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| Edinburgh : A&E : Festivals : Fringe reviews |
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 Musicals & Opera |
Rating Guide None = Unmissable 
= UnwatchablePage number refers to the Fringe programme Terry Pratchett's Only You Can Save Mankind. (Page 124). Drams .
Venue Pleasance Courtyard (Venue 33). Address 60 The Pleasance. Reviewer Marisa de Andrade.
It seems that the day a cheese-free musical will grace our stages is further in the distance than this futuristic tale of aliens and mankind becoming one in a confusing, sci-fi kind of way. Johnny Maxwell is drawn into the dimensions of a computer game bearing the title of the play. There he becomes a stronger almost alien version himself. In this dreamlike world, he finds himself belting witty lyrics quite different from the timid conversation he usually makes. It is in this fantastical place of technology, where he meets a geeky girl that helps him in his quest to save mankind. They make a stunning pair, hitting each note of the foot-tapping songs with conviction. But their motivation for it all is a little suspect. As is the secondary plot, where a drug pushing teen faces a tragic end. It's all a bit sudden and only vaguely supplements the action, but is certainly moving. The stereotypical aliens complete with wiry headpieces seem just as haphazard as the chosen one's task. They could do with bigger budget. So could the set. Mind you, so could the festival! But, they're very entertaining and somewhat intriguing. You can't help indulge in the cosmic dreamlike fantasia before you. It's like being a part of a captivating cartoon animation that's about to come out on cable television. © Marisa de Andrade 10 August 2004 - Published on EdinburghGuide.com Runs 8-30 Aug, not 17 at 15.45. Company Broadhouse Productions.
Treadgold Street. (Page 125). Drams
– an enjoyable and experimental show. Venue Bedlam Theatre (Venue 49). Address 11b Bristo Place. Reviewer Sophie Lloyd. The Latymer Company bring to you a modern day Christmas Carol . An evening in the life of Henry Green and his trip down memory lane – or rather Treadgold Street. It is a touching theatrical production embracing film, dance and puppetry with some catchy songs thrown in. Henry of the past and the present take it in turns to narrate. Mel Smith puts in a guest appearance on film as Henry of the present reminiscing about his past self, whom Owen Findlay simultaneously plays on stage. During the course of the play, Henry pays visits to a string of ex-girlfriends learning that as “life goes on turning”, things and people change. This whole cast ensure the audience smile, think and empathise with the characters. Visuals combine well with the vocal elements in this show. The opening song, in particular, is cleverly choreographed with synchronised and mechanical movements. Additionally, puppets appear on stage - a symbolic and quirky touch, enhancing what we see as well as experimenting with movement. An otherwise simple set focuses on a door around which all the action takes place and upon which the film footage is projected. A door is symbolic of Henry’s life – his comings and goings and the ultimate passage from one stage of his life to another. It is an original and entertaining piece of theatre performed by a talented young company. ©Sophie Lloyd 5 August 2004 - Published on EdinburghGuide.com Runs 9-14, 16-18, 20-21 August at 14.00. Company – The Latymer Company. Company Website www.treadgoldstreet.com
3HREE (Page
125) European premiere
This venue is "soaked in atmosphere" according to
the Fringe Guide. Well, it's more of a grimy night-club and what has soaked
it is something you might not want to dwell on. The performance space is limited
and has no atmosphere in the sense of staging or scenery. But that matters
not at all to this talented and enthusiastic group of a dozen RSAMD students.
They make it seem like a West End stage, with a few props and costumes which
are basically a job lot of dungarees and boiler suits.
The threepenny opera (page 125) Drams Production by MATE Drama Workshop Cast Printed programme unavailable Music Kurt Weill Book and Lyrics Berthold Brecht (English translation by Marc Blitzstein) Musicians Printed programme unavailable Venue Sweet on the Royal Mile (Venue 39) Address Radisson SAS Hotel, 80 High St Reviewer Nick Scott As this was Mate Drama Workshop's first performance of their production of Kurt Weill's The Threepenny Opera, I suspect they had more than their fair share of teething problems. But this did not excuse the lack-lustre production; and with its clumsy staging, basic sets and performances to match - these did nothing to endear Weill's marvellous score to the uninitiated; and despite Marc Blitzstein's excellent translation, much of the play's impetus was lost. In the main, the singing hardly ever rose above the bar-room variety; and the "big-number" - Mack the Knife (which was the last song in the show) wasn't even worth the wait! The small ensemble of musicians (with some nice clarinet playing), did well under the circumstances to keep the vocal numbers together. Coupled with a hot and stuffy venue, it wasn't long before some members of the audience became restless, and began looking at their watches. I'm afraid this production has few redeeming qualities; and with no printed programme - and therefore no cast list - it made it impossible to give credit for the good things. Kurt Weill once said that there were only two kinds of music - good and bad. I presume he would have bracketed his own work in the former category - and rightly so; but after seeing this production, the unenlightened in the audience might understandably disagree. © Nick Scott 16th August 2004 Run 15 - 17 August (16:15); 18 August (10:15); 20 - 21 August (18:15)
Trial by jury (Page 125) Drams Presented by Edinburgh University Savoy Opera Group Cast Matthew Stanhope (The Judge); Karen Richmond (Angelina - The Plaintiff); Nick Clelland (Edwin - The Defendant); Lucinda Forth (Counsel for the Plaintiff); Andrew Edmonstone (Usher); Jonathan Wright (Foreman of the Jury). Chorus: Susi Barran; Louise Christopher; Kelly Forbes; Elina Gordon; Joshua Green; Elspeth Noble; Rachel Peter; Vinca Russell; Anthony Tomlinson; Lottie Satow; Alimay Wilson Music Arthur Sullivan Libretto W. S. Gilbert Musician Helen Bruce (piano) Musical Director Gavin Easton Co-Producers Allan Jardine and David Larking Co-Directors Alistair Braden and Kristiana Gotzsche Venue Bedlam Theatre (Venue 49) Address 11b Bristo Place Reviewer Nick Scott I didn't go to Edinburgh University Savoy Opera Group's performance of Gilbert and Sullivan's one act opera Trial by Jury expecting to see a 'traditional' production. Their interpretation of the plot is a novel one. The opera takes place in the country estate of a retired judge - and it is he who greets the audience as they enter the theatre. Enjoying a spot of fishing, he 'chats' to the audience - although it was directed mainly to the front two rows. At times, his ad-libbing was a little bit laboured, and I felt he wasn't entirely at ease in this role - although some of the audience seemed to enjoy it. 'Trial by Jury' has no overture; but for this production, Karen Richmond (who also played Angelina) has arranged one. It serves to 'set the scene', so to speak. That is, it accompanies a sort of 'play within a play', during which we learn of the events leading up to the trial, in which Edwin is being sued by Angelina in a breach of promise case. Step forward, the retired judge - who presides over a temporary court. Thereafter, the production adheres to the original score. Vocally, the performance was a bit of a 'curate's egg'; and some of the ensemble items could have been tighter. Helen Bruce, at the piano, did a sterling job - although, for the larger part of the show, the tempi were on the fast side. As a result, not only much of Gilbert's clever lines and references were missed; but some of Sullivan's subtle touches were lost as well - such as the Dilemma chorus. Marked 'Andante sostenuto', the composer wanted to give the music a mock-operatic feel and 'modelled' the chorus on one from Bellini's La Sonnambula. Taken too fast - the composer's intentions are lost. The Judge's patter song (When I good friends) was taken at breakneck speed - but here, Matthew Stanhope was more than a match for the brisk tempo. His excellent diction - apparent here and throughout the show - did 'justice' to Gilbert's witty libretto. There are a number of 'rough edges' in this production (and, at times, has a bit of an 'end of term' school production feel about it), which, I suspect, may be the result of the 'short rehearsal period' - as mentioned in the programme. However, the production is original and full of fresh ideas, which give the story a new slant. © Nick Scott. 24th August 2004. Published on www.edinburghguide.co.uk Run 9 - 14 August; 23 - 28 August (22.00)
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