Points of view: theatre, comedy and news
Starting as an off-beat and innocent comedy show that could be mistaken for stand-up, Rhys Darby’s The Legend Returns quickly devolves into unmitigated and hilarious chaos, covering everything from the feud between Australia and New Zealand to the next Olympics and the dangers of AI.
Xhloe and Natasha are gracing the Fringe once more with their presence and bringing all three of their consecutive Scotsman Fringe First - winning shows - And Then The Rodeo Burned Down, What If They Ate The Baby and A Letter To Lyndon B. Johnson Or God : Whoever Reads This First - back to Edinburgh. But first, they penned a correspondence to Pepper&Salt detailing what happened before the rodeo burned down, who, what, why and how they ate the baby and who read the letter first, Lyndon B. Johnson or God.
Universal Pictures Content Group (UPCG) announces today it has acquired UK theatrical rights for box office smash-hit and double TONY award-winning, SIX the Musical Live! The performance, filmed at London’s Vaudeville Theatre, features the Original Queens returning to reprise their roles and will release widely in cinemas via Universal Pictures (UK) on 6 April.
In Awkward Productions’ Gwyneth Goes Skiing, Linus Karp and Joseph Martin very much live up to the tenor set by the infamous trial on which this show is based on. What we see over the course of this production is an amalgamation of all the comedy and storytelling techniques that they have been refining over... Continue Reading →
Every so often causes and social problems cycle through the public’s attention, fighting for spotlight in the 24 hours news cycle. Shining a light on an issue that has largely been left on the periphery, Nathan Charles’ When the Fun Stops, Try Again? is an interactive and audience participation-based performance piece on gambling and addiction.
Tarot: Shuffle is a sketch comedy show that uses the mystical power of tarot and fate to pull the hour together.
All that glisters is not gold in Bebe Cave’s The Screen Test, as she peels back the curtain on the mirage created by history and myth surrounding the film industry in the mid-1900s.
Written by Nadia Fortini and directed by Catrin Ody, this particular play is set over the course of an all-nighter, as interns Lola (Natasha Vincent), Penelope (Maya Moravec) and Chad (Anzi DeBennedetto) clean out the physical office space and position that they’re competing for. The relationships between these characters are very quickly and deeply established, and over the course of the show, they constantly shift and develope, to the point where the subtext of interactions between characters pretty much screams at us. There are quite lengthy periods where we are lulled into a kind of rhythm by the repetitive tasks - it suits the show well in creating a kind of realism in terms of establishing setting and context within a limited space and time, but these moments perhaps go on for longer than necessary and quickly move from novel.
The wonderful thing about theater is that we can really build the world that we want with it, to draw and establish connections between topics that in any other format would be tenuous. The exception to this rule seems to be ALL Productions’ My Blood, and its connection to the Oresteia is perhaps as distant as the Percy Jackson films are to the books.
Going into the theater, we're all vaguely familiar with the fundamentals ingrained in British institutions, but our exposure to it is usually quite abstract and at a distance. Tom Greaves’ FUDGEY is a comment on the problem at the heart of British private schools and so brings an immediacy and additional layer of understanding to the flawed system within these institutions.
Pepper & Salt 