Tag Archives: Spoken Word

REVIEW: Alexander Fox: Ringo – Pleasance Courtyard, Edinburgh

It’s the moments of pure storytelling that resonate most in Alexander Fox’s debut solo hour of original comedy: Ringo.

In 2006, a then teenaged Fox, met and began a pen-pal correspondence with the world’s most famous drummer, The Beatles’ Ringo Starr. What follows is an at times surreal, biographical tale, with appearances from the Cadbury’s gorilla drumming to Phil Collins’ In the Air Tonight and Pingu; references to drumming movie Whiplash, as well as a whole lot of audience participation and good-natured banter.

For all the mad-cap antics it’s the moments of stillness and genuine emotion that are the most successful. Fox is a natural storyteller and easily grips the audience. He should be confident enough to rely on his considerable skills without resorting to some of the nonsense that litters the tale and takes it off on unnecessary tangents. There’s real potential here: the subject matter alone is enough to draw an audience, keeping the path of the narrative a little closer to the key material (or if the silliness were a bit more on-theme) could make this a universal winner.

Fox is genuinely charming and it’s easy to warm to him and he provides plenty of laughs throughout. He is naturally ebullient, but this is as much a negative as it is a positive, his youth and exuberance playing to the time-wasting interruptions from the audience rather than keeping it tight and on-point.

With a little bit of work, Alexander Fox: Ringo, could have a long life beyond an igloo on the green at The Pleasance for the Edinburgh Fringe.

Runs until 28 August 2017 | Image: Contributed

This review was originally published by The Reviews Hub

REVIEW: Quarter Life Crisis – Underbelly Delhi Belly, Edinburgh

The last few years have seen an upsurge in shows from Millennials pondering the meaning of life, and this year’s Fringe is positively awash with 20-somethings decrying their lack of a future and the problems of ‘adulting’.

Yolanda Mercy, through her semi-autobiographical character Alicia in Quarter Life Crisis, brings, in her own words; “some South London to the Edinburgh Fringe”, adding in her experiences as a young woman surrounded by her getting-their-shit-together friends and always aware of the influence of her Nigerian heritage.

It is Mercy’s warm, all-embracing, irresistible personality that is the biggest star here. The instant she walks on stage, the first smile, and you can’t help but like this girl. Her spoken word tale of a life spent swiping right, swiping left, thinking how you can fiddle your Young Persons Railcard and watching her friends and relatives get married off and have babies, is hugely relatable to the youthful audience she attracts. The stories of her extended family, their customs and quirks, are as enlightening as they are funny, and the perils of finding a job when you are over-qualified for almost everything and dating in 2017 are depressingly familiar.

The writing has potential, but is far from the polished, finished product. It needs judicious editing to pick out the gems and run with those and weed out the superfluous bits. The use of projections of texts, Instagram posts and Tinder profiles, help to punctuate the story, the emoji equations are less successful in eliciting the laughs.

If this were fleshed out, with other characters, there’s sit-com potential here. With a performer as endearing as Mercy, a young woman with a bright future, this could develop into so much more.

Runs until 27 August 2017 | Image: Contributed

This review was originally written for The Reviews Hub