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What's Happening Next

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2015 was quite a year for us with a variety of interesting projects including further development of Wiffyville Royalty - Princess Pumpalot: The Farting Princess (both book, stage show and animation) and the première of our new play May I Have The Bill Please?

2016 will kick off with another film project with Relationships Scotland which we're very much looking forward to. We then turn our attention to the 2016 Edinburgh Festival Fringe (more to follow).

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Seasonal Greetings

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Seasonal Greetings from all the team at Cadies Productions.

Wishing everyone a safe and successful 2016.

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The National Film Archive of India

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In advance of World Mental Health Day (2015) on Saturday 10th October, Breadmakers will be screened at The National Film Archive of India (NFAI).

Breadmakers is a short 2007 documentary film directed by Yasmin Fedda and produced by Jim Hickey and Robin Mitchell. This is a film about a unique Edinburgh bakery, where a community of workers with learning disabilities make a variety of organic breads for daily delivery to shops and cafes in the city. The Garvald Bakery is part of a centre inspired by the ideas of Rudolf Steiner where the workers realise their potential for self-discovery and creativity in a social environment.

The theme of World Mental Health Day (2015) is ‘Dignity in Mental Health'. #WMHD

 

 

Edinburgh Fringe Review MIHTBP?

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This is a review for 'May I Have The Bill Please? (MIHTBP?) which appeared in Broadway Baby on 10th August 2015. Some really nice quotes in this piece.

Like every other animal on the planet, humans need to eat in order to survive, but arguably no other species has developed such complicated social etiquettes around the consumption of food. Anthropologists will explain how, down the centuries, meals have been shared, though largely domestic affairs which have helped reinforce our place in the pecking order. This has become more complicated since some of our meals have shifted into the public space of a restaurant, where somebody else ends up doing the cooking and serving.

Arguably the hardest role is given to Blair Grandison who, as the waiter Samuel, ably portrays his growing stress behind a professional fixed smile.

As the title suggests, Robin Mitchell’s May I Have The Bill Please is focused on that potentially tricky point of any restaurant meal when the matter of payment arises. What is less obvious, at least from the advertising poster, is that the focus of the script isn’t the waiter, but on four diners – two couples who are on what we learn is a semi-regular meal out together. While they’re clearly known each other for years, that doesn’t mean sorting out the bill will prove easy.

In some respects, this has a hint of Men Behaving Badly – albeit “10 Years Later”. It’s a situation comedy, grounded on solid characterisations, that exploits some all-too-believable cracks in people’s relationships while ensuring there’s no fundamental change to the characters by the close. The humour – and this is a genuinely funny show – simply comes from watching how the characters reveal themselves while interacting with each other.

There’s no-nonsense Chris (John McColl), the self-declared “Pilton’s Poirot” who is determined not to pay an additional tip to the waiter when a service charge is already included on the bill. There’s his partner Sandra (Donna Hazelton), increasingly weary of his intransigence while proving equally stubborn – it’s she who determines that, on this occasion, everyone should just pay for what they ate. In marked contrast, there’s keen-to-please Michael (Edward Cory) and Emma (Lindsey Lee Wilson), neither as assertive as their friends, though not afraid to criticise them when Chris and Sharon pop outside for a nicotine boost.

A few stuttered lines notwithstanding – and this was an early performance – the cast are uniformly focused; that said, arguably the hardest role is given to Blair Grandison who, as the waiter Samuel, ably portrays his growing stress behind a professional fixed smile. In a deft directorial stroke, he also shows all the audience members to their seats before the show starts, which helps make you feel a safe part of this particular lunchtime dining experience. Perhaps he deserves to be on the poster after all.

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First Review: May I Have The Bill Please?

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The First review for May I Have The Bill Please? by Barry Gordon for the Edinburgh Evening News.

PICTURE the scene: Lunchtime at your favourite restaurant. You’ve just collected a glass of wine from the bar as the waiter shows you to your table.

* * * *

Malmaison, Tower Place

Nearby, a party of four - two middle-aged couples enjoying an apparently relaxing meal together - are about to settle up the bill. What could possibly go wrong? The answer, plenty.

Set in the ornate surroundings of Leith’s Malmaison Hotel, had you walked into this 45-minute show by accident, you’d swear the diners sitting opposite were anything but actors. (Credit to director Paul Murray for that.) They confer about the service, hold a vote on whether to tip or not, and there’s the usual chit-chat you’d expect of any couples married for more than a decade. The difference is, it’s really funny.

Written by Robin Mitchell, the zappy script is so identifiable you’ll instantly recognise yourself in one, if not all, of the four characters. There’s always one guy who has to announce he’s off to the toilet, there’s always a lady who ends up emptying her entire handbag’s contents before realising what she’s actually looking for is in the front pocket, and there’s always the couple who gossip about the others when they nip outside to feed their nicotine habit.

Sometimes, however, there’s also a big squabble over who pays the bill - think Fawlty Towers meets Men Behaving Badly and you’ll get the idea.

Of course, such arguments over money is where you often see people’s true colours show. It’s awkward, sure, but when you’re the voyeur, it makes for delightful entertainment.

Featuring Paul Murray (the man’s man), Edward Cory (the peacemaker), and Gwendoline North (the nervy housewife who doesn’t want to cause a row), it’s Donna Hazleton who resonates the most as the group’s sassy fuss-budget. Spare some sympathy, too, for Blair Grandison - the harassed waiter.

A great concept for lunchtime theatre, there’s nothing too demanding about the piece. There’s no real big surprises, either, so don’t expect a twist. It does, however, have the potential to evolve, and no doubt will by the time it debuts on the Fringe this August.

Run ends Friday

Read Barry Gordon's review on the Edinburgh Evening News website.

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