UNDERDOG REVIEWS

Cohort of young (and fabulous) theatre reviewers across the UK. 🖋 

[underdogreviews]

FOLLIES, NATIONAL THEATRE, ★★★★★

The National Theatre presents spellbinding revival of James Goldman and Stephen Sondheim’s ‘Follies’, directed by Dominic Cooke. The phrase ‘follies’ derives from producer Florenz Ziegfields’ glamorous revues on Broadway during the early 20th century in which beautiful, young American women were invited to perform in glitzy and skimpy costumes. The legendary Ziegfield is directly present in Goldman’s piece, within the character of old-time producer Dimitri Weismann(Gary Raymond). Now 1971, the Weismann Theatre in New York City is being demolished to make room for office buildings, however one final drama is to be played out before the dilapidated theatre becomes yet another faded memory of the golden times. A stream of beautiful women saunter down the stairs as the original follies reunite for an evening of song, stories and unexpected (or perhaps not) revelations. ​Ever-present proud ghosts of the past dress in exquisitely detailed costumes designed, sourced and crafted on-site by a large and highly talented costume team. The young characters watch their futures play out intently as they ponder the path they chose to walk and the opportunities that may have been missed. Through Sondheim’s conversational music, the story focuses on old friends Sally(Imelda Staunton) and Phyllis (Janie Dee) and their husbands Buddy (Peter Forbes) and Ben (Philip Quast) as they revel in the glory days of dancing at Tony’s and courting one another, yet things turn bitter as a tortured and somewhat deluded Sally announces her long-term love for Ben. Each of the principal actors provide stellar performances in their roles as the drama culminates to a stand-off that would please the gods and erupts into the surreal chaos of ‘Buddy’s Folly’, which is quite literally a choreographed panic attack. Sally’s Folly is a much more tender affair, in which Staunton delivers a hypnotic rendition of ‘Losing My Mind’. Additional stand out performances come from Tracie Bennett as Carlotta Campion. Bennett is just a queen, I don’t really have much more to say on that. Zizi Strallen performs gloriously as a Young Phyllis and Jordan Shaw shines in the ensemble. It is particularly interesting watching this piece with the naivety of a ‘young folly’, as I find myself questioning ‘Why can’t they just do what they want; run away, divorce, marry? Why does age matter?’, but as I watch the older tear-stained couples leave the Olivier Theatre clutching one another I understand that there are some moments within this piece that I just couldn’t possibly comprehend yet. Spectacular in every sense, you must get tickets for this musical. Alas, if you can't make it to the performance, Follies will be broadcast by NT Live to cinemas in the UK and internationally on Thursday 16 November. - Faye Butler

[underdogreviews]

WAITING FOR GODOT,  ARTS THEATRE, ★★★★☆

Two homeless men occupy a space. They aren’t going anywhere. In fact, it seems that the only other two things on stage, a skeletal tree and an inert rock, are more likely to move on from this place than these two clowns. It’s been over 60 years since Samuel Beckett’s most famous work premiered at this very venue, The Arts Theatre, and its two protagonists, Vladimir and Estragon, are still waiting. They always will be. What are they waiting for? Well, in a particularly aggressive case of using the name of the play as dialogue, we are repeatedly reminded that they are, of course, Waiting For Godot. This is an immensely watchable production of a play that essentially asks you to sit back for over two hours and be told that life is meaningless, we’re all already dead and any meaning we do find in life is just self-deceit. If you aren’t in the right mood, or already spend enough time thinking existentially when you’re trying to get to sleep at night, it may be a little overwhelming. But you’ll also find joy in this production. There’s joy in the playful friendship between Vladimir and Estragan, played with a kind of goofy dignity by Nick Devlin and Patrick O’Donnell. It’s a friendship that can at one moment remind us of the unifying power of shared storytelling, and the next of the horrific habitual compulsions that feed toxic relationships. There’s joy in Paul Kealyn’s performance as Pozzo, whose ferocious energy and unpredictable emotions have us laughing shamefully at his disgusting treatment of slave Lucky (Paul Elliot). There’s even joy in the simple but quite beautiful way that the projected backdrop changes from day to night, as suddenly and as subtly as it can in real life. While the bizarre synchronized mannerisms of the characters often illuminate and amuse, they occasionally seem too choreographed. Also, in the second half the nihilism is really hammered home with a monologue that overtly says what has been so brilliantly portrayed through action so far. However, the religious angle of this very interpretable text (or the ‘God’ in ‘Godot’) is deliciously underplayed and there’s great fun had in the chaotic, farcical clowning that develops when Pozzo and Lucky join our two companions in the void. These characters are so recognisably human and yet so distinctly other, it’s a pleasure and a riddle to watch them interact. Leaving the theatre I was reminded of the feeling of coming up for air after being immersed in an intense binge watch of Game of Thrones. Undeniably what I’ve just watched is of high quality, I understand the hype, but did I really need to see how life has no value in so many different ways? Ah well, it passed the time. - Henry Gleaden

[underdogreviews]

THE KITE RUNNER - NOTTINGHAM PLAYHOUSE, ★★★★☆

Direct from London’s West End, the adaptation of Khaled Hosseini’s international best-selling novel The Kite Runner is currently embarking on a UK Tour. US playwright Matthew Spangler’s adaptation is not flashy and does a brilliant job in getting the story out there in two and half hours. Director Giles Croft has produced a crisp piece that moves with great pace, but also remains stripped back and restrained, it’s only constant and ornament is the continual presence of tabla player Hanif Khan. His authentic soundscape emphasises the story and it’s many twists and turns. The addition of the ensemble and a soundtrack in areas was effective and helped to move the story through.

The story is a haunting and powerful tale of a friendship which stretches over cultures and continents in a stunning stage production. Set in Afghanistan, a country divided and on the verge of war, two childhood friends face being torn apart. A beautiful afternoon in Kabul, with the skies full of excitement and joy at a kite flying tournament soon becomes an afternoon that neither Hassan or Amir can foresee becoming a day that is etched on both of their memories forever. An incident that shatters both their friendships and their lives forever.

Amir (David Ahmad) leads the cast as both the narrator and Amir, throughout the production he transitions between these two roles with ease. From becoming the young Amir, full of play and passion towards his interest in creative writing, to the man who is haunted by one afternoon in Kabul. He is undoubtedly the main thread of the production and expertly draws you into the events of the story.  Watching the character of Hassan/Sohrab (Andrei Costin) bring the audience into his timid and obeying character is a solid display of characterisation. Playing a boy who says very little is tough but you’ll see that what he doesn’t say he makes up for in his physicality. It’s hard not to be moved by his own difficult story of how he’s betrayed by the one person he calls “the best friend he has ever had”.

The supporting cast multirole, shifting into various characters who are impacted by or set down the foundations of both the events before, during and after. Performances from Ravi Ajula, Emilio Doorgasingh and Bhavin Bhatt to name a few are some of the most emotive, powerful acting presences I have seen on this stage in a while. The production is compassionate towards the topic of asylum seekers and Afghanistan history, providing a great essence of education too. The only real downfall in the entire production is the tempo of the second act, it lacks an engaging quality prevalent in the first act.  Although convinced the story would move me to tears, I instead felt the hairs on my arms stand on end as the piece builds and the entire cast fill the stage, each bringing a instrument until a switch brings us into darkness. The Kite Runner is must-see, especially if you’re a fan of the much loved novel! - Emmie-Hope Newitt

[underdogreviews]

ADAM & EVE, JACK STUDIO THEATRE, ★★★☆☆

Engaging three man play by Tim Cook tells the story of newlyweds Adam(Christopher Adams) & Eve (Jeannie Dickinson) who move to the countryside, leaving the city behind for good. They buy a house, begin a family and live happily ever after... But when Adam is suspended from his job as an English teacher and accusations are made by one of his pupils, Nikki (Anuschka Rapp), the couple are forced to question how well they really know each other. Directed by Paul Macauley and written by Tim Cook, the play is topical to the age we live in; having to show political correctness towards everything. The wit is quick and terrifically well rehearsed, leaving the small audience intensely silent when witnessing believable arguments between the couple. The hour long piece could contrast this by slowing down at points, to show the anxiety of the suffocating situation the 'high school sweethearts' are going through. However, it flows like a gorgeous wine and there are no points of nothingness. It begins in a non linear fashion, and a tremendous sense of 'did he do it? Or did he not?' culminates throughout, such as when Eve reads the text messages that allegedly rallied back and forth between Adam and Nikki and doesn't mention who said what, until the final twist. The connection between Adams, who studied at RADA, and Dickinson, Exeter University, is remarkable and they play off each other incredibly well. Rapp, Brit School for Performing Arts, finds joy in toying with both of them, hiding behind her innocent yet deceitful side. Though the set consists of just three boxes, moved around between scenes to create new locations, the piece is simple and clear and the music, which sounds slightly TRON-esque, captures the eerie essence of the play. The play has many interesting moments and is a successful display from Broken Silence theatre. - Alex Grainger

[underdogreviews]

[national-theatre]

Oslo: A Beginner’s Guide

The artwork for Oslo, which is currently in rehearsals here at the NT.

So, what’s Oslo about?

It’s about back-channel talks that happened between the Israeli government and the Palestine Liberation Organisation (PLO) in the 1990s.

But it’s named after the capital of Norway?

It is. That’s where they took place. Two of the principal characters in the play are Norwegian diplomats Mona Juul and Terje Rød-Larsen, who were instrumental in making the discussions happen. (They’re also husband and wife.)

The agreements that stemmed from the talks are called the Oslo Peace Accords.

Interesting. So, why were they getting involved?

To explain that we need a bit of background. Attempts had been made to broker peace in the past, but at no point had there been direct negotiation between Israel and the PLO. Perhaps the closest predecessor were the 1978 Camp David Accords between Israel and Egypt, which included a ‘Framework for Peace in the Middle East’, but this was condemned by the UN, as it had no PLO involvement.

In the late 80s/early 90s, Terje Rød-Larsen was director of the Fafo Foundation, which was interested in international peace research, particularly in the Middle East. One of his studies looked into living conditions in the West Bank, Gaza and Eastern Jerusalem, all key areas in the Israel-Palestine conflict. His wife, Mona Juul, had contacts high in the Norwegian government, particularly with the foreign minister, Johan Jørgen Holst. Their unique selection of contacts meant that they could help facilitate communication between Israel and the PLO, with Norway as a guarantor.

So what did they do, exactly?

They acted as intermediaries. Part of this was done in public, but much of it happened in secret. While other talks were happening – and getting nowhere – Juul and Larsen were organising unofficial conversations between two parties that, beforehand, had failed to recognise each other’s existence.

I’ve never heard about that before.

That’s what secret means. Much of their work remained that way until it was written about in Oslo. The director, Barlett Sher, is a friend of Larsen and introduced him to playwright J. T. Rogers, who was interested in the ‘back-channel’ communications.

What were the outcomes of the communications they set up? There still isn’t peace in the region.

There isn’t, no, but they did make some progress.

In 1993, Israel and Palestine signed the Declaration of Principles on Interim Self-Government Arrangements, known as Oslo I. This, among other things, included the partial withdrawal of Israeli forces from the West Bank. The later ‘Interim Agreement on the West Bank and the Gaza Strip’ (Oslo II) established a Palestinian interim government and divided the West Bank into areas, under differing levels of Israeli and Palestinian control.

The most famous outcome of their work is a handshake between Israeli Prime Minister Yitzhak Rabin and the PLO’s Yasser Arafat on the lawn of the White House, on signing Oslo I in 1993. As part of the agreement, the PLO recognised the right of the State of Israel to exist in peace and security, while Israel recognised the PLO as the representative of the Palestinian people.

The agreements in the Oslo Accords were temporary, though, and there were several points of contention still to be debated, including Jerusalem, Israeli settlements, military locations and the right of Palestinians to return. Peace talks broke down, ending in 2000’s Second Intifada, a period of intensified violence.

And what’s happened since then?

There have been several attempts at peace talks – the latest attempt started in 2013 and ended in 2014. Unfortunately, they haven’t been successful.

Terje Rød-Larsen is now president of the International Peace Institute, which is next door to the UN in New York. Mona Juul is now Norwegian ambassador to the UK.

Mona Juul will be giving a talk at the NT about her involvement in the negotiations, which you can click here to learn more about. You can find out more about the play here.

[national-theatre]

The Majority: Author’s Note

by Rob Drummond

This director’s note was originally published as part of The Majority play script by Rob Drummond, Bloomsbury Methuen Drama, 2017. 

The play’s run comes to an end on Monday. Before it closes, we’re taking a look back to a time before rehearsals even started, in the words of the writer, and sole member of the cast, Rob Drummond.

Rob Drummond in The Majority. Photo by Ellie Kurttz.

It is always a tough task to put down in words the plays in which I perform. Publishers’ deadlines dictate that the version of the script you are reading now is the version that existed going into rehearsals. It is complete. It is considered. It works. But it will undoubtedly be very different to the play that audiences will see.

We simply don’t know, until we try this material out in front of our rehearsal audiences, what will remain and what will change. They will have the chance to play with our voting pads and influence the shape and content of the show itself. In past shows entire sections have disappeared, the word count has been decimated and new endings written on the fly. But please don’t feel short changed because the version you’re reading, believe me, is far from an incomplete, rushed or half-baked version.

I started work on this play three years ago as a reaction to the Scottish independence referendum of 2014 and it has gone through more drafts than any play I have ever worked on, largely because the world kept changing, rendering entire drafts either redundant or dated. I am writing this note now, in the wake of the Manchester Arena bombing, in a world that is not only trying to work out what to do about this growing problem, but also what the nature of the problem even is.

If the writing of a script is a discussion between the author and the world, then rewriting is that author being intellectually honest in their quest to discover the truth of what they are striving to say. Similarly, it seems to me the only way to approach political or social problems is by continually talking in an open, honest and non-precious way, tearing up old ideas that no longer fit and accepting that, in lieu of a perfect solution, there should always be ongoing dialogue, ongoing improvement. Unfortunately we are currently experiencing a crisis in dialogue and the death of nuance, as far right and far left voices scream across the void at each other in a kind of vitriol vs virtue signal battle for the ages.

This play is about ideas. How do we communicate our ideas effectively? How do we best decide what is right? And what happens when 49% of us disagree?

The Majority is playing in the Dorfman Theatre until Monday. Click here for more information and tickets.

[theglobelondon-blog]

[underdogreviews]

FLASHDANCE THE MUSICAL, KINGS THEATRE GLASGOW, ★★★★☆

Get your legwarmers on, we’re going on a date with the eighties. Much pleasure can be gained in losing oneself in the shell suits, lycra and bouncy electronic beats of Flashdance the Musical. Based on the major motion picture Flashdance, this story of passion, loss and reaching for stars sees Alex Owen, a welder by day and dancer by night, fight her way into prestigious dance school Shipley Academy. Directed by theatre veteran Hannah Chissick, the UK tour of Flashdance the Musical has Strictly Come Dancing extraordinaire Joanne Clifton as leading lady Alex. Predictably, Clifton moves with the precision and vigour of someone at the top of her game. Unpredictably, her husky, powerful vocals show the range and control of seasoned triple threat. Joanne Clifton is a force of nature. ‘Dancing like she’s never danced before’ is a colossal understatement as Clifton performs with a thirst to entertain and charm the audience. Love interest Nick Hurley (former pop star Ben Adams), finds preference in a pop-style falsetto as opposed to a traditional musical theatre belt and when harmonising together, the two are songbirds with voices intertwining sweetly. Choreographed by Matt Cole, the sharp routines are neat with daring lifts executed spotlessly. Elements of contemporary choreography spring up throughout, which aids the relevance and vitality of the piece. The young ensemble are fresh from the womb of drama school, with an abundance of energy and a strong urge to be the next best thing. Owen’s gal pal trio provide excellent individual performances with soulful Sia Dauda as KiKi, striking Demmileigh Foster as Tess and sweet Hollie-Ann Loweas Gloria. Although admirable individually, the gel of the ensemble is effected with performers sticking out noticeably. Warm and witty Carol Ball as guardian angel Hannah states there are ‘no small parts, only small people’ which particularly resonates with her care assistant Louise, played by vivacious Sasha Latoya. ​Designed by Takis, the projected backdrops did the trick but lacked a certain depth, much like opting for CGI in films - one misses the practical effects that provide detail and authenticity. Simple primary colours are prominent in the costuming and lighting of the piece, with double denim, funky sweatbands and yellow tracksuits parading the stage; immediately transporting us to the eighties where the perms were as tight as the leather. With mould-breaking musicals such as Hamiltonand London Road hitting (particularly) younger audiences with intelligent, stimulating and experimental work; I fear the time for sentimental musicals may be passing. Alas, not just yet. The corny, romantic writing ensures the musical is as carefree as one hopes for when watching a nostalgic, feel-good musical. - Faye Butler

[underdogreviews]

HUMAN, MOORS BAR - CAMDEN FRINGE, ★★★½

‘Every corner we turn we are bombarded by ideals, but what is the real ideal, the real deal?’ Hooked Theatre explore the world of social media and the effects it has on some young women in the modern day with a warped sense of beauty and life ideals. A highly relatable ‘I feel really lost without wifi’ blurs through the speakers as we hear a montage of old and young voices discussing life in the age of social media – a world plagued with last nights club photos, ‘stunting’ (a word used to describe a person who is showing off or trying to get attention by performing an elaborate act or stunt and being someone they aren't) and horrendous tinder chat up lines. ​Brooke Jones and Holly Kellingray are relaxed and confident, especially during their snappy dialogue spoken in unison. Using only a stage box and a projection phone screen, the two briefly run through the history of the internet with intriguing and terrifying facts, (who knew more people owned a phone than a toothbrush?) and quick lessons in how to take the perfectselfie. The performers utilise Moors Bar well by showing a quick snapshot of a ‘messy’ night out as they take snaps with the audience and drink shots off the bar. ​The naturalistic storyline of sisters Piper and Polly feels out of place when juxtaposed with the high energy and laugh out loud sketches. With the unnecessarily harsh Polly and sugary-sweet Piper, one is unsure whether specific characters are even needed when the sketches are so enjoyable on their own. The spoken word elements within the piece are the strongest, with both hilarious and hard hitting verses discussing sensitive topics. After the piece, the actors briefly discuss the importance of the ‘Ask Angela’ scheme, in which one can ask a bar member to help in awkward and frightening situations by simply asking for ‘Angela’ at the bar. (More info on that can be found here: www.bbc.co.uk/news/uk-37855009) – Faye Butler

[underdogreviews]

BLUE STOCKINGS, THE YARD,★★★★☆

The National Youth Theatre’s production of Blue Stockings, as part of their current East End Season at The Yard Theatre is a deeply frustrating biopic accounting the struggle against the patriarchal education system in Girton College, Cambridge, 1896. A group of four young women passionately set out to quench their thirst for education and equality, despite fervent prejudice from their male counterparts and lecturers. Maeve, Celia, Tess and Carolyn remain resilient and resist against the, what now seems very juvenile, jibes from men whom have far more opportunity. The play highlights a gross injustice in the history of gender equality. This is particularly menacing in the opening in which Dr Maudsley makes clear his opinions on woman's 'neglect for the maternity' as an act against nature, whilst only addressing the gentlemen in the audience. This sets a hostile tone for the piece, foreshadowing a bitter exchange between Maudsley and the more outspoken Tess - actors Dajay Brown and Mischa Jones capture the utter frustration felt by Tess not being able to challenge the horrendously sexist lecturer. The other male undergraduates Lloyd, Edwards and Holmes consistently patronise and belittle the new female students, which for men of such high thinking paints a childish and resentful image. However, despite the hostility they faced, the girls unbridled joy for learning and furthering their minds is immensely empowering. The actors speak with an honest passion for their learning (a notable trope of the Youth Theatre) and expertly showcase the youthful resilience and hope, even when facing such viscious adversity. Simran Hunjun as Maeve brings a vibrancy to her character, whilst Amy Parker and Laura Trosserbring notable gravitas and wisdom, superseding their years as performers. Leo Flanagan playing Mr Banks portrays the eccentric professor who offers a welcoming warm male presence within a torrent of patriarchal injustice. The pacing of the piece, at times, sags due to detail within the writing which on occasion gets the better of the actors. However there is never a lack of enthusiasm and the text is well understood by the youthful cast. The hostility faced by these girls is truly haunting when considering the state of equality in education that is expected in 21st century Britain. As noted by Director Alice Knight, there is a danger these inequalities are still close to the surface of contemporary Britain. Knight’sproduction very skilfully shows the macro political reforms of the time and the domestic micro struggles faced by these women daily. This extenuates the unjust struggles these brave women push through, and makes for an empowering theatrical lesson. - Patrick Riley

[underdogreviews]

KING LEAR, SHAKESPEARE'S GLOBE, ★★★★½

Simplicity is key with this diverse production of King Lear and despite the dirty white aesthetics, the piece is brimming with colour. Kevin R McNallyplays a sharp, nasty Lear complete with an overly neat white beard. In an attempt to gain affirmation from his daughters, who are passively thrown around like ragdolls, Lear discovers his youngest daughter Cordelia - warm and playful Anjana Vasan - loves him merely ‘according to my bond; nor more nor less'. Lear, distraught at her lack of devotion, ridicules and tears the clothes (literally) off her back, much to her gaudy sisters’ delight. Sirine Saba plays watchful Regan who, dressed in brilliantly unnecessary fur, bleeds passion and jealousy. Emily Bruni as spoilt sister Goneril hides behind a demure façade in silver and nude shades, yet the glittered edges and low cut neckline betray her to her greedy and false truth. Bruni’s voice is rich and unique, with a definite villainous quality to it. Assistance for Cordelia comes in the form of a loyal Lady of Kent (Saskia Reeves), who protests that Lear is too harsh. Much to her dismay, she is flippantly banished to exile along with Cordelia. Reeves particularly aids the flow of the text throughout the piece, as the actors speak with a relaxed reverence ensuring the language feels familiar and fathomable. In an attempt to disguise herself from her former master, Kent transforms into a hilarious Delboy-esque geezer. Reeves delivers her lines with as much emotive freedom as wit, proving her to be quite the show-stealer. Set loosely like a junkyard, the stage is bare besides minimal metal poles and white tarpaulin. Self-righteous bastard-born Edmund (Ralph Davis) watches from the scaffolding like a vulture, ready to feast on a world he believes to rightly be his. Edmund's legitimate yet sheepish brother Edgar (Joshua James) begins the piece as a socially awkward dweeb, only to find confidence in his madness and blossom into a hard-core and believable warrior by Act Two. As the action unfolds, the ensemble keep the ebb and flow of movement buzzing with their constant presence and focus. The night grows dark, and so does the play. Epic drums on stage mark the beginning of an immense storm and Lear, aware of his madness looming, ‘my wits begin to turn’, huffs and puffs and curses to the wind. All that is left is a childlike madman, which McNally plays with total distorted glee. The piece is riddled with humour even in its most tragic moments, providing  catharsis in an array of emotions, and like a childhood teddy filled with comfort and wisdom, the singing Fool (Loren O’Dair) dotes on a deluded Lear, guiding him from the storm and unknowingly into a war. Cold, desolate lighting washes the stage as Vasan finds sincere strength as Cordelia who, clad in a fire engine red blazer, screams revolution, waving her French flags proudly. Director Nancy Meckler takes Lear’s words ‘birds in a cage’ literally, as the actors commit wicked deeds inside their own large cage; adultery, imprisonment and murder. Death becomes the majority of the characters in the final moments of the play (you can’t have spoilers with Shakespeare, right?). The sisters perish. Husbands, servants expire. Seething with self-righteousness, Edmund fights his brother Edgar using innovative, sophisticated and epic choreography with the fight direction of Philip d'Orléans. Edmund dies a relatively happy man, remarking ‘Edmund wasbeloved’. Finally, pushed on in a wheelchair and surrounded by the surviving, McNally musters heart-breaking sensitivity as Lear rattles his last, haggard breath with his true daughter Cordelia in his arms. The piece falls short of five stars due to a slight melodramatic approach to the more tender scenes. Nonetheless, this is a gripping, stripped back piece complete with solid actors. – Faye Butler

[underdogreviews]

WORDPLAY, BOURBON BAR (VENUE 333) - EDINBURGH FRINGE, ★★★★☆

The premise is simple; two friends have just finished the overnight shift in one of Toronto’s 24 hour restaurants and are cracking open a bottle of wine to relieve their stress – we can all relate. Inspired by the pair’s seven-year friendship plus their experiences with people outside of the LGBTQI+ community asking non-PC questions such as “is it okay to say the word ‘QUEER’ now?” self confessed millennials Nick and Jess of Theatre Tropikos seek to discuss appropriate and appropriated terms used by the public in every conversation and whether or not these terms have any place in modern liberal society. The show at points seems thrown together, it literally had the two performers drinking from a bottle of wine while firing Gilmore Girls-style dialogue at each other at an incredibly rapid pace, but Wordplay still manages to find a refreshing and brave commentary on how, as young people, we use our privilege to ignore history and casually use slang terms in everyday conversation that not so long ago would have cause major offense. Watching Nick and Jess discuss whether gay men or women have suffered more during history and why calling a girl a bitch is damaging and derogatory, one couldn’t help but feel that you were getting a glance into their usual Saturday night antics with the copious amounts of booze, 'tittie slaps', fallouts and powerful reconciliations where the couple agree that listening to people different from oneself is the key to overcoming oppression. Jess and Nick’s love for each other, as well as their art, is clear from the off. From the moment the audience steps into the performance space we’re welcomed as old friends and asked to have a seat where Jess and Nick get to know every single person in the room. The use of dark comedy and shocking vocabulary sometimes falls flat however, this reviewer suspects it may be due to being from Scotland where every second word is an offensive word. The actors themselves were the first to admit that they received different reactions to the production every time they performed it in a new location. The overall humour and wit of the show shines through and you leave feeling like you’ve caught up with some old friends rather than watching a piece of theatre. The warmth and love that radiates from this piece makes up for it’s shortcomings. Best watched with a level of alcohol in the system. On until 26th August. - Ryan Laskey

[underdogreviews]

ONE-MAN APOCALYPSE NOW, SWEET VENUES (GRASSMARKET) - EDINBURGH FRINGE, ★★★★★

One man, a deflating sofa bed and a severed head prop. One Man’s Apocalypse Now is actor Chris Davis’ love letter to the iconic war film which promises to re-enact the entire 153 minutes movie in only 50 minutes. Does he achieve it? Stop the clock, he actually does! Set in 1969 (although one character refers to a dream he had of Rhianna asking for a Mango cake...) the piece opens with a surrealist dance sequence followed by the actor mimicking, with varying levels of success, every famous actor from the movie including Martin Sheen, Harrison Ford, Laurence Fishbourne and Marlon Brando. A simple prop is used to differentiate each character, and one is kept firmly on their toes in keeping up during the actors rapid fire actions - this reviewer got the impression you weren’t really supposed to follow just what on earth was going on. Chris Davis, an actor from the United States, throws himself at this piece of theatre as if performing to a Broadway audience. As described by a promoter of the show ‘Chris is a veteran (of Fringe Theatre). He tirelessly performs every single day’ and in the cold and dark room of the Apex Grassmarket Hotel, Davis’ dedication to each and every action truly prove the previous statement to be true. He transcends what could easily be a shallow and trivial performance to the poignant message about the effects of war on ordinary men. Chris gives such commitment and truth to both the silliness and pathos, that one forgets about the source material and begins to think of the comedy as a façade to a more dramatic climax. Comedy, horror and drama beautifully culminate with a dramatic monologue in which the actor, eating through a mango and quoting TS Elliot, provides the audience with a relatable and gut wrenching moment of realisation that wanting to be a good person can sometimes mean having to be a bad person. Don’t be fooled by the marketing for this show. ONE-MAN APOCALYPSE NOW is the one of the most relevant theatrical experiences of the Fringe, beautifully crafted and adapted from a movie (that is loosely based on a book) that takes place during a war that no one wanted. It is superbly crafted, hilariously acted and strangely touching. You’d be a fool not to see this – even if only for the strip tease that had a man putting on a bra with more grace than I care to admit. - Ryan Laskey

[underdogreviews]

THE HOST, YARD THEATRE - THE NATIONAL YOUTH THEATRE,★★★★★

London. Bleak. The rent is due. And last months. Yasmin is working class. Only two things concern her: money and family. Living on a diet of cheesestrings and chocolate, firecracker Yasmin (Rebekah Murrell) works two jobs just to stay above the poverty line. Her three sisters, hysterical Nat (Jesse Bateson), hard-nut Pearl (Isabella Verrico) and naïve Hayley (Taylor Keegan) are at a loss. In debt, grieving for their mother and desperate to find a way to remain in their homes, the sisters depend on Yasmin to be the brains to the solution. She balances the world on her shoulders. The poor lending from the poor. Beneath the rock-solid exterior of Yasmin hides a lonely young woman, silently disappointed with the hand life dealt her. After chasing off a violent gang from a beaten up Rabea (Zakaria Douglas-Zerouali), Yasmin discovers the man to be a doctor - and a Syrian Refugee. Fighting her urge to repel anything different, religious, foreign - she tentatively offers him a sofa, and begins to care for the kindred spirit. With a mind unknowingly desperate to be opened, Yasmin shares tales of loss and heartache with Rabea and finds in him her first true friend. Directed by Zoe Lafferty and written by Nessah Muthy, the piece is snappy, raw and bursting with life. With a delightfully female heavy ensemble, the words pierce and overlap with a pace that effortlessly chops and changes. With a character as fierce and complicated as Yasmin, Rebekah Murrell is intensely likable. She provides a masterclass in being present as the character and lives the truth of each moment. Like a firework she brings a vivacious energy to the piece and propels it forward. A lump appears in the throat when Yasmin gives her struggling sister her last loaf of bread, a moment of such heart-breaking reality and tenderness. The set is simple and resembles a cheap London flat complete with tiny, tattered, almost-empty fringe. The actors are comfortable in their world, and move through the space with ease, aiding the naturalism of the play. The actors sometimes step off the stage, rather than through the ‘hallway’, breaking the convention and therefore illusion of the flat. Once again, the National Youth Theatre proves its outstanding track record for finding the brightest young actors; the youthful ensemble are focused and professional, cleaning up spillages on stage during difficult and busy scenes whilst remaining completely in character. ​This thought-provoking piece of drama poses many questions: what is it to be ‘totally English’? Does family come first, above all else? How much of the past can be erased, in order to live a better life? How long until this brilliant piece of theatre is on a west end stage? - Faye Butler

[underdogreviews]

Me: I'm really sad.

Me: Maybe this sad music will help.

[peytonfulford]