American Idiot

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C Venues Adam House, Fringe Venue 34
12th – 18th August 2018 (13.45)

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Warning: I’m going to shoot holes in this production, and then I’m going to beg you to go and see it. I’m of a generation that approaches terms like ‘rock opera’, ‘concept album’, and so on with a certain amount of trepidation. They seem to embody everything rock is not supposed to be. Even Green Day’s American Idiot has always seemed, in some respects, a bizarre idea, and that’s allowing for the fact that listed amongst its tracks is one of the most recognisable (and greatest) rock songs ever – ‘Boulevard of Broken Dreams’. So I carried that trepidation with me into this performance.

Footlights’ blurb for this presentation calls it “a non-stop assault on the senses,” and so I was wondering whether it would work in a Fringe venue – not many Fringe venues are anything more than compact. Add to that the fact that a ‘sung-through musical’ relies, for its ability to convince and to carry a story, on the music, the lyrics, and the accompanying histrionics. There is little chance, beyond that, for character development etc., which means it can easily become nothing more than a concert in costume, at best a spectacle. American Idiot has the advantage that Billy Joe Armstrong’s lyrics are written to be heard, not lost in the middle of a rock wall-of-sound; that thrusts upon the stage performers the obligation to deliver them with clarity.

So, did it work on that level? By and large, no. With little in the way of costume change, a black set, and the main props being a sofa in one corner plus three black boxes that were moved around the stage, and a segued sequence of energetic ensemble dance routines, there was absolutely nothing to carry the story along. Having said that, I don’t see how they could have practicably put more into it than that, given the finite limits of what can be done in a Fringe venue. What do you need to know about the story anyway? Boy loses himself; boy’s best friend’s girl has a baby; boy’s other best friend goes to war and gets maimed; boy finds himself. However, I don’t think that not being able to discern a story line from the performance matters much in this context; the blurb claims that the show will have you humming guitar solos for weeks, but let’s face it, if you came here it would be because you are already able to hum all the guitar solos! I’m prepared to bet that most of us were there because we already know and love Green Day’s music, and could join in with all the songs.

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So we were left with the spectacle. There were technical difficulties to that. Occasionally a spotlight and an actor failed to line up, and an empty piece of stage was lit; occasionally a principal’s voice was lost, maybe through a fault in a radio mic. But Anna Steen’s choreography kept the eye busy, and the cast were so in-your-face – at least if you were sitting in the front row – that any such problem was gone before it was too detrimental. The energy of the performance was relentless, even in quiet moments such as the verses of ‘Wake Me Up When September Ends’ I felt as though there was something more going on. Occasionally a voice came out of the chorus line that I felt could have carried a principal role, but actually that added something to the delight of the performance, rather than taking away. Probably the weakest part was the ‘traditional’ encore of ‘Good Riddance (Time Of Your Life)’, which actually changed the atmosphere too much. Individual stand-outs: Brett McCarthy Harrop as St Jimmy has a lot of stage-presence. Matt Galloway as Johnny maintained an anguished grimace throughout, like a noh demon-mask. Trevor Lin as the Extraordinary Girl had me at hello.

Now I come to rate the show. The book is by Billie Joe Armstrong and Michael Mayer, for heaven’s sake! To rate it less than four stars would be a bloody travesty. Given all I have said above, I can’t give stagecraft and performance more than three stars each. I wish The Mumble would allow me to award three-and-a-half overall, because it was on the high side of good, and only a few niggles stop me from rating it as ‘excellent’. So three stars, but pretend it’s more, and take my recommendation that if there are a handful of returned tickets out of the sell-outs you should try to get to see it. Oh, and I think Edinburgh Footlights should do Hair, if they haven’t done it before. They would nail it. I wish I’d caught their Guys and Dolls.

Paul Thompson

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Thor & Loki

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Assembly Roxy
Aug 4-12, 14-26 (19:15)

Libretto: four-stars.png Stagecraft: five-stars Performance: five-stars  


This auditorium has to be my favourite to date. It’s called The Assembly Roxy and it is Roxy by name and Roxy by nature. The seating was a steep slope just like you find at the grandest theatre, except that the Roxy is a fraction of the size, offering great cosiness and intimacy.  As the lights darkened and the musical began, a booming voice introduced the tale of Thor and Odin in Asgard, a great city where the Norse gods abide. There is a tree there, a golden apple tree, which holds the power of their immortality. It is well protected and is the most sacred thing in the heavens of Valhalla. The Giant race who live in one of the nine realms and are perpetual enemies of Asgard know all about the golden apple of immortality.

But this is not a traditional telling of this ancient story. In the initial scene, the inhabitants of Asgard wore funny American football guards in place of what would normally be golden armour. Odin, the Asgard king (Bob Harms), wore a hilarious boxing outfit with his name written where the belt would be. There was an immediate dynamism, both obvious and subtle, between the traditional story where the comedy was understated, and full-on funny. It gladdened me to see and hear all of the story that I myself have an interest in, and I took no offence at the comedy that complimented it so well.

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Thor (Harry Blake, also the author), he of the hammer and mighty strength, was depicted not as a warrior, but as being enamoured of poetry, love and flowers. The show even goes so far as to suggest that he was attracted to another man, and they share a kiss, something to outrage the traditionalists! Tradition was further subverted when we saw Thiassi (Laurie Jamieson), general of the Giant army, threaten war between the worlds, then promptly sit down to play the cello. In fact all the players moved easily between various musical instruments, making the music itself almost like a powerful entity in its own right.

In its own charming way, the final insult to fans of the myths was when instead of being a male actor, the half-Giant Loki was played by Alice Keedwell, a woman with an angelic voice. When Alice sang Loki’s lyrical blues, it was as if it were the most serious play in the world and made us forget we were watching a comedy.

This show was full to the brim of loud, brash, almost alarmingly forceful detail, including energetic battles and a troop of tap dancing trolls. The writing is top notch and the production incredibly well put together, set in front of a cosmic planetary prop that took up the entire back of the stage. The talented cast played their parts to perfection, constantly interacting with the audience and drawing us further and further into the ancient tale. Odin moved with uncanny ease between being a powerful god and adopting a more humble demeanour. And Thor, in his cheap golden jacket, was thwarted by the contrast between his warlike image and his own poetic nature.

The story is one of the oldest on the planet, the well-known Vikings had these visions of gods, Asgard, Valhalla (where they believed they could go if they lived well enough, mostly to be a good warrior) This musical could be described as playing with the whole idea. The coy understanding behind the work is something greatly to be enjoyed. In the end it was Loki who was at the heart of the plot, with the destruction of the golden apple tree of immortality movingly revealing in the final scene a special aspect of her character. This production was engaging right from the whirlwind beginning; developed to perfection, charmingly low budget, crowd teasing, crowd pleasing, spectacular amalgamation of theatre at its very best. If you don’t believe me come in and see it for yourself!

Daniel Donnelly

five-stars

An Interview with Tom Arnold

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Argosy Arts are bringing a splash of gothica to this year’s Fringe. The Mumble were lucky enough to catch one of their members for a wee blether…


Hello Tom, so where you at, & where ya from, geographically speaking?
Tom: I’m from and in sunny Bournemouth at the moment. Last year I finished university in Exeter, which is where I first met everyone in this company. Since graduating we’ve all been scattered around the country, which is a logistical nightmare, but a lot of fun when we’re all together for rehearsals and performances.

Can you tell us about your musical training?
Tom: I’m actually a science graduate! I studied Natural Sciences for three years, but alongside that I took part in at least eight musical theatre productions, for the majority of which I was the Musical Director. In the end I spent a lot more time on those than I did on the degree, so that has been my training. You pick up a lot very quickly when you get to dissect some of the great scores that closely.

What are the keystones to a good musical, & then an amazing musical?
Tom: A good musical needs a compelling story. An amazing musical has a compelling story and songs that really compliment it. The songs don’t necessarily need to be great standalone songs, but they need to tie in seamlessly with the tone and mood of the story.

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Can you tell us about Argosy Arts?
Tom: The main aim of Argosy Arts is to tell stories within the Musical Theatre format that don’t necessarily seem like an obvious fit at first, but actually broaden the horizons of what a Musical can be. All a good story for a Musical needs is heightened emotional moments where a character can express their internal monologue. There are loads of fantastic stories that fit this mould within unusual genres – such as horror – and turning them into Musicals feels like a fresh way of telling them.

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You are bringing The House of Edgar to Edinburgh, can you tell us about it?
Tom: The House of Edgar is a fiction very loosely based on real events that occurred after the death of gothic icon Edgar Allan Poe. We follow Poe’s rival – a bitter poet named Rufus Griswold – as he claims Poe’s estate for his own with clearly malicious motives. The house however is having none of it, and things start to very quickly unravel from there. We first performed Edgar in Edinburgh two years ago. Audiences seemed to really dig it, so it’s great to be coming back with this new revamped version.

You have twenty seconds to sell the show to someone you are flyering in the streets of Edinburgh – what would you say?
Tom: A gothic musical based on the life and works of Edgar Allan Poe. It’s got horror. It’s got romance. It’s got heart in both the grizzly and endearing sense! And it’s all set to a score of folk songs…

What will you & Argosy Arts be doing after the Fringe?
Tom: A lot of that depends on the response to Fringe, but we definitely want to keep pushing this show and giving more opportunities to see it. How we do that is still to be finalised!


House of Edgar

Greenside @ Nicholson Square
Aug 3-11, 13-18, 20-25  (times vary)

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www.argosyarts.co.uk

 

The Band

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Edinburgh Playhouse
10th-14th July 2018

Stagecraft: Book:  Performance:


I was looking forward to this production but was not expecting such a fine example of musical theatre, Quite possibly the best stage production for the genre I have ever witnessed. Not so much about the Band, but a story about fans of Take That.

We took our seats, which were brilliantly positioned, 26S and 27S, central stalls. Literally the best seats in the house. A massive telly was projected onto a massive sheet, upon which was a Ceefax page. Dated 09/09.1993. This is when the story opens with a 16-year-old girl explaining her love of “Take That” and how she and five of her girlfriends all had their first concert experience together. Each of the girls gave a spectacular vocal performance. there was more than one moment that my eyes filled up, a true indication of how brilliant this was. Each member of the audience was then spirited back to 1993 to remember what they were doing at that time.

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The Playhouse was heaving with middle-aged ladies, & it was obvious that they had grown up with the songs performed by The Band.  Replicating the vocal performance of each of the boys in Take That, each member of this very slick tribute act had won his role by entering a TV talent show, called Let It Shine. The vocal performances were brilliant. On top of these the stage presentation and overall production were quite simply mind-blowing. It was easy to see and understand why this piece of musical theatre has become the smash that it is.

But there is more. The story of the five girls moves on to them having all grown up and moved on through life, 26 years later. One of the girls wins a radio competition to see Take That in Prague. Dutifully inspired, she contacts the girls (now mature women) to invite them on a ladies’ adventure, It was a superb script. This within itself would have made a moving and entertaining performance, and I am quite sure that this is going to become a movie in the not too distant future. Every audience member recognized a bit of themselves in the characters. It was massive, it was bold, and with our replica Take That performing songs that everyone was singing along to, the capacity audience relished every moment! Feel Good Theater At its Very Best.

Mark ‘Divine’ Calvert

five-stars

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An Interview with Jonathan Bauerfeld

This Fringe the talented MA Musical Theatre students of the Royal Conservatoire of Scotland are bringing us, among other things, Legacy: The Book of Names. The Mumble managed a wee blether with the writer…


Hello Jonathan, so where you at, & where ya from, geographically speaking?
Jonathan: Hi Mumble! I live and work in Manhattan and I grew up not far from NYC in Connecticut.

Can you tell us about your musical training?
Jonathan: I started classical piano training when I was four years old and played for the first time at a friend of my mom’s house when I was two. Since then, I’ve studied violin and trumpet. I stopped playing violin in early high school but I continued to play trumpet in pits/various orchestras throughout university. In high school, I shifted my focus to jazz music, attending the Skidmore Jazz Institute twice for trumpet, and studying jazz piano/theory with the director of the music programme at my school. I started composing at an early age and studied with a few teachers privately in my hometown. At Northwestern University, I got a BM in Music Composition and studied orchestration and arranging. I was a head writer for the Waa-Mu show in 2015 and 2016 and also orchestrated for the shows. The culmination of my formal music education was my senior recital, which was a musical called DEVOTED written with my writing partner Casey Kendall. My musical theatre training has continued, observing my killer bosses at the top of their games at the shows that I’ve had the privilege to be a part of in NY in the past few years.

What is it about Musical Theatre that makes you tick?
Jonathan: When all the moving parts (orchestrations, lyrics, music, staging etc.) come together to create an honest and beautiful look inside of an emotion, it’s a magical moment. Musical theatre is one of the most collaborative art forms that exists, and that collaboration is why I love it so much. Every person on the team is on a journey together, and when all of those parts mesh perfectly, it’s one of the best forms of art.

Can you tell us about the BMI musical theatre workshop & your role with them?
Jonathan: The BMI musical theatre workshop has been one of my favourite parts of living in New York. It’s a free programme that meets on Mondays and some of my favourite writing teams have gone through the workshop at one time or another (Ahrens and Flaherty, Pasek and Paul, Alan Menken etc). I am a composer at the workshop. During the first year, composers get paired with lyricists by the instructors and we are given assignments (i.e. write a ‘charm song’ for a moment in Tim Allen’s The Santa Clause). Every Monday, a few teams would present the songs they’d come up with and we and the instructors would share comments. I had some wonderful collaborations throughout the year.

What does Jonathan Bauerfeld like to do when he’s not immersed in the arts?
Jonathan: Well, when I do get free time, I tend to spend most of it hanging out with my friends in the city, coming out to visit my family and dog, or locking myself in my room and playing Zelda. I also try to see as many shows as I can around town, but I guess that still counts as arts immersion. I like the arts.

What are the keystones to a good musical, & then an amazing musical?
Jonathan: I think structure is one of the most important things to making a good musical. Everything hangs around how the plot and characters are introduced and presented, and stage time is precious real estate that has to be used perfectly if we want to get an audience to care about our characters. The key to an amazing musical is detail. Every musical line, every rhyme, every piece of staging all has to be working together perfectly. All of the great musicals that have stood the test of time have meticulous attention to detail.

What are your connections to Fringes past?
Jonathan: I’ve been connected to festivals/fringes in the US as an orchestrator and arranger but this is my first time coming to the Edinburgh Fringe. I’m very excited to be a part of it.

You are bringing LEGACY: THE BOOK OF NAMES to the Fringe this August, can you tell us a little about it?
Jonathan: THE BOOK OF NAMES is about one day on Ellis Island which served as New York City’s immigration station for 60 years and saw over 12 million immigrants during the largest human migration in history. Ellis Island was the last obstacle between all of these people and their dream of America. Our show explores what it would have been like to be an immigrant coming through the station; how scary and disconcerting it could be, how heartbreaking being told you couldn’t come through was, and how new connections can be made across divides. It is very much an ensemble show and we have a wonderful cast of 15. We will be using all of their voices to create a big, sweeping musical world for the show. I’m very proud of the work we’ve done so far and can’t wait to share it with audiences this August!

How do you find working with Ryan Cunningham?
Jonathan: Ryan Cunningham is a genius! Working with him has been amazing. He’s an incredibly quick and smart director, and his background as such a great writer makes him a perfect fit for directing this new musical. His ideas for the stagecraft of the show are very exciting.

How much contact have you made with your Scottish counterpart, Finn Anderson, on the project?
Jonathan: We talk with Finn every few weeks to check in and we spent two developmental weeks (one in Glasgow and one in Chicago) with him where we each were able to share our work and discuss how the two projects talk to each other. Just the other day we texted each other to say that we both had songs from the other’s show stuck in our heads! I think the two shows work together in a great way – at their hearts they deal with similar themes (tradition, family, migration) but they come at it from completely different angles.

What aspect of the show are you most enjoying? Do you have a big moment that you always look forward to?
Jonathan: The aspect I’m most enjoying is just being in the room with the team of people AMTP and RCS have assembled. The big moment I always love is the first time we run the show with all of the staging, lights, costumes and band. It’s always so exciting to see it coming together, and to see all of the thoughts and contributions that our amazing team will bring to the piece we’ve written.

You have twenty seconds to sell the show to someone you are flyering in the streets of Edinburgh – what would you say?
Jonathan: If you like big ensemble vocals, funny, honest and beautiful stories, and exciting dance sequences, come see LEGACY: THE BOOK OF NAMES. It’ll make you feel things!


LEGACY: THE BOOK OF NAMES

Assembly Hall, Mound Place
Aug 3-26 (15:00)

www.rcsedfest.co.uk

Pure Freezin’

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Lunchtime Summer Panto
Oran Mor, Glasgow
2nd-21st July

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Mr and Mrs Punch may be dusting off the sausages, preparing to entertain in coastal sunshine all around the country but in Glasgow’s west end ‘tis the season to be jolly. It’s July and the Lunchtime Summer Panto is back at Oran Mor. This year things are heating up and cooling down as the scheming Mayor of Cumbernauld reveals his nefarious plans to go for the big one, the pinnacle of political ambition – Lord Provost of Glasgow. Trouble is the city’s just elected one, mysterious, beautiful Elsie, who appears to be cauldrife, as we say in these parts, for why else would she need to wear gloves when the sun is totally scorching?

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Her doting mother, Widow Swanky, has little time for her other daughter Annie, who has never been forgiven for producing an embarrassing, bobbing evacuation in the local swimming pool when young. Starved of love, will Annie fall prey to the easy charms of the sleazy Mayor and unwittingly help him in his dastardly scam to dodge democracy? Perhaps gabby snowman, Wee Gnaff, can be persuaded to help things slide towards a happy ending? Let’s hope so.

George Drennan plays a grand dame, blonde, rude and full of… herself mainly. Teasing the audience with winks and innuendos, gloriously cruel and dismissive of Annie (whose psychoanalyst’s fees must be enormous), if Swanky is a widow, then surely it’s because her husband topped himself. Hannah Howie’s Elsie provides a softer, sweeter ingredient to the panto, giving plenty of unrestrained, diva warbles to the big song that isn’t, ‘Let It Go’ from the movie. Walt disnae want them to use that one.

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Rebekah Lumsden’s Annie lives in the shadow of her enchanting sister. In her wee football strip she’s as determined and plucky as Cara Delevigne’s eyebrows. With unflagging energy and affection for her big sibling she will even travel to the murky depths of Glasgow’s south side, to save the day. Tom Urie’s Mayor is an unabashed conman in a red tartan suit and huge bowtie reminiscent of a 1950s holiday camp comedian. A sly, sleekit bad-yin, he’s prepared to sacrifice a vulnerable young Annie’s feelings for a position of power… and a bit of a laugh. Hiss boo.

Written and directed by Andy McGregor this summer panto, with its slick interchanges between cast and audience, original songs, dash or two of hilarious Glesga coarseness and traditional sing-along finale, is a hot ticket for the next three weeks.

David G Moffat

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Cranhill Carmen

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A Play, a Pie and a Pint
Mini Musical
Oran Mor, Glasgow
25th-30th June

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In Edwardian times, when out and about, a lady wore her hat. Not so to do, was frowned upon and any woman who wantonly displayed her locks in public might be given the pejorative term ‘hairy’. In Glasgow she would have been known as a ‘herrie’. Over the years, ‘wee herrie’ evolved into a set phrase that was used to describe a female of doubtful virtue.

IMG_8013i Charlene Boyd, Ryan  Fletcher.jpgWhen we meet Carmen walking the mean streets of Saturday-night Glasgow, back in the 1950s, she tunefully informs us she is “Herrie Mary from the Gallowgate”. She is also seeking the convenience of a secluded lane in which to urinate. (Drink has been taken.) Happily she finds one, squats in a corner and goes about her business. Her actions are seen (and heard) by a young policeman Donald, recruited from the Highlands to keep the city streets safe. With his heart full of love for his mother and his church, he feels he has no option but to take down her details for committing such an offence. Although extremely straight laced, he finds something in this foul mouthed beauty intriguing, could he be the one to save her? He has a rival for her soul in Glesga Millio, who believes he is the man Carmen is looking for and has the distinct advantage of being in possession of a half bottle, when Carmen has a right drouth on her. What’s a girl to do?

Charlene Boyd’s Carmen fizzes and bubbles with street smarts. The dress, lips and flower in her hair are all scarlet, indicating passion and danger, both of which she revels in. Innocence and illusions have long since been stripped; she is a woman who knows exactly what men see in her. She sings, struts and spouts bad language beautifully.

Ryan Fletcher’s Millio fancies Carmen something rotten and sets about to win her with wide-boy patter. He’s full of swaggering self belief, dodgy compliments and smutty innuendoes. Ewan Petrie’s Donald is a wistful young man from a sheltered background who is appalled and fascinated by Carmen in equal measure. His light voice brings a plaintive innocence to his sentimental songs that contrast with the brash, gritty reality of the other two characters.

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Benny Young’s musical play is a treat. Though based on the Bizet opera there is a fresh take on the story, further enhanced by staging it in Glasgow. The opportunity to use the local parlance has not been abused; each colourful, stinging retort is believable, true and necessary. The songs are well crafted and when comic, really funny. Seldom has foul, abusive vulgarity been put to such excellent use. This Carmen is a rebellious burd, well worth catching.

David G Moffat

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