The Girl with the Edinburgh Tattoo

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Archive for the tag “musical”

Harriet Braine: Art History Songs

First off – the show has to be up for ‘the most inappropriate venue for the subject matter’ award. The whole beer-soaked sports-mad Dante’s Inferno (not even ironically arty) that is the Sportsters Bar totally at odds with the more esoteric offering of a collection of songs about art history (or ‘performance essays’ as the blurb describes).

Happily once past the Inferno entrance the Sportsters back room is quite a cosy little space well suited to a low-key laid-back show about a potentially niche subject. The show is one woman (Harriet Braine), her guitar and a set of art prints. Her first song involves a fair bit of lip-trumpeting which made me think I was in for an Earl Okin (remember him?) tribute act. In fact the trumpeting only appears in one other song so all you Fringe veterans can relax.

So is the subject of art history too niche? Well, not according to the relatively substantial audience who must have made a determined and informed decision in making their way to that back room. Accepting that – the choice of subject matter was far from niche with artists like Picasso, Leonardo, Bosch and Cezanne being name-checked. There are also nods to female artists – Frida Kahlo, Georgia O’Keeffe and Marina Abramovic – which is commendable but they are possibly the least effective songs because of the niche interest (hey, I don’t make the rules!).

The music itself is a straight lift from songs that fall in the period between classic(al) and modern. So we get Wuthering Heights, Roxanne, Abracadabra, 4 Non Blondes’ What’s Up? and Blondie’s Maria. Original tunes with some subtle musical referencing might have been good but probably too much of a rod for the back when a quick recognisable reference is needed to get the audience engaged in two minutes bursts.

Entertaining, educational and all in all not a bad way to spend forty-five minutes.

(Review for 21 Aug)

https://edinburghfestival.list.co.uk/event/627829-harriet-braine-art-history-songs/

 

Laurence Owen: Cinemusical High

Laurence Owen’s Cinemusical was one of the big hits of last year’s Fringe. With all the popular (deliriously happy full houses) and critical (Malcolm Hardee award winner) acclaim resting on those shoulders – can the man do it again? Oh yes!

This time round it’s the 80s teen flick serving as inspiration. Now I have to ‘fess up and say I was more Betty Blue than Breakfast Club in the 80s but I know the main tropes and I did enjoy Heathers so I’ve seen them pulled apart. Laurence’s incredible talent though is he can take quite a niche theme, write narrative lyrics which border on an Asperger’s attention to detail and set it to a score which sounds both familiar but fantastically fresh. Put it through the Laurence Owen feel-good-factor-machine – always cranked up to eleven – and you’re guaranteed a level of entertainment that’s almost freakish for a one man show.

The story is pretty much The Breakfast Club (I think, see above) with five main stock characters: the popular girl; the nerd; the ‘bad’ sassy girl; the jock and the goth girl who doesn’t say much. They all get their own character-setting song which collectively serve to propel the (intentionally) predictable-but-hugely-satisfying-all-the-same story-line along. A lovely touch though – which just may become a Laurence Owen trademark – is the uplifting finale as delivered by a completely unexpected icon from sci-fi/fantasy cinema.

You may be asking can one man really play all those roles convincingly? Yes, actually. As well as being a ridiculously talented composer, musician and singer Laurence also has fine acting chops. Watch him become the sassy bad girl with a subtle change of tone and physical stance and be totally convinced. The Hollywood originals may have been created in one dimension but with his musical breath of life each one becomes a multi-layered character study. And -this is the cleverest bit – the musical motifs are so richly informed and full of love for the subject they manage to encapsulate every bad boy, bad girl, loser, outsider you’ve ever seen portrayed as they underscore the narrative (I particularly enjoyed the Officer Krupke from West Side Story influence used for ‘the jock’)

You know the joke about Andrew Lloyd Webber audiences whistling the tunes before going into the show? The great thing about Laurence Owen is he wouldn’t think it an insult if you said it about his work. But for my money – Laurence is a lot more subtle and a lot more talented. As with last year’s show this is really becoming the hot ticket so get along early to make sure you can get in.

(Review for 16 Aug)

https://tickets.edfringe.com/whats-on/laurence-owen-cinemusical-high

 

 

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