Kill the Beast: Director’s Cut

“Kill the Beast? I’ve heard they’re very bold.” This is a company that always know how to deliver an entertaining show, even if it contains demonic possession and people vomiting up kitchenware. Expect laughs, gasps, and a lot of wig changes as this Fringe favourite take on Hollywood horror.

Working on the final scene of their movie, the cast of ‘Rosemary’s Baby’ are struggling with depleting production funds, disappearing props, and the mysterious death of their former leading lady. As they rush to the end, things start to go awry and it becomes apparent that the flickering lightbulbs and bleeding walls aren’t just the techies messing around.

The audience are both in stitches and on tenterhooks as the atmosphere of the show swings as manically as a chimpanzee from comic satire to genuine spooks. While the story does seem to stumble towards its end, the overall production is a satisfying spectacular of stage craft. For all its silliness, ‘Director’s Cut’ is performed with boundless energy; the cast are so adept at quick costume and voice changes that it’s hard to believe that there are only ever four people in the show (perhaps clones are involved). The performances are as tight as lyrca and with fatally, infectiously catchy songs throughout. It’s a show to get your foot tapping and hand reaching slowly for a crucifix.

The use of multimedia aspects, such as screens, allowing the audience to simultaneously watch what happens onstage and backstage, is genius. It not only opens up more avenues for comedy but is also a great diversion tactic as a lot of the prop humour and horror on stage relies on the sleight of hand of the actors. With all the swapping and swiping it is impossible to keep tabs on everything happening at once – and I tried. In the end, it’s best to just sit back and let yourself be dazzled by the sensational talent on display.

Grab your scrubbing sponges and totally legitimate filmmaking award, ‘Director’s Cut’ is a must-see!

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Zoe Robertson

Literature student at The University of Edinburgh - interested in new writing and voices.

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