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CLONELY

Theatre

Venue:The Mockingbird, 72-74 Newington Road Edinburgh EH9 1QN
Phone: 0131 466 2041
Links: Click Here for venue details, Click here for map
Ticket Prices: Free  
Room: Upstairs
AUG 4-6, 8-13, 15-20, 22-27 at 14:45 (60 min)
 
Show Image

Clonely is a sci-fi adventure in existential crisis, a blend of bullshit arthouse theatre with nonsense games and DIY props. Expect lo-fi dream sequences, an awkward five-minute docking scene, and rapid oscillation between existential crisis and ridiculousness. Are you scared of dying aclone?

Me Me Me poke fun at the avant-garde, science fiction cinema, the audience, and crucially, themselves, in a mixture of theatre, sketch comedy and audience interaction that blends together into a surreal and anarchic hour long show about space and uh, loneliness. It’s time for the newly awakened clones to band together and discuss the important questions: was billionaire entrepreneur and original clone Don Solus really American? Scorpions? What was that you just said – scorpions? And what does this button do – oh.

Me Me Me Theatre is made up of actor-clown Charlie Hammond and writer-performer Jasmine Chatfield (Northern Writers Award 2017, FLIM NITE).


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News and Reviews for this Show

  The Scotsman
Theatre review: Clonely
Edinburgh Festival Fringe: There are several ­obstacles standing in the way of the Fringe success Clonely deserves.


Its venue and timing, for one thing – the mid-afternoon slot at a ­relatively unknown bar beyond the city centre never did anyone’s audience figures much good. It’s also, arguably, miscategorised in the Fringe brochure and by the performers themselves, Me Me Me ­Theatre. With its audience interaction, surreal characters, episodic narrative and emphasis on laughs, this is the sort of ­experimental sketch comedy The ­Behemoth (aka John-Luke Roberts and Nadia Kamil) excelled at.

The action takes place upon a spaceship populated ­entirely by clones of a tech entrepreneur called Don Solus. We watch two of the clones (Jasmine Chatfield and Charlie Hammond) come out of hibernation and guide their siblings (the audience) through induction, doling out nicknames in the process (Dangerous Don is to be avoided; Shy Don is nigh-impossible to find). As we become more indoctrinated in the ways of clone life, we learn about dark secrets upon the ship, including the tragic deaths of some of our antecedents (shades of Duncan Jones’s Moon) and the existence of a sinister, ­scorpion-themed cult.

Chatfield and Hammond are gifted physical comedians, conveying multitudes with a fixed grin and a flick of the eyes; the scene where they become familiar with their newly discovered bodies is an extended, dialogue-free delight. Other highlights include the most chaste-yet-raunchy sci-fi sex scene of the Fringe, and a glorious montage of death.

By any serious metric of theatre criticism, the show is a failure: the characters are (purposefully) undeveloped; the sets and props (enthusiastically) homemade and unbelievable; the small amount of pathos at the conclusion shrugged off with a smile. All of which make it a glorious success, as long as you judge it as a comedy. Click Here

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