Theatre

Review: Power Ballad Rating 75%

Review: Power Ballad

After hearing about the reception Working On My Night Moves received at the Fringe this year, I thought it time I checked out Zanetti Productions work. Their previous Fringe show Power Ballad was being performed at the Tron and this was a prime opportunity to witness some improv-noise, stand-up and feminist lecture combined, which has varied reactions and a whole plethora of emotive responses.

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Review: Right In The Eye – Live Movie-Concert of Georges Méliès’ Films, Fringe 2019 Rating 80%

Review: Right In The Eye – Live Movie-Concert of Georges Méliès’ Films, Fringe 2019

Entering the dimly lit, black-curtained performance room with its ceiling muffled in rococo stone roses and pomegranates in Edinburgh’s French Institute feels like creeping into an old jewellery box to escape the Fringe’s buzz. But the performance that is about to take place is everything but dusty: French multi-instrumentalist Jean-François Alcoléa’s musical brainchild Right in the Eye, a live concert designed as a soundtrack to a series of silent films by the father of special effects, Georges Méliès, is an exuberant mixed-media feast full of experimental verve.

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Review: Rite of Spring, EIF 2019 Rating 85%

Review: Rite of Spring, EIF 2019

Picture this scene on stage: framed by an outsized, futuristic half-moon bowl in the background, a male dancer sneaks up to a woman lying on the floor. He grabs her by the crotch to lift her up, whereupon they change positions and she starts walking across his chest until she can arrange herself into a cross-legged posture on his outstretched hands and feet. It’s a somewhat feral mating act that feels all the more absurd through the painful-to-watch slow-motion of its movements. Odd sound effects like an infant’s hiccup or jungle whispers blend together, supported by the subdued lighting and thin smoke crawling across the stage. Completely undisturbed by this nightmarish scenario, a Buddhist monk in a deep-red robe keeps arranging masses of watermelon-sized Chinese characters into a circle.

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Review: Cadaver Synod, Fringe 2019 Rating 85%

Review: Cadaver Synod, Fringe 2019

Cadaver Synod tells the story of the posthumous trial of Pope Formosus, who reigned in Rome from 891 to 896 AD – and who was ignominiously dug up nine months after his death, to be put on trial for perjury by Stephen VI, his successor’s successor. The production (Robin Osman director, Reality Funds Theatre) begins right in the thick of things, opening on a conversation between Stephen and Ageltrude, Queen of Italy (played with a self-assured arrogance by Andrea Linhova, who is utterly convincing in the role) – where the idea for the synod is hit upon.

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Review: BoxedIn Theatre Presents – The Voices We Hear, Fringe 2019 Rating 50%

Review: BoxedIn Theatre Presents – The Voices We Hear, Fringe 2019

The Greenhouse by BoxedIn Theatre is one of the few site-specific pop-ups at this year’s Fringe – and what an inspired one it is. Made completely from recycled materials, it’s a large wooden shack, with a clear corrugated roof, one dim Edison bulb for light and bench seating in the round. Built in the grounds of Dynamic Earth, it houses a range of plays about climate change. It’s contemporary, forward-thinking and ethical theatre

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Lizzy Shakespeare: Kill The Princess is an exploration of gender through the lens of fairytale archetypes

What happens when the glass slipper doesn’t fit? Is it time to put a bullet in the princess’ head? In a savagely playful subversion of identity, Lecoq/LISPA-trained clowns, poets and storytellers Lizzy Shakespeare and Michelle Madsen upend beliefs and expectations in a fantastic game, using clown, spoken word and live art to create a genre-defying work which teases and provokes. Kill The Princess is at the Fringe for the month of August, The Fountain caught up with Lizzy to tell us more about the show.

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Ambika Mod: Within this main narrative we weave in and out of tight, witty sketches which range from observational to a bit more absurd

Former stars of the multi award-winning Durham Revue, and future Fringe legends Andrew and Ambika present a new sketch show, complete with séance. From dying onstage to straight-up dying, this is how two friends fill their time whilst waiting for the dead to arrive. From winners of the Derek Award for Best Sketch Show at the Edinburgh Fringe 2016 and 2017, Children of the Quorn™ is in Edinburgh for the month of August. The Fountain caught up with Ambika about the show.

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Kit Redstone: I wanted to make a show where I staged three of my most dominant alter personalities

A dark comedy about the epic battles and alliances within the psyche and the beautiful power of the mind to protect itself from pain. Max wants to tell you a story, he’s not sure why or even who he is; savage, peacekeeper or critic. But he’s hoping you’ll be able to help. From award-winning writer Kit Redstone, writer of Testosterone, who spoke with The Fountain about his Fringe show, Passengers.

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Scott Kyle: This show combines both and celebrates the men and women who sacrificed so much

1914. Edinburgh’s Heart of Midlothian Football Club have won nineteen matches and are on the brink of winning the League Championship. In a show of extraordinary camaraderie and courage, thirteen players enlist to serve in McCrae’s Battalion. This is their story: an evocative, atmospheric and dramatic journey through Tynecastle Park Stadium in a unique, immersive, site-specific performance. Scott Kyle spoke with The Fountain about A War of Two Halves.

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