Back to the London of Reality

Sat at computer. Free internet again. Trawling through facebook and castings looking for the next job.

It's actually the first long term acting job that I've done where I haven't come back and felt a bit depressed about having nothing lined up. Strange. But Edinburgh was inspiring. As Three Weeks put it in their review of us - there was 'Fire in our bellies'.

IS that what keeps the poorer end of the acting professional going? A fire. A hope for that break. A faith in our own abilitites and a faith that there is the right job out there.

I once made a posting on a site called Castingcallpro regarding Faith in the Acting Profession. It's amazing how people jump at the opportunity to scorn any types of faith. It's believing in something that is beyond our normal understanding. God or other. Is it that important? And do we have the right to look down and rubbish claims of faith?

Thought I'd move away from Edinburgh and throw a few life things out there.

The BluePlayBlog

What started as a simple diary of interesting events at Edinburgh has developed into something much more. My reviews were noted by an online Review site and I'm now reviewing for them and the life of the blog seems to be growing. I've just registered on Technorati so please go and poke me on that if you like my blog. Otherwise, just as Mokita Productions is growing, so will this blog.

The colour of Mokita's flyers and posters was blue. Hence, the inspiration for the blog url. But they were such a hit at the festival that Mokita is going to keep the colour for the foreseeable future. It also happens to be the Producer's favourite colour. So there we go. If the company continues, so must the blog!

Expect a name change very soon though!

The Future of the Edinburgh Fringe

Congratulations! Your show has sold out. You have a sell out show. There are no tickets available. No really, there really are no tickets available. Oh. What, you mean these 10. Ha. No. These are the ones that we release on the morning of the show so that there will always be free seats in the house. After all, production companies in Edinburgh don't want to fill every seat, do they?

AH. The Edinburgh Fringe Box Office. A lot has been written and discussed about this lovely organisation already. But here are my thoughts.

Last year, it was simple. Everyone got the tickets that they wanted. The Big Four of The Assembly Rooms, The Pleasance, The Gilded Balloon and The UnderBelly worked alongside the Fringe to create a marvellous and pleasant theatrical trip for all. So, this year. They changed the system.

I'm not going into all the problems as I probably don't know the full story but the result was that ticket sales were down 10 percent. Not good. So where does this leave us for next year?

Well. I can't see the big four venues giving an allocation to the Fringe again. Why would they? They are losing sales and can quite easily manage their own box offices. Does this mean that the Fringe is dead? Will the month of August just become four or five different festivals? We already have the Comedy Festival and the Musical Festival and the International Festival and the book festival. Can we still hold onto the over riding arch that is The Fringe?

Here's an idea we had over the course of steak and chips and wine the other night.

Every show has a code. In order to book tickets all you do is text that code to a central box office (or specific venue). The mobile phone contractor charges you - it appears on your end bill and they then pay the venue. Another possibility is that you have video advertising of all the shows in The Fringe Program (something that I think will survive) at a specific site. You can access this site on your mobile phone and check all the information you want for any show.

Venues also have Argos style machines that you can key in the code of the show to see if they have tickets available.

The fact remains that there was a major ticketing fiasco at this year's festival. An inquiry is ongoing. Something needs to change for next year.

The Sex Robot and The Royal Mile

So taking a poor actress out onto The Royal Mile in Edinburgh dressed in little more than some pink cloth and a few bits of string, isn't the wisest move ever to have graced Mokita's blue stained thoughts. However, Samantha Hopkins deserves a thousand thanks for all the effort that she went into as Gemma The Sex Robot.

Having completed the show for the umpteenth time, Sam got into the aforementioned 'costume' and headed out into the one mile of hell that is The Edinburgh High Street at Festival time.

Dodging streams of scary white coated performers doing anything but attract us to their show, we headed to our usual spot just outside the Fringe Box Office. For all complaints against this organisation please do post them...anywhere! More on this in a later blog.

'Hello! My name is Gemma.'

The cry of the blond bombshell rang out true against the rain washed streets.

'I am CRC. Cybernetic Realism Companion.'

The ears of males (and females) prick to attention. It really is fascinating to see how men really are programmed to be amazed, tongue-tied and generally aroused by an actress - yes boys, an actress - playing the part of a sex toy. Blond, pink, legs on show, smiling provocatively. A little switch seems to be pressed somewhere deep and loinsome. Similarly for myself and Alfie Talman, the same predatory protectiveness flares up as we move that little bit closer every time another rival to her affections stops and stares.

Boyfriends are pulled away from her clutches by jealous other halves. Men slide by, tripping on a loose flyer. A husband is slapped as his camera really was, honestly, just pointing at that lovely church. Tramps sidle over, purveying the latest offering to their homeless streets. And, Gemma, left slightly alone for a second has a rather unhealthy and wet smacker on the lips. Perfectly, in character, she responds.

'I am for Cohen' (or in Sam's head, 'Get away from me you disgusting freak!')

But they all tend to pass on by or are given a strong hint from Gemma's minders. Bugger off you idiot, she is actually an actress and not a sex toy. You can't buy one. They are far too expensive and not available for another 20 years.

And lo and behold. The audiences flocked in. You're the show with the sex robot right? Well yes, but, er...there's a bit more to it than that. I play this....great. See you there.

'I am a robot sex toy.'

Gemma. Bless you. Sex really does sell.

Technorati Profile

Back from Edinburgh

Just a quick update to say that I will be putting in a lot more stuff about Edinburgh very soon and also changing the name of the blog. I'm hoping to continue writing this for the foreseeable future.

I'm a reviewer and I hated your show!

Well done! Good on you. You hated the show so you think it's up to you to put everyone else off with a vindictive, rude and totally unconstructive review.

Luckily Involution has been watched by extremely professional reviewers who have given mostly an objective view on the art that they have watched. However, we've all read those reviews that absolutely slate a show - that care little about who they insult or what they are panning. There is no constructive criticism shown and no attempt to find anything good to say. But so many reviews up at Edinburgh have been, in my opinion, totally unprofessional. It is the reviewers job, no matter what they felt about the show or how it made them feel, to give an objective viewpoint. Looking closely at the text, the set, the direction, the performances etc... and giving a qualified and experienced analysis.

If the show got 1* then say why - what has the production set out to do and why did they fail in doing that? Was there anything at all that worked...in which case why not talk about that and try and help the company.

Yes, a reviewer only gives the view of one person but it is a view that has an affect on an extremely large amount of potential audience. Therefore, a certain level of responsibility must be shown.

Paul Levy of Fringe Review has got it right in my opinion. He only publishes shows of a 3* or higher level. Firstly, all companies are informed of the day when the reviewer is coming in and are contacted if their show does not reach the level of 3*s. If they ask why then the reviewer gives a detailed explanation. Secondly, if the company strongly objects to the review then it is sometimes suggested that a second reviewer might be sent in at a later date - this would be an extreme situation though.

Okay, there are rubbish productions - I mean really really awful ones that should never even have made it past the green room. However, it is more important to give the poor company the reasons why it is awful, rather than just telling them that it is shit! Similarly, the members of the paying public deserve to be given an educated and intelligent summary of what they might well go and see.

Yep. I'm really new to this reviewing game but seeing the reaction to reviews and reviewing from both sides, I just thought I'd chuck down a few thoughts.

If you fancy having a go at reviewing a show, why not check out Involution at The Pleasance 10 Dome, Midday.

Ben Murray-Watson (me!) - Cohen

Ben's theatre credits include the lead roles of Johnny Midnight in 'Rapunzel's Last Midnight' (White Bear) and Cohen in 'Involution' (Mokita Productions). Other theatre includes Nurse in '25 Down' (Royal Court), Malcolm in 'Macbeth', Benvolio in 'Romeo and Juliet' (Cambridge Shakespeare Festival), and Ross in 'Macbeth (New Wimbledon Studios). He has extensive experience touring nationally, and has taken principle roles in numerous short and feature films, including the pilot for the film 'No Ghosts', alongside Ronald Pickup. Commercials include PCCW Mobile (Hong Kong), Fiat, and Ann Summers (Internet). Ben is a trained musician, an accomplished pianist and trombone player. He also completed a 3-year singing bursary.

Review of 'A Dog Called Redemption' at The Baby Belly 3

One of the wonders of theatre is it's a ability to show us characters that we might never come across in our everyday life; to show us something real and truthful; to show us situations or people that shock us or makes us think, laugh or cry. Matthew Lander's new play, 'A Dog Called Redemption' massively succeeds as an astounding and moving play about two 'rolling stones' battling to survive on London's streets without love or light. These two men, colliding amongst the cardboard boxes, embark upon an evocative journey into an unhealthy friendship that continually surprises and excites us.

The playwright himself plays Man 1, an ex drug addict, loud mouthed and outwardly confident but hiding a vulnerable and dangerous interior. Lander's performance is entertaining and heart-rending as he plays both brash and lighter moments with great sensitivity. But even more wonderful is the performance of Graham Elwell as the mentally ill, dictionary obsessed, Man 2. This perfectly executed, risky performance constantly strikes the audience into stunned fascination.

Mark Pollard's direction brilliantly maintains the pace whilst allowing us to dwell on the more sensitive moments. And with a masterstroke, he underscores the scene changes with Bob Dylan songs. Dylan always has that unnerving capacity to paint wonderful and oh-so-real portraits, bringing to life your average man on the street. In a similar fashion, Pollard has succeeded in gently stirring our thoughts with this warm yet spine-tingling piece. The play never comes across as preachy and yet gently prods us to consider how and where we find love in a world where hope and fellowship is often substituted with the false promises of material possessions.

Dylan wrote, "How does it feel, to be without a home, like a complete unknown, like a rolling stone?" In a beautiful and delightful production Bright Heights Theatre Company have sculpted a simple yet sensual answer that deserves unending plaudits.

Review also available on www.Fringereview.co.uk

For more excellent theatre go and see Involution at The Pleasance 10 Dome at Midday.

Jane Lesley - Producer Mokita Productions and Violet

Jane trained at Arts Ed, London. Work as an actress includes Hayley in OTHER HANDS (Cockpit Theatre, London), AN ASYLUM ON EVERY CORNER (Edinburgh Festival and Bucharest), TIME AND TIME AGAIN (Eye Theatre), MR. CINDERS, LISTEN TO THE WIND and THE ARCADIANS (all Kings Head, London), CHELSEA GIRLS directed by Mark Ravenhill (Man in the Moon, London), CHASING DOLPHINS (Churchill, Bromley), NO TIME FOR SEQUINS (Nuffield, Southampton), BEAUTY AND THE BEAST and ROBINSON CRUSOE (Theatre Royal, Bury St Edmunds) a national tour of TOO MUCH PUNCH FOR JUDY, Howard Brenton’s GUM AND GOO (Italy), First Witch in MACBETH (Oban) and Banquo in MACBETH AND THE BEANSTALK with David Mitchell and Robert Webb (Pleasance, London). Film work includes the role of Maria Dos Santos in the feature THE 13TH DAY due for release in 2008 and Skink in REPTILE DAY. She played Susan in the BBC’s COMING TO ENGLAND and Caitlin in the television series NIGHT KITCHEN and she has just finished recording the role of Eliza in the audio drama FACTION PARADOX for Magic Bullet.

As the founder and Creative Producer of Mokita Productions she has produced two evenings of rehearsed readings at the White Bear Theatre, Kennington, “The Forbidden Tree” by Roger Mayhew and “Waiting on the Z Train” by Sean Tyler and Mokita’s first full production, “Involution” by Rachel Welch at the Pacific Playhouse, London and Pleasance Dome, Edinburgh. She also co-produced "Pages" at the Pacific Playhouse and "Pluto" at the Blue Elephant Theatre with GRIT Productions in association with the New Writing Collective.

Review of 'The Space Between My Head and My Body

Gin in the Tea Theatre Company bring their debut production to the Edinburgh Fringe in the form of new play, 'The Space Between My Head and My Body'. Written by Royal Court Young Writer, Catie O'Keefe, 'The Space Between' offers us up 7 lost souls, trapped in the claustrophobic vessel of an airplane. Reality and time have no meaning here. Fifties rock and roll comes face to face with oxygen masked scantily clad ghost-like figures as we go on a surreal and atmospheric journey into each of our characters attempts to redefine and understand who they are.

Director, Melissa Dunne, succeeds in creating a sense of mystery throughout. Boundaries of reality and naturalism are bent and battered as some slick physical work and technical tricks, show us that this world is strange and wonderful. This is a place where anything could happen. And yet, unfortunately the play fails to ignite. Many of the characters seem sparsely drawn and fail to find answers to the questions that they pose. Okay, this might well be the point but it fails to serve as dramatic theatre. The pace throughout has no variation and there is no build in tension or excitement. The play cries out for a fast paced explosive ending as the plane crashes into the ground. As it was, we were left starting all over again and feeling that our characters hadn't actually gone anywhere.

Special mention must go to Laura Sykes who plays a wonderful Megan to her twin brother, Mark. Her performance sparkles and there is genuine and moving sibling chemistry between the two of them. It is this relationship that is most interesting as each of the twins struggle to find their true identity. There is an absolutely gorgeous moment where Mark tries on his sister's dress. As it is, good acting performances aside, the other characters fail to leave an impression. Underwritten and unfocused they tend to drift into obscurity.

The mystery and surreal nature of this piece is it's strongest asset. Unfortunately, there is no pay off and we feel slightly let down by the lack of ambition shown towards the end of the play. As it is, Gin in the Tea have made a good debut and are definitely a company to follow. With confidence from this production they now need to push on and take bigger risks as The Space Between My Head and My Body seems far too comfortable for viewers and performers alike.

This review is also available at http://www.fringereview.co.uk/

For exciting, raw and empassioned theatre check out another new play by another Royal Court Young Writer. 'Involution' is playing at The Pleasance 10 Dome at Midday everyday (not Monday 18th).

Joanna Miller - Dorcet

Joanna trained at the Royal Scottish Academy of Music and Drama. Credits whilst training include "The Bite of the Night", "Ivanov" (in association with The Tron), "Pericles" (as part of the first "Shakespeare In the City" festival at The Arches in Glasgow), "Here Comes A Chopper", "Electra", "Aladdin" and "The Seagull". Since graduating she has appeared in "The Revenger's Tragedy" at the Southwark Playhouse. TV and short film credits include "Fanny Hil" (BBC), "Taggart" (STV), "A Wake" (Capsule Films) and "2Act - Audition Day", an independent TV pilot starring Ian McKellen. She can currently be seen on the Channel 4 website playing Sally Harbottle in the interactive drama game "Bow Street Runners", to coincide with the TV series "City of Vice".

Involution gets 4**** in Broadway Baby

It is some time in the future and the Faith Party has taken control. People’s genes are ‘coded’ to be checked for their innate suitability for positions within society. Christianity is the law and God’s decision is that humanity cannot mutate genes to help those who are ill, we cannot play at creator. It is into this ‘brave new world’ that Rachel Welch has thrown her characters, giving this essentially relationship driven drama a much more powerfully charged edge than most and asking often difficult questions of both it’s actors and audience.
Cohen, a geneticist and Dorset are brother and sister and are both sufferers of DBD, a degenerative disease which attacks the colon. The play opens with them waiting with Tal, a Christian friend, for J who is coming to stay from Manchester to be with Violet his girlfriend who works for the Government. What follows in the confines of Cohen’s tiny ‘pod’ apartment is an exploration into the questions of responsible genetics and the soul, people’s hidden agendas and unrequited love.
Although this is a play which deals primarily with relationships and does so very perceptively and accurately, by setting it against a backdrop of religion and science Rachel Welch has written an incredibly interesting and moving play which fully contextualises each personal battle with society’s much bigger wars. Each relationship is tainted by ‘beliefs’ and each argument takes on a life and death importance due to the high stakes at risk for all concerned. This is not another ‘Closer’ but so much more. Welch’s characters are real people, dangerous but real, dealing with issues which people would die for as well as the pain of selfish actions and unrequited love.
Mokita Productions do well with these complex relationships, for the most part accurately portraying the multi-layered confusion and conflict within each character. Of particular mention are Ben Murray-Watson who brings out the churlishness of Cohen whilst being incredibly charming, Joanna Miller whose Dorset is a fluttering butterfly who has an underlaying and almost unbearably subtle layer of sadness and Jane Lesley as Violet who slithers into the group as venomous as a viper and yet is the only one who seems to speak it straight, the only one who fully recognises herself for who she is. Indeed on the whole the enormity of the issues and the heighten emotion is done justice, and although one or two scenes fall a little flat, the performers throw themselves into Welch’s text wholeheartedly.
Involution is by no means a flawless show, it sometimes feels too big for the small space it is in, the emotion is sometimes ‘played’ and not always felt and the ending is a trifle trite, but this is such an important show that these quibbles seem to melt in comparison. The theatre is meant to be making work such as this, which looks at the possible consequences of our society’s present actions and asks difficult questions without dictating answers. I left the theatre with a head full of ideas and thoughts which have stayed with me for hours after and I cannot say that of many shows (however brilliant they have been) that I have seen this year.

http://www.broadwaybaby.com/fringe/reviews/involution

Review of 'The Highwayman' at C3 * *

'The wind was a torrent of darkness among the gusty trees,
The moon was a ghostly galleon tossed upon cloudy seas,
The road was a ribbon of moonlight over the purple moor,
And the highwayman came riding—
Riding—riding—
The highwayman came riding, up to the old inn-door. '

Alfred Noyes 'The Higwayman' is a poem rich in dark and mysterious imagery. It's characters lay in streams of dramatic and dreamy verse. The Highwayman - our roving rider - comes chased and harried to the window of Bess, 'The landlord's black eyed daughter'. However, his wooing promises of return end in tragedy as King George's men come riding to the Inn, tieing up Bess and laying in wait. Bess, in order to warn her lover, shoots herself. But it's no use as our man is shot in the back as he turns to ride away.

Rachel Valentine-Smith's stage adaptation holds much promise and yet never quite delivers. We are introduced to Tim the Ostler, in love with Bess and yet 'as dumb as a dog'. His Iago-esque monologues suggest a deep melancholy of unrequited love and a relationship with The Highwayman of complexity and interest. Yet, this remains only as a wonderful potential as he fails to interact with anyone but the audience. It is a similar case with The Highwayman as his single scene fails to capture the depth which the poem gives him. Indeed, all of the characters are poorly drawn. Their brief interactions begging for more.

The performances throughout are good and an eerie atmosphere is maintained well. However, the actors are given so little to work with that they don't stand a chance of making us really care for them. An occasional film clip shown on a screen, of falling black blood and a horse, fails to help them and you get the feeling that it was a wave to the Total Theatre Awards.

At 35 minutes, this adaptation is far too short. Which is a shame, as with one or two extra scenes that fleshed out our characters, 'The Highwayman' really could have danced with us 'down the ribbon of moonlight'. As it was, we leave the theatre with heavy feet feeling like we've just watched half a show.

Involution in The Guardian

http://www.guardian.co.uk/culture/2008/aug/08/edinburgh.festival.future

5* Review for Involution in 'Three Weeks'

Involution
Mokita Productions
Blazing a trail for exciting new writing at the Fringe, Mokita Productions perform a deliciously exciting but profoundly moving portrayal of life in the London of the future. Involution explores questions of religion, genetics and human anguish, with stirring performances that leave the audience hanging on every word, and with important questions to mull over in the pub afterwards. Involution shows us a world dependent on genetic coding, a world not a million years away from our own, which is the most terrifying and poignant message of the play. The plot was strong, the scenes were slick, there were beautifully crafted monologues, and some great comic moments, too. The members of this young company have fire in their bellies, and are joy to witness.
Pleasance Dome, 30 Jul - 25 Aug (not 18), 12.00pm (1.15pm), prices vary, fpp 208.
tw rating 5/5
[je]

Alfie Talman - J

Alfie Talman discovered his lust for acting whilst living in Argentina where he joined a theatre company touring South America. He returned to England and trained for a year at The Oxford School of Drama, completing his course last year. Involution’s London run was Alfie’s first professional outing and he is delighted to continue with the Edinburgh run. Alfie is also Assistant Producer with Mokita Productions.

A Theatre of Excellence

We all strive for it - at least those that take this industry seriously strive for it. Excellence. But what is it? I've been thinking about this for a while and recently read an excellent article in the Guardian by Lyn Gardner

http://blogs.guardian.co.uk/theatre/2008/06/the_e-word_in_theatre.html

A lot of this makes sense.

Excellence in theatre starts from the top. Without good and organised leadership the product will immediately fall on it's ass or at least not reach it's fullest potential. So for example, the producer must be caring, discerning, business minded and able to spot great potential. If things at the top are run correctly then this filters down to the director, the writer, the actors, the technicians, the venue producers, etc...etc...I guess, it is about respect, caring for your product and the people involved and keeping integrity. This is massive for me. Integrity. Treating people correctly and respectfully; sticking to what you set out to do, not compromising quality.

Of course, to achieve true excellence so many factors must be taken into consideration but it does start from the top. Leadership is absolutely essential. But then as the article points out, nobody has a true definition of excellence. Do they? Can true objectivity ever actually exist?

Mokita Productions and 'Involution' strive for excellence in everything we do. I'm really blessed to be working with people who value each other and the work to the point where they don't compromise - they are not interested in anything that is good or fine or just about okay. They are interested in creating extraordinary work with extraordinary people. Whether they and I achieve this, well, that is for you guys to judge. Or is that even important? Is it in the striving that we find excellence? Is it the journey or the destination?

To be extraordinary. Not much to ask for!

Devising (Inspired by an awful show on the Fringe)

Having spent 3 years studying how to devise theatre, admittedly a little bit weirdly and postmodernly, I was really disappointed by what I saw watching **** ***** recently.

Devising starts with games and ideas and then the ideas take shape. You workshop them in different ways and somebody watches and takes notes and writes down little gems that occur in rehearsal. Devising needs an outside eye. You need a director to hold it all together - a writer to cut all the crap that actors love to throw in.

You CANT, and I repeat can't just throw in an idea half way through a devised piece that has no relevance to anything that has gone before. For example, let's say the premise of something is great. Okay, so who are our characters? What are their relationships? Where are the shades of grey? Okay, so it's going to be naturalistic is it? Great. Then you really cannot...cannot throw in a bit of physical theatre at the end because it looks nice or that's what your company specialises in.

Ideas need to be set up in the narrative and then fully explored and moulded and then shoved around but there must be a strong narrative line.

It really annoys me that companies can bring something to Edinburgh, fully funded by the arts council and lottery and put on complete crap because it just so happens to be topical and relevence to something oooh important in society. Oooooh maybe it'll get people thinking about something important. Ooooh, let's throw lots of money at it.

It drives me mad that great companies who thrive for excellence and integrity are completely overlooked because their application might not fit in with what is cool and in this week.

Anyway, back to devising. I love it. I worked with a group of 7 people for two years whilst training that were fantastic to devise with. But we needed an outside eye. We needed someone telling us that our acting was shit or that idea really wasn't right and there wasn't enough strength in that part etc...You cannot direct from the inside.

Interview with Mokita Productions

http://www.fringereview.co.uk/pageView.php?pagename=Interview%20with%20Mokita%20Productions

Top 10 Tips for Flyering

1) Use a fun loving happy gimmick that has something to do with your show. Ours is Gemma, the sex robot. She is always happy.

2) Do not ask people if they want a flyer. They won't. Therefore, give it to them so that they can't they no.

3) Distance is very important. Within a metre is too close. You are crowding them. For best effect, begin with a sir/madam as they enter vocal range. Extend flyer and give them the name, venue and time. If they express an iota of interest - ie - take the flyer - then tell them that it is in Fringe Reviews top 10 pick of the fringe (Involution is!)

4) Never shout in somebody's face. This is Edinburgh but Glasgow is near enough that they might slap you.

5) Make your flyer design big enough and bright enough to be noticed. If people look at it, you've got them!

6) Always have your best line if they ask you what it's about. "It's um...this really real dramatic and funny...type...comedy about a World set in the future where the government..." tends not to keep them interested past the "um".

7) If a flyer is refused more than once then it is a cursed flyer and must be placed to the bottom of the pile.

8) Change flyer like no tomorrow. One yes equals two to the person behind them. If there's a crowd saying yes then you're laughing and on your way for lunch.

9) Never talk negatively about your play! People do this! I can't believe it. "Yeah, it's alright. Yeah. I dunno. Come see it. It's not great but..."

10) Set yourself challenges. How many flyers can you get rid of in 5 minutes? Can you get the guy looking pissed off and walking away from you to take one?

There's more but I said 10, so, I have to stick to it. Maybe more later!

Flyering! A Dogg Eat Dogg World

It all started ever so nicely nicely. The first few companies hitting the royal mile and passing out flyers and posters. There used to be a time when you would be careful not to cover somebody elses poster. Shock horror, someone has two posters up, well, it's fine to cover one then as that's fair, isn't it. But hell has descended I tell you. It's every company for itself. Every inch of space fought over by a crowd of rabid performers. It's getting nasty. It's getting dirty. It's getting down right shocking.

As you have probably seen, the mile is dotted with huge pillars that are covered in the latest layer of poster for the most fantastic show ever - of course. But it wasn't until the mass corporate machine excuses for companies moved in and destroyed the haven of good will and fairness that has so far presented itself at The Festival, that this was the case. We all know those shows that plaster an entire pillar, selfishly exposing themselves as greedy, non-fringe loving capitalists who couldn't care less for 'theatre'. "We just want to publicise our show" Bollocks. You're greedy and selfish and give no space for the poor company that could only afford a few hundred flyers and 20 odd posters. Come on people! We're all in this together.

It actually got to the point today, where companies were actually standing around their pillar in order to stave off rebel poster sticker onners. Surely, it's only a matter of time before war breaks out.

Luckily, Mokita Production values the performer above personal gain and we flyer responsively and fairly. Also, extremely skillfullly, we have a block colour blue flyer. One of ours stands out more than five of yours and you know it!

Review of 'Pornography' at The Traverse * * * 1/2

Porn really is overrated. Ok. It's exciting at first. The brief rise in temperature, the sweaty fondle, the quick release of...what? Tiredness? Boredom? Perhaps there's something dangerous...thrilling? But, so what. What is left? A sticky mess and another pool of tissues flushed or thrown away. Do you love what you've just seen? Do you love her or him that has just bared their all to you? It's just fucking, right? No harm done. No connection made. Nothing lost. Right?

Much has been written about Simon Stephen's 'Pornography'. Written as a monologue it takes us into a capital city where communication consists of crackly i-pods and annoyed glances. A London of unspoken angst and fear of, well, pretty much everyone and everything. It's July 2005 and London is about to win The Olympic bid. Live 8 plays on every TV and radio and Pink Floyd wows crowds.

Director Sean Holmes envisages 8 characters - four lonely souls and two troubled couplings. We have the incestuous brother and sister; the old lecturer and his adoring, now grown up, student; the terrorist bomber, the rebellious teenager, the bitter and cynical old woman and the run up and wrung out city worker. We follow their lives and opinions up to and including the fateful day of the July 7th bombings.

Designer, Paul Wills sets us up in a dark and dingy abandoned tube station. Lines fly overhead and wires litter the stage. The isolation and loneliness for all is confirmed as each character takes their small beam of light, talks and moves off back into the darkness. This works brilliantly and allows us to focus on these poor creatures, their hopes and fears, their hatreds and hurts. There is nothing fancy about the presentation. These are the people of London. See it. Feel it.

And we do. An extraodinary, if sometimes a bit quiet, performance from Amanda Hale typifies the focus and involvement of all the actors. Sheila Reid makes us laugh at her ridiculous cynical views of the 'modern World' but then blows us away with 10 seconds of silence when she almost breaks down. But it is this moment that shows us the spirit of a London that has been, literally, set on fire by the despicable acts of 7/7. Her character smells barbicued chicken coming from a stranger's house. She knocks and asks if she could have some. At first, the recipient laughs in her face, destroying her then and there, but then repents and gives her some chicken. Her smile lights up the stage.

Yes, London doesn't talk to strangers. London doesn't listen to foreigners. London would prefer to listen to it's i-Pod rather than engage in well, anything else. But London is united. If threatened it'll huddle together and offer shelter and a beer.

Which is why the decision to change the last line in the play is slightly out of place. Holmes' production refuses to glimpse that hope, remaining lost in the dark, lonely World that we have watched descend into bomb-lit hell. Sticky tissues? Personally, I prefer reality.

Holmes' 'Pornography' is dire and bleak and offers us little light. In a World where terrorism is the norm and fear stalks the streets in the shape of a knife, we must cling to every glowing amber of hope that we can.

For another dark, yet funny and hopeful view of London, in the not-too-distant future, go and see 'Involution' at The Pleasance 10 Dome, Midday, everyday (except Monday 18th). For more information, go to this link.

http://www.pleasance.co.uk/edinburgh/listings/search/Involution

Emily Agnew - Director

Emily is the Artistic Director of Mokita Productions. For Mokita Productions she has directed rehearsed readings of The Forbidden Tree (Roger Mayhew) and Waiting on the Z Train (Sean Tyler), both at teh White Bear Theatre, Kensington. She also directed the London premiere of Involution. Her other credits include - as a director; Pluto, a new play by Jon Bonfiglio for GRIT Productions (Blue Elephant Theatre, Camberwell), Other Hands by Laura Wade (Cockpit), Huis Clos (Pleasance Stagespace, Islington) and As You Like It (Observatory Hill, Bristol). As an assistant director, The Only Girl in the World by Glyn Maxwell (Arcola Theatre), Les Liaisons Dangereuses (Pleasance Theatre, Islington) and The Marrowitz Hamlet (Wickham Theatre, Bristol)

Review of 'Pebbles on The Beach' at The Pleasance Courtyard * * * *

Joanna Pinto's Pebbles on the Beach begins with our main character, Leo telling us that today he is going to be "someone different". What follows is a surreal and beautiful journey into his past. Michael Armstrong (Leo) gives a gentle and charming portrayal of a man trying to understand where he went wrong. We learn that he left home at 17 years old to the distress of his father (the wonderfully strong Ian Draper) and moved to Brighton. There he embarked upon a life of a womanising accountant. Unhappy with relationships and his job he struggles to understand true intimacy that shows up in the face of roving backpacker, Suzannah (Jenny Rowe). As the story unfolds, a delicate tale of family love and tragic pasts builds itself around the four excellent actors - Annabel Cleare playing Maggie.

The characters weave between past and present with wonderful simplicity, allowing the relationships and the poetic text to be the focus of our attention. A low sound track of Brighton beach and sea-gulls entrances us and draws us into Leo's world. Gorgeously lit by Dan Staniforth, the stage basks in an early evening glow that warms us and whispers to us in it's haze.

Pebbles on the Beach is not risky drama. It doesn't push boundaries or have anything massive to say about life and love. But like a lover, gently prods you to address questions that at some time or other have haunted us all. Are we happy with our past? How do we choose to remember that which has hurt us? How much power do our memories hold over us and if you put your mind to it, can you just forget?

For a lunchtime piece of theatre (14.00) it leaves you satisfied and ready for the afternoon. Lovingly written, well directed with strong acting all round, it is definately worth seeing.

To book tickets for another fabulous lunchtime piece of theatre go to the Involution booking pages at:-

http://www.pleasance.co.uk/edinburgh/listings/search/Involution

BEFORE reading a REVIEW please READ THIS FIRST

So being in Edinburgh there's a bit of theatre happening so um...I thought I'd write a bit of a review for shows that I liked. Now for all those who might read these.

1) I am an actor not a critic.
2) I am probably totally wrong in everything that I say.
3) I almost certainly didn't 'get it'
4) I most likely had had one too many to drink.
5) It's just one opinion.
6) You shouldn't read reviews anyway. They're bad for you.
7) I'm only writing reviews on pieces that I liked...

If you want to know what I thought was a big pile of shite then pm me!