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 Post subject: Edinburgh Fringe Festival - 2005
PostPosted: Sat Jul 30, 2005 9:32 am 
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A topic for discussions, articles, thoughts and reviews of performances at the 2005 Fringe Festival.

Information on tickets and the full calender of events can be found at the official Edinburgh Fringe Website


Last edited by ksneds on Sat Jul 30, 2005 9:52 am, edited 1 time in total.

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PostPosted: Sat Jul 30, 2005 9:49 am 
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Quote:
The show must go on (Channel 4, with luck)

KATE COPSTICK
The Scotsman

ONCE THERE was a Fringe, a wonderful place where performers spread artistic wings, creativity was king and we all hand-knitted our publicity material from damp copies of The Scotsman. Yes, there was always a promotable prestige, a cool cachet attached to a Fringe success. Yes, everyone knew that if you were lucky you might get "spotted". And no, such is the nature of the performing beast that there was never a time when an element of competition wasn't reddening its claws in sweaty backstage areas across the city.


Click here for more.


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PostPosted: Sat Jul 30, 2005 9:51 am 
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Quote:
Fired up for the Fringe

GOING OUT

ANDREW EATON AND ROGER COX
The Scotsman
July 30, 2005

1 FESTIVAL
Edinburgh Fringe
Various venues, 3-29 August

HERE'S A FUN EXPERIMENT. I could, and possibly should, begin by offering a reasonably informed "pick of the Fringe", tell you what the hot tickets are, what shows everyone is talking about, what's going to sell out the fastest, blah blah blah... (The Odd Couple, with Bill Bailey and Alan Davies, for a start. If you really want to see this show book tickets! Now!)

But you've probably read something like that already. So I'm going to enter into the spirit of the thing, close my eyes, stick a ball-point pen at random into the Fringe programme, write about what I find, and see what we "learn". Ready? Here we go.


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PostPosted: Sun Jul 31, 2005 8:02 am 
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In Sunday's paper, the Times previews the 2005 Fringe

However, the online section is a bit odd - it's titled "Edinburgh Festival" - despite the fact that there is no such thing as the Edinburgh Festival. And the banner contains the Edinburgh International Festival logo, but with the 'International' mysteriously missing.

Kate


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PostPosted: Mon Aug 01, 2005 2:43 am 
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The Scotman previews the David Hughes program, with choreography by Rafael Bonachela, at DanceBase:

Quote:
From Kylie to the Fringe, Bonachela takes new steps

KELLY APTER
August 1

DOWN on the Grassmarket in Edinburgh, the steady hum of traffic and tourists fills the air. At the top of the Dance Base building, however, all is calm. Basking in the sunshine, on the spacious balcony outside studio four, Rafael Bonachela is in high spirits.

Five days earlier, the Spanish choreographer arrived in Edinburgh to begin one of his first assignments as a "free man" since leaving Rambert Dance Company. "I feel as though I've been in the military service for 12 years," he says. "Not that it wasn't pleasurable, but 12 years of six classes a week, so many shows a year and tour after tour - I was so happy to come to Edinburgh for three weeks to work with different people."


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PostPosted: Fri Aug 05, 2005 10:34 am 
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BBC Online has a wide variety of Fringe coverage on their website:

There is a photo gallery here, with links on the right to articles, diaries and feedback forums.


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PostPosted: Tue Aug 09, 2005 3:00 am 
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Location: Estonia
Quote:
Fringe Dance
by MARY BRENNAN for the Scotland Herald

Balagan, Assembly@St George's West

Tango Fire, Assembly@St George's West

Shi-Zen, 7 Bowls, Aurora Nova@St Stephen's

Tropea, A Couch Potatoes' Paradise, Aurora Nova@St Stephen's


...

You can revel in the comedy, the tremendous energy of the dance – or you can tune in and think about the chewier issues it deals with. Either way, it's worth watching.

published: August 9, 2005
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PostPosted: Tue Aug 09, 2005 4:17 pm 
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My first impressions... formal review to come:

Russian Cossack State Dance Company
George Square Theatre
August 9, 2005 12:40pm

This year the Edinburgh Festival Fringe has the good fortune of sharing in the talents of one of the Edinburgh Tattoo's outstanding performing groups. When they aren't entertaining crowds on the Castle Esplanade, the forty dancers, singers and musicians of the Russian Cossack State Dance Company fill the George Square Theatre in a performance rich with color and energy.

The engaging hour-long program combines singing, dance and light comedy, accompanied by both taped and live music. It opens with the full cast - about 30 dancers and singers, and the requisite fantastic folk dance, complete with barrel turns and high kicks from the men, and skirt-ballooning spins from the women.

The action tumbles into a series of songs - the words Russian, but the meaning clear enough through the action onstage. Cossack - or Kazak - means nomadic horseman, and the Cossacks roamed from Poland to the Pacific. The resulting cultural diversity is reflected in the costumes and complexions of the performers. In one dance, the costumes and sinuous motions were suggestive of Asian influences. Later on, the detailed embroidery in the women's costumes and the long cloths held aloft between the couples brought to mind the Ukranian flag and the traditional Easter bread held aloft speaks of Orthodox Church traditions which have survived to the present day.

The comedic talents of the cast were best illustrated in a brief trio for a husband, wife and his huge winter boots. The boots end up everywhere but properly on the man's feet, the story told in a delightful quasi dance to live music. Earlier a quartet of musicians pumped out folk tunes, aided by a accordian player and his set of increasingly tiny accordians.

Among the group numbers, the finest was a fiery, dramatic sword dance. With the darkened stage bathed in deep red light, the men - two swords apiece - battled in an intricately choreographed group fight. The clashing sounds of metal on metal and the sparks jumping off the colliding swords added to the magical atmosphere.

The quartet of female singers and their occasional male compatriots had pleasing resonant voices and ample stage presence. Both singers and dancers were backed by an 8 piece band, with additional music on tape. Though the George Square Stage is deep, it is not big and at times seemed barely big enough to contain the powerful dancing. One can only imagine what this group can do in a larger space.

If one could find fault, it was in the over-amplification of the music, near painful at times. Both the musicians and the singers seemed quite capable of the necessary projection, and relying less on the sound system would have made the audience more comfortable and brought more balance to the mix of voices, instruments and pounding feet.


Last edited by ksneds on Thu Aug 11, 2005 1:10 pm, edited 1 time in total.

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PostPosted: Wed Aug 10, 2005 1:12 am 
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Quote:
Yin-Yang
by KELLY APTER for the Scotsman

YIN-YANG could so easily have been a one-dimensional, circus-style sideshow. Men with swords and sticks performing acts of bravura to gasps and cheers. It is so much more. Created by a principal dancer with the Korean National Ballet, the show is a coming together of three very different factions.

published: August 10, 2005
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PostPosted: Wed Aug 10, 2005 1:24 am 
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Location: Estonia
Quote:
Venezuela Viva: A Flamenco Fantasy
by KELLY APTER for the Scotsman

Yes, the Spanish influence is most certainly there, as it was one of the dominant cultures that settled in Venezuela in the 1500s. The land was already home to an indigenous people, though - and a century after the Spanish arrived, so did African slaves. Put the three together and you've got a recipe for conflict, first in Venezuela, now on the dancefloor.

published: August 10, 2005
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PostPosted: Wed Aug 10, 2005 1:48 am 
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Quote:
The Drowner
by KELLY APTER for the Scotsman

Set in a bathroom, the performance makes effective use of a bath tub and shower curtain. Songs by The Water Boys and Wannadies add poignancy.

published: August 10, 2005
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PostPosted: Wed Aug 10, 2005 1:51 am 
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Quote:
Step Into Africa
by SUSAN MANSFIELD for the Scotsman

The 12 girls and one boy demonstrate their versatility with a range of styles, from classical and contemporary through hip-hop to African street dance. They demonstrate a vigour and a sense of delight in what they do through a gruelling show with several changes of pace and costume - even including a section danced in Wellington boots.

published: August 10, 2005
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PostPosted: Thu Aug 11, 2005 4:58 am 
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Posted by leam8:

Review: Rainpan 43—all wear bowlers
Aurora Nova at St. Stephen’s Church
10 August 2005

Walking into the lower-level theatre at St. Stephen’s Church and seeing two bowler hats pre-set on the floor of the stage space, you know you’re in for it. And when, as the lights go down, the hats begin to skitter across the floor of their own accord, well, it’s obviously too late to say, Hold on to your hats.

Combining clowning, pantomime, sleight-of-hand, film, vaudeville, and ventriloquism, Geoff Sobelle (as Earnest) and Trey Lyford (as Wyatt) have created a theatrical work that explores the shifting nature of reality, identity, and eggs; but perhaps most importantly, it just makes you giggle like a child.

From the moment when Sobelle bursts from a Laurel and Hardy style film sequence and into the stage space in a flash of light, the audience is held in thrall by wonder (what will happen next?) and enjoyment of the two actors’ impeccable comic timing, expressions, and gestures, both nuanced and extravagant.

It is Earnest who first discovers, moving back and forth from behind a mid-stage screen, that his film world and the “real” world of the theatre are colliding. “There’s people out there!!” he hisses to Wyatt, who peers around the edge of the screen, gazing at the audience with widening eyes. From this startling discovery, both characters set to work figuring out a way to escape from us, all the while drawing us deeper and deeper into their unsettled world, filled with moments of hilarity, panic, and demented gaiety.

In one of the most compelling sequences of the piece, Sobelle and Lyford, using carefully studied and highly skilled pantomime, conjur up an invisible third bowler-wearing man sitting between them. At that moment, you have the sense that all the hijinks have been delicately conceived and strung together simply in order to bring the audience to a properly receptive and imaginative state—because who can watch an “invisible man” on stage without a willingness, an eagerness to see what isn’t there—what could not even BE seen, even if it were there?

It is this eagerness that Sobelle and Lyford succeed so well at eliciting throughout the evening, ingeniously drawing on both our childlike desire to crack up in gut-wrenching laughter at someone else’s foolish behaviour, and our adult urge to analyze and dissect that same behaviour—to understand it and to pigeonhole it. But when the two actors sit down facing us in chairs stolen from audience members and say, after contemplating us all for several minutes, “I don’t get it. Oh, it’s avant-garde,” they have turned the tables on us so thoroughly that we can only applaud their ability to see around all corners while pretending to see nothing, take their hands, and follow blithely wherever they may lead us, whether to madness or enlightenment.

all wear bowlers continues through 29 August. Visit www.auroranova.com or www.edfringe.com for details.
_________________
Lea Marshall
Freelance Writer
Richmond, VA


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PostPosted: Thu Aug 11, 2005 1:05 pm 
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Quote:
Serious gibberish
by MARY BRENNAN for the Scotland Herald

He'll tell you this busy diversity is part and parcel of living and working in Norway. "It's a small country. There are not so many of us, so they have to ask a few artists to do many different things. If I were in a bigger country, or a city like Paris, I don't think I would have all these opportunities."

published: August 11, 2005
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PostPosted: Thu Aug 11, 2005 2:12 pm 
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LMCTech posts:

From the SF Chronicle.

Quote:
Moving Arts Dance heading to Scotland
David Wiegand

Wednesday, August 10, 2005

Walnut Creek's Moving Arts Dance heads to Scotland next week to perform in the choreographers showcase as part of the Edinburgh Fringe Festival.


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