Tag Archives: Fringe

London Fringe — Conversations Never Had Shouts Greatness from the Stage

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By Jay Menard,

Conversations Never Had, performed by Breath in Mvmt and choreographed by Melisa Boose, is a testament to the power of dance and the power of visual storytelling through movement. And it accomplishes this through a performance that’s at once soul wrenching and emotionally uplifting.

Permit me to repeat myself a bit, but Breath in Mvmt’s style is the embodiment of “Jolie Laide” — a French concept describing something that is beautiful in its ugliness. I described their 2015 show in similar terms and it is more true than ever before. That’s not to say that the performance is ugly in any way, but it’s raw, it’s visceral, and Boose’s choreography extends beyond the mere crafting of steps, but into pouring the dancer’s soul onto the stage.

The “ugliness” is a style that embraces the conventions of contemporary dance, then twists and turns them into a result that transcends the style. Continue reading →

London Fringe — Thunderfoot: Moving Art, in Every Sense of the Word

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By Jay Menard

Thunderfoot, by Aaron Malkin, is more than just a mere performance — it is moving art, in every sense of the word.

Thunderfoot can best be described as living, breathing, art. Malkin, who is known to Fringe viewers as one half of the James and Jamesy duo (he’s the taller, less hirsute, James), uses his body as a brush — painting imagery with his movements and leaving behind a tableau upon which his story is told.

It’s truly beautiful to watch and the precision and delicacy of his movements leave nothing — and everything — to the imagination. The set is barren, but Malkin, through nothing more than making sounds and using his body to “draw” the environment. He creates images, using the power of our imagination, that are as real and persistent as any wood-and-paint set.

It’s a play based on movement; and it’s a play that moves you to the core.

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London Fringe — Ambitious, Flawed Fish Saw Needs Time to Mature

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By Jay Menard

Any good angler knows that if you catch a fish that’s not mature enough, you need to throw it back and give it time to grow. While Fish Saw ambitiously took a bite at hooking the audience, it still needs more time, better editing, and greater focus before it’s ready to reel in the rave reviews.

There is a tremendous amount of potential in Sachie Mikawa and George Lewis’ play. There are absolutely poetic moments, beautiful imagery, engaging quirkiness, and an endearing lead in Mikawa. However, these positives get obscured by a meandering plot, extraneous non-sequiturs, superfluous characters that take too much of the play’s time, and, of course, technical challenges. Continue reading →

London Fringe — Delamont’s Dropped “God” But Shows Much More Soul

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By Jay Menard

For years, Mike Delamont has elicited tears from his audience — tears of laughter and tears of joy. As the cross-dressing deity with a brogue, Delamont has delighted fans and sent them home with a smile on their lips and (unfortunately) that damn Proclaimers’ song in their hearts.

Delamont again elicits a strong reaction with his new show, Mike Delamont: Mama’s Boy — but the tears are of sadness, commiseration, and pathos. And as he finishes with a mournful rendition of The Nylon’s Rock and Roll Lullabye, the audience is left with a feeling of connection, appreciation, and a strong desire to call your mom. Continue reading →

London Fringe – James & Jamesy Shine Brighter than Ever

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By Jay Menard

James & Jamesy are back, returning their James & Jamesy In the Dark show to the McManus Theatre. And this remount, with two years of refinement under its belt, shines brighter than ever and will undoubtedly be  a clear highlight of the Fringe again.

The duo, who have brought their 2 for Tea and High Tea shows to London Fringe in the past, present a masterclass in simplicity, elegance, and comedic refinement, that’s only amplified by its sweetness and warmth.

The story, basically, is about a he and a he, toiling away in individuality, until the he and he suddenly become a they. They are joined by us. And then we all become a we in the now. A now we’ll always have, even if we aren’t always a we.

It makes sense when you see it. Continue reading →