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Monday 12 August 2019

EDINBURGH FRINGE REVIEW: Joyce at the Assembly Roxy


The Edinburgh Fringe offers something for everyone and there are plenty of children's shows to fill the morning and early afternoon slots. What is fascinating in these shows is getting the balance right between entertaining the children and the adults. Joyce advertises itself as suitable for all ages and certainly there were plenty of babies in arms as well as toddlers in the audience as well as Mums and Dads and Grandparents. For most of the 60 minute running time they were thoroughly entertained.

It helps that the two main characters are a puppet called Joyce operated by three actors whose father is too busy working to take notice of her and a giant hamster Bobo played by Marc Zayat, who won Best skin costume at GB Panto awards for his debut role at Watford Palace last December. Both enthral the younger audience member although as one young audience member blurred out "I don't know what is going on!"

For the adults there is the father, Adam, who has lost his sense of humour through work absorption, his wife leaving and forgotten about his own childhood memories of drawing in his book until he is transported back into his memories. The transformation scene from black and white drab office to bright colourful children's drawings is slickly and simply done.
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EDINBURGH FRINGE REVIEW: Knock Knock at the Assembly Roxy


Hot Coals Theatre have hit headlines this Fringe as their unique charming style of theatre without words has not been classified as d/deaf accessible because it does not have BSL signing and yet both performers are BSL trained and have designed the show to be accessible for all without signing.

It is an extraordinary mix of physical comedy, clowning, mime and dance used to create emotionally engaging storytelling. "Knock Knock" explores what happens when a botanist, Pepper, knocks on the door of a forest dweller, Harris. 

It is devised and performed by the Founders of Hot Coals Theatre, Clare-Louise English and Jo Sargeant who work so well together. You hardly notice that there are no words as they use movement and facial expressions synchronised with the beautiful underscore to tell their story. With their comical noses and Harris's sumptuous beard, so much of the emotion is expressed through their eyes and they exploit this wonderfully, never rushing the moment and always aware of the audience watching them.
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