Mr Creep review – a grubby visit from the office pest
To call Martin a character would be stretching a point: he does not actually do very much in this entertaining show, half lecture, half film screening. He is more object than protagonist. He is a symbol of every office pest, every man who gets uncomfortably close on public transport, every bloke with a warped sense of his sexual attractiveness to younger women. He eats a lot of ham.
The show is a product of lockdown when the performer and her six-strong household decided to throw an office party at home, seeing as none of them had an office of their own. They took on roles from intern to boss and Van der Beek came as the office creep. Getting to know the enemy, she found Martin, with his perfumed breath and poor spatial awareness, strangely compelling. What if she could look at the world through his eyes?
Now, reading from cue cards, she takes us through a series of movies, AI-generated fantasies and TV clips to talk about the objectifying lens of the male gaze and men's almost imperceptible encroachments on female space (elsewhere in Edinburgh, Red Like Fruit has a similar theme).
Some sections are more fully realised than others in a show Van der Beek admits is developing all the time, but she has inventiveness and eccentric charm to carry her through, not to mention a particularly disgusting way with processed meat. The show's tone is quirky, messy and wry, even while its message is on point.
At Banshee Labyrinth, Edinburgh, until 24 August
All our Edinburgh festival reviews
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Telegraph
20 hours ago
- Telegraph
How viral dancing videos led to Harry and Meghan Netflix film
A viral lockdown dancing trend has inspired Prince Harry and Meghan's latest Netflix film. Masaka Kids, A Rhythm Within, will be released on Netflix later this year to show how a charity based in a city in central Uganda is helping to provide orphaned children with a community. The Duke and Duchess of Sussex vowed to 'spotlight diverse voices and share uplifting stories' when they founded Archewell Productions and partnered with Netflix. But since then, their biggest television hits have been a six-part documentary about themselves and a cookery and lifestyle show in which Meghan demonstrates how to make balloon arches and crudité platters. Their next joint venture, though, could finally tick the right boxes: a documentary short about a group of Ugandan orphans who have become YouTube sensations thanks to their dance skills. The couple were not involved in the filming of the documentary and is not thought to have been to Uganda. But, like millions of others, they fell in love with the Masaka Kids during lockdown when the group exploded onto social media with a series of viral videos that cannot fail to raise a smile. 'They would watch the videos regularly with Archie at home,' a spokesman for the couple told The Telegraph. 'So, they were already admirers of the organisation before the film project came to them in 2023.' The Netflix documentary will tell the story of how an independent filmmaker, David Lopez, got to know the children over several years, revisiting them in Uganda and filming with them as he volunteered. Mr Lopez partnered with Campfire Studios and Moses Bwayo, a Ugandan filmmaker, to begin shaping the footage into a documentary that eventually found its way to the Sussexes' Archewell Productions. 'When the Duke and Duchess were made aware of the short, they quickly recognised the kids from their viral videos and fell in love with their deeper stories,' their spokesman said. 'Archewell Productions then partnered with seasoned producer Geeta Gandbhir to harness the film's style and tone and ultimately finish the film as you see it today.' View this post on Instagram A post shared by Masaka Kids Africana (@masakakidsafricana) Masaka Kids, which bears the motto 'Dance, Rise and Shine', was founded in 2013 and raises money to support some of the 2.4 million children orphaned in Uganda as a result of extreme poverty, the HIV/Aids epidemic and years of civil conflict. It also provides 'safe shelter, food, clothing, education and medical care' to the 35 children aged two and above currently in its care, as well as funding outreach programmes to neighbouring villages. Suuna Hassan, the founder who spent part of his own life living on the streets, uses music and dance to 'reach out to the world' as well as to 'empower' the children in his care. 'No matter what your background is, you can always enjoy people performing a good dance to a nice foot-tapping number,' he has said. 'It is universal and the best way to send a message. If you look at our videos on social media, you will understand the message we are trying to convey.' Those videos – often set to well-known songs by the likes of Michael Jackson or Dire Straits – have been seen by millions of people, taking the Masaka Kids on tour to far-flung countries. Aside from watching the children's dances with his son, now six, Prince Harry is said to have a 'deep and personal' bond to Uganda through his connection to the Henry van Straubenzee Memorial Fund. Straubenzee, the Duke's childhood best friend, was killed in a car crash near Ludgrove Prep school in Berkshire in December 2002. He had been due to travel to Uganda to volunteer before starting at Newcastle University. Five years after his death, his family set up the Henry van Straubenzee Memorial Fund to support children in Uganda, initially at the school at which the teenager had been due to teach. Princes William and Harry became joint patrons, both supporting the charity's endeavours until it was wound down at the end of last year. The Sussexes' spokesman said they got on board with the Masaka Kids film to 'help amplify their stories and help spread their love and joy even further across the globe'. Mr Hassan is similarly hopeful. He is keen for a larger building that would enable him to take in more orphaned children and recognises the power of the reach such a project could have. 'That is my wish, and I think this could help,' he told the Telegraph.
Daily Mail
a day ago
- Daily Mail
Stacey Dooley and her partner Kevin Clifton look more loved-up than ever after taking to the stage to perform A Ghost Story
Stacey Dooley and her partner Kevin Clifton looked more loved-up than ever as they left The Opera House in Manchester together on Friday night. The documentary-maker, 38, and the professional dancer, 42, had both performed on stage for a special performance of 2:22 A Ghost Story. Stacey cut a stylish figure in a sheer grey T-shirt teamed with light denim shorts and an oversized red cardigan draped over her shoulders. She finished the look with chunky black loafers and a chic handbag, wearing her signature bob loose around her face. Kevin kept it casual in a crisp white T-shirt, grey trousers and trainers, slinging a backpack over one shoulder as he wrapped an arm around Stacey. The pair looked happy and relaxed as they made their way to a waiting car, with Stacey flashing a peace sign for the cameras. The pair had both performed on stage for a special performance of 2:22 A Ghost Story and as they left the show, Stacey cut a stylish figure in a sheer grey T-shirt The couple first met in 2018 when they were partnered on Strictly Come Dancing, going on to win the coveted glitterball trophy. They've been together ever since and welcomed their daughter Minnie in January 2023. 2:22 A Ghost Story sees Jenny (played by Stacey) convinced that her new house is haunted. She makes is her mission to try and convince her skeptic husband Sam (played by Kevin). Stacey's role of the character Jenny, has previously been played by singers Cheryl and Lily Allen in the West End supernatural thriller. Stacey has previously spoken out about the theatre world saying it has an 'element of snobbery'. As she made her stage acting debut two years ago, during an interview on BBC Breakfast, she was asked if she was nervous that theatre critics would be harsh in their reviews. Stacey replied saying: 'I think there has always been an element of snobbery surrounding that world. 'And that's why it's felt like certain sections of society, they can't tap into ... you know I mean, (a) certain demographic. 'But I feel like this play, I like it for that reason, actually. It doesn't feel too highbrow or (like) people (are) sat there with their arms folded, saying, 'right, you know, impress me'. It's an experience and it's a ghost story ... it's quite thought provoking. 'So I'm not too fussed about the critics and again, it's so subjective.' She added: 'You can sort of get into your head and think, 'Oh, am I going to do a good job?'. All you can do is try your best, (and) go for it,' she said. 'And hopefully people enjoy it. 'It's a hugely successful play and it's done so well and I think they've always cast in quite unexpected ways ... like the first it was Lily Allen's role, really, and she just smashed it and she was nominated for an Olivier Award. 'And then, ever since then, I think Jenny particularly ... hasn't been as traditionally cast as other places.'
The Guardian
2 days ago
- The Guardian
Mr Creep review – a grubby visit from the office pest
The clue is in the fingers. Rubbery, bulbous things, they look as if they would leave a trail of slime if they touched you. And they probably want to touch you. They belong to Martin, aka Mr Creep, the alter ego of Theodora van der Beek, all lank hair, faux leather jacket and grubby 70s aesthetic. To call Martin a character would be stretching a point: he does not actually do very much in this entertaining show, half lecture, half film screening. He is more object than protagonist. He is a symbol of every office pest, every man who gets uncomfortably close on public transport, every bloke with a warped sense of his sexual attractiveness to younger women. He eats a lot of ham. The show is a product of lockdown when the performer and her six-strong household decided to throw an office party at home, seeing as none of them had an office of their own. They took on roles from intern to boss and Van der Beek came as the office creep. Getting to know the enemy, she found Martin, with his perfumed breath and poor spatial awareness, strangely compelling. What if she could look at the world through his eyes? Now, reading from cue cards, she takes us through a series of movies, AI-generated fantasies and TV clips to talk about the objectifying lens of the male gaze and men's almost imperceptible encroachments on female space (elsewhere in Edinburgh, Red Like Fruit has a similar theme). Some sections are more fully realised than others in a show Van der Beek admits is developing all the time, but she has inventiveness and eccentric charm to carry her through, not to mention a particularly disgusting way with processed meat. The show's tone is quirky, messy and wry, even while its message is on point. At Banshee Labyrinth, Edinburgh, until 24 August All our Edinburgh festival reviews
