Category Archives: Dance

Edinburgh Fringe 2023 – Reviews – Joe Wells: King of the Autistics, 3rd Rock from the Pun: Darren Walsh, Married at First Sleight, Pina Bausch at the Playhouse with The Rite of Spring/common ground[s], and 99 Red Hot Kitties and a Cockatoo.

Posted on by

Joe Wells: King of the Autistics, PBH’s Free Fringe @ Banshee Labyrinth.

Joe Wells’ new show is a comedic exploration of all things autistic, including how autistics are perceived and treated, and what are the qualities that make good parents of autistics. He also tells us how he accidentally upsets a wide range of people, including listeners to his podcast and Christians; probably also people who use e-scooters, but don’t press him on that. Earlier this year he came to the decision to step down as self-styled King of the Autistics – shame, I think he should rule on! Joe always comes at comedy from a good place and leads you down unlikely alleyways to subvert your expectations. A delight as always!

4-stars

3rd Rock from the Pun: Darren Walsh, Laughing Horse @ Bar 50.

For his new show, Darren Walsh has scoured the Internet for Artificial Intelligence – and all the media he uses – video, audio, etc, has been created by AI. That doesn’t include the jokes; fortunately for Darren, AI is rubbish at making you laugh. Darren is a superb exponent of the art of the pun and will make you cringe, gasp, groan, and laugh ecstatically at a series of inventive, outrageous, or downright corny puns assembled together to explain the development and history of the Universe as seen through AI eyes. Friendly, fast, and funny!

4-stars

Married at First Sleight, Gilded Balloon Patter Hoose.

Hudson and Hudson, the married magicians, base their act on the fact that she’s quirky and cheeky and he’s a bit of a dickhead (her words). Their magic tricks are brilliant, and their mind-reading stunts are out of this world. There’s a sequence when the ghost of Cat’s late aunt comes to the stage to assist her with a couple of tricks; you come away realising that the power of suggestion is an amazing force and it is very spooky how these tricks worked so well. However, they seemed to find it difficult to establish a rapport with the audience and we never felt comfortable with, or really believed, their faux-argumentative stage personas. This may be why their jokes and humour that frame the tricks fell flat. And that’s a big shame, as you felt that the show as a whole became hard-going for them. Fortunately, the magic outweighs the laughs, but it does need to be snappier and crisper.

3-stars

 

 

The Rite of Spring / common ground[s], Pina Bausch Foundation and Ecole des Sables, Edinburgh Playhouse.

The evening starts with Common Ground[s], a two-hander choreographed and danced by Germaine Acogny – co-founder of the Ecole des Sables in Senegal – and Malou Airaudo, who had worked closely with Pina Bausch. It’s a dignified, elegant and controlled piece of choreography and dance, reflecting the many moods shared between two people over a lifetime of dance. It manages to be both supportive and light-hearted; I won’t pretend to understand all the interactions it depicts because this is essentially a private piece that offers us little insights and flashes of recognition.

After the interval – a good twenty minutes or more where the backstage team transforms the stage from its opening bareness to the peaty plains of Africa – it’s time for Pina Bausch’s stunning Rite of Spring, an extravaganza of movement and rhythm, accompanied by Stravinsky’s mesmerising music, where opposing groups of men and women come together to perform a sacrificial rite where one young girl dances herself to death. It’s an astonishingly vivid spectacle, and takes your breath away with its beauty, bravery and sheer bravado.

P. S. Don’t try to take a half-drunk bottle of water into the auditorium. Security will insist you tip it away. If they do that to ensure that you buy another one at their bar, it didn’t work with me.

P. P. S. Our performance was very nearly ruined by an arrogant, entitled git of a man who took photos and videos of Rite through almost the entire performance, despite the protestations of a) his nearby theatregoers, b) the front of house team and c) Security. I really thought there was going to be a punch-up at the end, so badly had he aggravated everyone around him. And the lesson to be learned is – don’t waste Security’s time checking for half-empty bottles of water, get them to eject antisocial audience members as soon as they become a problem.

99 Red Hot Kitties and Cockatoo, The Space @ Niddry Street.

Apparently every night is a different line up for this little burlesque show – I can only say that perhaps we went on an off-night. There were a couple of acts that were decent – a lady depicting a black widow spider who staples a black ribbon to her body, and another lady who cheers up a bad day at the office by stripping to her scanties. But on the whole it was rather underwhelming, and I have to say that some of the audience members were a little more well-oiled than was good for them.

The Edinburgh Fringe All Month Long – 19th August 2023

Posted on by

Wanna know what’s scheduled for today in Edinburgh? Only three shows and an evening free to have dinner with friends!

Here’s the schedule for 19th August:

12.00 – The Court, Hill Street Theatre. From the Edinburgh Fringe website:

“This courtroom drama centres around the question of euthanasia. Did Cathy murder her mother or merely stop her suffering? This interactive production gets you questioning your beliefs – become a juror, but can you determine the truth? Our 11 jurors picked from the audience will cross-examine and determine the truth behind Cathy’s actions. Will they side with her sister Mary in the belief it was murder? Or will they put their trust in Cathy and support her… or is there more to this case than meets the eye? A must-see for all those part-time sleuths.

We absolutely adored Conflict in Court last year and I’m sure this will be another of those Crown Court type productions where we the jury get the chance to ask questions of the characters to work out if they’re innocent or guilty. Very excited to see this new version!

14.40 – Mary Bourke: 200% Irish, The Stand Comedy Club 2.

“Mary Bourke and guests present a truly delightful hour about the joys of being Irish. There will be storytelling, music and lots and lots of jokes. ‘One of the best female comics in the country’ (GQ).”

Mary Bourke is another comic who we always make sure we see in Edinburgh because she never fails to challenge or delight!

16.50 – A Chorus Line, Paradise in Augustines.

“’Well, it would be nice to be a star… But I’m not, I’m a dancer.’ A Chorus Line is a concept musical that explores the bittersweet lives of Broadway performers through a gruelling audition process. The chorus of overly-devoted, under-paid dancers show the dedication it takes to keep going in the hopes that one day they will achieve success. Through a complex fusion of moving songs, large-scale dance numbers, and compelling drama, the auditionees are cut down to a final eight. Now it is their turn to tell their story and stand in the spotlight.”

I’m very excited to see this student production of my favourite musical of all time. There’s a lot of challenges here, and I really hope they make the most of them! Warning: if I don’t like what they’ve done with my favourite show I might sulk for the rest of the day!

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

Edinburgh Fringe 2023 Reviews – The Misunderstanding, Letter to Boddah, The Last Flapper, Best Comedy Show Edinburgh Fringe (Ben Clover), Unstitching, 1 Tent 4 Girls, and Perfect Pairing: A Wine Tasting Dancegustation

Posted on by

The Misunderstanding, The Space Triplex.

A modern adaptation of Albert Camus’ 1943 play, Le Malentendu, Martha and her mother keep a respectable little hotel, but have a small, secret peccadillo; they kill their lodgers for their money, in order to realise their dream of moving to the seaside. But what happens when the next “perfect” guest who comes to stay is their long lost (and not recognised) son/brother? It’s a challenging, complex play, simply staged, and Unexpected Places productions make a good stab at presenting it. Perhaps a little over ambitious, but the intrigue of the story keeps your attention.

3-stars

Letter to Boddah, The Space @ Surgeon’s Hall.

Billy and Tink are locked in the disabled toilet at Tesco; they’ve got a bomb and they’re not afraid to use it. Actually, they are very, very afraid but, even though they are best mates, they have to keep up the pretence of bravery and commitment; until something snaps and they pour their hearts out to each other, confessing the abuses, fears and desperations that have blighted their lives. The Boddah in question refers to the imaginary friend of the late Kurt Cobain, who wrote him a letter as a suicide note. Kyle Fisher and Jordan Reece play the unlikely terrorists with huge conviction and energy, and Sarah Nelson’s play is smartly, humorously and emotionally written. No wonder it was a huge success at last year’s Fringe.

4-stars

The Last Flapper Greenside @ Riddles Court.

Zelda Fitzgerald arrives for her doctor’s appointment at the sanatorium but he has been called away on urgent business which gives her the opportunity to ransack his office, steal his cigarettes and read and amend her medical notes. Diagnosed with schizophrenia, she tells us about her journey to where she is today – her relationships with her parents, her own creative life of dance, and her infatuation with F. Scott Key himself. It’s an immense performance from Catherine D Dubord, who is totally on top of her game as Zelda – confiding, joking, and literally hysterical. The Clover Studio is an over-hot claustrophobic little place – the show needs a bigger venue to accommodate her terrific performance.

4-stars

Best Comedy Show Edinburgh Fringe, Laughing Horse @ 32 Below.

With a typically understated title, the hugely likeable Ben Clover returns to the Fringe with a nifty set of funny routines, including handing over dubious goods for cash deals at tube stations, the aftermath of the pandemic and how to write an Amazon review. We had seen some of the material before but that was at a Work in Progress show, so that doesn’t count! Fresh and funny, and a superb engager with the audience so that we all have fun together!

4-stars

Unstitching, The Space @ Niddry Street.

Ruby Shrimpton presents herself as a young woman desperate to make contact, to express herself and to reach out and offer us a thread to grab hold of, something we can both identify with. Eurovision is obviously her chief passion (and why wouldn’t it be?) but she also packs each sequence with tons of “fun facts”, bizarre worries, and unconfident asides. “Is this boring?” she asks; “You can leave if you like…” The ultimate deconstruction show, where Ruby picks apart every yarn that holds her together, and several that don’t. If you’re a Eurovision fan, you’ll have loads of fun identifying songs, dance routines, and statistics. If you’re not, you might find this a bit of a hard graft. I really admire what she is trying to achieve with this show, and it’s almost certainly different from any other show you’ve ever seen. It feels thoroughly experimental; if you like that vibe, you’ll love this show.

3-stars

1 Tent, 4 Girls, Greenside @ Infirmary Street.

If you’ve ever gone on a camping holiday – especially in the UK – you’ve almost certainly gone on a camping holiday in the rain. Rosalie Roger-Lacan’s entertaining new play follows Sam, Lily, Rosa and Ruby as they brave the natural beauties of North Wales with a tent that only has Norwegian instructions and a quickly fraying sense of community friendship. There’s lots to recognise in this fun play; somehow petty jealousies, sensitivities and frustrations all get aggravated when you’re freezing cold and drenched. The play is perhaps a little long and a little repetitive, but the characterisations are all excellent, and the team of Ella Hakin, Evie Cooper, Alice Bebber and Bethan Owen make a formidable ensemble.

3-stars

Perfect Pairing: A Wine Tasting Dancegustation, Greenside @ Infirmary Street.

Geelong’s Attitude Dance Company has come up with a quirky and pretty much unique entertainment; pairing four different contemporary dance pieces with four different wines. Admittedly, this sounds somewhat gimmicky, but – guess what – it really works! A talented group of four dancers – Sarah Glynne, Tara O’Donnell, Monique Powe and Xavier McGettigan – perform four widely different but smartly choreographed and executed dance routines, accompanied by a Cava, a Rosé, a White and a Red. And it’s a thoroughly enjoyable, relaxing and civilised way to end the evening. Better than you might imagine!

4-stars

The Edinburgh Fringe All Month Long – 15th August 2023

Posted on by

How about a list of today’s shows?

Here’s the schedule for 15th August:

10.35 – The Misunderstanding, The Space Triplex. From the Edinburgh Fringe website:

“Happiness awaits Martha and her Mother. They just have to kill to get it. This adaptation of Camus’ absurd play sees the prodigal son return to a troubled home and a sister who longs to escape the banality of her world. ‘A crime is a crime, the only thing that matters is to know what you want.’ Martha longs to be by the sea, Maria wants love, Mother wants nothing more than to rest and Jan wants to be welcomed into his family’s arms. But in life, no one gets what they want. Even murder can become tedious.”

I’m not familiar with the Camus original, I regret to say, but it does sound like a delightfully absurd story! Looking forward to this.

12.00 – Letter to Boddah, The Space @ Surgeon’s Hall.

“Another chance to see the Broadway Baby Bobby Award Winner Best Theatre Show at the Fringe 2019. In the disabled toilet in Tesco we meet Billy and Neil. Wearing combats and carrying enough explosives to blow the place sky high they examine life and attempt to decide whether violence is the only way to be heard. With a title inspired by Kurt Cobain’s suicide note this is a darkly comic exploration of the lives of young working class men in austerity Britain. ‘One of the most powerful shows I’ve seen in years’ (TheWeeReview.com).”

I had originally booked another show for this timeslot but when I read the passionate reviews about Letter to Boddah, I realised I had made a mistake by missing it out. It does indeed sound like a very exciting drama!

13.45 – The Last Flapper, Greenside @ Riddles Court.

“Is she mad… or just angry? Alone in a mental hospital, Zelda Fitzgerald, icon of the Jazz Age, asks the questions her doctor should have. Did F Scott steal her words? Did he claim she was insane just to gain his freedom? Can a woman ever decide her own fate? In this poignant, playful, and candid one-woman show, Zelda finally gets to tell her side of the story. Performed by award-winning Dallas actress Catherine DuBord, and directed by award-winning Texan Lydia Mackay, this historical play wrestles with issues that are anything but history.”

I’m a big F Scott Fitzgerald fan, so to read the description of this play is both enlightening and disturbing. I’m expecting a great performance from Catherine DuBord and that this will be a strong and telling drama.

16.00 – Best Comedy Show Edinburgh Fringe, Laughing Horse @ 32 Below.

“Woah…! Sheeeeeiiit! Here come dat Ben Clover! Veteran stand-up and award-winner Ben Clover presents his most eighth Edinburgh solo show yet. He got the zizzle-zazzles for ya! ‘A delight’ (Chortle.co.uk). ‘Comedy gold’ (Bruce Dessau).”

You have to admire the confidence with which Ben Clover named this year’s show! I always like to catch Ben at the Fringe and he’s always got loads of great material, so I’m looking forward to this year’s helping.

19.20 – Unstitching, The Space @ Niddry Street.

“A hilarious and poignant comedy about a girl obsessed with The Eurovision Song Contest. Through spoken word, cynical stand-up, lip-syncing and dancing to Eurovision songs, she tries to find her voice on stage. However, as the show progresses, her facade starts to unravel and she becomes overwhelmed by her inability to organize her own thoughts. ‘An incredibly enjoyable one-woman play about art, the universe, self-expression, and Eurovision!’ **** (Everything-Theatre.co.uk). ‘A dynamic and very entertaining piece, immaculately performed’ (TheReviewsHub.com). ‘A wild, frenetic piece’ (BroadwayBaby.com). ‘The talented Liverpool-based writer has pulled off something rather fine here’ (TheReviewsHub.com).”

The first of two plays this Fringe to take Eurovision as its main theme, and as a big fan, I’m of course going to see both! Hope this lives up to expectations.

20.50 – 1 Tent, 4 Girls, Greenside @ Infirmary Street.

“This firecracker of a comedy explores the relationships between four young women embarking on a disastrous camping trip. What better way to avoid post-graduation anxiety and push through the hellish clouds of PMS than an impromptu trip to Pembrokeshire in the pouring rain? When counting sheep to fall asleep doesn’t work anymore, the girls grab the Argos tent and join them in the fields. This is a comedy made by women, which isn’t about being a woman. It’s playful and sarcastic with a solid dash of chaos, rage and love. The perfect recipe for a storm.”

Having myself suffered an awful camping holiday with three friends when I was a student, I am already feeling their pain. I think I’m going to recognise a lot of the humour!

22.10 – Perfect Pairing: A Wine Tasting Dancegustation, Greenside @ Infirmary Street.

“Enjoy four wines paired perfectly with four dance pieces in this original Australian wine-tasting-meets-dance-theatre production. Perfect Pairing invites the theatre-goer’s favourite interval treat into the spotlight and challenges the connoisseur to développé the sensory strength of their wine-tasting talent. In an age where pairing wine with food is reaching its very limits, why not pair the mambo with a merlot, a pop & lock with a prosecco, even chassé with a chardonnay? Don’t think about it too hard, drink some well-crafted wine alongside a showing of some delicious dancing! Assisted by Geelong Arts Centre.”

The second of two shows this Fringe that I’m seeing that combine another art form with food and drink. It’s a preposterous idea but it just might work!

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

The Edinburgh Fringe All Month Long – 8th August 2023

Posted on by

Have we a plan of shows to see today? You bet we do!

Here’s the schedule for 8th August:

11.20 – Things To Do in Mull, The Space on the Mile. From the Edinburgh Fringe website:

“Janusz is embarking on a trip to Mull, where he hopes to leave behind all his distractions. A would-be historian of 17th century Poland, Janusz needs to get away from WhatsApp, TikTok and his mother. So the trip is planned! The train is booked! And then… he meets a girl. Seeking advice from Jasper the dog and Dima the cat, Janusz sets forth to change his life forever. But can he get Dima’s support? Will Jasper approve his doctoral subject? And will he ever grab a coffee with the girl?”

This is co-produced by New Celts, a company whose work I always enjoy, so that alone makes this worth the ticket. Let’s hope it’s good!

12.45 – The Academy Trust, The Space at Surgeon’s Hall.

“Have you ever wondered what goes on behind the school gates? Why do people become teachers and then leave so soon? With schools being asked to become multi-academy trusts, the school working world is becoming very different. Come and see the hilarious, unbelievable and simply sublime situations this group of teachers get themselves into in The Academy Trust – a satirical comedy written and performed by teachers. Featuring hilarious, unbelievable and simply sublime initiatives that are so outrageous they’ll probably be in the next Conservative manifesto!”

Edinburgh Fringe plays that are based on teaching are often really funny – and sometimes a bit lame. Let’s hope this is in the former category!

14.20 – Bitter Lemons, Pleasance Courtyard.

“In the pressurised worlds of football and finance, two women carve their own path. After the loss of her dad, a goalkeeper prepares for the league final, while an ambitious banker battles her fears of being tokenised to secure a promotion. But as their pitches get closer, worlds collide as life shifts unexpectedly and in parallel. How do you face your biggest challenge yet? Winner of a Pleasance Edinburgh National Partnership Award and supported by Bristol Old Vic, Bitter Lemons is an explosive debut play tackling the pressures on women’s bodies and the power society holds over them.”

This sounds like good, meaty drama that will be right up my street – modern and relevant and very thought-provoking.

16.10 – Vanya is Alive, Space at Symposium Hall.

“A powerful new play from today’s Russia brought to the Fringe by artists in exile due to their anti-war position. A mother of a mobilised Russian soldier plunges into the abyss as she struggles to comb through state propaganda and lies. Where lie the limits of personal responsibility? Can an individual stand up against the system? Echoing the actual political situation in Russia, this dark tale reflects on the price of truth and freedom with a touch of absurdity and disarming sincerity. A look at the country grappling with the reality of war and repressions.”

This was a last minute change of mind – the play looks so important and it clearly has a vital tale to tell that it was a no-brainer that we had to see it. I think it will be a very difficult watch – but it’s the kind of thing to which we have to bear witness.

19.30 – Adam Kay: Undoctored – This is Going to Hurt… More, Pleasance Courtyard.

“The nation’s twelfth-favourite doctor returns for his first month at the Fringe since 2016. This is Going to Hurt was a literary sensation, selling three million copies and becoming a multi award-winning series. Undoctored continues from This is Going to Hurt, leaving audiences laughing and crying with Adam’s tales of life on and off the wards. It also contains some favourites from This is Going to Hurt, because people ask for refunds if they don’t get the degloving story. ‘Adam Kay has done it again, the talented c*nt’ (Charlie Brooker).”

Is there anyone in the country who isn’t a fan of Adam Kay? We still haven’t seen him live, so this is the perfect opportunity to put that right!

21.45 – Sophie’s Surprise 29th, Underbelly’s Circus Hub on the Meadows.

“Sophie is turning 29 and we’re celebrating. Imagine if The Spice Girls never broke up, Cirque du Soleil had sunstroke and No. 10 had actually known how to throw a party. This interactive circus and cabaret show is stumbling into Circus Hub with its Fringe debut, featuring world-leading performers from Cirque du Soleil, Britain’s Got Talent, Gogglebox and more. Expect Twilight fan fiction, unicycling drug dealers, and death defying feats. Put on your acid wash jeans and halter tops. Party starts at 9.45pm sharp, but remember – don’t tell Sophie.”

This sounds like a mash-up of circus elements, so hopefully there will be something entertaining in there!

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

Edinburgh Fringe 2023 Reviews – Elvis Died of Burgers, An Interrogation, Showgirls and Spies, Public – The Musical, and Bill’s 44th

Posted on by

ELVIS DIED OF BURGERS, Summerhall.

The excellent opening scene of Elvis Died of Burgers introduces us to a range of food disorders, such as being addicted to chocolate, or tomato ketchup, or the shape of one’s sandwiches. By the end of the show, it’s a celebration of everything foodie – whether it does you good or not! The show describes itself as having a non-linear narrative; for me it was more like a series of sketches that moved from being hung up about food to accepting it in all its glory. There’s also a side narrative about Elvis himself, discovered dead on the toilet after excessive burger consumption, – including an entertaining sketch about what might have happened if Elvis had access to a toilet app on his phone. A very inclusive cast who perform with great commitment and it’s a very safe environment where all are welcome. However, overall, sadly it doesn’t really hang together as a one hour ten minute show – it could do with some trimming and refinement – and, much as I wanted to like it more, it didn’t really do anything for me.

An Interrogation, Summerhall.

Co-director of the smash hit Six, Jamie Armitage, has written and directed this brand new play based on a real-life case in Ontario, where a highly respectable member of the community is questioned in connection with a murder and a missing person. The claustrophobic atmosphere of the police interrogation room is enhanced by the use of cameras showing the interview from a variety of angles – normally I find camera work on stage like this intrusive and unhelpful but in this show it adds a significant and important dimension. It’s a tight, tense play, full of intricate and suggestive dialogue, performed extremely well by its cast of three. “I’m not that kind of guy” says the suspect to the police officer interviewing him – “I think you are” is her terse response. The same words are later spoken by the senior detective when the interrogating officer suggests she was being used as bait. The fact that she doesn’t repeat “I think you are” speaks volumes. An Interrogation holds the audience completely in suspense – you could hear the proverbial pin drop in their silent, fixed attention. First rate!

Showgirls and Spies, Pleasance Dome.

The riveting story of Florence Waren, a real-life Jewish resistance fighter during the Second World War, who in the evenings worked as a showgirl and can-can dancer at the Bal Tabarin club in Paris. Performed with great style by the Young Pleasance Company, the show conveys how the war becomes progressively more dangerous for those whom the Nazis wanted to eliminate. The musical numbers are performed with panache – including some excellent can-can! The company work extremely well as an ensemble, but there are a few stand-out performances, including Scarleett Field-Green as Florence and Esme Pitman as the supportive Gisy. I felt it lost a little energy whenever it came back to the present day and the squabbling grandchildren fighting over Florence’s few remaining possessions, but that’s just a minor quibble. Terrific storytelling and characterisations!

4-stars

Public – The Musical, Pleasance Courtyard.

In a few year’s time people will be saying to each other did you know, “Public the Musical” started life as an Edinburgh Fringe show? Yes, it’s that good. Four strangers get accidentally locked in a gender-neutral public toilet and it’s going to take an hour before they can get free. There’s the super-blokey old-fashioned geezer Andrew (Andrew Patrick-Walker), the slightly neurotic gay Finlay (Hugo Rolland), the rather timid gender-fluid Laura (Alicia Corrales) and feminist/activist Zo, a do-gooder who makes everything worse by trying to be good (Annabel Marlow). What follows is an hour of brilliant songs, incredible (and I really mean outstandingly incredible) singing, an extraordinarily funny script and superb acting. It tackles prejudice, mental health, queer understanding and those all-important pronouns – never forgetting to reveal the truth through laughter. If I see a better show this Fringe I’ll eat my toilet roll. This year’s Six? I wouldn’t be surprised.

Bill’s 44th, Underbelly Cowgate.

Stage puppetry has undergone major transformations over the last few years and Bill’s 44th is an example of the genre at its most inventive. Bill is expecting guests to help him celebrate his birthday, and he’s prepared a wickedly alcoholic punch and some tasty dips for everyone to enjoy. But when the guests fail to arrive, Bill pretends to animate his carrot batons as mini-friends, and when the alcohol (and weed) start to kick in, he’s overwhelmed by the most vivid trip ever! It’s amazing how the team of Andy Manjuck, Dorothy James and Jon Riddleberger coalesce with their puppet creations and become as one with them. Charming and funny, it truly appeals to the audience’s inner child as we gasp, whoop and cheer along with Bill’s madcap experiences. First-rate puppeteering, a heartwarming story, and lots of inventive fun. (And we got to take home a balloon!)

4-stars

The Edinburgh Fringe All Month Long – 6th August 2023

Posted on by

What’s in store for us in Edinburgh today?

Here’s the schedule for 6th August:

10.55 – Chasing Butterflies, Pleasance Dome. From the Edinburgh Fringe website:

“Murder in London: The Butterfly Butcher strikes again. Beneath the bustling capital, a relentless evil continues to lurk. Pressure mounts on Detective Richards and the Police to catch the serial killer that has haunted Whitechapel throughout 1985. Will Richards be able to save the people of London, or will he fall to the path of wickedness that corrupted the very soul he’s chasing, unravelling darkness? Anyone can be a victim of the Butterfly Butcher and everyone should be scared. May God be with you all.”

A bit of true crime drama to start the day – what’s not to like?

13.00 – The Ice Hole: A Cardboard Comedy, Pleasance Courtyard.

“An epic adventure told with a thousand pieces of cardboard. A great actor recounts his journey from the fjords of Iceland to the dust of the Spanish desert. Cursed by the mermaid he once accidentally caught, a fellow performer helps tell his tale in a language no-one quite understands. Monty Python meets Mighty Boosh with a twist of Laurel and Hardy. The theatrical acrobatics from these virtuoso performers will make you howl with laughter. Pure theatrical joy. From the creators of Edinburgh’s smash hit Fishbowl. Moliere Theatre Award winner. ‘Serious theatre magic’ (NewYorkTimes).”

You can do a lot with cardboard, as I expect this show will reveal! Not that keen on Mighty Boosh, but Monty Python and Laurel and Hardy are fine by me. Fingers crossed!

15.10- Släpstick: Schërzo, Pleasance Courtyard.

“Spirit of the Fringe Award winner Släpstick is back. Bringing their unique brand of mischief to Schërzo, a clown-esque concerto for the ages where a seemingly highbrow classical concert glissandos into a bacchanal of comical mishaps and absurdity. Neither floppy-wigged composers nor their magnum opus are safe from this Släpstick buffoonery. It’s Chaplin meets Tchaikovsky, Buster versus Bernstein, and Groucho Marx does Mozart, all rolled up into one raucous show! Internationally renowned Släpstick presents Schërzo, a performance of classical music as you’ve never experienced it before. Language no problem.”

Another show where I really don’t know what to expect – a dangerous mix of all sorts of different styles of entertainment, I guess. Definitely in for something anarchic here!

17.30 – NewsRevue, Pleasance Courtyard.

“We dedicate this year’s show to the late, great, founder of NewsRevue, Professor Michael Hodd, who launched this multi award-winning, Guinness World Record-breaking institution 43 years ago. Emma Taylor, its producer since 2001, says ‘it is fitting that Mike’s enduring legacy will make its debut in the iconic Pleasance Grand.’ Expect 100% brand-new material, much of it written by the preposterously talented cast and creative team. From King Charles to Keir Starmer, Prince Harry to Putin, Sunak to Strikes and Sleaze, no stone will be left unturned. NewsRevue provides ‘license to dissent en masse’ ***** (BroadwayBaby.com).”

Love current affairs and news comedy, so hopefully this will be bang up to date and on the button. Should be great!

19.15 – Lovefool, Summerhall.

“A brutally honest, hilarious and heartbreaking one-woman show navigating the impossibly confusing gender dynamics of modern love. Grace, a young woman hungry for affection and looking for love in all the wrong places, is forced to discover what healthy (self) love might look like. A sensational solo performance championing a life’s endless pursuit of healing, told with vulnerability and humour. Presented by the Théâtre National du Luxembourg, where it played to sold out audiences and received critical acclaim. This extraordinary piece of new writing received its UK Premiere at The Coronet Theatre.”

The reviews from its runs in Luxembourg are very intriguing, so I’m looking forward to this very much!

21:00 – Weathervanes, Summerhall.

“Weathervanes is an immersive-multimedia exhibit and ritual dance-theatre experience – a re-thinking of the beautiful and what is holy… This mesmerising performance-installation by Jian Yi tunes into the collective psyche with audiences to create a dreaming state of mind; an architecture of queer futurity. Produced by Journey to the East Productions in association with Summerhall/Eclipse and Tramway – it features an ensemble of dancers with a live musician, and multimedia/FX created by Cryptic artist Heather Lander. ‘A manifestation of purity, of potential, of value and intrinsic grace… ’ (Critic Gareth Vile, on Weathervanes at Tramway DiG21).”

To be honest, that description sounds a little pretentious to me, but this sounds like the kind of experience one just has to attend so that one can form one’s own opinion!

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

The Edinburgh Fringe All Month Long – 5th August 2023

Posted on by

Another day of Edinburgh bliss – what’s in store for us today?

Here’s the schedule for 5th August:

11.45 – ELVIS DIED OF BURGERS, Summerhall. From the Edinburgh Fringe website:

“Take a seat at BLINK’s table as the cast spill the tea on their food stories. Watch as they deep-dive into the events at the end of the life of Elvis, the King of Rock’n’Roll, with their signature sensory and often bizarre tangents… Good Food Gospel anyone? ELVIS DIED OF BURGERS has a non-linear narrative. It uses semi-improvised dance, theatre and spoken word to create an exciting, edge-of-your-seat experience for audience and cast alike.”

The BLINK in question are BLINK Dance Theatre, and this sounds like a very intriguing mix of theatre and dance, so it was a no-brainer for us to come and see it!

13.10 – An Interrogation, Summerhall.

“A young detective works against the clock as she questions a suspect who looks like the least likely person to be linked to a murder. He’s a devoted son, a successful businessman and a respectable member of society. But as the minutes tick away, the detective starts to suspect that all is not what it seems… Inspired by real events, the debut play from the Tony Award-nominated co-director of SIX: The Musical is a gripping interrogation drama about power, deception, and our perspectives on the truth.

I’ve got a strong suspicion that this is going to be one of the hits of the Fringe – clearly it’s a powerful play and if they do it well it could be superb!

15.00 – Showgirls and Spies, Pleasance Dome.

“The thrilling true story of Florence Waren, an intrepid Jewish resistance fighter and dazzling showgirl leading a perilous double life in WW2. Working fearlessly for the French resistance by day, Florence takes to the stage alongside icons Edith Piaf and Josephine Baker, every night at the infamous Bal Tabarin. Written by Florence’s relative, the ‘breathtakingly skilful ensemble’ (BBC Scotland) jump cut between worlds bursting with bravery, family and feather boas. With their trademark high production values, the ‘superbly multi-talented’ (**** (Scotsman)) Young Pleasance present their modern take on the glitz, glamour and glare of wartime Paris.”

Another intriguing play, the true story of a wartime heroine written by her relative – that has all the hallmarks of being a gripping drama – here’s hoping!

18.30 – Public – The Musical, Pleasance Courtyard.

“Usually avoid public bathrooms? Here’s one you won’t want to miss! This award-winning new musical follows four unlikely strangers who find themselves trapped together in a gender-neutral public toilet. With an hour to kill until maintenance arrives, the group navigates unexpected challenges, pungent opinions and some seriously sticky conversations. Created by queer-led theatre collective Stroud & Notes, Public – The Musical explores stories of identity, connection and compassion, alongside an electrifying pop/rock score. This will be a trip to the bathroom you’ll never forget! Winner of the Pleasance’s Charlie Hartill Fund and VAULT Origins Award.

Who can resist the thought of a musical set in a public loo? Let’s hope it’s flushed with success.

20.35 – Bill’s 44th, Underbelly Cowgate.

“New York Times Critics Pick (‘Buoyant, mesmerizing, joy-inducing’)! This poignant, puppet tragicomedy for grown-ups is a wordless spectacle featuring puppetry, raucous balloons, and a cheeky piece of crudité that collide to examine the pitfalls of impatience, the wonder of loneliness, and the universal passage of time. ‘This isn’t the birthday that Bill had hoped to have. But for the audience, his 44th is a gift’ (NY Times). A ‘surreal tragicomedy expertly executed, enormously funny and at times delightfully unsettling’ **** (Everything-Theatre.co.uk). ‘Sweetly hilarious with flashes of bizarre originality’ **** (TheReviewsHub.com). A ‘tender and boozy puppet party’ **** (Guardian).

Here’s another of those shows that is either going to be supremely entertaining or fall flat. But there’s something about this that make me think it’s going to have something of the Avenue Q about it, in which case it should be great!

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

Review of the Year 2022 – The Twelfth Annual Chrisparkle Awards

Posted on by

It is my pleasure to welcome you again to the glamorous showbiz highlight of the year, the announcement of the annual Chrisparkle Awards for 2022. 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 17th January 2022 to 9th January 2023. 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, as well as elsewhere in the country. We saw seven dance productions, and these are the top three:

In 3rd place, the anarchic inventiveness of Ukraine’s Ballet Freedom at the Edinburgh International Conference Centre, in August.

In 2nd place, the Balletboyz on a superb return to form with their Deluxe tour, at the Royal and Derngate, Northampton, in May.

In 1st place, the Edinburgh Festival Ballet/Peter Schaufuss/Ian McKellen production of Hamlet at the Ashton Hall, St Stephens Church, Edinburgh.

 

Classical Music Concert of the Year.

We only saw one classical concert this year – The Royal Philharmonic’s The Armed Man: A Mass for Peace at the Royal and Derngate, Northampton, in February. So I’m giving it an honorary mention, but without any competition, I can’t really call it the best classical concert this year!

 

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, Jack and the Beanstalk at the Lyceum Theatre, Sheffield, in December.

In 2nd place, the most lavish of panto experiences imaginable, Jack and the Beanstalk at the London Palladium in December.

In 1st place, the most remarkable gala celebrating the life and work of a remarkable man, Stephen Sondheim’s Old Friends at the Sondheim Theatre, London, in May.

 

Best Star Standup of the Year.

Astonishingly, we only saw three big star standup shows this year – and these are they:

In 3rd place, the endlessly brilliant and always thought provoking Dara O’Braian in his So Where Were We tour, at the Milton Keynes Theatre, in November.

In 2nd place, the highly personal but always funny material of Patrick Kielty in his Borderline tour, at the Royal and Derngate, Northampton, in June.

In 1st place, the irrepressible Omid Djalili in his The Good Times Tour, at the Royal and Derngate, Northampton in April.

 

Best of the Rest Stand-up of the Year. at the Screaming Blue Murder/Comedy Crate nights in Northampton.

In the past the Committee has given awards for the best Screaming Blue Murder Comedy Club stand-up, and last year this was combined with the Comedy Crate Stand up shows. There had also been a Best of the Rest award for various other comedy venues, Edinburgh Previews and the like. We’re now going to streamline these separate categories into one – The Best of the Rest! Out of countless comics we saw, a longlist of thirteen provided the following top five:

In 5th place, the always ebullient Aurie Styla (Upfront Comedy Club – May)

In 4th place, the hilarious and quick-witted Kane Brown (Upfront Comedy Club – October)

In 3rd place, the unpredictable and always brilliant Russell Hicks (Comedy Crate – March)

In 2nd place, the brilliantly inventive Mark Simmons (Comedy Crate – March, Comedy Crate Edinburgh Preview – July)

In 1st place, the sheer delight of Gerry K (Screaming Blue Murder – March)

 

Best Musical.

I saw sixteen musicals this year, a combination of new shows and revivals. One big disappointment, a few not entirely to my taste but that’s more my issue, and, as usual, the others were all varying degrees of excellent. Here’s my top five.

In 5th place, an old favourite given a tremendous treatment, the touring production of Hairspray that we saw at the Royal and Derngate, Northampton, in January 2022.

In 4th place, a show that’s only going to grow in stature through the ages, putting Sheffield on the map, Standing at the Sky’s Edge at the Crucible Theatre, Sheffield, in December.

In 3rd place, another old favourite looking as fresh as the day it was born, the touring production of Rocky Horror Show at the Royal and Derngate, Northampton, in July.

In 2nd place, a stunning production that lifted your heart and was jam-packed with fun, fully deserving its London transfer later this year, Crazy for You at the Festival Theatre, Chichester, in July.

In 1st place, a show that rewrites the rule book for creating a meaningful revival, the spectacular and innovative production of Cabaret at the Kit Kat Club, at the Playhouse, London, in April.

 

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, and I awarded five stars to ten of them, so this is a tightly fought battle! Here are my top five (with some incredible productions and plays just bubbling under) :

In 5th place, David Hare’s gripping and intelligent look at the life and work of Robert Moses, Straight Line Crazy, at the Bridge Theatre, London, in March.

In 4th place, a deftly structured and wittily written ghost story that terrifies and delights, Danny Robins’ 2:22 A Ghost Story, at the Criterion Theatre, London, in December.

In 3rd place, a truly original staging of a gripping family of refugees fleeing from Afghanistan, The Boy With Two Hearts at the National Theatre Dorfman Theatre in October.

In 2nd place, Anupama Chandrasekhar’s magnificent examination of the assassination of Gandhi, The Father and the Assassin at the National Theatre Olivier Theatre in May.

In 1st place, one of the best new comedies of the century, Steven Moffat’s The Unfriend at the Minerva Theatre, Chichester, in June.

 

Best Revival of a Play.

I saw fourteen revivals, with an obvious top four; here’s the top five:

In 5th place, the RSC’s bold and innovative new production of Shakespeare’s Richard III at the Royal Shakespeare Theatre, Stratford-upon-Avon, in July.

In 4th place, the emotional and powerful production – despite the rain effect – of Arthur Miller’s The Crucible, at the National Theatre Olivier Theatre in October.

In 3rd place, Tom Basden’s brilliant updating of Dario Fo’s hilarious Accidental Death of an Anarchist, at the Tanya Moiseiwitsch Playhouse, Sheffield, in September.

In 2nd place, Dominic Cooke’s outstanding reimagination of Emlyn Williams’ The Corn is Green, at the National Theatre, Lyttelton Theatre, in May.

In 1st place, Anna Mackmin’s pitch-perfect revival of one of Alan Ayckbourn’s most telling comedies, Woman in Mind, at the Festival Theatre, Chichester, in October.

As always, in the post-Christmas season, it’s time to consider the turkey of the year – and whilst I was unimpressed with both Sing Yer Heart Out For The Lads and Local Hero at Chichester, by far the worst thing I saw all year was The Sex Party at the Menier Chocolate Factory.

 

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

Best play – Edinburgh

We saw 52 plays in Edinburgh this year, 18 of them got 5* from me, which led to a shortlist of 11, and here are the top 5:

In 5th place, the brilliant thriller with a terrific twist, Closure, written by Faye Draper and produced by Ink and Curtains (Pleasance Courtyard)

In 4th place, full of contemporary relevance and an insight into modern day poverty, About Money, written by Eliza Gearty and produced by 65% Theatre (Summerhall)

In 3rd place, an extraordinary one-man play that leads you down some terrifyingly unexpected alleys, An Audience with Stuart Bagcliffe, written by Benny Ainsworth and produced by Triptych (Zoo Playground)

In 2nd place, the vivid and gripping story of the Hiroshima bombings, The Mistake, written and produced by Michael Mears (The Space on North Bridge)

In 1st place, the play I couldn’t stop talking about for weeks afterwards, the story of a unique relationship, Wilf, written by James Ley and produced by the Traverse Theatre Company (Traverse Theatre)

 

Best Individual Performance in a Play – Edinburgh

As always, a really hard one to decide as so many Edinburgh plays are true ensemble efforts. Nevertheless, here are the top five:

In 5th place, Michael Waller for Candy (Underbelly Bristo Square)

In 4th place, Stephen Smith for Dog/Actor (Greenside @ Infirmary Street)

In 3rd place, Michael Parker for An Audience with Stuart Bagcliffe (Zoo Playground)

In 2nd place, Michael Dylan for Wilf (Traverse Theatre)

In 1st place, Samuel Barnett for Feeling Afraid as if Something Terrible is Going to Happen (Summerhall)

 

Best stand-up comedy show – Edinburgh

Eleven shows this year received 5* from me, but here are my top five:

In 5th place, a new name to me, and a brilliant find, Nina Gilligan with her Late Developer show (Just the Tonic at the Tron)

In 4th place, the always brilliant Mary Bourke with her Brutal Truth show (The Stand Comedy Club)

In 3rd place, one of our regular Edinburgh must-sees, Joe Wells with his I Am Autistic show (Banshee Labyrinth)

In 2nd place, on the best form I’ve ever seen him, Hal Cruttenden with his It’s Best You Hear it From Me show (Pleasance Courtyard)

In 1st place, and why have I never seen him before, Mark Thomas with his Black and White show (The Stand Comedy Club)

 

Best of the rest – Edinburgh

Very stiff competition as always, but here are my top five:

In 5th place, the brilliant improvisation that made up Shamilton, produced by Baby Wants Candy (Assembly George Square Studios)

In 4th place, the anarchic mischief of a nightmare club night, Kevin Dewsbury and Bexie Archer in Your Dad’s Mum (Underbelly Bristo Square)

In 3rd place, two complementary productions, Patrick McPherson’s Colossus and again with his twin brother Hugo in Pear (Underbelly Cowgate)

In 2nd place, one of the best sketch shows I’ve ever seen, the brilliant Tarot: Cautionary Tales (Pleasance Courtyard)

In 1st place, the best swansong ever, Colin Hoult’s The Death of Anna Mann (Pleasance Courtyard)

There were a number of contenders for this year’s Edinburgh turkey; Shakespeare for Breakfast was a big let-down due to the change of cast and writing team, but I think the most woeful was the misguided attempt at a League of Gentlemen-type story, Antiques (Greenside @ Nicolson Square)

 

Best Performance by an Actress in a Musical.

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

In 5th place, Carly Anderson as Polly in Crazy for You at the Festival Theatre, Chichester, in July.

In 4th place, Me’sha Bryan as Celie in The Color Purple at the Royal and Derngate, Northampton, in October.

In 3rd place, Cleopatra Rey as Rita in Get Up Stand Up at the Lyric Theatre, London, in December.

In 2nd place, Marisha Wallace as Ado Annie in Oklahoma! at the Young Vic, London, in May.

In 1st place, Amy Lennox as Sally Bowles in Cabaret at the Kit Kat Club, at the Playhouse, London, in April.

 

Best Performance by an Actor in a Musical.

Here’s the top five:

In 5th place, Robert Lonsdale as Harry in Standing at the Sky’s Edge at the Crucible Theatre, Sheffield, in December.

In 4th place, Arthur Darvill as Curly in Oklahoma! at the Young Vic, London, in May.

In 3rd place, Fra Fee as Emcee in Cabaret at the Kit Kat Club, at the Playhouse, London, in April.

In 2nd place, David Albury as Bob Marley in Get Up Stand Up at the Lyric Theatre, London, in December.

In 1st place, Charlie Stemp as Bobby in Crazy for You at the Festival Theatre, Chichester, in July.

 

Best Performance by an Actress in a Play.

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

In 5th place, Frances Barber as Elsa in The Unfriend, Minerva Theatre, Chichester, in June.

In 4th place, Samira Wiley as Angel in Blues for an Alabama Sky, National Theatre, Lyttelton Theatre, in October.

In 3rd place, Monica Dolan as Sister Aloysius in Doubt, at the Festival Theatre, Chichester, in January 2022.

In 2nd place, Nicola Walker as Miss Moffat in The Corn is Green, at the National Theatre, Lyttelton Theatre, in May.

In 1st place, Jenna Russell as Susan in Woman in Mind, at the Festival Theatre, Chichester, in October.

 

Best Performance by an Actor in a Play.

Like last time, this is one of this year’s most hotly contested awards, with seventeen contenders in my shortlist, and here is the top five:

In 5th place, Arthur Hughes as Richard III in Henry VI Rebellion/Wars of the Roses/Richard III, at the Royal Shakespeare Theatre, Stratford-upon-Avon, in May and July.

In 4th place, Simon Russell Beale as Borkman in John Gabriel Borkman, at the Bridge Theatre, London, in  November.

In 3rd place, Ralph Fiennes as Robert Moses in Straight Line Crazy, at the Bridge Theatre, London, in March.

In 2nd place, Shubham Saraf as Godse in The Father and the Assassin, at the National Theatre, Olivier Theatre in May.

In 1st place, Reece Shearsmith as Peter in The Unfriend, Minerva Theatre, Chichester, in June.

 

Congratulations to the winners, commiserations to the losers and thanks for your company again throughout the year, gentle reader. Let’s look forward to a 2023 crammed with theatrical brilliance!

Review – Les Ballets Trockadero de Monte Carlo, Peacock Theatre, London, 10th and 15th September 2022

Posted on by

There was a time, somewhere in the lonely misery of Lockdown 1.0, when we wondered if we would ever see the Trocks again. Everything else was cancelled due to Covid – how would it ever be safe to venture out again? But here we are, just four short (or maybe long) years since their last visit, and Les Ballets Trockadero de Monte Carlo have returned to our shores for a two week stint at the Peacock Theatre, with two different programmes, followed by a UK tour.

How sad it was, then, that their return should coincide with the death of Her Majesty the Queen, which knocked the stuffing out of us as a nation. We saw Programme A on the matinee of 10th September, when we were all still coming to terms with her death. The usual hilarious announcement that begins each Trocks show that there will be changes to the advertised programme, largely due to the mission of mercy by esteemed dancer Natasha Notgoodenuff, to rescue a production at Le Grand Theatre de Ballet de Croydon (or somewhere equally unlikely) was missing, and was instead replaced by a two minutes silence plus standing for the national anthem.

Whilst this was completely in keeping with the mourning period, and was scrupulously observed by everyone, it was not the perfect way to start a programme of comic dance. Normally, we would be instantly laughing as an unfit von Rothbart started scampering around the stage at the beginning of the Trocks’ incomparable take on Swan Lake Act II. We’ve seen this wonderful piece of nonsense at least a dozen times and it never failed to make us laugh till we ached – until this time. It’s still wonderful and always will be; but the sadness of the day wasn’t in keeping with the pratfalls on display, and it took a long time for us all to loosen up. It did, however, allow us to witness a brand new Trock star in the diminutive but oh so powerful form of Takaomi Yoshino, who, as Varvara Laptopova, performed the most extraordinary jetés and fouettés, gaining amazing height and completely made you forget you were watching a comedy performance.

Without a pre-show announcement, we didn’t know if there were any changes of cast or what the surprise Pas de Deux would be. Actually, it turned out to be a Pas de Trois, from Swan Lake Act I, with two majestically tall ballerinas accompanied by a teeny tiny male dancer doing his best to support them – and in the end, they gave up and hoisted him overhead in a hilarious about-turn from the usual gender roles. We then moved on to Nightcrawlers, a surprisingly stylish and slick parody of Jerome Robbins’ In The Night, with couples mixing and matching, unexpected rapid cross-stage exits and entrances, and a lot of fun to boot. It was Robert Carter’s magnificent creation Olga Supphozova who executed the Dying Swan in the age old tradition, and we finally enjoyed the ludicrously charming Walpurgisnacht, the stage littered with delightfully silly fauns, a powerful coupling between Minnie Van Driver and Jacques D’Aniels, and a scene-stealing Pan by Boris Dumbkopf (that brilliant Takaomi Yoshino again).

We returned for Programme B on the evening of 15th September. It’s amazing what a few days can do for public spirit. No pre-show silence, but a return to the announcement of changes – and the fact that Natasha Notgoodenuff’s errand of mercy had taken her to Les Grands Ballets Imperiales de Slough. It’s funny how rattling off a few faux Russian names and the news that the ballerinas are all in a very very good mood this evening can really help the show start off on the right foot. We kicked off (indeed, it all kicked off) with Les Sylphides, an excellent example of the Trocks doing their trademark perfect combination of comedy riffs with superb classical ballet. Olga Supphozova took every opportunity to milk the show for comedy value, but there were some terrific solos too. Dmitri Legupski didn’t sober up the whole time.

Again we enjoyed a Pas de Trois, this time from Paquita, with some genuinely brilliant dancing from Helen Highwaters (who I think should be now be made a Dame), Elvira Khababgallina (I think) and William Vanilla. The Trocks at their very best. Then came the slightly more subdued Vivaldi Suite, followed by La Supphozova dealing with the terminal fowl again, and finally Majisimas, a delightful mix of mock-flamenco and Spanish bravura with the usual comedy/classic combo.

I’m going to be controversial here. (Gasp!) I’ve checked back, and this is the 15th (and 16th) times that we’ve seen the Trocks since we discovered them in 1998. Their unique selling point has always been that combination of comedy and classical ballet perfection. However, for the first time, there were a few moments when the dancing, primarily from those dancers in a more corps de ballet role, wasn’t quite a perfect as usual. No names, no pack drill. But some of those leaps didn’t land properly and some of the usual elegance was missing.Don’t get me wrong – they’re still brilliant, and we will still see them again for a 17th time (and more!) It’s just that when you expect perfection and it’s not entirely there, it comes as a bit of a surprise.

Do catch them on their UK tour though – Canterbury, Brighton, Norwich, Nottingham, Buxton, Hull, Bradford, Newcastle, Edinburgh, Truro and Belfast, between 19th September and 29th October. Keep on Trockin’!

4-starsFour They’re Jolly Good Fellows!