text:
Internationally acclaimed Cirque Du Soleil alumnus Sean Kempton displays his diverse and startling, physical, creative, and comedic abilities in this excellent clown show. Inspired by a question from his six year old daughter – "what is love?", Kempton investigates the essence and force of this crucial, essential and human, yet intangible thing. Brilliant, beautiful and hysterical moments roll into one another endlessly, and there's not a moment of boredom in this witty and well-constructed piece. It offers exactly the right balance when looking for something light: funny, theatrical but with a distinctive, meaningful theme. Adults, teenagers, children… it is a show that everyone will enjoy!
Assembly George Square, until 29 Aug.
tw rating 4/5 ⎪ [Lucrezia Pollice]
Hear Mark Thomas discuss his three decades at the Fringe, including some of the best – and worst – shows he has seen over that time. He also talks about how his comedy combined with journalism and theatre as it evolved over the years. Listen to TW:TALKS talking to Mark Thomas here.
Hear Brendon Burns discuss the highs and the lows of his two decades at the Fringe, and what he thinks about Brits who take so much pride in their ability to laugh about themselves. Plus find out why unusual venues and the Free Fringe really work for his kind of comedy, and the audience he wants to perform to. Listen to TW:TALKS talking to Brendon Burns here.
Hear Susan Calman discuss her disastrous first year at the Fringe, and how things have got much better since! Plus pigeon-holing in comedy, and the impact Netflix and Amazon is having on the industry. Listen to TW:TALKS talking to Susan Calman here.
Hear Lucy Porter discuss her first ever Fringe experience, as a comedy dream-maker (and breaker) while judging for the Edinburgh Comedy Awards. Plus find out about her move from critiquing comedy to performing it, and why the Edinburgh Fringe remains such an important part of her year. Listen to TW:TALKS talking to Lucy Porter here.
Hear Mark Watson discuss his theatrical beginnings at the Edinburgh Festival, how the Fringe made him want to do stand-up, and why he continues to come back and perform here each summer. Plus those crazy 24 hours+ shows, why he did them, and how you can keep going for so long on stage. Listen to TW:TALKS talking to Mark Watson here.
TW:TALKS is a podcast where we talk to people from the worlds of comedy, theatre, music, musicals, cabaret and spoken word. There are several series of TW:TALKS each year, usually linked to an upcoming arts or comedy festival. Subscribe to get every edition, or sign up to the TW Weekly bulletin for updates on the latest interviews.]]>
First of all, the brilliant zazU collect their plaque…
Next the magnificent John Robertson…
Then it was ACJ Productions, awarded for their 5/5 show 'Tomorrow, Maybe'…
Next the wonderful Gideon Irving…
And then the inspiring Gaël Le Cornec…
Next we had the marvellous Wil Greenway…
Next we celebrated Electric Voice Theatre for their truly inspirational show 'Superwomen Of Science'…
And finally the team behind Goose got on stage…
The Scotsman presented the final set of its Fringe First trophies to the new plays its critics most rated this year. And the third and final batch was an even bigger windfall for Summerhall, which has totally dominated these awards this year. Summerhall shows 'One Hundred Homes', 'Scorch', 'Growth' and 'Letters To Windsor House' all got a gong, as did 'The Duke' at the Pleasance and 'JOAN' at Underbelly.
Theatre industry newspaper The Stage also dished out its annual Edinburgh Fringe awards this month, which these days are presented throughout the Festival, rather than in one final batch at the end. These celebrate performers and ensembles, with winners including: Kill The Beast for 'Don't Wake The Damp'; Liam Brennan for 'Diary Of A Madman'; Charlotte Josephine for 'Blush'; Penelope McDonald and Emma Romy-Jones for 'Care Takers'; Lucy Jane Parkinson for 'JOAN'; Nancy Sullivan for 'Fabric'; and One Year Lease for 'Please Excuse My Dear Aunt Sally'. Mark Thomas also got a special award.
The Total Theatre Awards, celebrating 'total theatre experiences', also returned this Fringe, with seven awards presented in five categories. 'Ockham's Razor:Tipping Point' took the circus prize; Mauro Paccagnella and Alessandro Bernardeschi won the dance gong for 'Happy Hour'; and Briefs Factory won in the 'playing with form' category for 'Hot Brown Honey'. And there were two winners in the emerging company category – FK Alexander for '(I Could Go On Singing) Over The Rainbow' and Yinka Kuitenbrouwer for 'One Hundred Homes' – and also in the physical/visual theatre category – 'Bildraum' and 'Cock And Bull'.
Onto the Edinburgh Comedy Awards, and you all presumably know already that Richard Gadd took the big prize this time at the now Lastminute.com sponsored comedy awards shindig, while Scott Gibson was named Best Newcomer. The customary Panel Prize went to Bob Slayer and team for the 'Iraq Out & Loud' project.
More comedy shenanigans, and The Malcolm Hardee Awards returned once again this Fringe. Paul Vickers took the main prize for Comic Originality for his show 'Twonkey's Mumbo Jumbo Hotel', while 'Come Look At The Baby' – a show where you come and look at a baby for half an hour – was declared the Act Most Likely To Make A Million Quid. The publicity stunt celebrating Cunning Stunt award went to Becky Fury for flyering on Tindr and bragging about being a Lastminute Comedy finalist, thanks to once being a finalist at a comedy club called Lastminute.
SO YOU THINK YOU'RE FUNNY (pictured)
Some more comedy, and Gilded Balloon's new-talent fest So You Think You're Funny had its final for 2016 last week, with Heidi Regan winning, and Ruth Hunter the first runner-up and Danielle Walker the second.
And don't forget, we presented the ThreeWeeks Editors' Awards yesterday, celebrating the ten people and projects that we think made this year's Edinburgh Festival extra special. And the winners were: zazU, John Robertson, ACJ Productions for 'Tomorrow, Maybe', Gideon Irving, Gaël Le Cornec, Wil Greenway, Bob Slayer, RashDash, Electric Voice Theatre for 'Superwomen Of Science' and Goose.
Photo by Steve Ullathorne]]>
Feeling unsafe and unhappy in her native South Africa, Helene wants to emigrate to New Zealand, whether her husband Gordon wants to or not. Writer/performer Robyn Paterson plays both halves of the couple with good physicalisation, switching between the two characters with quick turns of the head. Unfortunately, that was the only quick thing about this show, as the story never really picks up momentum. With too much time spent on moments that don't drive the plot, it soon becomes a character study of two not very interesting characters. Phone calls to characters we don't see are overused, and these moments struggle to create an emotional response. A well performed piece but a story unsure of what is driving the action.
Spotlites, until 28 Aug
tw rating 2/5 | [Olly Jacques]
'Nel' is a foley artist in the midst of an identity crisis. A foley artist creates analogue sound effects, usually for radio and, whilst this is certainly not the first production to bring this often strange art onto the stage, there were audible gasps at the ingenious effects, including a hot water bottle masquerading as a cat. Sian Keen is brilliantly expressive as the introverted but imaginative Nel, but plot points are lost as the musical numbers are just not loud or clear enough for the audience to follow the narrative lyrics. Scratchworks Theatre are a playful company, displaying moments of truly endearing inventiveness, but the story needs to shine at the same level as their special effects.
Pleasance Dome, until 29 Aug.
tw rating 3/5 | [Francesca Peschier]
If you were given the choice to go on a one-way solo mission to explore the universe and save humanity, would you take it? This is the choice given to Jenny in The Outbound Project's first show, 'The Mission'. Using well choreographed, slick physical theatre and few props, they tell a story that moves easily and inventively from Jenny's flat, to astronaut training centres to tv studios. The script, although well put together with clear storytelling, doesn't make us engage fully with Jenny emotionally. We don't have enough time to get to know who she is and so don't really understand why she makes the decisions she does. Nonetheless, a beautifully visual show from a very interesting company.
Pleasance Courtyard, until 29 Aug.
tw rating 3/5 | [Olly Jacques]
This is audience participation at its most terrifying. Two grotesque, distorted clowns guide you into the room, where you'll be made to sit or stand, as they choose. It makes no difference, however, as even an interesting haircut or a nice necklace could make you a target for their attention. In this nightmarish, fantastical performance, the two performers will interrogate, speculate and intimidate, until you're left questioning all of your decisions. At times it seems completely improvised, until the music kicks in and you realise that we're playing this game exactly as they want us to. One man walked out in disgust, the rest of us ended up spooning each other in a pile on the floor. Come join us, if you're feeling brave.
Assembly George Square Theatre, until 28 Aug.
tw rating 4/5 | [Gemma Scott]
Holly&Ted have created a colourful, inventive show in 'Pond Wife', filled with bubbles, ribbons and massive amounts of glitter. In a slightly confusing narrative – a modern retelling of Andersen's 'The Little Mermaid' – the mermaid heads to the shore to find her favourite pop star, and helps her to write her next greatest hit. It's a charming tale, filled with "girl power" messages and endless lyrics from 90s pop songs. Though, if you spent the 90s listening to more Britpop than Britney and Beyoncé, then some of these references might be lost on you. 'Pond Wife' is a play best suited to a very specific age group, but it's nonetheless an engaging, positive show.
Underbelly Cowgate, until 28 Aug.
tw rating 3/5 | [Gemma Scott]
In 'Octopus', three women are called for an interview, to determine their level of "Britishness" and therefore how much support they're entitled to from the state. There's a white, well-meaning woman who "doesn't see race" and "loves curry"; a young Iranian woman who loves punk and is scared of being deported; and a British-Indian accountant who believes that financial contribution to society should count above race. It's an interesting premise, looking at how race and identify can be classified, though the musical elements distracted from the narrative and some of the humour felt a little forced. In the current political climate, this is a relevant production, examining what it really means to be British.
Assembly George Square Theatre, until 28 Aug.
tw rating 3/5 | [Gemma Scott]
Debs Newbold's storytelling show, 'Lost In Blue', takes us back to basics. Over the course of ninety minutes, she delivers a beautiful and intricate story about a teenager's relationship with her mother, with her father, who is in a coma, and with art. Newbold is a great storyteller. Her performance style is understated but she has a quiet presence and holds the stage, while deftly differentiating characters. Newbold does some amazing things with a microphone and loop deck, conjuring up the soundscapes of a pigeon loft and a ventilator, amongst other things. My only criticism is that the show is too long, particularly for the Fringe; it could be cut by a good twenty minutes. Nonetheless, a thoughtful and well crafted show.
Summerhall, until 28 Aug.
tw rating 4/5 | [Hannah Greenstreet]
'Life By The Throat' is a gripping one-woman show, about the life of one man. Writer/performer Eve Steele is phenomenal as the troubled, dangeous Jamie Keogh. The performance is visceral – Steele prowls across the stage, the young boy's attempted swagger becoming increasingly real. We see him grow up in Manchester, from a young child with bad influences, who loves running and crisps, through a seemingly endless cycle of poverty, violence, drugs, theft, incarceration and addiction. The writing is poignant, taut and charged full of humanity. The story itself is tragic but familiar – an understandable, though not entirely likeable face to put to the prison statistics. 'Life By The Throat' is a moving exploration of how our circumstances shape us.
Underbelly Cowgate, until 28 Aug.
tw rating 5/5 | [Gemma Scott]
'Dublin Oldschool' transports you to the centre of an exhilarating journey through Dublin, fuelled by cheap pills and cheap cans. Emmet Kirwan's electric spoken word script is a sublime poetic achievement, brilliantly capturing the frenetic pace and peculiarities of a rave. Powered by superlative performances from Kirwan and Ian Lloyd Anderson, at its heart, 'Dublin Oldschool' is a play about the impact of drugs on the relationship between two brothers. Amongst all the frenzy and hysteria, the play's finest moments are its most intimate, exploring the irreconcilable problems between the brothers, caused by the elder's addiction to heroin. Examining the delicate balance between not wasting youth and simply becoming a waster, 'Dublin Oldschool' is a piercing, poignant piece of drama.
Pleasance Courtyard, until 29 Aug.
tw rating 5/5 | [John Sampson]
Two old friends meet on a park bench after years apart. He tries to convince her that luck and coincidence actually exist, in a series of scenes acted out by the rest of the talented young cast. These verbatim stories range from the fantastic to the mundane, from a young child mysteriously saved from drowning, to a horse racing win that quickly became a loss. These scenes are all performed in a highly stylised, physical manner, with precise choreography. Unfortunately, the dialogue between the two main characters feels oddly clinical, as he talks to her about her "locus of control", and their relationship feels forced. This is a visually appealing, but narratively disconnected piece of physical theatre.
C venues, until 28 Aug.
tw rating 3/5 | [Gemma Scott]
Physically distorted and entwined bodies create the creatures of Hell in UCLU Runaround's 'Inferno', a new adaptation of Dante Alighieri's epic poem. Two central performers play Dante and Virgil, as they travel through the nine rings of Hell past all the horrors, created by the other six cast members through effective and imaginative physical transformations. The show, rather than having a developing narrative story, is a series of interesting interactions with the beasts, performed with great dedication and enthusiasm. The real highlight is the original score paired with live water projections, which fits perfectly with the action on stage and hugely enhances the atmosphere.
Spotlites, until 23 Aug.
tw rating 3/5 | [Olly Jacques]
This play brings to life psychologist Adrian Raine's theory of how, by 2034, all eighteen-year-olds will be brain scanned to determine their potential for assault or murder; and still-innocent suspects will be locked up in neurotreatment facilities. Four LED panels, a huge industrial light and a pool table create an ingenious set, which perfectly conveys an institutional structure and is additionally complemented by elaborate projections. 'Grey Matter' is a courageous attempt to tackle hypothetical issues which may one day become a reality. Unfortunately however, the story lacks action, the acting is weak (apart from a few exceptions) and there is an overload of unnecessary transitions, blackouts and cast members. I'd suggest researching the subject matter of this play before seeing it, so you can fully appreciate it.
C nova, until 29 Aug.
tw rating 2/5⎪[Lucrezia Pollice]
While the world was going through political revolutions, including the fall of communism, Vica was going through her "Bubble Revolution". This one-woman show will speak to anyone who remembers how, when growing up, every discovery felt like a personal revolution. But in the case of Vica, her fondness for bubble gum and Coca-Cola coincided with a radical change in her childhood Poland, from communism to consumerism. But the aftermath of a revolution is never as hopeful as the event itself. 'Bubble Revolution' shows the personal side of our recent history in a charming, bittersweet and nostalgic way. For Polish people who grew up in the nineties, the play must feel incredibly familiar; for the rest, it's more than eye-opening.
New Town Theatre, until 28 Aug.
tw rating 3/5 | [Aida Rocci]
It was a cosy and inspiring hour I passed at the Scottish Arts Club, thanks to four Canadian poets who shared their latest work there. It was pleasure to see four artists with such distinguished publishing careers collaborating together and creating such a warm atmosphere. We heard depictions of paternal wonder in Steven Heighton's 'A Cosmos', powerful longing in Ian Burgham's 'Eurydice', Catherine Graham delivered exquisite sylvan imagery, while Jeanette Lynes re-imagined John Clare's unconventional life. If you missed 'The Shaken and the Stirred' this year, you can read their poetry in the latest edition of 'Gutter Magazine', also launched at the Fringe. I certainly hope this Canadian contingent will return next summer.
The Scottish Arts Club, until 23 Aug.
tw rating 5/5 | [Jane Berg]
Poetic creations such as 'Middle Aged Men in Lycra' and 'Mediterranean Homesick Blues' appear in this comical spoken word show. David Harmer and Ray Globe command the stage with great chemistry and experienced ease as The Glummer Twins. Their poems are light and humorous, laced with simple, snappy rhymes. It's essentially a nostalgia trip, as the pair amusingly reflect on their lives and the changes in British society since their childhoods. A highlight is their homage to the emergence of hip-hop with their rap, fittingly entitled, 'Middle Class Fat Bloke, Elderly Rapper'. However, their show struggles to find universal appeal, gaining much more traction amongst the older audience members. All said though, it's a fun, unpretentious hour.
Paradise at the Vault, until 28 Aug.
tw rating 3/5 | [John Sampson]
This new opera is gorgeously gothic, a sliver of winter nostalgia in the midst of all the summer madness. I think Bloody Chamber Opera chose their material well – the idea of seeing Angela Carter's macabre short story set to music was hard to resist; especially because it's such a short story, barely 500 words. The opera managed to reach its advertised 30 minutes with a little help from Tennyson, whose poem 'The Deserted House' forms the prologue of the show. This worked well; the aria was enchanting and set a ghostly scene for Carter's fairy tale. And, though the whole felt a little staid, the harmonies in the opening words, "Midwinter – invincible, immaculate," will give you goosebumps.
Paradise in Augustines, until 26 Aug.
tw rating 4/5 | [Jane Berg]
I watched the two computer screens in this performance with increasing bewilderment, as I listened to the dance music accompanying the projections. It started with some pictures, then effects were added and I thought "Now it'll get interesting". But it didn't. The films didn't tell an intelligible story and I just didn't think the music was particularly good. The DJ, seated at a computer keyboard between audience and screens, wore various pairs of glasses with lights on them during the performance but even that didn't cheer me up. It didn't even help when he impersonated a Japanese warrior. Had I been dancing and not sitting in a theatre I may have enjoyed the show more – I'll never know.
C nova, until 29 Aug.
tw rating 2/5 | [Louise Rodgers]
'Once…' is a story about unrequited love and unrequited death. The dreamlike, almost grotesque world that Derevo creates on stage does not appeal to logic, but to visual connections that challenge the rules of reality and beauty. It's better to let go and let it affect you. Yet, although Derevo's clowning style is smart and developed, the characters are fascinatingly constructed and the design is very special, the emotional impact of the story gets lost at some points. Without that emotional anchor, it's hard to latch on to the story and remember the images. Still, Derevo is a seasoned sailor in the clowning and physical theatre waters, and manages to create an oneiric piece that leaves a tangible impact.
Assembly George Square Theatre, until 29 Aug.
tw rating 3/5 | [Aida Rocci]
Part murder-mystery, part incestuous love story, 'Twins: Two Balls In A Bag' makes for an odd and entertaining hour. Annie McGrath and Jack Barry, playing comically badly-matched identical twins, make a ridiculous pair as they guide us through a mad array of sketches in search of their grandma's murderer. The wheels come off slightly but the pair embrace it and there's something infectious about the show's looseness. Unfortunately, they're guilty of re-hashing too many misfired jokes, in the hope that they might land a second or third time, and the incestuous plot line grows increasingly crass. However, for the most part, the twins have created a suitably amusing hour of chaotic entertainment.
Pleasance Courtyard, until 28 Aug.
tw rating 3/5 | [John Sampson]
Looking for some ridiculous, absurd, proficient character comedy? These Australian women perform a work-in-progress bundle of fast-paced, farcical sketches. Performing the most bizarre range of characters, they repeatedly amuse the audience with their originality, and hilarious facial expressions. There's well-conducted audience interaction – the fourth wall is constantly broken – and all tastes are satisfied, thanks to its randomness and diversity. It's this randomness, however, that creates a lack of direction, and the episodic approach makes the performance seem somewhat incomplete. The live music and singing plays an important role in some sketches but seems to be purposeless in others, yet, despite this, it adds up to a very amusing show.
Pleasance Courtyard, until 29 Aug.
tw rating 3/5 ⎪[Lucrezia Pollice]
'23, Please' is not quite a fantastical dream, but it's close, as bizarre happenings start to unfurl, from Genghis Khan's motivational speeches to croissant-based wordplay. There is serious promise in this Cambridge Footlights trio's debut, the 23 sketches are snappy and many showcase a creative Python-esque surrealism. Enrico Hallworth in particular has great presence and timing, encompassing a slightly wacky, very classically British sense of humour, which proved popular with the show's audience. "One to watch" is an overused phrase in comedy but, despite still being slightly immature and in need of a good edit, I truly believe 'Two Thirds Comedy' will develop into a Fringe stalwart.
C Nova, until 29 Aug.
tw rating 3/5 | [Francesca Peschier]
Paul F Taylor bursts onto the stage and doesn't stop until he is wrestled off, after an amazing hour of laughs. Comics talking about the comedy industry and their position in it, as Taylor does, has the potential to become alienating. However it's kept entirely relatable here, as we can all appreciate tales about a lack of money, or the bad decisions of our past selves. Deconstructing classic jokes, and following them on flights of fancy that always stay the right side of absurd, Taylor bounds around the stage, smiling at us as we roar with laughter. Running into the depths of nonsense with twisted logic, Taylor is a comic maverick.
Bannermans, until 28 Aug.
tw rating 4/5 | [Olly Jacques]
A chronological appraisal of Patrick Melton's show: good, baaaaaaaaaaad, good. Initially he's full of witty, idiosyncratic observations about the UK but, as the American comic's set progresses, the perceptive material disappears and a far less appetising routine emerges. Melton's tactic is to shock with brash comments like "I got into a fight with a midget on Twitter," and then he deconstructs the remark in the hope of humour. Unfortunately this works with limited success and Melton too often comes across as pig-headed. It's cringey and uncomfortable viewing, as he haplessly ploughs on in the same offensive furrow, before finding a small salvation at the end. Though bookended by quality, the show's main body leaves a lot to be desired.
Underbelly Med Quad, until 29 Aug.
tw rating 2/5 | [John Sampson]
Character/long form sketch duo Max and Ivan comically tell the story of the summer of their first encounter, whilst attending Scouts and a wrestling camp. They're undoubtedly talented, sharp and skilful actors, who adopt an impressive number of accents and physicalities, while impersonating a huge range of diverse characters. The sketches are infused with singing, music, nudity, audience participation and an overload of puns. The story however becomes a bit predictable halfway through, and seems at times too rehearsed. Trip-ups are remarkably saved by humorous improvisations, which rather makes you wish it happened more often, as the spontaneous moments brought the greatest laughter. Overall though, a truly wonderful, ridiculous but also meaningful story, which will make you roar with laughter.
Pleasance Dome, until 29 Aug.
tw rating 3/5 ⎪ [Lucrezia Pollice]
Even if you've seen him on the TV (and you probably have), this accomplished stand-up will undoubtedly surpass your expectations. Mark Watson's new show analyses common feelings of insignificance, identity and anxiety. These complex issues – increasingly relevant in today's digital age – are approached with respect, but also with an abundance of light-hearted jokes. Commencing with the tale of an airport mess up, the story shifts to a number of humorous personal anecodotes: his son wishing to replace him with Spiderman, the embarrassment of being an invisible famous comedian. His jokes appear extremely natural and unrehearsed, and his exceptional audience interaction and improvisation made my night. Honest, human but also completely hilarious!
Pleasance Dome, until 29 Aug.
tw rating 4/5 ⎪[Lucrezia Pollice]
Grainne McGuire is interested in stories. Those we tell ourselves, those we tell about ourselves, and the realities they may reflect or indeed fail to reflect in our individual and collective identities. From a mood-swinging father with possible IRA links, to musing as to how "romantic" 'Breakfast at Tiffany's' would be if Holly Golightly hadn't been played by Audrey Hepburn. While a couple of set-ups feel a little laboured, McGuire's engaging tales wander merrily and smartly over a lot of ground. Oh, and she live tweeted details of her menstrual cycle to the Irish Taoiseach, in response to what she viewed as his excessive interest in her ovaries as made manifest in draconian Irish abortion legislation. Now that's a story.
Pleasance Courtyard, until 29 Aug
tw rating 4/5 | [Bruce Blacklaw]
The Good Kids will need to do more to convince us to "save our boozers". 'On Tap' is a character comedy looking at the crusty characters in the corners of pubs, but rather than wittily illuminating these characters, the show makes you wish that this troupe had just left them undisturbed to get on with their drinking. There are sparky moments, but largely the script lacks any really sharp humour, or the observational incisiveness necessary to make a show stand out. It's altogether too samey, as the punters and publicans blend into a mesh of banality. Perhaps it's telling that the show's most impressive element is the amount of beers the performers manage to drink during the hour.
Underbelly Med Quad, until 29 Aug.
tw rating 2/5 | [John Sampson]
Gary Little really isn't little – looks a wee bit like a big ex-con and, turns out, he is. Being Glaswegian, it took him a while to realise he had depression. His gag, not mine – don't write in. Anyway, this leads him to take an unhealthy interest in hillwalking. Literally – buys all the expensive shit on credit cards, walks nowhere beyond Glasgow. And so it goes, from dark places – depression, drugs, prison and online dating – to gleefully foolish anecdotes, littered with gems of comic storytelling detail and occasional filth. The second half, stories from jail, feels like it's still evolving – not sure a fight about farts is worth a 15 minute bit – but, overall, he spins a fine, funny yarn from what seems deceptively little.
The Stand, until 28 Aug.
tw rating 3/5 | [Bruce Blacklaw]
'Committed to Mediocrity' is an observational comedy full of observations but short on comedy. Gavin Lind stands before you as an understated forty-something, gay South African who lives in Australia, expounding dark truths about the mediocrity of our lives. He touches on interesting themes, like apartheid South Africa and gay marriage, but never capitalises on them. Instead his set feels muddled, as confusing jokes about cups of genocide coffee and harbouring emigrant bees struggle to land with the audience. Granted, it's dark humour, but at times Lind is distasteful, veering into one particularly offensive sequence about cancer. 'Committed to Mediocrity': at least you can say he's a man of his word.
C Nova, until 29 Aug.
tw rating 2/5 | [John Sampson]
Probably the only act that'll hand feed their audience mints at this year's Fringe, 'Wild at Heart' is wacky and eccentric in the best way possible. Róisín O'Mahony and Chiara Goldsmith are devastatingly funny as they perform a host of weird and wonderful sketches. At times sensual, at times spiritual, at times baffling, they have a staggering ability to come out with hilariously unpredictable scenes that leave the audience thinking: how the hell did they get there? They ingeniously warp everyday scenarios, like a husband returning home or a doctor/patient meeting, turning them into something you'd never have dreamed of. To cap it all off, their improvisation is phenomenal.
Henry's Cellar Bar, until 24 Aug.
tw rating 5/5 | [John Sampson]
Growing up in the north of England, Rahul Kohli encountered racial prejudice as a kid, before evolving the sort of layered identity we all have – "Newcastle" and "male" in equal parts with the "brown" – which he evokes nicely. In adulthood, that wasn't so much of a concern, until the events of this summer. Having entertainingly set out his own story, he's also established the grounds from which to offer a refreshingly nuanced perspective on why that might be. Whilst not everything hits the mark, it's largely smart, engaging and funny, while at other times pointedly edgy, poking around areas where he reckons the limitations of political correctness (which is "only for you honky motherfuckers") have shut down discussion among otherwise right-thinking folk.
The Stand, until 28 Aug.
tw rating 4/5 | [Bruce Blacklaw]
Bookended by a love story, Pete Otway's debut solo stand-up show delves into a somewhat challenging six-year period of his life. He's got the traditional anecdotes about friends, family and a gap year in Australia, which all provide good laughs and help us get to know him. But it's the second half that provides the substance, as he talks of wrestling with mental ill health that leaves him afraid of being alone with people, for fear he will do them harm. It's an open, honest and important insight into an issue people need to discuss more. Obviously it's lighter on laughs, but it leads to a happy conclusion and a reminder that getting help is a lot more useful than fighting alone.
Just The Tonic at The Mash House, until 28 Aug.
tw rating 3/5 | [Daisy Malt]
Darren Walsh won best joke of the Fringe last year. Law of averages, perhaps – this is a rapid fire pun show. There's pun improv, where he invites people to throw him a topic and he'll do a pun or three off the back of it – impressive, but with inevitably mixed comedic results. There are multi-media puns which are basically 'Catchphrase'. There's a game show element, where audience members spin a wheel to win the 'prize' of him doing a bit not involving puns (e.g. the theme from 'Fraggle Rock' in a South African accent), and a grand finale of prop-based, er, puns. If you like puns, you'll like most of this – some crackers, but a fair few stinkers too. A pun night out, let's say.
Pleasance Courtyard, until 29 Aug.
tw rating 3/5 | [Bruce Blacklaw]
'Easy Tiger' is an entertaining hour of stand-up, though Craig Campbell never quite finds his roar. Campbell's natural charisma instantly endears him to the crowd because rather than twiddling his thumbs backstage before his show, he spends the time joking and interacting with the crowd. What follows is a perceptive and amusing hour of comedy, packed with anecdotes and observations. Campbell is full of excited energy but at times it boils over the top, and he unfortunately pads out good material with overtly expletive language. Furthermore, whilst his remarks about cultural differences are funny, they lack the real spark required to make people sit up and take notice. As one audience member summarised to me upon leaving: "he was good".
The Stand, until 28 Aug.
tw rating 3/5 | [John Sampson]
As far as Alex Kealy's show poster goes, a better title might have been 'ideas whose time has been and gone'. Two of his three featured targets at time of production, Gove and Farage, have (sort of) left the stage, while Trump has, Kealy reflects ruefully, rather moved beyond the bounds of normal satirical convention. Kealy riffs on both this awkwardness and his own as a nerdy, posh lefty, and so the topical satire bumps alongside bits about relationship failures and boarding school. He could do with explaining his own convictions more succinctly: there's limited intentional comedy gold in explaining why you're voting for Owen Smith. However, he deadpans nicely, with mostly smart (and fresh) satirical comedy. His time may indeed come.
Underbelly Med Quad, until 29 Aug.
tw rating 3/5 | [Bruce Blacklaw]
Adrian Gray introduces himself as a truth theorist (as he's keen to rebrand the much-maligned conspiracy theorist). After establishing his credentials with a selection of daft examples, some absurd character comedy ensues, centred around the hitherto unknown 2001 Bond movie, 'Mission Cheese'. Baffled to learn that none of the audience has heard of it, he proceeds to act out a series of unlikely scenes. To help convince us, he "goes online" to play through YouTube clips of other fans describing the scenes, except they don't match what he remembers and soon he becomes riddled with uncertainty until… well, you can go and find out. Some routines are milked to the point of fromage, but it's well-performed, inventive and deeply silly in a good way so, in that sense, mission accomplished.
Just The Tonic at the Community Project, until 28 Aug.
tw rating 4/5 | [Bruce Blacklaw]
Granddad is telling the young ones a story, but cannot recall certain key details. And so the the audience has to fill them in – the name of the lead character, their remarkable secret, the place where the story unfolded and its title. From these base building blocks, this engaging troupe – four actor/comedians and one musician – construct or adapt a series of scenes, pulling characters from their golf-bag of archetypes to fit the emerging tale. They throw in gags, silly accents (Icelandic proving amusingly problematic in this performance) and have a largely successful attempt at bringing in some sort of a story, all while making the audience (and, for bonus points, each other) laugh. Solidly silly lunchtime fun.
Pleasance Dome, until 29 Aug.
tw rating 3/5 | [Bruce Blacklaw]
We do love Story Pocket Theatre so headed to this adaptation with high hopes, which were not disappointed. This was a beautifully rendered telling of the tale, featuring strong performances and the most adorable puppet-dog we have every laid eyes on. It's difficult to convey all the twists and turns of a long and drawn out story like Arthur's without it seeming rushed, or sketchy, and there were times when I felt as though we were racing through parts of the plot, but the cast are excellent, the set (as with their previous shows) was attractive, clever, and cleverly used, and there were no dull moments. A great show for older children, and of course, their parents and carers.
Gilded Balloon At The Museum, until 29 Aug.
tw rating 4/5 | [Caro Moses]
Over the course of the Fringe, Captivate Theatre have been putting on three different shows in rotation in their 11.30am slot, and we loved our first experience – 'Cheer Up Hamlet' – so much that we went back another day to see 'Brave MacBeth' and are slightly broken over the fact that we aren't able to fit in a visit to 'Romantic Romeo'. The songs are immensely catchy, and the scripts are excellent – clever, witty, sometimes cheesy, but always self aware and never lazy. The ensemble cast, meanwhile, are absolutely fantastic: every one of them gives a funny and committed performance, and their comic timing is a thing of beauty. Probably over the heads of little ones, but great for older children, and I am in my forties and I'd be happy to go on my own. More, please.
Gilded Balloon at The Museum, until 29 Aug.
tw rating 5/5 | [Caro Moses]
A lonely boy dreaming of a hunting hound, a man grieving his deceased dog and a young fur coat lover all collide in the search to kill a fox. The show includes live music, hound puppets and shadow puppets, as well as actors dressed as hounds, and although all these elements skilfully performed, it becomes slightly confusing as to why there are both puppets and real life human-hounds. The narrative also feels a little overloaded with its messages – animal protection, alcoholism, privatisation and the importance of friendship. However, the large young cast is dynamic and full of energy, bringing a positive atmosphere to the room and a highly physical vigour to the performance – I would advise people not to sit in the front row!
Greenside @ Nicolson Square, until 20 Aug.
tw rating 3/5 ⎪ [Lucrezia Pollice]
This show wasn't quite what we were expecting, I must confess: it features two storytellers from two of Story Pocket Theatre's other shows – 'The Arabian Nights' and 'A Pocket Full Of Grimms' – and those shows were fairly wordy, and of course, brilliant. When those two storytellers get together, however, it's comedy physical mayhem and clowning that ensue, and not much in the way of talking whatsoever. In the tradition of this fabulous children's theatre company, it's beautifully done, a funny, accessible and engaging performance which had the adults laughing as loud as the children in the audience. The two performers, Ashley Bates and Luke Pitman, are excellent, using every part of their anatomies, as well as assorted props, to create a compelling and hilarious visual spectacle.
Gilded Balloon Teviot, until 29 Aug.
tw rating 4/5 | [Caro Moses]
This is a very physical version of 'Alice In Wonderland', and the acrobatics, trapeze, and rope-work very much take centre stage while the narrative seems like a punctuation of the action, and for that reason, it's not that easy to keep track of where the story is going. It could be argued that's hardly a problem when it's a well-loved and well-known tale like Alice, but I know it well, and still found myself a bit flummoxed at times about where exactly we'd got up to. All that said, perhaps the point of this is the circus elements, and they were impressive, far more so than I would have expected from an amateur troupe, and this was a deeply visually arresting show which kept audience members spellbound throughout.
Gilded Balloon Teviot, until 28 Aug.
tw rating 3/5 | [Caro Moses]
Christian Stejskal has achieved something indescribably beautiful in 'My Neighbourhood'; a fusion of visual art, music and stories from his "double life" as a violinist in the Cairo orchestra while living with the Zabaleen, the city's informal rubbish collectors. But the stories are not about him, instead we hear about the brutal culling of the Girgis's pigs in the swine flu epidemic, the death of Mussa's brother during the 2011 Arab Spring, Moros' struggle to complete high school, the radiant Reda, and others. These are illustrated by Stejskal's remarkable documentary photographs of life in the garbage city and interspersed by violin pieces of intense pathos. The result is a unique and significant tribute to this community.
Just Festival at St John's Church, 26 Aug.
tw rating 4/5 [Jane Berg]
#01: zazU (pictured)
We are, like a lot of Fringe regulars, always on the watch for new talent, and in the last few years our ears have been pricking up at any news of our first winners. Creating their own eccentric parallel universe in which to set their long-form character comedy shows, they first impressed us in 2014, garnering a four star review from our charmed critic. The following year, they provoked another four star review, and of course our undying respect, by having the cheesy temerity to name their show 'A Fête Worse Than Death'. Back this year with another amusingly entitled show – 'Raisins To Stay Alive' – they won the heart of our review team, and this time, full marks. Our first award winners are zazU.
02: John Robertson
I'm not sure how much introduction our next winner needs, really, because these days he qualifies as a Fringe veteran, a stalwart of the Edinburgh scene, and for those reasons alone he would gain our indulgence and respect. But he doesn't just hang around: for many years now, he's been making fans, achieving high acclaim and gathering good numbers of starry critiques from our writers. In a year when ThreeWeeks have given him two five out of five reviews, it's his collected body of work – his many brilliant stand up shows and his always-excellent returning 'choose your own adventure' style format 'The Dark Room' – that we want to honour. Our second winner is John Robertson.
03: ACJ Productions for 'Tomorrow, Maybe'
The Fringe always boasts a pretty good line up of musical theatre, but a great many are revivals of old chestnuts, or, um, classics, if you prefer. So, we are always interested in new musicals, and try to make sure we send reviewers to as many as possible. This year, we were so very dedicated to this task that we accidentally sent two different reviewers to see one particular new musical, which was mildly problematic. However, what this mistake did do, was to make us realise that the show in question must be pretty special: both reviewers – two very different writers, with differing tastes and different backgrounds – agreed that this was an extraordinary piece; modern, engaging and accessible, with outstanding music and fabulous delivery. Our next award goes to ACJ Productions for 'Tomorrow, Maybe'.
04: Gideon Irving
Our next winner is also new, in a sense, because this is the first time he has done a solo show in Edinburgh, after performing here for the first time last year. He has made a huge impact, though, on the ThreeWeeks team, many of whom rushed along to see him perform after they heard a first-hand account of the show from that one member of the outfit that we sent along to do the review. He offers just the kind of stuff we love: a show that defies categorisation, that combines an intimate performance with great skill, sophistication, humour and meaning. We are so impressed by his work, and the brilliant way he's developed his way of working. Our fourth winner is Gideon Irving.
05: Gaël Le Cornec
The next recipient is someone who has a longer history of performing at the Edinburgh Fringe – we first became aware of her when we saw one of her solo shows back in 2008. Her work is excellent, and she's a wonderful performer, writing and creating consistently watchable plays, but what has always drawn us to her is the way she picks her themes. We love the fact that she has tackled the stories of female artists whose stories are neglected, as well as current issues of war and migration, and, following yet another admiring four star ThreeWeeks review this year, we knew it was time to recognise her efforts. The next award goes to Gaël Le Cornec.
#06: Wil Greenway
Over the (many) years that we've been covering the Edinburgh Fringe, we've been pleased to see the rise of the storytelling style of show, and our next winner is a fine exponent of this craft, whose shows have been generating glowing reviews since 2013. The words our writers have used to describe him include: witty, beautifully crafted, wistful, impeccable, hilarious, heartbreaking, hugely entertaining, life-affirming, honest… and weird. We love his eloquence, his humour, his polished, well thought out performances. Our sixth award goes to Wil Greenway.
#07: Bob Slayer
There are myriad reasons for giving a gong to our next winner, an alternative comedian whose work at the Fringe, and elsewhere, inspires admiration from all quarters, and the desire to join in. His Heroes Of Fringe strand is legend, his pioneering Pay What You Want system is a clever way to evolve the free show model, and he's only gone and got himself a double decker bus and turned it into a fabulous mobile venue. To be honest, we should probably have given him an award already, but his inspirational decision to stage a non-stop reading of the Chilcot Report made us feel as though this is definitely the year to do it. Our next winner is Bob Slayer.
#08: RashDash
We've been watching our next recipients since about 2009, and in that time, we have never witnessed anything other than a great show. What they produce is not just brilliant theatre, not just entertainment, but stuff which, more often than not, explores some really important, relevant subjects: communication, gender, sex, masculinity, contemporary womanhood, to name just a few. They've already won awards, and they've already won much acclaim, but in recognition of years of achievement and awestruck ThreeWeeks reviewers, our next winners are RashDash.
#09: Electric Voice Theatre for 'Superwomen Of Science'
It's rare for a classical music Fringe show to do a full run, and it's probably even rarer to see one with such a distinctive agenda and themes. When we first read up on our next award-winning show, we were fascinated to hear that it not only featured the work of contemporary female composers, but that those composers had in turn been asked by the show's creator to take high achieving women – specifically scientists – as their inspiration. The result is a fun, theatrical, educational and important piece, which our reviewer was wowed by. Our penultimate award goes to 'Superwomen Of Science'.
#10: Goose
And finally we have a pair who don't look like a pair. That is to say, we think of them as something of a comedy double act, yet, one of them is the writer of the piece, whilst the other one appears on stage. Like many of the acts we've already mentioned, if you look at the ThreeWeeks archive of reviews, there are no duds – including the one they got when performing under a different name back in 2013, which got a resounding five star write-up. We love what they do, and the way they do it. Our final winners are Goose.
In a strange limbo between life and death, two men, an alienated businessman and a mysterious sprite, discuss the meaning of life. 'Absence of Separation' makes a strong, somewhat Taoist, argument against materialism and estrangement. It's refreshing to hear this perspective put forward in theatre, I only wish it had been done a little less directly – shown and not told. The stage design, music and bizarre costumes will lead you to think "Ah yes, this is going to be brilliantly wacky". But the script is overly simple and leans toward the didactic and, if you know the work of Alan Watts, it will seem fairly familiar. But if you want to hear some wisdom, maybe this show is for you.
Bourbon Bar, until 27 Aug.
tw rating 2/5 | [Jane Berg]
It's not all fun and drugs for Harry on Yokes Night, 11th March 2015. Off to party on a budget, and not averse to finding the love of his life, he meets wild but traumatised Saoirse. This high energy look at Dublin's night life is just the thing to startle you out of those 'end of festival blues'. Actors Scott Lyons and Zoe Forrester are rampantly funny as they bounce on foam cubes and virtually off the walls of the Pleasance Bunker. And though there is tons of foolishness and black comedy, as the secrets begin to come out, in particular Forrester's shocking monologue about abortion, you'll see there's another dimension to this riot against the baby-boomer generation.
Pleasance Courtyard, until 29 Aug.
tw rating 4/5 | [Jane Berg]
A unique performance in which audience and stage blend into one. Only six audience members at a time join Sam in her car, moments after a crash. Sitting in the vehicle with her, they embark on a dark, metaphorical journey as she desperately tries to collect her thoughts. Progressively, chaotically, her memories come back – her father's illness, her troubled friendship with Lizzie – everything until the crash. 'Wrecked' is an immersive, intimate experience with a highly emotionally charged narrative. The closeness to the performer effectively annihilates the fourth wall, heightening the intensity of Sam's story. A very good theatrical experience, mostly due to the distinctive setting.
Assembly George Square Gardens, until 29 Aug.
tw rating 4/5 | [Pénélope Hervouet]
Alice Mary Cooper has done original and important work here, channelling the unwritten stories of pioneering female swimmers of the 1900s into a clear, captivating narrative. On the small island of Gabo, Elizabeth Moncello learns to overcome her fear of the water by studying fish, penguins and dolphins. Discovered by Olympian champion, Fanny Durack is offered the chance of a lifetime, only to do so she must give up her unique stroke and swim according to the rules. Cooper's writing and performance is marvellous to witness, as she paints a vivid picture of the Australian coastline. Furthermore, she really highlights the loss of women's histories in the last century and the need to re-imagine them.
Summerhall, until 28 Aug.
tw rating 5/5 | [Jane Berg]
Theatre feeds off political and social matters, and this year's Fringe has seen innumerable Brexit-themed acts. For a slightly different form of socially engaged theatre, 'Still Here' is a powerful narrative about a pressing issue: the refugee crisis. In the Calais "jungle", a British journalist interviews an Eritrean refugee about his experiences and the religious persecutions in the country he fled from. This intense piece is full of life, despite its dramatic content. The bare set, combined with a verbatim narrative, plunges the audience into the reality of refugee camps. Both of the actors perform with a gripping sincerity and emotion, to the point where it just doesn't feel like acting any more. This is theatre with a real purpose.
Zoo at St Mary's South Lawn, until 24 Aug.
tw rating 4/5 | [Pénélope Hervouet]
Somewhere in 1930s Brooklyn, on the night before his 21st birthday, a young man dreams of the fateful day his parents got engaged. I was deeply moved by this slightly Freudian vignette which, like the impoverished protagonists, does much with very little. The emotional yet understated acting had me instantly brimming with empathy for Rose and her son. Also, with such dexterous use of their space and props, the graceful scene changes are truly dreamlike and a wonder to watch. The programme says it's 55 minutes long but it seems much shorter. You're left wanting to know more but, like all the best short fiction, the brevity adds a poignancy that nothing else could.
Zoo Southside, until 29 Aug.
tw rating 4/5 | [Jane Berg]
With no spoken dialogue and only one performer (who could perhaps more accurately be called the show's operator), 'Infinity Pool' uses projections, photographs, short video clips and dialogue written out on a screen. In a modern take on Flaubert's 'Madame Bovary', it tells the story of Emma, a woman bored of her life. Obsessed with celebrities and glamour, she's sick of predictable nights in with her predictable husband, but when she meets Kick online, her life becomes an unending stream of flirtatious messages and new possibilities. While the written conversations can become a little boring to watch towards the end, this is nonetheless an incredibly inventive, unconventional way to tell a story.
Bedlam Theatre, until 28 Aug.
tw rating 4/5 | [Gemma Scott]
Life is not easy for the heroes of these stories. Alongside the girl with hurricane hands there's also a boy for whom time doesn't work, a girl with telescope eyes, even a "sofa-boy". Here are five parables about being different and finding acceptance, certainly one of the most popular and useful themes there is. The Dr Seuss-like rhyming couplets, delivered in unison by the actors, are just charming, and the choreography makes for good visual illustration. There are some humorously original moments, especially one involving teabags, which is my favourite part so I won't spoil it for you. This is first rate storytelling, positive and fun.
Laughing Horse @ The Free Sisters, until 28 Aug.
tw rating 4/5 | [Jane Berg]
On arrival at St Marks, each audience member is greeted with a complimentary gin and tonic. Accompanying the gin is a live radio play, set in the 1940s. Amateur detectives John Jobling and Doris Golightly are on a mission to solve the case of the missing juniper berries – and avoid a gin shortage in London. The numerous characters played by each of the four voice actors is impressive, and sound effects are provided to hilarious effect by a fifth cast member, who is more than willing to hit vegetables off his own head for the cause. The plot unravels a little towards the end, but by that point the audience was so charmed by the concept (or the gin) that they didn't seem to mind.
artSpace @ St Marks, until 25 Aug.
tw rating 4/5 | [Stephanie Gray]
'Dear Home Office' is perhaps one of the best examples of art for a cause that you'll see this festival. Eight unaccompanied minors, who have applied for asylum in the UK, are here to tell you the story of Tariq, an amalgam of their collective experiences. They take turns acting Tariq, as he learns English and faces the confusing requirements of the Home Office. He becomes a substantial character, yet we still glimpse the individuality of every performer. As this is their first time on stage, it's a brave venture, and they deserve all credit for taking control of their own representation.
Underbelly Med Quad, until 28 Aug.
tw rating 4/5 | [Jane Berg]
What does working with 24 million-ish things feel like? Greame Hawley will tell you in this account of the National Library of Scotland's collection. I know what you're thinking, faced with a PowerPoint presentation my immediate response was: this is going to be dull. But within ten minutes the room was in hysterics at termite abstracts, alphabet abecendariums and 'The Romance of the Postage Stamp'. Hawley's speech is both witty and meaningful, as he explains the archive is a collective human story and we should be proud to be part of the species that created it. It's always a joy to see someone in their element, though that's not necessarily in dance or belting solos – sometimes it's collecting books.
National Library Of Scotland, until 26 Aug.
tw rating 4/5 | [Jane Berg]
'Paper Hearts' tells the intertwined love stories of aspiring writer Atticus and his fictional creations, Issak and Yanna. The plot is not completely new – 'You've Got Mail' already featured a love story/business rivalry between a small independent bookstore owner and the head of a bookshop chain. But 'Paper Hearts' ticks all the boxes of both romantic comedies and musicals; it has the sass, the backing singers, the devastating revelations that make love impossible. Its originality is more in the relationship between the two plots and the way the characters in Atticus' mind are brought to life on stage. The music is great and the cast is dynamic – lead Sinéad Wall has a formidable presence. Not exactly groundbreaking, but fun, energetic, touching and very enjoyable.
Underbelly Med Quad, until 29 Aug.
tw rating 4/5 | [Pénélope Hervouet]
This was Schubert's Romantic song cycle, of lost love and subsequent decline into illness and vagrancy, reimagined for orchestra and tenor. It's interestingly written– including wind machines, rasping brass and a string quartet. What I took from this well performed and staged version was not that it told me more about the hero than the original lieder but that it told me – through the musical styles used – a lot about Germany, where it is set. At times it seemed like a musical cartoon, everything explained loudly and endlessly by the orchestral score, with no room for the listener to use their imagination. But that's not the Hebrides Ensemble or Christian Elsner's fault, and to them I say "Bravo".
Greyfriars Kirk, 24 Aug.
tw rating 4/5 | [Louise Rodgers]
Little did I realise, when I stepped into St John's Church, that I would see the most innovative music show so far, but that's what happened tonight. Traditional Scottish music ensemble Equilibrium's members are a mixture of able-bodied and disabled musicians on equal terms – conductor Rhona Smith uses technology linked to the other members' monitors to overcome limited physical movement. There were both traditional and digital instruments and an excellent singer; many pieces were their own compositions – what great tunes. They've had to deconstruct Trad music and reassemble it in a way that suits the digital instruments – they can't use a strict tempo – but the skill, inspiration and artistry that made this performance so enjoyable took my breath away.
Just Festival At St John's, 23 Aug.
tw rating 5/5 | [Louise Rodgers]
"Let's live together, here, for a few moments, and perhaps foolish things can become meaningful," invites James Thiérrée in the programme of 'The Toad Knew.' As creator, scenographer, composer, lighting designer, director and performer of this indescribable piece, Thiérrée creates a world for our souls to explore. Design becomes alive while human beings surpass our expectations of "life", in a seamless creation that threads physical theatre, circus, clowning, magic and music so tightly you can barely ascribe them to any genre. While there is some sense of plot, there's a larger sense of mystery. You'll just inhabit Thiérrée's world, laughing and gaping in awe at the virtuoso performances; you'll inhabit it so intensely that you'll miss it when the show is over.
King's Theatre, until 28 Aug.
tw rating 5/5 | [Aida Rocci]
Two scruffy, impish girls and one bicycle equal a wealth of dramatic variety in 'Tandem'. Italian group Civilleri Lo Sicco show how comic clowning, at its best, can turn the ordinary into a rampant, outlandish ride. Peddled with furious energy, the tandem bicycle, fixed to a giant spring, see-saws treacherously, turning almost horizontal at times before bouncing back. These expert mimes are ruthless in exploring the possibilities of their prop and their bodies. You know it's quality physical theatre when sweat might hit you in the front row! But if you can decipher the dense soundscape of mechanical clangs and human shouts, there is a touching story of about childhood, memory and grief.
C, until 29 Aug.
tw rating 4/5 | [Jane Berg]
I'll be honest: I think Stuart Laws would probably have been wise to stop and think about whether he should. It's one thing to make up daft stories, but it's another to then perform them to an audience. Stand-up tends to work because the audience can sort of believe what they're being told, even if they know the stories are being embellished. Permeated with tales of working at a puffin sanctuary, Laws' show does feature nuggets of genuinely amusing observation, but they didn't help raise the experience to a satisfying level. He concludes by delivering a punchline to the whole narrative that you worked out long ago. I sort of feel at a loss as to what the point was.
Pleasance Courtyard, until 28 Aug.
tw rating 2/5 | [Daisy Malt]
In a nutshell, Zoe Lyons' 2016 show is about not fitting in. Lyons recognises the cliché in this theme, and is quick to address it; she has more reason than most, she says, to talk about being a misfit. That being said, her show does not ask for pity. Instead, it's an hour of intelligent observations and hilarious character comedy. Lyons has such great physicality on stage that whether she's impersonating a camp sabre tooth tiger or demonstrating a unique form of Zumba, she has the audience hooked. The Zoe tribe of South America probably wouldn't want her, but that's no bad thing – if they did, Edinburgh would be missing a fine comedian every August.
Gilded Balloon Teviot, until 28 Aug.
tw rating 4/5 | [Stephanie Gray]
You can make jokes about any subject as long as they're funny, so Nazeem Hussain more than gets away with jokes about Isis. Hussain explores the disconnect he feels about his Australian-ness and his Indian-ness, both mentally and physically. Joking about his cultural split identities, he keeps the laughs rolling through stories about the interrogations he's had and his experiences of internet anti-trolling, delivering a commentary on some of the world's shocking and bizarre views on race and identity. Occasionally his delivery becomes too slick, which loses some of the charm of live comedy, but Hussain is undeniably funny and has something to say.
Assembly George Square Studios, until 28 Aug.
tw rating 4/5 | [Olly Jacques]
Jordan Brookes subverts traditional stand-up through sketch-based comedy and plenty of energetic, physical humour. Anyone can behave in a slightly eccentric way, but being genuinely funny with it is difficult; Brookes manages to strike a balance that has the audience hooked from the beginning. He gives us glimpses of his vulnerability, but shows us that, by acting out of character, he can deal with difficult situations. Unafraid of using long pauses and suspense, his comic timing is impeccable, as he flits around the stage dishing out punchlines you'll never expect. He harbours the sensibilities of a teenager who's never quite grown up, and he's all the better for it.
Laughing Horse @ The Cellar Monkey, until 28 Aug.
tw rating 4/5 | [Daisy Malt]
With around 3,500 shows going on, FOMO (fear of missing out) is a terrible affliction at the Fringe, so doing a show about it is pretty prescient: if you get it right. Unfortunately, Hayley Ellis didn't hit the mark. To me, FOMO is usually discussed in quite a lighthearted way, but Ellis came across as quite bitter as she told us about the ways social media leaves her feeling inadequate; although she quite rightly observes that Facebook is just a choreographed representation of other people's lives. Some of the jokes just felt a little tired, and at this festival you need to set yourself apart from the rest. Alas, no FOMO will result from missing this show.
Just The Tonic at The Community Project, until 28 Aug.
tw rating 2/5 | [Daisy Malt]
'Enter The Bagman' is a strange show. Having lived his entire life in a cloakroom (which causes him to take extreme interest in the audience's various bits of luggage, who knew you could tell so much from a holdall?) Brendan Murphy is forced out to explore the mean streets of Edinburgh and its colourful characters, all played by him and with an increasingly weird series of props. With voice and expressions as malleable as putty, Murphy leaps around the tiny stage playing a nervous daredevil, a hillbilly turned children's entertainer and a plummy, disillusioned actor. There's not much plot here, however, and Murphy might be better to dispense entirely with trying to thread a story through what is really a showcase for his fantastical, riotously funny characters.
Gilded Balloon @ The Counting House, until 28 Aug.
tw rating 4/5 | [Francesca Peschier]
Whatever your preconceptions of mental magic, this will surely prove to be a mesmerising hour of mind invasion, manipulation and control. Cloud is magnetic and quirky, without becoming a charade of himself, as he transfixes the audience with a masterful display of mentalism. Cloud's tricks are staggeringly elaborate, as he's able to extricate exact information from people's minds, ranging from their dates of birth to their most recent dreams. In an epic finale on the streets of Edinburgh, Cloud uses his mental ability to ultimately save his own life. It's very hard to describe how mystifying Colin Cloud is, you must simply go and see for yourself.
Underbelly Med Quad, until 28 Aug
tw rating 5/5 | [John Sampson]
Philip Pullman's The Ruby In The Smoke | Pleasance Dome | 12.00pm
"Reprint Productions' staging of Philip Pullman's detective adventure novel exceeded all my expectations" says our reviewer of this show. "The set and sound design perfectly evoke the book's atmosphere", they add, making this "one of the most enjoyable hours I've spent at this Festival". Go enjoy.
Bethany Black: (Extra)Ordinary | The Stand 2 | 6.00pm (pictured)
Definitely on top form this Fringe, try and see Bethany Black's latest show before the Festival finishes. "A self-proclaimed cat-loving Sapphic stereotype, Black pulls laughs out of the unlikeliest, often tragic, places with the command of a pro who has been headlining the Apollo for twenty years". Conclusion? "A total delight".
We Are Ian | Pleasance Dome | 11.00pm
OK, here it is, the final Three To See style tip of the Fringe, and it's some late-night theatre. "Performers Kat Cory, Dora Lynn and Nora Alexander recreate their friend Ian's experience of the 1989 acid house movement through music, dance and clowning" our reviewer explains. "The show is well-structured, with a strong emotional arc, and the sound and lighting design are fantastic. You need to experience it for yourselves". So, yeah, go experience it for yourself.
Captain Harrison has it all, the muscles, the brains, the women, and 'The Starship Osiris' tells the story of his perilous journey to the ends of the universe. Accompanied by his crew, all – in his own words – very "minor" characters, nothing can resist him. Well, that is until the cast members, tired of his arrogance, decide to rebel against him and jeopardise his show. What starts off as a sci-fi parody then turns into a chaotic mess as George Vere desperately tries to regain control of the performance. Expect skimpy costumes, pop songs, hilariously poor special effects, and quite a lot of swearing! Possibly one of the funniest shows running at the Fringe!
Underbelly Med Quad, until 29 Aug.
tw rating 5/5 | [Pénélope Hervouet]
A good adaption has a lot of work to do. It should be accurate, to both content and style, yet condense and interpret where necessary, and also rekindle your affection for the original. Reprint Productions' staging of Philip Pullman's detective adventure novel exceeded all my expectations. The story of Sally Lockhart's investigation of her father's death, with its many characters and intricate plot, unfolds with captivating pacing, while the set and sound design perfectly evoke the book's atmosphere. All of the actors are strong and though playing multiple roles, each one rings true. It was a pleasure to see Pullman's creation in such capable hands, in what was one of the most enjoyable hours I've spent at this festival.
Pleasance Dome, until 29 Aug.
tw rating 5/5 | [Jane Berg]
Remembering that "the view is beautiful when the mist clears" is the key to good mental health, proclaims Unearthed Theatre in their Fringe debut. As three nameless men collect at a bridge barrier, intent on ending it all, they discover their collective despair all links back to one woman. The dialogue is not surreal enough to be comic, yet is far from naturalistic: Young Man 2 (Jack Hesketh) seems to talk entirely in phrases from a 'Little Book of Philosophy Quotes' . There are some over-emotive performances here, but the real issue is the insensitive script, which plays with themes of mental health but ultimately roots these young men's depression in concrete cause and effect.
Greenside @ Infirmary Street, until 27 Aug.
tw rating 2/5 | [Francesca Peschier]
Want to go back to being a child? Love games and competition? Then join the ultimate game show, where the clever, enthusiastic and friendly Helen White hosts a ridiculous, audacious, and challenging hour of fun. Your aim: to discover which gender is superior, will it be men or will it be women? The entire game is a satirical reflection on how society boxes us into preconceived gender roles, with specific normatives of how women and men should behave. The audience participation and interaction creates a strong sense of unity; we all feel part of something, a game, a show, whatever it is. I left feeling wonderful. An hour of laughter, competition and teamwork which will fly by.
Zoo Southside, until 29 Aug.
tw rating 4/5 ⎪ [Lucrezia Pollice]
'600 People' is an hour-long lecture which will blow your mind! Is there extraterrestrial intelligence or are we completely alone and insignificant, as predicts Fermi's paradox? It might be a terrifying concept for some people to face, but I found it very relaxing and exciting. In the mist of neoliberalism, we forget our scientific composition and the fact that we are all, in the end, only atoms. We forget the other fascinating species that live around us. Alexander Kelly manages to make science interesting, making complex concepts feel straightforward and the bursts of humour make the information easily digestible. If you're ready, '600 People' is going to change the way you understand the universe and our place in it.
Summerhall, until 29 Aug.
tw rating 4/5 ⎪ [Lucrezia Pollice]
Lucy Grace loves 'The Lion, The Witch And The Wardrobe'. From the moment she first read it in 1996, to reaching the age of 26 and finally realising that Narnia wasn't real, and that she'd probably never find a wardrobe leading to a patiently waiting faun. But this realization didn't stop Grace from loving the book, it just made her want to find the magic of Narnia in the real world. The show sees Grace share the story of how she went in search of Lucy Barfield – the goddaughter of the book's author C.S. Lewis, and the person to whom the book is dedicated. Brilliantly written and performed, this is a heart-wrenching story within a life-affirming show.
Pleasance Courtyard, until 29 Aug.
tw rating 4/5 | [Bethan Highgate-Betts]
Comic book references are laced through 'Hero Worship', like the adamantium coating Wolverine's skeleton. If that made no sense to you, then you may struggle with this play, as the superhero tropes fly thick and fast throughout; that being said, even without the pop-culture knowledge there is much to admire in this one-man show, which invites us to find our own powers, and to overcome the villains: depression, self-doubt and anxiety. If I had to find fault, the third act – like that of many superhero movies – is perhaps a little erratic, but writer/performer Kenny Boyle delivers something special. 'Hero Worship' is charming, witty and effortlessly entertaining, by turns funny and moving. Just like a good comic book, really.
C, until 29 Aug.
tw rating 4/5 | [Andy Leask]
It's Saturday night, long awaited but never as planned, as a string of interruptions prevent this girl from preparing to party. It's a topic ripe with comic potential, but here it only manages to draw a few dry chuckles. Eme Essien is personable and relaxed onstage, but there are problems. Mainly with pacing: too much time is given to the voice-overs of characters on the phone, and her interactions with them don't feel believable. I would have preferred to see her act out these characters herself, that might have got more laughs and would have also shown range, which is an important part of a solo show. The material itself could work, but maybe with less tech and more energy.
theSpace @ Jury's Inn, until 27 Aug.
tw rating 2/5 | [Jane Berg]
In 1835, Nikolai Gogol wrote 'Diary of a Madman', the journal of a man in tsarist Russia descending into madness because of his hunger for notoriety. Almost two centuries later, Al Smith updates this famous story, in a genius adaptation that preserves the brilliance of the classic yet also feels new and relevant. In a post-Brexit Scotland (yes, it's that current), Pop Sheeran's job, like his ancestors', is to permanently paint the Forth Bridge. But the weight of tradition might make his foundations crumble. Insightful and mordant, Smith's 'Diary of a Madman' is more than a critique of Nationalism. It feels like a parable: there's a bit of Pop in all of us, waiting to crack under our own beliefs.
Traverse Theatre, until 28 Aug.
tw rating 4/5 | [Aida Rocci]
It's a rare feat to get an entire audience dancing onstage. But In Bed With My Brother's new show 'We Are Ian', winner of the 2016 Charlie Hartill Award, does just that. Performers Kat Cory, Dora Lynn and Nora Alexander recreate their friend Ian's experience of the 1989 Acid House movement through music, dance and clowning. Recordings of interviews with Ian, a 46-year-old Mancunian with a great sense of humour, are incorporated into the show, along with his favourite tracks from the era. The show is well-structured, with a strong emotional arc, and the sound and lighting design are fantastic. 'We Are Ian' demonstrates how having a dance can be a defiantly political act. You need to experience it for yourselves.
Pleasance Dome, until 28 Aug.
tw rating 5/5 | [Hannah Greenstreet]
Ever wonder why the patriarchal world of Shakespeare's 'King Lear' is so bleak? 'Queen Lear' gives us the unwritten story of Cordelia's mother, a woman like her daughter in almost every respect: innocent and betrayed, tortured and doomed. Accompanied onstage by her nurse and priest, we see Queen Lear in the final moments of a fatal childbirth, contemplating her life. Unfortunately, the play does not live up to the implicit promise of giving an additional perspective into the bard's masterpiece. The writing is all emphasis and invocation, without significance, and the critique of misogyny is one I think we have all heard before. I was left wondering if the Shakespearian connection did more harm than good to this play.
Assembly Roxy, until 29 Aug.
tw rating 2/5 | [Jane Berg]
"It's my body I want to disappear, not my mind," declares Imogene, the teenage protagonist of 'Overshadowed'. But in this unflinching exploration of the suffering caused by eating disorders, both mental and physical damage are starkly apparent. Anorexia itself is personified as Caol, a demon-like creature who becomes Imogene's closest companion. Caol's creeping presence, combining haunting physical theatre with rhythmic lines of persuasion, provides the visual thrill needed for the audience to swallow the play's uncomfortable subject matter. The result is an arresting production, which puts a dangerously hidden and misunderstood illness centre stage. Finding moments of humour amidst individual and family breakdown, 'Overshadowed' is as engaging as it is instructive, building to a powerful conclusion as its central character fades.
Assembly Roxy, until 29 Aug.
tw rating 4/5 | [Sarah Richardson]
"What would you do?" says the poster for 'Nuclear Family'. That is the hook of this show: you, along with the other audience members, get to decide how the performance will play out. However, destiny is fixed and it's a dire destiny indeed – nuclear catastrophe and death. You'll follow the story of two siblings, who work as guards at a nuclear plant, on the night of the tragedy. A hybrid between theatre and an escape the room game, 'Nuclear Family' comes from an exciting, well-developed idea, although the plot is not very plausible. Be prepared to participate, argue, resent the process of democracy (even if you cannot avoid the fatal end) and leave feeling responsible for a nuclear disaster.
Assembly Roxy, until 29 Aug.
tw rating 3/5 | [Aida Rocci]
'Nowhere Now' defines itself as "nonsensical" and "absurd", and this is quite right. From beginning to end, the underlying plot is barely existent- something about a group of ministers waiting to make a trade deal. Three of the characters are never introduced, and seem to constantly change roles. They have a story of their own – or rather a series of incoherent and unrelated interactions – and sometimes interfere with the main plot without any form of transition. As a result, the piece is messy and incomprehensible. The actors often block each other and talk at the same time. A gradual descent into madness could have underlined the satirical aim, but constant madness is simply confusing.
Sweet Grassmarket, until 27 Aug.
tw rating 1/5 | [Pénélope Hervouet]
As I walked to St Cuthbert's church, I couldn't believe I was going to see 'The Master And Margarita'; the venue seemed either a perfect fit or perfectly profane. This immersive, site-specific adaptation of the Russian novel was mind-blowing, and not just because of the venue. Sleepless Theatre Company manages to honour the source (famous for being impossible to adapt), keeping its magic and weirdness with only a few props, lanterns, and a great deal of talent. As in the novel, the plot is hard to follow, but the balance of narrative, dramatisation and visuals lured the audience into Bulgakov's quaint world, despite the complicated logistics and acoustics. This production is one of those Fringe gems you'll remember for years.
Zoo at St Cuthbert's, until 29 Aug.
tw rating 5/5 | [Aida Rocci]
What would you say if you only had 140 words per day? Couple Oliver and Bernadette must now wring all possible emotional expression out of their limited words. "Every couple has their own language," Bernadette says, but we see here how speaking it is not always easy. The "hush law" shows up their doubts and differences, and also what they've left unspoken. The central thought experiment is so neatly woven into this delicate human story that it never feels forced, and performers Beth Holmes and Euan Kitson deserve the highest praise for their nuanced work here. I don't know when I last saw as insightful an exploration into interpersonal communication. 'Lemons' provides a unique lens through which to view our common flaws.
Summerhall, until 28 Aug.
tw rating 5/5 | [Jane Berg]
In his 20s, Dave spent his time filling fields with thousands of revellers at illegal rave parties. Now 45 and working in advertising, that period of his life is long gone – until he meets a group of 20-somethings and convinces them to make a change. Writer Oli Forsyth has weaved an intricate play of two simultaneous parts, telling the story of both the young, adventurous Dave and his modern-day counterpart. 'Happy Dave' is a dedication to the rave era; a time when young people lived life to the full. It successfully makes a powerful statement about the youth of today, so driven by the need for a career and a home that life is passing them by.
Pleasance Courtyard, until 29 Aug.
tw rating 3/5 | [Stephanie Gray]
Loquitur Theatre's show, 'Fémage à Trois', promises three "charming, dark, sometimes hilarious, and desperately normal" stories told by women. The problem with staging normality is that it easily lapses into cliché and boredom. 'I Don't Care' by Charlotte O'Leary, performed engagingly by Cat Van Dort, is about a 16-year-old coping with her father's dementia. 'Closure' by Anna Jordan is a one-sided conversation between an obsessive girlfriend, amusingly captured by Gemma Harvey's performance, and her ex. 'And, Breathe' by Nick Cox, the best-written monologue, tells the story of a woman about to go to Dignitas, and it also features the stand-out performance of the evening from Meryl Griffiths. Nonetheless, the show needs a stronger concept than just women speaking to bring it together.
theSpace on Niddry St, until 27 Aug.
tw rating 2/5 | [Hannah Greenstreet]
In this solo show, written and performed by Tim Bell, Dame Nature (a bearded lady) desperately tries to convince the audience that she is "more than just a beard". She does (failed) magic tricks and a heroic interpretative dance number. Sadly, too much time is taken up with the meta-theatrics and deliberately bad performance, which fail to entertain. There are darker elements to the show too: Dame Nature is afraid of her husband and dissatisfied with her life, and the circus is gradually revealed to be an oppressive regime. Pushing these elements further would have made for a far more interesting show, exploring the male gaze and what it means to be displayed as a "freak". Unfortunately, Bell only hints at this.
Assembly George Square Theatre, until 29 Aug.
tw rating 3/5 | [Hannah Greenstreet]
'The Craig Chalmers Experience' is a strange medley of a show. Billed as "song, magic, comedy, dance, poetry and beer," it's all there, except maybe magic. Chalmers reluctantly takes to the stage and is an incredibly charming performer, using projected elements to (literally) talk himself into performing. I didn't think I would ever enjoy the sight of a grown man wobbling his belly at me, but I really did! It's the poetry where he really gets you though, his heartfelt, tender prose resonates as he muses on the futile parts of life and death. There's no narrative, and this can become shambolic and confusing in parts, but Chalmers is an endearing performer that you can't help but laugh with.
SpaceTriplex, until 27 Aug.
tw rating 3/5 | [Bethan Highgate-Betts]
Kamila Klamut delivers a searing performance as Camille Claudel, best known as Rodin's muse despite being a talented artist in her own right. Drawing on Claudel's letters, the performance combines live music and sculptured costumes, as well as more traditional theatrical techniques, to deliver an intimate portrayal of the artist's life. Exploring historical patriarchal structures, gendered notions of insanity and the systematic exclusion of women from the art historical canon, the thematic content is rich and interesting. It can seem as though the Fringe programme is inundated with productions broadly classed as 'feminist' but, rather than feeling stale, 'Camille' approaches these issues from an original slant and, in doing so, provokes overwhelming empathy in response to the protagonist's plight.
Summerhall, until 28 Aug.
tw rating 4/5 | [Megan Wallace]
Lewis is homeless, Ian rages against obscurity yet can't communicate, and Sue doesn't go outside. The three confessions by LGBT characters break over the audience almost simultaneously in this fast paced, witty montage of anger and alienation. I liked its unapologetically pessimistic presentation of an impassable divide, because, as Sue says: "The barrier between me and the world is my body". The writing is immediate and sharp, with entirely believable characters portrayed by the three strong performers. If the ingredients seem familiar, this serving of them dishes up something new. Judging from the full house, word has already got out about this play, if you haven't seen 'A Boy Named Sue', you should.
C Nova, until 29 Aug.
tw rating 4/5 | [Jane Berg]
As the audience filter in, the stage is already set. Some tiny buildings here, a ladder there, to one side an electric guitar. A man enters and begins to slowly place tiny pieces of furniture onto one of the blank stands, eventually creating a tiny mock up of the theatre. A woman then enters and begins taking pictures, which are projected straight from the camera onto the back wall and, with musical accompaniment, the story begins to unfold. An incredibly ingenious way to create a live story on stage, this is a spectacle to behold. Unfortunately, with no dialogue the story can be very hard to follow and the action, although initially impressive, very quickly becomes laboriously slow.
Summerhall, until 28 Aug.
tw rating 3/5 | [Bethan Highgate-Betts]
"You can find them in a pair like pear seeds," as the lyrics of their introductory song says. And indeed, the partnership between Harry Baker and Chris Read seems just as natural. David Hepworth noted that what people like about double acts is that they're watching "the non-sexual version of sexual chemistry". Baker and Read certainly have this and, what's more, make their differences into central strengths, as a good friendship should. Baker is the poet, sparking most of the laughs with his fresh insights on ordinary subjects, like monopoly. Read provides melodic arrangements on the guitar, smooth enough to make the audience actually want to sing along. Their work will leave you heart-warmed and encouraged.
Pilgrim, until 27 Aug.
tw rating 4/5 | [Jane Berg]
Want to sing in a community choir, live in Scunthorpe, aged 3-19? Well, you should join this one; there are no auditions and the training is professional. The standard is high – they are a former BBC 3 Choir of the Year – and this was an enjoyable concert. The children tackled the modern, upbeat programme with enthusiasm and polish. A special mention for the two soloists who did 'Popular' from 'Wicked and 'Practical Arrangement' from Sting's recent album; they performed expressively and sang well. I especially liked 'Alice' – sung by the whole choir with lots of personality and gestures. They generated a welcoming, happy atmosphere and it was a lovely evening in good company.
Canongate Kirk and St Giles' Cathedral, 21+22 Aug.
tw rating 5/5 | [Louise Rodgers]
A book brought to life! Children's author Terry Deary narrated this tale of rich and poor with authority, compassion and – naturally – humour. No funny voices or costumes, but there was the wonderful Eboracum Baroque, a group of young professional musicians who played period instruments and sang beautifully. Their repertoire was baroque music – plenty of Purcell and Handel – but accompanied by the sort of stories you don't usually hear at concerts. For example, when Handel's 'The Music for The Royal Fireworks' was first performed, a firework ignited a lovingly constructed pavilion, and so the architect punched the person in charge of the fireworks! Musically, I loved 'Wondrous Machine', a witty ode by Purcell to the organ, king of instruments – allegedly better than the lute!
Canongate Kirk, 20 Aug.
tw rating 5/5 | [Louise Rodgers]
Two seemingly dead, screaming bodies resembling spirits dance to the instructions of a wild woman. Inspired by Taiwanese rituals, young choreographer Hsu Chen Wei has created some interesting dances, conducted with masterful technique, which are mildly hypnotic: the repetition of floaty movements and the sole red pool of light have a transfixing effect. The performance, although not scary, resonates with certain kinds of horror: discomfiting images run into one another without intervening lightness, but it also creates a bizarrely relaxing, meditative spell. There is a problematic lack of purpose to this piece that left me confused, but it's nonetheless an interesting and spooky, dark and trance-like experience.
The Zoo, until 29 Aug.
tw rating 3/5 ⎪[Lucrezia Pollice]
"When you grow up you can be anything." 'And Now…' is a dance and theatre piece, where adults embody children and their aspirations for the future. The performers really manage to create a sense of childlike wonder as they seem to discover the set for the first time. Between dance numbers, they play with the toys on stage and jump from chair to chair. The choreography is graceful and flows very well but is quite repetitive. Overall, the pace of this piece is quite slow, up until the closing number which is more energetic. The combination of electronic, minimalistic music with a live musician and percussionist gives a contemporary edge to this 'Neverland' story. A good performance but too stretched out.
Zoo Southside, until 27 Aug.
tw rating 3/5 [Pénélope Hervouet]
Thomas Monckton is quite simply a one-man lesson in clowning, who should be on the curriculum of every drama school. In this brilliantly paced, non-speaking show, Monckton blends mime, circus and physical theatre, utilising every part of his body: using all of it to execute back-flips, delivering a whole section performed only by his spotlit fingertips. As a hapless concert pianist – reminiscent of Rik Mayall at his most slapstick – in battle with his seemingly possessed piano, Monckton generates a child-like joy from his audience that makes this show brilliant for Fringe visitors of all ages. From his initial battle with the curtains on entering the stage, building up to a riotous conclusion, 'The Pianist' is without doubt more fun than any concerto I've ever seen and its performer completely mesmerising.
Assembly Roxy until 29 Aug.
tw rating 5/5 | [Francesca Peschier]
'Woody Allen(ish)' is the sort of tribute act that you don't expect to see until the entertainer impersonated is long dead. Simon Schatzberger has the voice spot-on, but Allen's physicality is overplayed as repetitive tics. I had expected that your enjoyment of this show would heavily depend on how you much you love the real Allen but, even for a diehard fan, this tribute to him in his 60s heyday is problematic. Although iconic, much of the material is dated and even the famous 'Moose' routine fails to deliver the renowned punch. It might well be that, no matter how good the recreation, these routines just don't work when taken out of their original context. I fear that possibly in this case, you just had to be there.
Frankenstein Pub, until 29 Aug.
tw rating 2/5 | [Francesca Peschier]
Tim has died in a freak accident, so Charlie Robb and Sam Knights decide it would be most fitting to devise a sketch show in his honour. Over an hour of highly accomplished comedy, we get to know Tim and his two friends well. Weaving in discussions about their sketches and performance, akin to 'That Mitchell and Webb Look', their use of a narrative to tie together their hilarious observations and anecdotes works extremely well. There's a twist that sees the story take a surprising turn, and one of the best forms of audience participation I have seen for a while. Daft, confident and genuinely funny, 'Farewell Tim' is one of my highlights of the Fringe so far.
Pleasance Courtyard, until 22 Aug.
tw rating 5/5 | [Daisy Malt]
Masud Milas describes himself as being "as fly as a Blaxploitation cop," and I can't put it any better. Just when you think comedy about complex identity issues is getting stale, along comes Milas with this hilarious debut, laying out his Hong Kong via New Zealand formative years, with his terrifying Maasai warrior mother and repressed Peterborough father. The set could do with a touch more refinement, as some points are repetitive (there are only so many gags you can get out of a 70s leather jacket), bur Milas is consistently charming and funny. Although he fears the wrath of his mother when she finds out about his impersonation, I think she'll be laughing too much to "reach for her machete".
Underbelly Med Quad, until 28 Aug.
tw rating 4/5 | [Francesca Peschier]
It's always the quiet ones, isn't it? Raised a conservative Baptist, becoming an International Sex Ambassador for a year didn't exactly top John Pendal's list of career choices when he was growing up. In this show, he shares his story of learning about his sexuality, and about the kinky underworld he now likes to inhabit. In case you're easily shocked, he's got pictures of his cats to soften the blow, but I think he could have risked being a bit more filthy in his jokes; although I'm perhaps less easily shocked than others. It's certainly an interesting insight into how a softly-spoken man from Watford became the winner of the US based International Mr. Leather competition.
The Stand 4, until 28 Aug.
tw rating 3/5 | [Daisy Malt]
Evil threatens the the accident planet of Plutopia, and only one person can save its people, a pig shit farmer from middle of nowhere. Sleeping Trees return with another laugh a minute filmic show. Using hilariously simple physical theatre to play more than twenty five characters the three man group follow the story of Charlie Sprog as he strives to save the Galaxy. Joining the actors on stage are two incredible musicians who – in sound – create barren wastelands, space ports and galactic council chambers for the performers to play in. All this supports the superb comic writing, which recalls the style of 'Hitchhikers Guide To The Galaxy' or Simon Pegg's Cornett Trilogy. A company set to rocket to stardom.
Pleasance Courtyard, until 29 Aug.
tw rating 5/5 | [Olly Jacques]
The title stands for Massively Multiplayer Onstage Roleplaying Game. Still reading? Righto. The excellent host and Dungeon Master Paul Flannery warms up the sort of crowd who can be warmed up by stand-up material about elves and hobbits. He then invites three volunteers from the audience to take the part of player characters in an improvisational adventure, driven in part by audience suggestions appended to a wafer thin plot. The story then resolves, in time-honoured fashion, according to the roll of an outsized 20-sided dice. It's 'Dungeons and Dragons'-themed improv, peppered with in-jokes and revelling in its gleeful, geekish absurdity. Some entry-level knowledge would help in understanding much out of it but, thanks to Flannery's deft, sharp, running of the game show, it works.
Gilded Balloon at the Counting House, until 28 Aug.
tw rating 4/5 | [Bruce Blacklaw]
Pat Cahill arrives on-stage in a home-made Morris dancing kit. He introduces his proposed show of an hour (at least) of amusing adaptations of medieval English musical numbers. However, his Siri is playing up and so it becomes a 'pretend it's all going horribly wrong' show – those can either disguise a lack of depth or reveal a meta-comedy genius. There's probably a bit of both in this chaotic, uneven hour, where Cahill is 'forced' to fall back on some variable stand-up and comedic song. Overall, it's just about carried by some really good absurdist stuff and a smattering of very funny songs. It's almost certainly the only Fringe show you'll come out of singing about coconuts.
Heroes at the Hive, until 28 Aug.
tw rating 3/5 | [Bruce Blacklaw]
Current politics on both sides of the pond are making it look as if reality really is stranger than fiction. And it's a brave soul who bases their show on something that seems to change on a daily basis. American ex-pat Erich McElroy focuses on three of the main protagonists in the US election: Bernie Sanders, Hillary Clinton and Donald Trump, and their race to the White House. It isn't laugh-a-minute, and there are the occasional cheap, slightly crass jokes (references to post-menopausal Clinton, especially), but, having said that, there are some great observations, highlighting some of the reasons that even the most obnoxious politicians can get away with far more than they should.
Laughing Horse @ Bar 50, until 28 Aug.
tw rating 3/5 | [Daisy Malt]
James Veitch signs off with the same signature as so much of the faceless spam we clear from our in-boxes each day – "Your feedback is important to us" – and this fast paced, facetious show certainly deserves a five star response and possibly its own Tripadvisor page. Veitch navigates the frustrations and banality of modern life by playing games with (or 'winding up', to be less kind) everyone from traffic wardens, to his flatmates to unsuspecting folk on Gumtree. With quick fire, professional visuals complementing his rapid presentation, Veitch manages to somehow even make a PowerPoint funny. No one is safe from his geeky over-analysis and inability to let things go which, luckily for us, means he has a lot to pack into this one hour show. In short, do please feed this Troll.
Pleasance Dome, until 29 Aug
tw rating 5/5 | [Francesca Peschier]
Chris Davis is living the dream. Specifically the dream of a child, foretold by an atavistic chinchilla, that he would one day be the greatest comedian ever to wear a chinchilla coat. His delivery is good, so is some of the material, with a nice turn of phrase. He has a stack of cue cards with back-up 'proper' jokes to deploy when things drift, which they do from time to time, and the audience has to do a bit of work to meet him half way to his occasionally dark places. So, greatest chinchilla-clad comedian? Sure, why not? Granted, the competition is thin on the ground, but Davis gamely goes for it in this surreal, if somewhat meandering hour.
Laughing Horse @ The Cellar Monkey, until 28 Aug.
tw rating 3/5 | [Bruce Blacklaw]
John Robertson reckons he's ready for his own mass-appeal arena show, complete with rhinestones and merchandise stalls aplenty but seeing as he's got a room capacity of 45 (he quickly disposes of the surplus microphone) he will do the best with what he's got… and his best is incredible. No one is safe from his cartoon villain attacks as he cavorts around, and on occasion, across the audience. Robertson is concerned that he is just too bizarre and not angst-ridden enough to achieve actual stadium success but based on the sheer volume of uncontrolled laughter in the room, and the glee he inspires in his audiences being that usually reserved for enigmatic cult leaders, I would say he's well on his way.
The Stand Comedy Club 2, until 27 Aug.
tw rating 5/5 | [Francesca Peschier]
Curly is going to be an actor and he's going to show us his acting chops while Short helps him out. Using a format of long sketches punctuated by appearances from "the world's greatest actor Kevin Spacey", this double act throw everything at it. With loads of prop, costume and physical gags they keep us laughing consistently throughout. In his attempt to demonstrate Curly's range, the pair parody a number of film genres, coming up with the likes of '28 Days Later' musical, and lampooning Batman's impractical call outs. If you don't know all of the films you may struggle with some jokes, but there's plenty that isn't film related to keep you laughing, not least thanks to these two performers' endless comic energy.
Gilded Balloon at the Counting House, until 29 Aug
tw rating 4/5 | [Olly Jacques]
Grandma and Grandpa frog are planning a surprise party for their grandfrogs. In a manner in which this reviewer is gradually becoming accustomed, with respect to stories for the very small, they do take their sweet time about it. And so the key to a show aimed at the tiny, as well as PMLD and ASD audiences, is how well that merrily wasted time is spent. Well, there are bubbles, songs, plenty to see, things to touch and lots of sensory audience participation. My little co-reviewer is still grappling with some theatrical conventions, but she gave it her full attention throughout – which, as parents and carers well know, is no faint praise – and greatly enjoyed the jumping at the end.
Pleasance Courtyard, until 21 Aug.
tw rating 4/5 | [Bruce Blacklaw]
It's bedtime in the circus tent, so lie with your family on one of the beds or beanbags and wait for a bedtime story. This one is about a little girl full of ideas, her imaginary friend and her busy mother, and it's a dream-like story about what happens when it's time to go to sleep. Grown-ups and children get closer together in this wondrous journey, told with the help of mesmerizing projections and playful acrobatics. Although the narrative loses power in some moments – I could sense children getting fidgety towards the end – 'Bedtime Stories' creates a charming experience, with something for everyone in the family.
Underbelly's Circus Hub on the Meadows, until 22 Aug.
tw rating 3/5 | [Aida Rocci]
Self–styled chanteuse Sarah Tullamore is back from Paris and is keen to share the international experiences of "a woman of a certain age" in this one woman musical, co-written by James Burn. Tullamore is clearly an accomplished cabaret singer, with a powerful voice that fills the room without being hammy. This production is the Fringe version of the longer original and it feels like details have been skipped over to cover all of her adventures. This is a shame, as it's in the details that Tullamore's narrative glitters, especially during a musical number on the Gallic shrug of French waiters. It's a little sentimental and cheesy at times but, with a glass of vin rouge in hand, all the more enjoyable for it.
theSpace @ Jurys Inn, until 27 Aug.
tw rating 3/5 | [Francesca Peschier]
The Mexican artist Damián Ortega comes to Edinburgh's Fruitmarket Gallery in a new exhibition, exploring how the human and natural worlds have changed and developed, as well as how they have impacted upon one another. Ortega utilises clay, the most elemental of materials, in order to create, amongst other things, icebergs, waves and an array of man-made tools. There is a thrilling sense of experimentation and spontaneity to the work, with many pieces being unfired or unglazed, making it clear that Ortega is an artist more concerned with process and play. Indeed, the profoundly unstudied and effortless pieces seem to reflect the natural processes with which the exhibition is concerned — the flowing, fluctuating forces of time and weather.
Fruitmarket Gallery, until 23 Oct.
tw rating 4/5 | [Megan Wallace]
Adler & Gibb | Summerhall | 5.15pm
Looking for something "highly theatrical and surprisingly gripping"? Well, this show will do it, as it "challenges the audience with its exploration of form and its visceral content". Says our reviewer of the thought-provoking piece: "With a powerful script, compelling structure and knockout performances, 'Adler & Gibb' will not leave you indifferent".
E15 | Northern Stage at Summerhall | 6.30pm (pictured)
This piece of 'documentary theatre' about a protest movement launched by 29 young motors in Newham, East London is definitely recommended. "This is theatre at its most politically engaged and engaging", reckoned our reviewer. "This outstanding company deliver an angry, empowering production, catalysing change".
Doug Segal: I Can Make You Feel Good | The Voodoo Rooms | 7.50pm
Finally, a long-term TW favourite and former Editors' Award winner. "Although billing himself as a comedy act, there is something deeper to Segal's act that encourages finding happiness in human connections and communication" says our reviewer of this year's show. Oh, and "one feat of mind reading, conducted blindfolded, is so impossibly impressive".
1. An introduction to financial literacy
Most kids grow up in very controlled environments. They receive allowances, they have chores, and are given a curfew. But the moment they turn 18, they have credit card offers flooding their mailboxes like porn spam. If an urgent email from Alexa – a gorgeous woman you've never met but who wants to meet up with you tonight – gives you reason to pause, then so too should the promise of free liquid capital with no strings attached.
Because, let's be real, there are not only strings, but whips, chains and handcuffs involved, and no, I'm not talking about your date with Alexa. Learning about credit, student loans, interest rates, retirement, and even basic banking accounts, is paramount. Kids need to be taught how to spot and avoid the financial pitfalls that could really hurt them later in life.
2. Relationships 101: Picking your partner
It seems that people put more care into ordering take-out than they do into selecting the right partner. Like many adults, it seems that people sort of end up with one another, as opposed to actively seeking out the right life partner to grow and build with.
And that's crazy to me! Just think about all of the things your partner has access to: your toothbrush, your food, your genitalia. You see where I'm going with this? Your choice of partner can and will drastically influence the direction of your life.
Take care to pick someone that supports, respects and inspires you, and someone that you you really admire. Nobody wants to end up like [insert any famous couple whose relationship ended disastrously].
3. The art of taking an insult
Gone are the good old days when it was acceptable to punch someone in the face for calling you stupid, or ugly, or saying you developed man boobs over the summer holiday. At some point, someone will offend, insult, or disrespect you, and you will have to learn to deal with it like a mature adult.
As kids, we take these sorts of things very personally, but as adults, well, we probably feel the same way, but you can't go around beating up everyone that makes you mad. At some point, you have to learn to control and behave yourself, in order to survive in the real world. Unless someone insults your mother, then all bets are off.
4. You're not that special…get over it (lecture with lab)
Having positive self-esteem is great, but having an inflated ego might make you a narcissist, which is not so great. In addition to being vain and selfish, a narcissist might also assume that he or she will be good at any and everything. This troubling ideal is ingrained into nearly every aspect of some children's upbringing, and it is problematic.
Take Ted, for example:
Scenario 1: Ted knows he's a bad cook, but he's okay with that. Ted has a date coming up with Beth, a woman that he's interested in, and wants to impress. Ted makes a reservation at a fantastic restaurant, and he and Beth enjoy themselves, and leave happy.
Scenario 2: Ted is a bad cook, but he doesn't know that. Ted believes that he is a great cook because all of his life, he's been told that he's great at everything. Ted has a date coming up with Beth, a woman that he's interested in, and wants to impress. Ted invites Beth over to his house, for a home-cooked meal. Ted's terrible and improperly-prepared food causes Beth to develop food poisoning. When Beth leaves for the hospital, Ted offers the remaining food to his neighbour's cat, who then dies. Ted is charged with animal cruelty, and Beth testifies against him at his trial.
Moral of the story, don't be like Ted. Be realistic and honest with yourself. If you allow yourself to believe that you are good at everything, then you might miss your true calling. To be successful, work hard and focus your efforts on things that make you happy, and which you might actually be good at.
5. It's OK to take the easy way out. Sometimes
You hate piano lessons? Quit. Try the guitar if it tickles your fancy. People who live by the phrase "quitters never win", might find themselves languishing in unhappy marriages, dead-end jobs, and all-around sad existences. Remember, quitters aren't losers, sometimes they're just people who no longer want to be miserable. Do the things that make you happy, but be careful to learn the difference between smart selections and slacking.
6. Don't be an asshole/ne bice(r) to people
When dealing with your siblings, parents, teachers, other students, and even strangers; practice kindness. I know it sounds cliché, but being kind makes for a happier existence. Plus, you never know who that guy or girl that you were mean to could turn out to be. Maybe the next Beyonce. Or your future boss. Either way, they'll remember if you were a jerk.
'Orlando Baxter: Suspensions, Detentions And Summer Vacations' was performed at Pleasance Courtyard at Edinburgh Festival 2016.]]>
The Tiniest Frog Prince In The World | C | 1.15pm (pictured)
This "joyous retelling of the famous fairytale" comes from Korea's Brush Theatre and is a definite highlight of the Fringe's children's programme. "The cast beautifully explore the story with such dynamic vitality that its predominantly Korean script doesn't impede the audience's understanding", says our reviewer. "A charming delight, that'll be cherished by children and parents alike".
I, Who Have Hands More Innocent | Zoo | 7.25pm
The late Croatian poet Vesna Parun's verse is "profound existential nostalgia wrapped in raw intensity", says our reviewer, and "Vesna Mataĉić's delivery of this vocally and physically demanding role is remarkable". Go see.
Jayde Adams: 31 | The Voodoo Rooms | 10.30pm
One of our favourites from the Edinburgh Comedy Awards newcomer shortlist, our reviewer dubs Adams "a truly generous entertainer" before adding that "this performance may be titled like an Adele album, but this highly personal show is no tribute act".
"It's a lot easier to sell a show called 'I Can Make You Feel Good' than one called I can make you shit your pants", Doug Segal wisely intones, looking every inch the Victorian illusionist. Despite a small mid-week audience, Segal follows through on his title promise: any other ways of feeling quite that great in an hour for just over a tenner are definitely illegal. One feat of mind reading, conducted blindfolded, is so impossibly impressive that he has to continually call for verbal assertion that he's on the money, as the audience are too stunned to cheer. Although billing himself as a comedy act, there is something deeper to Segal's act that encourages finding happiness in human connections and communication. Just go, he guarantees you will be happy you did.
The Voodoo Rooms, until 28 Aug.
tw rating 5/5 | [Francesca Peschier]
Wil Greenway's solo show has sold out every night so far. And rightly so, as the Australian storyteller is back with the kind of uplifting yet heartbreaking show he does so well. It's about a woman he loves getting pregnant by someone else, but it also interweaves stories about birds fighting, old people grieving, fast cars and summer Christmases – small details building to an evocative, joyful whole. Though his charming manner can feel a little too rehearsed, Greenway has a sense of magical realism that means you'd happily listen to him telling the tallest of tall tales. He talks about blushing and flailing for words around a woman he likes, but Greenway's beautiful, lyrical script suggests he's someone who could never be lost for words.
Underbelly Med Quad, until 28 Aug.
tw rating 4/5 | [Gemma Scott]
Walking into LUNG's production of 'E15' is like walking into a political campaign. Colourful banners are everywhere, loud music plays while performers belt out slogans: "social housing, not social cleansing". 'E15' is a piece of documentary theatre about a protest movement, launched by 29 young mothers when they were threatened with eviction and relocation from their homes in Newham. It tells of their extraordinary response to an all-too common situation, interspersed with interviews about the housing crisis. This is theatre at its most politically engaged and engaging – it is a call to action, with reverberations well beyond the stage. The performers remind the audience that "these are real people," and encourage us to "do something". This outstanding company deliver an angry, empowering production, catalysing change.
Summerhall, until 27th Aug.
tw rating 5/5 | [Hannah Greenstreet]
'The Toyland Murders' is a classic New York noir thriller, as we see Inspector McGraw attempt to find the culprit in a series of increasingly grizzly murders. She interrogates the city's most notorious, hardened criminals. Except…the characters are all puppets, all bright colours and huge button eyes. Suitable for children and adults, there are lots of toy-based jokes here, and it has real similarities to Jasper Fforde's 'Nursery Crime' novels. The puppeteers themselves are highly skilled, very expressive and animated, so that you're sometimes not sure whether to watch them or the puppets. 'The Toyland Murders' is a highly inventive and creative piece from this young company, with lots of laughs and clever parodies of noir film clichés.
Bedlam Theatre, until 28 Aug.
tw rating 4/5 | [Gemma Scott]
Sometimes you only need an empty stage and two chairs to create a full city. Set in London and Dublin, 'Save + Quit' tells the stories of four people who could well be commuting with you in the morning. With a beautiful script by Sophia Chetin Leuner and incredibly natural, nuanced performances, the lives of these strangers become real on the simple stage. You'll get drawn into these stories of connections and missed opportunities, moments to "save" and moments to "quit", which somehow seem to encapsulate the experience of a generation. 'Save + Quit' is unexpectedly moving – a confident piece of theatre that reveals its characters' worlds to the audience through honest, high-rate storytelling.
Assembly George Square, until 29 Aug.
tw rating 4/5 | [Aida Rocci]
'The Other' is a story of war and migration, told through magic realism. A young girl called Mana, and her living doll Manita, must walk from the violent Red and Yellow planet to the safe Blue planet. Her quest is a veneer of juvenile simplicity over a dark subtext of slavery and deprivation. This disturbing juxtaposition allows the play to mostly avoid the pitfalls of allegory, but it's Gaël Le Cornec's stellar performance that pulls it all together. She is completely absorbed by the role, using her multiple props and shadow puppets with effortless grace. This macabre fantasy does admirable work in highlighting how a child's mind should never have to encounter monsters.
Institut Français d'Ecosse, until 28 Aug.
tw rating 4/5 [Jane Berg]
'Finders Keepers' is a great piece of physical theatre, about a father and daughter living in a junkyard, whose lives are changed when they find an abandoned baby. The two main characters, played by Jo Sargeant and Claire-Louise English, are delightfully, unapologetically ugly – scraping armpit hair off with a knife and spraying nail clippings. The puppet-baby is manipulated with great skill, though the loud crying becomes increasingly grating after a while. Told entirely without words, the play is designed to appeal to both hearing and D/deaf audiences, and it does this admirably, with visual cues to indicate the sound effects. Hot Coals Theatre have found the perfect balance between humour, sadness and sincerity in this heart-warming show.
ZOO, until 27 Aug.
tw rating 4/5 | [Gemma Scott]
Can anyone really escape their past? Trent and Liam are two brothers with Mafia ties, who go to extreme lengths to leave their bloody history behind. But when two strangers appear on their doorstep, old wounds resurface. With an engrossing plot and a fantastically talented cast, the play is powerful and engaging. It begins in the midst of the action and only slowly does it reveal what has come before. Not for the squeamish, the realistic, bloody fight scenes will leave you cowering in your seat. Luckily, unlike many other action dramas, this is not mindless violence added to support a weak script. This gripping thriller will keep you enthralled – there were audible gasps from the audience.
theSpace on the Mile, until 27 Aug.
tw rating 4/5 | [Rosie Barrett]
A re-imagining of Henrik Ibsen's final play, 'Dead Awaken' is a loud, beautiful concert drama from The Californian Institute of the Arts. It focuses on The Artist, whose success has put a strain on his existence, as he struggles with the life he had and the life he thinks he wants. Looking at our animalistic qualities, the visuals are raw and compelling. The original music, composed by director Brian Carbine and lead actor Preston Butler III, is incredible, as the four performers tear through the intricate, poetic language accompanied by blasting music. An elusive but engaging tale, 'Dead Awaken' is a passionate and beautiful mash up of hip hop, neon-soul and equally beautiful, tender prose. A must see.
Venue 13, until 27 Aug.
tw rating 5/5 | [Bethan Highgate-Betts]
'Callisto' is an ambitious play. It tells four stories simultaneously, all focused on queer relationships through history. From a woman living as a man in 1675; to Alan Turing mourning his first love; to a Midwestern woman who falls in love with a porn star; to a futuristic human/artificial intelligence romance. Though the connection between these separate stories is unclear, they all demonstrate genuine, believable relationships, and the comparisons to 'Cloud Atlas' are not unfounded. Catheine Pilsworth's costumes are fantastic, really setting each story in context without the need for a set. The performances too were uniformly brilliant, with Phoebe Hames and Mary Higgins as particular stand-outs. Though slightly too long, this is an intriguing set of stories.
Pleasance Dome, until 29 Aug.
tw rating 4/5 | [Gemma Scott]
I'm a fan of the anarchic, of the wilfully illogical, but 'Yuri' was a little too much even for me. It uses its bizarre premise – a childless Welsh couple suddenly have a silent, possibly Russian, teenager thrust upon them – to raise some interesting questions. The pressure to have children, and the strain that can put on a marriage, segues into the myriad tensions and resentments that parents may feel towards their partners. And it's funny too, for the most part, though some gags don't land, and I found the implicit mocking of the mentally ill a little off colour. Mostly though, it was too incoherent, too bizarre for me; not quite a curate's egg, perhaps, but certainly niche.
Underbelly, until 28 Aug.
tw rating 3/5 | [Andy Leask]
"I'd like to take out each and every one of their eyeballs," says one character in 'Blush', after her sister's naked photos have been uploaded to the internet and viewed 30,000 times. Charlotte Josephine's important new play explores, in a multifaceted manner, the implications that digital technology has for relationships and intimacy. Josephine and Daniel Foxsmith skilfully take on five characters that are involved in different ways in online shaming. The parts when they speak in turn but not in dialogue are particularly powerful, conveying the isolation of individuals. My only criticism is that the characters were not differentiated enough, which meant the beginning was difficult to follow. This timely pay makes us feel pity and disgust, but also rage.
Underbelly, until 28 Aug.
tw rating 4/5 | [Hannah Greenstreet]
'Putting the Band Back Together' is a dedication to the forgotten musical instruments we all have hidden away. With The Futureheads frontman Ross Millard on guitar heading up a core band, the show explores the power of music and our relationship with it. Each performance also features a unique house band, made up of musicians found in the hours before the show. The attempted mix of storytelling and music works fairly well, but for me the format is confused. Unfortunately, obscure sections of physical theatre serve only to undermine the emotional telling of a poignant story – that of late artist Mark Lloyd, and his dream to reunite his old band for a charity gig in the final months of his life.
Northern Stage @ Summerhall, until 27 Aug.
tw rating 3/5 | [Stephanie Gray]
Tim Carlsen's 'One Day Moko' was first performed in New Zealand in 2014. Carlsen masterfully inhabits his character, Moko, a happy-go-lucky homeless man, who repeatedly checks in with the audience and asks for song requests. There are some exciting theatrical moments here in Moko's interactions with the audience; we become the police, a bouncer, and other characters in his life. In a nice touch, Moko does all the tech himself, running round the back of the audience to turn the lights on and off. Unfortunately, the show does not hang together very well, something acknowledged by Moko at the end of the show, which is quite frustrating. Come for the character work rather than the story.
Gilded Balloon Teviot, until 29 Aug.
tw rating 3/5 | [Hannah Greenstreet]
For acclaimed Croatian poet Vesna Parun (1922-2010) language was an "abiding and passionate intimacy". Her verse is profound existential nostalgia wrapped in raw intensity, selected here to show her coming of age as an artist and of Croatia in her youth. Reading the poetry, projected in English during the show, while hearing the gorgeous texture and cadence of the original language seemed to help reduce what is necessarily lost in translation. Vesna Mataĉić's delivery of this vocally and physically demanding role is remarkable, as is fact that the two artistic mediums augment one another so well. I can only thank the Ines Wurth Presents for introducing me to this incredible poet.
Zoo, until 29 Aug.
tw rating 5/5 | [Jane Berg]
'Discretion Guaranteed' blends the humorous with the harrowing, in a bold satire from writer Shamim de Brun. Driven by a cast of four, the play tackles issues surrounding femininity in the modern work place, with a predominant focus on sex workers. However, at times it's a little too fast paced, leaving some scenes slightly underdeveloped. Despite this, it's a poignant piece, encapsulated by one character's sarcastic line: "women think talent and education are enough to become successful". The play's strength is its ability to fully confront sensitive issues such as gender discrimination, sex work and rape. It's a daring, thought-provoking début that won't necessarily come good on the promise outlined by its title.
Paradise at The Vault, until 28 Aug.
tw rating 4/5 | [John Sampson]
What makes a person? The memory that loved ones maintain? The testimony left in letters? The corpse buried in an unmarked grave? The image held by the public? Their art? Most importantly, who has a right to that identity? 'Adler & Gibb' asks these questions while bombarding the foundations of theatre and art. Highly theatrical and surprisingly gripping, the piece challenges the audience with its exploration of form and its visceral content. It is the story of Janet Adler, a famous artist who died mysteriously, and an actress who breaks into the artist's house hoping to unearth her past for an acting role. With a powerful script, compelling structure and knockout performances, 'Adler & Gibb' will not leave you indifferent.
Summerhall, until Aug 27.
tw rating 5/5 | [Aida Rocci]
A pig and a flamingo make an unlikely pair in 'Animal: Are You a Proper Person?'. Chris Redmond and Anna Freeman chart the evolution of their spirit animals in this beguiling show that blends spoken word, sketches and music. It's a wacky hour full of hilarious encounters with the performers' spirit animals, from the first appearance of Redmond's pig at a childhood drum lesson, to Freeman's flamingo taking flight at a stuffy novelist's party. The brilliant musical accompaniment helps to capture the energy of these creatures, and compliments the production perfectly. This is an infectious show that will have you roaring and singing to the tune of your own spirit animal.
Gilded Balloon Teviot, until 28 Aug.
tw rating 4/5 | [John Sampson]
'Unseal / Unseam' is a dark creation, combining both visual and sound elements to create a unique sensory experience. It's supposedly a story of domestic abuse, featuring various tragic female characters, but the complete absence of narrative makes it difficult to understand that intention. Objects such as chains and wire are used both as visual symbols of the woman's suffering and to create sound. Combining different musical genres, such as opera and minimalistic electronic music, this piece is obviously attempting to extend the boundaries of what is defined as music. Despite soprano Micaela Tobin's impressive vocal abilities, the piece is daunting and sometimes cacophonous. The creators are evidently talented and conceptual but this piece will only appeal to a specific audience.
Venue 13, until 27 Aug.
tw rating 2/5 [Pénélope Hervouet]
Rehearsals have started and the technical team are…well, mostly pointing screwdrivers in the general direction of a lightbulb. There are few laughs to be had from this new musical – the performances are of varying quality, but it's the script that really lets this young cast down. The characters are all lazy stereotypes, from the pushy director to the lighting designer who's sick of being ignored. And if you're expecting techie jokes then you'll be disappointed – there's not even the slightest mention of Gaffa tape. The writer seems to lack any understanding of what goes on backstage in a professional theatre, which meant that most of the plot just made no sense. If you're a techie you'll feel insulted watching this.
theSpace on the Mile, until 27 Aug.
tw rating 2/5 | [Gemma Scott]
During last year's Fringe, Gobsmacked firmly established themselves as the a-cappella act to beat. This year they look set to retain that crown, presenting top-notch vocals alongside the work of world champion beat-boxer Ball-Zee to create a top class, well rounded show. While other a-cappella sets can feel stale, trudging from one song to the next with no innovation, Gobsmacked never fall into that trap. Short skits utilising the incredible talents of Ball-Zee link each piece, helping the show to become a slick, choreographed and almost theatrical hour. Everything is planned and executed perfectly – right down to creative use of live looping techniques. Undeniably, this show is a huge success.
Underbelly George Square, until 29 Aug.
tw rating 5/5 | [Stephanie Gray]
Acrobatics with a comical, refreshing twist, this fast-paced show contains a variety of apparatuses and styles. All of the performers have incredible strength, balance and flexibility, and seem to perform all the roles traditionally found in acrobatic shows. Mixing aerial acts with floor gymnastics, 'Closer by Circa' has the audience on the edge of their seats, shocked and amazed as the performers push the limits of what the human body can do. The thrilling cast perform with an innocence and excitement that is contagious, and they even bring in audience members to participate! If this review isn't convincing enough, the full standing ovation at the end of the show really speaks for itself!
Underbelly George Square, until 29 Aug.
tw rating 4/5 [Pénélope Hervouet]
Yaseen Kader's depression led him to drop out of university, go to New York and, indirectly, to write this show. There's some admirably candid stuff about mental health issues here, and some funny stuff about online dating, where his self-confessed nerdiness provides the bulk of the comic substance. Unfortunately, those two elements don't quite join up. The depression bit is light on laughs (I know, I know – but it is a comedy show and that takes up about half of it) and, where that seeks to establish narrative, the second half is a series of comic anecdotes. Kader himself acknowledges that he is finding his feet and, with his awkward charm and nice attention to comic detail, he definitely could. Worth encouraging.
Gilded Balloon at the Counting House, until 28 Aug.
tw rating 3/5 | [Bruce Blacklaw]
Through quick-fire sketch comedy, this trio is rather good at delivering weird little snippets of fun. With a few simple props and plenty of energy, they draw you into their strange world. There are glimmers of comedy genius, particularly in a skit about weight-conscious whales and in a brilliantly dark song from a bin with an inventive new method of recycling. With no sketch lasting longer than 90 seconds, the ones that don't work so well are quickly forgotten – some are just downright baffling. Reminiscent of the surrealist trio Clever Peter, Planet Caramel definitely show promise. Oh, and if you need more persuading, you'll get a Tunnock's Caramel Wafer just for being there.
Opium, until 27 Aug.
tw rating 3/5 | [Daisy Malt]
With so many celebrity deaths in 2016, Myra DuBois sees plenty of vacancies to fill, so she's here to showcase her talents. She'll sing, perform poetry, crack out a few dance moves and even prove her game show hosting skills. Although at times this feels a little like a checklist of drag clichés, DuBois drew the best laughs when she went off-script and dished out her razor-sharp wit. If there's a line in comedy, Myra DuBois likes to dance dangerously close to it in her heels. There are moments of brilliantly caustic humour that are delivered with a punch of shock-factor, which I'm sure converted a few more adMyras to her fan club.
Gilded Balloon Teviot, until 28 Aug.
tw rating 3/5 | [Daisy Malt]
Strange things happen during Jayde Adams's show: there's competitive freestyle disco, smoothie making and an extremely unexpected musical number. This performance may be titled like an Adele album, but this highly personal show is no tribute act. This is a buckle-yourself-in hour, with Adams warmly taking the room from hysterical laughter to audience members offering her impromptu hugs. Autobiographical stand-up can be stale and self-indulgent, but Adams has a highly original voice and is unafraid to mix lowbrow, explicit anecdotes with the emotionally intimate. A truly generous entertainer, Adam's deserves a long queue emptying their wallets into her bucket in exchange for her voiding her warm and funny heart.
Voodoo Rooms, until 28 Aug.
tw rating 5/5 | [Francesca Peschier]
In both content and execution, Lou Sanders is gloriously all over the place. The surrealness of her humour, reinforced by the bizarre stage decorations, often has a real intensity to it. She constantly switches her tone, from self-deprecating to "ironic bravado" (her words) to a wild sort of confusion, never letting us settle into any particular 'feel'. Even her (rare) straightforward observations feel weird within the context of the show because they're part of her constant wrong-footing of the audience. Bouncing from childhood memories to tips for life to character-based sketches, and complete with weird jingles that somehow get stuck in your head, this show is the absolute best kind of bonkers.
Pleasance Dome, until 28 Aug.
tw rating 4/5 | [Nina Keen]
We're about half way through the festival now, but Felicity Ward shows no sign of slowing down. She practically fizzes with energy during this show- she bounds around the stage, laughs at her own (chicken-based) musical interludes and talks like she could keep going for hours. She essentially tells one story, about a time when she left her bag on the bus, but the hour is filled with amusing anecdotes about life as an anxious Aussie living in London. It's loud, it's brash, and Ward is certainly not afraid of making herself look ridiculous. The title is a reference to her mental health issues, something she talks about openly and regularly during her set. Anxiety has never been this funny.
Pleasance Courtyard, until 29 Aug.
tw rating 4/5 | [Gemma Scott]
'Vaudeville' begins with a hapless security guard attempting to tell the horrible history of an old vaudeville theatre and the intriguing (often murderous) characters that once inhabited it. Tom Neenan plays all the characters with a mischievous, hilarious enthusiasm. From the pompous Shakespearean actor, to the suave European knife-thrower, to the ventriloquist in constant conflict with his dummy – the characters aren't new, but Neenan's glorious pastiche of actors, critics and other performers is a master class in arch, tongue-in-cheek, but still incredibly clever comedy. The Fringe is the ideal location for this piece, as it's filled with in-jokes, like the classic about threes reading like fours. Neenan's skewing of theatrical conventions and affectations is ideal viewing for the theatrical types currently filling the city.
Underbelly Med Quad, until 28 Aug.
tw rating 5/5 | [Gemma Scott]
Best Boy are sketch duo Charlie Mizon and Dan Smith, whose comedic personae have them bickering about each other's relative comedic merits throughout this lively show. They have a nice line in audience participation and muck about merrily with the fourth wall to deconstruct their own stuff; both elements come back in a finale which constitutes a pretty memorable call-back. It's rather darker than the jaunty mid-afternoon slot might lead you to expect – once or twice to a needless fault in fact. Dunno about "best", but with a fun recurring riff of sponsored routines, a belting card 'trick', lots of good gags (a few clunkers too, mind) and cracking timing, it's pretty good.
Underbelly Cowgate, until 28 Aug.
tw rating 4/5 | [Bruce Blacklaw]