Fringe Review: BLISS, Grand at Pleasance Courtyard
Photo credit: Marc Brenner
Bliss is being billed as the Fringe’s biggest musical and that much is definitely true. There's a big cast, big production values and it's selling out one of the biggest venues at the Festival. Set in a fairytale world, it tells the story of four princesses who are locked in a tower by their father after the death of their mother. One day, they escape into the real world. Will they stay true to themselves or be tempted by the beauty that magic can bring?
The songs by Emma Lively and Tyler Beattie are energetic and sit alongside other contemporary musicals neatly. Some of them will certainly become popular audition songs. Their book, however, lacks imagination. The plot feels like it's just an amalgamation of classic fairytale tropes rather than having anything unique to say. Some of the language feels quite American (the show originated in the USA after all) but a little more effort to adapt the show in British English, especially given it's performed with British accents, wouldn't have gone amiss. It also doesn't feel like any effort has been made to make the show a one act Fringe show - it's very much presented as a two act musical without an interval.
Where the material lacks creativity, the production definitely doesn't. Jason Ardizzone-West’s set design fills the space and is used very effectively to create a multitude of locations. Paloma Young’s costumes are wonderfully colourful and add a modern edge to classic fairytale costumes. Jai Morjaria’s lighting is great fun, filling the backdrop with colour whilst not using projections. It is a little disappointing, however, that the transition that is built up to in the show doesn't happen on stage and we never get to see the grand royal ball.
Akshara Gunda gives a star-making turn as Princess Piper, with great stage presence, brilliant characterisation and powerhouse vocals. Matilda Shapland is delightful as the animal loving Princess Holly, Miriam Nyarko brings to life warrior Princess Faye with strength and an undercurrent of grief, and Alexandra Emmerson-Kirby hits the high notes with ease as Princess Carmella.
Cameron Johnson is fantastic as the King. For a role that could easily come across as villainous initially, he makes sure that we can see this actually a loving father who longs for the best for his daughters. Tom Bennett combines campness with villainy perfectly, with some wonderful vocals throughout. Jordan Galloway is delightfully pompous as Prince Devin. He leads large company numbers with confidence and charisma.
Bliss is a big budget spectacle - a feast for the eyes with a very talented cast. It's just not the most unique musical you'll find at this year's Fringe.
*** Three stars
Reviewed by: Jacob Bush