The Master and Margarita

This is the top show of my Fringe 2016. It took me back to over twenty years ago when I first read the book and was fascinated by the characters and their stories within a very scary time for the Soviet Union. The show at St Cuthberth's Church and each scene takes place in different parts of the church, so the audience has to move around and follow the actors, as well as get involved in the making of some of the scenes. I could see how Brechtian theatre may have influenced the idea of this particular staging in the sense that as soon as one starts feeling emotionally involved the actors remind you that it is only theatre and invite you to snap out of this state and move on to the next bit. The young actors are all superb and despite the audio problems that a large church may pose, they deliver their lines and project their voices clearly and beautifully. The characters are extremely convincing and the symbolism and metaphoric references of the novel are effectively conveyed throughout. The powerful scene of the party in which the Devil (Woland) appears equipped with silver wings facing the audience, standing before the church crucifix on the altar is extraordinary: the idea of an atheist Soviet Union is completely overturned by this scene in which religious and profane symbols are united in one and serve as a remainder of their necessary existence in people's lives. I think there are only two more shows so don't miss it. Well done guys!

Wow. Just wow. Everything about this performance is stunning: the sophisticated adaptation of Bulgakov's novel; the atmospheric location in St Cuthbert's church; the clever use of low-tech lights and props; and of course the sheer quality of the acting from this young and extremely talented theatre group. Despite the poor acoustics they deliver an amazingly powerful truly immersive theatrical experience that blew our socks off. Quite possibly the highlight of the Fringe.

Breathtaking. What s massive amount of talent. This is an amazing immersive piece. Yes the acoustics could be better but the performances are stunning, I'm sure we will be seeing many of these young actors on the West End stage.

One of my favourite shows at the Fringe - creatively staged inside St Cuthbert's Church by a clearly enthusiastic young company. The acoustics of the church were not ideal (as it is a church and not designed for theatre), but the quality of the performances made up for it.

This is an immersive, interactive performance which rewards audience participation - this is not a show for hiding in the back. Suspend any doubts you might have and just go with the flow, your overall experience will be the better for it.

A superb evening, creatively staged and wonderfully performed by this innovative, talented troupe. Yes, the acoustics are a major challenge in this venue, and the director should never have the actors speaking away from the audience given that limitation (and that could be easily remedied), but the energy never flags from this youthful gang of storytellers, and I am now inspired to read the novel. One note on that: the program handed out should be given at the end of the show given the amount of moving the audience does, and, more importantly, should include Bulgakov's name. Quibbles aside, this production has much to recommend it and is a highlight of this year's Fringe. Go see it.

2/5
Confusing and not helped by the choice of venue. This was a site specific performance in a beautiful, large and very echoing church. The company were using a very low tech approach to lighting - using hand held torches and a few portable, battery powered LED theatre lights - moving from one area to the next. Fortunately I had read a brief synopsis of this complex novel before seeing the show - otherwise I am not sure I would have understood very much at all.

The cast were enthusiastic and the acting was good but this did not detract from many of the restrictions and difficulties imposed by the space that ultimately made this performance a confusing mess. The nave of the church was filled with very long solid wooden pews and there were only aisles at either end and the middle. When the audience needed to move from one zone to the next these space limitations made it slow and awkward. A good promenade performance should naturally lead the audience from one area to the next - either by lighting or because the action moves from one space to the next. The requirement of the cast to break the fourth wall on several occasions and advise the audience "we will next be in the centre of the aisle... Please go down those pews" completely destroyed the flow and atmosphere.

The acoustics of the church are undoubtedly excellent for music - but terrible for speech. Everything echoed and was made quite indistinct - especially at times when action was occurring on a balcony or behind the audience. It made it hard work to concentrate on this, as well as a complex plot shifting times and places and the inability to relax (with the worry about when and where we would next be asked to move to) made this unsettling and unenjoyable.

On the positive side the ball of the full moon was very well done and using audience members as part of the dancers enabled the small cast to swell their numbers convincingly to set the atmosphere. Ultimately though this performance was completely hamstrung by the company's choice of venue and the limitations it imposed. Disappointing.

Saw this evening, Sunday. A day for church going. A difficult book, performed quite well, but hampered by the acoustic of the church. Sometimes difficult to make out all the words. Not really necessary to hear every word, the intent of the scene gives the way forward. Full of energy from the cast, minimal props, but atmospheric lighting. Not knowing the book/play doesn't really hamper enjoyment, but maybe read it at a later date. Do go and see this as it's not performed that often. (sounds like a back handed compliment, not meant to be). Be prepared to concentrate.

Unusual and stimulating if a bit hampered by the acoustics of the space. It definitely works best if you 'get involved' and up close to the action. Probably helps if you know the novel which I do. Felt quite moved and reflective as I left. Well worth a go.

Bulgakov’s novel has a reputation for being impossible to adapt to film or stage. Complicite disproved that a few years ago with a very tech heavy production, so I was intrigued to see how a company that eschews tech would manage. The answer is very well. It’s a promenade performance which moves around the church, at times involving the audience as it tells the story. The production focuses on the religious side of the story, which I’d always felt was the sub-plot of the novel, but given the setting in St Cuthbert’s Church that makes sense. The one flip side is that it slows the start down and marginalises the fantastical. I suspect those that don’t know the novel may have thought they were in for an hour and a half of Christian moralising. Instead we got a very competent telling of the story, showing how good storytelling doesn’t need a lot of tech. James Blake-Butler makes a particularly engaging Satan – as good as you’re likely to see on consecrated ground and is well supported by the rest of the cast. Definitely worth a punt as a late night theatre piece for those who like to think before they go to bed.

First show, first turkey. I think that this was intended to be a promenade performance in the churchyard. Wish it had been; it would have provided an opportunity to slip away unnoticed. As it was it was performed entirely in the church, for which it was stunningly ill-conceived. Acoustics were dreadful, making much of the narration (horror) and dialogue unintelligible. Much of the action took place up and down the central aisle necessitating much twisting of neck and body in order to see what was going on. That gets more difficult as one gets older.

I read Bulgakov’s novel many years ago, and wasn’t entirely sure what it was about. Must try again. This production provided no clarification, although I did get to waltz for the first time in years, and Andy and I got to join a circle of dancers walking around and yelling the occasional ‘Hoi’. (Audience participation).

I highly recommend this imaginative and very energetic interpretation of the complex novel by Bulgakov. The actors make full use of a beautiful venue, with the audience encouraged to follow them and sometimes join in. We were left pondering the strange multi-layered plot with its themes of redemption, control and the role of the author. The venue has its challenges, acoustically and in terms of space, but the cast generally overcame these well.

Felt under rehearsed and didn't respond to the fantastic space in any way. The way the actors broke character (or didn't) when they wanted to move the audience (badly) was deeply irritating and the constant movement was uncomfortable and left some less able audience members with terrible sight lines. Also, tickets are massively overpriced. Young cast weren't without energy just lacking direction or vision.

As a big fan of the book, I went into this with high expectations and I definitely wasn't disappointed. The Master and Margarita is one of the most successfully immersive, physical shows I've seen in general, and the quality of the acting is very impressive all around. I highly recommend this show and I hope to go again myself!