Scotch and Soda: a magical, musical Circus Cabaret comes to town at Edinburgh’s Christmas
A madcap troupe of Australian musicians and acrobats has arrived in Edinburgh to offer a distinctly different style of entertainment at the Paradiso Spiegeltent, St. Andrew’s Square. Company 2 from Brisbane is a multi-talented bunch of performers who specialise in what they call New Circus .. evolving the form.”
No Nelly the Elephant or red nosed clowns here although there are classic trapeze acts, “wildlife,” and comic turns along the way. The classic Big Top is the perfect venue with ringside seats for the best close up view of the action.
The ensemble of 19th century-styled Strolling Players wander on to the stage, or perhaps stagger, with a couple of guys swilling from a whisky bottle. Dressed in a strange assortment of ragged trousers held up with string, khaki shorts and vests, they look like a cross between boy scouts and Mid Western hobos.
All very theatrical but like a typical circus, there’s no spoken dialogue – music is the lyrical language of the show. The Crusty Suitcase Band, led by composer Ben Walsh, play an eclectic live score blending cool jazz, gypsy, hip hop and bluesy beat on woodwind brass, double bass, percussion and inventive) calypso drumming.
We are treated to a succession of amazing circus tricks with extraordinary agility. Moses with his wild beard and wide eyed expressions, is a true showman, “a magnificent man on the flying trapeze.” With no safety net, he is then joined by Chelsea McGuffin who throws herself around, swinging, somersaulting with gay abandon like a rag doll.
Some of the fast moves are jaw droppingly scary, with the audience oohing and ahhing, half watching, hands over eyes, terrified of a catastrophic head-first fall to the stage.
David Carberry and Daniel Catlow are masters of the art of balance using an array of suitcases, bottles, boxes and also a bicycle … all part of this crazy Cabaret of music, magic and daring feats of physical theatre.
Household pets are included in this performance but not harmed in any way.
Rather like Crabbie’s Alcoholic Ginger Beer for grownups, Scotch and Soda is a fizzing, sparkling punch of a show (with an amusing scene of full frontal nudity), offers alternative Pantomime Festive fun for teenagers and adults.
Scotch and Soda, presented by Underbelly Productions with Company 2 is a UK premiere
Show times – 21st November to 21 December, 2014.
Check out the booking details on Scotch and Soda, Christmas Party nights with dinner, Booth Seats for 10; Paradiso Spiegeltent family shows and full programme of Festive entertainment and events across Edinburgh. http://www.edinburghschristmas.com
Paradiso Spiegeltent shows for children include Stickman, Baby Disco and the Brat Kids Carnival.
Hot Ticket News! EH Postcode Discount: If you live locally with an EH postcode, 20% discount on ticket prices.
A cool and classy revival of “Cat on a Hot Tin Roof” at the Royal Exchange, Manchester
First performed in 1955, Cat on a Hot Tin Roof was a huge success, running for 694 performances on Broadway. It won Tennessee Williams his second Pulitzer Prize.
Williams was a master playwright, creating real, living, breathing characters within a family environment, dramatising conflicts in relationships and compassion for the outsider facing moral prejudice from conventional society.
“ I’m trying to catch the true quality of experience .. ..that cloudy, flickering, effervescent interplay of live human beings in the thundercloud of a common crisis”. TW, Act II.
In his earlier play, A Streetcar named Desire, the flighty, flirtatious, femme fatale, Blanche DuBois appears to be delicate, refined, innocent, but it’s all a mask to escape the ghosts of her past, “After all, a woman’s charm is fifty percent illusion.”
Cat on a Hot Tin Roof is a brutal, brittle family drama – where the emotional discord and sexual tension, shrouded from reality through secrets and lies, is about to be shattered through the revelation of hard hitting truth.
The setting is a glossy white furnished bed-sitting room of a palatial Mississippi Plantation House, the estate of “Big Daddy” Pollitt. It’s his 65th birthday and returning home are his son Brick with wife Maggie, his elder son Gooper, his wife Mae and their five children, to be joined by other local friends.
The opening scene is brilliantly filmic: Fans whirr overhead in the shadowy twilight, as we see Brick in the shower, washing in real water. Maggie rushes in, undressing quickly down to her silk slip. When he emerges wrapped in a towel, one leg is in plaster with a crutch under one arm.
Trying to relive the happy days of his sporting youth, he has broken his leg attempting to jump hurdles at the High School.
She explains that one of Gooper’s “no-neck monsters” – as she refers to his noisy, undisciplined kids – has spilt something on her blouse and she has to change. Brick ignores her and hobbles over to the Cocktail cabinet. “Did you say something, Maggie?” he asks, dismissively, while she whines on in a monotone voice.
Within just a few minutes of this intimate scene, you can sense his cold bitterness and simmering anger, while she maintains an effusive charm as if all is hunky-dory.
Naked to the waist, Charles Aitken has broad muscular arms, slender athletic body, short blond hair, all rather reminiscent of Beckham – an apt comparison as Brick is a former football player. Having seen Ian Charleson in his breathtaking performance in this role (NT 1988), Aitken captures a similar haunting look in the eyes expressing the pain of mental torment.
The first Act focuses on Brick and Maggie, as she tries to break his mood of despair and encourage him to get ready for the birthday party. She is the Cat of the title, catty and spiteful in manner, desperately jealous of Mae, (pregnant again), while she is childless in a sham of a marriage.
Brick is a broken man – emphasised by his leg in plaster – grieving the tragic death of his best friend, Skipper and his only solace is a stiff drink. Alcohol is his other crutch.
But what was the full nature of their relationship? Maggie demands to know the truth having been so jealous of Skipper, guessing that it was a secret love that dare not say its name.
Mariah Gale as Maggie has a neat, brunette perm, perfects a slow, Southern drawl and sultry look, perhaps modelled on Elizabeth Taylor in the film version. She is cat-like, flouncing around the bedroom from chaise longue to the double bed, trying to tease and entice her husband. He merely hops over to the whiskey bottle and ice bucket to freshen his drink, again and again.
In one of the most electrically-charged scenes, Maggie becomes more and more hysterical – she’s lonely, rejected and, despite wearing a sexy basque and stockings, no longer desired by Brick. He can only retort that his friendship with Skipper was honest and real. “The one great good thing in his life which was true.”
A clever directorial moment is when Big Daddy, Mamma, Gooper, Mae and children, suddenly wander half way down the aisles around the stage as if listening to their private conversation. “ The walls of this house have ears” comments Maggie.
After dinner, all the family arrive to join Brick and Maggie for birthday cake celebrations. While Big Mamma bustles around in jolly party spirit, conversation turns to Big Daddy’s health and Gooper’s devious plans to take control of the Plantation.
Daragh O’Malley portrays Big Daddy, strutting about as the powerful Patriarch, puffing on his cigar, with a bullish, bullying presence. His heart to heart – man to man chat with Brick about Skipper becomes more heated as more whisky is consumed. They are both in denial about the truth, lingering guilt, shame, the fear of mortality.
But O’Malley’s incessant, raucous shouting is more akin to an overacted TV soap opera, rather than expressing the “cloudy, flickering, effervescent interplay” – the ebb and flow of William’s poetic dialogue. Less is more.
The original play was structured with two intervals to give each Act the space to breathe. In this revised two Act production the first act is too long, strangely breaking for the interval half way through the conversation between Big Daddy and Brick. (My sister and I were getting cramp and four people crept out after 70 minutes). While Brick was presumably drinking iced tea not Bourbon, the men seem to be smoking real cigars, the smell penetrating around stage side seats.
Directed by James Dacre with a languid pace, the star turns are the very watchable Charles Aitken and Mariah Gale in the central roles. Matthew Douglas is rather comical as the bumbling Gooper as is Victoria Elliot as the vivacious Mae as part of an impressive cast.
Music by Charles Cave – (the soundtrack played rather too quietly) – adds a soupcon of moody tension to the atmosphere. The theatre-in-the-round is perfect to create the claustrophobic space for the intimate close-up performance of this blisteringly hot and heartfelt drama.
Show Times:
Royal Exchange Theatre, Manchester 30 October – 29 November, 2014
t. 0161 833 9833 www.royalexchange.co.uk
La Fete du Cinema: The 22nd French Film Festival, 7 November to 7 December, 2014
The birth of cinema is credited to two Frenchmen, Auguste and Louis Lumière who, in 1895, filed a patent for their Cinématographe, although they saw it as just a passing fad. “The cinema is an invention without a future,” said Louis Lumière.
Nevertheless, France has continued to be a pioneering movie-making nation and its output today is surpassed only by India and the United States. Heavily subsidised by the State, French cinema is recognised the world over for its quality, sophistication and creative diversity.
How fortunate we are that each year in November, La Fete Du Cinema offers an inspiring cultural collection of French movies. Curated with passion and artistic flair by the Co-founder – Director, Richard Mowe and Ilona Morison, (deputy director), the popular and ever- growing Festival now visits nearly a dozen towns and cities across Scotland and UK.
Romance, drama, comedy, animation, politics, documentary and shorts cover every style, storyline and setting, from premieres to vintage classics. This feature can only cover a mini selection of the numerous films and special events – for the full Festival programme see website below.
Highlights picked from the Cannes Film Festival this year include 9 Month Stretch, described as a black comedy Court-room caper; this won the best actress Cesar for Sandrine Kimberlain.
Nominated at Cannes for Best Film is Turning Tide, about a yachtsman facing the challenge and dangers of a solo sailing race.
Based on the 1964 novel by Georges (Maigret) Simeonon, The Blue Room follows the liaisons dangereuses between a vain, womanising married man and his manipulative mistress who meet for afternoon encounters in the blue room at the Hôtel des Voyageurs.
But their passionate affair leads to a nightmare of tragic consequences. Directed by and starring Mathieu Amalric (Quantum of Solace, Grand Budapest Hotel), this vintage Simenon tale is sure to be an atmospheric, psychological thriller.
On a lighter note, Gazelles, written and directed by Mona Achache is a kind of French Bridget Jones’ romantic comedy about a a thirty-something single girl. Marie and Eric are childhood sweethearts and after 14 years together are about to buy their first apartment when Marie has second thoughts ….. “ An ode to womanhood and freedom, Gazelles is a joyous but realistic girl-power statement.”
The great news is that both Mona Achache and leading actress Camille Chamoux (Marie) will be appearing at the screenings of Gazelles in London, Glasgow and Edinburgh.
A key feature of the Festival is the added bonus of Guest Artistes taking part in Q&A sessions following the films which always add a fresh and illuminating dimension.
In several UK cities, Director Lionel Baier will introduce his film Longwave, an entertaining road movie about the 1974 Carnation revolution in Portugal. Marie’s Story relates the true story of a blind and deaf girl and a caring young nun and the film’s Director Jean-Pierre Ameris will also be visiting the Festival.
Location, location, location: during the Festival you can take a virtual journey across France – Paris, Provence, Normandy, French Riviera, Marseille, and from West Africa to Argentina.
The centenary of the First World War is commemorated, ranging from Wooden Crosses, a moving 1931 anti war film, to Life and Nothing But, (Bertrand Tavernier) which illustrates the aftermath of the Great War through the heartache of thousands of grieving mothers and widows. It won best Foreign film at the Baftas, 1989.
The Festival features such acclaimed actors as Catherine Deneuve, Isabelle Huppert and Jean Reno, with directors including Jean-Luc Godard, Anne Villaceque and the late Alain Resnais.
A master of New Wave cinema, Resnais moved from documentaries to musicals and sci-fi, inspired by classic drama, pop culture and farce. As a tribute, there’s a screening of Hiroshima Mon Amour (1959), a fictional love story set between post-war Japan and France which won the International Critics prize at Cannes. “A meditation on memory and heartbreak, the opening montage of lovers’ entwined hands is breathtaking even today—in 1959 it was truly, elevating cinema.”
Resnais died aged 91 earlier this year – with impeccable timing – following the premiere of his film, Life of Riley at the Berlin Film Festival. Based on a typical melancholic comedy of manners by English playwright, Alan Ayckbourn, the plot illustrates problems in relationships, love and marriage.
Children’s entertainment too – a new version of Belle & Sebastien based on the enchanting TV series, and an animated fairy tale, Wolfy, the Incredible Secret about a young wolf and a rabbit. Check out the programme for details of L’Ecole du cinema and the schools programme at selected cinemas taking part in the FFF.
For those in or around London, a very special CineConcert will take place on 9 November at the Barbican. Studies on Paris, a black and white silent documentary from 1928 is a stunning cinematic portrait of the city by Andre Sauvage. To accompany the screening, the Prima Vista Quartet will perform the film score, Studies on Paris, composed by Baudime Jam.
A vital and valuable section of the French Film Festival is to promote new, young talent. Short Cuts will highlight the work of seven directors representing diverse cinematic styles.
Mr Hublot won an Oscar for Best Animated Short. It sounds like a charming, if rather surreal animation about an eccentric house proud man and his new pet dog.
Edinburgh based film-maker, Max Markus has a great interest in history, legends and magical realism. His new film Looking Glass, set in late 19th century France, is a five minute atmospheric Gothic drama, artistically inspired by the romanticism and sensual beauty of Pre-Raphaelite portraits.
Markus has also created the fast paced and enticing Festival Trailer – a tasty amuse bouche to preview some of the cinematic treats over the next month. Click on the Link below
I think the Lumiere brothers would be impressed with the line-up for the French Film Festival 2014!
French Film Festival 7 November to 7 December, 2014.
Edinburgh, Glasgow, Aberdeen, Dundee, Inverness, Kirkcaldy, London, Cambridge, Newcastle, Warwick, York.
The FFF programme, information on films, venues and tickets – see www.frenchfilmfestival.org.uk
Festival Trailer for a sneak preview ..
https://www.youtube.com/watch?v=M1zXwBnUlk8
Programmes available now in participating cinemas.