There is something infectious in the humour of this lively performer that endeared him to everyone with a warm-hearted show that easily outshone many more professional performers at the Fringe.
From the witch’s garish costumes to the overly simplistic lighting, it all just screams “high school production”.
Mutual A-Gender is a showcase in two parts – “Milkshake” by Sarah Ling, and “Gay by Nature” by Nick Walters, both of which explore gender and the nature of its representation – and performance – in society.
Even without the notion of a theme, Heath Franklin has the natural comic ability to stand up on stage and keep the crowd laughing with his personal anecdotes alone.
This is an engaging, minimalist little play which unites a conservationist and feminist agenda into sad, multi-layered tale.
Despite the title, and Turner’s promotional material, hip-hop is more of a back beat than the main event here. He serves up some very slick stand-up, riffing (and sometimes rapping) on a broad range of themes, and he displayed considerable talent for improvisation.
While the talented acts provide some promise that the scene has started to move beyond the Hilltop Hoods sound, the effort of attending a four-hour show for under 90 minutes of performance is a little draining to say the least.
The show was absolutely delightful. It takes a strong performer to pull off the perfect balance of constant witty banter, tomfoolery and delightfully tight knickers – such a shallow, fickle nature has I; such tight, tight undies has he – but the good doctor manages it effortlessly.
A young woman enters the online dating world soon after her boyfriend of 4 years dumps her, only to experience all the usual problems: misunderstandings, lies, awkward encounters and incomprehensible internet slang.
The high energy pair – in their Hawaiian shirts, hipster leopard shorts and skinny jeans – begin on a high and don’t ever come down in a show that is a “little music, a little comedy, a little hip-hop”.
The delicacy and grace of the dancers and their innovative interpretation of the work (the 5th Symphony) was indeed charming. They brought two worlds together that seem, at first consideration, so very remote.
The show is redeemed in its acrobatics and balancing performances. McDonald’s rope routine is jaw-dropping, and the lack of lycra or sequins in favour of jeans and a business shirt reminds us that these extraordinary feats are also so very human.
It all flowed wonderfully, and the characters are very funny; sometimes so real and familiar, and other times so ludicrous and unexpected, that you either find yourself nodding vigorously in recognition or slapping your hand to your mouth in surprise.
The Elliot Sisters are three cuties with pipes of gold, and together they perform staples of the Andrew Sisters with style and flair.
The man can make a pause as funny as a punchline, and his writing is extremely witty (as carefully as he disguises it with his hilariously stumbling, off-kilter delivery).
