podcast interview

Alongside the glut of generous reviews featured on the main site, there's this podcast interview from the good people from Three Weeks, who also just gave us five stars in their print daily. Huzzah!

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Aeneas Faversham Forever - The Soundtrack

Forever has a rollocking soundtrack, and I'm always being asked "what was that music?" So here's the list in show order:

The Good German - Unrecht Oder Recht
V For Vendetta - The Dominoes Fall
Stalker - Theme
Shadow Of The Colossus - Sign Of The Colossus
Pearl Harbor - December 7th
X3 - Twenty Years Ago
The Lion, The Witch And The Wardrobe - Evacuating London
Pirates Of The Caribbean: Dead Man's Chest - Tia Dalma
Alias (Season Two) - Hitting The Fan
Alien vs Predator: Requiem - Main Theme
Bioshock - Welcome To Rapture
Medal Of Honor - Taking Out The Railgun
Prison Break - The Manhunt Begins
Apollo 13 - Master Alarm
White Witch Doctor - White Witch Doctor
Bioshock - Main Theme (The Ocean On His Shoulders)
Conan The Destroyer - Main Title (Riders Of Taramis)
Van Helsing - Who Are They To Judge?
I Am Legend - Evacuation
Pirates Of The Caribbean: Dead Man's Chest - Dinner Is Served
Van Helsing - Attacking Brides
The Lion, The Witch And The Wardrobe - Main Theme
The Lion, The Witch And The Wardrobe - To Aslan's Camp

This time I've crowbarred some videogame music into the mix, with bits and pieces from Bioshock, Shadow Of The Colossus and Medal of Honor. And Team Dreadful is particularly pleased to get the work of Michael Giacchino into the soundtrack for the first time - it's been tricky finding a piece from Alias that suits the Victorian aspect, but if I can get Prison Break in there then anything's possible!

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five stars from fest

A five star review - and the front cover - from FEST:

Not content with joke-peddling, the Dreadfuls are adept storytellers, weaving a coherent and compelling mystery in amongst the humour. Funny walks and hammed-up accents abound, but the trio also find time for irreverence towards theatre itself.
The banter is sharp, and nothing is spared the knife – every comic situation is, like one of the more unfortunate characters, “completely murdered.”
FEST were also nice enough to treat us to a feature elsewhere inside - Worth Every Penny:
When preparing for their Victorian adventures, however, the history books are left firmly on the shelves. According to David, “A Muppet Christmas Carol is heavy source material for us - and Round the World in 80 Days,” while Humphrey adds Sherlock Holmes and Disney’s Basil the Great Mouse Detective to the list.

Even Die Hard [2] makes the cut – “It’s basically the story of Britain’s rise to industrial dominance in the latter half of the 1830s set in an airport in Chicago in the 1990s – one of the greatest Victorian stories not set in the Victorian era.”
There's even space to add to the ongoing almost-feud with Pappy's Fun Club:
Like everything with Aeneas Faversham, it’s all good spirited, though: Ker relents, “We decided to pick fights with people we like – so when we nemesis each other, we’re at least having a good time.”

Dear The Internet,

I am very disappointed in your commenting ability. Steve and I have provided you ample opportunity to put your tuppence worth in the mix and only people named Chris have been up to the challenge. Let's have a chat.

Have you seen any shows? I've seen a fair few. I think I've probably done more though, if you count Spank! and the Pleasance Press launch (Berkoff's back and he's gonna be in trouble, Hey now hey now, Berkoff's crap). What's the bestest thing you've seen?

Yours E-nnately,

thom tuck, esq

Five stars from Broadway Baby

Hurrah! The first review of the festival, and it's glowing so brightly that you might not want to look directly at (though please do look directly at it, or you will not be able to read it).

From Broadway Baby:
Whoever thought a ‘Victorian sketch show’ would work? Humphrey Ker, David Reed and Thom Tuck – The Penny Dreadfuls – that’s who, and they should be applauded for their ingenuity, comic prowess and real comedic innovation.

Something macabre is happening in the city of London. The Brotherhood have built Tower Bridge to use as a temple under the leadership of Mr Frost, who ‘puts a lot of hours in’ to being evil. People are being killed left, right and centre – for reasons, besides the aforementioned evil nature, that I didn’t quite work out (though I didn’t care). Only second-chance copper McAllister, whose first chance was spent when accidentally ignoring ‘Rule Number 1’ of policing (i.e. not shooting a child in the face), and childrens’ author Rufus Hambledon – he of Jeremy Frog (and all its sequels) fame – can save the day. [...]

An exceptional show has been created here. Not only is it at times snortingly funny, but in form, content and structure it is unlike any other sketch show that I have seen. Imagine a crime thriller inside a gothic horror which bypasses action movies and comedies of manners. Add a significant dollop of stupidness, a smattering of silly voices and some expert character comedy and you just about have Aeneas Faversham Forever.
Click through to read the whole thing.