I applaud this joyful, lively musical play that asks some big questions, but never in a way that is off-putting or pretentious. It is a polemical piece - against men and male aggression and possessiveness - but that doesn't take from the fact that it has great songs, great movement pieces, great music and a compelling story that does pull you through.
The story follows two women Charlotte - soon renamed Charlie - and Sophie - soon renamed Saphy - who have run away from their respective weddings at the last minute. They are on honeymoon, but not with the person they were expecting. While the names of the characters - an androgynous name and a name that reminds on of the 7th century BCE woman poet, who is often used as short hand for lesbianism (Google "Sapphic" as you'll see what I mean) - might be a little heavy handed, it fits with the generally playful and enjoyable reflection of inter-sexual relationships, violence and freedom.
The songs did exactly what musical theatre songs should do - they advanced the plot, while being witty and funny; they were sung clearly so that each word was audible and they played some fun games in making lines rhyme, which is always a pleasure. The whole set up was blissfully simple - one keyboard and a laptop, both operated from on stage, was all the technology needed to create a whole musical existence. Two singers with two mics on stands did the rest. The set was non-existent and the props and costumes simple, yet well thought-through and well used. So often theatre productions, and not just on the Fringe, confuse themselves with over-complicated sets and props, and it was great to just see the raw performance, without any need, ultimately, for more.
The movement was very well rehearsed and always captured something truthful and visually stimulating. Complementing the narrational activity of each moment, the choreography flowed flawlessly into the action and did provide a good over-layer on the work. It is great to see two performers (in total there are three performers and, despite my best efforts, I have been unable to find their names, if you know, please leave a comment below and I'll make sure to credit them properly) who can sing well, dance well and act well - rare to have such a combination.
Now, it is not a perfect piece of theatre. The ending, which is decidedly tragic, struck me a little naive. While there was no need for it to be life affirming and positive, the unsupported tragic twist - go see the show for specifics - felt immature and unnecessary. Although it may not have made sense, I also felt that there could have been a much more exciting dynamic to have a male performer on stage too. Perhaps this is my new eyes from Trilogy last night, but I do believe it is too easy to create a faceless, nameless enemy and push the responsibility on to them - it must be about dialogue, surely.
Still, this was a brave, well-made and very enjoyable piece of theatre. It is such a joy to see people take great pleasure in making work they are passionate about. I truly do believe that we will see these performers again, either in this production in a bigger, sold out space or in some other capacity - singing, dancing, acting. Let's hope so.
8 out of 10.
At Bedlam Theatre at 10.30pm.
- James Grogan.
The story follows two women Charlotte - soon renamed Charlie - and Sophie - soon renamed Saphy - who have run away from their respective weddings at the last minute. They are on honeymoon, but not with the person they were expecting. While the names of the characters - an androgynous name and a name that reminds on of the 7th century BCE woman poet, who is often used as short hand for lesbianism (Google "Sapphic" as you'll see what I mean) - might be a little heavy handed, it fits with the generally playful and enjoyable reflection of inter-sexual relationships, violence and freedom.
The songs did exactly what musical theatre songs should do - they advanced the plot, while being witty and funny; they were sung clearly so that each word was audible and they played some fun games in making lines rhyme, which is always a pleasure. The whole set up was blissfully simple - one keyboard and a laptop, both operated from on stage, was all the technology needed to create a whole musical existence. Two singers with two mics on stands did the rest. The set was non-existent and the props and costumes simple, yet well thought-through and well used. So often theatre productions, and not just on the Fringe, confuse themselves with over-complicated sets and props, and it was great to just see the raw performance, without any need, ultimately, for more.
The movement was very well rehearsed and always captured something truthful and visually stimulating. Complementing the narrational activity of each moment, the choreography flowed flawlessly into the action and did provide a good over-layer on the work. It is great to see two performers (in total there are three performers and, despite my best efforts, I have been unable to find their names, if you know, please leave a comment below and I'll make sure to credit them properly) who can sing well, dance well and act well - rare to have such a combination.
Now, it is not a perfect piece of theatre. The ending, which is decidedly tragic, struck me a little naive. While there was no need for it to be life affirming and positive, the unsupported tragic twist - go see the show for specifics - felt immature and unnecessary. Although it may not have made sense, I also felt that there could have been a much more exciting dynamic to have a male performer on stage too. Perhaps this is my new eyes from Trilogy last night, but I do believe it is too easy to create a faceless, nameless enemy and push the responsibility on to them - it must be about dialogue, surely.
Still, this was a brave, well-made and very enjoyable piece of theatre. It is such a joy to see people take great pleasure in making work they are passionate about. I truly do believe that we will see these performers again, either in this production in a bigger, sold out space or in some other capacity - singing, dancing, acting. Let's hope so.
8 out of 10.
At Bedlam Theatre at 10.30pm.
- James Grogan.
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