Oliver Giggins, Author at North West End UK

12Jun

By Oliver GigginsNo Comments

Scotland

Quadrophenia – Festival Theatre

Translating a rock opera to the stage might seem like a logical sequitur, until one remembers that in this case it is translating an album – in which the storytelling is done almost entirely through lyrics (and may still not be the clearest then) – into an entirely non-verbal medium – a ballet. But this was the task of Quadrophenia: A Mod Ballet, taking The Who's (well... really Pete Townshend's) second/third rock opera (depending on whether we count A Quick One While He's Away) 1973's Quadrophenia, stripping out its lyrics and replacing guitars, synths and Moonish drumming for an orchestral version of the album by the Royal Philharmonic Orchestra. While waiting outside, another audience member asked me how many people I thought were there for the music. Having seen at least one The Who...

29May

By Oliver GigginsNo Comments

Scotland

The Watsons – Church Hill Theatre

When Jane Austen died in July of 1817, she left behind six completed novels (four already published and two released not long after her death) and several volumes of unpublished juvenilia, as well as two aborted novel starts. These include Sanditon, which she was working on when she died, and 1803's The Watsons, which marked the transitionary period between her childhood attempts and the later novels with which she would find various levels of success. Austen's subsequent comparatively small canon of works and her status in literature has led to a small but passionate fascination with these lesser works, especially in recent years. While continuations, sequels and spin-offs of Austen are nothing new, over the last decade we have also had big-name adaptations of Lady Susan from her juven...

The Merchant of Venice – Royal Lyceum Theatre

23Jan

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Scotland

The Merchant of Venice – Royal Lyceum Theatre

The Theatre for a New Audience production of William Shakespeare's The Merchant of Venice is, of course, not set in Venice. Instead, we are in an American city in the near future, though the play's fidelity to Shakespeare's script largely confines this setting to its physical set, designed by Riccardo Hernandez (a brutalist concrete set of steps before two rectangular doors and a circular window), the presence of costume designer Emily Rebholz' suits and mobile phones and, of course, the Jewish characters being portrayed by Black actors (the link between two different intolerances aided by the fact the play has racist as well as antisemitic portions). This limits what the play can do to what Shakespeare did with it and, unfortunately, Shakespeare by today's standards is an antisemite. I...

15Nov

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Scotland

The Brenda Line – Traverse Theatre

Inspired by the lesser-known history of the Samaritans in the 1970s and ’80s, The Brenda Line is about Karen (Charlotte Grayson) and Anne (Fiona Bruce), a new-start and an old-hand during their first Samaritans nightshift together. Both are there to answer the phone and help callers (voiced here by Colin McCrodie, Eden Barrie, and Ali Watt), with Karen also hoping to get inspiration for a book out of them. However, reality and experience don't always live up with ideals, not least of which through the existence of the Brenda Line, the Samaritans philanthropic sex-line. Grayson and Bruce effectively anchor the show through their performances, with Bruce in particular conveying well the earthy weariness of reality against Grayson's two-dimensional idealism and imagination. Harry Mould...

23Aug

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Scotland

Ring That Bell! – theSpace on The Mile

Fallen angels Lucy (Grace Baker) and Bubs (Eleanor Tate) are here to direct you, dead person so in denial you think you might be at a Fringe show, to your assigned circle of Hell, which might be the ring of (actual) fire, the billionaire ball pit, the circle jerk or the cone of shame. But as the presentation unfolds, Lucy and Bubs' mutual resentment bub-bles (geddit) to the surface as they confront their conflicting views on the events of their fall, not to mention the soul that they let turn into goo that they almost definitely shouldn't have. Part of playwright Kira Mason's inspiration for the show was about responding to heteronormative models of paradise and about the focus on punishing and excluding those we categorise as unworthy, and the play definitely has a Miltonian ...

20Aug

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Scotland

Conspiracy – Hill Street Theatre

Conspiracy is the story of the 1942 Wannsee Conference, the secret 90 minute-meeting chaired by the SS which put in place the Final Solution, responsible for the deaths of at least 6 million Jews (as well as some other groups). This stage version by Strawmoddie and RFT, a remount of their 2018 production, was adapted from the 2001 TV film of the same name, itself adapting the authentic script taken from the only surviving transcript from the meeting. Following in the steps of the HBO film is no mean feat. Its cast included Colin Firth, David Threlfall, Kenneth Branagh, and Stanley Tucci, the latter two of which won a Primetime Emmy Award and a Golden Globe Award respectively. However the point of the story is to put you into the room of the most evil "this could have been an email" ...

We Forgive You, Patina Pataznik – Gilded Balloon Patter House

19Aug

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Scotland

We Forgive You, Patina Pataznik – Gilded Balloon Patter House

Jake (Jake Glanc) and Liv (Olivia McLeod) go to their High School Reunion maybe partly, totally not entirely, because of Patina Pataznik, the popular, totally gorgeous girl from their year who totally ruined their lives by doing one socially embarrassing thing when they were 13. So when they time travel back to that day, it's obvious what they have to do: get a gun and kill Patina Pataznik. While this may seem a camp time-travel horror-comedy, the plot is really a roadmap the show has no issue detouring from for various wacky sketches. While this might seem a waste of a good (albeit more filmic than theatrical) premise, McLeod and Jake's campy delivery and absurd sense of humour (as well as some handy and inventive props, the over-the-top sound and lighting design) keep this a ...

18Aug

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Scotland

#NoFilter – Greenside @ George Street

Based on real stories gathered from conversations and social media, new musical #NoFilter follows three duos and the effects social media has on their lives and relationships. One pair are friends, Sina (Jamie Douglas-Turner), who runs an OnlyFans, and Ember (Vincenzo Dipasquale), who links us with the next two couples, Pandora (Eva-Marie Blaire) & Candor (Sirus Desnoes), and Savannah (Natalie Gray) & King (Aaron Andrews). The former's relationship is defined by social media, having started on Tinder and seemingly fallen apart through Instagram, while the latter's was formed in person. Dipasquale's Ember is the glue of the show, linking not only the characters but also stories and numbers through his narration, and Dipasquale's likable performance helps paper over some narra...

Dusk: A Bite-Size Celebration – Greenside @ George Street

17Aug

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Scotland

Dusk: A Bite-Size Celebration – Greenside @ George Street

2023's Fringe sell-out Twilight parody, Dusk: A Bite-Size Love Story, returns in a shorter one-hour format as the "roasting of Edwin and Bea", a collection of highlights from the 2023 show (and, by extension, of the most famous moments from the Twilight franchise), linked together by the couple's daughter Regina (or Renesmee in the Sacred Texts). To anyone not still living the green-tinged mouth-breathing life, this might be a little confusing as the show definitely expects you to know who everyone is - or rather, who everyone is replacing - but clearly this was not an issue for the audience of (mostly) twilight fans, who were howling with laughter throughout. All the more well-known aspects get skewered. One Bea's performance (there is more than one: we all need stunt doubles) i...

James Whale: Beyond Frankenstein – Zoo Southside

17Aug

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Scotland

James Whale: Beyond Frankenstein – Zoo Southside

James Whale is remembered today - if he is remembered at all in the mainstream - as the director of the two best classic Universal Frankenstein films Frankenstein (1931) and Bride of Frankenstein (1935), as well as The Invisible Man (1933) and, if we're feeling really fancy, The Old Dark House (1933). However, these were only part of a much longer career, one which saw a small-town English boy become a major Hollywood director in a time in which his homosexuality was illegal and his themes increasingly scrutinised under the Hayes Code. Written and performed by Tim Larkfield, this one-man show eschews the straightforward approach of having Whale be that one man, telling his own life story, in favour of a series of snapshots from the perspectives of a collection of professional and pe...