The Green Room, Etcetra, Camden London

The Green Room brings backstage to the audience with an insightful look into the pre-stage preparations of four actresses, swamped in the strewn mess of costumes and dresses, make-up and wigs, they moan, bicker, dream and reveal the joys and woes of their rollercoaster love lives. Meet Truda, Klara, Lisa and Marie, starry-eyed hopefuls taking to the stage in a small repertory, living the dream and dreaming there was more to life.

This witty comedy, written by Arnost Goldflam and translated from Czech to English by director Eva Danicková puts life under the microscope, but the only infestation is hopes of a better role, in work and play. It doesn’t tell us anything we don’t already know. The sense of humour is there from start to end, but only falls out in fits and starts, most notably when the deadpan Lisa, brilliantly portrayed by Pamela Parry, tramps on in the third act dressed as a flame. It seems her not so glamorous acting career has taken a turn for the worse. As if she wasn’t angry and bitter enough in the first place, raising her voice to the end of her sentences to vent her frustration.

Karen Burton as Truda plays a thirty-something trying to keep things together on stage whilst suffering the torment of a collapsed marriage behind the scenes. Burton casually flicks through the emotions of her tortuous journey with natural ease and demonstrates accomplished talents as a comic actress with precision timing.

So too, Amy Simpson, superb in the role of Marie who, when we first meet her sweeps in with the buoyancy a winning goal in the last minute of the cup final would give you, only to slump like a fan of the losing team by the end.

Then we have the fly-by-night Klara, a hapless day-dreamer played by Kara McLean with the energy of a dance troupe. She breezes round the stage, powerful, sprightly, sweeping from the chest of drawers on the right to the flowers on the left, always with a smile, yet still shows enough of Klara to tell us her pipe dreams are full of hot air and her prayers will go unanswered.

So all in all, the girls do The Green Room proud. If only the male writer had been as convincing. But then, man’s failure towards the fairer sex is a fundamental point of the play.

The Green Room will be running in the Etcetra in Camden until Sunday 26th September.

Glass Eye Theatre’s production of “The City and Iris”

I recently went to see Glass Eye Theatre’s production of “The City and Iris” at the Zoo Roxy and was very impressed. This was a lovely production following the journey of dowdy young Iris who developed a neurosis about her eyesight after being advised to wear glasses by someone working a locum doctors job in her town for a minor eye condition at a young age. The story is illustrated by a lovely ensemble that plays anything from ducks in a pond to work colleagues at the library where Iris works. The storytelling is sweet and inventive and while there is humour to be mined in Iris’ geeky manner this never tips over in to caricature. At all times the phrase “simple yet effective” rings true and the performers rely on nothing but themselves to tell the tale. Instead of recorded music the ensemble use their own unaccompanied voices to fantastic affect and while the technique of an actor becoming the sounds of a radio has been done many times before, it was executed very well indeed here. The cast are all Jacques Le Coq trained which is evident from the fantastic physicality and sense of ensemble which exists at all times. However on occasions their training is a bit too evident. For example when illustrating a crowded tube train, I felt that I had seen this many times before by Complicite or the like. This is a minor quibble of course and I’d hope that as the company develop they find their own distinctive language and perhaps avoid such classic Le Coq tableaus, as I feel that they are certainly a company with a long future in front of them. This was a sensitive, warm and skilful production and I left the theatre feeling uplifted with the calming tunes of the ensemble going round and around happily in my head.

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.

The Bizarre, the Beautiful and the Busty - London's Alternative Fringe Festival

As part of the Fringe Festival that launches in London for the first time on 1st August 2010, the Alternative Fringe will also be lighting up the capital’s performance venues with a special blend of the bizarre and the beautiful, the sizzling and the seedy.

The new addition to London’s summer calendar promises to thrill and inspire show goers with all kinds of oddball entertainment and titillating shenanigans. A jam-packed schedule will see the city buzzing with a host of alternative acts performing music, cabaret, vaudeville, burlesque, experimental theatre, live art, circus and street performance.

The month long celebration of fringe theatre involves a total of 52 shows in 31 venues concentrated into four zones of the city – in the centre of both the West End and the East End, together with Camden and Islington in the North, Battersea and Vauxhall in the South. You can also expect to find numerous street performances and other unusual activities around the city centre, particularly in Convent Garden, Trafalgar Square and near the London Eye. Or why not strap on some brooks running shoes and go for an adventure with Sockmob, a fascinating guided walk giving an insight into the lives and story’s of London’s homeless.

The festival officially kicks-off with a Finger In The Pie Cabaret Showcase on Sunday 1^st August at the infamous Madame Jo Jo’s and features the best of the alternative fringe. With an overwhelming choice of shows to choose from, it might be a good place to start! To boost the Alternative Fringe the Wam Bam Club at the Café de Paris on Coventry Street is lending its support and will be hosting an explosive cocktail of comedy and burlesque on consecutive Saturday’s from the 7^th to the 28^th August.

For more information about the London Fringe Festival and the Alterntive Fringe Festival details are available in Time Out, the Fringe Festival brochure or by visiting their websites at http://londonfestivalfringe.com and http://www.alternativefringe.co.uk/Home.html

Review: Buxton Fringe Festival

Buxton Fringe Festival started in 1980 and has been run concurrently with the most popular and renowned Buxton Festival. High profile literary composers will hold seminars and talks, and international operas will take the center stage in this event.

The festival is growing from strength to strength every passing year and now has a professional and respected image. There is now a colored brochure, multiple pvc banners hung out to advertise shows, prize money and reviews for all shows. Many promising artists take this event as a warm up before they appear at Edinburgh Festival Fringe.

The festival also provides stages to performers and artists alike in a number of venues. Dance, music, drama, comedy, poetry, exhibitations, film, and magic are just some of the forms that have appeared in this joyous and keenly-awaited event. All the genres are accepted and encouraged.

The Fringe Committee refrains from undertaking selection, financing, censorship or selective promotion of the events held. In 2009, over 500 events featuring over 140 entrants were showcased in the event.

The fringe festival is a proud member of and was recognized by British Arts Festival Association.(BAFA). the festival is a charity event and is run by generous volunteers. The belief here is that art belongs to people, not only to the elite. It involves both the audience and the artist making it an inclusive show. Artists are provided with a receptive environment to showcase their talent and this comes at a low cost compared to other events. Artists are also encouraged to experiment and take risk in order to bring out their best.

The audience at this event is encouraging and enthusiastic. The artists can perform anything they feel like. No selection is made before an artist goes live in front of the audience for a performance. As per rule, this event doesn’t promote any special interest of any artists.