Press

Press sets its satirical sights on Hollywood. Greedy producers, shameless awards campaigning and pretentious filmmakers are attacked with gleeful savagery in a script which makes the most of every minute.

pleasurably wicked

The setup is genius. Two smarmy movie producers discover their latest endeavour is in serious danger of becoming a career-long, or even career destroying, embarrassment. Twitter’s endemic species of social justice warriors have discovered that an African-American historical figure was portrayed as white in the film. A flawless awards campaign has resulted in it being a forerunner for the nominations which are due to be announced imminently, but this blessing has speedily become a curse. Afterall, more media attention on the ruinous mistake is the last thing on the wishlists of those involved. This is the cue for David and his colleague, Kate, to frantically try and sabotage any chance of a “Goldie” nomination. They have less than an hour to try and topple all of their perfectly laid plans and ensure the film is buried and forgotten rather than immortalised as an emblem of everything that’s wrong with Hollywood. Thus, the stakes and time-limit are set, and glorious mayhem ensues.

There is something pleasurably wicked in laughing at the self-satisfied producers as they squirm and scrabble their way through a series of increasingly desperate strategies to save their skins. The plot is a little repetitive in the middle, but this is redeemed ten-fold by the masterclass of a twist at the end. Character development, climax and perfect punchline are all wrapped up into a single revelation in the final minutes. It is a moment of exemplary writing from Nathaniel Brimmer-Beller, who also takes on one of the parts.

Both actors have good comedic timing and commit to their roles. Brimmer-Beller simmers with panic and makes restless use of the entire stage space. Rosie Hart, playing opposite him, maintains her composure and slips easily in and out of a perfectly insincere smile when buttering up bigwigs over the phone. Without ever corpsing or loosing focus, the duo appear to enjoy delivering the wittiest lines as much as the audience enjoys hearing them. The punchlines hit their targets with a topicality and humour which completely justifies such enjoyment. It is a joy to spend an hour watching Press.

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Mama Biashara
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids.
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Performances

Location

The Blurb

It's the big day. The announcement is in a few hours time and film producers David and Kate anticipate their prestigious Civil War epic, Catch Me Some Freedom, will be nominated for plenty of Goldies. Until, however, they learn that the film's heroic lead role, played by a white actor, was, in real life, actually Black. Fearing an intense and career-jeopardising backlash, David and Kate frantically try to keep the film from getting any attention whatsoever. Black Bat Productions (***** (EdFringeReview.com)) returns to the Fringe with this "timely", quick-witted satire written and directed by Nathaniel Brimmer-Beller.

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