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| Edinburgh : A&E : Festivals : Fringe Reviews |
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 Musicals & Opera |
Rating Guide
European Premiere Drams None Company Royal Scottish Academy of Music and Drama (RSAMD) Music Gary Schocker Lyrics Barbara Campbell Musical Director David Higham Director Donna Soto-Morettini Designer Ailsa J. Rendell Date 25 August 2005 Venue Augustines (venue 152) Address 41 George IV Bridge Reviewer Mairi Anderson
By using many of Hardy’s words and focusing on a simple telling of the story, the power of the emotions and their universality shines through. The main themes are that you reap what you sow and life changes constantly. In the opening sequence they sing of “the wheel of life turning on” and this theme runs through until echoed in the reprise at the close. The main character Bathsheba is brilliantly portrayed by Philippa Biggs who succeeds in expressing the complexity of the character of a strong woman living in a time when expectations of women were very different. Many of the issues feel remarkably current. She contemplates hiding her strength to be thought more acceptable and many of her difficulties come from the actions of weak men around her. Nick Phillips brings to the role of Mr Boldwood a wistfulness that is very moving and he has the best voice of the company. Jenna Dykes as Liddy and Natalie Toyne as Mrs Coogan create wonderfully warm, three dimensional characters that you really care about. Andrew Short brings out all the qualities of strength and goodness that make Gabriel Oak such a popular hero. The rest of the company all play their part to create a very believable fictional world and all of the voices blend well. Unusually for Hardy there is a happy ending, but a lot of sadness and death to get past before you get there! Costumes are beautiful, the sound and lighting are good and the quietly understated approach enhances our appreciation of the telling of this wonderful story. Any fan of the work of Thomas Hardy would enjoy this sensitive, perceptive interpretation of one of the best narratives ever written. Congratulations are due to this RSAMD company for bringing this beautiful theatrical experience to Fringe 2005. © Mairi Anderson. 26 August 2005. Published on www.edinburghguide.com Run now ended
Drams None Company Edinburgh Music Theatre Company Musical Director Paul Christie Musical Director for Fringe 05 Peter Horsfall Musical Arrangements Peter Horsfall, Neil Rutherford, Moray Nairn Artistic Director for Fringe 05 Chris J.S. Wilson Director of Movement: Sarah Henderson Narrative by Gio MacDonald based on the original script by Veronica Roberts Date 8 August Venue St. Andrew’s & St. George’s Church (Venue 111) Address 13 George Street Reviewer Mairi Anderson  This
is a well-crafted show, delivered enthusiastically by an excellent cast. Disney
classics old and new abound, mixed with less well-known material. Frequent changes
of pace and style hold the audience’s attention.The Edinburgh Music Theatre Company enjoy singing together and it shows. The style of the venue allows close contact with the audience and the warmth of their smiles plus their obvious enjoyment are infectious and uplifting. As a company they have a wonderfully harmonious sound which is enriched as it grows in volume. This is shown to particularly good effect in the “Silly Disney Medley” and The bare necessities. A highlight for me was the phenomenal build up of melodious sound during Seize the day. They really raised the roof! A similar effect for their finale, a medley from the Lion King, was a rousing and fitting end to the show. One of the best features of this company is that so many individual singers get to showcase their talent. There are many gifted soloists, but they support and complement each other and take pleasure in each other’s performance. Rachel Brown has a fantastic voice with a remarkable range. In The Second Star from the Right she sings with great sensitivity, while in the Lion King medley she demonstrates the full power of her voice. Scott Kenneway and Tony Hadden also both come into their own during that same number. Ellie Cooper, Clare Castell, Jane Liggat and Debbie Wake all shine throughout the show. In fact all soloists perform so well that it’s a pity there isn’t space to name them all. Another highlight for me was Hilary Paterson’s beautiful interpretation of When she loved me which moved me to tears. The company are well supported by a five piece band. Sound and costumes are good and they use the unusual stage space well. I would say that this show is more suitable for older children and adults. Some younger children expect Disney visuals and costumes. I would imagine it would be expensive or impossible to get those rights. For kids of more mature years, it is a thoroughly enjoyable evening which I’d heartily recommend. © Mairi Anderson. 9 August 2005. Published on www.edinburghguide.com See also www.edinburghtheatre.co.uk Run continues 9-11 August: 19.00 (1 hr) £8 (£7 conc.)
Goblin Market (Page 120)
There are a number of shows by various Youth Theatre companies on the Fringe. I am privileged to have had the opportunity to attend only three - admittedly a tiny sample of what's on offer - and what has impressed me most of all is the consistently high standard. None more so than Youth Music Theatre: UK's production of Goblin Market. The musical is based on Christina Rossetti's poem, Goblin Market - first
published in 1862 - and tells the tale of two sisters (Lizzie and Laura) who
are tempted to eat the succulent fruit of goblin men. Essentially, it is a tale
of morals; and as the story unfolds we become aware of its profound message
through the use of powerful symbolic imagery. Although the poem was originally
written in 1862, the message it conveys is just as relevant to present day society
as it was nearly 150 years ago. Rossetti's masterpiece is given a new lease
of life in this vividly stunning version by Youth Music Theatre: UK.
This innovative adaptation by Kath Burlinson with Conor Mitchell's wonderful and compelling score is truly in the style of what one would expect from modern musical theatre. And joy of joys: there was a live orchestra - the icing on the cake! It was so refreshing to hear the music played as originally intended by the composer. Goblin Market has all the prime ingredients - a magical fairy tale,
a wonderful musical score, and a superb cast who bring the story to life. It's
moralistic, symbolic - but above all, it's highly entertaining. Vocally, this
cast is robust - with ensemble numbers (such as the song Day by Day, Night
by Night and the excitingly powerful finale) that would put some West End
shows to shame! Cast Helen Batch (Aunt); Alana Kerr (Lizzie); Tara Wilcox (Laura); Sophie
Boyne (Jeanie); Sarah McVeigh (Clara); Elizabeth Rowe (Claire)
Musicians Jennifer Baillie; Elinor Browne; Rowan Foster; Becky Groves;
Zara Jealous, Helena Nicholls, Jodie Oliver; Helen Perry; Francesca Reich Run 5-7; 9-14; 16-21; 23-28 August (17.15)
Drams None Company American High School Theatre: Harrisonburg High School StageStreaks Producer / Director Stanley Swartz Choral Direction Bethany Houff Choreography Nancy Jo Parkin Conceived and originally directed by John-Michael Tebelak Music and New Lyrics for the original production by Stephen Schwartz Date Date the gig took place Venue Church Hill Theatre (venue 137) Address Morningside Road Reviewer Mairi Anderson This wonderful production of Godspell by Harrisonburg High School StageStreaks is by far the most innovative and imaginative version I have ever seen. As well as delivering a first class interpretation of the classic show, this is chock full of fantastic stage techniques, stunning visual effects, contemporary references and well-written original material. It is obvious that this is a special show right from the opening sequence. Darkness is broken by an array of tiny coloured lights and the words of philosophers and other men of wisdom are used to set the scene. Another scene uses shadow figures behind a back lit sheet to bring out the dramatic effect. Even the orchestra pit space is cleverly adapted to be the location of the burial and resurrection. Everyone is drawn into the performing space by an impromptu game of volleyball and when cast members move through the auditorium fluttering a light cloth just over the heads of the audience. The removal of intricately painted half masks beautifully illustrates the movement from masquerade to reality and in Light of the World ultra violet light and white gloves create a captivating and enigmatic visual effect. The biblical message is brought up to date by references to J.K. Rowling, Elvis as the King and the use of the format of Who wants to be a millionaire. Rap and hip-hop are cleverly integrated into the choreography. All of the young cast are excellent and very supportive of each other. Geoff Skelley in the dual roles of John the Baptist and Judas is strong vocally, moves well and has a natural charisma. Drew Sease has that laconic, flowing ease of movement and individual style which makes him a joy to watch. Jenny Ferguson is the strongest vocally and Anika Swartz has a gentleness to her presence and voice which comes into its own in By My Side. Nathan Medley gives a good performance as Jesus but I feel he falls into the common error of separating the leadership of Jesus from the gentleness. Very few in this role succeed in conveying that the strength evolves from the gentleness. Sound is excellent, costumes simple, but sets, lighting and general stage craft are pure genius. This is an innovative, captivating, uplifting piece of work – creative theatre at its best. © Mairi Anderson. 25 August 2005. Publishe on www.edinburghguide.com Run ended
Hot Mikado (Page 120)
This is local amateur musical talent at its best, and it is very, very good.
Tempo have regularly done a competent one-week Fringe show with much the same
production team and performers, but this beats all their previous ventures.
All parts of the production work beautifully: stylish costumes, set and lighting;
well drilled choreography on a first night; polished production and ensemble
numbers in a limited space; tight 6-piece band; convincing swing, scat and blues
singing; and energetic singing and acting from everyone.
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