London Horror Festival 2019
Edred the Vampyre
Gothic horror meets teen angst in David Pinner’s darkly comedic play as the eponymous Edred regales the audience and two teenage backpackers with a potted history of his 1200 years of vampiric existence. The setting; a quaint church, complete with candles, pews and stained glass. The premise; two curious yet sceptical backpackers interrupt the quiet evening of Edred who resides in the church grounds. Resplendent in cloak and ghastly long fingernails, Edred teasingly draws out his mysterious story over 70 minutes, with varying reactions from his fellow cast members.
David Pinner’s writing is sublime. There are glimpses of his influences, from Shakespeare to Poe, however the language remains his own throughout. Pinner spins a delicately humorous tale, guiding the audience from Anglo-Saxon battles through an encounter with Shakespeare himself, right up to the use of Google on smartphones to research any possible topic. This is an epic adventure perfectly paced.
Much of the pacing, of course, is down to the actors, all of whom perform their roles exceptionally. Martin Prest as Edred is delightful; the glee he feels at revealing his bloody past to the two naïve backpackers is evident throughout, however his wonderful monologue at the beginning truly set the scene for the evening and should not be overlooked. Zari Lewis and relative newcomer James Hoyles give earnest and believable performances; however Lewis in particular begins to shine through the latter half of the production. The twists and turns of this gothic mystery kept the audience guessing and the performances of all three actors helped maintain the suspense and intrigue.
There are minor things that could be improved, however as World Premieres go this was a triumph. The audience was enthralled, and the staging, sound, visual effects and lighting were all perfect. Pinner, probably best known for his 1967 novel Ritual which was famously filmed as Robin Hardy’s celebrated The Wicker Man, has, in Edred, created a charming character with a rich past worthy of further exploration.
4.5 screams out of 5
Gothic horror meets teen angst in David Pinner’s darkly comedic play as the eponymous Edred regales the audience and two teenage backpackers with a potted history of his 1200 years of vampiric existence. The setting; a quaint church, complete with candles, pews and stained glass. The premise; two curious yet sceptical backpackers interrupt the quiet evening of Edred who resides in the church grounds. Resplendent in cloak and ghastly long fingernails, Edred teasingly draws out his mysterious story over 70 minutes, with varying reactions from his fellow cast members.
David Pinner’s writing is sublime. There are glimpses of his influences, from Shakespeare to Poe, however the language remains his own throughout. Pinner spins a delicately humorous tale, guiding the audience from Anglo-Saxon battles through an encounter with Shakespeare himself, right up to the use of Google on smartphones to research any possible topic. This is an epic adventure perfectly paced.
Much of the pacing, of course, is down to the actors, all of whom perform their roles exceptionally. Martin Prest as Edred is delightful; the glee he feels at revealing his bloody past to the two naïve backpackers is evident throughout, however his wonderful monologue at the beginning truly set the scene for the evening and should not be overlooked. Zari Lewis and relative newcomer James Hoyles give earnest and believable performances; however Lewis in particular begins to shine through the latter half of the production. The twists and turns of this gothic mystery kept the audience guessing and the performances of all three actors helped maintain the suspense and intrigue.
There are minor things that could be improved, however as World Premieres go this was a triumph. The audience was enthralled, and the staging, sound, visual effects and lighting were all perfect. Pinner, probably best known for his 1967 novel Ritual which was famously filmed as Robin Hardy’s celebrated The Wicker Man, has, in Edred, created a charming character with a rich past worthy of further exploration.
4.5 screams out of 5
|
|
He's Behind You: The Slasher Panto
Into the Woods” meets “Scream” in this somewhat unsuccessful comedy horror pantomime, as a cast of gender-bending performers try to squeeze as much hilarity as possible out of classic panto tropes. Featuring drag and non-cisnormative performers, the premise is sound: traditional Disney characters such as Snow White, Cinderella and Sleeping Beauty are brought together for a party, however a crazed knife-wielding murderer is hot on their heels. The murderous party is played by an actor in a cow mask and black robes, which offered some scant moments of surreal comedy, however this was the only horror element included. It was not made apparent during the performance that the murderer was using Daisy the Cow’s head as a disguise, a la “Scream”. Indeed, this only occurred to us a day or so after the event, such was the tragic underplaying of an otherwise clever idea.
Audience participation was encouraged at every turn, however there was no explanation given and we were simply expected to know what our responses should be. A traditional “Oh no he isn’t/Oh yes he is” call-and-response was missed entirely by the audience as it happened so quickly and without lead-in. We felt like we were witnessing an hour-long in-joke between the cast and a few members of the audience. True, there were some moments which shone, and some funny political satire was included as a foil to the camp slasher action, however possibly due to poor direction or lack of awareness, many of the cleverer jokes were thrown away in favour of juvenile commentary.
From start to finish, the cast seemed to be trying a little too hard. This wasn’t a relaxed, enjoyable performance; rather a painful example of what happens when too little time is given to plot, script and rehearsal. It all felt rushed, with poor staging and no sound assistance for the actors. Sitting in the fifth row we strained to hear what was being said, which would have been avoided had microphones been used. The plot was disjointed and clunky while the script meandered from contemporary references to Ru Paul, to aging call-backs to Geri Halliwell. The horror element was entirely lacking, suggesting this should not have been included in the London Horror Festival at all. The audience was clearly split between those who are familiar with the performers and potentially understood every joke and those who were left bewildered and bored. A wasted opportunity for an otherwise excellent concept.
2 screams out of 5 (for the bits we could hear/understand)
Into the Woods” meets “Scream” in this somewhat unsuccessful comedy horror pantomime, as a cast of gender-bending performers try to squeeze as much hilarity as possible out of classic panto tropes. Featuring drag and non-cisnormative performers, the premise is sound: traditional Disney characters such as Snow White, Cinderella and Sleeping Beauty are brought together for a party, however a crazed knife-wielding murderer is hot on their heels. The murderous party is played by an actor in a cow mask and black robes, which offered some scant moments of surreal comedy, however this was the only horror element included. It was not made apparent during the performance that the murderer was using Daisy the Cow’s head as a disguise, a la “Scream”. Indeed, this only occurred to us a day or so after the event, such was the tragic underplaying of an otherwise clever idea.
Audience participation was encouraged at every turn, however there was no explanation given and we were simply expected to know what our responses should be. A traditional “Oh no he isn’t/Oh yes he is” call-and-response was missed entirely by the audience as it happened so quickly and without lead-in. We felt like we were witnessing an hour-long in-joke between the cast and a few members of the audience. True, there were some moments which shone, and some funny political satire was included as a foil to the camp slasher action, however possibly due to poor direction or lack of awareness, many of the cleverer jokes were thrown away in favour of juvenile commentary.
From start to finish, the cast seemed to be trying a little too hard. This wasn’t a relaxed, enjoyable performance; rather a painful example of what happens when too little time is given to plot, script and rehearsal. It all felt rushed, with poor staging and no sound assistance for the actors. Sitting in the fifth row we strained to hear what was being said, which would have been avoided had microphones been used. The plot was disjointed and clunky while the script meandered from contemporary references to Ru Paul, to aging call-backs to Geri Halliwell. The horror element was entirely lacking, suggesting this should not have been included in the London Horror Festival at all. The audience was clearly split between those who are familiar with the performers and potentially understood every joke and those who were left bewildered and bored. A wasted opportunity for an otherwise excellent concept.
2 screams out of 5 (for the bits we could hear/understand)
Happily Never After
The Maydays make a welcome return to the London Horror Festival for one night only, bringing their uniquely dark blend of comedy, music and improvisation back to the Pleasance Theatre. The energetic company are among the hardest working performers you will ever experience and their off-the-cuff musical horror productions never fail to entertain. Tonight was no exception, as the 5 performers, each of whom are skilled in acting, comic timing and musical ability, used the audience suggestion of a stone mason to create 60 minutes of hilarious, spooky fun.
As the troupe have performed together for 15 years it is clear they each support and trust one another through their performances; allowing each to explore characters while creating a world around each other. Stand out moments for us included a coughing doorbell, creepy orphan girls, a cat chasing a robin and a depressed social worker lamenting her lot while her colleague munched on a sock sandwich. Everything is imagined; there is no set to speak of, with the stage being bare apart from two chairs, while the accompanying pianist and flautist hover to the side. The actors are ever-present on the edges of the stage, watching and clearly enjoying their colleagues’ improvised performances. Scenes and concepts range from the sublime to the ridiculous; from the mundanity of admin through to girls using rugs made of live rats to keep warm. The wonder of the show is that nothing is scripted, and to witness complex musical numbers which included several harmonies being improvised in front of a live audience is quite impressive.
The troupe tend to garner comparisons with the work of Tim Burton and the Brothers Grimm due to their darkly comedic style, however influences can clearly be seen from a wider collection of disparate sources, from Monty Python to Dickens via Shakespeare and Lovecraft. There truly is something for everyone in their performances, and as everything is improvised, no two shows are the same. The cast’s natural talents for improvisation are further bolstered by their obvious bond, allowing them to confidently steer their stories in clear directions, while happily demonstrating their enjoyment of each other’s performances.
Unfortunately, The Maydays only had one performance booked for this year’s festival, so if you missed this one we urge you to keep an eye out for their next appearance. I promise you will not be disappointed!
Score: 5 screams out of 5
The Maydays make a welcome return to the London Horror Festival for one night only, bringing their uniquely dark blend of comedy, music and improvisation back to the Pleasance Theatre. The energetic company are among the hardest working performers you will ever experience and their off-the-cuff musical horror productions never fail to entertain. Tonight was no exception, as the 5 performers, each of whom are skilled in acting, comic timing and musical ability, used the audience suggestion of a stone mason to create 60 minutes of hilarious, spooky fun.
As the troupe have performed together for 15 years it is clear they each support and trust one another through their performances; allowing each to explore characters while creating a world around each other. Stand out moments for us included a coughing doorbell, creepy orphan girls, a cat chasing a robin and a depressed social worker lamenting her lot while her colleague munched on a sock sandwich. Everything is imagined; there is no set to speak of, with the stage being bare apart from two chairs, while the accompanying pianist and flautist hover to the side. The actors are ever-present on the edges of the stage, watching and clearly enjoying their colleagues’ improvised performances. Scenes and concepts range from the sublime to the ridiculous; from the mundanity of admin through to girls using rugs made of live rats to keep warm. The wonder of the show is that nothing is scripted, and to witness complex musical numbers which included several harmonies being improvised in front of a live audience is quite impressive.
The troupe tend to garner comparisons with the work of Tim Burton and the Brothers Grimm due to their darkly comedic style, however influences can clearly be seen from a wider collection of disparate sources, from Monty Python to Dickens via Shakespeare and Lovecraft. There truly is something for everyone in their performances, and as everything is improvised, no two shows are the same. The cast’s natural talents for improvisation are further bolstered by their obvious bond, allowing them to confidently steer their stories in clear directions, while happily demonstrating their enjoyment of each other’s performances.
Unfortunately, The Maydays only had one performance booked for this year’s festival, so if you missed this one we urge you to keep an eye out for their next appearance. I promise you will not be disappointed!
Score: 5 screams out of 5
Last Orders: The Haunting of the Old Red Lion
Paranormal investigations fill me with a combination of dread and amusement. Images of Yvette Fielding screaming while someone rustles a Sainsbury’s carrier bag in the dark mean I very rarely take them seriously. A paranormal investigation of the Old Red Lion theatre bar is the premise behind Last Orders, a live, darkly comedic theatrical production featuring interviews with pub staff, dramatic retellings of a plethora of ghost stories and the “evidence” produced during an overnight investigation into the spirits that supposedly haunt the venue.
We’ve all seen “fact-based” shows which pull on tenuous threads to weave an excruciatingly thin story. Thankfully, Last Orders is not one of these. Perhaps because the subject – the Old Red Lion Pub, near Angel tube – is so rich in history and has a wealth of ghost stories; perhaps a combination of ghost hunters and theatrical types combined to create a particular blend, that they managed to hit the right tone by accident. In any case, Last Orders provides both an entertaining and educating evening for paranormal aficionados and casual viewers at the same time. The three performers, who also devised and researched the production, offer the traditional views of paranormal belief; the believer, the skeptic, and the fence-sitter, helped move the narrative along in a reasonably brisk pace. All three gave cracking performances, with stand-out moments coming from a couple of intense and creepy monologues delivered by Reece Connolly. Yes, these could be a little hammy at times, but when you have an actor with a flair for the over-dramatic, I believe you should use that skill to its fullest. The final act in particular, where the trio describe investigating the pub’s cellar, built quickly in intensity so much so that the audience could be felt inching towards the fronts of their fairly uncomfortable seats in anticipation. The scene itself is played in complete darkness, fractured randomly by bright torch flashes, while the actors deliver their account of encountering something quite terrifying while moving around the stage. The effect is dizzyingly thrilling, truly an exciting experience and one I would enjoy again.
The investigation itself produced various bits of evidence which, depending on which side of the fence you sit, could provide proof of spirit interaction or demonstrate an overactive imagination. During the investigation the trio, together professional spook-spotters Twilight Ghost Hunts, took part in a séance, used a Ouija board to attempt communication and even threw in some automatic writing. These were documented in audio and video recordings, some of which were replayed during the performance.
Overall, the production leaves the audience with more questions than answers, and whether you come away believing in the hauntings or not doesn’t really matter; you will definitely leave feeling entertained, if not a little spooked out.
A little side note on that last point: on my way home I boarded the last, empty carriage on a Bakerloo line train. As we departed, the lights in the carriage flickered and dimmed to black. I had a flash of fear that, when they came back up, there would be someone sitting opposite me and my heart began to pound erratically. Of course, when the lights returned, the carriage was as empty as before and I laughed nervously at how Last Orders had left me feeling a little jumpy. Well done Knock Knock Club!
Score: 4 screams out of 5
Paranormal investigations fill me with a combination of dread and amusement. Images of Yvette Fielding screaming while someone rustles a Sainsbury’s carrier bag in the dark mean I very rarely take them seriously. A paranormal investigation of the Old Red Lion theatre bar is the premise behind Last Orders, a live, darkly comedic theatrical production featuring interviews with pub staff, dramatic retellings of a plethora of ghost stories and the “evidence” produced during an overnight investigation into the spirits that supposedly haunt the venue.
We’ve all seen “fact-based” shows which pull on tenuous threads to weave an excruciatingly thin story. Thankfully, Last Orders is not one of these. Perhaps because the subject – the Old Red Lion Pub, near Angel tube – is so rich in history and has a wealth of ghost stories; perhaps a combination of ghost hunters and theatrical types combined to create a particular blend, that they managed to hit the right tone by accident. In any case, Last Orders provides both an entertaining and educating evening for paranormal aficionados and casual viewers at the same time. The three performers, who also devised and researched the production, offer the traditional views of paranormal belief; the believer, the skeptic, and the fence-sitter, helped move the narrative along in a reasonably brisk pace. All three gave cracking performances, with stand-out moments coming from a couple of intense and creepy monologues delivered by Reece Connolly. Yes, these could be a little hammy at times, but when you have an actor with a flair for the over-dramatic, I believe you should use that skill to its fullest. The final act in particular, where the trio describe investigating the pub’s cellar, built quickly in intensity so much so that the audience could be felt inching towards the fronts of their fairly uncomfortable seats in anticipation. The scene itself is played in complete darkness, fractured randomly by bright torch flashes, while the actors deliver their account of encountering something quite terrifying while moving around the stage. The effect is dizzyingly thrilling, truly an exciting experience and one I would enjoy again.
The investigation itself produced various bits of evidence which, depending on which side of the fence you sit, could provide proof of spirit interaction or demonstrate an overactive imagination. During the investigation the trio, together professional spook-spotters Twilight Ghost Hunts, took part in a séance, used a Ouija board to attempt communication and even threw in some automatic writing. These were documented in audio and video recordings, some of which were replayed during the performance.
Overall, the production leaves the audience with more questions than answers, and whether you come away believing in the hauntings or not doesn’t really matter; you will definitely leave feeling entertained, if not a little spooked out.
A little side note on that last point: on my way home I boarded the last, empty carriage on a Bakerloo line train. As we departed, the lights in the carriage flickered and dimmed to black. I had a flash of fear that, when they came back up, there would be someone sitting opposite me and my heart began to pound erratically. Of course, when the lights returned, the carriage was as empty as before and I laughed nervously at how Last Orders had left me feeling a little jumpy. Well done Knock Knock Club!
Score: 4 screams out of 5
London Horror Festival 2018
Phantasmagorical- Sylvia Sceptre
Channeling spiritual performances of the Victorian era, Sylvia Sceptre greets us with a warm welcome into to her eerie stage setting. Candles light the space and an assortment of trinkets adorn the prop tables that Miss Sceptre will fool us into believing hold secrets from a darker place.
The show starts with an introduction into our host’s spiritual adventures and right away the audience are drawn upon to deliver the first of many clever illusions. What follows is a mix of mentalism and theatrical trickery, members of the crowd are brought onto the stage to have readings and assist in subtle magical sorcery. The balance is just right, the tricks are almost underplayed giving them a sense of an otherworldly assistant at play.
Miss Sylvia Sceptre’s light-hearted manner is always delivered with a darker undertone and the macabre mood of the production was everything I needed from this cabaret style performance. A perfect addition to London Horror Festival.
Channeling spiritual performances of the Victorian era, Sylvia Sceptre greets us with a warm welcome into to her eerie stage setting. Candles light the space and an assortment of trinkets adorn the prop tables that Miss Sceptre will fool us into believing hold secrets from a darker place.
The show starts with an introduction into our host’s spiritual adventures and right away the audience are drawn upon to deliver the first of many clever illusions. What follows is a mix of mentalism and theatrical trickery, members of the crowd are brought onto the stage to have readings and assist in subtle magical sorcery. The balance is just right, the tricks are almost underplayed giving them a sense of an otherworldly assistant at play.
Miss Sylvia Sceptre’s light-hearted manner is always delivered with a darker undertone and the macabre mood of the production was everything I needed from this cabaret style performance. A perfect addition to London Horror Festival.
Magic Circle
As you enter the theatre a hippie type is sat drawing what looks like a pentagram with symbols on the floor in chalk. We take our seats and the show starts.
Another man enters rather brashly and is obviously a police detective and this is the late 60's/early 70's. The 2 players start a story in which they discover that they both know about devil worship, cultism and dishonesty with each other.
The plot thickens and turns when least expected and is pitted with comedic elements and dramatic allurements.
This is portrayed very well by both actors who showed their tremedous skills in this battle of wits, along with highlighting political and social awareness from the period.
This well written piece draws the viewer in with a sense of knowing what they think will happen next.
Fortunately, this not the case and the climatic final scene had me on the edge of my seat till the very end.
Loved it loads.
As you enter the theatre a hippie type is sat drawing what looks like a pentagram with symbols on the floor in chalk. We take our seats and the show starts.
Another man enters rather brashly and is obviously a police detective and this is the late 60's/early 70's. The 2 players start a story in which they discover that they both know about devil worship, cultism and dishonesty with each other.
The plot thickens and turns when least expected and is pitted with comedic elements and dramatic allurements.
This is portrayed very well by both actors who showed their tremedous skills in this battle of wits, along with highlighting political and social awareness from the period.
This well written piece draws the viewer in with a sense of knowing what they think will happen next.
Fortunately, this not the case and the climatic final scene had me on the edge of my seat till the very end.
Loved it loads.
Frankenstein
This is one of my all-time favourite horror stories so I did have some expectations when coming to see this production at the Old Red Lion.
As a reviewer I prefer not to read anything about the particular production before I see it, therefore allowing myself to be far more open minded.
I was pleasantly surprised that the form of this show started on board a ship and that the captain was played by a female, this ensemble cast played all parts except Frankenstein and the monster.
This version felt true to the original book and many film references to keep everyone satisfied.
The play on gender and use of music were a delightfully fresh, it was also pleasing that the language was true to the period and the costume references did not let the side down.
The small use of puppetry seemed a little lighthearted but didnt detract from the plot, whilst helping the narrative of the tale, this could have been more in keeping with the darker tone of the piece.
This well acted plot kept the audience in tune with the story and the direction kept the pace as required, but the tension did not build which meant that the ending was a little flat and not as impactful as it could have been.
Nonetheless, I thoroughly enjoyed this rendition and applaud the cast and team behind it, well done Burn Bright Productions.
This is one of my all-time favourite horror stories so I did have some expectations when coming to see this production at the Old Red Lion.
As a reviewer I prefer not to read anything about the particular production before I see it, therefore allowing myself to be far more open minded.
I was pleasantly surprised that the form of this show started on board a ship and that the captain was played by a female, this ensemble cast played all parts except Frankenstein and the monster.
This version felt true to the original book and many film references to keep everyone satisfied.
The play on gender and use of music were a delightfully fresh, it was also pleasing that the language was true to the period and the costume references did not let the side down.
The small use of puppetry seemed a little lighthearted but didnt detract from the plot, whilst helping the narrative of the tale, this could have been more in keeping with the darker tone of the piece.
This well acted plot kept the audience in tune with the story and the direction kept the pace as required, but the tension did not build which meant that the ending was a little flat and not as impactful as it could have been.
Nonetheless, I thoroughly enjoyed this rendition and applaud the cast and team behind it, well done Burn Bright Productions.
Italian Horror Stories Review
This show starts with the host introducing the actors/participants and explains to the packed audience what we are in for tonight. We must say that we had no idea what to expect to be honest, we hadn't read anything about this show beforehand.
This devilish character of a narrator, with an almost fake-like Italian accent led us through the opening act with increasing skill and wit.
The farcical nature of the vignettes were heavily reliant on musical themes and motifs, with increasing hilarity. Hardly any script but that didn't seem to matter. The narrator kept the tempo upbeat as we travelled through these ancient tales and with the audience asides helped us to be more and more engaged in the scenes.
A purely pleasurable and enjoyable evening spent laughing out loud and ultimately thoroughly believing that Mummies, Vampyres and Frankenstein all originated in Italy (allegedly!). If you get the chance to go and see this, may we heavily suggest you do!
This show starts with the host introducing the actors/participants and explains to the packed audience what we are in for tonight. We must say that we had no idea what to expect to be honest, we hadn't read anything about this show beforehand.
This devilish character of a narrator, with an almost fake-like Italian accent led us through the opening act with increasing skill and wit.
The farcical nature of the vignettes were heavily reliant on musical themes and motifs, with increasing hilarity. Hardly any script but that didn't seem to matter. The narrator kept the tempo upbeat as we travelled through these ancient tales and with the audience asides helped us to be more and more engaged in the scenes.
A purely pleasurable and enjoyable evening spent laughing out loud and ultimately thoroughly believing that Mummies, Vampyres and Frankenstein all originated in Italy (allegedly!). If you get the chance to go and see this, may we heavily suggest you do!
Happily Never After - The Maydays
When Tim Burton and the Brothers Grimm are mentioned in a synopsis, it brings a certain level of artistic expectation. We are told however that these are only loose homages – and as this tale is created from an occupation suggested by an audience member – The Maydays are quickly forgiven as their improv style takes over.
Tonight’s tale started with a simple chef and we’re introduced into their world with a cleverly layered musical number. The action continues with the arrival of new help in the ‘downstairs’ kitchen of a well-to-do family, he’s appalled at the working conditions and plots an uprising amongst the staff. The murderous journey then takes a number of twists and turns through some laugh-out-loud characters. Stand outs include a spoilt brat with a tale reminiscent of the lead character in Oscar Wilde’s Picture of Dorian Grey and a clichéd French father and son. And finally, like any good horror story, we end with a (comedic) tragic twist.
It would be interesting to see how the following nights’ tales developed and if there was any story crossover but you can’t take away the skill needed for this troupe to create a story from single suggestion. This is no haunting tale but a worthy night’s entertainment fit for the London Horror Festival.
When Tim Burton and the Brothers Grimm are mentioned in a synopsis, it brings a certain level of artistic expectation. We are told however that these are only loose homages – and as this tale is created from an occupation suggested by an audience member – The Maydays are quickly forgiven as their improv style takes over.
Tonight’s tale started with a simple chef and we’re introduced into their world with a cleverly layered musical number. The action continues with the arrival of new help in the ‘downstairs’ kitchen of a well-to-do family, he’s appalled at the working conditions and plots an uprising amongst the staff. The murderous journey then takes a number of twists and turns through some laugh-out-loud characters. Stand outs include a spoilt brat with a tale reminiscent of the lead character in Oscar Wilde’s Picture of Dorian Grey and a clichéd French father and son. And finally, like any good horror story, we end with a (comedic) tragic twist.
It would be interesting to see how the following nights’ tales developed and if there was any story crossover but you can’t take away the skill needed for this troupe to create a story from single suggestion. This is no haunting tale but a worthy night’s entertainment fit for the London Horror Festival.
Fred Strangebone's Frankenstein in the bin on Monday 8th October, 2018
Not quite knowing what to expect but nonetheless drawn to the [loose] link to Mary Shelley’s Gothic masterpiece, Fred Strangebone’s latest one man show FRANKENSTEIN ... IN THE BIN describes itself as, “A Horror show with character comedy, clowning and delightful unpleasantness.”
We’re first introduced into Fred’s world in a self-deprecating comedy manner that made us feel prepared for disappointment. We are then transported to the central act of the show, delivered by Fred’s grotesque, buffoon of an assistant - a comedic turn heavily reminiscent of a David Walliams character from Little Britain. Initial gags and guffaws descended into repetitive cringe and gurns. Our final act brings an interestingly bizarre political message but the silly nature of this comedy didn’t sit too well with this reviewer and the inclusion of this piece felt misplaced at the London Horror Festival.
I can imagine this show going down a storm with a comedy fringe festival crowd but unfortunately this evening’s entertainment felt more Toy Story than Ghost Stories.
Not quite knowing what to expect but nonetheless drawn to the [loose] link to Mary Shelley’s Gothic masterpiece, Fred Strangebone’s latest one man show FRANKENSTEIN ... IN THE BIN describes itself as, “A Horror show with character comedy, clowning and delightful unpleasantness.”
We’re first introduced into Fred’s world in a self-deprecating comedy manner that made us feel prepared for disappointment. We are then transported to the central act of the show, delivered by Fred’s grotesque, buffoon of an assistant - a comedic turn heavily reminiscent of a David Walliams character from Little Britain. Initial gags and guffaws descended into repetitive cringe and gurns. Our final act brings an interestingly bizarre political message but the silly nature of this comedy didn’t sit too well with this reviewer and the inclusion of this piece felt misplaced at the London Horror Festival.
I can imagine this show going down a storm with a comedy fringe festival crowd but unfortunately this evening’s entertainment felt more Toy Story than Ghost Stories.
London Horror Festival 2017
Scare Slam at Old Red Lion Theatre on Monday 23rd October 2017
A group of scary tales told quite simply without set or props.
The first was The Scratch by Chris Lincé who read through the text with the air of an old BBC radio play. More gory than haunted, this tale is a reminder to go straight to the doctor whenever unusual skin complaints arise.
The second was The Fatberg of Whitechapel by Reece Connolly. This fast and poetic sewer monster tale took the audience through the gross depths of London. A farce that kept an unwilling audience engaged; was certainly glad it ended when it did.
The third (and halfway through this Slam), was Murder of Crows written and read by Ed Hartland. Another fast paced but certainly less humorous tale that kept you attentive throughout. I liked this one and enjoyed it right through to its revengeful conclusion.
The next was The Watching Eye written by Dan Weatherer and read by Ellie Pitkin (our Slam Host). It seemed that this performer had an empathy with the audience that no one else managed. She rolled through the script and tripped along this ‘escape to the country’ tale that warns us all that the non urban lifestyle may not as idyllic as it seems.
The fifth and penultimate offering was Jessica Brindle giving us a rendition of Big Eyes by Liam Steward-George. A modern take of Little Red Riding Hood that felt fresh and very up to date, read with skill and gave the twist a sense of a twisted reality (don’t ever leave your drink unattended).
The final reading was by The Watcher by Joseph Willis. This was by far the creepiest tale and I was totally engrossed by it. A winning horror story that I wanted to end… for all the right reasons!
We were treated to a bonus story of our hosts inherited creepy dolls. I’m convinced it was the cat!
Overall a good selection of tales that may not have had this reviewer shaking in his seat but definitely an entertaining way to spend a Monday night.
A group of scary tales told quite simply without set or props.
The first was The Scratch by Chris Lincé who read through the text with the air of an old BBC radio play. More gory than haunted, this tale is a reminder to go straight to the doctor whenever unusual skin complaints arise.
The second was The Fatberg of Whitechapel by Reece Connolly. This fast and poetic sewer monster tale took the audience through the gross depths of London. A farce that kept an unwilling audience engaged; was certainly glad it ended when it did.
The third (and halfway through this Slam), was Murder of Crows written and read by Ed Hartland. Another fast paced but certainly less humorous tale that kept you attentive throughout. I liked this one and enjoyed it right through to its revengeful conclusion.
The next was The Watching Eye written by Dan Weatherer and read by Ellie Pitkin (our Slam Host). It seemed that this performer had an empathy with the audience that no one else managed. She rolled through the script and tripped along this ‘escape to the country’ tale that warns us all that the non urban lifestyle may not as idyllic as it seems.
The fifth and penultimate offering was Jessica Brindle giving us a rendition of Big Eyes by Liam Steward-George. A modern take of Little Red Riding Hood that felt fresh and very up to date, read with skill and gave the twist a sense of a twisted reality (don’t ever leave your drink unattended).
The final reading was by The Watcher by Joseph Willis. This was by far the creepiest tale and I was totally engrossed by it. A winning horror story that I wanted to end… for all the right reasons!
We were treated to a bonus story of our hosts inherited creepy dolls. I’m convinced it was the cat!
Overall a good selection of tales that may not have had this reviewer shaking in his seat but definitely an entertaining way to spend a Monday night.
The Shadow over Innsmouth - 16.10.17 Red Lion Theatre, London N1
As we entered the theatre, the front of the stage was dotted with candles in glass jars - while some odd bits of furniture and washing lines to the rear with various ‘old time’ props made up the set. The 50 or so seats soon filled and as the clatterings and chatterings had reached a suitable pitch, the house lights went down.
The two actors (who also adapted this dark tale with Jade Allen) were instantly endearing and obviously proficient in their craft. This tale of horror was comedicly played from the onset with a pre-recorded audio introduction and physical comedy of errors; I’m not quite sure of its relevance and found it a little confusing.
Philip North takes control immediately and narrates well with guided action scenes being interlaced with narratives and comedy turns along with his partner Claire Matthews. Both are well suited to this format and displayed subtle nuances with fine details as necessary. The story takes you to a place you have never been and nor do you ever want to return.
Puppets were used (handled by Claire) for some of the other characters to comedic and dramatic effect giving a mysterious air about the inhabitants of the town of Innsmouth. The only criticisms were costume points and set details - and that’s me really trying to find something to criticise here.
A thoroughly enjoyable romp through the 1930s in both language and atmosphere, although I had imagined that this tale had been set in England rather than New England in the original story. A tale of horror this may not have been but a good story well performed and thoroughly entertaining.
**** (4 stars)
Links:
Official Website and schedule - www.londonhorrorfestival.co.uk
Scare Review
Have you also visited this or any other show recently? - tell us what you thought here
|
All the latest news, stories, review and gossip can be found on the ScareTOUR social media pages - the hottest presence in the UK for Scare Attractions! |
|
|
|