What I liked
THE CREEPS
Wild eyed arachnid greets us in a darken room.
We are invited to explore, but not get lost in the darkness.
We encounter others in the darkness –
A sensual succubus whose breathy whispers of passion carrying the hint of a threat;-
An old man, his arms shaking as if nerve damaged;
A disturbing laughing child-woman, missing her hands, who threatens to murder the baby we hearing crying somewhere near.
One sounds like Sean Connery.
Catherine Waller’s solo show The Creeps first premiered at the 2014 Hollywood Fringe; she has reworked it and is reviving it here in preparation of taking it to the Edinburgh Fringe this summer.
The power of the show, and its artistry, all lies with Waller, its creator and performer. She scuttles over the darkened stage, fills each corner with images of humanity that are unnerving to say the least.
It is interesting to read in her bio that Waller studied both dervishing and clowning in New Zealand, because the characters she inhabits in the netherworld of The Creeps are on the surface farcical, but below are driven by an evil ecstasy we don’t understand.
Waller’s assumption of each of her characters on stage is the magic of the show itself as she affords each an awful artistry in their creation, then provides them choreography with the grace of insanity.
The performance is interactive to a certain extent, and therefore whether each show limps or soars, is, to a degree, beyond her control.
Unless that control is exercised with great subtly.
Waller does not exhibit that type of mastery over her show.
The tale is a loosely woven one of descent.
We go off in search of feeding that unwholesome voyeuristic craving we seem to have, the one that explains the success of scandal magazines and reality TV.
We go deeper seeking “the creeps.”
Seeking what lies in the darkness takes us too far in.
But what else is there in the darkness?
Oh yes, we are
A wonderful show.
For More Fringe Reviews go to The TVolution.com
What I didn't like
this third box
My overall impression
THE CREEPS
Wild eyed arachnid greets us in a darken room.
We are invited to explore, but not get lost in the darkness.
We encounter others in the darkness –
A sensual succubus whose breathy whispers of passion carrying the hint of a threat;-
An old man, his arms shaking as if nerve damaged;
A disturbing laughing child-woman, missing her hands, who threatens to murder the baby we hearing crying somewhere near.
One sounds like Sean Connery.
Catherine Waller’s solo show The Creeps first premiered at the 2014 Hollywood Fringe; she has reworked it and is reviving it here in preparation of taking it to the Edinburgh Fringe this summer.
The power of the show, and its artistry, all lies with Waller, its creator and performer. She scuttles over the darkened stage, fills each corner with images of humanity that are unnerving to say the least.
It is interesting to read in her bio that Waller studied both dervishing and clowning in New Zealand, because the characters she inhabits in the netherworld of The Creeps are on the surface farcical, but below are driven by an evil ecstasy we don’t understand.
Waller’s assumption of each of her characters on stage is the magic of the show itself as she affords each an awful artistry in their creation, then provides them choreography with the grace of insanity.
The performance is interactive to a certain extent, and therefore whether each show limps or soars, is, to a degree, beyond her control.
Unless that control is exercised with great subtly.
Waller does not exhibit that type of mastery over her show.
The tale is a loosely woven one of descent.
We go off in search of feeding that unwholesome voyeuristic craving we seem to have, the one that explains the success of scandal magazines and reality TV.
We go deeper seeking “the creeps.”
Seeking what lies in the darkness takes us too far in.
But what else is there in the darkness?
Oh yes, we are
A wonderful show.
For More Fringe Reviews go to The TVolution.com
