Finding a Balance Between Mess and Magnificence
It started when I got into a one-on-one fight with Darth Maul. Let’s be honest: who would turn down a free VR lightsaber duel whilst waiting for your tickets? My expectations were lifted higher than ever.
Later, as the blue text disappeared, my hands gripped the seat. I saw in my peripherals the tentative bite of an eleven pence reduced yule log (looks good, Calum) – the air stood still as a collective held their breath before the all-too-familiar cacophony blared throughout the theatre. It is always breathtaking.
After the film ended, our group reconvened, and before a verdict was even uttered, we were all agreed: this needs a second viewing.
I rewatched The Last Jedi five days later, taking a few nights (and train journies) to process my response. I soon became aware of a growing negative backlash, and pondered if this was the general consensus or just a noisy minority?
Continue reading Star Wars: The Last Jedi
As I said in my review of Cloud Avenue, I would like to note that I won’t be giving star ratings to What Do Bears Eat? and Cloud Avenue. I believe I’m in a biased position to accurately give a rating (I mean, I’m not a fan of rating systems anyway but still…) to people I know. I will instead try to deliver a review that provides some constructive critique and, of course, impartial praise. Anyway, enough lazy copypasting: let’s get to it! Continue reading What Do Bears Eat? (Fringe 2017)
Improv needs Improving
I have watched a lot of improvised comedy at Fringe. From university groups like Cambridge Impronauts: Improv Actually to the improv troops of Men With Coconuts, all have managed to tickle me. The same can be said for The Committee, the first improv group I went to see. However, for some reason, The Committee began to make improv feel flat.
Continue reading The Committee: Improvised Comedy (Fringe 2017)
Dark, Immersive Joy
I wanted to experience something immersive at Fringe. While the VR experiences seemed somewhat interesting, reviews indicated that the enjoyment came from the aesthetics rather than the show’s content. So I decided to take a step backwards: a metaphorical step to the seventies where VR was merely a dream and text-based adventure games ruled. Continue reading The Dark Room (Fringe 2017)