Edinburgh Fringe 2016
UTO
Taiko Performing Arts Ensemble YUI
Genre: Live Music
Venue: The Space at Venue 45
Festival: Edinburgh Fringe
Low Down
This is a show that started in a way that is simply unique. If possible I believe that all shows should consider including this in their productions. We begin with one of the performers reading English off his phone to apologise that his wife, who is in charge of the lights, has their infant son with her tonight – so just in case he makes any noise!
The ability of each of the drummers is never in doubt as they show us their dexterity and their ability to keep rhythm, mix rhythm and make it all come together as a delicious whole. The question is whether this is a theatrical experience or not.
After all we have a room which is quite full of people who will expect more than a few people with big sticks banging away. And we get that theatricality. As for the drumming I have a couple in front of me with him tapping toes and banging his thighs along with what he is listening to. She is nodding her head and evidently enjoying the whole experience.
Japan is a country filled with spectacle and honour as well as many things beautiful and dramatic. Here they have brought them to the space at venue 45 and it is a great hour or so in their company.
What I didn’t like was the green drape which is used to hide some of the set changes that happen. I thought it a tad unnecessary and not in keeping with the professionalism and discipline onstage. When one of the performers – the one who apologised at the beginning – appeared in nothing more than what we associate with Sumo wrestlers we are already captured by the choreography, the costume and the spectacle. That was the only time I thought the green drape made any sense but he could have as easily appeared in a number of ways.
Whilst this does not have a story to follow or characters to describe there are performers within it who have a great stage presence. The cymbal player, the young women who seem delighted to be there and the men who seem equally keen to entertain. The fact that the women were fully integrated within it was a massive bonus for me. It was not the girls doing the dainty and the boys doing the heavy work; it was as progressive as it was loud.
Oh and the young child sat and watched. At times it seemed he was only ever upset when there was no noise and we got to hear a whimper. His mum kept the lighting spot on and he was never a distraction but what I saw onstage made a dark and wet night August night in Edinburgh, that bit more bearable.
Review
This is a show that started in a way that is simply unique. If possible I believe that all shows should consider including this in their productions. We begin with one of the performers reading English off his phone to apologise that his wife, who is in charge of the lights, has their infant son with her tonight – so just in case he makes any noise!
The ability of each of the drummers is never in doubt as they show us their dexterity and their ability to keep rhythm, mix rhythm and make it all come together as a delicious whole. The question is whether this is a theatrical experience or not.
After all we have a room which is quite full of people who will expect more than a few people with big sticks banging away. And we get that theatricality. As for the drumming I have a couple in front of me with him tapping toes and banging his thighs along with what he is listening to. She is nodding her head and evidently enjoying the whole experience.
Japan is a country filled with spectacle and honour as well as many things beautiful and dramatic. Here they have brought them to the space at venue 45 and it is a great hour or so in their company.
What I didn’t like was the green drape which is used to hide some of the set changes that happen. I thought it a tad unnecessary and not in keeping with the professionalism and discipline onstage. When one of the performers – the one who apologised at the beginning – appeared in nothing more than what we associate with Sumo wrestlers we are already captured by the choreography, the costume and the spectacle. That was the only time I thought the green drape made any sense but he could have as easily appeared in a number of ways.
Whilst this does not have a story to follow or characters to describe there are performers within it who have a great stage presence. The cymbal player, the young women who seem delighted to be there and the men who seem equally keen to entertain. The fact that the women were fully integrated within it was a massive bonus for me. It was not the girls doing the dainty and the boys doing the heavy work; it was as progressive as it was loud.
Oh and the young child sat and watched. At times it seemed he was only ever upset when there was no noise and we got to hear a whimper. His mum kept the lighting spot on and he was never a distraction but what I saw onstage made a dark and wet night August night in Edinburgh, that bit more bearable.
