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Show: Berlin Girl
Society: Edinburgh Festival Fringe
Venue: Venue 53. theSpace @ Surgeons Hall - Grand Theatre
Credits: Eastern Edge Theatre Company
Type: Sardines
Author: Chris Abbott
Performance Date: 14/08/2019
Berlin Girl
Chris Abbott | 15 Aug 2019 11:07am
Eastern Edge Theatre Company are premiering a new musical at the Fringe in the form of Berlin Girl, subtitled a Berlin Wall Musical. MD George Rennison also wrote book, music and lyrics for the show, a love story set at the time of the fall of the Berlin Wall, and much later with some of the characters looking back.
The music was mostly effective and handled well by the young cast, although some of the female voices seemed to be pushed to the top of their register. The extended sections of recitative seemed less successful although this did have the effect of slowing down the dialogue and making it clearer, while the spoken dialogue was sometimes rushed.
An exception to this would be those performers playing some of the older characters, with Wade Ablitt as a convincing and well-sung Uncle Harry. The cast list gives only first names for the characters but the actors playing Miriam’s mother and the Stasi official were also well portrayed and effective.
The two leads created believable characters, with Charlee Bullock as a heartfelt Miriam and a very strong and well-sung performance from Sam Brown as Xander. Star of the show for me, however, was choreographer Charlie Booker, with the cast demonstrating impressive dance abilities.
Spoken sections of the piece were less successful than those that were sung, but this is clearly a show that will have a future. The four-piece band played well but pulled focus far more than was helpful by being placed across the back of the stage in eye-catching matching red shirts. This meant that the eye was constantly drawn to them rather than the actors in front of them. Of course, this may have been unavoidable due to the constraints of the venue, but it was unfortunate that they could not have been placed to one side.
Other aspects of Charlie Pittman’s production worked well, with good use of simple black boxes to suggest location, and handheld lights at various points: although perhaps these were used a little too often. Attempts were made to play not just to the centre block of seats but to those at the sides, something which is all too often forgotten, but the amplification seemed to be variable and often echoey. In such a small venue and with a band that were not over-loud, one wonders how essential the amplification might be.
The Edinburgh Fringe is a great place to see new work by young writers and up and coming performers, and Berlin Girl is a good example of that. It is only on for six performances so those interested will need to get there quickly.
- : admin
- : 14/08/2019