Eurobeat –
Almost Eurovision
Glynn Nicholas Group / No Mates Productions – Festival Highlights
Pleasance Courtyard @ 21:45, Aug 2-27 (not 14 or 21), (1hr 30mins), £11.00 (£9.00), £12.50 (£10.50)
*****
There’s something very Marmite about the Eurovision Song Contest, so adoptively, as a mickey taking cover version of the event, this too must therefore be a love-it-or-hate-it affair. Personally, I sit very firmly in the love camp and if you love camp then this is also very much for you.

The venue for this extravaganza (Pleasance Grand) is suitably huge, as is the frenzy the gathered throngs are whipped up into by the time it kicks off. Upon arrival you’re assigned to a nation with the gift of a badge, and before long the auditorium is a sea of excitables waving flags and shaking clackers.

Welcomed in his characteristic wry quality by Sir Terry of Wogan himself, this wonderful addition to the authenticity of the piece makes an audibly welcome launch to the silliness. Before long we are transported live to Sarajevo and welcomed by our hosts for the evening, delightfully played by Mel Giedroyc (a Eurovision aficionado) and some other bloke! Giedroyc’s presence is so perfect for the show; her notoriety reminds the audience exactly how the tongue should be placed within the cheek (firmly), and her skill and experience allows for the outpourings of the drunkenly impulsive audience to be adequately dealt with.

Ten countries compete, and stereotypes are on gallant display. The costumes and choreography are brimming with kitsch delight meaning that there is plenty of whooping and wailing to be had by all. The performance is packed to burst with sight gags and Eurovision references, lovingly sprinkled with a hefty dollop of wardrobe malfunctions and technical hiccups. I have been known to screech with amusement from time to time, but this show caused me to use up over a months worth of high-pitched outbursts in a mere 90 minutes.

As a beautifully modern ingredient, this live Eurovision re-enactment even goes so far as to allow the audience to choose the winning nation with on-the-spot interactive voting. The show does become slightly faulted by its tendency to drag a little during the voting results, but that can only add to its authenticity. So much so that, despite the fact that audience members’ nationality was allocated at the door, I detected that some remarkably reminiscent political voting structures became apparent!

Gather your party, ply yourselves with alcohol, and prepare to caterwaul at this calamitous triumph. This is an absolutely fabulous night out.


by Ian Phillips

The National Student's
2007 Edinburgh Festival Fringe
coverage is supported by