ED FRINGE 2023 REVIEWS: BANGERS, BLUEPRINTS, ROCK BOTTOM, SUNSETS

BANGERS ★★★

ROUNDABOUT, SUMMERHALL

Welcoming us into the roundabout, Duramaney Kamara as DJ warms us up for what the night has in store, for when Aria (Danusia Samal) and Clef (Jim Caesar) appear to our surprise, the night is young, and the smatters of voices subside. With Samal acting as writer of the piece too, there’s a strong sense of vulnerability to the script which shines through, as track after track we are digging deeper under the skin, even if some plot points are glanced over to the limited time we have with our new found friends. Directed by Chris Sonnex, the pace is always racing to the finish line, and breathness in the tracks is something which we are grateful for, but a mention should be given to Martha Godfrey’s lighting with transports us to this club-like vibe, that twines with the settings, and adds emotion to the poignancy of our duo’s stories, one seeking love and comfort, and the other, musical success.

BLUEPRINTS ★★★

BENEATH, PLEASANCE COURTYARD

If you were in a relationship, had a spare £800 to spend, and wanted to truly find out your partner’s past relationships, heritage, wealth, and percentage of future disease in the family, would you take the risk? Set in a scarily-realistic world where this could be the case, The Blueprints Project offers these services, and as we chart the romantic relationship between Adam (Martin O’Whyte) and Faith (Aisha Weise-Forbes), who both provide strong chemistry with each other, we see first hand how one is more eager than the other to take the opportunity. Written by Ashlee Elizabeth-Lolo, this sci-fi, physiological story will have you questioning your own choices in life, because with a project that feels like it could creep into our lives some time soon, Blueprints will linger on the brain, and make you aware of every move you make. Cara Evans should also be noted for her set design, beautifully draped across the backdrop and glistening from the floor, with a blood cell inclusion on the moving blocks which are pivotal to the story, stunningly lit by Stacey Nurse. 

ROCK BOTTOM ★★

THE ANNEXE, PARADISE GREEN

Charlie Day’s Rock Bottom is a no stranger to the fringe, after it returns following last year’s outing. Here, Charlie is a sole body in the space, and that includes doing all the tedious tech work also, but he has a remote for the lighting at least. The thing is, whilst Charlie’s presence is quite likeable, the material isn’t strong enough to hold up, as he plays with the character of Nick Bottom having a steep decline into an existential crisis, with very minimal response from the audience. A production that is on quite late into the evening, you leaving feeling a little bit of lull, and if this is what Charlie wants us to feel, then their mission is complete, but with so many pauses of thought, and in one moment a bare stage for a good minute for a quick change, you can’t help but feel like you want to give Nick Bottom a hug.

SUNSETS ★★★

THE SNUG, GILDED BALLOON PATTER HOOSE

Finding ourselves at the live recording of the final episode from this 6-part mini series, when romcom meets podcast, we’re introduced to Denver (Georgie Grier). Bubbly and lovable, Denver recounts the past five episodes to us, like exposition in most cases, that are racing towards the big finale, ‘The Grand Gesture’, where we are told a man will walk through the door, and maybe sweep Denver off her feet. Throughout the play, we’re introduced to Denver’s parents, Harry and Sally, and her sister, Peach, amongst other characters, who are intertwined in this complex web of twists that it feels only Grier might be able to get her head around, for the pace is rapid, and we have a lot to cram in within the hour slot. The inevitable twist at the climax might leave a few people a bit dumbfounded, and we should have seen it coming with the clues throughout, but Grier’s performance should be praised for her tenacity and general warmth she exudes whilst having a great rapport with her audience.