list.co.uk/festival Reviews | FESTIVAL THEATRE
P H O T O
: J A C K O F F O R D
A HEART AT SEA Charming, heartfelt puppetry show ●●●●●
THE DRIVE Buddy road drama has just enough fuel ●●●●● THE TIME MACHINE A disturbing journey into the unknown ●●●●●
Kent-based Half a String’s captivating hour of puppetry and musical storytelling isn’t billed as a children’s show, and perhaps it should be. There’s plenty that youngsters would surely love about its simple, vivid story, its likeable, memorable songs and its magical puppet work.
And although the storyline – about a young lad who
throws his heart out to sea following the death of his sister, then embarks on a quest to retrieve it – might seem rather slight for an all-adult audience, this is a hugely charming, heartfelt show nonetheless.
Peter Morton has lovingly constructed a miraculous multi-compartment box of curiosities, through which he slowly unveils intricately carved, homespun backdrops. He’s joined by Avi Simmons as singing storyteller, looping samples from guitar, glockenspiel, guiro and more to back her touching songs. Those songs could occasionally bear some gentle repetition, as certain plot developments are passed over pretty quickly. And you might be advised to sit near the front to gain full advantage of Morton’s intricate woodwork. But this is a warm-hearted, joyful affirmation of life’s richness, with plenty to delight adults and children alike. (David Kettle) ■ Pleasance Courtyard, until 28 Aug, 11.50am, £7.50–£9.50 (£6.50–£9).
If a major life-altering tragedy happens in the pre- internet 1990s and no-one is able to Instagram it for posterity, did it even really happen? The Drive, a deftly performed two-hander from Angel Exit Theatre, sees two women undertaking an unexpected road trip from London to Oslo. The immediate tension between uptight television producer Becky and the arty, messy Nat drives the story, and it becomes clear that the traumatic death of a member of their university friendship group years before is still a source of animosity between them. Making good use of an inventive and compact
set, The Drive occupies a much bigger space than the small stage it rests on. Unfortunately, the show places too much importance on technology and projection, which are neither precise nor plentiful enough to be effective. As their individual and contrasting takes on ‘truth’
unravel, so does the theatrical boundaries of the piece, with the actors deliberately coming out of character to comment on missed sound cues or to ask for scenes that are too emotional to be cut short. This is an interesting structural dénouement in what is otherwise a simple and rewarding story of friendship and obligation. (Irina Glinski) ■ ZOO, until 19 Aug, 11.45am, £10–£12 (£8–£10).
HG Wells’ The Time Machine was a pioneering piece of science fiction and has inspired countless works in the same vein since its publication over a hundred years ago. However, many of those imitators have relied on big
budgets and elaborate sets to create the impression of futuristic worlds so different to our own. This stage adaptation from Dyad Productions takes a different approach. Relying on a sparsely dressed stage and the talent of Stephen Cunningham (playing the unnamed time traveler), this production allows the imagination displayed by Wells to shine through. When the time traveller moves 800,000 years
into the future, it is Cunningham’s convincing sense of wonder and awe that take us with him. His performance is rich in a manic intensity that can’t help but call to mind the BBC’s Tardis-dwelling, time- traveling hero.
Cunningham’s wide eyes and rapid delivery are essential for the audience to become invested in the strange world he finds himself in. As he moves further towards the death of the planet, his dread reaches a frenetic level that expertly hammers home the horror of our inevitable downfall. (Liam Hainey) ■ Assembly Roxy, until 28 Aug, 11.10am, £12–£13 (£11–£12).
HYPERION One-man show delving into Greek history and literature ●●●●●
As part of the endlessly lunatic Fringe where shows typically deal with such heady subject matter as Love Island, Star Wars and nude magic, you have to credit esprit de corps and George Siena for their literary ambition; a working knowledge of the writings of Friedrich Hölderlin is just one of the qualifications useful for Hyperion, which takes its name from the author’s novel, as well as a recalcitrant ship. The means of transport is awaited by a young Greek man,
named only as 16744, forced to do national service, but now adrift with his thoughts when the Hyperion does not arrive as scheduled. His thoughts drift to Hölderlin’s writings, and he imagines hosting a literary salon with Lords Byron and Elgin as guests. His musings relate to his sense of nationality, and to whether Greece’s future can match up to the greatness of the past.
If it sounds like Siena has a lot of work to do, that’s an
understatement. Tasked with evoking a number of different worlds, he puts a manic enthusiasm into capturing 16744’s blind sense of duty, and makes ingenious use of sampling technology to hold conversations with himself. A barrow-load of books tipped to the floor indicates the high faluting nature of the play; stepping nimbly from one dusty text to another, Hyperion the play demands almost as much of the audience as of the performer. Non-Greeks may find it hard to follow all the nuances, although
a beautifully spoken final monologue manages to tie together the various threads in a poignant lament for a country which, on this evidence, is not changing for the better. Hyperion won’t be for everyone, but anyone decrying the lack of heavy intellectual lifting going on at the Fringe should buy a ticket and get in line; Siena’s one-man show provides a welcome streak of intellectual rigour. (Eddie Harrison) ■ Greenside @ Royal Terrace, until 26 Aug (not 20), times vary, £7 (£6).
17–28 Aug 2017 THE LIST FESTIVAL 85