Fringe Review: Swamp Juice

DIY Puppetry fun about the perils of life in a swamp

The stage is awash with props, resembling something of a well-loved kid's dress-up room. Our performer shuffles on stage and speaks in a made-up language as he proudly gesticulates his way through some home-made props and lighting equipment.
Swamp Juice is quirky, bizarre and impressive. Shadow puppetry and physical theatre tell the story of a mean old man who visits a swamp and antagonises the inhabitants. Narration alternates between various characters made from gloves, tinsel and card (complete with moving parts) who are projected onto a screen.
Audience interaction is both oddly and cleverly incorporated into the story but this has its downfalls. The numerous, often ambitious, techniques require some faffing about both on and off stage and while the audience is curious as to where it's going, the preamble can feel overlong and at times begins to eat into the excitement of the story.
The 3D finale is wildly creative and our performer literally shows no sense of boundaries with his work. Swamp Juice is ambitious and funny and the weaker transitional areas of the performance ought to be forgiven for the gutsy show as a whole.
With this performance Jeff Achtem has proven himself to be an extraordinarily skilled storyteller and animator. Though the technical aspects of his performance are at times, somewhat clunky, he is energetic and brave and will doubtlessly continue to look for ways to not only entertain an audience but tell his delightful stories.

4 stars

Fringe Review: The Fantasist @ Underbelly

Through puppetry, movement, physical theatre and music we are taken on Louise’s journey as she battles bipolar disorder. From the off, The Fantasist grips the audience in a way rarely seen and this hold is only tightened over the hour.

Taking place entirely in Louise’s apartment, she is visited alternately by a kindly healthcare worker and the creatures of her imagination; a tall, dark stranger, a flying vampiric hag, two freakish charred heads and (my favourite) a small wooden pose-able doll akin to Morph, who vies for her attention with indiscernible child-like moans.

The exhilarating highs and interminable lows of the mental health disorder are tortuous, frightening, incomprehensible and extraordinarily funny, often all at once. What at one moment is freeing for Louise, suddenly becomes dark and dangerous. Interestingly the puppets don’t change – her nurse is even present in the room – but there’s an obvious ‘come down’ and the atmosphere suddenly becomes tumultuous. This is, by and large, thanks to ingenious manipulation of puppetry and choreography with few props or lighting helping our performers along the way. If ever a production dismisses the notion that puppetry is immature and unimpressive theatre, this is it.

In The Fantasist it is mesmerising and perfectly married to its subject matter. The emotions of such an intense disorder are explored through Louise’s lustful and obsessive relationship with the tall stranger who romances her, only to disappear and leave her distraught. She is harassed by the small doll, bullied by the vampiric hag and cajoled by the two heads. Somehow, at the same time she is also enticed and encouraged because she exists in a world where everything makes sense. Manipulation is everywhere.

As the lights fade, the audience is left shocked, exhilarated, saddened and amazed at the story that has just been told.

The Fantasist is one of the finest pieces of theatre I’ve ever seen (and next week I'm sending my mum).

(a very easy) 5 stars

Presented by Theatre Témoin and Cie. Traversière, The Fantasist runs until August 27.

My Fringe: Part III

Today is all about theatre, circus and some puppetry at the Underbelly. It's also about the gold postbox I found and - after a quick Google search - apparently it's a wee homage to Sir Chris Hoy and all those gold medals he's won.

AHoy Hoy, Sir Chris' postbox on Hanover St

The Night of the Big Wind @ Underbelly is an unusual departure from the frenetic bustle of the Fringe. The most striking thing about the show is the ornate puppetry. A young boy is controlled by actors as he wanders morosely about his surroundings, hopping off tables and emulating fishing locals as they laze about. Faceless and beautifully-carved, the wooden child conveys a surprising intensity of emotion and loneliness. While our actors play characters themselves, they alternate effortlessly with their miniature props. Isolation is captured perfectly through a tiny puppet, no taller than fifteen centimetres, who is surprisingly life-like as he meanders across the land. When the inevitable storm hits, the easy pace is obliterated. Panic and devastation reigns and turns the set upside down. The Night of the Big Wind doesn’t concern itself too much with a story, rather it explores the sense of living in this place and this time. At any given moment, there’s inexperience, hope, devastation, ambition and humour to the performance which asks only to be experienced, rather than thought about.

A wee jaunt up to Bristo Square and I met the spiffingly-lovely Morgan and West, top hats and all, leafleting for their magic stuff. These very pleasant guys have a cracking show this year with Clockwork Miracles.

What you see if you look up at Underbelly.

Scribbling now at Underbelly, Ratatat blaring in the pub which is nice. Laptop teetering on a table that looks like it wants to die. Not so nice. Going by the wobbling of my ‘desk’ caused by passers-by, the floorboards are on their way out too. Just saw Tumble Circus @ the Udderbelly. My first ever circus show. Well, since I was a small child. An outing captured in a photo of a chubby younger-self perched atop an elephant. Tumble Circus tells the story of Tina and Ken, an acrobatic couple stuck with one another for seventeen years, both personally and professionally. The story here is of boredom, incompatibility and comedy. They tumble (as per advertised), twist, balance, jump and more often that you’d expect, slap one another. The moves are nice but the music and lights don’t always fit and there are lacklustre flourishes that leave me unsatisfied. The premise works; at odds personally but very much together professionally. Their final act on a circus swing high in the rafters is engaging, fun, humorous and interesting but I can’t help notice a lack of energy and excitement in the performance as a whole.
One Hour Only @Underbelly has to be my treat of the day and it’s a stand-out for the week so far. Marly is studying forensic biology and to pay her way she’s started a new job at an ‘upmarket’ brothel. Her first client is AJ who is 21 today and about to enjoy a birthday treat from his mates. The two bond in unlikely ways as they talk frankly about love, life, youthful aspirations and sexual attitudes in contemporary Britain. There’s a journey here and it’s gripping, funny, refreshing, honest and moving. Brilliant theatre.

The Lonely One @ Underbelly is a one act play inspired by an excerpt from Bradbury's Dandelion Wine. This locally-dubbed 'Lonely One' is an ominous presence terrorising a sleepy American town. This is atmospheric and creepy theatre with puppetry, light boxes, torches and a distinctive art deco style. The minutiae detail is lovely to watch and the visual richness is bang on. Everything about this play is ominous and richly presented in an H.P. Lovecraft style. It's fun to watch but the story lacks much plot or narrative. Again, this is another show for the eyes.