Skip to main content

An Evening With David Hasselhoff Live – Pleasance Grand

3 stars
The mock-up of the Berlin Wall painted with a German flag over-laden 
with peace symbols onstage is the perfect embodiment of East-West 
unification, especially when two dancing girls and a man in a sparkly 
1980s jacket kick their way through the bricks that are holding it all 
together. By this time the beach-balls bouncing around the auditorium 
and the mass onstage Conga has already ensnared a room packed with 
willing worshippers.

But this isn't some iconoclastic melding of east European avant-gardism 
and pop culture appropriating post-modernism. This is TV's best known 
former lifeguard's bombastic solo show, and we are all culpable. 
Opening with a big-screen montage of his greatest hits, Hasselhoff 
enters from the back of the auditorium singing a rat pack style 
rendition of Nina Simone's Feeling Good, before strutting his way to 
the stage for a tea-time diversion of taking stock, Hoff-style.

What this means is a loose-knit narrative from Knight Rider to Baywatch 
to saving the western world. Somehow fed into this are lounge-bar 
versions of Copacabana, You Can Keep Your Hat On, complete with shower 
scene with a couple of blondes in shadow, some out-takes from his shows 
and the real reason behind Baywatch's much imitated slow-motion 
sequences revealed.

There's nothing subtle in the Hoff's self-deprecatory show-man schtick, 
which starts at fever pitch and just keeps on building. Just when you 
think things can't get any more absurd, he comes on sporting a kilt to 
finish the show with a jaw-dropping version of The Proclaimers 500 
Miles. That was the Hoff. He came, he sang, he conquered. Showbiz will 
never be the same again. Until Aug 27th.

The Herald, August 24th 2012



Popular posts from this blog

Suzy Glass – Message from the Skies

Freedom of movement matters to Suzy Glass, the arts and events producer currently overseeing the second edition of Message from the Skies.This animated literary derive around the city forms part of this year’s Edinburgh’s Hogmanay programme, and runs right through till Burns’ Night. Glass’ concerns are inherent in the event itself, which has commissioned six writers from different disciplines and experiences to each pen a love letter to Europe. Each writer has then paired up with a composer and visual artist or film-maker, with the results of each collaboration projected in monumental fashion on the walls of one of half a dozen of the capital’s most iconic buildings.
With venues stretching from the south side of Edinburgh to Leith, and with one city centre stop requiring a walk up Calton Hill, there is considerable legwork required to complete the circuit. It shouldn’t be considered a race, however, and audiences are free to move between venues at their leisure, visiting each site on d…

Kieran Hurley – Mouthpiece

Things have changed since Kieran Hurley first began writing the play that would become Mouthpiece, which opens at the Traverse Theatre in Edinburgh this weekend. At the time, Hurley was, in his own words, “quite new on the scene.” As a writer and performer, he had already scored hits with Beats and Chalk Farm, two pieces that put him on the map with a new generation of theatre-makers steeped in an equally new wave of grassroots opposition that drew from the iconography of revolutions past. Where Beats looked at the politicisation of 1990s club culture, Chalk Farm, co-written with AJ Taudevin, focused on a teenage boy caught up in the 2011 London riots.
More plays followed. Some, like Heads Up used the same solo story-telling aesthetic to look at an everyday apocalypse. More recently, Square Go, written with Gary McNair, dissected toxic masculinity through a school playground fight.
All the while as Hurley developed as a writer, from new kid on the block to established provocateur, this…

Rob Drummond – The Mack

Rob Drummond was at home in England when he looked at the news feed on his phone, and saw a post about the fire at Glasgow School of Art. It was June 2018, and the writer and performer behind such hits as Grain in the Blood, Bullet Catch and Our Fathers initially presumed the post was to mark the fourth anniversary of the 2014 blaze in GSA’s Mackintosh Building, which was undergoing a major restoration after much of it was destroyed.
As it turned out, the news was far worse, as reports of a second fire were beamed across the world. As someone who had taken Charles Rennie Mackintosh’s iconic construction for granted while living in Glasgow, Drummond was as stunned as anyone else with even a passing relationship with the Mack.
While emotions continue to run high in response to the disaster, Drummond channelled his thoughts on all this into what he does best. The result is The Mack, a new play that forms part of Oran Mor’s A Play, A Pie and a Pint lunchtime theatre season in Glasgow prior …