Sweat, alcohol, vomit, food, bars, haggis, Royal Mile,
friends, headaches, Alka Seltzer.
And shows.
Lots of shows.
Plays, musicals, comedians, monologues, duologues, orgies,
drag queens, transvestites, nudity, singing, lactating, posing, gurning, dancing,
shouting, crying, and a little bit of acting.
Yes – The Edinburgh
Festival 2017.
And what a marvellous few days it was.
I always think the best way to approach the festival is not
to have a plan. Choose a couple of shows you fancy, and then see what gets
recommended and which performer buys you a drink. It’s as much about
socialising as it is about sitting and staring.
However, my time was limited – and with only 3 days there
was only so much I could squeeze in. So I attempted a broad selection that covered
lots of genres – and most of it new material. And of course, I tracked down the
odd bit of nudity and nipple tassel action as well (it is the fringe after all,
dear).
Before going I tweeted that I wanted to see not only hit
theatre but shit theatre. And indeed I did. Some shits were so shitty they
didn’t even deserve the term shitty-shits. But in their own way they offered
something different and fun – (and squirming and embarrassing). For me part of
the joy of the Edinburgh festival is seeing the bad as well as the good (it
also gives a valid excuse to start drinking at 11am).
Anyway – to the hits:
The first hit I saw was the new musical SIX. A rip roaring, Tudor celebration of girl power, where Henry
VIII’s unfortunate wives state their case
- through song – about why they were the most poorly treated wife. Feistily
performed by a group of six young pop-starlets with the attitude and power of
the Spice Girls. Brilliant performances by all. Written by Toby Marlow and
Lucy Moss. Bravo.
Sweet Grassmarket -
Venue 18. Then ADC Theatre, Cambridge (11-14 October)
The next hit was THE
TOXIC AVENGER. Already seen by London audiences at the Southwark Playhouse
- this shortened version is a brilliant pastiche musical based on the eighties
B-Movie - where a man falls into a vat of toxic waste and becomes a green hero
monster. Nodding a firm head to shows like Rocky Horror and Little Shop of
Horrors this wonderfully silly, brilliantly funny show is spot on. Naughty,
rude, un-PC – with possibly the best vocals in Edinburgh. Don’t bother with
Elphaba and Shrek – this toxic monster is the best green character around. Soon
to be transferring to the Arts Theatre in London. Sure to be a cult hit.
Pleasance Courtyard
(venue 33). Then Arts Theatre London from 28 September to 3 December.
STOP the musical –
the Oxford University drama society’s show – deserves a huge future. Dealing
with the normality and reality of mental health; four strangers confront stories
of their struggles and success. Each character’s personal experience is
cleverly intertwined throughout the show – I was moved to tears. Solid, natural,
touching performances– with the most wonderful new musical writing voice I have
heard in a long time – Annabel Mutale Reed and Leo Munby. I found the whole
thing thrillingly moving, particularly the song where a lawyer sings about her
depressed husband and unborn child. A powerful piece. This show needs a future.
C South. Then 30
August to 2nd September at the Cockpit Theatre, London.
MENTAL– in this moving
one-man show, Kane Power explores his mother’s experience of Bipolar Disorder.
Using voice messages we hear Kane’s mother throughout – interspersed with live
music in this impressive, conversational performance. Kane underscores his
story with looped keyboard and guitar music – his distorting voice echoing the
medications and trials his mother has undergone. With a luminous graph we see
the extremes of Bipolar Disorder, aiding the touching memories Kane shares so
personally. A brave, personal solo piece
charting one man and his mother’s journey through a misunderstood illness.
Compelling.
Assembly Roxy.
Finally, THE REVLON
GIRL. Looking at the tragedy in 1966 when 116 children and 28 adults in the
welsh village of Aberfan were buried beneath colliery spill. I am still
recovering. The delicate subject is dealt with such pace and warmth – sudden
hilarity dwarfed by moments of extreme emotional pain. Masterfully written and
performed – the show has already enjoyed success in Wales and is going to The
Park Theatre in London soon for a limited run. This show is a must-see.
The plot is based on the true story of some bereaved Aberfan
mothers who secretly invited a Revlon sales rep to one of their weekly
meetings. The play deals with suffering, grief, and friendship - and is so cleverly structured, laying
histories of the events with brilliant comic moments before hitting with one
hell of an emotional punch. The best play I have seen in years. I do hope a
more permanent home in London is found for it. Theatre like this doesn’t come
around very often. Unmissable.
Assembly Roxy. Then
the Park Theatre London – 19th Sep to 14th Oct.
And they were my hits. I thought about writing about the
shits as well – but after consideration found it not to anyone’s advantage. Yes,
some work didn’t really work, but so what? –I can only share my heartfelt
admiration to all who took a show to Edinburgh. The festival is difficult. Some
people only see the popular shows, or hear the success stories. But Edinburgh
is far more than that. Most artists find it difficult. Desperately trying to
get an audience into their venue – competing with those with bigger marketing
budgets and well-known performers and companies. It is not for the faint
hearted. And this year I noticed some
changes. Not as many people were flyering – I think it may have become something
of a pointless exercise now. Social media seems to be the new calling card. So
instead of spending time flyering, spend more time designing show posters and
merchandise. They’re the things that get people in to begin with. Then it is
all word of mouth. It is worth mentioning that The Revlon Girl only had two posters up around Edinburgh – but
after the first couple of shows audiences talked, reviewers hyped, and it
quickly became a sell out. So the work speaks for itself.
However, if you found yourself in a smaller venue, with a bad
time slot, and were badly reviewed, all is not lost. You are an artist after
all – simply trying to spread your work and putting yourself out there is success
enough. I applaud each and every one of you. It takes guts and determination to
get a show on at the fringe – so please don’t be downhearted if your experience
was not what you envisaged. You have learnt. You’ll not make the same mistakes again
– you’ll make new ones. And all the shows you did will have made you grow as a
performer, and indeed your show will change as a result. Be proud of the fact
that you didn’t sit at home and moan about your lack of opportunities, or lack
of castings – you went out there and did something. You achieved something, and
made contacts, friends, and maybe lost a bit of money – but who cares? You’ve
got stories, experiences, and memories -
and if that’s not what art and the festival is all about then I don’t know what
is, dear.
