Posts Tagged C Arts

Hard Truths and Real Change in An Audience with Marvin Herbert

★★★★★ Marvin Herbert walks onto the stage with the calm assurance of someone who has lived several lives and survived all of them. What follows is not a performance in the theatrical sense, but a raw, unfiltered account of a man who refuses to hide from his past. He takes the audience through his childhood, teenage years, and adulthood with a level of honesty that is both disarming and compelling.

There is no glamour in the way Marvin describes the criminal underworld. He speaks plainly, almost clinically, about violence, loyalty, and the brutal logic of the life he once led. When he says he “loved violence,” the room tightens. It is not a boast; it is a confession. And it is this candour that makes his story land with such force. He never pretends to be anything other than what he was, and that truthfulness gives weight to everything that follows.

The turning point in Marvin’s life—his shift from gangster to crime‑prevention activist—is where the evening becomes genuinely powerful. He talks about working with young people, visiting prisons, and speaking in schools with a sense of purpose that feels entirely authentic. He knows the mindset of offenders because he lived it. He knows the excuses, the bravado, the fear. And because he does not sanitise his past, he has the credibility to reach those who trust no one.

Marvin’s tenacity is unmistakable. He speaks with conviction, but also with humility. There is no self‑pity, no attempt to rewrite history. Instead, he presents himself as a man determined to use his experiences to stop others from repeating them. His passion for reducing re‑offending is not theoretical—it is lived, urgent, and deeply personal.

By the end of the event, it is clear why audiences respond to him. Marvin Herbert is remarkable not because of the life he once led, but because of the life he is building now. Meeting him feels less like encountering a former gangster and more like witnessing a man who has fought his way into a new purpose and intends to drag as many people with him as he can.

A gripping, honest, and unexpectedly inspiring Fringe event.

Reviewed by Jacqueline Sharp

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A Visceral Refugee Story Told Through Dance, Not Words

★★★★  Agathi – The Plight of the Refugee speaks through movement, expression, and the weight of lived experience. The Apsaras Dance Company from Singapore bring Bharatanatyam to the Fringe with remarkable skill, precision, and emotional clarity. Their command of expression—eyes, hands, breath, stillness—is exceptional, and the story they tell through dance theatre is rich with feeling even without spoken word.

The performance unfolds through Bharatanatyam, Tamil song, and musical textures that carry the audience through themes of displacement and identity. The dancers’ storytelling is the strongest element of the production. Every gesture feels intentional. Sadness, fear, loneliness, and resilience are etched into their faces and bodies. At times the room feels heavy, as if the dancers are holding the audience in the quiet centre of their grief. More than once, the emotion is strong enough to bring a tear.

Where the production falters is in its audio‑visual layer. Poetry written by children appears on a distant screen, but the text is too far away to read clearly, and the connection between the visuals and the choreography is often unclear. The script behind the movement doesn’t always land, and there are moments where the narrative becomes difficult to follow.

Yet the dancers themselves never lose focus. Their portrayal of the refugee experience—displacement, loss of identity, the ache of leaving home, the fragile thread of hope—is powerful and deeply felt. The emotional truth of the piece comes through their bodies, not the screen.

At the end, Artistic Director Aravinth Kumarasamy explains that the work is inspired by her own experiences. Suddenly the production’s emotional intensity makes perfect sense. It is personal, and it shows.

A moving, beautifully performed piece of dance theatre that speaks from the heart, even when its multimedia elements fall short.

Reviewed by Jacqueline Sharp

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