All American Girls

Directed by Layon Gray, “All American Girls” presents a story of racism and betrayal set in 1945 Chicago. This was during the era of World War II, when many men were shipped off to fight for their county. At this time period, women were chosen to help keep the spirit of baseball alive. The show portrays an African-American baseball team of women who call themselves the Red Diamonds. They are scheduled to take on a team of white women known as the Rockford Peaches. The trouble begins in Act I, when the coach goes missing.

The play is dependent on the many flashbacks offered regarding interactions between the Red Diamond players and their coach. They feel she has not really left on her own will, despite the letter of resignation that is found to be from her. Arlene A. McGruber plays the part of Coach Hicks, who provides a motivation performance in the first act, but then her attitude and personality traits for her character do a 180 degree turn as the flashbacks unfold throughout the show.

It seems some of the clothing and language used in the theater presentation were overlooked as needing to be set in 1940’s America, even the roller banners and adverts seem a little bit off. A skirt worn two inches above the knee is one scene does not reflect the common attire for women of that time period. Also, Mari White, the Cover Girl model who plays the role of a young student reporter interviewing the team regarding the disappearance of their coach, uses language that an innocent young college girl would not typically use back in the day.

As a recipient of an NAACP Award for Best Play, “All American Girls” is currently being performed at the Actors Temple Theatre in New York City, New York. The show times are currently being conducted on Wednesday and Thursday evenings. Tickets range from $36.50 to $39.50 for this show.

The Age of Arthritis - London Fringe Festival Review

Nestled into the comfortable confines of the stylish Bridge House Bar I wasn’t entirely sure what to expect from tonight’s performance. Settling into a cosy high-backed chair around a circular wooden table, a plush carpet underfoot, and with only a smattering of other audience members, the setting felt more like a Sunday lunch than a show for the London Fringe Festival.

But that all changed when David Savage took to the mic. Dressed in jogging bottoms and a t-shirt that read Molly and Friends for Dementia, to look at Dave you wouldn’t think he’d drive a turbo-diesel Honda Civic. Maybe their eco-friendly insight hybrid, but not a turbo - he’s 66! Even though he is confused by the car’s security system and gets ignored by passersby when locked inside with the alarm blaring. Still, give him a third off on his travel rail card and he’d rather catch the train any day – even if his journey is spoilt by people talking into their mobile phones in the quiet carriage!

With an insight into growing pains, the medical profession and the depressing attitudes of today’s youth, Savage has the issues and the witty on-liners of Victor Meldrew and Alf Garnett, and though he lacks the conviction – or perhaps the confidence – to tackle his subject matter with both barrels, he certainly has plenty of ammunition within his arsenal. For someone new to the game, at times Savage was right on the nozzle, and other times way off the mark.

Making his comedy debut and swigging on his “spitfire” beer, Savage swiftly regales us with hilarious stories of his life and shares his amusing – and poignant - observations about the deterioration of the modern age and for this writer his performance summed up the first ever London Fringe Festival – great potential, not quite polished.

Comedy review-Dara O’Briain

‘Life literally abounds in comedy if you just look around you.’ Mel Brooks, something we can all agree to in some way. Dara O’Briain has been on the circuit for years but has come to the public eye in his participation in comedy shows like Mock the Week and QI where his ad-lib rapier wit is a refreshing addition to the shows’ banter.

Watching his live shows is a delight. The difference between him and so many other comics is his style relies heavily on the audience’s input and bouncing amusing ideas off them. The entire show would be a shambles if the audience didn’t play along but they come along knowing what they are in for- and they are never disappointed. His timing is impeccable and picking on members of the front row extracts information from each with well practised questions and derides the person but never humiliates.

Probably from his years’ experience, O’Briain can play the room exceptionally, quick amusing thoughts on several subjects always including the audience including religion (a favourite) and an array of embarrassing situations (hotel room service etc) that start with the audience input and then O’Briain builds on the ideas to a hilarious, ridiculous climax that has them all in stitches even if some haven’t entirely followed him to the end.

O’Briain’s comedy is surely one for all with such vibrant charisma and delivery that is infectious, I can’t help crying with laughter at the ridiculous notions and succinct and perfect phrasing of things that make me realise I have never thought of in that way, highlighting the underlying absurd rules and regulations that we encounter in our everyday lives. His presentation skill and bright, cynical humour will stay with you after the gig and making you crease up with laughter again and again.

If there is one thing to say about O’Briain is that his comedy is relevant- whatever he says that you found funny yesterday will be hilarious tomorrow and even funnier the following day as it has a timeless quality that doesn’t only pick out the cracks but finds the childish, simple idea that is universally funny.