In the crapshoot that is the Fringe, Angel’s Share is a sure thing. This is the single malt of the brew of plays which make up the Festival. You know that your are in for a quality performance when you see the name Chip Chuipka, although I confess I would spend good money watching him read the phone book. He inhabits the part of the grieving Robert with balletic ease and a flawless Scottish accent, his movements weaving around the tiny brilliant set by the inimitable Anna Cappeluto.
Stephanie Buxton is compelling and utterly convincing as the prodigal character. She holds her own, and some. This is no small accomplishment opposite the incredible Chuipka.
Amanda Kellock has directed this two hander with sophistication and aplomb. She has brilliantly blocked these two actors on a micro stage in a cleaver seamless dance of give and take. Kellock has worked the nuances in the play with delightful results. It is wonderful to see her directorial skills work on material which is both difficult and rewarding.
We are told at the start that this is a “work in progress,” but with the exception of a slightly over drawn final scene this is a truly lovely work. The give and take of the dialogue is pitch perfect. One does perhaps learn more about the distillation of Scotch whiskey than is absolutely necessary, and the same for the origins of the kilt… I know that with just a little distillation this script will be fantastic with appropriately good colour, body, palate and nose.
I recommend that you rush down to the Fringe ticket office and get into the tiny theatre while the getting is still good.