list.co.uk/festival Reviews | FESTIVAL THEATRE
P H O T O
I
: L A M P R O R
I
THE REVLON GIRL An emotional tale based around the real-life Aberfan tragedy ●●●●● ANCIENT SHRINES AND HALF TRUTHS Droll app-guided walking tour of the city ●●●●●
CURSE OF THE MUMMY Turning a small budget into big laughs ●●●●●
The Aberfan disaster will still be vivid in the memories of many: on the last day of term in October 1966, a colliery spoil tip collapsed, engulfing a primary school in the Welsh village of Aberfan, killing 116 children and 28 adults. In an echo of the recent Grenfell Tower tragedy, it emerged that residents of the town had long voiced their concerns over safety, but being ‘little people’ they were ignored.
The lights go up on a leaky room above the Aberfan hotel, eight months after the disaster. A group of mothers, a support group of sorts, have arranged to meet a Revlon Girl who promises to ‘brighten their tired eyes’. But no one can seem to focus on lipstick.
As the leaking skylight continues to drip into a bucket for which no one will take responsibility, emotions boil over when even the strongest woman in the group breaks. This isn’t just a piece about grief; the constant reference to no one listening to the ‘little people’ can’t fail to stir anger at a political system that fails its citizens time and time again. Grief, anger, and community all blend together flawlessly, with a touch of humour providing an uplifting finish. (Clare McVay) ■ Assembly Roxy, until 28 Aug, 1pm, £12–£13 (£11–£12).
Want to discover the real Edinburgh? Want to experience the city that only the locals know? That’s just the kind of insiders’ guide that New Zealand’s Binge Culture offer in their promenade, app-guided walking tour of a particular Edinburgh district, which manages to mercilessly send up the whole traveller- vs-tourist ethos while also gently questioning the museum mentality of homing in on supposedly significant artefacts in an unfamiliar location. Armed with a mobile, headphones and electronic map, you find yourself heading towards obscure sites, discovering little-known objects and entrances, and maybe even encountering a few bizarre locals.
To say more would spoil the fun of the show – and there’s plenty of fun to be had in the droll, almost credible commentary explaining what’s clearly preposterous (much of the time at least). It’s a show – or maybe experience is a better description – that dares to be downright silly at times, but hits home in lampooning visitor expectations. You’ll find out astonishing things you never knew about some of Edinburgh’s most commonplace objects – and you’ll scarcely believe anything you hear. (David Kettle) ■ Summerhall, until 27 Aug (not 21), 3.15pm & 6.15pm, £11 (£9).
All the sexiest folk villains – pirates, vampires, werewolves – have enjoyed periods of cultural renaissance in recent years, yet one particular terror- monger seems to have been unjustly passed over. In their latest show, Last Chance Saloon attempt to right this egregious wrong, bringing the unfairly forgotten mummy back from the dead in a flawed but undeniably entertaining Fringe return.
Curse of the Mummy’s story is self-consciously derivative: a stock adventure tale, peppered with the company’s absurd twists. A hapless university professor named Montana Jones unwittingly resurrects an Egyptian mummy, with whom he must travel the weathered path from Peebles to Cairo to keep the mummy’s ancient gold from falling into the hands of local effeminate Nazi, Dean. It’s an unapologetic oddball of a show, which
blasts adventure clichés with a slew of pop culture references and an endearingly daft sense of humour, while the sheer infectious joy the trio of performers take in their antics belies some deeply impressive theatrical technique. If you like your theatre slightly bonkers and your baddies tightly bandaged, it’s an hour of unabashedly silly Fringe fun. (Jordan Shaw) ■ Just the Tonic at The Caves, until 26 Aug, 7.30pm, £8–£10 (£7–£9).
PARTY GAME Immersive theatre lacking drama or even fun ●●●●●
With a slight plot and plenty of time-filling exercises, Party Game uses the glamour of site-specific and immersive theatre to disguise its hollowness. Telling the story of a man who, while not a terrible person, has plenty of flaws, bluemouth inc incorporate musical numbers, symbolic choreography and traditional scripted scenes into an event that promises much but delivers little.
The ensemble cast operate as both performers and audience wranglers, moving the crowd through a series of episodes that either reflect on the main character or involve them in activities that attempt to create a party atmosphere.
This atmosphere falls flat quickly – partially due to the move towards the main story, and partially because the tasks (sweeping, decorating) are the boring bits of a party. Without generating the necessary goodwill towards the production, the actors then struggle to inject life into the stereotypical characters. A story about horses’ cocks adds very little to the dramatic thrust, and the repetition of a scene concerning a car journey signposts the surprise end too clearly, too early. The ensemble is solid throughout, the music
interludes are charming but the lack of energy in the story and vision in the direction prevent Party Game delivering much emotional punch. (Gareth K Vile) ■ Wee Red Bar, until 20 Aug, 8.30pm, £21.50 (£9.50–£16.50).
17–28 Aug 2017 THE LIST FESTIVAL 83
I
E G D O H - H T E T N O M D V A D
I
: O T O H P