Category Archives: Dance

Edinburgh Fringe 2024 Reviews – Bailey Swilley: Gimme a Sign!, Common is as Common Does: A Memoir, Rob Auton: The Eyes Open and Shut Show, Pillock, Robin Grainger: Refurb, and A Play by John

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Bailey Swilley: Gimme a Sign!, Laughing Horse at the Three Sisters.

3-stars

It’s not a coincidence that that you enter The Wee Room at The Three Sisters to the sound of Ghostbusters, because Bailey Swilley’s Gimme a Sign is all about ghosts – even those who are still alive! Bailey is a terrifically authoritative storyteller, and everyone present was caught up on her stories about her family life (part American, part Taiwanese), her parents, her grandparents, and the wonderful boyfriend whom everyone loved except her. She has a very entertaining raconteuse style, dotting her reminiscences with funny stories but also not shying away from the emotional pitfalls that come from loving someone who is no longer with us. There’s also a salutary tale about why you should never attend a funeral without underwear. Effortlessly enjoyable!

Common is as Common Does: A Memoir, Zoo Southside.

3-stars

21Common’s new show seems a little perplexing at first. We’re clearly in the Wild West, all blue jeans and Stetsons, with a bunch of guys and gals all ready for a spot of line dancing. The Man introduces us to the main players of the piece: himself – naturally; The Woman – second fiddle but she has her uses, The Rascal – an unpredictable cove who might or might not kill you, and The Boy – definitely at the bottom of the pecking order (for now). Through various songs and various scenes, some of which are in Cowboy Country but some are in any deprived estate you might find in the UK, we see poverty and violence, forming a stark contrast with our rather romantic view of an old John Wayne western. The most striking (literally) scene is where The Man physically abuses The Woman (on video) whilst she sings Dusty Springfield’s You Don’t Have to Say You Love Me to him; it’s an awful, horrible moment – and then you realise how powerful that image is. All this story is told through the narration of The Man, mixed with song and dance. Think TV’s Shameless but with a western twist set to contemporary dance. Very clever indeed; sometimes a little scruffy around the edges, but it produces impactful theatre.

Rob Auton: The Eyes Open and Shut Show, Assembly Roxy.

4-stars

One thing (there are others) that unites all of Rob Auton’s shows is that you never know quite what to expect. Even when you’re halfway through the show, you still don’t know what’s ahead in the second half. I think Mr Auton likes to keep us on our toes; but possibly not as much as he likes to keep himself challenged, always coming up with brand new ideas from which to launch a show. Early on in The Eyes Open and Shut Show Rob invites us to close our eyes and listen to his instructions – following thoughts around the body and enjoying how comfy our eyes feel. But there’s no point my giving you any more details about the act; it’s of such a philosophical slant that it would be impossible for me to provide a description anywhere near it. Rob Auton is always a man of whimsy more than stand-up jokes, and he always makes you see familiar things from an unusual angle. A class act!

Pillock, Assembly Rooms.

4-stars

Meet Pillock – his name for himself, not ours; a jobbing actor who’s happy to take the unimportant minor roles so long as there’s a bit of cash coming in. Projecting ADHD in his every move, he hurtles around from one end of the stage to another, dropping his little gossipy bits of information, purely confidentially of course, whether it’s via the medium of a downward dog or a Grindr swipe. Into his life comes Eugene; handsome, mature, rich – what’s not to like? Pillock tells us about their slowly evolving relationship, including the fact that there’s three of them in this set-up – the other being Eugene’s late husband Peter. Where will this journey take them? Only Pillock has the answer. This is a beautifully written monologue, both hilarious and sad in equal measure, delivered with a lively joie-de-vivre and masses of energy by Jordan Tweddle. Simply but effectively designed, the text is full of wonderful comic observations; one that stood out for me was the reason why you can’t consider ADHD to be a superpower. A great piece of writing and a very fine performance. Highly recommended!

Robin Grainger: Refurb, The Stand Comedy Club 2.

Wasn’t it Fred Astaire who said – and I think it was – pick yourself up, dust yourself off, start all over again? That’s basically the premise of the brilliant Robin Grainger’s new show Refurb – those moments in life when you think you need to have a bit of a smartening and shaping up to face the new challenges of life. Robin’s challenges started early – three months early in fact, as that is how much gestation period he and his mum missed out on. The perils of prematurity are the starting point for a lot of his issues – which have very much influenced his approach to life. Needing physiotherapy sessions as a boy, hiding away from school sports, and being too scared to go on the slide in the park – he’s needed a lot of Refurbs to get to his current happy status. Mr Grainger has that rare gift of being simply, innately funny; the comic observations start from the first second and don’t let up till the final minute. He populates his ideas with marvellous moments of local colour; they’re not vital to the thrust of his comic argument, but add brilliant side-insights – for example, his re-enactment of phoning his mum in the wilds of Aberdeenshire creates a hilarious image of windswept isolation. Refurb is beautifully structured – all the ideas littered throughout the show come together in the final moments to make a very satisfying whole. And he’s spot on about toilet seats. It’s a privilege to spend an hour in his company.

A Play by John, TheSpace at Surgeons’ Hall.

As you enter the auditorium, Matteo is busy with his woodwork. Noisily banging nails into chipboard, he seems to know what he’s doing – but it’s not as good as the finished piece of work on the far side of the stage. When Reggie joins him it becomes clear that they’re building their own coffins; they toy with each other over the idea of killing each other too – makes sense, I guess, in an unconventional way. And if you’re going to be building your own coffin, there’s only one likely outcome at the end of the play. Mule Productions’ A Play by John has the germ of an idea for a great play, but it’s not quite there yet. Inspired by the likes of Pinter’s Dumb Waiter and Beckett’s Godot, you can see the tensions between the two trapped characters with no obvious way out of their emotional and physical cul-de-sac; but as the play currently stands, it suffers from a lack of subtlety and a prolonged, awkward ending. It needs to make more of the realisation that they are characters in a play, and it would be far more effective simply with less shouting. It’s a clever idea, and not without its charm, with good performances from Marc Wadhwani and Jules Smekens.

The Edinburgh Fringe All Month Long – 6th August 2024

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What’s in store for us in Edinburgh today?

Here’s the schedule for August 6th

10:45 – Bailey Swilley: Gimme a Sign! Laughing Horse @ The Three Sisters. From the Edinburgh Fringe website:

“In this vulnerable yet irreverent debut, Bailey Swilley shares how she got through the darkest time in her life – the death of her father – with the help of family, pop culture and an obsession with looking for signs from ghosts. Come for the sweet stuff, stay for the weird facts about celebs!”

So here’s an up and coming comedian of whom I know very little – but if you can’t take a risky punt at Edinburgh, where can you? Family, grief and ghosts? That basically covers everything that life has to offer. I’m quite partial to believing in ghosts myself, so I hope to find someone who’s also prepared to give them the benefit of the doubt!

12:30 – Common Is As Common Does: A Memoir, ZOO Southside.

“Fringe favourites 21Common return for a dance spectacular, mashing karaoke carnage and feats of physical endurance with chucking-out time at the Grand Ole Oprey. Using tropes of Western movies, it explores how poverty and violence shape a man. This is a deep and dirty dive into a family circle that more often resembles a ring of fire. Part saloon (there’s crooner country classics), speakeasy (brush/scuffing danceathons) and bare-knuckle boxing ring (it’s going to kick off`), join us in our Wild West sitting room with the ones who spit. Part of MadeInScotlandShowcase.com”

That’s a very full description of a Fringe show! Essentially I’m expecting a rather immersive dance show that blurs the boundaries between other art forms – and with a bit of Yee-ha! thrown in! It’ll be fascinating to see exactly what it’s all about.

14:15 – Rob Auton: The Eyes Open and Shut Show, Assembly Roxy.

“This is a show about eyes when they are open and eyes when they are shut. With this show I wanted to explore what I could do to myself and others with language when eyes are open and shut. After writing ten shows on specific themes, I wanted to think about what makes me open my eyes and what makes me shut them. ‘A genuine original’ (Guardian). ‘The mother freaking greatest’ (James Acaster). ‘Very hilarious’ (David Shrigley). ‘A genius’ (Bridget Christie). ‘Makes laughter out of wonder. We need him’ (Scotsman).”

In all the world of stand-up comedy, Rob Auton has carefully carved out a unique space for himself; a cross between guffawingly hilarious observational comedy and gentle philosophical whimsy. I can’t wait to see what he’s got in store for us this time!

18:25 – Pillock, Assembly Rooms.

“Pillock has ADHD. His brain works faster than his bowel when he’s had a Babybel. And he’s lactose intolerant. He’s trying to keep his head above water, but he’s drowning in loneliness, hook-up culture and medical role plays. He feels stagnant and it’s going to take more than a yoga class to help. But, when he meets Eugene everything changes. His shot at the sort of love people write poems about. But will he be Mr Right, Mr Right Now or even Mr Wrong? Pillock wants to trust his gut, but his can’t even handle a Muller Corner.”

This sounds like one of those quirky Fringe shows that will either be a sensational new find or something that everyone should have left alone! I’m erring on the Sensational New Find side, and trust that it will be well-written and classily performed comedy.

20:10 – Robin Grainger: Refurb, The Stand Comedy Club 2.

“As seen on The One Show (BBC One), BBC News, BBC Scotland. As heard on BBC Radio 2, BBC Radio Scotland, Heart, Forth One. Featured in The Telegraph, The Scotsman, Metro, British Comedy Guide, Chortle. ‘It’s dope… it says a lot about what your future will be… as a comedian, you have no choice but to shine’ (Kevin Hart). ‘You can’t fake this level of likability. A magic hour of comedy’ ***** (TheRealChrisparkle.com). ‘An excellent way to spend an hour’ ****½ (One4Review.co.uk). ‘He’s a brilliant stand-up… he effortlessly blends poignancy in with the laughs’ **** (List).”

Oh look – a quote from me! We saw Robin Grainger for the first time last year and I absolutely stand by my five stars for that show, and I can’t wait to see what he’s been brewing up for this year.

22:10 – A Play by John, theSpace @ Surgeons’ Hall.

“How is it possible: we all watch this, we all agree, we all shake our heads, yet we all get up tomorrow morning and do it all over again? Matteo and Reggie, fuelled by John’s suggestion, build their own coffins. This new writing unfolds as they grapple with existence, hope and fate. We invite audiences to think about why we’re here and what it all really means, wrapped up in a simple act…”

This play is described as being like a cross between Beckett’s Waiting for Godot and Pinter’s Dumb Waiter, both of whom sound fine by me. Surreal and absurd; if the writing and performances are both top quality, this should be sensational!

Check back later to see how we enjoyed all these shows!

Review – Birmingham Royal Ballet BRB2, Carlos Acosta’s Classical Selection, Royal and Derngate, Northampton, 25th May 2024

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Almost thirty years ago (gasp!) the Royal Ballet started their occasional touring production of Dance Bites; regular visitors to the Swan Theatre, High Wycombe (our nearest decent theatre at the time) over a period of four years we enjoyed the likes of Darcey Bussell, Adam Cooper, Jonathan Cope, Deborah Bull and the two Billys (Trevitt and Nunn) performing short, stunning pieces, largely choreographed by the new young stars of the day. They were fantastic nights out, and the memory of them remains a true pleasure.

Fast forward to today, and Carlos Acosta has put together a programme of twelve short pieces for his Classical Selection tour, performed by some of the younger members of the Birmingham Royal Ballet – BRB2, a name modelled, no doubt, on the fantastic NDT2, the youth department of the Nederlands Dans Theater who have always been at the forefront of showcasing their young dancers. So we were very much looking forward to seeing what BRB2 can do – and it was a thrilling performance.

With a combination of recorded soundtracks and live music from Jeanette Wong on the piano and Antonia Novais on the cello, the dancers covered a whole range of styles from the ultimate classic Swan Lake to modern interpretations of Edith Piaf and Jacques Brel. The first half of the show was devoted to traditional classical ballet – with just a hint of modernity; the second half to contemporary dance – with just the occasional hint of classicism. It’s a superb blend.

The presentation of the show is refreshingly unstuffy. I’m a big fan of going full pelt on classical ballet, with several dancers modestly surrounding the main performer and graciously recognising their talent, pausing for a round of applause every few minutes. It’s stylised, rewarding, and unique. But the presentation of this show is the complete opposite – and it really works. The curtain rises to reveal a long barre at the back of the stage, towards which the dancers unceremoniously make their way, change out of their day clothes and do a gentle warm-up, whilst chatting to and supporting each other. Then a curtain falls in front of the barre and the first pair of dancers emerge to perform their piece.

When it’s over, they take their applause, and then we see them make their way back to the freshly revealed barre, clearly discussing how the performance went. This structure continues throughout the first half; in the second half, the barre is occasionally removed for a blue background that provides the scenery for a few short dances that merge into each other. At the end, they all return to the barre, pack up their dance bags and drift off into the wings. It’s a very unshowy approach, very much in keeping with the youth of the performers. And don’t worry, you do get the chance to give them a final big round of applause at the end.

The first dance was the pas de deux from Rhapsody, choreographed by Ashton, and danced superbly by Alisa Garkavenko and Mason King; then came the pas de deux from La Sylphide danced with charm and grace by Sophie Walters, and a bravura performance from Tom Hazelby. Next came the Act II pas de deux from Swan Lake, with Maïlène Katoch exquisite in her balance and expression, faultlessly supported by Alfie Shacklock: for me the best partnering of the first act. Alexandra Manuel and Oscar Kempsey-Fagg then performed Dying Swans. Not just the traditional Saint-Saëns/Fokine swan but accompanied by an Acosta-choreographed contemporary addition; I was uncertain of this duet at first but quickly realised how clever the updating of it is. The first act finished with the return of Alisa Garkavenko and Mason King in the pas de deux from Diana and Actaeon; both on terrific form and with some crowd pleasingly elegant and dynamic solos.

After the interval, the mood changed with the return of Alexandra Manuel and Oscar Kempsey-Fagg in Ben Stevenson’s End of Time, performed to the third movement of Rachmaninov’s Cello Sonata in in G Minor. Simply but stunningly staged, it was another immaculate performance of a truly powerful dance. The mood then changed again as the set became an Argentinian nightclub with Gustavo Mollajoli’s crackingly exciting A Buenos Aires, a cunning combination of tango with classic and contemporary styles, rivetingly performed by Maïlène Katoch and Tom Hazelby. Then Ariana Allen performed a truly eloquent solo to Edith Piaf’s Je ne regrette rien, followed by an (almost) show-stealing dance by Jack Easton as Brel’s drunken antagonist in Les Bourgeois, combining brilliant dance with comic characterisation.

The final three pieces were a simply romantic dance to the second intermezzo of Bizet’s Carmen, choreographed by Carlos Acosta and movingly danced by  Alexandra Manuel and Oscar Kempsey-Fagg; then a more challenging modern piece choreographed by Will Tucket entitled Mirrored, danced by Frieda Kaden and Jack Easton to music by Ravel. The finale came with Jorge Garcia’s joyful Majisimo, with four couples dancing to several styles from across Spain in a combination of classical and contemporary choreography – a true crowd pleaser to finish.

It’s a terrific way to expose the younger dancers to a variety of styles and audiences, and they all thoroughly earn their stripes! These are not ballet stars yet; but many of them will be. If I were to highlight the dancers whom I think have the full potential to make it big, I would plump for Alexandra Manuel, Maïlène Katoch, Jack Easton and Tom Hazelby; but everyone gives an immense performance and show the Birmingham Royal Ballet to be in the rudest of health! Their tour continues to Canterbury and Peterborough – very well worth catching!

4-starsFour They’re Jolly Good Fellows!

Review of the Year 2023 – The Thirteenth Annual Chrisparkle Awards

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Welcome once again, gentle reader, to the glamorous showbiz highlight of the year, the announcement of the annual Chrisparkle Awards for 2023. Eligibility for the awards means a) they were performed in the UK and b) I have to have seen the shows and blogged about them in the period 10th January 2023 to 9th January 2024. Are you all sitting comfortably? Then we’ll begin!

 

The first award is for Best Dance Production (Contemporary and Classical)

 

This includes dance seen at the Edinburgh Fringe, which is just as well as we only saw four dance productions this year and they were all in Edinburgh! These are the top three:

In 3rd place, the amusing association of inventive contemporary dance with wine tasting, in Geelong’s Attitude Dance Company’s Perfect Pairing: A Wine Tasting Dancegustation at Greenside at Infirmary Street, Edinburgh, in August.

In 2nd place, the stunning The Rite of Spring / common ground[s], as performed by members of the Pina Bausch Foundation and Ecole des Sables, at the Edinburgh Playhouse in August.

In 1st place, the double bill of short dances including Revelations, performed by the Alvin Ailey Dance Theater at the Festival Theatre, Edinburgh, in August.

 

Classical Music Concert of the Year.

For the second year running, we only saw one classical concert this year – Sinfonia Viva’s Beethoven’s Symphony No 3 at the Royal and Derngate, Northampton, in July. It gets an honorary mention, but if I don’t get to see more classical concerts in 2024 this award may have to be withdrawn!

 

Best Entertainment Show of the Year.

This means anything that doesn’t fall into any other categories – for example pantos, circuses, revues and anything else hard to classify. Here are the top three:

In 3rd place, the always delightful Sheffield pantomime, Beauty and the Beast at the Lyceum Theatre, Sheffield, in December.

In 2nd place, with the most extraordinary set of production values and so much cash chucked as it, the amazing Peter Pan at the London Palladium in December.

In 1st place, so good we saw it twice, the deliciously hilarious Mother Goose starring Ian McKellen and John Bishop at the Festival Theatre, Chichester, in February and the Curve Theatre, Leicester, in March.

 

Best Standup of the Year.

Star standup comedians were thin on the ground this year so the Committee has decided to group the Star Standup and Local Screaming Blue Murder/Comedy Crate standup awards together into one major award for best standup comedian. 41 comics made the longlist, of which 10 made the shortlist – and here are the top five:

In 5th place, the gifted physical comedian Addy van der Borgh (Screaming Blue Murder – May)

In 4th place, the explosively unpredictable President Obonjo (Comedy Crate – October)

In 3rd place, deadly material subtly delivered by the brilliant Sarah Keyworth (Comedy Crate – September)

In 2nd place, a fantastic new find, Thomas Green (Comedy Crate Weekender – July, Comedy Crate – December)

In 1st place, the comedy powerhouse that is Tom Stade (Comedy Crate Edinburgh Preview – July)

 

Best Musical.

I saw twelve musicals this year, a combination of new shows and revivals. One big disappointment, one that everybody else loves but I don’t, and a few slightly underwhelming, but that leaves a strong top five.

In 5th place, hard to do a bad production of this, but nevertheless it was a delight, The Sound of Music at the Festival Theatre, Chichester, in September.

In 4th place, a wonderfully intimate production of a challenging show, the beautiful Pacific Overtures at the Menier Chocolate Factory, London, in December.

In 3rd place, a show that was way better than it had any right to be, the touring production of The Cher Show at the Royal and Derngate, Northampton, in January.

In 2nd place, the funny, endlessly surprising, and beautifully performed show that fully deserves a transfer, Close Up, the Twiggy Musical, at the Menier Chocolate Factory, London, in October.

In 1st place, outstanding in every respect, Nicholas Hytner’s extraordinary promenade production of Guys and Dolls, at the Bridge Theatre, London, March.

 

Best New Play.

Just to clarify, this is my definition of a new play, which is something that’s new to me and to most of its audience – so it might have been around before but on its first UK tour, or a new adaptation of a work originally in another format. We saw eighteen new plays this year, but I only awarded five stars to two of them; is the standard getting worse or am I getting tougher?!

In 5th place, Amy Herzog’s funny and emotional look at the oddest of odd couples, 4000 Miles, at the Minerva Theatre, Chichester, in June.

In 4th place, a delightfully in-your-face, challenging and very funny new take on an old genre, Charlie Josephine’s Cowbois, for the Royal Shakespeare Company at the Swan Theatre, Stratford-upon-Avon, in October.

In 3rd place, a fascinating examination of south-east Asian stereotypes on stage, Kimber Lee’s untitled f*ck m*ss s**gon play at the Young Vic, London, in October.

In 2nd place, Isobel McArthur’s hilarious reworking of Jane Austen’s classic, Pride and Prejudice* (*sort of) at the Festival Theatre, Chichester, in February.

In 1st place, a gripping account of the meeting of two very different artistic minds, Jack Thorne’s The Motive and the Cue at the National Theatre Lyttelton Theatre, London, in May.

 

Best Revival of a Play.

I saw thirteen revivals, of which only one was a disappointment; here’s the top five:

In 5th place, the RSC’s climate-change led production of Shakespeare’s The Tempest at the Royal Shakespeare Theatre, Stratford-upon-Avon, in February.

In 4th place, the remarkable updating of the story of Shylock to 1930s London in The Merchant of Venice 1936, at the Swan Theatre, Stratford-upon-Avon, in September.

In 3rd place, breathing new life into a truly vibrant production of this modern classic, Michael Frayn’s wonderful Noises Off, at the Phoenix Theatre, London, in March.

In 2nd place, Headlong’s brilliantly pared back and taut production of Shakespeare’s Henry V, at the Royal and Derngate Theatre, Northampton, in March.

In 1st place, the production that made you wonder why this brilliant play isn’t performed more often, Gregory Doran’s superb production of Shakespeare’s Cymbeline, for the Royal Shakespeare Company at the Royal Shakespeare Theatre, Stratford-upon-Avon, in May.

As always, in the post-Christmas season, it’s time to consider the turkey of the year – and whilst I was unimpressed with both The Inquiry at Chichester, and The Enfield Haunting at the Ambassadors Theatre, London, the worst thing I saw all year was the RSC’s Julius Caesar at Stratford’s Royal Shakespeare Theatre.

 

Now we come on to our four categories specifically for the Edinburgh Fringe. The first is:

Best play or musical – Edinburgh

I would normally have included musicals in with the “Best of the Rest” category, but I feel it is more appropriate to include them in the “Best Play” category.

We saw 89 productions of plays and musicals in Edinburgh this year, 19 of them got 5* from me, and here are the top 5:

In 5th place, the gripping and emotional account of the Triangle Shirtwaist Factory Fire in New York in 1911, Paved with Gold and Ashes, written by Julia Thurston and produced by ThreeDumb Theatre (Greenside @ Infirmary Street)

In 4th place, the fascinating, moving and extremely sad story of the life of Lena Zavaroni, Lena, written by Tim Whitnall and produced by Feather Productions (Assembly George Square)

In 3rd place, a constantly surprising and thrilling one-man play that explores football fandom and mental health, Why I Stuck a Flare up my Arse for England, written by Alex Hill and produced by Roxy Dog (The Space @ Niddry Street)

In 2nd place, a scintillating and harrowing account of sexual abuse within a family, The Good Dad (A Love Story), written by Gail Louw and produced by And Tomorrow (The Space @ Surgeon’s Hall)

In 1st place, the cream of this year’s Edinburgh crop, the brilliantly written, superbly performed and remarkably thought-provoking, Public – the Musical, written by Stroud/Sands/Stroud and produced by Stroud and Notes (Pleasance Courtyard)

 

Best Individual Performance in a Play or Musical – Edinburgh

As always, an impossible choice, and you cannot get a cigarette paper between the top two. Nevertheless, here are the top five:

In 5th place, Tim Hardy for The Trials of Galileo (Greenside @ Infirmary Street)

In 4th place, Annabel Marlow for Public – The Musical (Pleasance Courtyard)

In 3rd place, Andrew Patrick-Walker for Public – The Musical (Pleasance Courtyard)

In 2nd place, Sarah Lawrie for The Good Dad (A Love Story) (The Space @ Surgeon’s Hall)

In 1st place, Alex Hill for Why I Stuck a Flare up my Arse for England (The Space @ Niddry Street)

 

Best stand-up comedy show – Edinburgh

We saw thirty-nine stand up shows this year, but only eight received 5* from me, and here are my top five:

In 5th place, a cracking show based on advice to her 14 year old self, Sooz Kempner with her Y2K Woman show (Underbelly Bristo Square)

In 4th place, the frenetic and intense Glenn Moore with his Will You Still Need Me, Will You Still Feed Me, Glenn I’m Sixty Moore show (Pleasance Courtyard)

In 3rd place, a show that mines comedy gold out of awkwardness, the hilarious Robin Grainger with his An Audient with Robin Grainger show (The Stand Comedy Club 2)

In 2nd place, a master at work delivering a true masterclass of brilliance from the word Go, Frank Skinner with his 30 Years of Dirt show (Assembly George Square)

In 1st place, who am I to disagree with the people behind the Edinburgh Award for Best Comedy Show, Ahir Shah with his truly beautiful Ends show (Monkey Barrel Comedy)

 

Best of the rest – Edinburgh

From a shortlist of eleven, here are my top five:

In 5th place, the sumptuous musical nostalgia of Gertrude Lawrence: A Lovely Way to Spend an Evening, performed by Lucy Stevens and produced by Penny Mayes (Assembly Rooms)

In 4th place, the childlike escapism of pretending to be a war hero with Sam Dugdale’s hilarious creation Manbo (Underbelly Cowgate)

In 3rd place, part standup, part play, part lecture, part eulogy, the wonderful and indefinable Ben Target: LORENZO (Summerhall)

In 2nd place, an outrageous laugh from start to finish, the delightfully irreverent Diana: The Untold and Untrue Story with Linus Karp as the late Queen of Hearts (Pleasance Dome)

In 1st place, one of those chilling theatrical experiences that only Edinburgh can truly create, Edwin Flay’s astonishing performance in The Quality of Mercy: Concerning the Life and Crimes of Dr Harold Frederick Shipman (The Space @ Surgeon’s Hall)

There were three contenders for this year’s Edinburgh turkey; Gold was a terribly unfunny and embarrassing play based on the Brinks-Mat robbery, and Rahul Somia’s Find me a Wife stand up show was woefully unprepared. However, the direst thing we saw was York University Drama Society’s crass and tasteless waste of an opportunity to stage the argument between Tynan and Ionesco in The Courteous Enemy (The Space @ Surgeon’s Hall). Truly dreadful.

 

Best Performance by an Actress in a Musical.

Time to get personal. Here’s the top five:

In 5th place, Hannah-Jane Fox as Nellie Hornby in Close Up at the Menier Chocolate Factory, London, in October.

In 4th place, Celinde Schoenmaker as Sarah Brown in Guys and Dolls at the Bridge Theatre, London, in March.

In 3rd place, Debbie Kurup as Star in The Cher Show at the Royal and Derngate, Northampton, in January.

In 2nd place, Elena Skye as Twiggy in Close Up at the Menier Chocolate Factory, London, in October.

In 1st place, Marisha Wallace as Miss Adelaide in Guys and Dolls at the Bridge Theatre, London, in March.

 

Best Performance by an Actor in a Musical.

Here’s the top five:

In 5th place, Steven Serlin as Norman Hornby in Close Up at the Menier Chocolate Factory, London, in October.

In 4th place, Cedric Neal as Nicely-Nicely Johnson in Guys and Dolls at the Bridge Theatre, London, in March.

In 3rd place, Jon Chew as The Reciter in Pacific Overtures at Menier Chocolate Factory, London, in December.

In 2nd place, Ian McIntosh as Deco in The Commitments at the Royal and Derngate, Northampton, in April.

In 1st place, Daniel Mays as Nathan Detroit in Guys and Dolls at the Bridge Theatre, London, in March.

 

Best Performance by an Actress in a Play.

Sixteen in the rather long shortlist, and here’s the top five:

In 5th place, Tuppence Middleton as Elizabeth Taylor in The Motive and the Cue, National Theatre, Lyttelton Theatre, London, in May.

In 4th place, Mei Mac as Kim in untitled f*ck m*ss s**gon play, Young Vic, London, in October.

In 3rd place, Felicity Kendal as Dotty Otley in Noises Off, at the Phoenix Theatre, London, in March.

In 2nd place, Tracy-Ann Oberman as Shylock in The Merchant of Venice 1936, at the Swan Theatre, Stratford-upon-Avon,in September.

In 1st place, Eileen Atkins as Vera in 4000 Miles, at the Minerva Theatre, Chichester, in June.

 

Best Performance by an Actor in a Play.

Fourteen contenders in my shortlist, and here is the top five:

In 5th place, Roger Allam as Frank in Frank and Percy, at the Theatre Royal Windsor, in June.

In 4th place, Greg Wise as Tobin in Never Have I Ever, at the Minerva Theatre, Chichester, in  September.

In 3rd place, Ian McKellen as Percy in Frank and Percy, at the Theatre Royal Windsor, in June.

In 2nd place, Johnny Flynn as Richard Burton in The Motive and the Cue, National Theatre, Lyttelton Theatre, London, in May.

In 1st place, Mark Gatiss as John Gielgud in The Motive and the Cue, National Theatre, Lyttelton Theatre, London, in May.

 

Congratulations to the winners, commiserations to the losers and thanks for your company again throughout the year, gentle reader. Here’s to a happy and rewarding 2024 full of artistic excellence!

Edinburgh Fringe 2023 – It’s a Wrap!

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We arrived on 1st August and we left on the 29th. During that time we saw 145 shows, which was just six less than I had planned but was thirteen more than last year – so I’m very pleased with that number. According to the step count on the phone, we racked up about 184 miles of walking during the month – no wonder I didn’t put any weight on!

Here’s a quick reminder of the 4 and 5 star shows we saw, by star rating and in date order of when we saw them:

5 STARS:

Jesus Jane Mother and Me

In Loyal Company

Glenn Moore

Manbo

Ben Target – Lorenzo

Diana the Untold and Untrue Story

Birthmarked

An Interrogation

Public the Musical

Lovefool

Gertrude Lawrence: A Lovely Way to Spend an Evening

Sophie’s Surprise 29th

Yoga with Jillian

Nuclear Children

The Trials of Galileo

Nobody’s Talking About Jamie

The Quality of Mercy: Life and Times of Harold Shipman

Tarot (Work in Progress)

The Life Sporadic of Jess Wildgoose

I Wish My Life Were Like a Musical

Paved With Gold and Ashes

Why I Stuck a Flare up my Arse for England

Adam Flood Remoulded

Mark Thomas: Gaffa Tapes

The Rite of Spring/Common Ground[s] (EIF)

The Court

A Chorus Line

The Good Dad (A Love Story)

Lena

Sooz Kempner: Y2K Woman

Frank Skinner: 30 Years of Dirt

Alvin Ailey Company (EIF)

Bacon

Chopped Liver and Unions

Robin Grainger: An Audient with Robin Grainger

Ahir Shah: Ends

Groomed

4 STARS:

Spin Cycles

Jon Culshaw: Impostor Syndrome

One Way Out

17 Minutes

Showgirls and Spies

Bill’s 44th

Alan Turing – A Musical Biography

Alison Skilbeck’s Uncommon Ground

Pear but Braver

Ay Up Hitler!

The Academy Trust

Bitter Lemons

Stuntman

Raising Kane

The Way Way Deep

Andrew Frank: Ecstatic Blasphemy

Wiesenthal

Giving the Gift of Offence with Martin Rowson

In Conversation with Jack Monroe

Olaf Falafel: Look What Fell out of my Head

Letter to Boddah

The Last Flapper

Best Comedy Show at the Edinburgh Fringe (Ben Clover)

Perfect Pairing: A Wine Tasting Dancegustation

The Stall

Frank Sanazi’s Comedy Blitzkrieg

Long Long Long Live

Kevin Precious – The Reluctant Teacher

Joe Wells: King of the Autistics

Darren Walsh: 3rd Rock from the Pun

Mary Bourke – 200% Irish

Rob Auton: The Rob Auton Show

Marlon Solomon: How to be an Antisemite

Shenanigan’s Cabaret

Burning Down the Horse

Locusts

Do Rhinos Feel Their Horns?

OTMA

Pressure Cooker

Being Sophie Scholl

Dane Baptiste: Bapsquire

Appraisal

 

Congratulations to all these great shows. As to working out which of them are the absolute best – you’ll have to wait until the Chrisparkle Awards for 2023 are announced in January!

And thank you, gentle reader, for sticking with me throughout this busy month! My viewing/reading statistics have gone through the roof and are over twice the numbers who checked out my reviews at the 2022 Fringe – so thank you very much for that. Remember – reviews are only what one person thinks, they’re purely a personal reaction. And star ratings are even more unreliable!

Now it’s back to “ordinary” theatre reviewing – although theatre should never be “ordinary”!

Edinburgh Fringe 2023 Reviews – Mass Effect, Bacon, Nan Me and Barbara Pravi, Gold, Don Biswas – The Revolution will be Disorganised, and Tarot: Hive Mind.

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Mass Effect, Summerhall.

Himherandit Productions’ Mass Effect is a bizarre show in many ways. Five performers stand with their backs to us, then one by one turn, smile, and start a gentle swaying dance. Actually, the first part of the show isn’t really dance – it’s more like a running-around workout. As the workout becomes more intense and faster, the performers start calling out numbers – and there’s no significance nor sequence to them, so remembering those numbers whilst moving more and more frenetically must be a huge challenge to their mental coordination as well as stamina. But it also seems pointless; and, about halfway through, there were a few walkouts. However, something clicks and the show changes dramatically; 1) the five performers are joined on stage by at least ten others, suddenly appearing from the back of the stage, the auditorium exit doors, and even the audience – 2) the workout transforms into something more like dancersize and 3) the five performers all take their clothes off – as do some of the other new performers. The music and the action get much more frenzied so that at the end we’re witnessing some kind of exhausting, manic, naked Bacchanale. You can’t fault the performers for their commitment, their energy, their stamina, and the precision of their movements. However, I’m a bit more uncertain about the why rather than the how. I also think this is the first time that I’ve seen a performance that includes nudity where they remain naked for the curtain call and the after-show speeches. Definitely skilful, definitely brave, and definitely bizarre.

3-stars

Bacon, Summerhall.

Mark is working in the cafe when he spots Darren watching him, which brings back all the horrors of their friendship four years ago, when Mark was a rather naive 15-year-old schoolboy and Darren was the streetwise and brash guy, who eventually became his friend. But that friendship takes a terrible turn for the worse when their mutual attraction becomes stronger and neither of them is grown-up enough to know how to deal with it – and Darren reacts in the worst possible way. Sophie Swithinbank’s fantastic play is gripping from the start and has two superb performances from Corey Montague-Sholay as Mark and William Robinson as Darren. Written with just the right blend of humour and sheer ghastliness, and simply, but intriguingly, set on a see-saw, this is one of those productions that will keep coming back again and again.

Nan, Me and Barbara Pravi, Summerhall.

Hannah Maxwell’s one-woman show takes us back to the night in 2021 when Barbara Pravi represented France at Eurovision with the glorious song Voila, which also happened to be the moment when Hannah Maxwell decided she was deeply in love with Barbara Pravi. Two stories sit side by side. Half of the show relates to Hannah supporting her Nan whilst her Grandad was dying – and their general life together during this period and in the future. The other part of the show relates to Hannah stalking La Pravi online and in person at her Cadogan Hall concert. It’s a very charming entertainment, and Hannah has a terrific stage presence – she reminded me a little of the young Victoria Wood – but it does feel a little inconsequential and slight. Nice performance of Voila at the end!

3-stars

Gold, The Space on the Mile.

If you were around at the time – 1983 – I’m sure you’ll remember the Brinks-Mat robbery – one of the boldest in history, when £26 million was stolen from a warehouse. Most of the gold has never been recovered; but what if there was a little guy involved in it whom all the big hitters forgot – and who has been sitting on the gold all this time? Stafford Collett’s comedy about a rather grumpy couple, Julie and Dave, takes this as its central idea and it’s quite a good idea. However, the play itself is very disappointing, with lengthy sequences of 80s music padding that don’t contribute to the story at all, and there’s also a sequence of “comedy” domestic violence which is always a personal turn-off for me. If this couple saw The Lavender Hill Mob at the cinema as they claim, they’d be at least 90 years old by now – which they’re palpably not. A great idea, but the execution was wanting in virtually all departments.

Don Biswas – The Revolution Will Be Disorganised, Gilded Balloon Patter Hoose.

The Revolution Will Be Disorganised because Don Biswas sets himself up as the leader of the revolution – which we the audience are perfectly happy about – but, as he tells us, he has autism, dyspraxia and ADHD so it will be unavoidably something of a disaster. He starts the show by recruiting members of the audience to his revolution, ascertaining what we will bring to the revolution. I offered my project management skills. Don Biswas is a naturally funny guy and very likeable to boot, and he has a lot of excellent and original material. However, I get uneasy when a comedian unexpectedly goes down the route of conspiracy theories without obviously taking the mick out of them – and I fear Mr. Biswas lost the room when he started talking about all the reasons lockdown was wrong – and you sense this was from personal anger rather than comedic material. He’s left-wing but believes there is more that unites us all than divides us – and if he said that once, he said it a dozen times, and that repetition became a bit tough to endure at the end.

3-stars

Tarot: Hive Mind, Pleasance Courtyard.

Lots to appreciate here but as a late-night show with this particular title, it was only partially successful. The basis of the game works well; two teams headed by two guest comedians each have to answer a set of questions. The comedian knows the question but the audience doesn’t; and the comedian has to whittle down the audience members to just one person whom they think will know the answer to the question. They do this by asking roundabout, oblique questions to the audience who keep their paddles in the air until they feel they have been eliminated. It sounds a little confusing, but it isn’t. It’s a good game, and a fun show, but there are two problems. 1) As soon as you, the audience member, are eliminated from the game you lose a degree of interest in the proceedings – it would be much better if all the audience members could still answer the question and some sort of prize or entry to the final round is awarded for anyone who gets the answer 100% correct. 2) Although it’s billed as Tarot – Hive Mind, the Tarot team actually play a very side role in this, they are only operating the microphone, occasionally playing the piano or confirming the answers on the Internet – it’s a terrible waste of their physical comedic talent. The show is actually hosted by Kiri Pritchard-Maclean, who is brilliant, but it actually becomes her show rather than Tarot’s – and if you were hoping for a lot of Tarot-type comedy, you’ll be disppointed.

3-stars

Edinburgh Fringe 2023 Reviews – OTMA, Pressure Cooker, Being Sophie Scholl, ADULTS, and Alvin Ailey American Dance Theater Programmes 1 and 2.

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OTMA, The Space on the Mile.

The story of the four Romanov sisters is one of the most tragic but also most fascinating of the twentieth century. Rebecca Vines’ play tells the story of their last few days incarcerated in Ekaterinburg and is a beautifully written account of four very different characters; the frustrated Olga, the kindly Tatiana, the romantic Maria and the playful Anastasia. The hopes and dreams of the younger sisters are movingly contrasted with the dread reality of the older, and the whole production is intense, emotional and grips your attention. Excellent performances all round, especially from Ella Bladon-Wing as Anastasia and Oonagh Cubberley-Lobb as Maria. Simple but very effective.

4-stars

Pressure Cooker, The Space on the Mile.

As a kid I grew up laughing at the antics of the students at St Swithins’ in TV’s Doctor in the House. Oh what innocent days they were, in comparison with the antics of this bunch of medical students. Jessie Millson’s shocking but insightful play opens the lid on what could happen when a celebratory night out goes severely wrong – and the errors are compounded by the attempts to cover up each individual’s contribution to the personal disaster that befalls one of the party – rather like a 21st century An Inspector Calls, only with Ket and stethoscopes. Highlighting a dangerous problem in society today, where people are under enormous pressure to achieve and succeed, this is an upsetting and alarming play – although not without its humour. Hard to “enjoy”, but I’m very glad to have seen it.

4-stars

Being Sophie Scholl, The Space @ Symposium Hall.

This is the story of Sophie Scholl, who with her brother and a friend, was found guilty of treason and executed by guillotine in 1943. Of good German stock, they nevertheless rebelled against the orders of the Third Reich and were members of the White Rose resistance group, which Hans Scholl had started a couple of years earlier. This strongly written play tells the story of her family life, alongside an account of her questioning and the investigation against her, seen through the eyes of a ruthless special police officer. In Acting Coach Scotland’s production, Sophie is played by three actors – a very effective device, although I’m not sure why that decision was made – and the whole play is a chilling and important account of a heroic attempt to undermine Nazism.

4-stars

ADULTS, Traverse Theatre.

Iain has made an assignation via Zara to meet up with a “young boy” for an hour’s “adult company” at her flat (brothel) in Edinburgh. He’s a nervous wreck as it’s the first time he’s done anything like this – and the meeting doesn’t start well when he surprises Zara before she’s ready to greet him – and he gets covered in Strawberry Yazoo. It also doesn’t help that Iain used to teach Zara at school. Fortunately, he doesn’t recognise her… at first. Kieran Hurley’s comedy offers you plenty to laugh at, but there are also some cringey moments and a few rather obvious jokes – laughing at dildos for example – which are funny but unoriginal. Conleth Hill plays Iain with a nice balance of pomposity and vulnerability, while Dani Heron’s Zara has the best lines with an unexpected intellectual take-down of Thomas the Tank Engine, and Anders Hayward is Jay, the twink who’s really not 22 anymore. The play loses its way a little towards the end when everything gets very personal and rather serious, and you’re left with a mixture of laughter and sadness as no one’s life will ever be the same again.

3-stars

Alvin Ailey American Dance Theater Festival Theatre.

Programme 1 on Wednesday started with Roy’s Joy’s, nine interconnected dances choreographed by Twyla Tharp to the music of Roy Eldridge (hence the name). Immaculately danced by the company, it’s a mellifluous melange of flowing movements against a stunning blue background, with exciting hand and arm gestures combined with never-ending leaps; it’s a really exciting dance to witness. The dancers are solo and in groups; in partnerships and in rivalries too, and it’s all put together with bags of humour and more than a touch of bravado. The second dance was Kyle Abraham’s 2022 work Are You in Your Feelings? set to a variety of well- and lesser-known tunes, giving us a real feelgood factor on stage, with effortless elegance and gorgeous grace. It’s the kind of dance you stop analysing after a while and just let it flow over you. Interesting to note that both these dances, although having different choreographers, conclude quietly in an intimate duet rather than ending with a big ensemble finish. The final dance in the programme, Revelations, also closes Programme Two.

Thursday evening’s Programme 2 started with Memoria, a 1979 dance created by Ailey to commemorate the death of his friend and colleague, Joyce Trisler. Although it has a few sombre moments, it’s much more celebratory than mournful. This production includes 22 young dancers aged 18-25 gathered from all around Scotland; and when they’re added to the 15 regular dancers, it makes for a busy, lively stage packed with movement – the finale has everyone returning in multicolour costumes and looks like a really fun ballet rave! Next came The River, originally choreographed by Ailey in 1970, with eight separate dance pieces composed by Duke Ellington, but in a much more showbiz style than jazz. I particularly enjoyed Giggling Rapids performed by Alisha Rena Peek and Patrick Coker, and Falls with Christopher Taylor, Kanji Segawa, James Gilmer and Xavier Mack. It’s fun, but I found myself slightly frustrated at the way so many of the Ailey short dances end with something of a fizzle rather than a strong resolution. The show ends with Revelations, Ailey’s 1960 showstopper, which brings joy to your heart with its stunning combination of delightful choreography, stunning costumes and lighting, and evocative, powerful music. Whilst the finale Rocka My Soul in the Bosom of Abraham has everyone on their feet (and rightly so) my personal favourite from this sequence was the riveting Sinner Man, danced by Solomon Dumas, James Gilmer and Kanji Segawa. But the whole piece creates true magic on the stage and sends everyone out into the night with a happy spring in their step. Magnificent!

The Edinburgh Fringe All Month Long – 25th August 2023

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Would you like to know what we’re seeing in Edinburgh today? I thought you would!

Here’s the schedule for 25th August:

12.55 – Mass Effect, Summerhall. From the Edinburgh Fringe website:

“Mass Effect is an award-winning, high-intensity performance. Together, the cast push their physical limits, deal with exhaustion, motivation, and group dynamics. Spatial patterns carve out complex running formations and team collaboration becomes key, as they push to the limits of their physical thresholds, moving beyond exhaustion. Members of the local community join the stage in the end of the performance. Pumping up the energy to offer that last push to keep going, filling the theatre with an energetic pulse and a total Mass Effect. A tremendous spectacle that fills the room with vitality and joy. Part of #Danish.”

This should be an invigorating way to start the day – even if it is in the afternoon!

15.30 – Bacon, Summerhall.

“Bacon. Sophie Swithinbank, directed by Matthew Iliffe, produced by HFH Productions. The return of the multi award-winning play, Bacon is an unflinching and unexpectedly humorous look at masculinity, sexuality and power, through the dizzying lens of youth. Winner of the Tony Craze Award and three Off-West End Awards for Best Director and Best Performance in a Play. First performed at The Finborough Theatre, London. ‘Utterly compelling… beautiful and devastating to watch’ **** (Stage). ‘You will laugh, you will cry and you will be breathless when you leave’ ***** (Everything-Theatre.co.uk). ‘Unmissable’ ***** (Everything-Theatre.co.uk).”

I booked for this on the strength of the reviews – so I hope they are honest! Should be good.

17.15 – Nan, Me and Barbara Pravi, Summerhall.

“In 2021, Hannah Maxwell moved back to the Home Counties to care for her recently bereaved grandmother. But this show isn’t about that. It’s about France’s Eurovision star Barbara Pravi, who’s just lovely. In between cooking, cleaning and Countdown, Maxwell escapes into an intensifying fantasy of ballroom dances, heartfelt ballads, fluent French and definitely-not-creepy plots to engineer a meet-cute with a random foreign celebrity. It’s La La Land meets Mission Impossible meets Hannah’s nan. ‘Sublime one-person theatre’ (TheAdelaideShow.com.au). ‘Hannah Maxwell is a future star’ (ToDoList.london).”

This is the second play of the Fringe to feature Eurovision – Barbara Pravi, if you don’t know her, is a superb French singer and her Eurovision song Voilà is an instant classic. If it involves Eurovision, I want to see it.

20.15 – Gold, The Space on the Mile.

“A thrilling and hilarious new comedy featuring 1980s music, terrible dancing, hidden gold and guilty secrets. Julie and Dave live in suburbia, with an Uptown Girl daughter, a nice house and a huge secret which has held them together for 40 years. They met in 1983, when the music was gold, the fashion was gold, and Julie and Dave stole a lot of gold from a very bad man. Four decades later, how are they going to sell it and, more importantly, avoid the elderly psychopath who wants revenge – and his gold back?”

Another rather esoteric sounding play, but hopefully it will be entertaining!

21.40 – Don Biswas – The Revolution Will Be Disorganised, Gilded Balloon Patter Hoose.

“Politically charged gag merchant Don Biswas returns to the Fringe to take on the status quo. A unique comic voice, Don looks at politics through the lens of dyspraxia and autism. The show takes a passionate – if uncoordinated – stab at the big issues: from the cost-of-living crisis to conspiracy theories. As seen/heard on the BBC Asian Network, Rosie Jones’s Box Ticker, and in his BBC Radio 4 comedy special Neurotypical.”

A new name to me, and I’m looking forward to hearing his style of political comedy!

23.10 – Tarot: Hive Mind, Pleasance Courtyard.

“Late night and loose, Hive Mind is a gameshow in which contestants have to crowdsource their way to victory. We came up with this idea while eating a Mexican meal. Come watch Tarot go all shiny floor and sequins and try and crowdsource their way to a format. ‘Bark out loud funny… the whole show is startlingly live’ **** (Guardian). ‘One of the balls-out funniest show of the Fringe’ **** ½ (Chortle.co.uk). ‘A very nice Mexican meal’ ***** (Tarot).”

This is the second of the two Tarot shows this Fringe – having loved them so much last year, it’s no-brainer to see as much of them as possible this year!

Check back later to see how we enjoyed all these shows!

The Edinburgh Fringe All Month Long – 24th August 2023

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Would you like to know what we’re seeing in Edinburgh today? I thought you would!

Here’s the schedule for 24th August:

10.20 – OTMA, The Space on the Mile. From the Edinburgh Fringe website:

“In the early hours of July 17th 1918, four young women were executed by shotgun and bayonet in a grubby basement in Yekaterinburg, Russia. Flung into lime pits, their remains and stories lay abandoned for 80 years. Yet their only crime was to be born into the unbearable expectation, garish privilege, and naive ineptitude of the ruling Romanov dynasty. The terrors and hopes of their final few hours are brought to life by acclaimed Fringe writer/director Rebecca Vines. Praise for Vines’ other work: 1984, ***** (BroadwayBaby.com); Coward Conscience, **** (BritishTheatreGuide.info); More Myself Than I Am, **** (TheWeeReview.com).”

A famous story, and I hope a good piece of writing to reflect it. I was uncertain what the title referred to – it is an acronym for the four daughters of Nicholas II – Olga, Tatiana, Maria and Anastasia.

12.15 – Pressure Cooker, The Space on the Mile.

“Pressure Cooker: The kettle boils, the lights come up, and we find ourselves watching four sixth-year med students treating a patient. As the play develops, we realise they may not be quite as sober as they should be. And, as we find out more about how they treat their own bodies, we wonder how capable they are of treating the body in front of them. Under the heat, will they uncover what’s wrong with the patient, and will they discover the lies amongst themselves?”

That sounds like a fascinating scenario for a play. I’m curious to find out more! I know they’ve had a tough time bringing this show to the Fringe but I’m sure it will be worth it.

14.05 – Being Sophie Scholl, The Space @ Symposium Hall.

“From the Producers of I, Sniper (2018) and Chaika (2010) – After her brother is unjustly arrested by the Nazis, a young German student begins a deadly game of cat and mouse with the local Gestapo. But can she stand up for her beliefs when she stands alone against the increasing tide of support for the Third Reich? Discover the inspiring true story of Sophie Scholl – the girl who defied Hitler.”

I had never heard of Sophie Scholl, to my utter shame. She sounds like an extraordinary person. I trust this play will tell her story well!

16.00 – ADULTS, Traverse Theatre.

“A black comedy full of unexpected tenderness from Kieran Hurley (writer of the 2019 smash-hit Mouthpiece) that explores the gulf between generations, the futility of blame culture, and how we have make things better for those who come after us. In Edinburgh’s New Town, thirty-something Zara runs her own business: a brothel. Her newest client is her old teacher, and her colleague fears the inevitable ageing process. They’re all convinced that the mess of the world around them isn’t their fault. Soon discover that they have more in common than expected. Directed by Roxanna Silbert and starring Conleth Hill.”

Again this sounds like a most inventive story line – and Conleth Hill is an excellent actor so I’m hoping for good things here! Another play where the title is in CAPITALS! I guess there’s a reason somewhere…

19.30 – Alvin Ailey American Dance Theater – Programme 2, Festival Theatre.

“Alvin Ailey American Dance Theater dazzles with technical brilliance and passionate energy, bringing audiences to their feet at every performance. This programme combines three beloved works by Alvin Ailey himself who founded the company in 1958.

The programme opens with The River, created in collaboration with the late musician and composer Duke Ellington. Combining classical ballet, modern dance and jazz, the piece uses water as a central motif in an allegory for the journey of birth, life and rebirth.

Memoria is one of Ailey’s most personal works, created as a tribute to his dear friend and colleague, Joyce Trisler. The piece will feature dancers selected from all over Scotland performing alongside the company.

The performance closes with Revelations, the most widely viewed modern dance work in the world. Since its debut in 1960, Revelations has moved audiences with its powerful storytelling and soul-stirring music. Springing from Ailey’s childhood memories of growing up in the American South, attending Baptist church services in Texas, Revelations pays homage to rich African American cultural traditions.”

Back for more from the Alvin Ailey company; hoping for another spectacular night of dance.

22.35 – Hi Ho Hi Ho, It’s Off To Work I Go, The Space on the Mile.

“In this biographical burlesque, a confessional cabaret, Phillipe will sing and dance you through his boyhood on the Broadway stage, teenage nights in the discos of Hollywood, 20 years in a New Age cult, and a surprising midlife career as an erotic masseur, while investigating through song the wild history of sex workers as portrayed in musical theatre. Moving, provocative and hilarious, Hi Ho is an intimate journey you won’t soon forget.”

Biographical burlesque is an interesting and rather niche genre. Hopefully this will be both fascinating and entertaining.

Check back later to see how we enjoyed all these shows!

The Edinburgh Fringe All Month Long – 23rd August 2023

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A good mix of comedy and theatre arranged for Edinburgh today as well as some dance at the International Festival!

Here’s the schedule for 23rd August:

11.45 –

Do Rhinos Feel Their Horns or Can They Not See Them Like How We Can’t See Our Noses, Summerhall. From the Edinburgh Fringe website:

“What if the reason I don’t like capitalism is that I just wanna chill out a bit? Rhinoceroses or capybaras? Black-pink or something less cling-clangy? Two friends make a radio play for the internet; this week’s episode is about the 1980s “Rhinoceritis” epidemic. A Singaporean production rooted in Ionesco’s Rhinoceros, Do Rhinos Feel Their Horns? re-asks what conformism means as we live through what is objectively the best time in history. It is funny, bleak, sometimes joyous, and always full of play.”

This sounds curious, and I’m aways up for a spot of the absurd, so hopefully it will be entertaining!

13.15 – Shortlist, Assembly George Square.

“Two enemy novelists duel for the ultimate prize in a fast-paced, war-of-the-words comedy. Multiple Fringe First-winning playwright Brian Parks plunges into the writing world with a Withnail-esque joust between literature’s two sharpest pens. Year after year, Higgins and Houghton find themselves pitched against each other on the shortlist for literature’s number-one title, never winning. But this year is different, each primed to strike and finally grab it. All that stands in their way is each other. A world premiere directed by Fringe First winner Margarett Perry, starring Matthew Boston and Daniel Llewelyn-Williams. ‘A refreshingly mischievous, inventive author’ (Times).”

This sounds like a very funny set-up for a play. Looking forward to it!

15.15 – The Portable Dorothy Parker, The Space @ Surgeon’s Hall.

“The year is 1943: Dorothy Parker, famed wit, writer, and critic, is on the warpath. Viking Press is about to publish a collection of Dorothy’s poems and short stories, and Dorothy must make the selections. Now. As Dorothy sorts through her works, she reminisces about her life: her famous friends (Lillian Hellman, F Scott Fitzgerald, and, especially, Ernest Hemingway), the wits of the Round Table, the founding of The New Yorker, and her many loves and heartbreaks. Has it all been worth it? Has she made her mark as a writer, or is she merely clever?”

Love a spot of Dorothy Parker – this should be good fun.

17.10 – The Courteous Enemy, The Space @ Surgeon’s Hall.

“An absurdist satire set in July 1958, which tells the story of infamous theatre critic Kenneth Tynan who wrote a scathing review of The Chairs by Eugène Ionesco, the father of absurdism. Watch chaos unfold in this exploration of the nature of theatre criticism, art and what happens when the delicate egos that tend to accompany them are attacked.”

Critics giving bad reviews? Extraordinary! I like Kenneth Tynan, and I like Eugene Ionesco. Which one is better? There’s only one way to find out – FIGHT! Should be good.

19.30 – Alvin Ailey American Dance Theater – Programme 1 Festival Theatre.

“Alvin Ailey American Dance Theater presents a programme of contemporary choreography, completed by the beloved classic Revelations.

The performance opens with Aszure Barton’s BUSK, a piece examining the multi-layered wisdom of the human body. Set to a spirited score, BUSK has been described as watching the physical unfurling of the human psyche.

This is followed by the UK premiere of Kyle Abraham’s Are You in Your Feelings?, a celebration of Black culture, Black music and the youthful spirit that perseveres in us all. Scored to a ‘mixtape’ of soul, hip-hop and R&B, it highlights the bridge between music, communication and personal memory. Learn more about Kyle Abraham and his choreography in our blog.

The performance closes with Revelations, the most widely viewed modern dance work in the world. Since its debut in 1960, Revelations has moved audiences with its powerful storytelling and soul-stirring music. Springing from Ailey’s childhood memories of growing up in the American South, attending Baptist church services in Texas, Revelations pays homage to rich African American cultural traditions.”

Only seen Alvin Ailey a couple of times and they are always sensational. Seeing the other programme tomorrow night!

22.05 – Rock Bottom, Paradise in the Vault.

“’You don’t know what to be, or not to be’ – Shakespeare’s best loved clown, Bottom, is reimagined in Fresh Life Theatre’s one-person show. When Bottom arrives at the theatre, ready to perform, and finds the rest of his cast have left him, he needs to improvise. Dealing with the trauma of pushing his friends away and needing the audience like him, is a cocktail for trouble. As his plan falls apart, he is forced to come to terms with who he is. Shakespeare’s Bottom, alone in the real world.”

I’d hoped to catch this performance last year but missed out, so I’m delighted to see it’s come back this year!

Check back later to see how we enjoyed all these shows!