‘Technically: A Musical’ Edinburgh Fringe Review

‘a brilliantly witty and fun portrayal of the technical side of theatre and will leave you feeling utterly uplifted.’

Technically: A Musical, written by Shannon Hill and Jacob Marshall, sheds light (quite literally) on a too often overlooked and underappreciated part of theatre – the tech team. Following the characters of ‘Lights’, ‘Sound’, ‘Director’, ‘Stage Manager’, ‘Stage Left’, ‘Stage Right’ and ‘Keys’, this show portrays all the work and effort that goes into creating a show. The audience becomes witness to the panic, frustration, excitement, and exhaustion behind the scenes, as well as a technician’s longing for ‘the spotlight’.

This musical is an absolute joy to watch, having the audience fully engaged throughout. Giggles, snorts of laughter and mumbles of ‘so true’ or ‘I feel seen’ are a constant in this audience, a testament to the melodramatic humour and relatability of the show; anyone who has ever worked behind the scenes can feel instantly recognised by Technically. The genius of this show for me is its combination of understated and slapstick comedy, including everything from loud in-your-face sound effects, to sarcastic comments, to subtle appearances upstage. I love how the actors break the fourth wall with facial expressions, inviting us in to share their experiences like an inside joke. Whilst at times this felt a little cliché, this ultimately contributed to the satirical and comic tone of the show.

Directors Hill, Marshall and Assistant Director Charlotte Walton do an excellent job with staging and choreography, providing simultaneously a fun atmosphere and eye-catching visuals. A highlight for me is the use of props, such as the iconic (yet not far from true) big sparkly book of ‘director’s notes’, the blow-up saxophone or the bejewelled worker’s hats (creating a hilarious satire of traditional musical theatre). Moreover, whilst mostly played-down and all-black, costume is used effectively to communicate the show's overall aim of showing how technicians are often seen in the background (as the director stands out).

I must also praise the musical composition and lyrics of Luke Mallon and Faith Gorton. For a student-written performance, the music is fantastic. Each solo is iconic in its own way, for example: Director’s entrance; Lights’ centre-stage solo; and Sound’s stand-out rap. In addition to this, the group numbers are both written and executed beautifully and jubilantly; the harmonies are simply stunning. I love how the keyboard is present on the stage constantly, allowing for spontaneous music, which is both powerful and understated, as well as comedic moments. There is no need for a big band or orchestra; Keys (played by Luke Mallon) was an integral, heart-warming part of this show.

The performers themselves had an infectiously joyous energy which did not dip once. Jolie Rooks’ hopeful performance as Lights is gorgeously and passionately performed. Grace Heron as Sound is simply iconic, portraying her blasé and cool attitude with ease (not to mention the rap, executed with incredible precision and style). Another iconic performance comes from Jess Bell as Director, who really stands out and has the audience in hysterics with her extravagant facial expressions and gestures. Rhiannon Morgan plays an incredibly relatable Stage Manager, full of personality, from her distressed crawling across the stage to her smiling positivity. And of course, Niamh Williams and Emily Power made a brilliant double act as Stage Left and Stage Right with their contrasting demeanours: their duet was powerfully sassy, and a real highlight of the show.

Furthermore, we obviously cannot forget the tech! Mythili Pagedar does not disappoint with her creative use of lights, especially using bright, changing multi-coloured lights and spotlights. This makes tech a noticeable feature of the show. For much of the show, the actors are in the dark and, although this is a little frustrating as an audience member, I can see how this is used metaphorically to emphasise the musical’s point, as well as to make the audience feel a part of it (often being in the light). Overall, I found the show was managed really effectively; there is a clear creative vision which I have to commend (with credit to stage manager Faith Gorton).

This show is for anyone who has ever been told ‘you just do tech’, anyone who has ever told another person ‘you just do tech’, and everyone in between. Technically: A Musical is a brilliantly witty and fun portrayal of the technical side of theatre and will leave you feeling utterly uplifted.

By Emily Sanderson.

Technically: A Musical runs until the 24th of August, at 18:30, Greenside @ George Street (Lime Studio).