Camden Fringe 2019 Archives - Page 8 of 16

★★★

“With more polish and some changes to the overall production, Women on the Edge could have its potential pushed to new heights”

‘April,’ T. S. Eliot once claimed, ‘is the cruellest month.’ He’s right, April sucks. But, for London theatre lovers, the cruellest month is August. Not only is it too hot/too cold/too sunny/too rainy (delete as applicable), but everyone’s gone to Edinburgh and they won’t stop tweeting about it. Should I shirk all responsibility and hop on the train now?

No. Just go to the Camden Fringe.

Women on the Edge, my first outing to this year’s Fringe, is a strong showcase for the talent of its writer and performer. In a fast-paced fifty minutes, Juliana Lisk tells three stories of women attempting to claw their way back from breaking point. “Broken Biscuits” explores the reality of growing up poor, spending Christmas without presents or a tree, and enjoying broken biscuits as a treat. Now, having experienced the charity of others, the protagonist wants to make a difference. “0800 Drink” shifts the tone entirely as Lisk portrays a teleshopping presenter on the 2 am shift, gradually disintegrating as she attempts to promote a retreat for responsible binge drinking. Finally, in “Toy Storey”, Lisk evokes the horror of Christmas in the toy department as the assistant assistant manager attempts to control the rogue activities of her boss – not to mention the baying crowd.

Lisk is an engaging performer, provoking sympathy for her characters and laughter at their flaws. Her writing is also strong: “Broken Biscuits” has an earnest emotional core, whilst “0800 Drink” is a great piece of irreverent fun. However, there are steps that could be taken to bring out their strengths more. “Broken Biscuits” is without doubt the strongest of the three pieces, and the most tonally unique. Having Lisk perform this first means that the show hits its high too early on, which is something that the other two cannot compensate for. Unfortunately the closing piece is the weakest of the three, meaning our final glimpse of Lisk is not reflective of her best work. Considering that she does all the resetting herself, having preset areas for each monologue is a good idea: but it would be nice to see them not confined to these set places. It might have been particularly useful for her to have more free rein over the stage, especially during “Toy Storey”, so that the high stakes could be more obvious.

The Camden Fringe is an opportunity for theatre makers to showcase their skills, and Lisk definitely does here. With more polish and some changes to the overall production, Women on the Edge could have its potential pushed to new heights.

Reviewed by Harriet Corke

The Geminus

Tristan Bates Theatre

Reviewed – 13th August 2019

★★

“it’s certainly entertaining but not, for the most part, in the manner in which it was intended”

Based on Joseph Conrad’s ‘The Secret Sharer’, The Geminus tells the tale of Captain Hotson and his unexpected romance with nautical fugitive Leggatt. Hotson (John Black) is a novice captain, grappling with his newfound authority and responsibility. Taking the night’s watch alone, he finds Leggatt (Gareth Wildig) clinging for dear life on the side of his ship. After Leggatt’s explanation of how he came to be involved in the death of a man on his own ship, Hotson decides he seems like an alright fellow, fetches him some matching silk pyjamas and stows him away in his quarters.

Neither gentleman feels the need to button up their silky jammies as they circle one another, discovering such fun facts as they’ve both been to the same public boys’ school. “What happened to your clothes?”, asks Captain Hotson. Leggatt moves ever closer to the captain, shirts billowing open…

The Geminus comes across as poorly written homo-erotica, without the actual deed. It’s neither one thing or another really – neither a close study of a covert, forbidden relationship, nor an outrageously sexy romp. Writer and director Ross Dinwiddy seems set on making this a serious story, but simultaneously takes literally any opportunity to create sexual tension. When explaining why he didn’t swim away on being spotted on the side of the ship, for example, Leggatt looks intensely at his new acquaintance, and purrs, “I didn’t mind being looked at… I liked it.”

The unnatural dialogue doesn’t give much opportunity for great performances, though the most enjoyable scene to watch is certainly the almost farcical encounter between Captain Hotson and Ma Gwen (Christine Kempell) playing captain of the Sephora, Leggatt’s former ship. Ma Gwen boards the ship looking for her former first mate who is, of course, hiding only a few steps away. There’s something a little pantomimish, which again doesn’t really work if we’re to take this story seriously and experience any real feeling of danger in Leggatt’s almost getting caught, but it’s enjoyable nonetheless.

The set is simple, with only a table and stools, a bed (of course) and a helm, but a blue light washes over the stage, and we hear crashing waves throughout the production, which serves to keep the audience at sea. There are a couple of moments when the performers struggle to be heard over the soundtrack but for the most part it’s effective.

Whether Dinwiddy decides to take a closer look at what it is that brings these two men together and what will inevitably keep them apart, or whether he leans in to the overly erotic and outrageous, there is something interesting at the core of this story. As it stands however, it’s certainly entertaining but not, for the most part, in the manner in which it was intended.

Etcetera Theatre

Reviewed – 14th August 2019

★★★

“With more polish and some changes to the overall production, Women on the Edge could have its potential pushed to new heights”

No. Just go to the Camden Fringe.

The Camden Fringe is an opportunity for theatre makers to showcase their skills, and Lisk definitely does here. With more polish and some changes to the overall production, Women on the Edge could have its potential pushed to new heights.

Reviewed by Harriet Corke

Women on the Edge

Etcetera Theatre until 15th August as part of Camden Fringe 2019

Last ten shows reviewed at this venue:

Tristan Bates Theatre

Reviewed – 13th August 2019

★★

“it’s certainly entertaining but not, for the most part, in the manner in which it was intended”

Reviewed by Miriam Sallon

Photography courtesy Blue Devil Productions

The Geminus

Tristan Bates Theatre until 17th August as part of Camden Fringe 2019

Previously reviewed at this venue:

Tristan Bates Theatre
until 17th August as part of Camden Fringe 2019