Michael Cox reviews Blind Hamlet, Juvenalia, I'm Not Pale-I'm Dead and 50 Shades-The Musical-The Original Parody.
What is theatre? What do you need in order to create a production? Blind Hamlet (***) actively asks these questions and comes back with an answer: an audience, a stage manager and a recording will suffice.
The recording is the voice of playwright and poet Nassim Soleimanpour, who speaks to us via a tiny Dictaphone, lit and amplified by a microphone. Audiences who have seen his play White Rabbit Red Rabbit (an excellent production which should not be missed) will have an idea of what to expect, for Soleimanpour gives directions to the audience—directions which require some members to take to the stage for some simple drama games.
It’s a quiet production that speaks in a small voice, even if the voice is welcoming and firm. More like a Faberge egg, Blind Hamlet is not a major, thought-provoking production but is instead a reflective piece that allows one to ponder some interesting questions. It might not have the political punch of Rabbit, but it is still a worthy production worth catching.
Equalling in appeal, but for completely different reasons, is Lydia Nicholson’s utterly charming I’m Not Pale, I’m Dead (****), a short, bittersweet piece. A woman who has been dead for a few years has somehow made herself visible to a group of the living (the audience). She takes the time to not only talk about moments from her life but to give advice on what to expect when ‘passing over’.
The set-up might not be the most imaginative or original, but Nicholson makes for a wonderful host, and she takes a scenario that could have fallen into many clichés and theatrical traps and manages to make something beautiful, funny and touching.
Simon Callow, who is a stalwart of the Edinburgh Fringe, usually stars in a production that is worthy of one’s time and money, even if the piece itself isn’t the best. But his rollicking performance just isn’t enough to justify attending Juvenalia (**).
It might sound like a good idea: take a ‘stand-up’ routine from 100AD Rome and show how much we in today’s society have in common. But therein lies the main flaw: constant misogynist jokes and statements about mothers-in-law, foreigners and financial problems mixed with randy observations just don’t equal a good piece of theatre. In fact, had a stand-up given this set in a modern context, they’d be accused of being unoriginal at the least, pathetically insulting without the benefit of a decent laugh at the worst. But here, disguised as ‘theatre’, we are supposed to be forgiving of such drivel, maybe even laugh at it.
But the joke’s on anyone who pays to see this, a production of a dreadful script made bearable solely by an excellent performer who is far better than the twaddle dripping from his mouth. It’s not a production, it’s an endurance test for any fan of Callow or Latin classic texts.
The term ‘critic proof’ is one batted around, usually for Hollywood blockbusters. It doesn’t necessarily mean that something is bad; it just means that an audience will find an appeal no matter what critics, or other audiences, make of it. So, to be frank, nothing I say here will probably change your mind either way about 50 Shades! The Musical. The Original Parody (****).
In fact, take a good look at that name. I can all but assure you: your reaction to the production is probably going to be similar to the reaction you had to the title. If you think it sounds like a good laugh, then I can all but promise that you’re in for a treat, but if the title makes you groan, you’re going to sit in the theatre and ruthlessly pick every bit to shreds. One thing is for certain: the production values are very good across the board. The band is great, and the performers have a wonderful musicality—there isn’t one weak link in the production chain, and given the material the cast have no problem bravely going all the way with full gusto (though no nudity, I must report).
But here’s where things start to fork off. Yes, it’s a musical based loosely on the famous (or infamous, depending on your views) novel that has created quite the buzz. It uses a trio of women who have formed a book club and are actively reading the book as a way in, depicting scenes and characters (and their sexual feelings) with zany zeal, and the production seems to have as much fun poking at the book as it does satirising prudish feelings towards sex. There is very little that is subtle, and the production is perfectly happy stooping to any level to get a laugh.
I myself have not read the book, and after seeing the production I’m not much the wiser on the plot or the characters. But I will happily admit: it made me laugh, sometimes quite loudly in spite of myself. But a laugh is a laugh, and this is much more successful in getting chuckles than many comedies I’ve seen lately. It is by no means flawless, nor am I sure I would recommend it to everyone, but I have no shame in saying that I enjoyed myself.
As for those who are inclined to look at star ratings: I have no idea what to tell you. I personally find myself in the four-star category, mostly for the outrageousness of the songs and the all-round jovial spirit of the production. Like marmite, it’s a love it/hate it production. Your initial reaction to its very title will best tell you what reaction to expect.
Blind Hamlet performs at Assembly Roxy at 1450 (not on 12, 18) until Aug 25. All other productions perform at the Assembly Hall until Aug 25. Juvenalia is on at 1530 (not 6, 11 or 18), I’m Not Pale, I’m Dead is at 1900 (not 11, 18) and 50 Shades! The Musical. The Original Parody is on at 2230 (not 13).
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