Tag Archives: Emily Morris

F. Off

★★★★

Belly Button Underbelly

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F. Off

Underbelly Cowgate

Reviewed – 14th August 2019

★★★★

 

“Not only does ‘F. Off’ talk about issues, it lays them out for you, right in front of your face”

 

The National Youth Theatre has been the home of the best young talent in the country, and ‘F.Off’ demonstrates this in spades. It is an interactive theatrical gem, putting Facebook’s creator Mark Zuckerberg on trial in front of the people. Well, Zuckerberg doesn’t actually make an appearance, but an excitable audience member takes his place. The play exposes the disturbing truth behind algorithms, social media and politics. Did you know that the average person shares 27,000 pieces of data on their profile? Did you know that you can be tracked even if you don’t use Facebook? All of these facts bubble to the surface through improvised interactions with audience members. Masterful directorial decisions are made in this piece, (Paul Roseby and Meghan Doyle) such as asking a viewer if they can look on their Facebook page in real time and tell the audience what information it gives away. Not only does ‘F. Off’ talk about issues, it lays them out for you, right in front of your face.

The stage design (Libby Todd) captures the central metaphor of the play, as said in one of the first lines of text: ‘Why build a net unless you want to catch something?’. The stage has a bare frame, covered in blue netting that ensnares various props as the drama progresses. Every detail, from the set to the direction, has been thoroughly thought-through and has a clear purpose.

There is potential for a show on this topic to become preachy and overly-didactic. However, the three main storylines display the effects of the internet in a variety of ways: through a political campaign, the effect the campaign has on the politician’s child, and the courtroom itself. The ensemble is strong in terms of characterisation and movement (Tim Jackson). Stylised physical theatre sections move the action along between scenes, building a sense of growing momentum. Amelia Braithwaite’s performance of the politician’s daughter is of particular note as she portrays the typical adolescent struggle of trying to fit in, with authenticity and nuance. The ensemble uses music for comedic effect, keeping in line with the tongue-in-cheek tone used throughout. A highlight of this is their adaption of Stevie Wonder’s classic anthem ‘Superstition’, with new lyrics about reading the ‘Terms and Conditions’, as a viewer signs away their freedom.

‘F. Off’ tows the line between informative content and comedic delivery, while remaining attentive to the quality of the storytelling. This piece of theatre should be viewed with no less validity and merit than the adult shows produced by the same company. I can’t wait to see what this bunch of budding actors goes on to do next.

 

Reviewed by Emily Morris

 


F. Off

Underbelly Cowgate until 25th August as part of Edinburgh Festival Fringe 2019

 

 

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The Burning

★★★

Pleasance Courtyard

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The Burning

The Burning

Pleasance Courtyard

Reviewed – 14th August 2019

★★★

 

“had such potential but the jumping narrative resulted in an unclear message”

 

This all-female cast took us on a journey, jumping through huge swaths of history to examine the allegations of witchcraft against women. But maybe they bit off more than they could chew by switching between the historical testimonies of the victims and the story of a modern woman, dealing with the death of her mother.

Incognito Theatre Company’s production has been highly anticipated since the success of their last production ‘Tobacco Road’. However, ‘The Burning’ didn’t quite hit the mark that I expected. The ideas shown are intriguing and offer interesting new insights into a topic that can often be summarised by showing voiceless victims of extreme injustice. ‘The Burning’ also presents a novel slant on the printing press as a platform for men to create and implement legislation against women.

The ensemble (Keturah Chambers, Jennie Eggleton, Kimberley Hallam, Phoebe Parker) were skilled in their portrayal of various roles. They used quick costume changes to switch between characters. This was accompanied by slightly questionable accents, that were distracting. It would have been more effective for them to play to their strengths by marking different people by changing their physicality. The movement direction (Ingrid McKinnon and Roberta Zuric) used within the piece was strong and is something that could definitely be utilised more. The strongest moments were when the actors repeated ritualised moves, reminiscent of conjuring.

A key feature of this production was the use of live and recorded sound. Vocal looping of eerie sound effects created a thick and tense atmospheric. This was complemented by design elements (Helena Bonner) such as the repeated use of dry ice and red and blue wash lights. The set was fairly simple as the actors used three wooden blocks to create change within the scenes. In general, the handling of props was well rehearsed and slick.

Where the production fell flat was its structure. The piece went between two main story strands: that of the legacy of different witch trials and that of a modern day woman discovering these stories. The link between the two narratives became entangled in a way that felt forced and disjointed. This let the show down, as the actors were committed and clearly highly competent. This piece had such potential but the jumping narrative resulted in an unclear message. The cast forcefully delivered a final call to action at the end but, as audience members, we were left unsure as to what we were being asked to rally for or against.

 

Reviewed by Emily Morris

Photography by Marko Marsenic

 


The Burning

Pleasance Courtyard until 26th August as part of Edinburgh Festival Fringe 2019

 

 

Click here to see more of our latest reviews on thespyinthestalls.com