Pleasance Courtyard – Forth
Pleasance Courtyard – Forth On a plain, small-ish stage, Olivia Zerphy, Paul Lofferon, Emily Wheatman and Sam Rayner of Voloz Collective run around a chair, clutching newspapers and various hats. The high energy the cast radiates is felt from the very first contortion as they use their arms and legs to portray a bed. Scenery is practically non-existent, and yet through the physical comedy of the actors, we are transported into various locations; London, Paris and Switzerland. Likewise, the limited props that are present are utilised exceptionally well so that they represent several things; the newspapers turn into birds,…
Rating
Excellent
In 1960s New York, a French copywriter has a normal, repetitive existence… until an explosion alters his life forever. A whirlwind of a show!
On a plain, small-ish stage, Olivia Zerphy, Paul Lofferon, Emily Wheatman and Sam Rayner of Voloz Collective run around a chair, clutching newspapers and various hats. The high energy the cast radiates is felt from the very first contortion as they use their arms and legs to portray a bed. Scenery is practically non-existent, and yet through the physical comedy of the actors, we are transported into various locations; London, Paris and Switzerland. Likewise, the limited props that are present are utilised exceptionally well so that they represent several things; the newspapers turn into birds, saloon doors and even a nosey neighbour’s window.
This stylish, comic action story cleverly references old spy films, Hitchcock and even Wes Anderson. Our hero, Roger (played by Lofferon), miraculously escapes death several times, once even dodging a bullet as it goes above his head in slow-mo. Next, he is strapped to a rocket and manages to parachute down to land safely, depicting this by impressively holding a handstand before gracefully reclining onto his fellow cast-mate’s back.
The music that accompanies the show elevates the action. Musical Director Frederick Waxman is sat on stage the entire time. He plays fast-paced tunes on the keyboard to enhance the running scenes, increasing the drama. A gentle waltz indicates the audience have been whisked away to Paris, complemented by a red hat and French accents. The actors also make odd noises themselves. From meows, to gunshots, to whimsical rewind sounds, this adds a creative layer of sound and gives the performance a real Fringe feel.
Although the plot is ridiculously implausible and occasionally difficult to follow, the physical comedy is outstanding. One particular highlight is at a race track betting station where Roger places a bet on a horse, despite the 200 to 1 odds. The actors create a stand with their limbs and various different characters pop their heads over the ‘desk’ to show their surprise at the unlikeliness of the horse winning – even Waxman gets involved.
The choreography in The Man Who Thought He Knew Too Much is an innovative feat. The use of the stage is effective and seamlessly weaves movements together. Some moments were lost on me but that didn’t detract from my overall enjoyment of this dynamic and funny show.
Co-written, co-produced, directed by: Olivia Zerphy, Paul Lofferon, Emily Wheatman and Sam Rayner
Original compositions and live music by: Frederick Waxman
Lighting Design by: Jo Underwood
The Man Who Thought He Knew Too Much plays at Pleasance Courtyard – Forth (venue 33) until 28 August. Further information and bookings can be found here.