Tag Archives: Edinburgh24

TIT SWINGERS

★★★★

Edinburgh Festival Fringe

TIT SWINGERS at the Edinburgh Festival Fringe

★★★★

“a tidal wave of laughs, stomps, and smiles rolling over the participating audience”

There is something for everyone at Fringe. An 18+ punk opera musical about Bonny and Read is certainly an acquired taste but Tit Swingers exceeds doing what it says on the tin. Tongue in cheek and packed full of musical chemistry, the audience are taken on a journey of loud and proud hot girl pirate shit.

This engaging and punchy gig show explores the legendary backstory of polyamorous queer pirates who are “tired of living in the shadow of Blackbeard and Captain Kidd and Calico Jack”. Becky Cox’s set provides a beautifully rugged backdrop and aids projections of the seven seas, as masterful shanties play out on stage. As gig theatre goes, Tit Swingers is visually striking and thoughtful. It would be interesting to see what this team could achieve in pushing the staging to its next level, so actors have greater depth of stage and upped their playfulness even further. However, the use of props and instruments in Tit Swingers makes for inventive and refreshing moments; it is clear from the get-go that the performers know the space and its capabilities well and use them to just about their full potential. As the cast mention, it would be excellent to give them the opportunity to go full pelt with their punk personas- although their inability to smash up guitars does make for a good laugh.

Sam Kearney-Edwardes (playing Anne Bonney) and Abey Bradbury (playing Mary Read) have an electric rapport that immediately warms the audience to their innuendos and playful flirty humour. The sexual humour manages to tow a good line, coming into its own as the show progresses. Tit Swingers is not for the faint of heart but does not overindulge in crude humour for the sake of it. Asides between songs are creatively informative and casually hilarious.

Bradbury and Kearney-Edwardes’ harmonies overlap gorgeously and climb to impressive vocal heights, leaping from genre to genre. It will be a while before I shake the infectious and awesome ‘Hot Girl Pirate Shit’ from my brain. There is also a lovely authenticity to this talented comedic and musical pair that extends to Max Kinder (Calico Jack) who masterfully underpins the show with thrilling drumming and shameless physical comedy. As the cast’s tales unfold, we are treated to hilarious ukelele, kazoo, and washboard shanties, along with amazing piano and operatic singing. This talented trio, and their dramaturg Sophie Coward, create a unique and vibrant atmosphere that packs a fresh punch to a niche market.

Between the dark humour and relentless flirting, Tit Swingers presents a beautiful edge to reclaiming historical space for queer people, and those with gender minorities. This show is a touching ode to punk pirate legends who have had to stand in the side lines of history, putting them centre stage in an accessible, sharp, and witty piece of drama. Whilst delivering a resounding message of taking up space and claiming queer empowerment, Tit Swingers successfully keeps a tidal wave of laughs, stomps, and smiles rolling over the participating audience. Although, if you aren’t a fan of a little bit of ye olde audience interaction, I would advise to wear something a bit non-descript and avoid eye contact (as hard as the cast may try to catch it).

This show delivers a self-aware and polished hour of crude punk musical brilliance, in the best way possible. It is safe to say Tit Swingers is one very good catch.


TIT SWINGERS at the Edinburgh Festival Fringe – Pleasance Courtyard – Pleasance Two

Reviewed on 20th August 2024

by Molly Knox

Photography by Shay Rowan

 

 


TIT SWINGERS

TIT SWINGERS

CLICK HERE TO SEE ALL OUR REVIEWS FROM EDINBURGH 2024

 

LA BELLA

★★★½

Edinburgh Festival Fringe

LA BELLA at the Edinburgh Festival Fringe

★★★½

“Greenhalgh’s writing is phenomenally impressive”

La Bella is the story of a single relationship discoloured, fragmented and exhilarated by the
many others around it. It is the love between Sandro Bottecelli, the charmingly uncharming up-and-coming Renaissance artist and his muse, the ever-conflicted Netta Vespucci, for whom Botticelli feels an affection that seems to transcend usual love or desire. We follow their periodic meetings – the tentative exchanges, moments of intimacy, vulnerability, anger and mourning that colour their relationships’ canvas all the way until its end (and forever after, too).

The chemistry between Honor Calvert (Netta) and Jacob Cordery (Sandro) is palpable from the jump; their push-and-pull between separation and collaboration buzzes with an electricity that leaves no doubt of pull’s eventual victory, though it’s fun to watch the game be played. Calvert is superb throughout, navigating her character’s witty exterior and the existential sadness it cloaks with equally naturalistic and emotive tact. She at points drifts perhaps too quickly to standoffishness, but quickly recovers the nuance that largely embodies her performance. Cordery is equally charismatic and witty, and his every line seems so effortless as a result, which immerses one in their relationship to great effect. Sometimes, this naturalism becomes too total, and certain emotional moments can feel a little wooden and forced, though his final monologue wonderfully captures the sort of longing and strained affection that had otherwise been hiding halfway in the wings.

Abby Greenhalgh’s writing is phenomenally impressive; in her fringe debut, she whisks sections of believable yet sharp dialogue into dynamic shape, quickly tracing, developing and colouring the relationship of her two characters; their insecurities and desires, loves and hates, fears and prejudices. Both voices feel distinct yet connected, and sections where Netta challenges Sandro are particularly powerful. These moments of composite brilliance never quite coalesce into a satisfying whole, however; the narrative functions effectively, but certain arcs in their relationship either drag or come too quickly. It feels a little like a 80-90 minute play cut down to fit Fringe, which may well be the case. The current iteration’s pacing can thus be somewhat jarring at times, particularly in moments of emotional climax which often spring up suddenly.

Nevertheless, the overarching feeling one leaves with is of immersion; passion for this relationship, the tragedies within, and the art that it produced. The tragic finality of an artist finding themselves unable to draw any other face but the one that caught their heart is tangible and powerful; the creeping eyes, the nose, everything. She stays with him. And La Bella stays with you.


LA BELLA at the Edinburgh Festival Fringe – C ARTS

Reviewed on 19th August 2024

by Horatio Holloway

 

 


LA BELLA

LA BELLA

CLICK HERE TO SEE ALL OUR REVIEWS FROM EDINBURGH 2024