Big Fish first premiered in 2013, based on Daniel Wallace’s 1998 novel and Tim Burton’s 2003 film. The show centres around the Bloom family, focusing on the relationship between father Edward, and son, Will.
The Royal Conservatoire of Scotland are in their 18th year of producing musical theatre at the Edinburgh Fringe, and this year their production of Big Fish is a full-scale ensemble show. Unlike most fringe shows this has a full band, a huge cast, props, set, and a multitude of costumes.
Tom Cooper’s direction is tight, and the show has momentum throughout, there’s just a small faltering in pacing toward the end, but I feel this is due to the material – the ending feels rather drawn out – rather than direction. The stage is completely full for the musical numbers, with so much going on at times you’re not sure where to look.
The score is exquisite, and the band perform this spectacularly – although, there are some moments in which the dialogue is drowned out by the sound of the band.
Claire Halleran’s costumes are varied and plentiful. She brings the supernatural aspects of the show to life, with cohesive and effective designs. Characters are dressed in scrubs for a large part of the show, and I understand budget and time restrictions, but I feel a shirt or jacket thrown over these would have better concealed the hospital-wear look.
To the side of the stage is a desk which is used to make sound effects – whilst inventive additions, this is at times distracting to what is happening on stage.
This is an excellent production of Big Fish – it is exciting to see fresh new talent, and the performance standard is incredibly high across the board; with stand out performances coming from Liam Bradbury, Zachary Ammon Peterson, and Linzi Devers – the latter of which displays sensational vocals. This production has a West End polish to it, and is a great way to start your day at the Fringe!
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{🎟 AD – PR invite – Tickets were gifted in exchange for an honest review}
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