FESTIVAL KIDS | Reviews
DUCK, DEATH AND THE TULIP Taboo subject handled surprisingly gently ●●●●●
Death is a topic that children’s shows generally steer clear of, particularly when dealing with audiences under seven.
Yet this puppet-based play embraces ‘Death’ as one of its main characters, personified as a rather lonely old man. The adaptation of German illustrator Wolf Erlbruch’s unconventional children’s story uses his character to introduce the theme, without being either maudlin or depressing. It even manages to get a laugh or two. Duck discovers that Death has been following her all her life.
After some initial tentativeness, the unlikely pair become friends; swimming, climbing trees and drinking tea together. Gradually, she becomes used to Death as a part of her life.
Humorous expressions and silly sounds provoke giggles from the nursery age audience and prevent the play from becoming too dark. Music, lighting and the show’s gentle pace mean that it has an almost hypnotic effect, although some may find the emphasis on every ponderous gesture a little slow-moving.
This is perhaps a result of being rather light on dialogue, but fans
of the book will be glad to find that much of the witty exchanges between Duck and Death have been lifted verbatim – while the puppets look like the illustrations brought to life. However, the 45-minute running time does mean that some
padding has been added to the picture book’s plot, and moments that are represented by one illustration are stretched out over several minutes.
The show deserves credit for the way it has managed to handle a difficult subject in front of a tricky audience, without ever straying into cod-philosophy or easy solutions. No prizes for guessing the ending though, so parents with particularly sensitive offspring may wish to avoid. (Lia Sanders) ■ Summerhall, 0845 874 3001, until 24 Aug (not 11,18), 10am, £8 (£6).
OTIZ CANNELLONI’S HISTORY OF MAGIC (ABRIDGED) Witty guide to the magician’s craft ●●●●● BILLY’S BIRTHDAY BASH Three classic plays in one silly hour ●●●●●
HUMAN CHILD Sweetly told tale based on WB Yeats poem ●●●●●
The ‘Billy’ in the title is none other than William Shakespeare, and this is not a birthday party but a celebration of 450 years since his birth through three of his most famous plays, each redacted into around 15 minutes of frenetic fun. One of the fastest growing Fringe trends in recent years is that of young companies eschewing gritty new writing in favour of creating quality, thoughtful and thought-provoking children’s theatre.
It would be fair to say you’re unlikely to see a Irish company Collapsing Horse’s Human Child
is very much in this mould, comprising craftsy furnishings, puppetry, gentle storytelling and songs led by ukulele. Familiar the trappings may be, but it is still fantastic to see children being treasured as audience members every bit as much as grown- ups. Not only has great care gone into the creation of Human Child but the four-strong cast deliver the show with contagious energy.
The story sees dreamer and outcast Lelia disappear into her own imagination, winding up in the land of fairies. These sinister, colourfully clad pixies aren’t as cute as they seem, however, and are bent on stealing the ‘human child’ Lelia to eventually freeze her into a star.
Early scenes jump between settings and don’t let us settle into the characters. But things kick off in fairyland, and it’s here that the brilliant stagecraft of the troupe comes into its own. (Lucy Ribchester) ■ Underbelly, Cowgate, 0844 545 8252, until 24 Aug (not 11), 12.50pm, £8–£9 (£7–£8).
Attending Otiz Cannelloni’s Fringe show is like sitting in the garden / living room / church hall of a children’s birthday party. While this may sound more like a complaint than a compliment, it’s meant in the nicest possible way. Cannelloni’s laid-back yet assured manner, witty banter and way of gently encouraging children on stage would prove the highlight of any birthday bash. Magic aficionados may already be familiar with
the anecdotes and informative stories of how magic started, who did it, and how it progressed. You may learn a thing or two here, but Cannelloni also knows how to entertain the kids, while giving the adults a good laugh, too .
show with more energy and less props than this in the festival. The three-strong cast, using nothing but imaginary objects and no costume changes, take us at break-neck speed through Macbeth, Romeo and Juliet and finally Twelfth Night. It's a dizzying ride, and exhausting watching them
move through the characters and plays (not least because there should have been four performers, but for an ankle break at the start of the Fringe).
The tricks are fairly standard fare, with some more All the key elements are retained, and while
impressive than others (although we’re still baffled by his ability to throw a mobile phone inside an empty bottle of mineral water). But this show isn’t about trying to bamboozle you with sleight-of-hand trickery or hi-tech illusions – it’s about making you laugh, enjoying the shared experience and starting the day with a healthy dollop of fun. (Kelly Apter) ■ The Stand, 558 7272, until 17 Aug, 10.45am, £10 (£8). the language is modernised there are key lines left in the original vernacular. Despite the lack of set, through a combination of cheesy jokes, audience interaction and the enthusiasm of a herd of CBeebies presenters on speed, they keep the children rapt and transported while giving them a great introduction to the Bard. Schools should be queuing up to get them in. (Gordon Eldrett) ■ Assembly George Square, 623 3030, until 25 Aug (not 18), 2.10pm, £9–£10 (£7–£8).
66 THE LIST FESTIVAL 7–14 Aug 2014