Tag Archives: Alex Prescot

A JAFFA CAKE MUSICAL

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Edinburgh Festival Fringe

A JAFFA CAKE MUSICAL at the Edinburgh Festival Fringe

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“It’s a very fun, very silly hour of musical comedy that’s super self-aware and makes the most of this”

Following their previous musical hits Timpson: The Musical and RuneSical, Gigglemug Theatre are back, this time with a musical based on one of the nation’s favourite biscuits… sorry, I mean cakes. This musical comedy uses the real-life case of the 1991 tribunal in which HMRC took Jaffa Cakes to court, claiming that they needed to pay VAT as the product is a biscuit, not a cake (which are exempt from this particular tax). It’s actually a pretty interesting court case, which you can read all about online. But if a musical is more your thing, then definitely make sure to catch this one.

Kevin (Sam Cochrane) is a lawyer, having disappointed his parents who wanted him to pursue a career as a musical theatre performer (a running gag in the show). He’s the defence in this case, up against Katherine (Sabrina Messer) as the prosecution. The task is simple: Kevin has to convince the judge (Alex Prescot, also on keys) that the Jaffa is in fact a cake, not a biscuit. On the way, he has to battle with the presence of the evil Tax Man, played by the utterly hilarious Katie Pritchard.

The songs are super upbeat, starting with the fabulous opening where the cast belt out β€˜Is it a cake or is it a biscuit?’. The silliness is very much there from the start, as the actors come on wearing brown and orange costumes, on a set that is fully painted in Jaffa-cake branded colours. There’s a really nifty set design from Lauren Jones with three semi-circular set pieces which are used to setup the court and then moved around in one number to create different shapes, with a very clever use in the final scene that I shan’t spoil (although you may be able to guess!).

The lyrics (also by Sam Cochrane) are witty, playful and downright silly, with lines like β€˜What if I wind up dead? / What if I crap the bed’ setting the general comic tone of the whole show. The standout song comes from Pritchard, who sings about being the β€˜Tax Man’, a deliciously dark and funny villain number with some incredible riffs. The songs are matched with quirky choreography in Ali James’s production which gives a zany cartoonish type quality to the characters that’s a lot of fun to watch.

There’s also a surprising amount of heart in this story. I don’t know if it’s just the fringe-fatigue, but the show gets proper emotional at the end, with the cast singing out β€˜If a cake can be a biscuit, you can be anything’. Who would’ve thought a musical about Jaffa Cakes would give me goosebumps? As well as the standout performance from Pritchard, Prescot shows off his multi-talented skills, playing the Judge and other supporting characters to great comic effect, whilst also on keys for most of the show.

It’s a very fun, very silly hour of musical comedy that’s super self-aware and makes the most of this. A great pick for a day at the Edinburgh Fringe.

 

A JAFFA CAKE MUSICAL at the Edinburgh Festival Fringe – Pleasance Courtyard – Courtyard Two

Reviewed on 17th August 2024

by Joseph Dunitz

Photography by Ben Wilkin

 

 


A JAFFA CAKE MUSICAL

A JAFFA CAKE MUSICAL

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GIRLS REALLY LISTEN TO ME

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Pleasance Theatre

GIRLS REALLY LISTEN TO ME at the Pleasance Theatre

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“short and sweet with a clear and precise character arc and message”

Madeleine (Eleanor Greene) is a spoilt Gen Z teen living on the Upper East Side of Manhattan channelling a little bit of Blair Waldorf mixed with a heavy dose of Julia Fox – and actually more than a passing resemblance to a blend of them both too. At sixteen, she acts much older than she is; thinking it’s impressive to get into nightclubs underage and spewing #girlboss mantras like ‘everybody is a business, and life’s moments are a marketing opportunity’. She’s pretty despicable, but in a conscious β€˜love-to-hate-her’ sort of way.

Because whilst she may be financially privileged, she’s also had to grow up fast. Between diatribes about the losers in her private school milieu and boasts about how popular she is with boys, we learn that Madeleine’s mother is never around, and no mention of a father-figure. Madeleine convincingly tells us she would much prefer a mum who she doesn’t see for weeks, who leaves the house for SoulCycle at 5am before her job at the hedge fund, because that’s boss bitch energy. It’s easy to see through the bravado.

But what Madeleine is really here to tell us about is what happened to her friend Maria last year at the annual house party where senior boys select a freshman girl each to have sex with. It’s reminiscent of the Brock Turner case from 2016, where a Stanford swimmer was convicted of sexually assaulting an unconscious woman at a frat party. Whilst one might assume that the #metoo movement that closely followed this case and subsequent cultural conversations about consent might have made things more transparent for young women exploring their sexuality. But much of what Madeleine and Maria experience as adolescents feels all too familiar, despite the generational divide between her and the majority of the audience.

The slight edge in this piece is the exploration of Madeleine’s potential complicity in what happened. In her blasΓ© manner she makes it clear nothing is her fault. But perhaps she can’t countenance that she may have been partly to blame for what happened to her friend.

Eleanor Greene has confidence and ease on stage, comfortable indulging in the quiet moments to build tension as she scrolls tiktok, takes selfies for Snapchat, or replies to her boyfriend, with the ridiculous name Braxton Dupont. Her constant refrain ‘I have to take this’, whenever she gets a message about the plans for the club later is hilarious. Collaborating with Director Alex Prescot, they get the privilege teen apathy vibe bang on, particularly through the choice of Lana Del Ray hits that accompany the tiktok doom scroll.

Girls Really Listen to Me is short and sweet with a clear and precise character arc and message. Whilst it may be difficult at first to have any empathy for this privileged princess from the off, its exploration of adolescence and womanhood proves there is more unity to be found than first meets the eye.

 

GIRLS REALLY LISTEN TO ME at the Pleasance Theatre

Reviewed on 20th May 2024

by Amber Woodward

 

 

 

 

Previously reviewed at this venue:

GISELLE: REMIX | β˜…β˜…β˜…β˜…β˜… | April 2024
GWYNETH GOES SKIING | β˜…β˜…β˜… | February 2024
CASTING THE RUNES | β˜…β˜…β˜… | October 2023
DIANA: THE UNTOLD AND UNTRUE STORY | β˜…β˜…β˜…β˜… | November 2022
DIRTY CORSET | β˜…β˜…Β½ | April 2022
SHE SEEKS OUT WOOL | β˜…β˜…β˜…β˜… | January 2022
DOG SHOW | β˜…β˜…β˜…β˜…β˜… | December 2021
LIGHTS OUT | β˜…β˜…β˜…β˜… | October 2021
CATCHING COMETS | β˜…β˜…β˜…β˜… | September 2021
EXPRESS G&S | β˜…β˜…β˜…β˜… | June 2021
GINGER JOHNSON & PALS | β˜…β˜…β˜…β˜… | June 2021
GODOT IS A WOMAN | β˜…β˜…β˜…Β½ | June 2021

GIRLS REALLY LISTEN TO ME

GIRLS REALLY LISTEN TO ME

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