3/19/2024 0 Comments Rat sharpshooterThe performers all did a fantastic job bouncing off of each other, particularly the duo acts of Georgie Llewellyn/Emily Hurley and Melissa Cameron/Aaron Richardson - as well as Kyle Shields playing against everyone not as rich as The Father is. The art department is due a lot of credit, as everything felt high quality on, what I imagine, was quite a tight budget. Ultimately, the cast/crew did a fantastic job with this show and I’m looking forward to what they produce next. The satirical elements were also delivered exceedingly well - to the point where I wasn’t sure if they were satirizing the church/marriage, or if they were satirizing other acts satirizing the church/marriage! I really loved them blurring this line, since they managed to avoid feeling stale and became their own thing. It’s beyond what I expected from this kind of genre, but the effort is well worth it and I really respect A Fool’s Company for taking the time to take their silliness seriously. Even down to character details such as the gay romance, the uptight character hiding lingerie under her ankle-length dress, or having the bride hold decent feminist views off-stage but later show up as a dollar-store Gwenyth Paltrow - every subverted expectation pushes the story forward while also developing the characters. The 4th-wall breaks are all done very tastefully and in the right moments, diegetically commending the hard work of the art department, expressing the stress of playing multiple characters, or lamenting the lack of funding the show had to get made. Will Olympic glory and maybe romance come calling (Source: Viki) Adapted from the novel 'Hello, the Sharpshooter' () by Lian Mu Chu Guang (). But as they spend more time together, he starts to wonder if he isn’t perhaps falling for her. There are double-entendre phrases that show up as a consistent motif, several Spanish Inquisition-styled character reveals, and non-stop plot twists that never get confusing. He cannot seem to understand why his aim is affected by Tang Xin. I love a good Hallelujah audio gag too, so I’m glad that was there. Plotwise, I particularly liked the restraint in slowly revealing The Beast - keeping the audience tense while making them laugh made all the laughing feel dangerous, which made everything funnier somehow. And boy, do A Fool’s Company deliver an incredibly captivating and very, very, silly performance. Much like a Monty Python sketch, the set-up tells you exactly why these people are all in the same room together and gives them reasons to remain interacting with each other - but this tactic is only effective if the actors can pull their weight.
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