Ashling Findlay-Carroll reviews Once, How to be a Rock Star and Back of the Bus.
Once ***
This is a tale of unrequited love, told through excellent physical characterisation and an atmospheric soundscape. The quirky and angular set unfolds to reveal the other locations of a fantasy land—it is a clue to the weird and wonderful world we are entering. Throughout there is an inventive use of the set and auditorium to include the audience in the—at times bizarre—story and create comical moments.
We emphasise with the main character in his plight to woo his intended, and there are some poignant moments. However, sometimes the dream sequences feel a little too surreal and distracted from the main plot line, contributing to the 80-minute running time, which could have been condensed a little.
How to be a Rock Star *****
If you’re looking for a well-ordered, dainty and quiet show, then this isn't for you. Tessa Waters stomps through 50 high octane minutes; part show, part workshop, part dance marathon. Infused with just enough madness to encourage us to jump in wholeheartedly, regardless as to whether we are an ageing rockstar or one in training.
From the high five on the way in, to the moments of pure brilliance provided by the “mini legends” invited to choreograph dance routines with their favourite body part, you cant help but smile, and Waters’ honesty and genuine enthusiasm for sharing her rockstar lessons is heart warming. Audience participation is actively encouraged throughout, and the younger members of the audience eagerly seize the many opportunities to take to the stage and celebrate their unique inner rockstar.
It is joyful to watch the way both adults and children alike embrace such a positive theme. All in all, an hour very well spent!
Back of the Bus ***
The journey begins with a clear character and establishes a story which draws us in. However, whilst the dancers have excellent characterisation throughout, the story is lost along the way. This is a missed opportunity and would have prevented the bus from feeling a bit gimmicky, which unfortunately it does.
This is a nice way to see a bit of Edinburgh, and it is clear that the locations have influenced the choreography but they don't actually add a great deal to the overall effect that couldn't have been created in a studio. The obvious restrictions of such a confined space limit the choreography, which becomes slightly repetitive in places. The other limitation of this “venue” is sight lines: the further towards the back you sit, the more restricted the view, so get in line early to get the full effect!
This isn't a show where you can sit back and be passive: the dancers confidently interact with and charm their audience, and this is the shows saving grace—they are energetic, engaging and just cheeky enough. There are moments where they hit on the magic of this site, but unfortunately this show doesn't quite deliver all that it promises.
All productions are at Assembly's George Square. Check website or programme for further details.
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