• 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: Teatro Delusio at Pleasance Courtyard

August 24, 2016 by Lake Gregory Leave a Comment

Review of: Teatro Delusio
Produced by:
Familie Flöz
Price:
£11 - £14.50

Reviewed by: Gregory Lake
Rating:
4
On August 24, 2016
Last modified:August 24, 2016

Summary:

A piece of pure theatrical magic, from an excellent full-mask company.

More Details

Teatro Delusio begins as the audience are still finding their seats – the cast move about the stage disguised as theatre technicians, shifting equipment and setting up gags that will delight the audience for the next hour and a quarter of divine slapstick. It is the first of a series of metatheatrical touches in a show where the drama usually kept backstage in the dark is brought into the light – and we are reminded what theatre can do for our ability to empathise.

Photo: Pierre Borrasci

Photo: Pierre Borrasci

Familie Flöz are one of the foremost full-mask companies working today, and here three actors portray twenty-nine characters who pass through the backstage world of the theatre. Some of these cameos are fleeting – a triangle-player who is unable to find the stage is a particularly memorable creation – and others have sustained, affecting character arcs.

It is astonishing, but the frozen faces of Familie Flöz’s masked cast are imbued with a moving pathos, and gain expression from the performers’ use of precise physicality to spur the imaginations of the audience. We recognise ourselves in the simple struggles of these simulcra of humanity. Every moment of physicality contains a level of familiar detail that is akin to brilliant observational comedy, occasionally leading to spontaneous applause from the audience. Interpersonal relationships between the characters are made crystal clear. This is pure theatrical magic, and as such the perfect medium to explore what ‘theatrical magic’ might mean. There is one particularly farcical section where a portly stage manager and the pompous director frantically fight to get both diva and prop baby onstage which provoked roars of laughter from the audience. Yet the moment afterwards, where both stare transfixed onto a stage we cannot see as she begins to sing, is beautiful. For a moment they forget everything else, and they are mesmerised by what is happening onstage – and so are we.

Among the pathos there are also moments of sublime clowning. A ballerina has her headpiece stapled to her head. A puppet is frustrated by the dexterity of its puppeteers. A man’s stomach prevents him from reaching his table of spaghetti. All are delivered with a sensitivity and attention to detail that brings each character distinctively to life.

Near the close of the play a technician, walking offstage numbly after a small tragedy, glances onstage to where an actress is singing “O Mio Babbino Caro”. For the smallest of moments, both he and I broke down. If you’ve never seen Familie Flöz’s work before, or want to see a piece of work that perfectly marries form and content, then catch this show before the end of the fringe.

 

Author: Gregory Lake

Filed Under: Featured, Review Tagged With: Edinburgh Fringe 2016, Familie Flöz, Teatro Delusio

Join the discussion Cancel reply

INTERVIEW / Plain Heroines talks SCRATCHES at VAULT Festival 2023

We spoke to director Gabrielle Bird from Plain Heroines about taking part in VAULT Festival 2023 with their show SCRATCHES   Tell us [Read More]

INTERVIEW / Anthony Clark on SHE

Anthony Clark is the writer of SHE, a new show interweaving the stories of 14 different women in their twenties, [Read More]

INTERVIEW / Thick ‘n’ Fast talks General Secretary at VAULT Festival

We spoke to co-writers and performers Cassie Symes and Georgina Thomas about taking part in VAULT Festival 2023 with their [Read More]

NEWS / Too Much World at Once tour announced

Set against a backdrop of the climate crisis, the debut from Papatango shortlisted writer Billie Collins is a lyrical coming [Read More]

INTERVIEW / Ian Nicholas talks The Elephant Song

Ian Nicholas is a theatre producer, running OnBook Theatre alongside director Jason Moore. He talks here about their next production, [Read More]

Top Posts & Pages

  • Hotel- a new play by Polly Stenham at The Shed, National Theatre
  • Spotlight On: The London Clown Festival
  • London Clown Festival Coming to, well, London
  • Willy Hudson on Welcome Home
  • Athena Stevens on seeing what you’ve turned a blind eye to
  • Is this the real location of Ambridge?
  • Ed Fringe 2016: Lemons Lemons Lemons Lemons Lemons at Summerhall Roundabout
  • Southwold Summer Theatre Season 2022
  • Interview with Theresa Heskins, co-director of "Astley's Astounding Adventures"
  • VAULT Festival unveils 2018 programme!
  • Lake Gregory
    Contributor

  • August 24th, 2016
  • comment iconNo Comments
  • Facebook7TweetLinkedInEmail

    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!