In Memory of Leaves, Fordham Gallery Barge

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Since 2013, Natasha Langridge has watched her neighbourhood become unrecognisable. As the developers and their machinery creep ever closer with every passing month, she documents their journey along side her love life. Birds sing in trees as she falls in love with Dave who lives in Korea, and those trees are chopped down as she gets off with her much younger Drama Lover.

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35 Amici Drive, Lyric Hammersmith

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Council block 35 Amici Drive and the pub attached to it are earmarked for demolition. Luxury flats and commercial retail units will replace it, and plans to rehouse current residents are vague. Money-grubbing developers and local counsellors push for “positive change” but those who live there are having none of it.

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Electric Eden, Edinburgh Festival Fringe

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Tommy Eden, a pensioner with a love for street performing since he retired, is dead. Local entrepreneur Alexander Sheldon’s security guards are responsible. Sheldon didn’t like Tommy performing outside his high end spa and leisure centre, but when the guards manhandled him off his patch, Tommy’s 87-year-old body couldn’t take it. Local young people, angry at the rapid gentrification of their town and the death of a local treasure, organise a protest/party in the abandoned club across the road, and everyone’s invited.

Not Too Tame’s Electric Eden doesn’t manage to deliver much of a party, though. Shouty political slogans and several under-developed subplots give a vague picture of a bigger problem, and staging choices fight against the attempted audience immersion. The concept promises a dynamic execution, but the delivery disappoints.

Seven characters at the party are featured, including organiser Greg (Andrew Butler) and Tommy Eden’s granddaughter, Grace (Louise Haggerty). Their stories, as well as those of the other five characters, are gradually presented through disconnected scenes in between dance numbers and party games. The audience are sometimes invited to join the dancing, other songs are tightly choreographed.

An exposition of protest rhetoric delivered down a mic, petition signing and ordering drinks from the bar is too long. Each of the characters’ individual stories only gets a couple of scenes, so they come across as generic snapshots of character types rather than real people.

The audience are provided with chairs so even though director Jimmy Fairhurst wants to create a party atmosphere, inevitably the majority of the audience end up sitting and watching for the entire performance. Choosing a club as a venue adds little with such a clear distinction between the actors and the audience, and the continuous reiteration that this is a party comes across as forced and false.

The performances are fine and there’s some tight choreography, though this also feels out of place with the attempts to create an anarchic/punk atmosphere. Electric Eden tries to be both a genuine party and a play, but the two aesthetics are so diametrically opposed that neither ends up working within the piece.

The whole experience is frustratingly flat, though it shows such promise on paper. With a script overhaul and a clear vision as to what Electric Eden wants to achieve, it would be a stronger piece. As is, it comes across as a confused and undeveloped piece.

Electric Eden runs through 29th August.

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