Tag Archives: Edinburgh Festival Fringe 2024

THE CROW, (THE PRINCESS), AND THE SCULLERY MAID

★★

Edinburgh Festival Fringe

Reviews, , , , , , , ,

THE CROW, (THE PRINCESS), AND THE SCULLERY MAID at the Edinburgh Festival Fringe

★★

“it has the potential to be what it intended, a funny, charming short play for children who love fairy tales”

I’m a big fan of children’s theatre, and always try to see at least one kid’s show during any Fringe Festival. The publicity for The Crow, (The Princess), and The Scullery Maid sounded promising. This young, personable company from across the waters of both the Channel and the Atlantic are brilliant at rustling up an audience, and welcoming you warmly into the theatre. Once The Crow, (The Princess), and The Scullery Maid began however, it was clear that the script, and the performance skills, needed some work.

Let’s begin with the intended audience. Children’s theatre is an important, but often undervalued area. Children’s theatre requires both stamina and courage, because kids don’t hesitate to tell you how you’re doing, often loudly and unexpectedly, and right in the middle of the show. It demands that you respect both the work and your audience. The Crow, (The Princess), and The Scullery Maid wasn’t suitable for the youngest audiences because it was several drafts away from a finished script, and the plot was difficult to follow. The characters were equally confused, and that’s not just because the protagonist was a little girl (played by an adult) constantly on the verge of needing her naptime. Sadly, the show didn’t really establish the main plot and the characters until we were almost halfway through.

There was way too much exposition. But once we’d been properly introduced to the Scullery Maid and her ugly prince in disguise, things picked up considerably. It was possible to enjoy all the unlikely costume changes behind the curtain, and the frog kissing, and the book loving princesses on their own terms. And despite the randomness of story creating witches, and rescuing enchanters, there were moments of inspired dialogue that helped create a mood that any fantasy and satire loving adult, at any rate, could enjoy.

At sixty minutes, The Crow, (The Princess), and The Scullery Maid seemed long. But with work, it has the potential to be what it intended, a funny, charming short play for children who love fairy tales. With rewrites, Spin Cycle Theatre could be onto a winner.


THE CROW, (THE PRINCESS), AND THE SCULLERY MAID at the Edinburgh Festival Fringe

Reviewed on 21st August 2024

by Dominica Plummer

 

 


THE CROW

THE CROW

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CRYING SHAME

★★★★★

Edinburgh Festival Fringe

Reviews, , , , , , , , , , , , , , , , , , ,

CRYING SHAME at the Edinburgh Festival Fringe

★★★★★

“a masterclass in creativity and playfulness”

Crying Shame is a masterpiece of heartfelt and fun-filled cabaret, made perfectly for all of Edinburgh’s lonely hearts. Exploring what it means to be lonely, how to cure it, and how to identify it, this show leaves no theatrical stone unturned as it dismantles itself (and us) before our very eyes.

Excited (and self-admittedly pathetic) clowns join the audience in the queue before beckoning us into the theatre space at Pleasance Dome; dressed beautifully in bright stage curtains and lit magically (set design Shahaf Beer, lighting John Chan). The sparkle and crookedness of the costuming is sublime and immediately sets the tone for the performers to indulge in their eccentricity and self-pity. The spill of unpolished makeup and odd angular costumes (also Shahaf Beer) add a certain je ne sais quoi to the brilliance of the piece.

The verbatim and lip-syncing are utterly breath-taking and intricately choreographed, as are the stylised and disjointed dancing interludes. Hilarious and beautiful, the voices of audience members, celebrities, and the public have their piece on the matter of feeling not worth it. Crying Shame is a masterclass in creativity and playfulness. It doesn’t shy from blending the silly and the touching into one big brilliant messy extravaganza. Crying Shame is unafraid to get up, close, and personal. Emphasis on the close. The production and delivery are faultless, and the detail of the show’s message and vision shine. Who knew sock puppets with googly eyes could be so moving?

Through an hour of high-paced and high-octane cabaret, songs, tap-dance, mime, and dance are used to empower the audience to love themselves and tackle their own (and each other’s loneliness) head on. In increasingly creative ways, Crying Shame brings an empowering and relatable message about being lonely that is like nothing you will ever see. As actors (Conor Dumbrell, Jordan Barton, Rachel Hunter and Nkara Stephenson) take the audience on a wellness journey simply like no other, they are pulled into a glorious tornado of camp and careful consideration for emotional sucker punches. As the structure of the cabaret collapses, as does the set – creating chilling tableaus of ghost like clowning and allowing the unhinged MC to let out their “frustration” on their own isolation.

Each clown has their moment to shine, as well as their own personal reflective moments which reduce the room to complete silence. Their performances powerfully dazzle with musical and theatrical talent – with stunning tap-dancing and soulful singing. As the piece twists and contorts, the audience is met with well-earned tear-jerkingly honest exchanges. From start to finish, Crying Shame will have your eyes watering for all the right reasons. Without a doubt, missing out on this fantastically thoughtful performance is something to cry about this Fringe.

 


CRYING SHAME at the Edinburgh Festival Fringe – Pleasance Dome – King Dome

Reviewed on 21st August 2024

by Molly Knox

Photography by Rona Bar & Ofek Avshalom

 

 


CRYING SHAME

CRYING SHAME

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