Cloud Man, 11:00, Hill St Theatre (****)
Endearing delicate, this show is perfectly paced, designed and performed. An entertainingly curious scientist, who has a fascination with clouds and finding cloud men, recollects one of her best adventures as she weaves around and works the set, uncovering the surprises it holds. Jen Edgar brings joyous playfulness to discovering the treasures of the clouds; her curiosity is infectious as members of the audience (young and old) lean forward to see what she has found. The beautifully designed puppets, set, props, all cute as a button, are brought to life by a skilled puppeteer/ storyteller, accompanied by a gorgeous soundtrack. This is a lovely lovely lovely children’s show. Billed for ages 5-7, it’s for the child in all of us who have our head in the clouds.
Teechers, 13:00, Pleasance Courtyard (****)
Young Pleasance are top of the class! Witty direction mixed with a big dollop of physicality brings John Godber’s script of snippets of school life in a year at Whitehall to the stage with animated energy. Strong performances from this youthful yet theatrically mature cast; using their current, fresh educational experiences they breathe life into Godber’s colourful characters. An intelligent application of stereotypes ensures that the characters aren’t laboured; so good in fact that I swear I was at school with some of these personalities. Jo Billington and Kathryn Norton use clever theatrical devices to manipulate the script and ensure that the stage is bubbling with liveliness. A great youth show from a great youth company.
Spent, 14:55, Pleasance Dome (***)
A satirical commentary about the economic crisis that’s riddled with observational comedy, the production uses characters which the actors flick between in a fast game of personality Ping-Pong. With undertones of truth and overtones of humorous reactions to the global crisis, the show shifts from scene to scene with a good pace. The fast moments are electric and full of vigour but the calmer scenes are too serene, losing momentum and sometimes the audience. An okay show that’s a bit of a laugh.
A Day in November, 17:00, Zoo Southside (*)
There is a definite quality in European puppetry which is absurd, captivating and wonderfully simple – this show simply missed the spot. It felt clunky in concept, design and performance and has a very odd story that didn’t go anywhere. The manipulation and storytelling was too subtle to hold the audience; too many dead moments and recurring thoughts on cucumbers. This piece, which focused on deterioration of the mind, deteriorated in energy and plot, as well as my patience.
Godspell, 19:45, C Soco (****)
Patch of Blue Theatre Company have given this show a new lease of life, and it’s really good to see. The team of directors have found opportunities within the script and parables, which they cleverly interpret and manipulate for the stage. They have a strong and very talented cast who play off and work well together. The setting is very much like a secret den; there were moments when I felt like I was watching a group of Victorian kids performing plays to each other to keep them entertained on a rainy day. There is something really exciting about this new theatre company; they can act, they can sing, they can play instruments and they can dance. The choreography is my only grumble about this show; their choreographer fell into the ‘steps’ trap, creating naff musical-theatre movement which didn’t go with what was being sung. The odd ‘big’ numbers do pack a punch with the choreography, however, creating ensemble-energetic pieces; these work because the music and lyrics call for it. The actors gel as an ensemble and are led by the astounding Tom Mackley, whose Shakespearean Puck-like Jesus is excellent. In the close space, the audience are very much integrated into the show, adding a dose of compassion to the piece. Patch of Blue Theatre Company have created a holistic show of fun, moving and well-crafted moments.
Showstoppers, 22:50, Gilded Balloon (****)
The musical version of’ Whose Line is it Anyway?’ Dylan Emery plays the role of the Clive Anderson-esq director, setting the concepts up with contextual twists. He works the audience really well, choosing shout-outs that will accumulate into a completely unique musical. Everything, from the music to the choreography, is improvised by using the genres of musical theatre as a starting point; the talented and imaginative actors meet the insane and sometimes impossible requests of their director while belting out tunes like Broadway stars, imitating well-known shows and musical styles expertly played by Duncan Walsh-Atkins and co. This is a very clever, fast-paced show riddled with mayhem. Emery manipulates the actors like a god with a chess set of characters. The only thing missing was the buzzer at the end of each scene!
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