Tag Archives: Edinburgh Festival Fringe 2015

Tim Etchells and Aisha Orazbayeva - Seeping Through

Tim Etchells and Aisha Orazbayeva: Seeping Through

August 30th, 2015 by

In this four-hour durational performance, Etchells and Orazbayeva perform simultaneously. Staged in a side room off the main space at the Drill Hall in a long thin space, Seeping Through placed the audience along one long side with the performers along the other long side. This made it difficult to enter or leave the space […]

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Forced Entertainment - Quizoola

Forced Entertainment: Quizoola!

August 29th, 2015 by

Surrounded by a string of lights on the floor, two performers with white painted faces and the red mouths and black eye details of clowns take turns reading out to one another a list of questions in this durational piece. ‘Would you like to stop?’ is the key to this game, to which an answer […]

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Robbie Synge - Douglas - Photo by Sara Teresa

Robbie Synge: Douglas

August 29th, 2015 by

A lone man balances atop a cylindrical tube of rolled up dance floor 5ft high. He needs to concentrate – the task is ruling him. He tips forward and leaps to the ground, the tube crashing behind him. The man assesses the situation and continues to set up another balancing act. Douglas is a musing […]

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Fishambles - Underneath - Photo by Patrick Redmond

Fishamble: Underneath

August 29th, 2015 by

‘You never know what’s around the corner’ – this is the warning and lament that begins this tale of human pain from Ireland’s new writing company Fishamble. We’re in a dark underworld of black and gold. A slinky, androgynous body wrapped in dark, weed-like foliage slinks across the stage, his bright white eyes glinting out […]

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It doesn’t get much more intimate than this. A small, informally constructed kitchen set, cast in an otherwise anonymous working space. A small audience squeezed tightly into two rows of benches. In the shadows behind the bench, composer John Harris, armed with a laptop and a DX7, stirs the air and subtly increases the tension with a palette of undulating drones peppered with light, high frequency fizzes. The drone and hiss remain in place albeit shifting in and out of focus throughout this short, intense performance. A man, a woman, and an apple tree. A familiar combination of historic consequence, but the events here take place far from Eden. Jane sits all day in the stifling heat of a shabby home. Her husband, Mac, is increasingly desperate about his work, and, consequently, their future. The setting is in a future where economics have failed, heat is rising and vegetation of any kind is rare. So what, then, to make of a bump in the linoleum flooring that transpires to be a green sapling growing through the floor? Is it real? Do they both see the same thing? Is this a manifestation of Jane’s depression, taking on a hallucinatory tangibility? Is there really any hope to be had from this new growth, or has something gone too far? Originally a play, Zinnie Harris, under commission from the Sound Festival, has boiled the narrative into an intense libretto, and within the irregular undulations of John Harris’s score the dialogue, between two people struggling against an inevitably tragic denouement, drifts from spoken word to song, often in the midst of a single line – and frequently with tragi-comic impact. It is somewhat troubling to observe that the depiction of the future as a hopeless, overheated, poisoned eventuality has grown, in itself, somewhat banal, and there is little here that adds any particularly fresh insight into that sad state of affairs. However, Alan McHugh and Pauline Knowles occupy their characters with a raw and hurt despair that it is impossible not to be moved by the evocation of how a societal carelessness and neglect turns full circle on itself affording the space for individuals to career helplessly towards self-destruction. There really is no way back to the garden.

Sound Production: The Garden

August 29th, 2015 by

It doesn’t get much more intimate than this. A small, informally constructed kitchen set, cast in an otherwise anonymous working space. A small audience squeezed tightly into two rows of benches. In the shadows behind the bench, composer John Harris, armed with a laptop and a DX7, stirs the air and subtly increases the tension […]

Read more →