Tag Archives: Damian Robertson

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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Showstoppers

Showstopper! The Improvised Musical

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Garrick Theatre

Showstoppers

Showstopper! The Improvised Musical

Garrick Theatre

Reviewed – 7th December 2020

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“showcases impeccable talent, commitment and a glorious sense of humour”

 

Showstopper! The Improvised Musical uses audience suggestion to create a new musical every single night. This makes for a difficult review, as despite last night’s β€˜A Change of Direction’, a piece about β€˜out of work’ actors finding performances in their day to day lives, being brilliant, it will never be seen again. That being said, it is clear that there is an envious amount of talent on stage; from the musicians, who improvise each song and manage to keep in tempo and melody with the actors, to the actors themselves, who pull off such an impressive range, they truly blow you away.

Entering the theatre after the UK’s second lockdown would have been a treat enough, but Oscar Thompson (sound designer) collated an uplifting array of musical theatre anthems and the audience, despite being socially distanced, is immediately uplifted and ready to have some fun. On the front of the stage there is a large, branded banner, asking audience members to text in ideas for what the musical could be about tonight, as well as favourite musicals that they’d like the cast to style their improvisation to. With a ring of a red phone that lights up centre stage, it’s clear we’re ready to begin.

From the outset of the show, when an unnamed person (performed by Dylan Emery) answers the phone to a mysterious producer, the humour in the show is set alight. Emery announces that he is delighted to be finally asked to put on a musical after such a long period of β€˜theatre drought’ and comically says that he will have it ready in 75 minutes without a problem. Emery’s intelligent and relevant humour works beautifully as he effortlessly engages with the audience throughout the show. He begins reading out the audience’s suggestions; what they have texted into him for musical ideas and themes. When the audience has decided (through cheering for their favourite title) the improvisation begins.

A standout performance was given by Justin Brett, whose charm and charisma was effervescent. However, an astounding level of skill was displayed by each person on the stage. The actors and musicians transition with ease between operatic numbers in the style of Phantom of The Opera, to making up rap on the spot so that they might imitate Hamilton. This show is particularly brilliant if you’re musical theatre knowledge is expert; if you know the stylings of Sondheim, to the opposite on the spectrum SIX, each impression is faultless. I worry that this might have been lost on first time musical theatre goers, but the cast and band’s ability would be impressive still. A highlight in the show occurred when the actors didn’t in fact get everything perfect; their panicked stares as it became clear they were running out of things to say was embraced by the other cast members and was celebrated with hilarity.

At various moments throughout the show, Emery will suddenly stand, freezing the cast and announcing a development he’d like to enforce (usually taken from the most outrageous message he’d received in from the audience) to ensure that the cast are keeping to a story arc and structure. This works perfectly should the cast begin to go off subject or reach a dead end in their improvisation. The only criticism I would have is that the cast on occasion don’t fully listen to Emery’s direction and so there is a tendency to labour the point a little, but perhaps they were buying themselves time to think in response to one of Emery’s daring requests!

All in all, this musical showcases impeccable talent, commitment and a glorious sense of humour. It was clear that no one on the stage was taking themselves too seriously, which is hugely welcome by a world starved of live entertainment.

 

Reviewed by Mimi Monteith

Photography by Geraint Lewis

 


Showstoppers! The Improvised Musical

Garrick Theatre – various dates until March 2021

 

Previously reviewed at this venue:
Brainiac Live! | β˜…β˜…β˜…β˜… | August 2019
Rip It Up – The 60s | β˜…β˜…β˜… | February 2019
Bitter Wheat | β˜…β˜…β˜…β˜… | June 2019
Noises Off | β˜…β˜…β˜…β˜… | October 2019
Potted Panto | β˜…β˜…β˜… | December 2020

 

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