Tag Archives: Edinburgh

Director – Lucy, Lucy and Lucy Barfield

written and performed by Lucy Grace

at Pleasance Below, 3rd-29th August

Narnia doesn’t exist. Lucy’s just realised. She’s 26.

She’s still reading The Lion, The Witch and The Wardrobe. If the adventures of heroine Lucy Pevensie can’t help, then perhaps C. S. Lewis’s dedication to his god-daughter, Lucy Barfield, holds the key to another wardrobe.

Following 2015’s Garden ‘quietly revolutionary’ **** (Scotsman) Lucy Grace searches for the lives of Lucy: past, present and fantasy.

Unpicking a life less documented Lucy, Lucy and Lucy Barfield, is an intimate show about holding on to adventure, falling through the cracks and finding your own way back.

Tickets here.

Interview: Mark Ravenhill

*Originally written for A Younger Theatre*

“They can be quite unnerving,” Mark Ravenhill says of the Secret Theatre company, suggesting that their 12 months of working together has given way to a kind of openness he hasn’t come across in many rehearsal rooms. He elaborates further: “On the whole, everyone in British theatre is on these short contracts so everyone makes this big effort. And although you might think it’d be nice to be rid of that, it’s actually a little bit disarming for the first few days because they’re quite neutral. They’re very calm and centred. It takes a while to adjust to that.”

Ravenhill is a late addition to the Secret Theatre ensemble. He joined the company after Lyndsey Turner (who directed his adaptation of Candide at the RSC last year) suggested he write to Sean Holmes asking to be involved – “You don’t know if you don’t ask”. Continue reading Interview: Mark Ravenhill

Between Darkness and Light

*Originally written with Catherine Love for Exeunt*

Dan: About halfway through this year’s Edinburgh Fringe, Andrew Haydon tweeted the following:

“I’m writing a piece about critiques versus hope in theatre. Who prefers what?”

Now, this is clearly a false dichotomy and as far as I can tell the vast majority of responders – including myself – suggested that, ideally, we’d like both. Nonetheless, the question sets up an interesting argument: are the two compatible, and, if we had to choose only one, which would we prefer?

It’s a question which seems to have been asked by many of the artists I saw at the festival this year, and as far as I’m concerned most seemed to plump for the latter. We’ll obviously go into more detail, but just as a quick run down, Wot? No Fish?There Has Possibly Been an IncidentThe Bloody Great Border Ballad Project, How To Occupy an Oil Rig, The Islanders, The Events, Bonanzawhat happens to the hope at the end of the evening and even L’apres-midi d’un foehn all dealt with hope in some way, either implicitly or explicitly.  Continue reading Between Darkness and Light

“Oh My Irma” by Haley McGee

at Hill Street Theatre, Wednesday 14th August 2013

*Originally written for A Younger Theatre*

Young women committing acts of violence on small animals seems to have become a bit of a running motif throughout this year’s festival. After the grotesque ending of Phoebe Waller-Bridge’s Fleabag comes Haley McGee’s Oh My Irma, which features a similarly damaged young woman who ends up taking out her anger on a similarly unsuspecting victim. But though the themes are similar, there’s enough that this piece does differently to make it an interesting watch after the former’s brazen honesty.

“I did it,” announces our narrator at the top of the piece, paralysed with stage-fright and angry that the techies have ruined the opening. Continue reading “Oh My Irma” by Haley McGee

“The Bread and the Beer” by Tristan Bernays

at Underbelly, Cowgate, Wednesday 14th August 2013

*Originally written for A Younger Theatre*

I haven’t seen anything on the publicity for Tristan Bernays’s The Bread and the Beer that suggests this is a piece attempting to understand English identity, but in the context of other shows considering the act of the Union, it comes across as a lone voice considering England specifically. A raging, passionate poem-come-ballad, it creates and subverts mythologies, placing them in the modern world like a one-man Jerusalem.

This tale is of John Barleycorn, a legendary figure in this throbbing, romanticised version of London. Continue reading “The Bread and the Beer” by Tristan Bernays

Stars in My Eyes

This Twitter conversation happened on 12th August 2013 (I can’t work out how to embed the whole thing, so this is a link to it): https://twitter.com/MarcusRomer/status/367028584818671616

Now, I didn’t directly take part in this conversation, but seeing as the brilliant Eleanor Turney was my editor for my time in Edinburgh and I was pounding out reviews for A Younger Theatre, Romer’s thoughts certainly hit a bit of a nerve.

The tweet which really rankled me was this one:

Now, I didn’t give any show five stars when writing for A Younger Theatre this Fringe. This wasn’t due to timidity or being scared to nail my ideas to the mast – Christ knows I do that often enough anyway. Continue reading Stars in My Eyes


at Zoo, Tuesday 13th August 2013

*Originally written for Culture Wars*

Whales, pirate radio, God, sound waves and political protest all appear in Fine Chisel’s Dumbstruck. Contemplating communication and the way in which we process ideas, this is a messy, inventive and original show which speaks to heart and head simultaneously. And though it doesn’t feel quite finished, there’s an honesty and warmth of storytelling that make it a fascinating piece.

The show, devised by the company, focusses on Ted, a scientist working alone in a hut monitoring sounds omitted from the ocean. Continue reading “Dumbstruck”