Around The World In 80 Days is best known for the iconic 1956 David Niven film rather than the original novel by the prolific French writer Jules Verne; this version seeks to restore the original storyline to the centre of the narrative but does so with one playful eye on the theatrical possibilities where much is left to the audience’s imagination.
Arthur Smith pays homage to his (extra) ordinary Dad in Syd which premiered at 2018’s Fringe and is now an online show recorded at Falmouth and being streamed via the Pleasance.
The real life figure of Ed Gein looms large in horror films and literature. Most famously he was the direct inspiration for Norman Bates in Psycho and his terrible influence can also be found haunting The Texas Chainsaw Massacre and Silence Of the Lambs. But I’m not sure his real story has been told quite so directly as it is in Under The Floorboards which played live at the Edinburgh Fringe and has now emerged as an online performance film at this year’s Festival.
A warm and entertaining solo play, Lila Clements’ Look, No Hands has some distinctive features which marks it out from many other confessional shows of a similar type.
Two well known tales with a twist: The Little Glass Slipper As Performed By The Queen of France And Her Friends and Metamorphosis. The second piece now tops my personal Edinburgh Fringe online chart.
Without much more than a two line description in the Camden Fringe brochure, I plunged headlong into two wildly different but experimental pieces, Murmur and Wild Waxflower.
I set off for Hollywood, California via Edinburgh, Scotland and Adelaide, Australia. No, I haven’t finally lost it, this was my online trip in both time and place courtesy of the Edinburgh Fringe Festival.
Jam Tart and Lemon Kurd are two accomplished monologues written by Rhiannon Owens and Nick Maynard which fit together neatly having complementary subject matter and a not dissimilar tone at the Camden Fringe.
Gigglemug Murder Mysteries borrow their titles, if not their characters and plots, from the works of Agatha Christie. The first of these is the recently released and enticingly titled Murder On The 12:32 To Bristol.
This is Masks And Faces (full title: Masks And Faces or Before And Behind The Curtain) his 1852 play set in the world of the theatrical profession which the Finborough rediscovered and produced in 2004 and is now being presented as a recorded Zoom reading.
Viper Squad writer James Dillon’s new show Siren takes the tropes of the sci-fi horror genre (there’s a heavy debt to Alien here) and throws the audience into the middle of the action.
The fourth and final Cultural Recovery Fund funded show from production company Seabright has been, like its predecessors, filmed at Wilton’s Music Hall before a live audience and is being streamed via stream.theatre. This is Mark Farrelly’s homage to wilful eccentricity and outré lifestyle Quentin Crisp: Naked Hope.
In what I think may be a first, Original Theatre Company has released a filmed-as-live, onstage rehearsed reading in the shape of A Cold Supper Behind Harrods.
The first new piece for Queers references a moment in history while the second takes a broader more contemporary sweep of recent events but what unites them is that they present the experiences of wider elements of the LGBTQ+ community who also happen to be black; the original series was rather under representative in this area.
What makes Black Is The Color Of My Voice stand out from the crowd is Apphia Campbell’s performance which is multi-layered, dynamic and assured and, when she’s singing, spine-tingling.
Silent Uproar’s cabaret style show A Super Happy Story (About Feeling Super Sad) is a highly sensitive and nuanced performance which nails the debilitating effects of what is still a misunderstood condition.
The piece in question is Alan Ayckbourn’s The Girl Next Door which harks back to earlier plays such as Whenever, Miss Yesterday, Surprises and especially Communicating Doors in its central conceit of time travel.
The Finborough Theatre’s latest show to hit the ether is Leather which is now available on demand. It is a play which isn’t for the faint hearted and comes trailing clouds of notoriety as one of the first plays (if not THE very first) to highlight male rape, domestic violence and sado-masochism within the gay community.
Simply called Knot, this is a three-part play which requires the listener to be at a specified (though general) location at a certain time, then to connect to an app and let Darkfield do the rest.
Footprints Festival at Jermyn Street celebrates female empowerment