★★★★

“the audience for last night’s performance left happy and entertained, and you will, too”

Flat and the Curves are back at the Edinburgh Fringe Festival with their new show, Rosé- Tinted. If you’ve never seen this talented group before, don’t hesitate to book a ticket. Oh, and take your men friends. They’ll learn a thing or two about how these satirical sirens see men and their less endearing habits. But it’s all good fun, and even the lads will appreciate the ladies, their music (and their jokes).

This talented group is Katy Baker, Charlotte Brooke, and Issy Wroe-Wright. When I last saw this group in London, they had a fourth member as well, and honesty compels me to admit that Flat and the Curves do better when they’re a quartet. Rosé-Tinted is just as sparkling as earlier shows, but having an extra voice helps carry the load of their incredibly energetic performances. They can perform everything from opera to soul, with a touch of raunchy blues thrown in for good measure. They have much more to offer than your average cabaret show. And that includes a running commentary with songs to make your grandma blush. Or maybe not. After all, they are singing about experiences that every woman has had, regardless of one’s date of birth.

Many of the songs in Rosé-Tinted will be familiar to fans of Flat and the Curves. They range from useful advice you can get from meeting female soulmates in the loo, to less than happy memories about hen dos. In fact, when Flat and the Curves have advice to offer, you’d better listen. (Don’t ever wear a jumpsuit where there’s a lot of competition for the loos. Just sayin’). Then there’s all the angst that comes with hosting middle class dinner parties. And a torch song about the disappearance of “real” men. The song about P*** suggests reasons for this—and it’s hilarious. There’s some new material including a rather offbeat little song about The Easter Bunny but why the heck not? It gives the girls time for a breather before launching into their next energetic set. At just sixty minutes, this is a shorter show designed for Fringe conditions, but the audience for last night’s performance left happy and entertained, and you will, too.

NUTCRACKER at the Tuff Nutt Jazz Club

★★★★★

“McOnie’s clarity of vision and impeccable execution results in a production that is fun, fanciful, and doesn’t take itself too seriously”

Entering the Tuff Nutt Jazz Club, squirrelled away underneath the Royal Festival Hall on the Southbank, you can already tell you’re in for a treat of a production. A cool terrazzo topped bar awash with warm and inviting diffuse lighting greets you whilst upbeat, mildly festive jazz plays through the speakers to get you in to the spirit for one of dance’s quintessential Christmas favourites, reimagined.

Director-Choreographer Drew McOnie has devised a fresh and modern take on the classic ballet that maintains much of the structure but plays with form. Rather than Clara, we have Clive, who is waiting for Christmas in his small flat with his financially stressed father who would rather Clive played with Action Man than the fairy on the top of the Christmas tree. These two do not understand each other, but over the course of the next hour, through fantastical imaginings in Clive’s dreams, they come closer together.

Part of The Nutcracker’s enduring legacy is Tchaikovsky’s 19th century score, with key pieces, such as the dance of the sugar plum fairy, instantly recognisable and memorable. In McOnie’s production, these classical pieces are interpreted with a jazz influence by composer Cassie Kinoshi. Many of the most-loved refrains still drive the score, but are saxophone forward, reflecting the composer’s own instrument of choice. The four piece band, casually dressed in pyjamas, are perched on a small stage at the top of the club and are a pleasure to watch alongside the main action of the dancers.

But it is, of course, the dancers that take centre stage. Mark Samaras is utterly charming in the lead role of Clive, believable as a young boy all wide-eyed with wonder, whilst displaying a maturity of movement through self-assured rhythm and flow, all the more impressive given he is covering the role due to injury. Amonik Melaco as the modern nutcracker, Action Man, gives us a convincing transition from stereotypical masculinity to a more nuanced and fluid expression. His pas-de-deux with Sugar Plum Patricia Zhou towards the emotional climax of the piece is uplifting, physically and spiritually. The small cast of six are all strong and supple with heaps of charisma, each bringing a unique flavour, quite literally, to the piece.

“a sense of excitement to keep you on the edge of your seat”

A large part of what makes McOnie’s production so engaging is the intimacy afforded to it through the jazz club setting meaning you are close enough to see the sweat and catch a wink from the ensemble. There’s also tongue-in-cheek humour employed in unexpected ways. An interlude after the entry to Dreamland and the Waltz of the Snowflakes sees two of the snowflakes, in sequins and ski goggles, re-enter the stage with gold foiled leaf blowers to clear the confetti snow to a muzak version of the previous piece. Those faint of heart beware the front row! The leaps and bounds of the performers will be a whiskers width from you, but do not fear – these dancers are so in tune with their bodies there will be no risk of a collision, only a sense of excitement to keep you on the edge of your seat.

It all comes together as a beautifully constructed and almost immersive production. Set and venue design by Soutra Gilmour and costume by Ryan Dawson Laight are a real mash up of eras and styles with orange and brown tones screaming 1970s, contrasting with the bubblegum brights and sequins of Dreamland. The combination gives a familiarity of the festive season whilst keeping it contemporary and in line with the themes of the piece.

Reinterpreting such an iconic piece may appear a daunting task, but McOnie’s clarity of vision and impeccable execution results in a production that is fun, fanciful, and doesn’t take itself too seriously, whilst still employing the highest standards of creativity and artistry. A jolly production to kick off the festive season.

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FLAT AND THE CURVES – ROSÉ-TINTED

★★★★

Edinburgh Festival Fringe

FLAT AND THE CURVES – ROSÉ-TINTED at the Edinburgh Festival Fringe

★★★★

“the audience for last night’s performance left happy and entertained, and you will, too”

FLAT AND THE CURVES – ROSÉ-TINTED at the Edinburgh Festival Fringe – Underbelly Bristo Square

Reviewed on 4th August 2024

by Dominica Plummer

Photography by Rebecca Need Menear

ROSÉ-TINTED

ROSÉ-TINTED

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Nutcracker

★★★★★

Tuff Nutt Jazz Club

NUTCRACKER at the Tuff Nutt Jazz Club

★★★★★

“McOnie’s clarity of vision and impeccable execution results in a production that is fun, fanciful, and doesn’t take itself too seriously”

“a sense of excitement to keep you on the edge of your seat”