A thousand kindnesses
As this was a show about kindness I will do my best not to be cruel. However, it is not a performance I can recommend. This is a one woman verbatim theatre performance based on interviews with people who have escaped conflict zones, and ostensibly exploring issues of asylum, migration, and acts of kindness in the worst circumstances. Unfortunately, the script and performance lacked cohesion, turning into more of a pastiche of unconnected monologue snippets without a clear drive.
Performing in a single bright spot with stage wash, and house lights on, writer/performer Rachel Jury failed to connect to the audience or clearly differentiate the stories and characters being presented. The overall experience felt long and unfocused.
Not recommended
Absolute magic
I really enjoy magic shows and had fun at this one. The performence, mostly focused on card and other small-scale tricks, was solid enough to please. Magician Keith Brown is an engaging storyteller and strikes a balance between personal tale and magic performance that generally sits well. He displays a particularly strong ability to engage his audience, getting them involved in the tricks without engending the "lease don't pick me" vibe that you often see when audience participation is involved.
I feel the show could benefit greatly with a bit more variation in the pattern of each trick, which felt a bit repetitive after an hour, but not boring. Picking up his pace and patter would also aid in generally increasing the wow factor of each trick.
That said, for the person who enjoys taking in the occasional magic performance, this is time enjoyably spent.
Recommended for the one who wants a bit of magic in their life.
Gnaw
The final show of my first day was Gnaw, a new play by Sean Meldrum. This script, a dark and gritty take on the story of Hansel and Gretel, places the action in a town whose order has fallen to anarchy as the result of a famine in the country.
The script provides some engaging moments of drama, and explores the darker themes of the fairy tale, particularly giving consideration to the witch, who she is, and how she might have come to be. The script is not without flaws: an argument between Edee ( the mother) and Bullpig (the father) runs longer than needed, and there are a couple pivotal moments that could have been stronger as subtext than spoken text. That aside, it satisfies more than it dissapoints, and I could see this being expanded post-fringe.
The cast is strong, with Audrey Sturino, Sean Meldrum, and Nathaniel Fried all meeting the challenges of the script. However, it is Mabelle Carvajel as Edee who impressed most, with moments of terrifyingly stunning intensity.
An engaging take on a classic.
Recommended