★★★★★

“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.

TWO ROUNDS at Jermyn Street Theatre

★★★

“a tear-stained love letter to mothers and daughters”

Two Rounds explores the legacy of womanhood through two generations of four women in a tender and contemplative story. The first group we meet is a tea-party of housewives living in 1960s Italy. Translated from its original Italian debut and written by Cristina Comencini, the piece is a long conversation between four mothers. In the second act the actors play their respective daughters. Nothing happens to the characters beyond what they simply reveal dramatically to each other and events described off-stage. Beatrice, a vision in pink, (Daria Mazzocchio) is pregnant with her first child. Claudia (Natalie Cutler) in a green poodle skirt is uptight and traditionalist and consistently reminds Beatrice to expect even more pain in childbirth than whatever she imagines. Briskly dealing cards for the game is Gabriella (Flora Sowerby), in blue mid-length trousers. She criticises the nature of their housewife role with dry humour and knowing looks. Lastly, in matching purple headband and trousers is Sofia. She wins often at cards, but feels she has not won at life. Sofia (Saria Steyl) laments her life and delivers philosophical rants whilst chain smoking (around a pregnant woman…it’s definitely the 60s!) with pithy delivery.

Permeating the emotional moments is bright and dreamy lighting with vibrant pinks and an occasional flickering hanging lamp (Han Sayles). The set consists of a living room decorated with a somewhat kitsch collage of black and white photos of brides, mothers and families with the costumes doing heavy lifting in evoking the time period (Evelien Van Camp). Further punctuating the drama in the women’s conversation is a light piano score and Italian music (Hattie North). At the change to the next generation the home is draped in sheets and with cooler more sombre lighting and some Nokia ringtones to garnish its 90s setting.

“it is performed with quiet strength from the cast in both acts”

The relationship between mother and daughter is captured through the dual roles of the performers. Beatrice, pregnant with her daughter Giulia tells us she adored her mother who died. Directly mirroring these events in the 90s, Giulia (Mazzocchio) gathers her childhood friends after a funeral. Claudia, who idolised her mother, discusses the value she places in her role as a parent. In the second act, her daughter Cecilia (Cutler) is desperate to be pregnant. Gabriella, who feels lonely and side-lined proclaims she will teach her daughter Sara to play piano. Sara (Sowerby), a concert pianist, wishes her husband were more assertive in their marriage, disliking how he emasculates himself. Sofia feels dispassionate about her role in her daughter’s life. A doctor, Rossana (Steyl), who keeps an unlit cigarette in her mouth (it’s a metaphor) discusses balancing a career and family life. The women in the 90s generation discuss their problems with feminism and to some extent seem to dislike some of the freedoms they have that their mothers didn’t. The women of the elder generation casually admit to adultery, loneliness and resentment with their respective daughters supposedly in the room next door. Conversely, none of the daughters have become mothers in the second half and have made their own choices in their work and love lives.

Overall it is performed with quiet strength from the cast in both acts. Steyl’s performance enamours the audience to a regretful and bitter Sofia. Mazzocchio is endearing as Beatrice and Giulia, showing range. Directed by Aida Rocci, the scenes weave through the tea party and funeral but avoid over-the-top melodrama with expertly placed jokes by Cutler and Sowerby. However in lieu of conflict, expositional dialogue takes up the entire runtime. It is a tear-stained love letter to mothers and daughters.

Tag Archives: Hattie North

CRYING SHAME

★★★★★

Edinburgh Festival Fringe

CRYING SHAME at the Edinburgh Festival Fringe

★★★★★

“a masterclass in creativity and playfulness”

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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TWO ROUNDS

★★★

Jermyn Street Theatre

TWO ROUNDS at Jermyn Street Theatre

★★★

“a tear-stained love letter to mothers and daughters”

“it is performed with quiet strength from the cast in both acts”