinburgh : A&E : Festivals : Fringe reviews |
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 Musicals & Opera |
Rating Guide Deep Blue Theatre Drams 0 Cast Barry Gibney (Sky Masterson); Sarah Rivers (Sarah Brown); Chris Heaney (Nathan Detroit); Laura Corcoran (Adelaide); Adam Perchard (Nicely-Nicely); Anthony Marsden (Benny Southstreet); Shelley Crofts (Harry the Horse); John Walton (Big Jule); Helen Stubbs (Gen. Cartwright); Wayne Ives (Lt. Brannigan) Music and Lyrics Frank Loesser Musicians Joe Atkins (piano); Helen Clark (flute); Stephen Clark (reed 1); Owen Elton (reed 2); Steffan Jones/James O'Carroll (drums) Musical Director Joe Atkins Producer Judith McGowan Director Wayne Ives Choreographers Sarah Rivers and Melanie Triffitt Venue C (Venue 34) Address Chambers Street Reviewer Nick Scott
With a simple yet effective set, this is an edited and adapted version of the original - running (without an interval) for approximately one and three-quarter hours. Overall, this resulted in a tighter storyline; and with the omission of some songs, the momentum never lags. The character of Arvide Abernathy has been cut from this production. He is somewhat incidental to the plot; but I did miss his one and only song - the tender, More I cannot wish you. As the vivacious Adelaide, Laura Corcoran gave us a welcome and refreshing change from the usual "dumb-blond" interpretation of the character. Her imposing vocal dexterity was apparent - as in the duet, Sue me and her intelligent rendition of Adelaide's lament. There was also some punchy dialogue with Chris Heaney (Nathan Detroit). Barry Gibney cut a dashing figure as the smooth and suave Sky Masterson. With a robust baritone voice to match, he is hot on the vocals as well; and shines especially in the duet, I've never been in love before (which he sings with Sarah Rivers) and the ensemble number, Luck be a lady. Sarah Rivers gave a pleasing performance as the prim Sarah Brown (who subsequently
falls for the persuasive Sky Masterson); and the trio of loveable hoods (Chris
Heaney, Adam Perchard and Anthony Marsden) were particularly appealing, as was
John Walton's endearing portrayal of Big Jule.
HAIR (page 122) Drams 0 Music Galt MacDermot Book and lyrics Gerome Ragni and James Rado for the 1968 Broadway hit musical of the same name Cast (The Tribe) Ruth Busby, Russell Carrington, Charlie Ferrier, Janette Fraser, Will Garner, Rachel Johnson, Amanda Jones, Joel Marvin, Lorna Toal, Chris Walker, Rachel Winfield Artistic Director Julie Morley Musical Director Matt Gardner Venue Augustine’s Sanctuary (Venue 152) Address 41 George IV Bridge Reviewer Julian Davis It has been 33 years since I first donned a black Kaftan and took in the London cast of what was described as a tribal love rock musical at the Shaftesbury Theatre. Little appears to have changed externally. The threat of the ultimate war, terror and final destruction of the late Sixties and early Seventies are still with us across the globe. The question to be asked: are Afghanistan and Iraq fast becoming George Bush’s Viet Nam? So it was with some intrigue that I sat down to see whether the story is still relevant to today’s generation, whether the radical concept of this rock musical is still fresh and vibrant and whether the audience still connect to the dawning of the Age of Aquarius. This interpretation of HAIR is presented by the Exadus Theatre Company (the nucleus of which are ex Ashby Grammar School Drama Department students). Under the artistic direction of Julie Morley and musical direction of Matt Gardener the cast took us through the highlights of the original story at a venue that estate agents might term 'bijou'. There were some notable changes – particularly the prologue where the Greenwich Village Tribe congregate, but “Aquarius” nonetheless was well delivered and the choreography and the rehearsals put in to make it such a polished performance were evident right from the very start. I did miss Berger singing Looking for my Donna but he made up for it throughout the act with some great songs. Some of the more risqué songs like Sodomy were also conspicuous by their absence but Sheila’s Ain’t got no.. had all the full-bodied soul of the late departed Nina Simone – that lass has a great voice. Yes there were the drug references there as the Tribe sought greater consciousness through mind-expanding substances; there were the messages of spreading the “groovy revolution”; there were the same promotion of the joys of sex (Never can you sin in bed); there were the same encouragements to break with social convention. No, there wasn’t any of the full frontal nudity that accompanied some of the earlier productions – well it hardly shocks these days – does it?But the inevitability that the system will get you is embodied in Claude being drafted and becoming just another statistic in the futility of war. As the act closes it has Claude against a backdrop of hundreds of well laid out graves as the Tribe sings Let the Sun Shine In. It was still a poignant moment for me as they moved the backdrop forward and on it read the message “The United States now spends more on their military than the rest of the world combined. Our response to war and militarism is not just a concern for 'activists' it is a concern for us all.” It appeared to stun the audience who were strangely passive throughout. It took a few seconds of silence before they realised the show was over and that appreciation was expected – that was probably my only one real disappointment. There was no audience interaction. Nobody got up and danced or joined the Tribe on stage (although I can understand that to a certain extent as space was limited). Today, HAIR is performed all over the world showing that peace, love, freedom and happiness are never outmoded ideals. It certainly connected with my generation thirty years ago. Are there too many distractions now to the post-Thatcherite children? Have we become comfortably numbed to all the horrors by their constant presence on our TV screens? This show should be a must for all, for as the Exadus Theatre company themselves explain “that generation after generation the War Machine is switched on by people’s ignorance to the business of war.” These young people certainly put their message over with a more than competent performance of song, dance and theatre. I couldn’t believe where the time went and although comparisons were inevitable, this production stands on its own merits – a great compelling performance! © Julian Davis. 10 August. Published on www.edinburghguide.com Run 9 – 22nd (Not 16th) August
Hedwig and the Angry Inch (page 122) Drams  Cast Matt Tapscott (Hedwig) Mel Farmery (Yitzhak); Steve Lockwood (Skszp); The Lick as the Angry Inch Music Stephen Trask from the hit “off Broadway” musical Musicians Stu (guitars and backing vocals); Nick Tettersell (guitars and backing vocals); Lee Farmery (drums and backing vocals); Marcus Lane (keyboards) Director John Lynch Text John Cameron Mitchell Venue ¼ rm@Greenside (Venue 231) Address 1b Royal Terrace Reviewer Julian Davis – Fri 6th Aug  There
were many present who felt it was about time that this cult Shock-Rock musical
was brought to Britain and all credit to Rose Tinted Productions for presenting
this in Edinburgh some 10 years after John Cameron Mitchell first conceived it
in Manhattan and delivered it to critical and cultic acclaim as the best “off
Broadway” musical. The show is being delivered at venue 231 alias Greenside Church where the accommodation gives great interaction between performer and audience and the setting is just a gentle two minute stroll from the popular pubs and restaurants at the top of Leith Walk. Stepping down the stairs to the right into the sub sanctuary you immediately become aware that this warm, cosy enclave gives you nowhere to hide. This is an intimate tale and there is no way you cannot become part of the unfolding drama. For those not already devotees of the tale, there is a loose parallel between the building of the Berlin Wall in 1961and Platonic theory which postulated that we were dual beings once – male/male (children of the sun), male/female (children of the moon) and female/female (children of the earth). When Zeus overruled Thor and punished the humans for their pride by splitting them all apart with lightning he left them dazed, confused; they had difficulty coming to terms with the situation – just like the Berliners felt when the city was torn apart. This is probably where the overt politics stop and the music takes over to make it very much up front, in your face and personal. Canadian Matthew Tapscott has been persuaded to fly over and take on the lead
hero/heroine, Hedwig in this British production which premiered at Brighton
during early May. The rest of the cast nucleate from a talented Sussex band,
The Lick. Together they have gelled into a cast which takes no prisoners. The
music was inspired by the generation which saw the likes of David Bowie and
Lou Reed’s Velvet Opera, both dealing with the same personal crisis of
coming to terms with their own sexuality and challenging our concepts of a cosy
world of accepted sexual values. This is a cry for empathy rather than sympathy
to those who feel that life has left them with only an inch when they expected
a mile. 
Between the music, Matt pours his heart and soul into the story and runs the
whole gambit of emotion from hope and expectation to a feeling of power, to
abandonment and disillusionment. It is a tale of a botched sex change as she
attempts to have a better life. When Hedwig sings of being sewn up does she
really mean she’s been stitched up? Stitched up by her country, by her
lover, by her sexuality, by her situation, by her friends? You decide.
Honk! (page 122) Drams 0 Presented by Leicestershire Youth Arts Cast Hitesh Chavda; Kenneth Eldridge; Charlotte Hackett; Katie Gadsby; Matthew Leeson; Prakash Modhwadia; Allister Smith; Emily Smith and Carly Trinder Music George Stiles Book and LyricsAnthony Drewe Musical Direction & Orchestrations Leigh White Direction Anisa Burton and Robert Staunton Venue St Ann's Community Centre (Venue 65) Address South Gray's Close, Cowgate Reviewer Nick Scott This year marks Leicestershire Youth Arts' 25th year on the Edinburgh Festival Fringe; and for this "Silver Anniversary", they have brought another six shows to the Capital - each of them performed daily over a twelve-day period. This year, two of the productions are musicals: Company, and the show suitable for for all age groups, Honk! A modern adaptation of "The Ugly Duckling" - the famous story by Hans Christian Andersen, Honk! is a thoroughly enjoyable and entertaining musical, brimming with catchy tunes and humour.
The cast of nine worked hard during the hour long show to give us a colourful, lively, endearing and highly entertaining performance; and this delightful tale - lovingly performed by Leicestershire Youth Arts - leaves you with the "feel-good" factor. Based in Loughborough, Leicestershire Youth Arts is open to all interested young people between six and twenty-five years of age. Over seventy students (aged sixteen or over) participate in the Fringe performances - whether it be on stage, backstage or as a member of the front of house or administration teams. When casting, Leicestershire Youth Arts dispense with auditions. With the elimination of this competitive element, the requirements for taking part are simple - willingness and commitment. © Nick Scott 17th August 2004. Published on www.edinburghguide.com See also www.yal.org.uk Run 10 - 21 August (noon)
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