RITA DI SANTO assesses the winners of the most politically charged festival to date
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1927 Theatre Company’s innovative style of narrative charms and entertains in equal measure
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MAYER WAKEFIELD is entertained but let down by an audacious production that, sadly, doesn't ring true
MARY CONWAY is disappointed by drama that, despite accomplished performances, cannot overcome an unfocused script
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Edinburgh Festival
Roots
The Church Hill Theatre
★★★★
“A RATHER ragtag collection of folk jokes and stories” presented in “a combination of live music, pre-recorded stories voiced by non-actors, animation, acting and live dialogue.”
Writer Suzanne Andrade’s description of her production hardly captures what must be one of the most joyous shows in this year’s Edinburgh Festival.
The award-winning 1927 Theatre Company’s innovative style of melding images, reminiscent of black and white silent films — the company’s name gives a clue — with back and front projections, “colour” added by the marionette-like live performers, charms all but the most sophisticatedly resistant audiences back to the delights of childhood.
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