Review: Down the Hatch
- Srishti Ramakrishnan
- Mar 28
- 3 min read
Rating: ★ ★ ★ ★.5
Edinburgh University Footlights’ showchoir production, Down the Hatch, provided a perfect port in the storm on a very windy and rainy night. As we took our seats in Pleasance Theatre, the cast were already milling around on stage in full costume, immediately transporting us to the run-down yet cosy tavern, The Wayfaring Stranger. Tom Beazley’s stunning lighting design added to the vibrant atmosphere, with bare lightbulbs hanging down from the ceiling amidst a wash of warm orange, red, and blue; the design did not shy away from colour throughout the show, creating a rich palette within which the performers shone. Rosalyn Harper and Tihani Shahrudin’s set design was simple yet effective, with wooden tables and chairs which would be fully utilised throughout the show as part of some spectacular choreography. Only a few minutes in, things took an unexpectedly dramatic turn when the show had to be stopped due to a leaking roof (very fitting for an old tavern), but the issue was handled calmly and professionally by everyone involved, and the resulting ‘Caution: Wet Floor’ bucket only added to the atmosphere.
When the curtain rose once again, the cast were greeted with a well-deserved cheer as they seamlessly began their rowdy rendition of ‘Master of the House’ for a second time. The word of the night for me was ‘eclectic’, as the programme traversed multiple genres and languages, moving straight from Irish folk song ‘Téir Abhaile Riú’ to Les Miserables’ ‘Master of the House’ and Chicago’s ‘When You’re Good to Mama’. The onstage band deserves a special mention, as under the capable musical direction of Henry Jensen and Sam Burgess, they brought to life the melting pot of songs, from folk to show tunes and even some country music. The immersive feel of the show was heightened by moments when the cast came into the audience, and it felt completely natural to clap along to the more foot-stomping numbers such as ‘I’ve Got a Dream’. Speaking of foot-stomping, Aaron Venter and Amrit Gill’s outstanding choreography is one of the standout elements of the show, with the cast taking on the versatile styles with ease, from ceilidh steps to ballet-inspired movements to breathtaking lifts. The latter was especially memorable in ‘El Tango De Roxanne’, the Act I finale, which featured an intense tango sequence as well as incredibly impressive lifts.
Whilst every number was distinctive and praiseworthy in its own way, the folk tunes in particular stood out to me, especially the Turkish song ‘Ander Sevdaluk’, which showcased hauntingly beautiful harmonies during its candlelit performance, and was a moment of stillness during an otherwise extremely high energy show. The transitions between songs and emotions were seamless, and I was particularly impressed by how the story was woven together from such an assortment of songs; each character had a compelling identity and interesting interactions with other characters. Every individual performer was outstanding and moved easily between solo and group numbers, but it is testament to the truly ensemble nature of the cast that everybody felt equally highlighted.
All in all, directors Juliet Gentle and Tegan Taylor, as well as the whole production team, cast, band, and crew, should be immensely proud of their show. Down the Hatch is running at Pleasance Theatre until 29th March – make sure to take yourselves down to The Wayfaring Stranger while you still can!
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