• Advertise
  • Request Review
  • Write for Us
  • Privacy
  • Login

Theatre Bubble

The UK Theatre Network

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Reviews
  • News
  • Features
  • Spotlight
  • Opinions
  • Interviews
  • Guides
  • Tickets

Ed Fringe 2016: Nel at the Pleasance Dome

August 12, 2016 by Maggie Kelly Leave a Comment

Review of: Nel
Produced by:
Scratchworks Theatre
Price:
£8.50-£10.00

Reviewed by: Maggie Kelly
Rating:
3
On August 12, 2016
Last modified:August 12, 2016

Summary:

Imaginative play about a foley artist, yet slightly disappointing in the foley sections themselves.

More Details

Foley artists are regrettably not a species of thespian that I have had much contact with, hence I was incredibly excited about seeing this art form in action in Scratchwork Theatre’s Nel. However, the marketing for this piece is slightly erroneous; the flyer suggests that we are going to see a foley artist named Nel, whereas the play is actually about four talented actresses – not foley artists themselves – creating a piece about a fictional sound creator. True, these four do use microphones and soundscapes to good effect, but it is nevertheless clear that their talent lies in acting, and not the foley work itself.

scratchworksThe vague direction of the plot consists of outsider and ‘uncool’ Nel, who tries to transform herself by putting on new clothes, lying to new acquaintances about her job and alienating her old friends, before realizing that she was happier when herself and ‘uncool’. So far, so familiar, but Scratchworks have injected originality in what would be a normal finding-yourself tale in the foley aspect of the plot. Sian Keen is fantastic as Nel herself, with Alice Higginson and Laura Doble backing her up beautifully in a number of roles; however, the main star of the piece is undoubtedly Hanora Kamen, whose combination of real emotion as well as comic timing makes her one of the most watchable young actresses I have come across at the Fringe.

The setup itself is equally inventive, but I do wonder whether any of these four actresses had any experience in foley before coming up with the concept of this piece. While well-done, the sounds are painfully simple, and appear in a disjointed one-after-another fashion which something like a loop pedal might have been able to fix, and elevate to another level. I’m not against performers leaving their comfort zones for shows, but for me the disappointment lay in the combination of the marketing promising a foley artist and then the enthusiastic but rather basic skills that were actually manifest onstage. This was even more of a shame when considering the impressive nature of the quartets’ acting ability and the way they manipulated the audience’s gaze with such dexterity. A highlight of this was an early cycling sequence, where we were treated to side, front and birds-eye views of Nel cycling to work in the simplest yet most effective fashion. Again, the use of lighted frames from front, back and side had a similar effect – giving what is a rather static scene a sense of movement and purpose without obscuring the effect of the scene itself. It is only a shame that the main selling point of the play, the sound creation wasn’t up to the high standard of the rest of the piece.

Author: Maggie Kelly

Filed Under: Review Tagged With: Edinburgh Fringe 2016

Join the discussion Cancel reply

INTERVIEW / Silent Faces on Godot is a Woman’s first UK Tour

Silent Faces return to the stage with their signature style of playful and political physical theatre, interrogating permission, patriarchy, and [Read More]

INTERVIEW / Max Rinehart on The Retreat

We spoke to actor Max Rinehart about his experience working on the European premiere of Jason Sherman’s The Retreat at [Read More]

NEWS / Frozen Light celebrate 10 years with Sensory Symposium

The UK’s premiere company for adults with profound and multiple learning disabilities invites industry professionals of all genres and sensory [Read More]

INTERVIEW / Jenny Foulds on Life Learnings of a Nonsensical Human

Performer Jenny Foulds tells us about her forthcoming one woman show Life Learnings of a Nonsensical Human, coming to the [Read More]

INTERVIEW / Monique Touko on We Need New Names

We Need New Names is a defiant and exuberant coming-of-age story follows a young girl from the playgrounds of Zimbabwe [Read More]

Top Posts & Pages

  • 5 Stage Elements to Consider for a Rousing Theatrical Production
  • Katy Owen: Auditioning for Oxford School of Drama
  • Helena Middleton on Ad Infinitum's If You Fall
  • Michelle Visage to join the cast of Everybody's Talking About Jamie
  • Samuel Beckett Festival Rocks the Print Room
  • Much Ado About Nothing at the Theatre Royal Haymarket
  • Yasmin Paige on Actually
  • Jess Mabel Jones on Potential Difference Theatre Fragments
  • Jenny Foulds on Life Learnings of a Nonsensical Human
  • Silent Faces on Godot is a Woman's first UK Tour
  • Maggie Kelly
    Author

  • August 12th, 2016
  • comment iconNo Comments
  • FacebookTweetLinkedInEmail

    Newsletter

    Enjoyed what you've read? Get even more great content directly to your inbox - Completely Free

    About Theatre Bubble

    Theatre Bubble is the news, review and blogging site created by Blue Pie Media and run by a dedicated team of outstanding editors and writers: we're always looking for new contributors - to find out more click here.

    Contact Us

    News: news@theatrebubble.com
    Reviews: reviews@theatrebubble.com
    Website: webmaster@theatrebubble.com

    Privacy Policy

    Copyright © 2023 · Blue Pie Media

     

    Loading Comments...
     

      Share this ArticleLike this article? Email it to a friend!

      Email sent!