This article was originally published to The Edge on 8th June 2016
Explosions and physical comedy surpass language barriers. While Noises Off contains no explosions, for almost all of Act 2 of Michael Frayn’s farce, there is some of the best, most complex physical comedy to be seen on stage. It’s at this point that the play reaches its apex – while the rest of it, for me, proves how different types of comedy appeals different people.
This article was originally published to The National Student on 26th November 2015
Following the re-release of their debut album The Day’s War, summer spots at several festivals including the main stage at Reading and Leeds, and several months in the studio, Cambridge rockers Lonely The Brave returned to Southampton gig spot Talking Heads midway through their November tour. Continue reading
This article was originally published to The Edge on 23rd October 2015
Opera Seria may translate directly as Serious Opera, but it’s hard to imagine Opera as funny, particularly with how melodramatic it may get – and good God does Orlando go for melodrama! Telling the story of war hero Orlando’s fall into mental illness, madness, and delusion after his recovery from the very physical wounds of war. Every element of the story is comparatively small, played to the biggest possible extent – billowing out of all proportion with superbly entrancing music to back it up. Continue reading
This article was originally published to The Edge on 22nd October 2015
Given the fact that the major criticism constantly levelled at James Bay has been his middle-of-the-road act as another solo British male with an acoustic guitar, he certainly chose two distinct acts to support him, even if they aren’t themselves pushing the boundaries of their musical genres. Continue reading
This article was originally published to The Edge on 20th October 2015
One thing to take away from James Bay’s set at the Bournemouth International Centre: he knows how to make an entrance.
As the time after his support acts had left the stage stretched on, the crowd at the Bournemouth International Centre had swelled enormously. The large and unadorned semi-square swiftly filled out, and the crowd stretched to the doors at the side. Tech hands rushed about on stage checking the equipment and the crowd lights seemed to get brighter, with no end in sight to the waiting. The stage was simple: a backdrop with his name above a sketch of him with the already emblematic hat and shaggy hair. Several asterisk shaped lights lined up, and the places for the rest of the band comfortably arranged to give all the central space to Bay… when he turns up. Then, without warning, all the crowd lights went straight to black; less than a split second later, the eager crowd roared with excitement, cheering and applauding. Eventually Bay is revealed at the back of centre stage, hat, hair, and a guitar. Launching straight into rhythmic strumming, tempo ratcheted up high, he bounced down towards the microphone, ramping up the audience’s anticipation like a master. Continue reading
This article was originally published to The Edge on 26th May 2015
When Dara O’Briain walks out onto the large stage of the Pavilion theatre, without any support or warm-up acts, he strides straight to the front and centre of it all. Then, for the next two hours of his show, excluding a short 20 minute interval, he holds the attention of his audience. One man on one very big stage. Continue reading