The Points of View Challenge – Horses – One Dash – Stephen Crane

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Stephen Crane (1871 – 1900)

American poet, novelist, and short story writer, best known for his Civil War novel The Red Badge of Courage.

Horses – One Dash, written in 1895, first published in a newspaper in 1896 and then in the collection The Open Boat and Other Stories in 1898. Also known as One Dash – Horses or simply Horses.

Available to read online here.

This is the second of eight stories in the volume Points of View to be given the style classification by Moffett and McElheny of Biography, or Anonymous Narration – Single Character Point of View. Their introduction continues: “Some authors comment openly on the characters and the action, perhaps even correcting the perspective of the characters; others make their point only through selection, arrangement, and phrasing.”

Spoiler alert – if you haven’t read the story yet and want to before you read the summary of it below, stop now!

 

Horses – One Dash

 

Richardson, a New Yorker, and his servant, José, ride their horses through the mesquite-strewn hills of Mexico. Needing somewhere to shelter for the night, José arranges for them to stay at a house in a remote village. All is peaceful until the noise of rowdy, drunken men outside the house wakes them in the middle of the night. It quickly becomes clear the men plan to break in, steal their goods and doubtless murder them in the process. Both men are terrified, but Richardson maintains an outward show of calm. Fortunately the men are diverted by the arrival of a group of women, and they turn their attention to singing, dancing, drinking and fraternising with the women.

The next morning Richardson and José make their escape. José is keen to rush ahead as quickly as possible, but Richardson holds back, much to his servant’s fury and frustration. They can see figures on the horizon behind them, and they know they are being pursued by the men from the night before. Fortunately, José heads down a hill to discover a group of rurales, a Mexican army cavalry corps policing the plain; José convinces them that Richardson is an influential and rich American, so the rurales are determined to protect him. When the marauding men start hurtling down the hill in pursuit of Richardson, the last thing they expect is to be met by the cavalry.

This fascinating little tale recounts the activities of maybe no more than twelve hours, but which have a profound effect on everyone involved; Richardson and José, the marauders, the rurales, even their horses. Crane makes it clear that, despite his outward show of calm, Richardson is wholly scared by the men and the danger in which he finds himself; whilst José never conceals that fact. The reader can never predict how the story will resolve itself; and its sudden ending emphasises its lack of sentimentality or indeed any future interest in the two main characters.

Crane’s writing style is fluid and full; each sentence holds your attention with its unexpected observations and delicious descriptions. Even from the very start, Crane loves to concentrate on colour and sensuousness. For example, the first paragraph includes references to crimson, blue and green, painting, and the notion of sun-shot water, a memorable description of what one sees when sun beats down on a river. He emphasises the blackness of the blanket and of José’s horse, a lemon-coloured patch of sky, red spears of fire, the greenness of the fat Mexican’s face. This all paints a very vivid picture for the reader’s imagination. Elsewhere he shows his mastery of alliteration; consider the use of d, f, w, and s in this sentence: “José rolled and shuddered in his saddle, persistently disturbing the stride of the black horse, fretting and worrying him until the white foam flew and the great shoulders shone like satin from the sweat.”

This is an excellent example of the type of narration described in the introduction by Moffett and McElheny, where the narrator comments on the action and the characters. Crane breaks away from his narration to address the reader directly: “My friend, take my advice, and never be executed by a hangman who doesn’t talk the English language”; or “the man who said that spurs jingled was insane”, a good example of Crane’s occasionally unexpected flashes of humour in a deadly situation. Others are “José’s moans and cries amounted to a university course in theology” and “if toboggans half-way down a hill should suddenly make up their minds to turn round and go back, there would be an effect something like that produced by the drunken horsemen.”

And, of course, Crane asks the most direct question about his main character, a question posed via the thoughts of his horse, and which is never truly resolved: “At the approach of their menacing company, why did not this American cry out and turn pale, or run, or pray them mercy? The animal merely sat still, and stared, and waited for them to begin. Well, evidently he was a great fighter! Or perhaps he was an idiot? Indeed, this was an embarrassing situation, for who was going forward to discover whether he was a great fighter or an idiot?”

A gripping narrative and exquisite use of language; Horses – One Dash is one of the highlights of the Points of View collection.

The next story in the anthology is the third to be classified by Moffett and McElheny as Biography, or Anonymous Narration – Single Character Point of View, The Prison by Bernard Malamud.

Review – The Spy Who Came in From the Cold, Minerva Theatre, Chichester, 3rd September 2024

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I’ve come to the conclusion that the world consists of two types of people; those who understand spy stories, and those who don’t. Much as I would like to be part of that first group, I fear I’m one of the latter. I’ve never read a John Le Carré novel, and I never got into all that Tinker Tailer Soldier Spy stuff on TV either. So I am probably the wrong demographic to comment on Chichester’s new production of The Spy Who Came In From The Cold. But when did that ever stop me before?

Le Carré, of course, was a real spy (don’t worry, I’m not the first to blow his cover) so one can only assume that everything in the books – and indeed as portrayed in this stage adaptation by David Eldrige – is pretty realistic. Worn out agent Alec Leamas is given one last job by his control – to return to East Germany, where he had been “our man”, and pose as a defector. However his real job is to frame one Hans-Dieter Mundt, ex-Stasi officer and head of the Abteilung, as a double agent. Naturally, things don’t go according to plan.

Jeremy Herrin’s crisp production looks suitably bleak and comfortless from the outset, with Riemeck’s upturned bike representing its owner’s early departure from this world. George Smiley stands aloof for much of the play, observing the activity below from a balcony, where he has presumably gone to retire (clue – he hasn’t retired.) The sets and props are minimalist, allowing our imaginations to fill in the gaps. Ominous, frequently threatening background music composed by Paul Englishby adds to the unsettling atmosphere.

David Eldrige’s script assumes a basic knowledge of the world of Smiley, which I clearly don’t have. I appreciated and enjoyed the introductory scene where the various characters are introduced with their political backgrounds and how they feature in the story landscape. But terms like Praesidium and Circus and Abteilung meant nothing to me, and although you can make a good guess as to their relevance, I felt I was backfooted from the start, and mentally constantly running to keep up with my understanding of what was going on.

There are time changes in the story too, which don’t help when you’re already somewhat at sea. Fortunately, I don’t feel too bad about that, because judging from the overheard comments of other theatregoers at the end of the show, I was far from the only one to have only a slight grip on exactly what happened; once I had read the Wikipedia synopsis of the book so much more of it made sense – but surely, that shouldn’t be necessary? However, there’s no doubt that the adaptation succeeds in emphasising the amorality of this spy world, and the double-crossing continues right until the very end.

Rory Keenan is excellent as Leamas throughout. Down-at-heel, down-at-heart, cynical through and through; he’s exactly how you would expect a world-weary spy to look and behave. Ian Drysdale is also great as Control – if this was James Bond, I think he would be M – effortlessly polite, ruthlessly persistent, concealing a vicious interior beneath a gentlemanly façade. The ever-reliable Philip Arditti is great as Fiedler, Mundt’s second in command, especially in the courtroom scene. And Agnes O’Casey is a very believable Liz, the proudly communist librarian who gets entangled in a love affair with Leamas.

For me it was a production that asked more questions than it answered. I’ve no idea why, for example, for most of the play some of the characters were seated at the back of the stage waiting for entrances whilst others weren’t. And although I was always engrossed by what was going on, that’s possibly because of the top quality acting and cat-and-mouse conversations rather than anything to do with the plot itself. If you’re a Smiley aficionado, you’ll love it; if you’re a Le Carré virgin, read a synopsis before seeing the show – it will help.

3-starsThree-sy Does It!

Review – Oliver! Festival Theatre, Chichester, 3rd September 2024

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With the mighty Matthew Bourne directing and choreographing this year’s big summer musical at Chichester, it was never very likely that their new production of Lionel Bart’s Oliver! would be anything other than a smash hit. And there’s no point my keeping the suspense up that it might not be as successful as you would imagine – because it is!  Every inch a phenomenal production: the timeless, riveting story, combined with the irresistible songs (Every 1’s a winner, as Hot Chocolate might have said), Graham Hurman’s awesome orchestra, Lez Brotherston’s (who else?) sets and a perfectly cast group of actors portraying some of the most memorable characters in English literature, what more could you ask? Prepare to enjoy one of those sensational theatrical experiences that you’ll remember for a very long time.

One of the most marvellous aspects of this production is the tremendous lighting design by Paule Constable and Ben Jacobs; constantly atmospheric, always helping the story along, mixing menacing darkness with illuminated beauty where you might not expect to find it. Fagin and Dodger’s long walk home at the end of the show, for example, into the slowly revealing lights of London, provides a superb final scene. And how clever and creative to represent the dog Bullseye simply by an ominous shadow following a wall to his master’s voice!

Matthew Bourne’s choreography, of course, fits both the characterisations and the space available perfectly, with deliciously ebullient actions for the Artful Dodger, slyly wheedling moves for Fagin, and athletically rumbustious movements for the chorus of workhouse boys and Fagin’s gang. All the kids performed immaculately, and with pinpoint precision; we were treated to the Wapping group of young actors at our performance – I’m sure the Bethnal Green and Limehouse youngsters are equally irresistible.

It takes a Fagin of rare quality to make you feel sorry for him; but Simon Lipkin’s performance is so outstanding that you genuinely do sense he has reviewed the situation and realises that the reality of his life has no future. An extraordinary stage presence, he gives us a Fagin who is totally believable, as much a victim as those from whom he steals; a Fagin low on cynicism but high on caring and protecting his workforce. The big finale scene at the end, including the deaths of Nancy and Bill (sorry, spoilers), and the reuniting of Oliver with Mr Brownlow, also includes Fagin losing his footing on the bridge which upsets his treasure chest so that his precious trinkets twinkle their way down to be swallowed up by the river; and even though you knew that every single one of those jewels was stolen, you still feel sorry for him. Amazing work.

Shanay Holmes is a vulnerable, affectionate, big-hearted Nancy with a luscious voice, delivering all her songs with power and emotion, none more so than the evergreen As Long As He Needs Me which painfully drives home her conflict about loving a violent thug who has no hesitation about beating her. Talking of whom, Aaron Sidwell is superb as Bill; wiry, fired-up, irrationally explosive and terrifyingly unpredictable. I’m an admirer of convincing stage combat, and you’ll never see it done better than by Mr Sidwell with the fiendish smack he gives Nancy; and when he nuts Fagin on the head, we all feel it.

Elsewhere, Oscar Conlon-Morrey gives us a vindictively prissy but also disgustingly smarmy Mr Bumble; Katy Secombe’s Widow Corney turns from simpering sex-kitten to vicious fishwife with one whiff of a wedding ring; Stephen Mattews and Jamie Birkett make a thoroughly gruesome pair of Sowerberries; and Philip Franks is a very warm and approachable Mr Brownlow – you can imagine that Oliver will definitely thrive with his parenting skills.

At our performance, we saw Rudy Gibson bring all the Artful Dodger’s legendary showmanship and bonhomie to the fore with a terrifically brash and extraverted performance; and our Oliver was Raphael Korniets,who convincingly plays up the wide-eyed innocence of his character and has a stunning voice to boot.

The whole show knocks your socks off; there isn’t one misjudged moment nor a hair out of place throughout the whole performance. The Chichester run is now completely sold out, but the production will be returning to the West End at the Gielgud Theatre from 14th December.

 

Five Alive Let Theatre Thrive!

Review – The Baker’s Wife, Menier Chocolate Factory, London, 1st September 2024

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Apologies for being late to the party with The Baker’s Wife, as Edinburgh Fringe duties kept me away. One of Stephen Schwartz’s more obscure musicals, it’s based on a 1938 film, La Femme du Boulanger; and, to be honest, I knew nothing about either the original film or the 1976 musical. The Baker’s Wife never made it to Broadway nor did it reach the West End until a lukewarm production in 1988 directed by Trevor Nunn. Re-invigorated with a new production by Gordon Greenberg, can the Menier succeed with this show where others failed to make the mark?

We’re in a Provençal village in 1935, where the baker has died four weeks ago and the village is bereft of bread. Can you imagine a French village with no bread? It would be like Hemel Hempstead without the roundabouts. Fear not, mes amis, because a new baker, Aimable, is ready to move into the boulangerie with his wife. His beautiful young wife, that is; Genevieve. He’s hopelessly in love with her; she’s in love with being in love, having a married name, desperate to please him. But does she actually love him? Hein, c’est ça le rub, n’est ce pas? When she leaves him for the Marquis’ besotted assistant, Dominique, all the rise goes out of Aimable’s dough and he loses the will to bake. But will the other villagers put up with that? Absolument pas!

You’ve heard of the old phrase, you shouldn’t judge a book by its cover? Here’s one of those times where the cover is immaculate, but the book is nondescript. Paul Farnsworth has truly gone to town to recreate a French village in the heart of Southwark Street. Boules in the square, French road names, café tables with coffee and cognac, accordions gently playing; you couldn’t wish for a more idyllic Provençal setting. To increase that sense of la vie française for theatregoers, some seating is at cabaret tables, in the heart of the action; we sat at Table J and although there are a few scenes where some of the action on stage is blocked, that sense of being a villager more than makes up for it.

And there’s a cast of West End stars to take your breath away. Clive Rowe plays Aimable and his rich, sensitive voice delivers his songs with a genuine sincerity and power. Opposite him, the wonderful Lucie Jones brings energy and cheekiness to her songs, including a brilliant epiphany moment in Meadowlark. The delightfully squabbling couple of Denise and Claude who own the café are brought to life with the always amazing Josefina Gabrielle and the comic genius of Norman Pace; they are matched by the problem pairing of Liam Tamne’s brutal and critical Barnaby and Finty Williams’ submissiveHortense – the underlying sense of domestic violence is delicately but clearly portrayed in these two excellent performances. With Joaquin Pedro Valdes’ persistent Dominique, Matthew Seadon-Young’s pious priest, Michael Matus’ bombastic Marquis and Sutara Gayle’s perpetually offended Therese, as well as a superb wider ensemble, you’ll be hard pushed to find a better-performed show in the whole of London. And let’s not forget Dustin Conrad’s terrific band who play Schwartz’s score with a true feel for its romantic French style.

Such a shame, then, that the story is so slight and unadventurous, and the music is so forgettable. Yes, there are a few numbers that stand out; the opening song If It Wasn’t For You is an amusing introduction to the characters of the villagers, Bread is an entertaining homage to that irresistible smell and taste of fresh bread, and the epiphanic Meadowlark is a powerful cry of assertiveness. But so many of the songs and tunes are immediately forgettable, sadly. And whilst the story does have interesting observations about the nature of forgiveness, both between an unfaithful couple and decades-long family feuds, you can’t help but feel that the show has a very narrow and blinkered vision; other than to make us feel ever-so-French, which it does immaculately.

Despite its faults, there’s no doubt that, in terms of production and performance values, this is one of the best that the Menier has ever hosted; and it’s 100% worth going to see for the spectacle and atmosphere alone. Just don’t expect to remember any of the songs.

 

3-starsThree-sy Does It!

P. S. Sitting in seat J1 had its perks. As the audience were taking their seats, not only did Ms Gabrielle ask me most politely to slightly move my chair so that her entrances and exits could be more gracefully executed, but also Mr Pace (in full character as Claude) said to me bonjour monsieur, to which I replied, bonjour monsieur, comment ça va? To which he replied Ah, vous parlez français, monsieur? And I came back with Oui, monsieur, comme un anglais, to which he replied, Ah, moi aussi! You had to be there.

Edinburgh Fringe 2024 – It’s a Wrap!

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Phew – What a Fringe! We arrived on 30th July and we left on the 27th August. During that time we saw 158 shows, which was four fewer than I had planned but was thirteen more than last year; and last year we also saw thirteen more than in 2022, however I can’t see that record being broken next year. With Oasis currently scheduled to have three concerts during the Fringe, I can’t even see how half the performers will be able to afford to be in Edinburgh!

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:

Mhairi Black: Politics Isn’t For Me

Goose’s Quizzes Elimination Game

Casting The Runes

Tarot: Shuffle

Catafalque

Janie Dee’s Beautiful World Cabaret

KAREN

Our Little Secret

The Chaos That Has Been and Will No Doubt Return

Robin Grainger: Refurb

It’s The Economy, Stupid

For The Love of Spam

I Am George Massey

Emma Sidi is Sue Gray

Pete Heat: Bogus

The Book of Mountains and Seas

MILF and the Mistress

Galahad Takes a Bath

1 Moment in Time (Sean Alexander)

I Am Your Tribute (Sarah-Louise Young)

Garry Starr: Classic Penguins

Josh Jones: Put a Sock in It

Werewolf

Weather Girl

The Bookies

The Scot and the Showgirl

Tom Greaves: Fudgey

4 STARS:

Shellshocked

Sell Me I Am From North Korea

Will Sebag-Montefiore: Will Of The People

Reginald D Hunter: Fluffy Fluffy Beavers

Liam Farrelly: Flipbook

Cabaret of Filth

House of Life

Glitch

Arturo Brachetti: Solo

1 Hour of Insane Magic (After Dark)

Kavin Jay: Unsolicited Advice

Heckling Masterclass with Diploma (Ben Clover)

SILENCE! The Musical

Ascension

Daliso Chaponda: Feed This Black Man Again

Malion

The Last Laugh

A Jaffa Cake Musical

Colin Hoult: Colin

The Shadow Boxer

Rob Auton: The Eyes Open and Shut Show

Pillock

Come Dine With Me: The Musical

Rhys Nicholson: Huge Big Party Congratulations!

Dead Mom Play

The Shroud Maker

N.Ormes

Jack Goes To Therapy

The Gentleman of Shalott

Alexandra Haddow: Third Party

Lads of the Flies

Ajahnis Charley: Thots and Prayers

Dan Tiernan: Stomp

Dissociation

Fifty Minutes to Save the NHS

Martin Rowson: Shred the Front Page

Randy Feltface

If I Live Until I Be a Man

Yes We’re Related

Tales from a British Country Pub

Sherlock Holmes: The Last Act

Nick Schuller: Still Dry White

Chloe Petts: How You See Me, How You Don’t

Finlay Christie: I Deserve This

Joe Wells: Daddy Autism

Lessons on Revolution

One Man Poe: The Black Cat and The Raven

Ryan Cullen: Cullen in the Name of

Leni’s Last Lament

Ghost Light

A Montage of Monet

Naughty or Neurodiverse – Magic from Another Planet (I Am a Mentalist – Angus Baskerville)

Sam See: And I Can’t Feel at Home in this World Anymore

Shower Chair

Notice Box

When Vincent met John

Crime and Punishment

Michael Porter: Love and Brain Damage

Milo Edwards: How Revolting! Sorry to Offend

The Grim

With All My Fondest Love

The Dreamer – Live

An Act of Grace

It’s a Mystery!

September 11 1973: The Day Salvador Allende Died

All The Fraudulent Horse Girls

Stuart Laws Has to be Joking?

Best in Class

The Ghost of White Hart Lane

Kelly Bachman: Patron Saint

What the F*ck Happened to Love and Hope

Phil Henderson: Space Cowboy

Ben Miller: Volcano

Annaliesa Rose Sings the Peter Allen Songbook

Joby Mageean: Titty Icarus

Di(n)e

100% My Type on Paper

Little Deaths

Moscow Love Story

Black Velvet (38 more than last year)

 

Congratulations to all these great shows. I’m fascinated to discover that, although we saw 13 more shows than last year, I’ve awarded 4 stars to 38 more shows than last year – but 10 fewer 5 stars than last year. Also – unlike last year – no 1 star shows, hurrah! And as to working out which of them are the absolute best – you’ll have to wait until the Chrisparkle Awards for 2024 are announced in January!

And thank you, gentle reader, for sticking with me throughout this busy month! My viewing/reading statistics continue to climb upwards and are about 50% higher than the numbers who checked out my reviews at the 2023 Fringe – so thank you very much for that! And remember – reviews are only what one person thinks, they’re purely a personal reaction. And star ratings are even more unreliable!

Edinburgh Fringe 2024 Reviews (final day) – Moscow Love Story, Black Velvet, The Scot and the Showgirl, and Tom Greaves: FUDGEY

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Moscow Love Story, Pleasance Courtyard.

4-stars

With the help of cassette tapes from 23 years ago, Paul Jenkins relives the time when he moved to Moscow to teach English for a year and to spend the time embracing Russian culture, food, music and getting to know the people. It had been well over ten years since the fall of the Berlin Wall and things were very different in Moscow from the Communist era, with a much greater Western influence; for every pickled cucumber seller, you’d find a Gucci handbag on sale. While he was there, Paul met Angie, a student from Manchester, and they had a riotous time together, trying different experiences – in retrospect, not all of them advisable – as well as falling in love. Moscow Love Story demonstrates that you should never deny the experiences of the past, even if you wouldn’t choose to do them today. A fascinating structure for the show, and Paul Jenkins brings his memories to life with a riveting and engaging performance. I found the story spellbinding!

Black Velvet, Bedlam Theatre.

4-stars

Llew goes to visit his mum’s grave for a catch-up chat with her; he brings his tea and biscuits – they could be in for a long session. Just as he’s settling down he realises a young Irish girl, Aoife, has been sleeping rough behind the grave. Neither is best pleased to realise that they’re not alone, but a series of turbulent conversations sees them both accepting and learning from each other. Grief takes many forms, and this play not only considers the effect when one’s parent dies through suicide, but also examines the unusual problem of a child losing a parent to early-onset Alzheimer’s. A tough and moving problem indeed. Engaging, at times troubling, and always thought-provoking, it’s immaculately performed by Charles Ison and Christina Knight, whose Irish accent is phenomenal! Very impressive throughout.

The Scot and the Showgirl, Pleasance Dome.

A cabaret-de-force from the incredible Frances Ruffelle and Norman Bowman (the Showgirl and the Scot in reverse order), telling the story of their relationship through an inspired selection of songs from the shows and other popular music, accompanied by the terrific Kate Shortt, Nick Anderson and Ryan McKenzie. So many musical highlights include a spiky Country House duet from Follies, a stunning performance by Beausy of Burt Bacharach’s A House is not a Home, a fantastic Man That Got Away by Frances Ruffelle and – to make the hairs on your arm stand up on end – Frances gives us a tear-inducing On My Own from Les Miserables – she was the original Eponine, after all. A truly quality of hour of emotional musical power – I loved every minute of it.

Tom Greaves: FUDGEY, Assembly Roxy.

We all know a Fudgey. He teases, he boasts, he charms and he bullies. He’s got great mates, but only if he can get the better of them. He oozes confidence, but it’s built on a precipice of fragility that only he needs to know about. And who is Fudgey? He’s the product of an archaic educational system where a boy goes to boarding school at the age of seven to make a man of him; ignoring the fact that at seven you’re neither a man, nor do you need to be one. Tom Greaves’ blisteringly funny but heartbreakingly painful Fudgey propels a boy who can’t even pronounce Maid Marian correctly into the realms of sporting hero and misogynistic smartarse. A mixture of superb physical comedy, clowning, brilliant crowd interaction and – let’s not deny it – outright therapy, Fudgey is a stunning show that develops in the mind and the heart long after you’ve gone home. Amazing work – highly recommended.

 

Edinburgh Fringe 2024 Reviews – Seconds to Midnight, 100% My Type on Paper, Sameer Katz: Whether Conditions, Dr Dolittle Kills a Man (and Reads Extracts from his New Book), Lorraine Hoodless: DINK, and Little Deaths

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Seconds to Midnight, Pleasance Courtyard.

3-stars

What would you do if you knew a nuclear attack was on its way and you’d be dead in seven hours? Apart from send a few hurried messages to my nearest and dearest I reckon I’d just give up, get drunk and go back to bed. But not Eddie and Jo. Besties, queer, but not in a relationship with each other, they’re trapped in Eddie’s house and fed up with playing family games. They recall the loves they lost, the parents, a few fun times, and how they met. Not a lot actually happens in Jessica Tabraham’s Seconds to Midnight, and I must confess it didn’t hold my attention throughout. However, there are two good performances from Elise Busset and Cosimo Asvisio – and it does make you think what you would do under the same circumstances.

100% My Type on Paper, C Arts C Venues C Alto.

4-stars

Sammy and Clyde are on a first date. Very awkward, very tentative, and very nervous. He tries to make light of it with some ill-conceived jokes; she can barely hide her disdain at his appallingly clumsy approach. As the first meeting gets played out in different ways, and the characterisations change, the play’s director steps in and tries to make Sammy and Clyde act it out differently – again and again and again. A very clever and at times hysterically funny play by Lola Annesley, 100% My Type on Paper examines the elements that make up the perfect date and whether the audience might want something different from the participants. Deconstructing dating – and very nicely done.

Sameer Katz: Whether Conditions, Laughing Horse @ The Counting House.

3-stars

There aren’t many Indian men who, unmarried and with no children, would have the courage to have a vasectomy. But of those that have, I doubt any of them would have told their parents. That’s just not the usual run of events! But Sameer Katz did (have a vasectomy that is, definitely didn’t tell the parents), and that bold decision is just one aspect of his slightly unconventional life – he’s a comedian, not a doctor, after all. With a very relaxed, quiet style, he gives us his comic observations on safe topics like not finishing his PhD, and dangerous topics like suicide. There is an edge to some of his material that is perhaps more probing than downright funny, but it’s still an enjoyable hour of confidently delivered material from a Californian/Indian perspective.

Dr Dolittle Kills a Man (and Reads Extracts From His New Book), Underbelly Cowgate.

3-stars

Depending on one’s age, everyone has their own Doctor Dolittle to cherish. When I was young I remember that many of my schoolfriends had the original Hugh Lofting books. I can only assume they belonged to their parents! My own Dolittle memories are of Rex Harrison, Richard Attenborough and the push-me-pull-you. Today’s Dolittlers will mainly associate him with Eddie Murphy – much to this Dr Dolittle’s annoyance. Aidan Pittman plays the eponymous speaker-to-animals as he takes us on a journey across continents and through jungles, on the quest of finding the [expletive deleted] ruby. This is an immensely silly show, crammed with physical comedy, which Mr Pittman performs with huge commitment, attack and a lot of tongue-in-cheek. It’s the kind of show you either get completely or which totally goes over your head, depending on your own personal level of outright silliness. I will be honest: it wasn’t really my cup of tea, but many of the audience were hooting with delight throughout. Oh, and he does, genuinely, kill a man.

Lorraine Hoodless: DINK, PBH’s Free Fringe at the Southsider.

3-stars

I think most people know what a DINK is (double income, no kids); but did you also know you can have SINKs, PINKs, and even GINKs. Perhaps you’re a DINKWAD – Lorraine Hoodless has just attained that dizzy status – or a SINKWAC? I think our nearest is a NINKWALD – no income, and our dog died years ago. This is a fun examination of the benefits of being a DINK – the freedom to do what you want, to go where you want to go, and to spend all your money on yourself! There is a serious side to all this too, depending on whether your DINK status is by choice, or if life forced it on you. And if there’s a lesson to be learned from all this, it’s that it’s best not to assume one way or the other the reasons why someone is DINKy. Lorraine Hoodless has a friendly, welcoming style on stage, is open to loads of audience participation (not the scary type, but the neighbourly type), and her material is very relatable and recognisable. There’s a hilarious sequence when she’s recounting how difficult it was for her partner to play his part in the IVF procedure (NB: it really wasn’t). She delivers her comic observations with a lively warmth and excellent timing, and there’s genuinely something for everyone in this show. Good fun and unexpectedly educational too!

Little Deaths, Summerhall.

4-stars

It’s 1997, at school. Charlie and Debs meet for the first time. It’s a slightly awkward moment but you can tell that theirs will be a perfect friendship. From the heartbreak of Geri Halliwell leaving the Spice Girls to the stresses of one of them moving to New York with a job opportunity, and from helping each other through their first periods to welcoming a baby into their midst, they’ll always have that bond between them. Won’t they? Amy Powell Yeates’ Little Deaths explores the many little deaths that a profound friendship encounters over the years, yet Charlie and Debs inevitably overcome them. Beautifully written and constructed, with two fantastic and mature performances by Olivia Forrest as Charlie and Rosa Robson as Debs. A truly heartwarming play.

The Edinburgh Fringe All Month Long – 26th August 2024

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After today’s shows, that’s it for our Edinburgh Fringe 2024 experience. Let’s take a look at the last batch of shows.

Here’s the schedule for August 26th.

11:40 – Moscow Love Story, Pleasance Courtyard. From the Edinburgh Fringe website:

“Moscow 2001. Echoes of Soviet Russia linger and young Putin is flirting with the West, when two rebellious souls lose themselves in a vodka-fuelled romance. Bringing audio diaries made on an old Walkman to life, Moscow Love Story is an untamed exploration of love and memory, paralleling personal boundaries with geopolitics in a world on the brink of transformation. Developed with support of Alma Alter Theatre Laboratory, Bulgaria and Sherman Theatre, Cardiff. ‘Jenkins weaves a substantial, ambitious play of ideas’ **** (Telegraph, for First Person Shooter).”

And a fascinating sounding play to start our last day, I’ve always found ex-Soviet or Iron Curtain countries exciting to visit, and I’m hoping this play can give some of that vibe together with an exploration of that “vodka-fuelled romance.”

14:00 – Black Velvet, Bedlam Theatre.

“’You know, I never liked flowers for graves. They’re just this morbid reflection of death, as if this place needs any more of that…’ When Llew arrives at the graveyard with flowers for his mum, the last thing he expects to find is a feisty, possibly feral girl hijacking his night. Llew can’t stand her cynicism and Aoife thinks he’s an eejit, but the two are apparently stuck with each other, with nothing in common but grief. As heart-warming as it is heart-wrenching, a new dark comedy about time moving forward when it feels like everything should stop.”

A graveside is an interesting location for a relationship to develop; if this is well-written and well-acted it should be highly entertaining and insightful.

15:50 – The Scot and the Showgirl, Pleasance Dome.

“Starring Tony Award-winner Frances Ruffelle and West End leading man Norman Bowman. The Scot and The Showgirl is a true(ish) wee musical thingamajig about a perfectly imperfect relationship that began 28 years ago at Edinburgh Waverly train station. She, a Broadway icon and Edinburgh Fringe survivor. He, a shy Scottish musical theatre lover. Together, with their crackin’ band, they celebrate their quirky romance in a touchingly funny song cycle – from Brigadoon to Broadway and from Scotland to Sondheim via Costello, Bacharach, The Proclaimers and more. Expect love, laughter and tartan. World Premiere.”

Some mid-afternoon cabaret, Frances Ruffelle is always an amazing performer and it will be interesting to hear their interpretations of show tunes and Scottish pop. Yay to Bacharach and Sondheim – not so yay to the Proclaimers (unless it’s Letter to America!)

17:55 – Tom Greaves: FUDGEY, Assembly Roxy.

“A brutally funny dark comedy about boarding school. Through the character of Fudgey: your quintessential, tone-deaf man in a suit (you know, the “harmless” type… until you find them running the country), award-winning, Gaulier-trained Tom Greaves explores the complexities of his own privilege in this mind-bending, tour-de-force debut. As Fudgey’s reality hits breaking point, Greaves embodies a carousel of personalities and puppets in an anarchic and virtuosic performance, ultimately facing Fudgey’s past to find his own (Tom’s) future. Strap in for a thrilling ride of laughter, tears and transformation. ‘Funny, clever, and disturbing’ **** (TheatreAndArtReviews.com). **** (MervsPOTFringe.com).”

We all know how disastrous some of those “harmless” types can be! Here’s hoping indeed for a tour de force to end our Edinburgh experience for this year.

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

Edinburgh Fringe 2024 Reviews – Someone Has to be Counting, Joby Mageean: Titty Icarus, Di(n)e, Weather Girl and The Bookies

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Someone has got to be Counting, TheSpace at Surgeons’ Hall.

3-stars

Based on a true story, Someone Has Got to be Counting painstakingly follows a laboriously annotated life where every aspect of one’s day is counted and written down (in a coded shorthand) in an exercise book. As someone who uses Excel probably more than I should, at first I could see the appeal of doing something like this; but it doesn’t take long for the downsides of this lifestyle choice to become apparent. What particularly comes over is how the obsession completely imprisons the person doing the counting. They are never free from their grid of numbers, crosses, dashes and squiggles; miss a day, or do it in the morning not the evening (or vice versa) and it completely blows their mind. Lisa Vetta gives a compelling and meticulous performance, and the production is enhanced by a superb soundtrack by Lai Power that truly adds to the nightmarish pressure of the obsession.

Joby Mageean: Titty Icarus, PBH’s Free Fringe at Whistlebinkies.

4-stars

Joby Mageean is back at the Fringe after five years with a one-off work in progress show, Titty Icarus, in preparation for a proper Fringe Blitz next year. Joby has a wonderfully relaxed, communicative and warm-hearted style and tells his stories with terrific fluidity and naturalness. He has some great new ideas here for a show, including how easy it was to become a father, some unusual parenting awards, and how skinny dipping is easier for two. There are also some more serious – and completely unpredictable – observations about his mum. When the show is fully worked up for next year I’m sure it will be a winner; in any event, Joby is just one of those comedians you never tire of listening to, as those comedy nuggets keep on coming.

Di(n)e, TheSpace on The Mile.

4-stars

Slumped on the floor, Noah wakes up to discover his old girlfriend knocking at his door. Then his brother; then his father. They all bring food. Sounds cosy, doesn’t it? Just one thing, however; his girlfriend, brother and father are all dead. So is Noah too? Awkward introductions and reconciliations follow; as does the arrival of a takeaway delivery guy. But who orders a takeaway if they mean to kill themself? Connor Rock’s Di(n)e is an unexpectedly heartwarming and positive play that examines love and relationships, regrets and hope; and Invisible Strings’ engrossing and entertaining production is smartly acted and mines all the humour present in this unusual and provocative situation. Very enjoyable!

Weather Girl, Summerhall.

Stacey reports live from a Californian wildfire; it’s hot enough for her make-up to run, but it could have been worse – she could have been living in the household where everyone died because they assumed it was all a government hoax. Back in the studio, she’s a professional who can skip from pointing out 102 degrees in Bakersfield to introducing the cookery segment – so much so that her bosses promote her to a new job based in Phoenix. Phoenix! The driest place in the country! An awful date with a man whose name she can’t remember, her secret stash of prosecco rumbled, and a night on the town with her homeless mother all contribute to a nightmare scenario where the temperatures just get hotter, but life somehow has to go on. Brian Watkins’ gripping yet hilarious play treads the balance of looking climate change head on whilst recognising all those excuses to pretend it doesn’t exist. A stunning performance by Julia McDermott holds our attention from the first to the last moment, spanning every conceivable emotion under the (incredibly hot) sun. Very effective lighting and staging help bring this important story to life. You’ll be tingling all over from both the pleasure of the performance and the pain of its message.

The Bookies, Summerhall.

If Joe Orton was Scottish and currently writing for the Edinburgh Fringe, I reckon he’d come up with The Bookies, the hilarious story of Pat, an aggressive bookmakers’ shop manager, his compliant assistant John, his ruthless area manager Michelle, and ex-mountaineer client Harry, who’s addicted to the roulette machine. Pat is expecting Michelle to give him the employee of the year award (together with its all-important £5000 prize) – instead she has other, less beneficial plans for him. But Michelle has also let things slide, including not instructing the shop safe to be repaired. With everyone feeling hard done by, thoughts turn to revenge and theft. But by whom, and will they get away with it? Alongside the humorous plot and strong characterisations, the play also demonstrates how work-placed banter can easily trip into bullying and racism. Brilliant acting, a hilarious and inventive script and some no-holds-barred comic stage combat; I loved every minute of it.

 

The Edinburgh Fringe All Month Long – 25th August 2024

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More adventure awaits us, let’s have a look.

Here’s the schedule for August 25th.

11:45 – Seconds to Midnight, Pleasance Courtyard. From the Edinburgh Fringe website:

“What would you want to say to your best friend if the world was about to end? Exploring queer friendship, platonic love and nuclear anxiety, Seconds to Midnight asks what happens in a world with no consequences. Diving into the parallels between beginnings and endings, we follow Jo and Eddie through the first seven minutes of their friendship and the final seven hours of the world. Praise for previous work: ‘A brilliant addition to the queer theatre landscape’ ***** (BroadwayWorld.com). ‘Tender and original’ **** (Skinny).”

So what would you do if you knew the world was going to end in seven hours? One of those impossible questions, but maybe this play will provide an answer. An intriguing scenario – it will be interesting to see how it plays out.

13:20 – 100% My Type on Paper, C Arts C Venues C Alto.

“Sammy and Clyde are on their first date. It’s cute. It’s awkward. It’s bad jokes and forced laughter. Sweaty hands and wondering who gets the next round. It’s ‘I really want to kiss her’ and ‘I hope he doesn’t try to kiss me’. It’s excruciating, but that’s a first date, right? As Sammy and Clyde get to know each other again, and again, their reality slowly falls to pieces. Missed jokes become hilarious one-liners. Awkward silences become witty repartee. The customers become an audience. Everyone starts watching – and Sammy and Clyde? They become disposable.”

A relatively late addition to our schedule because I just thought this play sounded terrific fun; something of the Truman Show to it, perhaps? Who knows, it will be great to find out!

15:00 – Sameer Katz: Whether Conditions, Laughing Horse @ The Counting House.

“Sameer’s gotten to the age where everyone who says they love him seem to want something in return. Money, babies, his unending devotion! What happened to unconditional love? A Cambridge PhD dropout, Sameer uses his keen observational talent to poke fun at family, friendship and relationships. Sameer has performed across the UK, America and the world. ‘A laugh-packed way to spend an hour’ (Scotsman). ‘A Seinfeld-Lite line in relatable observational comedy’ (Chortle.co.uk). **** (Deadline.com). Two jokes featured in the Times as part of (a guy called) Dave Top 10 Jokes of the Edinburgh Fringe 2021.”

Many a time I’ve intended to see Sameer Katz live – and every time it hasn’t happened! Let’s hope we finally make it this year.

17:25 – Dr Dolittle Kills a Man (and Reads Extracts From His New Book), Underbelly, Cowgate

“You’ve seen him on Countryfile, Blue Peter and that episode of Springwatch that the BBC have tried to scrub (scrub!) from the internet. Now, join Dr John Dolittle, PhD (yours truly and the very same), as he thrills with an animal adventure from yesteryear – before the fame, before the fortune, before they took away his OBE. So come on, let’s laugh, buy his new book afterwards, and dare-I-say-it-yes-I-do have a really great time! Starring Aidan Pittman: ‘Sheer talent… a guaranteed hilarious performance’ **** (BroadwayBaby.com).”

I have a feeling this is not going to be Dr Dolittle as we have known and loved him for decades! I’m looking forward to seeing Aidan Pittman’s interpretation!

19:00 – Lorraine Hoodless: DINK (Double Income No Kids), PBH’s Free Fringe @ The Southsider.

“Lorraine has found a new box to put herself in. DINK life is an alternative way of living. Fantastic, free-wheeling and fun, according to Instagram and TikTok anyway… With freedom to do whatever you want with your life, apart from procreate, finding meaning and purpose can lead to a rollercoaster of adventures and massive indecision. Lorraine has yet to embrace this lifestyle. A humorous look at life choices, love and labels. ‘Thoroughly deserves to be seen’ (One4Review.co.uk). Wildcard semi-finalist: Amused Moose New Comedian Award 2020. Semi-finalist: British Comedian of the Year 2021.”

Lorraine Hoodless is another new name to me but I am excited by the prospect of this show, being a pair of Dinks ourselves, I reckon there will be much to recognise!

20:55 – LITTLE DEATHS, Summerhall.

“’This is just the start. Of Everything. Of Us.’ It’s the late 90s. Charlie and Debs have perfected their Wannabe routine. They’re drenched in Impulse Blue. And they’re each other’s everything. But as the world pulls them in different directions, their friendship begins to strain. It dies. Again and again and again. If a female friendship dies many deaths, how many can they survive? Spanning 25 years and the countless lifetimes of one friendship, this new romcom explores the heartbreak of platonic love. Written by Amy Powell Yeates. Directed by Claire O’Reilly.”

How friendship endures across the decades; a fascinating subject to examine in a play. I’m sure this will be both hard-hitting and entertaining.

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