#edfringe2016: Ghost Quartet: Summer Hall ★★★★★

Dave Malloy - Photography by Ryan Jansen

A 9pm showing of Ghost Quartet, by Ghost Quartet, was how I spent my last night at the Edinburgh Fringe Festival. Set at the Roundabout, a large tent at the back of Summer Hall, encased musical curiosities and explorations of ghost stories read to fringe audiences in a spectacular blend of music styles. Jazz, slow rock, gospel, ballad or emo, call it what you want, but one thing's for sure and that's that the music is a collection of crafty creativity you've never heard of before. 

The music and lyrics were composed and written by New York-based Dave Malloy, and he has accolades to boast. Success from his off-Broadway hit Natasha, Pierre & the Great Comet of 1812 grabbed punters attention, and Ghost Quartet is a testament that his individual score writing prevails. 

There in a carpet floored, round swirl of eager music lovers, Molloy, Gelsey Bell, Brittain Ashford and Brent Arnold took to the small circle stage facing each other with a wide range of peculiar instruments at hand. This included an erhu, dulcimer, ukulele, Celtic harp, metallophone and their exhilarating, harmonising voices.

As the marketing suggests there are moments where audiences are left in the dark, encouraged to listen to the music for itself and pay attention to the pivotal details of the ghostly tales. However, the performance as a whole isn't linear or perhaps it is and I may have missed the punch; there are patchy mentions of a broken camera, a talking bear, a Thelonious monk, an astronomer, a man that dies in a subway and lost sisters reunited, but all seem unrelated, and somehow related. 

Arnold is an intelligent cellist. Malloy is the man with a capital M - a pioneering rhythm-maker, while Armold and Bell produce the most amazing vocal sounds that can bring you to tears in their solo ballads. 

Engaging talent, enthusiasm, and passion are harmoniously harnessed by Ghost Quartet. I'd highly recommend this to anyone who loves soul and the idea of clapping and stomping until their hands and feet hurt, to the sound of loud percussions instruments. 

Edinburgh Fringe 2016 has ended, but click here to find more information about Dave Malloy and hear samples of Ghost Quartet here.

#edfringe2016: The Snow Child - Bloody Chamber Opera ★★★★

Helena Moore sings as the Snow Child - Photography by Johannes Hjorth

Owain Park, a young composer literally at the end of his final year studying Music at Cambridge University, presented his chamber opera The Snow Child at this year’s Edinburgh Fringe Festival. His eerie, bleak musical landscape instils the haunting story of a count and countess and their encounter with a beautiful snow child in the dead of winter. 

Adapted from Angela Carter’s fairy tale from her short stories book The Bloody Chamber, Park captures the disturbing, dark shadows that befall the innocent snow child. Gareth Mattey’s staging was minimal. Paper was sporadically laid on the stage with moody lights above, alluding to icicles and setting our frosty scene.

With a unique chamber orchestra and six talented voices, which include three narrators, the music is unsettling, atmospheric and distinctive. Through the poetic chamber score, the opera subtly combines with splendid solo passages from its singers, which hint on the macabre and ghastly nature of the short tale.

The musicians of the performance (currently waiting for official names from the company) I saw at Edinburgh’s Paradise in Augustines were superb. String, percussion, and woodwind instruments had their own place within the score that evolved into a variety of textures and intricate details, highlighting the sinister winter’s journey. 

Peter Lidbetter and Amber Evans gave fine performances as the count and countess. They evoked their characters well – a passive and lustful count besotted by the naked child in the snow and a green-eyed countess. The narrators, Hannah King, Ed Roberts and Sam Mitchell, also provided interesting vocal colouring as a group ensemble or solo act. Yet, Helena Moore provided the purity and virtuousness of our Snow Child. Dressed in white, her voice conjured the angelic and naïve victim, the counter balance of the count and countess who eventually murder and ravage her. 

Amber Evans sings as the Countess - Photography by Johannes Hjorth

Intriguing as this new work was, however, I felt that surtitles or a libretto at hand would have been beneficial. At times I felt out of the loop and unsure of where we were in the story.

Before we were introduced to the opera, Moore sang Marco Galvani’s work The Deserted House, a poem written by Alfred Lord Tennyson, to open up the evening. Acting as a warm-up and neat pathway into The Snow Child, it wasn’t as inspiring or stimulating as the chamber opera itself. Yet the intention was there to prepare the audience for a gruesome expedition of grime story-telling.  

Edinburgh Fringe is over, but to find more information about Owain Park, please click here. 

#edfringe2016: Brundibár - Abridged Opera

Children of the Abridged Opera Company perform at Edinburgh Fringe Festival

Brundibár is a children’s opera that was written in a concentration camp in Theresienstadt. In 1942, it was performed there 55 times by Jewish musicians and children. It is a rarity to see this opera nowadays, yet given its duration (hardly 30 minutes) and sharp message of good over evil, there are things to learn and cherish about this historical piece.

I had the pleasure of seeing Brundibár performed live by children of the Abridged Opera Company. The company, originally from Canada, has been touring, showcasing the tale of a brother and sister Pepíček and Aninku. The story watches them agonise over the health of their mother. They decide to sing for money so they can buy milk for her, yet a greedy organ grinder Brundibár chases them away.

At the Edinburgh Fringe Festival, in Paradise in Augustines Church, Tracey B. Atin’s stage was brightly lit with enthusiastic children ready to sing and show the goodness of Hans Krasa's innocent story-telling. Yet there was a subtle and sinister tone to the music, which had you thinking innocence doesn’t prevail after all.

Sung in English, the Children were dressed as if they were animated characters from a folk tale. The setting was a quaint little village filled with helpful animals including a cat, dog, and courageous sparrow. These three animals assist the siblings in scaring away Brundibár .

The scenes flowed excellently together, and the children were a joy to watch. Robert Godden looked villainous as one would expect from a pantomime as the evil organ grinder. Pianist Joanna Shultz and Trevor Pittman, on the clarinet, revealed the intricate layers and multiple meanings in Krasa’s composition. And Erin Armstrong showed respect for the music and gave the children the extra push to perform as best as they could, to which they charmed and showed much enjoyment in.

Productions like these, invented by fringe-like companies such as Abridged Opera, are a great place to restore knowledge for audiences of lost histories with personal voices and spectacular music. It is also a great place for little ones to start out on the stage and become fully engrossed with opera.

To find out more about Abridged Opera Company, please click here for their website. 

#edfringe2016: Theatre Témoin - The Marked ★★★★

The Marked caught me off guard. I knew it was a puppets show, but it was only until after I saw it that I realised that it had a special message about child abuse and alcoholism. Theatre Témoin has worked together with Everyday Theatre Cheltenham to raise social issues in an inventively raw way.  Its masks, designed by Grafted Cede Theatre, may be grotesque, yet their eyes and expressions are completely human.
  
Set in London’s groggy back streets and alleyways, Jack sleeps rough and sees demons whenever there’s a bottle of alcohol in front of his eyes. Theatre Témoin creates dramatic imagery of Jack’s horrific past through a puppet-made mother with blood flowing through her eyes and long spider-like arms whenever she takes to the drink.

There’s loud noises (you might want to cover your ears), and strobe lights in violent domestic scenes shown through neat and sharp puppetry work. The most unsettling scene is seeing Jack’s mother break a bottle and stab Jack, the little puppet boy, on the neck. Yet there’s a tiny bit of humour with talking Pigeon puppets, some that come in human-size as Jack’s company on the lonely streets. 

Not everything seems to make sense in The Marked, but that’s not necessarily a bad thing. The moral of the story is clear - drink responsibly, especially if you have children, but also remember that children soak things up fast from a very young age, which eventually creeps up with them later on in their adult life. 

Director Aillin Conant gives us a lesson worth remembering, and its cast shake and move on the stage with energy and dynamism. Extraordinary performances are worth naming here. Dorie Kinnear plays the pregnant girlfriend who hides away  in squatting areas with her abusive boyfriend, played by Tom Stacy. Bradley Thompson is a vital force performing the role of abused victim Jack. His character is much to sympathise with, and he cleverly captures the soul of a boy seeking his mother’s love. 

In The Marked, the imagination is there to raise these issues to a broader audience. For topics that can often be difficult to discuss, Theatre Témoin breaks the foil and allows its audiences to have a larger debate about it. 

This show has ended at the Edinburgh Fringe. More information about Theatre Témoin can be found here. They are showing The Marked in London, Cheltenham and throughout the UK until Spring 2017. Click here for more information. 

#edfringe2016: Manual Cinema - Ada/Ava ★★★★

 Lizi Breit (Ava) and Julia Vaarsdale Miller (Ada)

Ada/Ava by Manual Cinema is a quirky presentation of shadow puppetry and emotional sentimentality, and there’s no hiding from its creators; they reveal the creative process live to the audience as it happens. Manual Cinema takes you on a surreal journey of two elderly twins, close as best friends, ever since childhood, until one of the sisters dies.

It is the sad realisation that Ada and Ava are no longer together, which devastates and resonates the most with this show, which Manual Cinema captures beautifully through its touching narrative and unique artistry. 

Directors Drew Dir, Sarah Fornace, Ben Kauffman, Julia Vanarsdale Miller (who also performs as Ada) and Kyle Vegter have been successful in North America and won an award in 2014 at the Tehran International Festival. They made their European debut at this year’s Edinburgh Fringe at the Underbelly, which had many audience members give the theatre company a standing ovation on the day I attended. 

The craftsmanship takes place on simple projectors with ready-made images for projecting onto a large white screen. Below Lizi Breit (Ava) and Julia Vaarsdale Miller (Ada) mill around, creating the story of the sisters with various masks, hair buns and old granny clothes to match. 

Ready-to-use cut-outs and stencils are carefully placed to show the audience an animated tale of life, death, and memory. Flying back to their youth, the twins are shown playing fondly together in the sea, watching their feet catch the splashes of waves, yet melancholy arises when the dead sister becomes a skeleton - a fear the other sister doesn’t want to accept. 

Musicians Maren Celest, Michael Hilger, Kyle Vegter and Alex Ellsworth play a huge part of the show by creating the solemn, atmospheric music with a guitar, Rhodes piano, cello, clarinet, synthesizer and live sound effects. This emotional tale can be dramatic and deeply philosophical. One may feel the need to call a loved one immediately after seeing this. 

Ada/Ava are not longer showing at the Edinburgh Fringe, but click here for more information about Manual Cinema. 

#edfringe2016: DugOut Theatre - Swanson ★★★★★

Imagine being stuck in the middle of the sea in a pedalo with a bunch of strangers with clashing personalities. The world has ended, there’s no way out of the flood, all you see is endless water and you’re left playing boring games like I spy or never have I ever. Not to mention you’re stuck paddling with a toff, vegan hippy, competitive fitness freak and a, somewhat, know-it-all. Well, imagine no more as Tom Black and Sadie Spencer’s have already written a hilarious play that’s currently showing at the Pleasance Courtyard (Venue 33). 

DugOut Theatre’s Swansong is a bizarre concoction of a cappella singing, swan impersonations and cutting comedy. Watch as these four characters argue, sing and giggle over their post-apocalyptic mess. After carnivorously killing a passing swan, of which the vegan hippy enjoyed devouring, they decide to become new world warriors in hope of rebuilding the next generation. It’s a comical response to first world problems. 

They use a notebook as a place to list things they miss, such as chips and mayo, Provence and moon cups, and write down stories for the new generation. Sadly, the last page is limited down to either Bruce Willis or a poem about plums in your icebox.

Throughout the performance, the foursome sings calming ritual songs with the lyrics ‘Serene swan, beautiful swan…’ which only enhances the founders of the new world story. Ed Macarthur, Tom Black, Nina Shenkman and Charlotte Merriam are remarkable performers, and really know how to add extra punch to Black and Spencer’s words. George Chilcott's direction makes this an original and authentic show, totally worth running to see on the last days of the Edinburgh Fringe festival. 

Swansong runs at the Pleasance Theatre at 5pm until 29 August (not 16). Click here to purchase tickets. Click here for more information about DugOut Theatre. 

#edfringe2016: Magnetic Opera - La bohème ★★★★★

“Fucking Daily Mail” says Marcello as he, Rodolfo, Colline and Schaunard huddle together around a table to keep each other warm. It’s an empty room of hope with a lampshade, bookshelf and table to seem like home, except there’s no heat. The men need each other to keep their spirits high when the economy isn’t great in their pocket. Magnetic Opera teleports the frostiness of Puccini’s much-celebrated opera, La bohème to Lauriston Halls at Edinburgh Fringe, and it has all the imagination, talent and stage trickery to bring the Parisian 1830s to modern-day poverty.

Director Thomas Henderson’s production encompasses 360 degrees of talent from soloists, lighting design by Tom Turner to the orchestra of Magnetic Opera. Calum Fraser draws out the luster of Puccini’s score with Magnetic Opera's nine musicians, who perform with grace and fine detail. For Lauriston Halls, their musical touch is more than enough to capture Puccini’s music mastery. 

Francesca Matta and Ian McBain perform La bohème –a tale of love and lost in poor and cold conditions – as the lovers, Mimì and Rodolfo. Unexpected, Mimì knocks at Rodolfo’s door to ask for some light and they instantly fall in love, but love is torn apart when Mimì dies from the cold. This sentimental opera is performed heroically and touchingly by Magnetic Opera. All young singers charm and beguile the audience with amazing vocal flair and tenacity. 

McBain’s sings one of the most famous and romantic opera arias "What a cold little hand" with beauty and lyricism while Matta performs ‘Yes, they call me Mimì’ with sweetness and tremendous vocal power. James Schouten and Catriona Hewitson provide animated interpretations as macho Marcello and temptress Musetta - the parallel couple who swear and shout at each other even if they adore one another. 

After enduring Musetta’s flirting with every man at Café Momas, singing ‘When I go along’, Schouten’s Marcello caves in and sings delightfully with her and the gang including Jerome Knox, Sam Carl, Christopher Head who perform as Schaunard, Colline, Benoît and Alcindoro. 

Perhaps La bohème is the perfect type of opera to perform at the fringe. Think about it. Fringe is about performing artistic creativity, storytelling and presenting talent and expertise with very little budget, without the prettiness and polish of a grand establishment. Puccini encapsulated the aftermath of the revolution in France with artists struggling to make ends meet, and, as we know, through independent festivals like Edinburgh Fringe talent and passion for the arts is worth sharing to everyone, on any type of stage. 

Magnetic Opera are performing at 6pm on the 26th and 27th at Venue 163. Edinburgh Fringe Festival. Click here to books tickets. Click here for more information about the company. 

They are performing a new production of The Medium at London's Barons Court Theatre. Click here for more information. 

#edfringe2016: Katie Brennan's Quarter-Life Crisis ★★★★

 Jimmy Jewell and Stephen McGill present Katie Brennan's Quarter-life Crisis at the Underbelly – George Square that has toured around the Fringe scene and settled in Edinburgh for the last three weeks. What’s a quarter-life crisis anyway? I had to think about it because I know what a mid-life crisis is. It means 25-years-old, right? 

Being a twenty-something means (or meant) something different to everybody.  For Katie Brennan, it’s everything from finding any job in the big city, impressing the boys in the bedroom, trying to not misbehave at your best friend’s wedding, (but failing badly,) keeping up with Carrie Bradshaw trends on a budget and dreaming to be whatever you wanted to be – that is if you have a clue of what that is exactly. Paying expensive rent or dealing with unexpected stains on your satin dress comes part and parcel for Katie unfortunately.

She sings great songs performed with pianist Joseph Atkins. Her vocals sound as if they had fallen out of a musical, and she is a joy to listen to. Atkins also composed the musical slash cabaret tunes with witty lines that literally shoot at you when you least expect them – he is brilliant on the keys. The gags and humour can be graphic and too-in-ya-face, but it’s ideal for an audience awake at 10.50pm with G & T to keep them warm, which Katie pulls out of her bra.

An evening with Katie will not disappoint. It's full of laughs, and one to make you feel nostalgic about 90s pop songs including the likes of Spice Girls, Aqua, Britney, Vengaboys and much more, yet there’s also a touching source of hope and positivity to give the folks some life lessons. That includes killing our insecurities as if they were vampires and goblins and singing Doris Day’s Que Sara Sara, with the audience, to wash away the blues.

The show is going on until 29 August 2016 at the Underbelly - George Square. Click here to purchase tickets. 

#edfringe2016: Unseal Unseam, an electroacoustic opera - A White Boy Scream Production★★★★★

In the United States, 20 people are physically abused by a partner every minute, and 1 in 4 women in England and Wales experience domestic violence once in their lifetime. These disturbing numbers indicate the injustice that takes place at home, in private, and the lack of voices that are never given the chance to speak before it is too late. Straight from the West Coast, Unseal Unseam, by A White Boy Scream production, is an artistic performance showing at Venue 13. It comprises of many art forms, where the experience is, unbelievably, palpable, leaving audiences emotionally exhausted by the end of it. (Well, that’s how I felt anyway!)

Director and scenographer, Shannon Knox provides a mash-up of improvised music, opera, film, art installations, voice techniques and graphic imagery. Sound designer William Hutson, and videographers Giuliana Foulkes and Asuka Lin work with Knox to make it all happen. This immersive experience makes audiences feel so many things, including anger and hatred for the male figure in the film who causes physical pain to our vulnerable victim Judith.

Composers Sharon Chohi Kim and Micaela Tobin have dished out parts from Bela Bartok’s Bluebeard’s Castle and Arnold Schoenberg’s Erwartung. The Hungarian and German composers have one thing in common, which includes melodrama and atonality; it is the way that their intense and highly atmospheric music feel real and seem to happen before your very eyes. 

Being a big fan of Bluebeard’s Castle made it easier for me to see some parallels between the abstract objects used in this performance and the many rooms Bluebeard’s wife enters before her ultimate demise in the opera. In a similar way, the stages of objects are utilized with deep effect. Armory, Blood Garden, Domain and Lake of Tears are just a few of these stages written on a piece of paper in real time, by the man behind the screen. At the same time, different types of torture take place on video, from wrapping aircraft cable around Judith's head to painful teeth flossing – the tortuous type that leaves blood on your lips. This grotesque list goes on.

Judith - the innocent victim - is performed by Tobin with stage wife Sara Sinclair Gomez. Both in long dresses, they move across the stage as the performance moves with the cycle of domestic violence. They produce beautiful vocal sounds in one duet, which goes back to Shakespeare’s Othello, specifically Desdemona’s Willow Song – it is the point where she knows her aggressive and jealous husband is about to murder her. There is a poignant scene where Sinclair Gomez looks as if she is suffocating Tobin. This reminded me of the harrowing moment the Moor attempts to kill is pure wife.  

From start to finish, there's five contact microphones active on stage, which heighten the sounds and echoes of each object: coins dropped in a jar, five foot long chains bashed onto the floor, sand poured onto the table and two butter knives repeatedly stabbing a white panel. The experience is uncomfortable and unsettling. Audiences won't come here for a good time, they'll come to learn and experience something new. Unseal Unseam is a political piece of art about domestic violence utilizing a kaleidoscope of artistic skills, sound techniques and philosophy to bounce onto. It's worth making a loud noise about. 

They are showing at Venue 13 until the 27th August. Click here for more information www.unsealunseam.com and purchase tickets here. 

#edfringe2016: The Mikado - Cat-Like Tread ★★★★

Photos by Tom Paton, assisted ably by Scott Thomson and two very helpful prop masters. https://www.facebook.com/CatLikeTread

Cat-like Tread loves Gilbert and Sullivan and they want to share their magical music world to everyone. Having produced sold out shows, including The Pirates of Penzance and H.M.S. Pinafore, they’ve arrived at Edinburgh Fringe and tickled audiences last night at Space Triplex with everyone’s favourite sing-along-opera The Mikado.

The enthusiastic troupe allowed Nanki-Poo to have his Yum-Yum, eventually. But it wasn’t easy - the drunken stag do and hen party seemed pretty brutal with not-so-pretty hangovers which followed shortly after.

The Mikado is pickle of a story. Nanki-Poo, the Mikado’s son, doesn’t want to marry Katisha, with her dashing elbows and shoulder blades, so he runs away pretending to be a second trombone and falls in love with Yum-Yum, who is already betrothed to the Lord High Executioner Ko-Ko. But Yum Yum doesn’t want to marry the Lord High Executioner and, sadly, she has no choice on the matter, which leaves Nanki-Poo feeling very suicidal. Then as The Mikado demands an execution to take place, as there hasn’t been many going on lately, (which isn’t necessarily a bad thing, but this is fiction, so it doesn’t matter) Ko-Ko chooses to execute Nanki-Poo seeing as he is willing to top himself. The real trouble begins when they all discover that Nanki-Poo is, in fact, the next ruler of Japan, but they have many laughing gags and dance routines before their execution, which never happens because it's a comedy opera!

Directors Rae Lamond and Sarah Whitty have worked hard getting their performers sharp and poised for this fast-paced show. Gillian Robertson is on the mark as musical director as she looks to skilled pianist Jamie Wilson, who performs the entire score, and the chorus of singers and soloists. 

Dance and movement choreographies are tight with sophisticated clapping formations between the ladies of the chorus and talented performer Scott Thomson, who plays Pooh-Bah The Lord High of Everything Other!

Nick Clelland and Anna Thomson give cutesy performances as the lovers. Clelland’s wandering minstrel is weedy, but he has a heart of gold for his true love and sings lyrically throughout. Thomson’s Yum Yum is a fiery minx in a karate outfit who needs her Nanki-Poo. Thomson is a talented singer, which is shown best in her performance in The Sun whose rays are all ablaze in the second act.

Matthew  Sielewicz’s Mikado seemed to have walked out of an 80s movie. His vocals were solid and rich, with Dougal Freir giving an awesome performance singing as Ko-Ko with his very up-to-date execution list – it was as if he wrote his list off the cuff on the day; he sung about 30-year-olds playing Pokemon Go, Brexit, piano organists and those annoying people on a detox, which was a major giggle fest.

Debora Ruiz-Kordova gives a standout performance as Katisha, singing impressively and giving her all into her own characterization of the middle-aged unwanted woman of the court. There were moments in her performance where I saw the Queen of the Night from Mozart’s Magic Flute.

The opera that parodies 19th century British politicians through all things kimono and Japanese is a brilliant show with witty music, which keeps you hooked, particularly if you enjoy tapping your shoes and singing along to some witty lines. Some favourites include Behold the Lord High Executioner and Tit Willow, Tit Willow, and Cat like Tread gives warm, glowing performances for such songs, and more.

Cat-Like Tread are showing The Mikado now to August 27th. Click here to purchase tickets. https://tickets.edfringe.com/whats-on/mikado

Find them on Twitter

Find them on Facebook

#edfringe2016: The Diary of Anne Frank (The Space) ★★★★

Anne Frank played by Polly Ott. (photograph from www.facebook.com/aboutturntheatre)

I remember learning about the Diary of Anne Frank in school when I had never heard of the word ‘holocaust’ before. I remember the profound affect it had on the other children in the class, and I even recall a friend in her teens re-reading it. This is one of the reasons why I was, so, keen to see About Turn Theatre’s very own mono-opera at Edinburgh Fringe.

It is the first show I have seen so far, since flying in from Heathrow this morning, and it is more than I had envisioned. Rather than a simple retelling of a young Jewish girl’s diary and the injustice many Jewish communities suffered in the 1930s, it looks to the future and the lessons of the past. These are the inspirational ideas of its director Sebastian Ukena, where a clever 15-year-old girl wrote the poignant words, ‘I must hold on to my ideals. Perhaps the day will come when I’ll be able to realize them.’ 

At The Space (Venue 45), Anne faces you, smiling and ready to read her diary to you. It’s fascinating to hear the first few words of the diary sung by Polly Ott who gives a bold and strong performance, portraying Anne’s turbulent journey through it all. No doubt - it is obvious - she plays a young Anne, yet her depiction of her is a confident and articulate one, of a girl attuned with her emotions and fully aware of the world that is crumbling around her. 

Her hair is neat, and her jumper and skirt are as minimal as any schoolgirl stripped away from her dreams. After each scene, of which there are 19, Ott brings out a photograph of a child from a different part of the world. This captures the voices of various children who also suffered under genocide and civil wars, and never had the opportunity to write down their experiences in a diary.  

Cypriot concert pianist Stavroula Thoma also gives an effective and thoughtful  performance with an atmospheric score, composed by Grigori Frid, which blends into the words sung by Ott. Together they reflect the highs and lows of Frank’s unstable and petrifying  experience. The scenes veer from happiness, suspense, and fear from her birthday with many gifts, the first notice from the Gestapo and the intensifying scene where the Nazis find Anne and her family hiding in the attic.


With some charming scenes lyrically sung, there are disturbing ones too of a crucial period of history. You won’t be leaving the venue with a happy song to sing, but a reminder of how some parts of the world, unfortunately, haven’t progressed from history’s mistakes. 

More information about About Turn Theatre can be found here:

https://twitter.com/AboutTurnTC

http://www.aboutturn.co.uk

Anne is performed by Polly Ott and Vera Hiltbrunner. 

They are showing at theSpace @Venue 45 from 11th - 27th August 2016. Click here to purchase tickets.