The contrast between the two cultures becomes apparent during the next section of the musical, which takes place at the court of King George IV - with an admirable performance from Matthew Bridle, who portrayed his character of the King with consummate arrogance.

King George is seeking a wife, and settles on marrying Caroline (daughter of the Earl of Brunswick). She is at odds with George and furthermore incurs his disapproval with her inability to produce an heir. George reluctantly agrees to a visit from Mkabayi (a spiritual adviser sent by Queen Bambatha) who prophecies that he will never have an heir. Demanding a divorce, George wreaks his revenge by sending Fynn to invade Zululand, which leads to disaster for Shaka and his people.

Fusion of Zulu chants with early nineteenth century British music may seem strange at first; but as the musical unfolds, this concept serves to reinforce the striking dichotomy between the cultures. This message is emphasised by the attitude of the British court towards women, whom they perceive as "pawns" in their quest for power.

However, we must not get too upset about the historical inaccuracies - they are unimportant.

The arts are powerful "tools" with which to "build bridges" across widely differing cultures, thus creating a better understanding between race. This show does just that.

This production of Once Were Free is a world premiere, and marks the first show from Neo Productions. Based in Edinburgh, it is Scotland's first black and ethnic minority theatre company.

© Nick Scott 13th August 2004

Run 9 - 14; 16 - 21 and 23 - 26 August (14.20); 27 - 30 August (12.45)

1 or 2 things about us (page 123)
Drams 0
Presented by Moveable Feast Arts Inclusive Theatre Company
Venue St. Mark's Unitarian Church (Venue 125)
Address Castle Terrace
Reviewer Mairi Anderson 12 Aug

Moveable Feast Arts Inclusive Theatre Company does 'exactly what it says on the tin'. The company includes individuals of all shapes, sizes, ages, (dis)abilities and talents. Celebrating their diversity they work together to get across the central message that 'inclusion is the future'.

This show comprises 2 musical plays. The first, called Everyone is explores the life experiences of people with disabilities and their struggle to be accepted. The second play is called Dreamer and explores the individual dreams of some of the cast members.

The format is the same for each play. A short spoken introduction from the lectern sets the tone. Key themes and relevant photographs are projected onto a screen throughout the performance. The central part of each play is made up of popular songs performed by the cast, interspersed with short dramatic pieces. The show is fast paced and the format effective. The songs are catchy, uplifting and everyone's favourites. The enthusiasm of the company spills over into the audience and everyone joins in. Spirit in the Sky and I'm a Believer were particularly well received. A highlight was a stunning rendition of Somewhere Over the Rainbow, sung in the style of Eva Cassidy, by a young girl called Emma. She was so good that at first I thought she was miming.

The message of inclusion is put over very powerfully, not by preaching but by showing how it is. In the first play we see the reactions and appalling ignorance and insensitivity surrounding the birth of "A beautiful baby boy" who happens to have Down's Syndrome. We witness the layers of well meaning bureaucracy that get in the way of genuine support and cooperation. We are reminded that everyone has a right to choose how to live their lives.

In the second play Dreamers the company show us that everyone shares the same dreams. Some members of the cast who have more visible conditions share their dreams through song and dance. They make us realise that all teenagers dream of being pop stars, footballers. Disability doesn't change that. What is even more poignant is the fact that the main dreams of many of the company are for things we all take for granted. They dream of a worthwhile job, a partner and family, a sex life. It is summed up by one young man who says simply and movingly "my dream is to have a life".

1 or 2 things about us is entertaining, enlightening, moving, thought provoking and uplifting, but most of all it it's fun and inclusive and deserves a much bigger audience.

© Mairi Anderson. 12 August 2004. Published on www.edinburghguide.com

Run Continues Friday 13th August

A Night At The Operetta (Page 123)
Drams
Presented by Strictly Songtime
Music Various songs from the works of Sigmund Romberg; Jacques Offenbach; Jerome Kern; Franz Lehár; Gilbert & Sullivan and Johann Strauss II
Musicians Helen Brown; Anne Diack; Greig W. W. Hill; Neil Mudie and Robin Ozog (vocalists); Andrew Thomson (piano)
Venue 1/4rm @ Greenside (Venue 231)
Address 1b Royal Terrace
Reviewer Nick Scott

Strictly Songtime

With an impressive record of performances to their credit, Strictly Songtime's spirited cast last night delighted their small, intimate audience with a venture into the world of operetta. Great tunes, nostalgia and informality were the key words, as the quintet of vocalists danced their way through some of the best and well-loved songs from the light-operatic repertoire; and their mainly middle-aged to elderly audience responded accordingly.

A few of the production numbers could have been better rehearsed; and at times, some items were spoiled by wayward intonation, as in the "trio" of songs from Romberg's The desert song - performed by the gentlemen of the company.

Helen Brown and Anne Diack's superb duet from Jerome Kern's Showboat was particularly enjoyable. This clever and attractive arrangement combined two of the show's hit songs - Can't help lovin' dat man and Bill - into a most pleasing and effective vocal number.

However, the Gilbert and Sullivan section was too long (and at times, I fear, a bit under-rehearsed); and could have benefited from the omission of one or two of the less successful items - such as When the foeman bares his steel (The Pirates of Penzance). This is an item that demands more forces than were available here, and although the quintet (joined vocally in this item by accompanist, Andrew Thomson) gave an acceptable performance - it didn't really work.

Andrew Thomson's energy in sustaining nearly ninety minutes of non-stop piano accompaniment was impressive - although, understandably, signs of tiredness crept in towards the end. Under the circumstances, perhaps a short interval of ten minutes or so, in order to give the accompanist a well-earned break, would have been sensible.

Unfortunately, some items were spoiled by the distraction caused by noise from the venue overhead - especially during Franz Lehár's romantic Merry Widow Waltz and Robin Ozog's tender performance of Gilbert & Sullivan's, Tit Willow (The Mikado).

These "gems" from the musical theatre are to be treasured; and Strictly Songtime has to be commended for keeping the operetta flag flying.

© Nick Scott 16 August 2004 Published on www.edinburghguide.com

Run 15, 17, 19, 21 August (20.15)

Personals (page 123)
Drams
Presented by Royal Holloway Music Theatre
Music William K. Dreskin, Joel Phillip Friedman, Seth Friedman, Alan Menken, Stephen Schwartz, Michael Skloff
Book and Lyrics David Crane, Seth Friedman, Marta Kauffman
Venue C Too, St. Columba's by the Castle
Address Johnston Terrace
Reviewer Mairi Anderson Aug 17

Personals is a fast -moving entertaining show performed by a talented, enthusiastic group of students from Royal Holloway.

The writing makes this show a winner from the start. As you would expect from the writers of Friends, it is sharp, witty, thought-provoking and very funny. The pace doesn't slacken and there is plenty of variation on the theme of modern relationships.

It follows the standard format of dialogue and songs, but variation is added by having some continuing stories intertwined. One is a series of disastrous personal ad videos, another is a blossoming relationship between neighbours. Some are very imaginative as well as entertaining. Highlights must include the threesome with the cross dressing bisexual dwarf and the shy boy trying to learn love from a tape.

Annie Dickenson as the typesetter and Charles H.D.C. Farris as shy Louis both stood out in an above average company of nine. Annie has an outstanding voice and a stage presence which effortlessly draws the attention. Charles wins every heart in the audience with his portrayal of the shy young man. Natalie Gardner brings a freshness and vivacity to all of her roles.

Personals works well as pure entertainment but some of the musical numbers are also thought-provoking and add emotional depth to the story, in a similar style to Friends. In Imagine my Surprise Jane Thomas as Claire, takes us through the experience of coming to terms with the fact that we might not be perfect partners ourselves. In I Think You Should Know, Kirsty Malone as Kim explores the doubts and hurt that makes us put up defences, alienating ourselves from one another. Kirsty and Robert Coveney illustrate very movingly how simple connections can be and how we complicate them and think too much. They create an air of lost opportunity which is almost tangible.

The four-piece band are exceptionally good, particularly Natalie Dewar on reeds and David Barnes on drums. They achieve that rare knack of contributing in a way that substantially enhances the show without drowning out the dialogue.

Costumes too work well to add to the impact of the show. The company wear t-shirts with names and characteristics, similar to "personal ad" descriptions. It simultaneously helps to keep track of characters and highlights the lunacy of the ads. The many scene and prop changes in a very limited space are handled efficiently and the small stage is used to optimum effect.

This production by the Royal Holloway Music Theatre company is bright, witty and clever and the hardworking young cast deserve the accolades they received at the end of the show.

© Mairi Anderson. Published on www.edinbughguide.com

Run 15-30 August 18:.45 £9.50 (£8.50)