My overall impression
White Hot is one of those rare jewels that artists flock to Fringe to find. This is the product of young, passionate artists collaborating, driven solely by a burning desire to say something. It’s the kind of daring work that should be strived for by all theatre artists and is most definitely a must-see at this year’s Festival. Every element of this production was simple, yet dynamic. The set and costumes, a beautiful collage of blacks, whites and pinks, created a deceptively pleasant atmosphere. The lighting, a carefully constructed series of practicals, added a sharpness, an almost eerie quality to the action of the play. The acting was top-notch, particularly by the two sisters (Karina Wolfe and Michal Sinnott). Each portrayed their own particular brand of idiosyncratic madness. There was an effortlessness to their work. They lived in the characters, casually letting the text escape their mouths. At times, the dialogue moved at an almost overwhelmingly brisk pace, and yet at no point did I find myself struggling to keep up. The precision of delivery, the clarity of intention kept me right there alongside the performers every step of the way. And these elements could not have been brought together so exquisitely without the bold direction of Caitlin Hart. Her vision is fresh, the epitome of beauty in simplicity, and expertly executed. White Hot is exactly why I did Fringe last year, why I did Fringe this year, and why I can’t wait to Fringe again next year. Be sure to catch it before it closes. White Hot is a thrill ride that is not to be missed.
