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| Edinburgh : A&E : Festivals : Fringe reviews |
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 Musicals & Opera |
Rating Guide I love you, you're perfect, now change (page122) Drams No Drams Music Jimmy Roberts Book & lyrics Joe DiPietro Director Damian Sandys Musical Director Jodie Oliver Hot Box Productions Venue C too (Venue 4) Address St. Columba's by the Castle, Johnston Terrace Reviewer Mairi Anderson Hot Box Productions, who had a runaway success at last year's Fringe with Honk, have another sure-fire hit with their new show I love you, you're perfect, now change. This show is bitingly funny, frequently moving and always entertaining. It succeeds in reflecting the experiences real people have in relationships throughout the many ages of man (and woman!) The cast of four imaginatively create 54 different characters illustrating every aspect of how we relate to one another. The writing is sharp, witty and completely spot on in observation. Every conversation about relationships you ever had is here. It is a sheer delight to watch the audience reactions. During the song Waiting you can feel the gritted teeth in the line 'How much longer are you going to be?' The brilliantly observed Tear Jerk scene had the man next to me erupt into laughter as the macho/sensitive man polarity was explored. The humour is fast, furious and unrelenting. Much of it is verbal, but visual humour is also done superbly well in the baby toy testing and the wonderful pizza chef hats. Beautifully juxtaposed is the poignancy of songs such as Shouldn't I be less in love with you? In the midst of the humour this show asks some intelligent and deep questions about the mystery of relationships. "Who is this stranger standing next to me?" ask the bride and groom. "All the years we've been through, who are you?" ask the old married couple. Do we ever really know? Throughout the show the level of acting and singing ability is consistently high and this well-integrated cast are all extremely talented. Hayley Otway doubles as choreographer. Occasionally the musical accompaniment is just a little too loud for Hayley's quieter voice, but overall music and choreography are excellent. Sets, costumes and lighting are simple but effective. Audience response was enthusiastic and spontaneous throughout the show, particularly in response to the many wicked one-liners. In Always the Bridesmaid, as Felicity Russell contemplates yet another hideous gown (and groom), the twist is that she is happy to stay that way. As she says "My friends can't assess, a man or a dress!" This is a delightful, well written, well-delivered gem of a show, which thoroughly deserved the opening night standing ovation. Catch it if you can. © Mairi Anderson. 9 August. Published on www.edinburghguide.com
Job the Hip-Hop Musical. (Page 123). Drams None. Venue Pod Deco. (Venue 75.) Address 7 Clerk Street. Reviewer Marisa de Andrade. Hip-hop hits new heights in FDLT Productions' hilarious Job the Hip-Hip Musical. Jerome Saibil and Eli Batalion prove that hip-hoppers can't only hop and rap, but can also write zippy, coherent lyrics for a play with a beginning, middle and end. Not bad for a pair who are already blessed with immaculate comedy timing and fluid moves. Some people have it all! The couple begin as compares warming up a crowd for a dance class. We're told to lower our expectations as we touch our toes and release our inhibitions as we stretch our limbs. We're also told to consult our programmes, where their confusing lyrics are stated word for word for those of us who aren't capable of decoding 'hip-hop lingo' in 0.1 seconds. This turns out to be a smart move, as the odd baffled audience member flips through it relentlessly to make sense of the entire escapade. But once they succumb to the beat of the lightening lyrics, they join the modern and mindblowing interpretation of the Biblical Job with much pleasure. It's fast to say the least, as two hip-hoppers in sweatpants take on an entire cast of characters. It's the story of Job Lowe at the international record giant Hoover Records climbing the corporate ladder, only to have all the frills of his cushy position removed after an in-house bet unfolds. The corporate allegory is complimented by rip-off inserts from well-known hip-hop artists and the pair's incomprehensible ability to shift in and out of the minds of numerous characters. Job has many climaxes, undermining the importance of the integral one. As a result, there is an explosive, but disappointingly abrupt ending to this hip- hop hysteria. © Marisa de Andrade 14 August 2004 - Published on EdinburghGuide.com Runs Aug 8-30 at 13.45. FDLT Productions in association with Fringe Management.
The King and I (Page 123) Drams 0 Music Richard Ridgers Book Oscar Hammerstein II Presented by Stage 84 Cast Giles Atkinson (King of Siam); Sophie Wysoczanski (Anna Leonowens); Sam Gregson (Louis Leonowens); Rose Widdison (Lady Thiang); Kayleigh Stephenson (Tuptim); Darren Hosker (Lun Tha); Perri Isa (Prince Chululongkorn); Alexa Lee (Princess Ying Yaowlak); Craig Winward (Kralahome); Jonny Dixon (Captain Orton); Joe Mountain (Interpretor/Phra Alack); Adam Hemadou (Sir Edward Ramsey) Musical Director/Keyboards Paul Phenny Director Giles Atkinson Choreographer Rebecca Gilbertson Production Co-ordinator Elizabeth Hellmich Sound Dave McReady Lighting Neil Myers Venue James Gillespie's High School (Venue 93) Address Lauderdale Street Reviewer Nick Scott
The company is an established Fringe attraction (this being their 14th annual visit to Edinburgh); and it is therefore no surprise to learn that they have built-up a loyal following from locals as well as Festival visitors. Their latest Fringe presentation (which opened last night) was a colourful and tuneful production of Rodgers and Hammerstein's perennial favourite - The King and I. A short overture heralded the opening scene as we were quickly transported to Siam. The main principals were well cast, and on the whole gave confident, controlled performances. Sophie Wysoczanski (Anna Leonowens) with her clear diction and beautiful soprano voice, exercised her subtle assertiveness over the autocratic King of Siam, played by Giles Atkinson (who also directed the production). The King was the only part to be taken by a member of staff - and one can understand why, given the rigorous demands of the role and the necessary maturity required to make the character convincing. He made an impressive King in all senses of the word. Taking the role of Lady Thiang (the King's head wife), was a poised Rose Widdison, whose rich mezzo-soprano voice was indeed, Something wonderful. The principals had the luxury of radio mics - and here, I must congratulate the make-up department for making them so inconspicuous. I've attended a number of performances - some of them professional - where singers have been adorned with so much electronic paraphernalia and wires that they look as if they'd just come out of intensive care! The Ballet sequence, in which the slave Tuptim endeavours to try to explain the concept of freedom to the King by way of a Siamese version of Uncle Tom's Cabin, is a notoriously difficult sequence to bring off; and can so often be a 'hit or a miss'. But under choreographer, Rebecca Gilbertson, the dancers gave us an excellent interpretation of the story. The sequence was enhanced by the creative use of lighting, staging and pleasing effects. Worthy of special note was Danika Eastwood as Elisa. This is a family show in more than one sense of the word. The entrance of the Siamese children never fails to charm and tug at the heart-strings - and last night's performance was no exception. The King and I is probably not one of Hammerstein's best libretti (it's certainly not the easiest to perform), and there were times last night when the dialogue lost some of its impetus and seemed to drag. However, the ensemble singing was par excellence - an it is a credit to Musical Director, Paul Phenny that his well-drilled cast performed Rodgers' score with such confidence and precision. But where was the live orchestra - the Fringe brochure led us to believe that there would be one? What a pity we were not treated to Robert Russell Bennett's fine orchestrations - the icing on the cake! However, one can understand the company's decision not to have live musicians - given the prohibitive cost. But Musical Director, Paul Phenny more than adequately compensated with his keyboard skills. In order to give the audience the impression of a full orchestral texture, he used the keyboard in a highly creative way. Much of the music had already been pre-recorded and pre-programmed, and could be conjured up at the press of a button. This allowed scope for the addition of other "instrumental voices". All this made a pleasing substitute for a live orchestra. On leaving the theatre, some members of the audience were already anticipating next year's production of West Side Story. The musicals of Rodgers and Hammerstein are to be treasured, and it is gratifying to know that they are in the safe hands of a new generation, if last night's performance is anything to go by. Leaving the theatre was a happy and satisfied audience. Well done, Stage 84. Haste Ye Back! © Nick Scott 11th August 2004. Published on www.edingburghguide,com Image courtesy of www.thaistudents.com Run 10 - 14 August (19.15); 14 August (14.00)
Mario Lanza - Hollywood's Caruso (page 123) Drams  - and a halfPresented by Strictly Songtime Musicians Greig W.W. Hill and Anne Diack (vocalists) Venue 1/4rm @ Greenside (Venue 231) Address 1b Royal Terrace Reviewer Mairi Anderson 16 August 2004 This show is a rather ambitious undertaking for just two vocalists and unfortunately I found it a little disappointing. The format is a narration of the story of the life of Mario Lanza, liberally punctuated with renditions of the songs he made famous. Greig W.W. Hill attempts to carry the whole show with support from Anne Diack. At one and a half hours with no intermission I found the show over long and I felt that it put too much strain on Greig Hill's voice. Overall he coped well but occasionally there were audible signs of that overstraining. Although he has a beautiful speaking voice, I think it would have been advisable to have a third performer narrating the story. That would significantly alter the pressure on Greig and allow him to concentrate on singing. Greig Hill's performance was generally quite warmly received by the audience, but I felt that his voice often lacked emotion and that he performed best when he was more subtle in his delivery, for example on I'll Walk with God which had real emotional depth. He undoubtedly has a strong voice, but on some occasions I felt that in stiving too much for power and volume he lost feeling and interpretation of the music. Anne Diack has a beautiful voice and great technical skill. She was able to convey a wider range of emotion, excelling on the Ave Maria, which was the highlight of the evening. Anne's solo pieces were for me the strongest elements of the show, particularly You and the Night and the Music which she performed with great sensitivity and lightness of touch. The duets varied in quality and again I felt that some lacked emotional depth or a feeling of connection. However, Jerome Kern's number They didn't believe me had the most warmth and was well received. In a show with this title I was hoping to hear more of Mario Lanza's own voice on recordings. A short extract was used at the beginning and end of the show*, but very clumsily linked to the house lights. The result was that is was difficult for the audience to know when the show had started or finished. I do commend the two vocalists and their accompanist for their fortitude in performing through horrendous noise from the show in the hall above. They managed to keep their concentration but the venue managers should be aware that this level of disruptive noise is just completely unacceptable. I have to say that this show was better received by some of the audience than this review would lead you to expect. I feel it was very informative and was a reasonable effort in difficult circumstances but it just didn't move me. It was theatrical and dramatic but strangely sterile. * Enrico Caruso singing Vesti la giubba © Mairi Anderson 17 August 2004. Published on www.edinburghguide.co.uk Run continues Aug 18 and 20 at 20.15
Life 101: Spring in London (p123) Drams 0 Presented by JTR Productions Music Donovan Stohlberg Lyrics LB Hamilton Book Donovan Stohlberg & Yvonne A. K. Johnson Director Yvonne A. K. Johnson Venue Rocket @ Roxy Art House, Lady Glenorchy's Church Address Roxburgh Place Reviewer Mairi Anderson
The professionalism and warmth of the cast and crew was evident from their welcome, greeting everyone personally and treating us as individuals. Having engaged their audience, JTR Productions proceeded to win our hearts. One central theme of this musical is the importance of connection, however brief. They put this into practice by creating such believable characters that you felt as if you had not only met real people, but also been changed by knowing them. That is great theatre and true creativity. The creative process (of living as well as writing) is another core theme. No trite easy answers are given to the questions of life, but at least the key questions are asked. The audience laughed, cried, gasped in amazement and sighed in painful recognition of the truths revealed. Highlights for me were Why can't a woman have it all? which just says everything there is to say about the experience of being a modern woman; the advice the teacher offers his class - life is an adventure, so be yourself, live from your heart and don't waste precious times on dramas. This musical is a roller coaster ride of experiences and insights with a real depth of wisdom and emotion. A metaphor for life?
The two-person band provide a high standard of musical accompaniment and songs are memorable, well-written and meaningful. Sets, costumes and lighting are good. As we were leaving the venue the comments from all around me reflected my own views:- "Awesome!" "Great singing!" "Brilliant dancing!" "Cool Music!" "Everything they said was just so true!" It is the mark of great writing that it gives us insights into the truths of life and makes us feel our connection with others. Life 101: Spring in London succeeds admirably on both counts. JTR Productions make it a fun, moving, stimulating and all-too-brief experience. What more could we ask from life? © Mairi Anderson. 18 August 2004. Published on www.edinburghguide.com
See also: www.jtrproduction.com
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