Muse may be describing itself as “mayhem” but the show quickly descends into a fun calamity.
Shakespeare is going mad as he is forced to pick just one play to be published. To help, a range of his most well-known characters appear before him to fight for their story.
The heavily repeated premise is becoming familliar. Six being one of the biggest to tackle the format when it began at the Fringe before international success. Where this show fails is its reluctance to commit to the format.
Puck, as a subsconcious, sends Shakespeare to sleep where the characters are summoned. He comes to a quick decision with little reasoning and barely any character proving themselves. At this point the characters turn on him for telling their story. It makes the narrative messy.
Lead writer Lisa Sanderson has used familiar Shakespearean passages and language connected by ordinary Americanisms. Present in every character but played for laughs towards the end when the audience is familiar with the switching speech.
A vast knowledge of Shakespeare’s work isn’t necessary. Muse lifts many of the narratives and arcs directly from Shakespeare’s plays.
Nate Janis’ Shakespeare is deeply troubled and has to tie the rest of the cast together. While it is heavily suggested that the events primarily take place in Shakespeare’s subconscious, there is a point where Shakespeare leaves the stage. This removes him from the situation which should plague him further.
Puck (Thomas Bergamo) is very over the top, relishes in the theatricality and pushes a lot of the narrative forward. He summons Cleopatra (Sydney Diane Kamel), Beatrice (Karis Brizendine), and Portia (Maya Sta Ana) who get small moments to step up and each performer embodies the characters’ key points well.
The MacBeths (Luis Enrique Rivera and Eleni Kutay), King Lear (Dallyn Vail Bayles) and particularly Juliet (Megan Elizabeth Colton) feature more prominently. The never-named, MacBeth and Lady MacBeth get a plot paralleling their show in relation to Shakespeare with King Lear clashing with the pair over the betrayal.
Juliet’s arc is by far the stand out. The rest of the cast hide Romeo’s death, for obvious reasons. The song ‘Romeo’s Dead’ is the most fun number with Puck insistent in revealing the secret. Then Juliet gets to sing her own song all about the tragedy in her narrative. The staging of this as each character turns their back is moving and the vocals are outstanding from Colton. Joking about Romeo’s death throughout, though, diminishes the emotional weight.
The music by Hanna Andréa is mostly forgettable outside of the aforementioned moments. Blocking doesn’t help the score as each number is staged very similarly. The lead singer taking front centre stage while the rest stand around or roam with little narrative value.
As a whole the show is an energetic, fun story that features some very talented performers in a “big Pucking mess”.
Where to Watch Muse
Muse: The Shakespeare Mayhem Musical is performing from 5-30 August (except 17) at 15.40 at Underbelly, Bristo Square with tickets available here.
Brig’s full coverage of this year’s Edinburgh Festival Fringe is available here.
Feature Image Credit: Muse: The Shakespeare Mayhem Musical
Journalism and Film and Media student who loves writing about TV. @darcyrobson07
