Losing the Plot - Edinburgh Fringe Festival (UK)
Reviewed by Justin Clarke
theSpace @ Niddry St - Lower Theatre
09:55 - 1 hour
Suitability: 14+ (Guideline)
Country: United Kingdom - England
Group: Fruit Bowl Theatre Company
Warnings and additional info: Audience participation, Strong language/swearing
- A new jukebox musical from young creatives that will have you bopping along in your seat in the early hours of your Fringe morning -
Created by Fruit Bowl Theatre Company, Losing the Plot is the new Queer Jukebox Musical that takes you on a journey of frustration when it comes to making art, set to pop hits from the 70s and 80s. With writing and direction by Erin Walfisz and choreography by Arista Abbabatulla, there’s much fun to be had with this romp through songs you know and love.
Starting with a rather frustrated writer, Eric Little (Alfie Pullum), Losing the Plot takes us through his attempts at creating the best new musical of this generation. The only problem, he only has three days to do it! After some soul searching through the quagmire of his privilege, Eric decides that he cannot do this alone, and he needs a group of people to help him write, as well as fetch him his coffee. Enter the loveable group of artists, each with their own unique character to add colour to the show.
There’s Emily Rose’s musical theatre obsessed Evelyn, Rebekah Maxfield’s rock chick Scarlet, Katy Hinken’s alien fanatic Stella, Freya Keppel-Compton’s out-of-place physicist Angela, Poppy Crowther’s pompous musician Camilla, and Lauren Lee’s Beck who has her own reasoning for helping out Eric.
Together, this mismatched group of individuals will fight and argue their way to creating the perfect new musical. All the while, Evelyn and Angela’s relationship is thrown into turmoil with the return of ex-girlfriend Beck. The fun thing about Losing the Plot is the uniqueness in each character, it’s clear that each performer is having a blast playing their own individual roles, even if it is 9.55 in the morning!
Walfisz’s writing is simple enough, not changing the game when it comes to a jukebox musical, but she at least makes the songs fit into the scenes for each character to break into song. Abbabatulla’s choreography is energetic, camp and fun, choosing to highlight some of the stronger dancers in certain moments. With the simplistic lighting design, some movement could be developed to fit the simple spots and colours so all performers could be seen throughout, even in the small venue.
For lovers of the musical genre, you’ll giggle at Evelyn’s inability to create an original idea as she jumps around pre-existing material that is great fun at guessing. Keppel Compton has an assured groundedness to her character which contrasts her as the physician amongst the creatives. Crowther sports a powerful singing voice and her moments showing it are highlights, it’d have been useful to utilise her further!
The only gripe I’d have with the production is the ending, the setup of the show revolves around the “All That Jazz” writing competition, and we never do get to see who wins. But at least we see the character come together and change throughout, which is really the main crux of any good story.
There’s plenty of joy and giggles to have as you bop along to some jukebox hits in the early hours of your Edinburgh Fringe morning. Take a chance on a new production from young creatives this Fringe season.