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Review: Edinburgh Fringe 2016

1st September 2016 | Theatre

Review: Edinburgh Fringe 2016

As a first time Fringe festival-goer, my expectations for the weekend were high but unfounded, so I boarded my 9.30am bus (which actually turned out to be 9.50am because it’s always too much to ask that public transport runs on time) at Victoria Coach Station on the 19th of August and embarked on an 11-hour ride to the capital of Scotland for what could have been a really terrible time.

Luckily for me though, it honestly turned out to be an amazing experience filled with laughs, tears, a lot of rain and even more tears.

It was an experience that I want to relive next year, and the year after, and maybe even the year after that. I saw such a fantastic variety of arts and performance across the weekend it’s difficult to pin-point any highlights but, having said this, there were a couple of pieces that really stuck with me, for good reason, that I’d recommend seeing if you want a good cry. So, here we go, why did I cry so much at Edinburgh Fringe Festival 2016?


Firstly, something that made me cry with laughter. Comedy quintet, THE NOISE NEXT DOOR, returned to the Fringe for their sixth year in a row, bringing with them quick wit, a lot of energy and some serious talent to create hour after hour of unpredictable and fresh improvised comedy. These boys also brought with them a strong work ethic as they were doing two shows on each performing day, the most popular of these, and therefore the one which had sadly sold-out across the weekend, being the more explicit, adult evening COMEDY LOCK-IN at Venue 33, Pleasance Courtyard. But, on a positive note, I managed to steal a seat for their family-friendly REALLY, REALLY GOOD AFTERNOON…

Interview with Marilyn Cutts

20th May 2016 | Theatre

Interview with Marilyn Cutts

Funny Girl has returned to London's West End for the first time in 50 years.

With Sheridan Smith in the lead role as Fanny Brice, the show features some of the most iconic songs and film and theatre history to help tell the story of Fanny, whose vocal talents and comedic ability saw her rise from Brooklyn singer to Broadway star, and her relationship with gambler Nicky Arnstein (played by Darius Campbell).

Marilyn Cutts plays the role of Mrs Brice (Fanny's mother) and, as one of the funding members of smash hit musical Fascinating Aida, has travelled thousands of miles (and Olivier award nominations) to get to this point.

She has also played at the National Theatre and for the Royal Shakespeare Company, including performing in Regent’s Park Open Air Theatre with the award winning Into the Woods.


James Gilmore interviewed Marilyn Cutts about her past experiences in theatre, performing alongside Sheridan Smith and all about Funny Girl.

Broadcasted worldwide on W!ZARD Radio Station.

James Gilmore interviews Marilyn Cutts

James Gilmore interviews Marilyn Cutts about her past experiences in theatre, performing alongside Sheridan Smith and all about Funny Girl.

 

Review: Deathwatch

20th May 2016 | Theatre

Review: Deathwatch

Question: what do you get when you combine absurdism, a cast with three recent drama schools gradates in it and a veteran director? Answer: confused.

Green Eyes is a murderer. Lefranc wants to be a murderer. Maurice wants to be Green Eyes’ best friend. Green Eyes is going to be executed. These are the parameters in which Geraldine Alexander’s production of Jean Genet’s Deathwatch happens. Genet, who spent some time incarcerated himself, studies the absurdity of enforced male proximity, and how the confines of the prison become the entire world to some. There is also an interesting point made of society’s morbid fasciation with murder (which if you deny we have, just look at any of ITV 3 daytime schedule), and the kind of celebrity status that people can achieve through it.

All three actors are excellent, especially when you consider they are mostly recent drama school graduates. Tom Varey is mesmerising as Green Eyes. His physicality and strength as this prison big dog fits the character perfectly. Danny Lee Wynter (the only actor that you could really call a veteran) plays a very delicate Lefranc fighting for dominance in the world of the cell. Joseph Quinn’s Maurice is the least impressive out of the main three. However, this is mostly due to the writing of the character, who has a lot less of a journey, and so is unable to shine as much as the other two.

Physical theatre is another area where the production really stands out. Tom Varey is especially impressive to watch, with his description of his crime combined with a dream-like dance sequence being uncomfortably beautiful.

However, is one main area that makes this show less attractive; as with most absurdism, it is very confusing. The show sees to stumble over…