Posts Tagged Edinburgh Fringe Festival

Culture Vulture 1Oth to the 16th of August 2024

Welcome to Culture Vulture, your guide to the week’s entertainment from an alternative standpoint. Selections and writing are by Pat Harrington and music is from Tim Bragg. Highlights this week include:

Woodstock: Three Days That Defined A Generation
This documentary offers a nostalgic exploration of the iconic 1969 Woodstock Music Festival, highlighting its cultural significance as a symbol of the 1960s counterculture movement through vivid archival footage and personal accounts.

Boyz N The Hood
John Singleton’s “Boyz N The Hood” presents a powerful depiction of life in South Central Los Angeles, tackling issues of systemic racism, violence, and the struggles of young men striving to escape their circumstances.

The Day of the Jackal
This tense political thriller follows a meticulous assassin’s attempt to kill French President Charles de Gaulle, offering a gripping look at the complexities of political violence and high-stakes conspiracies.

Saturday 10th of August 2024

Elizabeth Taylor: The Lost Tapes 9pm Sky Documentaries

“Elizabeth Taylor: The Lost Tapes” offers a rare glimpse into the life of one of Hollywood’s most enduring icons. The documentary, elegantly constructed by Nanette Burstein, is a rich tapestry of Taylor’s own words, complemented by a treasure trove of archival footage. It paints a vivid portrait of her tumultuous life and career, capturing the essence of an era when the studio system waned and the media’s glare intensified. While it may not reveal many new insights for those familiar with Taylor’s public persona, it remains a compelling watch, providing an intimate look at the star’s playful yet guarded nature.

Taxi Driver (1976) 11.35pm GREAT!movies

Martin Scorsese’s “Taxi Driver” is a searing exploration of urban alienation and moral decay in post-Vietnam War America. The film follows Travis Bickle, a mentally unstable Vietnam War veteran, who becomes a taxi driver in New York City. As he navigates the city’s seedy underbelly, Travis’s sense of isolation deepens, reflecting the disillusionment and disenfranchisement felt by many veterans returning to a society that seems indifferent to their sacrifices.

One of the film’s primary social themes is the fragmentation of urban life and the resulting psychological impact on individuals. Travis’s interactions with other characters, particularly the young prostitute Iris, underscore the sense of abandonment and neglect pervasive in the city. The film portrays New York as a place where the vulnerable are exploited and the mentally ill are left to fend for themselves, highlighting the failures of social institutions.

Politically, “Taxi Driver” delves into the themes of vigilantism and the individual’s response to societal corruption. Travis’s decision to take justice into his own hands reflects a broader critique of the political system’s inability to address crime and moral decay. His actions can be seen as a desperate, albeit misguided, attempt to restore order in a world he perceives as chaotic and immoral.

The film’s climactic scenes raise questions about heroism and the fine line between sanity and madness. Travis is both condemned and celebrated, illustrating society’s complex relationship with violence and the notion of the “lone avenger.” “Taxi Driver” ultimately leaves viewers pondering the ethical implications of taking justice into one’s own hands and the societal conditions that drive individuals to such extremes.

Love & Mercy (2014) 12.30am BBC2

“Love & Mercy,” directed by Bill Pohlad, is a biographical film that offers a poignant look at the life of Brian Wilson, the creative force behind The Beach Boys. The film oscillates between two periods in Wilson’s life: his struggles with mental illness and creative genius in the 1960s, and his abusive relationship with therapist Eugene Landy in the 1980s. Through this dual narrative, “Love & Mercy” explores themes of mental health, artistic innovation, and the exploitative nature of the music industry.

The film sheds light on the stigmatization of mental illness and the often harsh treatments imposed on those who suffer from it. Brian’s experiences with auditory hallucinations and panic attacks are depicted with sensitivity, emphasizing the need for compassionate and effective mental health care. The contrast between the 1960s and 1980s timelines highlights the evolution of mental health treatment, while also critiquing the manipulative control exerted by Landy.

“Love & Mercy” addresses the pressures faced by artists in the music industry. Brian’s struggle to balance commercial success with artistic integrity mirrors the broader conflict between creativity and profitability. The film underscores the sacrifices and personal costs associated with artistic innovation, as Brian’s ground-breaking work on albums like “Pet Sounds” takes a toll on his mental well-being.

The film critiques the lack of regulatory oversight in the mental health field, as exemplified by Landy’s unethical practices. Landy’s control over Brian’s life and finances points to the potential for abuse within therapeutic relationships and the need for stricter professional standards and accountability. “Love & Mercy” ultimately champions the importance of support and understanding for those battling mental health issues and the need for systemic reforms to protect vulnerable individuals.

Riders Of Justice (2020) 1.10am C4

“Riders Of Justice,” directed by Anders Thomas Jensen, is a Danish dark comedy-drama that blends revenge thriller elements with profound explorations of grief, randomness, and the human need for meaning. The story follows Markus, a soldier who returns home after his wife dies in a train accident, only to team up with a group of eccentric data analysts who believe the crash was a planned assassination by a criminal gang.

The film delves into the social themes of grief and trauma, portraying how individuals cope with loss in different ways. Markus’s stoic and violent response contrasts sharply with the quirky analysts, whose obsession with finding patterns and explanations reflects a broader human desire to make sense of tragedy. This dynamic highlights the varied ways people seek to process and move forward after experiencing deep personal loss.

Politically, “Riders Of Justice” critiques the over-reliance on data and technology to explain complex human experiences. The analysts’ insistence on finding a mathematical explanation for the train crash serves as a metaphor for society’s tendency to seek rationality in chaos. The film questions whether such reliance can truly address the underlying emotional and psychological impacts of trauma or if it merely serves as a distraction from dealing with the rawness of human pain.

Thematically, the film explores the concept of justice and revenge, examining the moral implications of taking the law into one’s own hands. Markus’s quest for vengeance raises questions about the cycle of violence and the possibility of redemption. Through its dark humor and poignant moments, “Riders Of Justice” challenges viewers to consider the limits of rationality and the importance of human connection and empathy in the face of suffering.

Sunday 11th of August 2024

The Cruel Sea (1953) 11.20am BBC2

“The Cruel Sea,” directed by Charles Frend, is a British war film that portrays the harsh realities of naval warfare during World War II. Based on the novel by Nicholas Monsarrat, the film follows the crew of the corvette HMS Compass Rose as they battle enemy submarines in the Atlantic. The narrative focuses on the camaraderie and resilience of the sailors, as well as the moral and ethical dilemmas they face in wartime.

The film highlights the theme of duty and sacrifice, showcasing the personal costs of war on individuals and their families. The crew’s unwavering commitment to their mission, despite the constant threat of death and the loss of comrades, underscores the profound sense of duty that drives soldiers in combat. This theme resonates with the collective memory of World War II, emphasizing the shared sacrifices made by those who served.

Politically, “The Cruel Sea” reflects the broader context of the war effort and the importance of unity and perseverance. The film portrays the Allies’ strategic efforts to secure vital supply routes across the Atlantic, highlighting the interconnectedness of the war front and the home front. The sailors’ struggles and victories are depicted as part of a larger collective endeavour, reinforcing the notion of national solidarity in the face of adversity.

The film also explores the psychological impact of warfare, particularly the moral challenges faced by the crew. Decisions that involve life and death, such as whether to rescue survivors or pursue enemy submarines, illustrate the ethical complexities inherent in combat. These moments serve as a reminder of the human cost of war and the difficult choices that soldiers must make in the line of duty.

Ultimately, “The Cruel Sea” is a powerful testament to the endurance and bravery of those who served in naval warfare. Through its realistic portrayal of life at sea and the emotional toll of combat, the film honours the legacy of the sailors who fought to protect their nations and underscores the enduring themes of sacrifice, duty, and resilience in times of conflict.

Beautiful Thing (1996) 11.10pm Film4

“Beautiful Thing,” directed by Hettie Macdonald, is a poignant British drama that explores themes of love, identity, and social acceptance within the working-class community of East London. The film follows the relationship between two teenage boys, Jamie and Ste, who navigate their feelings for each other against the backdrop of a troubled and often intolerant neighbourhood. The film’s portrayal of their romance is both tender and realistic, reflecting broader social issues related to LGBTQ+ acceptance and the challenges faced by young people coming to terms with their sexuality.

Socially, “Beautiful Thing” addresses the struggles of marginalized communities in the 1990s. The film highlights the harsh realities of living in a working-class environment where traditional values and prejudices often overshadow the need for understanding and compassion. Jamie and Ste’s love story unfolds in a context where homophobia and societal expectations pose significant obstacles, making their eventual acceptance and happiness a powerful statement about the possibility of change and progress.

Politically, the film critiques the lack of support and visibility for LGBTQ+ individuals during the time period. The characters’ experiences reflect a broader systemic failure to address the needs and rights of queer youth. By focusing on the personal impact of these political and social shortcomings, “Beautiful Thing” calls attention to the importance of inclusivity and the need for supportive environments that allow young people to express their true selves without fear of discrimination or violence.

The film also emphasizes the role of community and family in shaping one’s identity and experiences. The supportive, albeit imperfect, relationship between Jamie’s mother and Ste’s family provides a counterpoint to the more hostile elements of their environment. Through its intimate portrayal of personal and communal struggles, “Beautiful Thing” offers a hopeful vision of acceptance and love, suggesting that even in the face of adversity, human connections can foster resilience and transformation.

The Elephant Man (1980) 11.30pm BBC2

David Lynch’s “The Elephant Man” is a historical drama that tells the harrowing true story of John Merrick, a man with severe physical deformities who was exhibited as a sideshow curiosity in 19th-century London. The film, while centered on Merrick’s personal suffering and dignity, also provides a critique of societal attitudes towards physical difference and disability. Lynch’s direction and the film’s stark black-and-white cinematography underscore the stark contrast between Merrick’s humanity and the often inhumane treatment he receives.

Socially, “The Elephant Man” explores themes of exploitation and dehumanization. Merrick’s initial presentation as a “freak” in a sideshow reflects the era’s tendency to commodify and marginalize those who were considered different. The film critiques this exploitation by presenting Merrick as a complex individual with a rich inner life, challenging viewers to reconsider their perceptions of normalcy and worth.

The film engages with issues of class and social justice. Merrick’s transition from a sideshow attraction to a respected member of society highlights the social barriers faced by individuals with disabilities. The film suggests that societal changes and attitudes, rather than inherent worth, determine the treatment and opportunities afforded to people like Merrick. Through its portrayal of Merrick’s interactions with the medical community and upper-class society, “The Elephant Man” critiques the systemic inequalities that perpetuate discrimination.

Lynch’s portrayal of Merrick’s plight and dignity invites viewers to reflect on their own biases and the ethical implications of societal treatment of those who are marginalized. The film’s emotional depth and moral questions make it a powerful commentary on the nature of humanity and the need for compassion and understanding towards all individuals, regardless of their physical appearance or social status.

Monday 12th of August 2024

Sense And Sensibility: The Allure Of Art Nouveau 10.30pm BBC4

“Sense and Sensibility: The Allure of Art Nouveau” is a captivating exploration of the Art Nouveau movement, showcasing its profound impact on the aesthetics of the late 19th century. The BBC4 program delves into the intricate designs and revolutionary ideas that defined this era, bringing to life the vibrant streets of Paris and the innovative minds that transformed art and society. With insightful commentary and stunning visuals, the series is a must-watch for art enthusiasts and history buffs alike, offering a fresh perspective on the enduring legacy of Art Nouveau.

The Sense of An Ending (2017) 11.05pm BBC2

“The Sense of an Ending,” directed by Ritesh Batra, is an adaptation of Julian Barnes’ novel that delves into themes of memory, regret, and the consequences of past actions. The film follows Tony Webster, a retired man who is confronted with a series of revelations about his youth after receiving a mysterious letter. As he uncovers truths about his past relationships and decisions, the film explores how our recollections shape our understanding of ourselves and the impact of unresolved issues on our present lives.

The film addresses the theme of memory and its fallibility. Tony’s journey reveals the complexities and sometimes distortions inherent in personal recollection. The film suggests that memory is not always a reliable guide to truth and that our understanding of past events can be colored by our emotions and experiences. This theme resonates with the broader social concern of how individuals and societies come to terms with their histories and the ways in which past actions can haunt the present.

“The Sense of an Ending” touches on issues of privilege and class. Tony’s privileged background and his interactions with other characters reflect the societal dynamics of the time. The film critiques the ways in which social status can affect personal relationships and opportunities, highlighting the disparities that influence individuals’ choices and their consequences.

The film’s exploration of personal and collective memory invites viewers to reflect on their own lives and relationships. By revealing the consequences of past actions and the difficulty of reconciling with one’s own history, “The Sense of an Ending” encourages a deeper understanding of the ways in which our past shapes our present and the importance of facing unresolved issues to find closure and peace.

Tuesday 13th of August 2024

The Day Of The Jackal (1973) 9pm GREAT!movies

“Day of the Jackal,” directed by Fred Zinnemann, is a tense political thriller based on the novel by Frederick Forsyth. The film centres on an assassination attempt against French President Charles de Gaulle by a mysterious and meticulous assassin known as the Jackal. The narrative follows the intricate planning and cat-and-mouse chase between the assassin and French law enforcement, providing a detailed examination of political intrigue and the mechanics of high-stakes conspiracies.

Politically, the film explores themes of terrorism and political violence. The Jackal’s elaborate plan to assassinate de Gaulle reflects the era’s heightened political tensions and the lengths to which radical groups would go to achieve their aims. The film presents a nuanced view of political extremism, showing the complex motivations behind acts of terrorism and the meticulous planning required to execute such schemes.

“The Day of the Jackal” delves into the impact of political violence on society. The film portrays the pervasive atmosphere of fear and paranoia that accompanies a high-profile assassination plot. The tension and urgency of the investigation reflect the broader social concern about the safety of public figures and the potential for political violence to disrupt everyday life.

The film also highlights the theme of the individual’s role in political conflicts. The Jackal is depicted as a lone operator whose personal convictions drive him to undertake the assassination. This portrayal raises questions about the nature of political commitment and the sacrifices individuals are willing to make for their causes. By focusing on the personal and professional aspects of the characters involved, “The Day of the Jackal” provides a gripping and thought-provoking look at the interplay between politics, violence, and individual agency.

Secrets Of The Hells Angels 10pm Sky History

“Secrets of the Hells Angels,” airing on Sky History, offers an unprecedented glimpse into the notorious biker club known for its secretive nature. The series, with its in-depth interviews and rare archival footage, reveals a more complex and organized group than previously understood. It’s a compelling watch, not just for the exclusive content, but for the way it uncovers the intricate layers of brotherhood and the high stakes of living on the edge. This show promises to be an eye-opener for viewers, shedding light on the club’s most guarded secrets and the true cost of being an Angel.

Wednesday 14th of August 2024

Boyz N The Hood (1991) 9pm GREAT!Movies

“Boyz N The Hood” directed by John Singleton, is a seminal drama that offers a stark portrayal of life in South Central Los Angeles. The film follows the lives of three friends—Tre, Doughboy, and Ricky—as they navigate the challenges of growing up in a neighborhood plagued by violence, poverty, and systemic inequality. Through their stories, the film examines the social and political issues that impact their lives and their community.

“Boyz N The Hood” addresses the pervasive effects of systemic racism and economic disparity. The film provides an unflinching look at how poverty and lack of opportunity contribute to cycles of violence and crime. Tre’s experiences with his father and his attempts to escape the environment reflect a broader struggle for upward mobility and personal success in the face of overwhelming obstacles.

The film critiques the systemic neglect and disinvestment in marginalized communities. The portrayal of gang violence and police interactions highlights the failure of societal institutions to address the root causes of crime and provide meaningful support for those in need. Singleton’s narrative underscores the importance of policy reforms and community investment in addressing the systemic issues that perpetuate inequality and violence.

“Boyz N The Hood” also explores themes of friendship and personal responsibility. The contrasting paths of Tre, Doughboy, and Ricky illustrate the various ways individuals respond to their environment and the impact of personal choices on their futures. The film ultimately advocates for a deeper understanding of the socio-political factors that shape individual lives and the need for collective action to foster positive change in underserved communities.

Bridge Of Spies (2015) 11.20pm BBC1

“Bridge of Spies” directed by Steven Spielberg, is a historical drama based on true events during the Cold War. The film follows insurance lawyer James B. Donovan as he negotiates a high-stakes prisoner exchange between the United States and the Soviet Union, involving the exchange of captured American U-2 pilot Francis Gary Powers for Soviet spy Rudolf Abel. The film delves into themes of justice, diplomacy, and the moral complexities of the Cold War era.

The film examines the intricacies of Cold War diplomacy and the tense negotiations between superpowers. Donovan’s role as a negotiator highlights the importance of legal and ethical considerations in international relations, even during periods of intense political conflict. The film portrays the delicate balance of power and the significance of maintaining human rights and due process in the face of geopolitical tensions.

“Bridge of Spies” explores themes of patriotism and personal integrity. Donovan’s commitment to upholding the principles of justice and fairness, despite public criticism and personal risk, reflects the broader societal values of the time. The film critiques the tendency to prioritize national security over individual rights and the challenges faced by those who stand up for ethical principles in the face of widespread fear and suspicion.

The film also highlights the role of legal professionals in shaping historical events. Donovan’s dedication to defending Abel and negotiating the exchange underscores the critical role that lawyers and legal systems play in navigating complex political issues and ensuring that justice prevails. “Bridge of Spies” ultimately celebrates the courage and resolve of individuals who uphold moral and legal standards during times of crisis, emphasizing the enduring importance of these values in international diplomacy.

Thursday 15th August 2024

The Guard (2011) 2.20am C4

“The Guard” directed by John Michael McDonagh, is a dark comedy-thriller set in rural Ireland. The film follows Sergeant Gerry Boyle, a small-town cop with a unique and unconventional approach to law enforcement, as he becomes involved in an international drug-smuggling ring. The film blends humor with a critique of law enforcement and societal issues, offering a sharp commentary on the nature of justice and corruption.

“The Guard” examines the theme of isolation and the impact of rural life on individuals’ perspectives and behavior. Boyle’s unconventional methods and irreverent attitude reflect the challenges of policing in a small, close-knit community where traditional norms and expectations are often at odds with the realities of crime and corruption. The film portrays the tension between local and international issues, highlighting the complexities faced by those working at the intersection of these worlds.

The film critiques the corruption and ethical compromises present within law enforcement and criminal justice systems. Boyle’s interactions with drug dealers and his methods of handling crime reflect a broader commentary on the moral ambiguities faced by individuals in positions of authority. The film questions the efficacy of conventional approaches to law enforcement and highlights the often murky lines between right and wrong.

“The Guard” also explores themes of personal redemption and integrity. Boyle’s unorthodox methods and complex character arc reveal a deeper sense of morality and personal responsibility beneath his gruff exterior. Through its blend of humor and crime drama, the film invites viewers to consider the challenges of maintaining one’s principles and sense of justice in a world rife with corruption and moral ambiguity.

Friday 16th of August 2024

Woodstock: Three Days That Defined A Generation (2019) 9.50 BBC4

The documentary “Woodstock: Three Days That Defined A Generation” is a nostalgic trip back to the summer of ’69, a pivotal moment in cultural history. Directed by Barak Goodman, this film aired on BBC4, capturing the essence of the Woodstock Music Festival, an event that has become synonymous with the counterculture movement of the 1960s.

Goodman’s documentary is not just about the music, although that is certainly a significant aspect. It’s about the people, the atmosphere, and the zeitgeist of the era. The film takes viewers on a journey through the eyes of those who were there, offering a mosaic of experiences that encapsulate the spirit of Woodstock. From the rain-soaked revelers to the impromptu community that emerged, the documentary showcases the festival as a microcosm of the societal shifts happening in America at the time.

The film is beautifully crafted, with a mix of archival footage and interviews that bring to life the stories of the attendees, organizers, and performers. It’s a reminder of a time when music was a unifying force, capable of bringing together half a million people in the pursuit of peace and love.

One of the most compelling aspects of the documentary is its ability to transport the viewer to the muddy fields of Yasgur’s farm, making one feel as if they are part of the crowd, experiencing the music, the chaos, and the community. The film does an excellent job of highlighting how Woodstock was more than just a music festival; it was a defining moment of a generation grappling with war, civil rights, and a rapidly changing society.

For those who lived through the era, “Woodstock: Three Days That Defined A Generation” is a poignant reminder of their youth and ideals. For others, it’s an educational and entertaining look at a significant historical event that continues to resonate today.

In conclusion, this documentary is a must-watch for anyone interested in music history, social movements, or the 1960s as a whole. It’s a well-executed piece that respects its subject matter and provides a comprehensive look at what made Woodstock an event that defined a generation.

Moon (2009) 11.05pm BBC2

“Moon” directed by Duncan Jones, is a science fiction drama that explores themes of identity, isolation, and the ethics of human cloning. The film follows Sam Bell, an astronaut nearing the end of his three-year stint on a lunar base, who begins to question his sanity as he experiences mysterious occurrences and discovers unsettling truths about his mission. The film’s exploration of these themes raises important questions about human rights and the nature of self.

Socially, “Moon” addresses the theme of isolation and its psychological effects. Sam’s solitary existence on the moon, coupled with the lack of human contact, highlights the profound impact of extended isolation on mental health. The film delves into the emotional and existential struggles faced by individuals in isolated environments, emphasizing the human need for connection and understanding.

Politically, the film critiques the ethics of corporate practices and the exploitation of workers. The revelations about Sam’s true identity and the nature of his work reflect broader concerns about the treatment of individuals by powerful corporations. The film raises questions about the morality of using human clones as expendable resources and the implications of such practices for individual rights and autonomy.

“Moon” also explores the concept of self and personal identity. Sam’s journey to understand his own existence and the nature of his clone’s role challenges viewers to think about what it means to be truly human. The film’s exploration of these themes underscores the importance of self-awareness and ethical consideration in the face of technological advancements and corporate interests. Through its thoughtful narrative and emotional depth, “Moon” invites reflection on the intersection of humanity, technology, and ethics.

and finally, Counter Culture’s Edinburgh Fringe Festival Chronicles

The Edinburgh Fringe Festival is an event that brims with creativity and showcases a plethora of talents from around the globe. Counter Culture has been right in the thick of it, attending and reviewing an eclectic mix of shows. For those who’ve been following our journey, make sure to keep an eye on our website for the latest reviews. Here’s a quick recap of what we’ve experienced this week:

  • “Armed Robbery and Suicidal Intent” – A poignant play that delves into the complexities of human vulnerability and the unexpected connections that can arise from the darkest moments.
  • “007: Voices of Bond” – A nostalgic and thrilling musical ride through the iconic soundtracks of the James Bond franchise, leaving audiences both shaken and stirred.
  • “Two Mums” – A contemporary comedy that navigates the challenges and triumphs of unconventional parenting with wit and heart.
  • “Man of War: The Secret Life of Nadezhda Durova” – a show about a curiousity of history and challenging ascribed gender roles.
    And today, we’re adding two more reviews to our roster:
  • “(Dis)Honest” – A thought-provoking piece that questions the essence of truth through the lens of a master deceiver’s life.
  • “Sara Hester Ross Is What?” – A comedic tour-de-force that combines music, humor, and a touch of the absurd to create a truly unforgettable Fringe experience.

We also interviewed Reine Beau, the lead singer and narrator of The Blondie Story.

Stay tuned for our detailed reviews, and don’t forget to check back regularly for more Fringe highlights from Counter Culture!

Picture Credits

Elizabeth Taylor
By MGM publicity still – https://www.harpersbazaar.com/culture/features/g5333/vintage-elizabeth-taylor-photos/?slide=7, Public Domain, https://commons.wikimedia.org/w/index.php?curid=90476995
Love And Mercy
By ScreenRelish, Fair use, https://en.wikipedia.org/w/index.php?curid=46522655
Woodstock
By Woodstock – http://fromwoodstocktoeternity.com/some-left-woodstock-some-are-still-there (direct link), Public Domain, https://commons.wikimedia.org/w/index.php?curid=128672481
Sense And Sensibility: The Allure Of Art Nouveau
The Peacock Room: Freer Gallery of Art and Arthur M Sackler Gallery, CC BY-SA 2.0 https://creativecommons.org/licenses/by-sa/2.0, via Wikimedia Commons
Secrets Of The Hells Angels
By https://hells-angels.com/wp-content/uploads/2017/03/world-toplogo3.png, Fair use, https://en.wikipedia.org/w/index.php?curid=35239990
Taxi Driver (1976)
By May be found at the following website: Heritage Auctions (cropped and resized from original), Fair use, https://en.wikipedia.org/w/index.php?curid=62776056
Love & Mercy (2014)
Riders Of Justice (2020)
By Nordisk Film – https://www.eclairplay.com/en_DNK/movies/retfaerdighedens-ryttere, Fair use, https://en.wikipedia.org/w/index.php?curid=66186288
The Cruel Sea (1953)
By The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=30911940
Beautiful Thing (1996)
Fair use, https://en.wikipedia.org/w/index.php?curid=3406941
The Elephant Man (1980)
By Paramount Pictures – impawards, Fair use, https://en.wikipedia.org/w/index.php?curid=20132209
The Sense of An Ending (2017)
By http://www.impawards.com/intl/uk/2017/sense_of_an_ending_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=53937705
The Day Of The Jackal (1973)
By Universal Pictures – http://every70smovie.blogspot.com/2012/05/day-of-jackal-1973.html, Fair use, https://en.wikipedia.org/w/index.php?curid=38830641
Boyz N The Hood (1991)
By IMDb, Fair use, https://en.wikipedia.org/w/index.php?curid=12122442
Bridge Of Spies (2015)
By May be found at the following website: IMPAwards.com, Fair use, https://en.wikipedia.org/w/index.php?curid=46893204
The Guard (2011)
By The poster art can or could be obtained from Element Pictures., Fair use, https://en.wikipedia.org/w/index.php?curid=32348267
Moon (2009)
By http://www.impawards.com/2009/moon_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=20348255

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Science Magic – Messy Mayhem

⭐⭐⭐⭐

If you are looking for an absolutely enriching experience for your kids, look no further than Science Magic – Messy Mayhem at the Laughing Horse @ The Three Sisters. This captivating show, led by the brilliant science magician Donal, combines the perfect blend of education and entertainment to leave children in amazed. It was a full house when I saw it and the kids loved it.

In these hard times the show is also very reasonably priced and Donal explained that due to experiencing an upbringing in a poor household that was important to him. There are Pay What You Can ticket options: £5, £7.50, £10 and £12.50

Donal explains the science behind the tricks to his young audience

Donal has a unique talent for captivating young minds, and he has an extraordinary way of making science come alive. He manages to make complex scientific principles accessible and engaging by infusing them with a dose of fun and excitement. To add to the magic, Donal encourages kids to actively participate in the show by volunteering for his thrilling experiments.

Prepare to be amazed as Donal unveils a series of messy experiments that include jaw-dropping cola fountains, awe-inspiring exploding potions, and even a whimsical vomiting unicorn! But it’s not all just fun and games; Donal ensures that sound science underlies every mesmerizing act, giving children a deeper understanding of the principles at play.

Beyond the captivating entertainment, Science Magic – Messy Mayhem provides an excellent opportunity for kids to grasp the science behind the tricks and learn how to replicate some of them, under supervision, at home. By empowering kids with knowledge and fostering their curiosity, Donal not only entertains but also inspires a passion for science and discovery.

The show is thoughtfully designed for children aged 5 and above, guaranteeing an experience suitable for a wide range of young audiences. However, it’s worth noting that Science Magic – Messy Mayhem lives up to its name – you might want to prepare for a bit of mess and splashes during the show. But worry not, it’s all part of the excitement and learning process!

Science Magic – Messy Mayhem is an absolute must-see for young kids who have a penchant for science and a love for all things messy. It’s also a fantastic opportunity for children who may find science a bit dull, as Donal masterfully proves that science is far from boring; in fact, it’s full of thrilling surprises and captivating wonders.

So mark your calendars! The show runs daily for an hour starting from August 6th to August 27th at the charming Maggie’s Front Room. Don’t miss this incredible opportunity to spark the imaginations of your little ones and foster their love for science in a truly magical way. Science Magic – Messy Mayhem promises to be an experience that your kids will enjoy and talk about!

Venue
272
Laughing Horse @ The Three Sisters – Maggie’s Front Room
11:00
Aug 6-27
1 hour
Suitability: 5+ (5 and older)

Buy tickets here

Reviewed by Pat Harrington

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17 Million Fuck Offs

DominicFrisby-Edinburgh-headshot-3-sparkles-A4

17 Million Fuck Offs.  Written and performed by Dominic Frisby.  Music composed and played by Martin Wheatley (based on a traditional Devon folk song).  Video directed by Anon.   Audio mixed and recorded by Wayne McIntyre.  Assistant Director Mark “Yeti” Cribbs.  Available from: https://www.amazon.co.uk/17-Million-Fuck-Offs-Explicit/dp/B07PKY39CK/ref=sr_1_3_twi_mus_1?ie=UTF8&qid=1552953132&sr=8-3&keywords=dominic+frisby

INDIVIDUAL TRACK reviews for Counter Culture are like busses – you wait ages for them to arrive and then two come along at once!

Eagle-eyed readers may recall that – towards the end of last month – I reviewed a track called The Dirty Fucking Hippies Were Right!  You can read the review here https://countercultureuk.com/2019/04/25/the-dirty-fucking-hippies-were-right/ and listen to the track here https://www.youtube.com/watch?v=iKEZoY-TMG4 At the time (and to the best of my knowledge) I’d never reviewed an individual music track before.  Little did I know that I’d be at it again so quickly.

As with last months track, I can’t recall where (or when) I first became aware of 17 Million Fuck Offs but I somehow came across it on YouTube.  You can check it out here: https://www.youtube.com/watch?v=jiUFPjulTW8

Remarkably, there are several similarities and differences between The Dirty Fucking Hippies Were Right! and 17 Million Fuck Offs.  For instance, both deal with important subject matters.  The first was a track about an entire counter cultural movement – the Hippies – which had its origins in the 60s.  The second track is about a specific event, the EU referendum of 23rd June 2016.

Mystery surrounds those who wrote and performed The Dirty Fucking Hippies Were Right! although it’s been attributed to George Carlin (1937 – 2008) the American stand-up comedian, actor, author, and social critic.  However, there’s no mystery about 17 Million Fuck Offs which is the work of Dominic Frisby.  According to his web-site – https://dominicfrisby.com/ – Frisby is a libertarian and a ‘writer-performer’.  However, this brief description is very modest indeed, for he combines straight stand-up and character comedy with writing books about the economy as well as acting, presenting, voiceovers and public speaking.

So much for the differences between the two singles.  The one obvious similarity is the use of the Anglo-Saxon word, ‘Fuck’, in both titles.  Whilst it’s still considered a reasonably offensive swear word, many people seem to use it – maybe even unconsciously – in everyday speech.  To this extent, the word has become somewhat ‘normalised’.  However, I believe that it’s used on both tracks for description and emphasis.  The hippies were way, way before my time, and I’m far from an expert on them, but I believe that they were sometimes described as ‘dirty fucking hippies’.  That would explain its use on the first track.  On 17 Million Fuck Offs it’s used to great comedic effect – especially as it appears like a bolt out of the blue.  Based on a traditional Devon folk song, Frisby sets the scene at the start of the track and sings in a very authoritative manner:

‘On the 23rd of June, 2016
The people of the United Kingdom – and Gibraltar – went to vote
On an issue that for some had been burning for years
The question in full – and unaltered – was – I quote

Should the United Kingdom remain a member of the European Union
or leave the European Union?

It was the greatest democratic turnout in British history, I do not scoff
And when the time came to speak the British said fuck off.
Fuck off.’

I’ve shown the YouTube video to a few people and they’ve always reacted with a great big belly laugh when they first hear the words ‘fuck off’.  Have a listen to it yourself and you’ll know what I mean.

Dominic Frisby spends most of his time on the track ridiculing the warnings that the establishment made in the run up to the EU referendum.  Known as ‘Project Fear’ the electorate were warned, if they voted for Brexit, that ‘you’ll lose your job’, ‘you’ll lose yourhome’ and that there would be all manner of food shortages, no medicines, grounded planes and the stock market would collapse. However, most terrifying of all, there’d be ‘an outbreak of super gonorrhea. They seriously said that’. 

He also calls out various members of the establishment who promoted ‘Project Fear’.  They include politicians like David Cameron, Theresa May, George Osborne and Tony Blair – who, in my honest opinion, should be doing serious bird for war crimes – right the way through to ‘celebrities’ like Gary Lineker, JK Rowling and the deliberately (yet delightfully) misnamed Benedict Cumbertwat.  At the end of the list comes Labour’s Lord Adonis.  Frisby proves that he’s truly a great iconoclast when he asks the question on everyone’s lips:‘Who the fuck’s he anyway?’

Listening to the track, it struck me that this was the first time I’d heard a pro-Brexit comedy song.  Indeed, 17 Million Fuck Offs was only song in support of Brexit that I’d come across, no matter what genre it hailed from.

This is odd – to say the very least!  Brexit should’ve provided plenty of material for various mainstream artists & comedians to work with.  For instance, for three years now we’ve been in the ridiculous position of having those MPs who ‘represent’ their constituents in the ‘Mother of Parliaments’ trying to overturn the democratic will of those very same constituents.  It’s absolute comedy gold!  So where are all of the mainstream artists and comedians – shouldn’t they be calling out these MPs on their failure to carry out the express will of the people?  After all, we live in a democracy, don’t we?

Despite the reluctance of many ‘household names’ to point out the obvious – that representative democracy is no longer representative or democratic – Dominic Frisby has managed to do so using both gentle humour and biting satire.  This makes 17 Million Fuck Offsvery important as it reminds us why the electorate voted for Brexit and why the public is so frustrated with the current political stalemate.  To do so using music must be a nightmare for Remainers – that’s because music is universal and can cross so many barriers.  Indeed, music has the ability to touch everyone, no matter who they are.

Have a listen to both the original track – https://www.youtube.com/watch?v=jiUFPjulTW8– or the Ramona Ricketts Mix –https://www.youtube.com/watch?v=oD-Sz8S7bA0– which has a slight Irish lilt to it.  And don’t forget to let Counter Culture know what you think of  Dominic Frisby’s highly original work – both in terms of musical comedy and the message it conveys.

Reviewed by John Field.

• LOOK OUT for Dominic Frisby’s Libertarian Love Songs later this year at the Edinburgh Fringe.

 

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Edinburgh Fringe 2016: All Quiet On the Western Front

allquietonthewesternfront

The Cast from Incognito

Pleasance Courtyard
13:45

Aug 18-29
1 hour
Incognito. Edinburgh Fringe 2016

This year’s centenary of the Battle of the Somme makes this revival of “All Quiet On The Western Front” particularly timely, drawing attention as it does to the horrors and sacrifices endured by German soldiers during the Great War of 1914-18 – and, by implication, to those of the French and British. Based on the book “Im Westen nichts Neues”, first published in book form in German in January 1929, translated into English and made into a film in 1930, it was instrumental in helping to establish the image of the War which has endured to this day. Douglas Haig, Commander – in – Chief of British and Commonwealth forces 1915-18, had been given a hero’s funeral in Westminster Abbey in January 1928, but within a year of his death the foundations of his later reputation as “Butcher Haig” were beginning to be laid. R.C. Sheriff’s “Journey’s End” was premiered in December 1928. A full edition of Wilfred Owen’s poetry followed in 1931, and Vera Brittain’s “Testament of Youth” in 1933. Popular attitudes to the War would never be quite the same again.

Incognito’s production opened with the famous scene of the teacher exhorting his pupils to volunteer, “Dulce et Decorum Est Pro Patria Mori” in defence of the Fatherland – a timely reminder that most Germans believed themselves to be fighting a defensive war against Russia. After all, Russia, France’s ally, had been the first country to mobilise and had invaded Germany in August 1914. Disillusionment set in quickly as the true nature of the fighting became apparent. The five actors conveyed this with total conviction. Soap boxes were the only props. The use of the small stage space was ingenious with careful choreography. Lighting and sound effects were highly effective. It must have been physically exhausting for the actors when responding to the frequent barrages of machine guns, shells and shrapnel. The scene when Paul returned home on leave was especially moving. Two of the actors proved convincing mimics of Irish and Scouse (I think) respectively.

The similarities between this play and “Journey’s End ” are striking. Written from German and British perspectives within a few weeks of each other, they have done much to cement the “Futility of War” as the enduring image of 1914-18, a War which will surely come to be seen by future generations as a European Civil War. A viewing of this production is strongly recommended.

Five stars

Reviewed by Joe Ward

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Mata Hari: Female Spy

Aug 7, 8, 11, 13, 15, 16, 17, 19, 21, 23, 25, 27, 29, 30
ZOO VENUES, Venue 124, EDINBURGH FRINGE, 2.20PM

http://www.zoofestival.co.uk/whats-on/theatre?zid=413
Mata Hari was shot by the French in 1917 as a German spy. The press at the time claimed that she had been responsible for the deaths of tens of thousands of soldiers. This riveting performance by Katherine Hurst is based on the actual words of the Dutch exotic dancer Margaretha Geertruida MacLeod herself.
Using humour, pathos and a minimum of props: some flimsy veils, a couple of fans and a battered suitcase, Hurst confides in the audience. She recounts in moving detail how Margaretha became the first femme fatale – Mata Hari.

She didn’t have an easy life to start with but she made good. She was wilful. She was promiscuous. She enjoyed the company of officers and she scandalised many by enjoying life too much. That sealed her fate.

Was there enough evidence to convict her in a fair trial? No. Was she guilty? That’s another story. You won’t know the real truth from this powerful one-woman show but you will be drawn in by its narrative.
**** Four Stars

http://www.gavinrobertson.com/mata-hari-female-spy/
A contemporary eye-witness report of the execution of Mata Hari: http://www.eyewitnesstohistory.com/matahari.htm

Reviewed by David Kerr

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Review: Nikki Sinclaire – The EU, It’s Not Funny!

Image courtesy of Nikki Sinclaire's The EU, It's Not Funny web blog

Nikki performed her one woman show on Wednesday August 21 2013 at Fringe Venue 290, the Arthur Conan Doyle Centre

Nikki threw a party and the people came.  She looked a bit surprised that the packed room in the Arthur Conan Doyle centre needed more chairs brought in for her first ever Edinburgh Fringe show about the EU.

This was a light-hearted, satirical and moving look at the European Union.  A view as to its characters, and the effect it has on people’s everyday lives.  Nikki’s take on the EU is that it is NOT funny and neither really are its eccentrics.  We were given a passionate and realistic perspective of the EU by a Member of its own Parliament.  Nikki in the past represented UKIP, but more recently she has started the We Demand a Referendum Now party.

This was a one woman show, and those are not necessarily easy to pull off.  Nikki arrived to greet the crowd, visibly nervous and a bit surprised that so many people were interested in coming to hear her speak about the EU.  But Nikki had a natural rapport with the audience perhaps because she is passionate about her convictions and truly genuine, a rare gem among the run of the mill machine politicians.

She began to loosen up as she  started to describe the odd characters she meets in the Parliament including ‘Colin’ from EastEnders, Nigel Farage and the “village idiot”, Godfrey Bloom. Her spoof on the MEP out of work at the job centre after the next election was quite funny.  By the end we sit around her eagerly waiting to hear what she has to offer next and for me, the show ended much too soon.

A little background on Nicole “Nikki” Sinclaire. She is a politician from the We Demand a Referendum Party and represents the West Midlands as an MEP.  She was elected in June 2009 as a UKIP candidate but later resigned from the Europe of Freedom and Democracy (EFD) group in which UKIP is part of in the European Parliament, citing the extreme right-wing views of some of the group’s members.

After that she sat as an Independent MEP from January 2010 until September 2012 when she set up the We Demand a Referendum Party. She has campaigned on issues affecting the West Midlands ranging from jobs, to the environment and human rights.  If you follow her blogs and Facebook page, you can see she is extremely hard-working for the people in her community.  I follow her myself with great interest, because to me she is the hardest working and most creative MEP representing the UK.

Nikki Sinclaire, MEP, sits on the Committee for Employment and Social Affairs, Committee on Petitions, Subcommittee on Human Rights, Delegation to the EU-Chile Joint Parliamentary Committee, Delegation to the Euro-Latin American Parliamentary Assembly and is a substitute member on the Committee for Women’s Rights and Gender Equality.

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For more details and a video from Nikki’s show: Visit here.

You can follow Nikki  on twitter at twitter.com/NSinclaireMEP

Reviewed by Michelle Harrington

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Review: You All Know Me – I’m Jack Ruby!

cliffordbarryasjackrubyCategory  Theatre
Genres drama
Group Clifford Barry
Venue theSpace @ Surgeons Hall ​
Event Website http://www.cliffordbarry.co.uk/jac…
Date 19-24 August
Time 14:05
Duration 50 minutes
Suitability 14+
Country of Origin England

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Despite the assertion in the title I hadn’t realised how little I knew of Jack Ruby before seeing this show! Of course I knew that Ruby was the man who gunned down Lee Harvey Oswald, the suspected assassin of President  Kennedy. Like many I’ve even seen footage of Ruby shooting him in the Dallas Police Department. I’ve also heard some of the mafia/communist conspiracy theories.

This compelling one-man performance shows Ruby the man. The monologue is delivered in a flawless Chicago accent (Ruby grew up there and returned after brief stints in California and the armed forces) before moving to Dallas. Ruby is shown as a man with many problems. He came from a disturbed family background. His father was an alcoholic and his mother spent time in mental institutions. Jack himself spent time in juvenile detention and foster homes.

His attitude toward the women who worked for him in his Carousel strip-joint seemed psychotic and his fawning attitude toward authority is depicted brilliantly through a one-sided dialogue with his prison guard.

At times Ruby seems delusional spinning conspiracy theories with fantastic plots against Jews. Jack Ruby was born Jacob Rubenstein in 1911, one of eight children of Jewish parents who had left Poland. The audience hears of the Nazi style views of LBJ  and his intent to destroy Israel. As a counterpoint Ruby himself was to become the focus of anti-Semitic conspiracy theories. On stage he castigates the John Birch Society who accused him of being a Communist.

Scenes are broken up with lights off and snatches of music from the era or news reports. It is somehow discomforting to hear songs like the bitter sweet ‘The Good Life’ sung by Tony Bennett after hearing Ruby.

The show is meticulously researched drawing on evidence from the testimony given by Ruby to the Warren Commission and notes smuggled out of prison amongst much else. It convinces you that Ruby was a troubled man, prone to violence who was angered by the assassination and believed he would be considered a hero for what he had done. If it were not for latent antisemitism and a desire on the part of the embarrassed Dallas authorities to be seen to take action perhaps he would have been. Let’s not forget that the first reaction of the crowd when told of the shooting of Oswald was to applaud.

This show is engrossing on so many levels, almost overwhelming in the amount of information packed into every expression, gesture and phrase. Clifford Barry is utterly convincing as Jack Ruby.

Reviewed by Pat Harrington

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Review: The Tiger Lillies

tigerlilliesCategory     Cabaret
Genres     music
Group     Bound & Gagged Comedy by arrangement with Tim Whitehead Management
Venue     Underbelly, Bristo Square
Event Website     http://www.tigerlillies.com
Date     6-17 August
Time     22:20
Duration     1 hour
Suitability     16+
Warnings     Age 16+
Country of Origin     England

The Tiger Lillies returned to the Edinburgh Festival for a limited run of just 11 performances, entitled the Either/Or Cabaret.  They performed a mix of songs from their most recent shows and albums along with some old favourites.  Often described as the forefathers of Brechtian Punk Cabaret, these three characters are a cult British musical trio formed in 1989 by singer-songwriter Martyn Jacques.
Theirs is a distinctive panache which hints of a macabre pre-war Berlin with a sardonic edge.  Current members included Martyn Jacques – vocals, accordion, and piano, Mike Pickering – drums, percussion and backing vocals, and Adrian Stout – double bass, backing vocals, musical saw and theremin.
Characterised as provocative and avant-garde, they combine cabaret or alt cabaret, vaudeville, music hall and street theatre.
The naughty little prankster Martyn Jacques is our mordant compere and main vox for this evening’s sacrilege.  His vocals range from falsetto screams to growls and seductive warbles as he mischievously winds his way through each number with a fiendish sneer and a snarl.

Martyn has stated in interviews that he has been influenced and inspired by the circus. He grew up with punk, and while they weren’t heroes when he was young, he feels he has been influenced by the attitude and the alienation of the genre.
Their album Circus Songs, romanticises the history of traveling and gypsies, and Jacques has alluded before to one of his primary influences being the ThreePenny Opera.  However, he recounts that the Tiger Lillies have always been considered an artier band who generally play to older crowds.
He believes in credibility and craves honour in the artistry and yet he has no illusions of grandeur and feels that the Tiger Lillies are not for mass consumption.  He feels that their audience has a kind of ‘specialist knowledge’ or distinct taste to even find them.
Upon further research into this delightfully wicked trio, I was quite amused to find out that the Tiger Lillies fan base consists of names such as Matt Groening, Edward Gorey and Jhonen Vasquez.
Gorey was such a fan of “Banging in the Nails”, that he and Martyn ended up collaborating together when Gorey sent him a box of unpublished work, which he went to work on turning into songs.  Unfortunately Edward Gorey died before they could see the project through to completion. Martyn made the album anyway, and it was nominated for a Grammy which he finds amusing.
Martyn’s unique vocal stylings and macabre song content mean that he has had difficulty in making the individuality successful due to the industries need to categorise music neatly.
The Tiger Lillies have a bit of a cult following and Martyn finds a ‘subversive delight’ by shocking his audiences who sometimes find it all a bit much for their oh so delicate palates.
The Tiger Lillies are certainly not for the easily offended and I took great delight in watching the audience around me titter nervously as the threesome cavorted through scandalous tunes comprising themes of bestiality, prostitution, desecration and many other depravities.
Their musical style is mainly influenced by Bertolt Brecht, Kurt Weill’s masterpiece The Threepenny Opera and pre-war Berlin cabaret and circus.
Adrian Stout, smart in his tartan suit has a bit of a Victorian air about him, and this most endearing character unassumingly steals a bit of the show from our morbid compere with his well-placed vocal embellishments, strolling double bass, weeping saw and poignant and haunting theremin.
Regulars at the Fringe, this year the trio stand on a simple almost empty stage.  This show has been described as “an hour of swirling melancholy and beautiful grotesquerie.” To see them live is a tremendously unsettling and fabulous carnival of horrors.

Reviewed by Michelle Harrington

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Review: A Family Beyond the Army

family-beyond-the-army_30573_thumbCategory Theatre
Genres new writing, theatre
Group Family Beyond The Army Charity Production
Venue Sweet Grassmarket
Times 16:00
Suitability 16+
Duration 1 hour

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Maintaining a good ‘work-life balance’ is hard enough for most of us but what if you’re separated from your loved one for months at a time and in danger of never seeing him again? That’s the tension at the heart of this gripping, poignant drama.

It opens with a blazing row between Scott and Lou.  She wants to know what’s troubling her soldier husband.  He bottles it all up.  He won’t tell.  He can’t tell.  She has no idea.  She wants to get inside his head but feels shut out?  How did things come to this?

We flash back to how Scott and Louise first awkward meeting at a wedding when Scott’s army pal Ben marries her friend, Sarah, through to their own marriage, Scott’s posting to the battlefields of Afghanistan, Lou’s pregnancy, the birth of their son and his first birthday. The script manages to avoid all the potential pitfalls in a powerful combination of  wry humour and pathos.

The staging for this was very simple, but worked really well.  Cast members stood in one of three frames facing the audience, enabling us to see the faces of  the speakers in all sides of every conversation.

We all have our views on the rights and wrongs of the Afghan conflict, but whatever position we take, we must recognise the sacrifices made by the families at home as well as the men and women sent to fight in far-flung war zones around the world. . This moving play gives it to us straight with no sugar-coating. Let’s not forget them, but do our damnedest to make sure that politicians who keep spouting nonsense about Britain ‘punching above its weight’ don’t throw away more lives of mothers’ sons or fathers’ daughters to satisfy their deluded ambitions.

Three service charities: Help for Heroes, Erskine and Scotty’s Little Soldiers share the proceeds from this production. Don’t miss it.

Reviewed by Dave Kerr

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Review: The Unremarkable Death of Marilyn Monroe

unremarkable-death-of-marilyn-monroe_31321Category Theatre
Group Dyad Productions
Venue Assembly George Square ​
Event Website http://www.facebook.com/DyadProduc…
Date 16-26 August
Time 13:10
Duration 1 hour 25 minutes
Suitability 12+
Country of Origin England

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It’s quite astonishing that Marilyn Monroe is still remembered, more that half a century after her death at the early age of 36. The term ‘iconic’ is often overused but in her case it is apposite; she really was one of the twentieth century’s true icons.

Writer Elton Townend Jones was first captivated by Marilyn at the age of twelve, twenty years after her death.  In this production he imagines that she is able to reflect on her life in that last hour before she slipped away.  Working from as many sources as he can, Jones conjures up the shade of the ‘real Marilyn’, “a talented artist, a brilliant comedian, a frustrated intellectual, an attractive, loving woman afflicted with physical and mental conditions that cursed her working and emotional life.”

Lizzie Wort’s performance in this one-woman show brings to life Marilyn’s vulnerability, her sensuality and her own confusion and indignation in her final hour on earth at how she has been so misunderstood. She knows that her same has become synonymous with prurient gossip; as she puts it, ‘It was scandal that brought you here in the first place’. She confides in the audience telling us all about the high points and the low points of her relationships with Bobby and Jack Kennedy, her turbulent marriages to Arthur Miller and Joe Demagio; her miscarriages, her times on the sets of her best known movies – good and bad – and how she was abused by a family friend as an eight-year-old.

There are some memorable lines in this bittersweet script; my favourite is her observation that in Some Like it Hot she ‘played a blonde so dumb she mistook Tony Curtis for a chick’.  As she talks, she constantly swallows pills, and intersperses her bright observations with moments of indecision and confusion. Marilyn’s love of life and attractiveness comes through clearly in this spellbinding performance and tight script, but we know it isn’t going to end well. This strong performance makes you care so much that you want to shout out, tell her to throw the pills away, and go to the beach. Sadly, she didn’t.

Reviewed by David Kerr

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