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Fringe review: The Trophy Hunt

Stories based on real life events are always worth a gander. Yet, usually they are more ‘loosely based’ than anything. 

Enter The Trophy Hunt, a parable of a hunter, his quarry and the people who aided him in the hunt. Remember Cecil the Lion, the dentist who shot him, and the social media firestorm that followed? Yeah, it’s loosely based on that. The issue with this production, however, is not the subject matter, or the performances—all spot on by the way, with high praise to the three leads Graham Mothersill, Natasha Napolea, and Elena Porter.

 The issue here is its delivery, as The Trophy Hunt is essentially three monologues in a trench coat pretending to be a play. This isn’t bad, nor is it good. The largest crime that The Trophy Hunt commits is killing its best and most interesting factors unceremoniously—much like the lion—by keeping these dynamic characters apart. 

One could argue that that is the point, as the perspectives of the hunter, the guide and the lion being kept separate define these characters as individuals. Yet, even though these characters and the performances behind them are admirable, they don’t do enough to hold attention or gain emotional investment.

What could have been an amazing character study in how different people tick, justify their actions, and interact with one another, is watered down into glorified theatre sports—with the end result being not much of a conclusion, but more the theatrical equivalent of three therapy sessions—except one patient is a lion. 

Fringe review: The Trophy Hunt
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