edinburgh fringe

‘Congratulations You B@$T@*D!’: Edinburgh Fringe Review

Showing from 20th – 25th Aug 2018 at Venue 36, The Perth Theatre @ theSpace on North Bridge Hilton Edinburgh Carlton Hotel, 19 North Bridge, Edinburgh, EH1 2HE.

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Whether you’re a die-hard fringe goer, or you’ve just popped up for a weekend to see what it’s all about, there’s no doubt you’ll find something that’s up your street.
An explosion of veteran stand up comics, first time performers, scripted, unscripted, spoken word, silent movie; you name it, it’s probably at Fringe.

And whilst it can be great to immerse ourselves in the kind of shows we know and love, a lot of the beauty of Fringe comes from the unexpected. It comes from experiencing the unknown and choosing to see something you might not usually go for. So when I got the chance to see Congratulations You B@$T@*D, I decided to do exactly that.

A theatre piece created by South East London based Ghosted Ink, the up-and-coming art collective’s debut show sees Mia and Nick, two down on their luck writers, wondering if they should give up on their ambition. However, after one drunken night of creativity, they find they might just have cracked it.

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Congratulations You B@$T@*D delights the audience with its humour and witty dialogue from the outset. Brought expertly to life by both performers, creating recognisable characters we all know (or are) in our lives.

We meet the wonderful whirlwind of nuanced expletives that is Mia (Georgia Crowther) and the seemingly more logical and tempered Nick (Laurence Platt) just as their newest script has been rejected again. Their carefully crafted characters are instantly brought to life in a relationship familiar to us all. Two friends who in equal parts love, and are infuriated by, each other.

The first half of the performance builds the dynamic between the two friends wonderfully. Despite the piece only lasting 45 minutes, I felt as though these were people I was so familiar with; people who had struggled together but also experienced joy and hilarity with one another. I laughed with them, got angry when they did, was sad when they were.

The comic timing of Crowther is spectacular and the way both actors seem to effortlessly bounce off one another is incredibly enjoyable to watch. The intimate space, and minimal but carefully thought out set design works perfectly to set the atmosphere. As soon as I saw all the crumpled-up-uncrumpled-and-then-crumpled-again pieces of work discarded everywhere and the random array of ideas and inspiration pinned up on stage, I thought “yep, been there.”

I spent most of the beginning half of the piece belly laughing at Nick and Mia hurling raucous insults, drinking copious amounts of ‘Pan Juice’ and spouting sparks of creative genius as they try to invent the next best thing. Punctuated with music from the likes of Bowie and Kate Bush as they take turns to type the masterpiece, the phrase that immediately came to mind was the popular mantra of ‘Write drunk, edit sober’. Yet as the play progressed it became clear it was much more like ‘Write drunk, edit drunker’, and whilst this was fabulously funny to witness, the script is very much flipped as we come into the second half of the play.

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A poignant scene arises as the two characters disagree on what the next step should be. Nick laments that he’s sick of being an “artist” and is sick of how they live, scrabbling to make ends meet and waiting for it all to get better when it never seems to. A far cry from the drunken hilarity witnessed moments ago, it suddenly hits home the reality of trying to make it, of struggling to pay rent, of doubting your own ability. It’s here that I really appreciated the thoughtful writing. Platt conjures a well-observed depiction of young friends and creative relationships in today’s competitive world those of us in the arts can relate to all too well.

For a group’s first Fringe run, its a credit to them how well they take the audience on a hidden rollercoaster of unexpected emotion, and it’s far more than just a play about getting wasted (even though they get very wasted.)

Congratulations You B@$T@*D explores artistic integrity, success and what ‘making it’ can actually mean. Moreover, we see the ever poignant themes of friendship throughout; we see two people pushing and pulling to hold onto a changing relationship as the both of them try to find their footing in the creative world, without sacrificing their own morals.

Ghosted Ink’s first show is a very worthwhile watch that I’d highly recommend checking out if you’re at Fringe this year, where it’s running from the 20th -25th August. If not, you can keep up to date with all their creative ventures by following @ghostedink on Instagram, @Ghostedink_AC on Twitter or Ghosted Ink Arts Collective on Facebook as well as with #CYBFringe.

A well deserved FOUR STARS for Congratulations You B@$T@*D!

 

Words by Lauren Barnard for Anthem Online.
Images courtesy of Ghosted Ink.

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‘Colder Water’: A Review

Sunday afternoons for me are usually spent aimlessly engaging with whatever cheap dialogue is available on Netflix. Yet I was lucky enough to be invited by Antonym Theatre to watch their latest piece Colder Water, directed by Celine Fortenbacher-Poplawska, and 2016 Edinburgh Fringe success ‘TWIX’, directed by Cara Withers and Molly Evans.

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Out of the New Cross bubble, and with a £4.65 Voddy and Cranberry, I was ready to absorb the works of Antonym Theatre’s Double Decker: ‘Colder Water’ and ‘TWIX’. Ogden’s writing makes you walk in the characters shoes; no matter if those shoes are pinchy, floppy, or relatively comfortable, I was tying the laces of empathy as I went. Since finishing my second year of studying Theatre Arts, I turn to one of my favourite quotes to best describe pieces such as Colder Water and Twix.

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Laurie Ogden’s work may not focus on the lives of 19th century Russians, but it does focus on employing subtlety. Supported by lyrical monologues and passive-aggressive characters which allows her pieces to act as broken glass to present a unique glint into ordinary lives.  The premier of Colder Water was essentially an extract of an awkward, yet needed conversation between four individuals dealing with an unplanned pregnancy.

Colder Water’s subtly allows the audience to uncover that there is more to the situation than the conversation currently offers. Ogden explores our society’s extremely problematic values when it comes to dealing with sexual assault; “What were you wearing?”, “How much did you drink?”, “You were asking for it”, “You’re making it up”. All while sexual predators such as Brock Turner and Andrew Picard have the justice system wrapped around their privileged fingers. There is no point denying that the justice system prioritises their voice and the future of the attacker over the victim’s.

Colder Water’s depth of field focuses on Ally (Alice Brittain), Louise (Jess Reed), and Ellie’s (Laurie Ogden) internal perspectives of female connection, layering these women with intense humanity and interest. Ogdens depth of field allows Colder Water to artistically show a ‘social template’ wherein the attacker’s dialogue and privilege is removed. This template is something our society and justice system should be employing.

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In addition to Ogden’s use of subtlety, she liberates and showcases a lesbian dialogue between Ally and Ellie. Other than the series Orange is the New Black or the video game Life Is Strange, I’ve found that most theatre, art, or television I’ve engaged with is (mostly) heterosexual, or includes a gay-male character. Colder Water introduced me to a lesbian dialogue on stage. It was heart-warming to watch as the piece didn’t focus on the fight for LGBTQ+ rights, but rather the everyday lives of a couple, which I found enlightening to watch. Especially Knowing that artists such as Ogden are composing work about homosexual experience without a political drive – in regards to their rights. Again, Colder Water serves as a template for showing that we’re in the 21st century. Lesbian relationships are more than acceptable and shouldn’t be excluded from art and theatre.

Overall, I think Colder Water is pretty neat and has potential to rock the feminisms world! A massive well done to Laurie Ogden and Celine Fortenbacher-Poplawska and the cast/crew of Antonym Theatre! I give you five stars! (literally)

Peace, Love and Cacti

Courtney McMahon

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p.s. not all dialogue on Netflix is cheap

 

 

Words by Courtney McMahon
Images courtesy of quotefancy, Antonym Theatre, Theatre N16 and Courtney McMahon