Fringe Festival

Fringe Festival

Even from the moment we stepped onto Edinburgh High Street in the pouring rain lugging our bags from the train I knew it was going to be a good week. You could just feel the atmosphere of what was to come. Walking down the high street we were handed dozens of flyers about various performances, saw street artists such as magicians, stunt performers, dancers, and musicians. The streets were bustling; it was loud and crowded but you don’t mind when you’re genuinely interested and want to know what’s going on.

The thing I found about the Fringe Festival is that there is something for everyone. There really is if your with your family there are kids shows, if you can’t afford a lot there are street performances and performances that are part of the Free Fringe, if your with your partners and want something a little more adult, there are sex classes (that is not a lie there is a class called the Wank Bank Masterclass) and of course if your there for theatre, it’s everywhere in its many shapes and forms.

It’s also a great place to make some contacts if this is the industry you want to be involved in. Those of you who read my blog will know that I recently created a business card for the purpose of taking it up to Edinburgh to test the waters to see how well it would work. And I’m not gunna lie it went down pretty damn well. I wasn’t just throwing it at people, I gave my card to specific artists/creatives who I thought it would be a benefit for me to know. These included performers, directors, an agent or two. It doesn’t necessarily mean they’re all going to get in touch, maybe none of them will, but I have noticed an increase in activity of people viewing my website and facebook page so it’s doing something.

I was also going to do a review about the shows that I saw, but looking back I know this is impossible to do, during the week I easily saw a dozen shows, and that’s just me counting them off the top of my head. So instead here are the top 5 recommendations of performances to see at Edinburgh (in no particular order):

1. Baby Wants Candy. This is a musical theatre group who create a new show every single night! No two shows are the same. When the show begins the actors ask audience members to shout out what the title should be of the show, once they have agreed on one the show begins. Improvisation, comedy and music at its finest.

2. Driftwood. This performance was a circus act, which included physical theatre, contemporary dance, gymnastics, ariel hoops and trapeze artists. With only 5 performers enclosed in a small performance space of a circus tent meant there was no room for errors. You are hypnotised by the movement and strength displayed in this piece.

3. Giant was the name of the performance created by Human Zoo whose performance tells a moving story of three generations living together. They achieve this through clowning and physical theatre but also includes puppetry and live music. If you’re looking for something a little different watch this show!

4. Another Fucking Variety Show. Is exactly what it says, this late night show hosts a variety of acts including a woman who loves headstands, a drag queen, a comedian and loads more, this show has something for everyone….over the age of 18.

5. And finally ‘Axis of Awesome’ this is a show that I had prebooked to see and I’m so glad I did. I learnt about this musical trio a few years ago from their hit song ‘4 Chords’ they are youtube sensations. This show will have you in stitches with their witty songs, comic timing and the fact that they are having just as much fun up there aswell.

The Edinburgh Fringe Festival is still going on for another couple weeks until the 29th August! If you have a few spare days get there see some shows, meet the performers and enjoy! xxx

American Idiot

So for those of you who are unaware currently touring the UK is the show American Idiot, the musical that features the songs of Green Day. The show with the lyrics of Green Day’s lead singer Billie Joe Armstrong and book by Billie Joe Armstrong and Michael Mayer.

Starring Newton Faulkner who is joined by X Factor finalist Amelia Lily alongside Alexis Gerred, Llandyll Gove, Lucas Rush and Steve Rushton.

I was going into this musical with a completely open mind, I had no idea of the storyline, however I knew all of the songs from my punk rocker days, still using these songs to this day for a bit of classic air guitar, let’s be honest, we all do.

American Idiot is the story of three friends, post 9/11 and the journeys that they go on during this time. The show starts with news reports of 9/11, flicking through channels seeing the chaos and destruction. A sudden change of pace as they open the show with ‘American Idiot’. The perfect song to open the show you are immediately hit with loud music, energetic characters and inappropriateness that the young punks display.

You’re also physically hit, seriously. You know you’re close to the stage when the popcorn thrown on stage somehow manages to hit you in the face. The cast definitely had my attention.

I would not have pictured Newton Faulker or Amelia Lily to star in a musical such as this having seen their previous performances, but I can’t fault them, well maybe just a little…It was the accents, it’s always the accents, a general American accent…which wasn’t quiet American, so I couldn’t tell exactly where they were from but all was forgiven when they began to sing.

There were a lot of strong voices in this show, I was slightly worried about some of the upcoming harmonies but the voices blended together beautifully, and I have to give credit to my favourite song of the musical. 21 Guns. The cast nailed it, it was perfect!

The favourite character of the production has to be St. Jimmy, he was electric! The actor’s energy on stage was contagious. This spread to all three of the male leads who all had perfect comic timing but they were sensitive when needed to be.

Basically, I loved this show. It had everything excellent music, good story, great performers. I left this show feeling inspired to pursue this career so that one day I can take part in a performance as amazing as this xxx

Preparing for an Audition

Auditions are part and parcel of the actor’s life. Whether you’re a performing arts newbie or a seasoned professional, a huge part of your work will inevitably involve showing off your chops to the people responsible for putting together theatre productions (i.e. our director, producer, and casting director friends). It’s easy to see auditions as overwhelming and frightening. Indeed, nervousness before auditions is something that even the most experienced of actors admit to feeling — it’s definitely nothing to be ashamed of.

That being said, there are many tools we can use to get out of our own way and show our best work at auditions, the most reliable being adequate audition preparation. There’s simply no better trick to eradicating fear then to know that you’ve done absolutely everything in your power to give your best performance at an audition. Only then can you let go and let the magic happen!

It’s been a while since I’ve had an audition. A proper audition, so I had to go back to basics and remember some of the rules for how to prepare for an audition. This audition is for a local theatre company called Blue Orange Theatre, the play that will be performing is a classic, The Importance of Being Earnest. So where to start:

1) Find out all you can about the audition. Write it all down if you must. You can never be too prepared! Keep these key points in mind:

•When is it?

•Where is it? Get the address and postcode of the building, floor number, room number. If it's in an unfamiliar city, consider a dummy run to time the journey and find parking spaces/ bus links.

•What is the audition for? Research all you can about the company, production of the show. Not only will this give you a better picture of what they'll be looking for, it shows interest and keenness.

•What exactly will the audition entail? Will there be an audience or just a panel? One single audition or several different sections?

•What you're required to bring or wear. You may be asked to bring head shots, sheet music, history of theatre experience or copies of your prepared monologues.

2) Don't be shy. Allow friends, relatives or colleagues to watch your performance prior to your audition. Like knitting or baking, performing is a skill that takes a lot of practice. The more often you perform, the less nervous you will be each time and honest, constructive criticism is gold-dust. Perform to many different types of people- experts and amateurs. The more advice, the better.

3) Check, check and double check what will be expected of you.

 •Is there a time limit? Strictly time your performance leaving some breathing space. Remember that nerves will normally speed up the performance.

•Is there a dress code? Even if there is, you have to look your best.

•Do you need to submit accompaniments for the pianist in advance or on the day? Do you need to provide the panel with copies of your scores or monologues?

•Are you expected to bring a CV/resume, proof of identity or examination/qualification certificates?

4) Practice, practice, practice! If you can, get a script, and learn the lines of the character you're wanting, or just look though the script. •Actors: research the material and familiarize yourself with it. If you are auditioning for a specific character, spend time thinking about their characteristics and their role in the play.

•Singers: Ensure you can confidently perform scales, vocal exercises and that you have a personal routine to warm up your voice. Be aware that you may need to warm up 'publicly', meaning that there will rarely be a private practice space to warm up. Don't let this intimidate you, make sure you know your specific vocal range. Be prepared to answer questions about your preferred style and part.

•Make sure that the music is well practiced. The only thing you can do for the audition is to make sure that you prepare your music to the best of your ability. Warm up, and make sure that your instrument is swabbed, oiled, or cleaned prior.

5) The night before the audition, gather any materials you may be required to bring with you. Get to bed early in order to be well-rested for the day ahead.

6) On the day, eat a balanced breakfast. Avoid acidic or greasy foods, fizzy drinks, chocolate and coffee as these damage your vocal chords and make it harder to be at your best. If you are a smoker, do your best to put your morning cigarette off until after your audition, especially if you will be singing.

7) Arrive reasonably early to your audition, as there will inevitably be a moderately large amount of people there before you. Also, if you are unfamiliar with the area where the audition will be held, allow time in your schedule to make sure you won't arrive late.

8) Don't chicken out. When you arrive, there may be a large crowd of people, but it's perfectly normal to be nervous. Just remember all the hard work you have put into preparing for your audition and walk in smiling with your head held high.

9) When you're finished...

•Be patient. You may not hear immediately whether or not your audition was successful. It can take days or weeks.

•Try not to over-analyse. You never know what exactly they were looking for - you've done your best and it's all you can do.

•Stay focused and determined. You won't get every part you audition for and this is normal! Remember that each audition you do is strengthening you as a performer and thickening your skin.

10) Remember: Break a leg! xxx

Different Types of Actors

When you have spent the majority of your education and free time rehearsing and training with actors you tend to find that there are a few you keep meeting over and over, this is because they are hitting the criteria of a stereotype for an Actor. Here are a few types of Actors I have had the joy of meeting (this is not meant to offend this is just a bit of fun)

1. The Theorist

‘It was good, but….’tend to be the first words that the theorist will say after watching a performance, giving constructive criticism, usually followed by ‘It was an interesting choice’ or ‘It’s just not at all what I expected.’ As annoying as this habit is they tend to right 99% of the time and they don’t mean anything by it, it’s just their opinion, and it’s valid as the Theorist genuinely knows what they are talking about, they are the quieter ones that spent their time at University actually doing the recommended reading and you can’t complain too much considering they are so genuine and when it’s done with grace and tact unlike….

2. The Pretentious One

For some reason, the Pretentious One feels that it is necessary to rip out obscure theatrical quotes and references at really inconvenient times for no other reason than wanting to draw attention to themselves. They’ll say something abstract and then just pray that you turn around and ask them where the quote was from so they can then continue to figuratively flap all over you and your ignorance. And of course they know everyone, but what use is knowing people if you can’t name drop. It doesn’t matter who wrote, directed or performed in the play. That is their claim to fame. The playwright could be an unknown, obscure Swedish hypnotist that grew up in West Africa and yet you would still hear, ‘Oh, them? We studied together/worked on a show together/had a thing once.’ Sure you did, buddy.

3. The Free Spirit

Ah the free spirit, they are a breath of fresh air because they love life! They are the drama student that never grew up. More often or not they are the life and soul of the party and they embrace everything, they also tend to be impulsive by dying hair, getting new piercings/tattoos on a whim. They dance across the room or start singing because the moment felt right and they couldn’t contain themselves. This person has creativity naturally flow through them, and this makes them the perfect person to work with.

4. The Druggie/Drunk

Narcotics tend to full this persons creativity, they often found at the local open mic nights testing their new material, which to be fair, is always pure genius. Even though their breath is boozy, their manner can be arrogant and they speak in an endless trail of unnecessary theatrical jargon, they are impossible to resist, I kind of want to shut them up by violently smashing my lips against theirs. As much as I hate that stupid blazer that smells like jaga and old people, I kind of want to rip it off and see the remnants heaped helplessly on my bedroom floor. Even though they criticise everything I do, I kind of wish they were naked while doing so.

5. The Diva

The Diva views the world as her oyster and herself as its pearl, the crowning achievement of the evolutionary process. She craves attention and she will have people look at her no matter what, she will achieve this by singing at the top of her lungs when nobody hummed a tune or creating a very melodramatic scene where she accuses the customer designer of trying to sabotage her performance because the dress a quarter inch too long. (Yes I have seen that happen) If the Diva isn’t happy, nobody is. 

6. The Brooding Artiste

He is generally an actor, occasionally a director or playwright, never a techie. Plagued by existential angst, the Brooding Artiste has a hyper-romantic view of the cosmos. He has been known to sabotage his personal relationships because he can’t reconcile his romanticized notions of how things ought to be with the prosaic reality of dealing with another deeply flawed human being. Although the Brooding Artiste tends to drink too much and write poetry alone in his room to still the raging maelstrom of his thoughts, he is one of the most intelligent, compassionate, well-intentioned, and trustworthy people you will encounter in theatre.

7. The Charming Sociopath

The Charming Sociopath’s twin goals in life are to get ahead and to get laid. If he can do both simultaneously, the better. He is remorseless in his seduction methods: Facebook-friending 17-year-old stagehands, spouting bullshit about Brecht and Ionesco that he just looked up on Wikipedia that morning, and serenading young and susceptible ensemble members with romantic ballads. His eyes are bloodshot from excessive weed use and he has elevated the one-night stand to an art form.

8. The Class Act

The Class Act is a performer as talented as he is humble and an endangered species amongst actors; you are more likely to encounter a unicorn grazing in the green room than a Class Act. The Class Act is both extraordinarily gifted as an artist and extraordinarily likable as a human being. He is that mythical creature who learns his lines, takes his notes without complaint, hangs up his costumes, thanks his stage manager and never misses a cue. He has no idea how spectacular he really is he considers himself an average actor and puzzles over his raving reviews, feeling in no way deserving of any of them. The single most trustworthy and admirable figure in theatre, the Class Act somehow manages to hold down a full-time job, maintain a stable family life, accumulate numerous acting awards and maintain emotional equilibrium.

Alas it is true, I do love me a group of Actors. Theatre people, as a general rule, are walking caricatures of themselves, complete with idiosyncrasies that would put an Oscar Wilde character to shame. What theatre would be complete without some of these characters to make the drama behind the scenes almost as worthwhile as what you see on stage xxx

Review on Sweeney Todd

I might be lucky enough to attend the theatre a few times a year. That’s not too bad considering I’m poor and forgetful. It is sad that it’s such a rare occurrence when I get to go to the theatre, but when I do it’s always a memorable experience.

On this occasion I had the privilege of watching Sweeney Todd: The Demon Barber Of Fleet Street (A Musical Thriller) performed by the Welsh National Opera. I have never seen a musical performed by opera Singers before. This intrigued me, mainly because I have seen this show before performed by a Musical Theatre company as one would expect.

The story follows Benjamin Barker, a barber who's wronged by a powerful judge who lusts for Barker's wife. Barker is sent away for life for a crime he did not commit, 15 years later he makes his way back to London where his overwhelming thirst for vengeance leads him to commit a string of murders with the aid of his associate Mrs Lovett, who promptly disposes of the corpses by baking them into pies to sell in her shop.

This was performed by an ensemble of approximately 40 opera singers who project their characters and Sondheim’s clever lyrics more convincingly than their musical theatre colleagues. Of course the singing especially the harmonies were more than impressive, in particular the sopranos who hit some extraordinary notes.

Director James Brining ensures the pace never lets up, from the imaginative opening scenes and the set (which the ensemble would change in plain view, but in a very creative manner) is very effective. The set is the day-room of a psychiatric ward with steel containers that open to show Todd’s bare barber’s shop, Johanna’s bedroom and Judge Turpin’s study, complete with Mrs Lovett’s meat-pie stall centre stage.

All the cast are excellent but a special mention for Janis Kelly as Mrs Lovett with her fine comic timing turning the musical thriller into more of a dark comedy, whether that was intended or not I’m not sure, but it works, that I am sure of. I have to mention the duet of the young lovers Anthony and Johanna, as Jamie Muscato and Soraya Mafi performed my favourite song from the musical ‘Ah Miss’ perfectly, it was sung beautifully.

To summarize if you are partial to a show tune, a bit of blood and gore, some dark comedy and mesmerizing talent Sweeney Todd is the show for you! xxx