Legacy: Book of Names


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

Stagecraft:three-stars.png Book: four-stars.png Performance:four-stars.png

It’s easy to be political. Typing in the word ‘Trump’ to the Edinburgh Fringe website yields dozens of results, with everything from a Trump/King Lear mash up to an all-singing, all-dancing musical about his life plastering the results page in orange. These are plays that are political for politics’ sake, and certainly deserve their space in our theatres and in our minds. What The Royal Conservatoire of Scotland have done with Legacy: Book of Names, however, is weave a story of love and pain whilst making the political subconscious, and the play is all the more powerful as a result.

Set in an immigration processing centre on Ellis Island, the 15-strong musical follows the lives of a motley crew of young and old men and women from all over the world as they try to gain permission to live in America. Throughout the piece we see the many characters face the trials and tribulations that come with being on foreign soil handled with depth, wit and warmth. We are immediately thrown into a jaunty opening number that sees the cast being grilled and examined by immigration officers, with dynamic and busy choreography quickly establishing the musical as a feast for the eyes as well as the ears. The lives of individual characters are portrayed well, with the plight of Simon and his pregnant wife and the optimism of chirpy Irishman Finnigan being quickly established amongst many others.

The music is fantastic, with Jonathan Bauerfeld’s score hitting the right note at every turn with lyrics that are both sensitive and witty in perfect doses. A particular song highlight is ‘This Is It’, which delicately handles the pain of a couple being separated and another being brought together with nuance and sensitivity. Here the blocking simply and effectively echoes the parallels of great sadness and great joy that the two couples experience. It feels deeply earnest, with the entire ensemble handling complex subject matter like this with poise and gravitas throughout the hour. Other highlights are Simon’s moving ballad ‘What My Father Said’ that perfectly sums up the pain of leaving behind your country and the fear of entering a new one, as well as ‘Don’t Mind Me’ that humorously sees an older woman and a younger girl empathise with each other’s experience of being continually ignored.

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
Read the full interview

What the play does so well, however, is examine relationships that are unconventional. Whether it be a son’s love song to his father, an older woman meeting a little girl and connecting through their language, or a sick girl and her sister comforting one another, we see relationships in musical theatre examined that are normally left in the dark. All of this is made yet more moving with the occasional brief interlude where the name and life story of real immigrants who passed through Ellis island is read out: a reminder that there are names and faces behind those who politics then and now can oppress and devastate. This show is a human reminder of those who are put through the ringer of immigration with an impressive score and attention to detail to boot. Though a busy play, it manages to avoid being complicated with the lives of individual characters being handled with warmth and nuance.

Lucy Davidson


American Idiot

3 Footlights ©Andrew Perry.png

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

Stagecraft:three-stars.png Book: four-stars.png Performance: three-stars.png

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


Thor & Loki

thor and loki pic 2.jpg

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.

thor and loki pic 1.png

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


An Interview with Tom Arnold

Edgar Head Shot.jpg

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.


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.


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)




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!


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