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

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Mass Effect, Summerhall.

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

3-stars

Bacon, Summerhall.

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

Nan, Me and Barbara Pravi, Summerhall.

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

3-stars

Gold, The Space on the Mile.

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

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

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

3-stars

Tarot: Hive Mind, Pleasance Courtyard.

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

3-stars

The Edinburgh Fringe All Month Long – 26th August 2023

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Another big day in Edinburgh ahead!

Here’s the schedule for 26th August:

13.10 – Chopped Liver and Unions, The Space on the Mile.

“The East End of London has burned with the fires of rebellion for centuries. From the Matchgirls in 1888 to the Made in Dagenham workers at Ford’s in 1968, its women have fought for change. In 1928, Sara Wesker led a 12-week strike with the workers literally singing for their suppers on the picket line. In 1936 she fought at the battle of Cable Street. But did this formidable woman’s passion for the cause destroy the passion for the love of her life?”

I’ve always been a Union man at heart, so this story sounds very interesting to me – looking forward to it.

14.20 – Alex Something Is Missing Again! PBH’s Free Fringe @ Pilgrim.

“Join Alex, the astounding magician on his quest for magic and the existential meaning, again. Be prepared for mind-blowing tricks, laugh-out-loud moments, and an existential crisis or two. You’ll leave his awe-inspiring show feeling entertained, bedazzled and maybe enlightened. Don’t miss out on the chance to see why ‘Kouvatas stands out as a master’ (WorldMagicReview.com).

Not had that much magic at the Fringe so far this year, so I’ll be interested to see Mr Kouvatas for the first time.

16.15 – Lie Low, Traverse Theatre.

“Faye’s afraid. She’s not sleeping, she doesn’t trust ducks and all she’s had to eat this week is a box of dry Rice Krispies. A doctor recommends a form of exposure therapy, so Faye enlists the help of her brother, Naoise. But Naoise has a devastating secret that’s about to explode. Lie Low is the award-winning, critically acclaimed dark, funny and surreal new play by Ciara Elizabeth Smyth described by critics as ‘a masterclass’ and ‘gripping entertainment’.”

Dark, funny and surreal? Does that include the duck references? Sounds good!

20.00 – Robin Grainger: An Audient with Robin Grainger, The Stand Comedy Club 2.

“With only one ticket sold on opening night last Fringe, ‘it was every good thing it should be’ (Kate Copstick, Scotsman). Within a week the story was globally viral. Sell-out, Fringe 2022. Featured in over sixty news and media outlets worldwide, every major radio station and recommended by Kevin Bridges and Iain Stirling. With over two million views, Robin’s story was the third-most viewed on the BBC website. Hand-picked for multiple Kevin Bridges and Friends shows. Tour support for Larry Dean, Tom Stade, Carl Hutchinson, Paddy McDonnell and Gary Meikle. **** (One4Review.co.uk).”

Not seen Robin Grainger before but I was hooked when I realised how he had coined the word audient to describe an audience of one! Gotta admire that spirit, I’m looking forward to seeing him!

21.20 – Eddy MacKenzie and Liam Farrelly: Little and Large, The Stand Comedy Club 2.

“Meeting at the semi-finals of the BBC New Comedy Awards, they impressed the judges and now they’re heading to Edinburgh with a hilarious hour of stand-up. Eddy’s an energetic musical comic, appearing on TV within a year of starting stand-up, with his brilliantly written lyrics and non-stop charisma wowing audiences across the UK. Liam’s a stand-up fresh from his debut on Live at the Apollo. He’s been one to watch for a while now; an excellent storyteller with multiple TV appearances. Two comics come together to create an unmissable must-see show.

I don’t know these two esteemed gentlemen so it’s a case of total pot luck here, but we’ll give them a go!

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

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

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OTMA, The Space on the Mile.

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

4-stars

Pressure Cooker, The Space on the Mile.

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

4-stars

Being Sophie Scholl, The Space @ Symposium Hall.

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

4-stars

ADULTS, Traverse Theatre.

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

3-stars

Alvin Ailey American Dance Theater Festival Theatre.

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

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

The Edinburgh Fringe All Month Long – 25th August 2023

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

Here’s the schedule for 25th August:

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

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

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

15.30 – Bacon, Summerhall.

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

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

17.15 – Nan, Me and Barbara Pravi, Summerhall.

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

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

20.15 – Gold, The Space on the Mile.

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

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

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

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

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

23.10 – Tarot: Hive Mind, Pleasance Courtyard.

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

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

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

Edinburgh Fringe 2023 Reviews – Do Rhinos Feel Their Horns, Shortlist, The Portable Dorothy Parker, The Courteous Enemy, and Rock Bottom

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Do Rhinos Feel Their Horns or Can They Not See Them Like How We Can’t See Our Noses, Summerhall.

Edward Eng’s very entertaining play unites two threads: the 1987 protests in Singapore that were clamped down on by the authorities under the suspicion they were a Marxist plot, and Ionesco’s absurd 1959 play, Rhinoceros, where almost the entire population of a French town turned into rhinos, symbolising the rise of Nazism and Fascism leading to the Second World War. Cheryl Ho and Shannen Tan play a number of characters, including a pair of journalists trying to get a scoop interviewing a “freshly turned” rhino. There’s excellent use of multimedia – which adds to the absurdism – and heart-warming moments too, including playing with balloons with the audience and the opportunity to pet a rhino. Underneath it all, it’s a thinly veiled criticism of the Singaporean government at the time and the whole “rhinocerising” of the community is deeply unnerving. This play can signify different things to different people, and personally, I found the idea of imprisoning them all in a zoo reminded me of the current British position on sending refugees to Rwanda. The performers have a terrific rapport with each other and the audience, and what seems deceptively simple on the surface has many hidden depths that gradually occur to you long after the show has ended. Provocative yet playful, an intriguing way to start your day!

4-stars

Shortlist, Assembly George Square.

Often cited as one of Shakespeare’s famous quotes is I would challenge you to a battle of wits but I see you are unarm’d; and that sense of antagonism was the first thing I thought when I watched Flying Bridge’s production of Shortlist. Two warring novelists who clearly hate each other try to belittle the other with waspish putdowns about their writing styles, never missing an opportunity for a barbed comment or a pseudo-intellectual observation. It’s a clever idea for a play and Brian Parks’ writing is packed with insults and offences-to-be-taken. However, sometimes less is more and I did find the barrage of contumely overwhelming and, consequently, rather tiresome. This is a shame because the show features two excellent technical and physical performances from Matthew Boston and Daniel Llewelyn-Williams. A bit like The Odd Couple (literary version) but neither character shows a remotely likeable trait! Oh, and Shakespeare never wrote that celebrated line.

3-stars

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

Dorothy Parker sits in her apartment, talking to a young secretary who has come to help sub-edit the choices of poetry to be included in the new volume The Portable Dorothy Parker. As she re-reads her old poems, she reflects on her life so far and remembers the parties, the scandals, and the men. Annie Lux’s play puts Parker’s works to good use as they not only illustrate the nature of the writer but also entertain us in their own right. Margot Avery plays Dorothy Parker as a more laid-back, reflective character than I might have imagined her to be, and the whole show is more of a gentle entertainment than a rip-roaring examination of a feisty, rebellious, creative spirit. Enjoyable, if unchallenging.

3-stars

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

In 1958, the playwright Eugene Ionesco and the theatre critic Kenneth Tynan clashed over the latter’s review in the Observer of his play The Chairs, which broadened out to become a prolonged argument over the nature of theatre. Dan Sinclair’s The Courteous Enemy takes this event as its inspiration for what is described as an absurdist satire. It’s an excellent idea for a play, being a pivotal moment in freedom of expression during arguably the most significant decade in European theatre of the last century. But what the University of York Drama Society have created is one of the most abysmal shows I have ever seen. Infantile, crude and xenophobic, there are two and a half funny lines and I spent the rest of the show not believing what I was seeing. If laughing at silly French accents, jokes about penis size, grotesque simulation of Tynan fellating Beckett and whether someone is queer or not is your cup of tea, welcome to the early 1970s and you’ll love it. Everyone in our row sat in stony silence. Waste of an amazing opportunity.

Rock Bottom, Paradise in the Vault.

Nick Bottom turns up to perform Pyramus and Thisbe, but no one else shows up – none of the Rude Mechanicals, none of the Court; so he’s left to front us on his own. Being an old pro, he does his best, and falls back on those self-delusions of Athenian superstardom (in his head). But nothing really works and, unsurprisingly, he ends up in mental breakdown. This is a gem of an idea – agreed, Bottom has his faults, but he’s treated mercilessly by Oberon, so that his happy time with Titania is taken away from him, through no fault of his own, and you never think about how Bottom would be affected by that – and this little piece does go towards an understanding of his plight. However, in a sense, it is so successful, that Bottom’s sadness comes across too strongly to us, and it’s hard to enjoy watching him suffer. Rock Bottom has been around for a couple of years now but I still feel it could do with some refinement; we need to find him a more likeable character earlier on, so that we are on his side, (Team Bottom? why not?) before his rot starts to kick in. Much potential, but still not quite there yet.

The Edinburgh Fringe All Month Long – 24th August 2023

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

Here’s the schedule for 24th August:

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

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

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

12.15 – Pressure Cooker, The Space on the Mile.

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

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

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

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

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

16.00 – ADULTS, Traverse Theatre.

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

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

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

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

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

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

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

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

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

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

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

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

Edinburgh Fringe 2023 Reviews – Lena, Sooz Kempner: Y2K Woman, Walking Home, and Frank Skinner: 30 Years of Dirt

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Lena, Assembly George Square.

The staging of this show reveals the two opposing aspects of Lena Zavaroni’s life in sharp contrast. On one side of the stage is a platform with a band, and the name LENA large in lights; on the other, a modest living room with a small TV and past-their-best armchairs. This simple, unsophisticated upbringing did not prepare her for the excesses of showbiz. When Lena Zavaroni was taken away from the family to start her career with an unprecedented five-week victory on Opportunity Knocks! no one could have foreseen the future. It looked like a golden, star-studded fast route to success – but, in fact, it was child abuse. Tim Whitnall’s movingly written, superbly performed musical play starts with Lena awaiting her last chance surgery; then Hughie Green introduces scenes from her life, starting with her being spotted at a Rothesay club, through TV stardom, hit records and international success; all of which came to an end with Lena’s increasing Anorexia. Erin Armstrong is simply brilliant as Lena, with terrific performances from Alan McHugh and Julie Coombe as her conflicted, ineffectual parents, Helen Logan as her manipulative manager and Jon Culshaw as Hughie Green. A fascinating, immensely sad piece – I remember Lena Zavaroni’s early successes well, seeing her on television and buying her records; but would any of us have done those things and supported her career if we had known what it was doing to her brain? Failed by everyone around her, this is a tough story immaculately told.

 

Sooz Kempner: Y2K Woman, Underbelly Bristo Square.

Sooz Kempner is on cracking form as she takes us back to New Year’s Eve 1999, and wonders what she would tell her 14-year-old self about how her life would develop. This is a fast, slick and very funny show that touches on loads of topics and each time the humour lands home. Crammed with callbacks, both verbal and visual, and with superbly original material. Absolutely first rate, loved every minute.

Walking Home, Gilded Balloon Teviot.

What happens when, one morning, someone at your office doesn’t come in as expected? They haven’t telephoned to say they’re unwell, and this behaviour is most out of character. Then HR send an urgent email to all staff recommending safety training. Gradually it is revealed that they have been attacked when walking home the previous night. Prickly Pear Productions have created this devised performance, based on the testimonies of around forty people. Each of the four characters has a short sequence when they come out of character and address the audience directly, asking about our experiences relating to personal safety and sexual assaults. The main message that comes through is that there is always something that we can all do to make life safer for everyone; there’s always some help one can offer. However, I think the play is written in a rather manipulative way; it’s designed to make us all think one thing, and then make us feel guilty for thinking it. The play obviously comes from a good place, but it could probably do with a little refinement.

3-stars

Frank Skinner: 30 Years of Dirt, Assembly George Square.

Frank Skinner has us all in the palm of his hand right from the start, with his masterful, gentle pace which masks a devastatingly wicked sense of humour. The hour is packed with brilliant, original material that he glides through with effortless determination. A complete masterclass in comedy.

The Edinburgh Fringe All Month Long – 23rd August 2023

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

Here’s the schedule for 23rd August:

11.45 –

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

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

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

13.15 – Shortlist, Assembly George Square.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

22.05 – Rock Bottom, Paradise in the Vault.

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

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

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

Edinburgh Fringe 2023 Reviews – this is a scam, Burning Down the Horse, We Are in fact the Problem, Anuvab Pal: The Department of Britishness, Locusts, and The Good Dad (A Love Story)

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this is a scam., The Space @ Surgeon’s Hall.

Solvei Sundbo and Anne Klein play two ambitious young women, trying to break through the glass ceiling to realise their dreams to be CEOs of their own companies within five years. This thought-provoking play closely follows the real life story of Elizabeth Holmes, sentenced to jail in the USA for a scam where she raised huge numbers of dollars as financial backing for an innovative new medical product – that didn’t exist. The play raises issues of the different expectations between men and women in the workplace, and how much harder it is for women to achieve greatness. Technically complex, a few things went wrong in this first performance but the actors handled it well and gave good performances in this well-written and intriguing play.

3-stars

Burning Down The Horse, Pleasance Courtyard.

Odysseus is commanding the Trojan Horse and we the audience are all soldiers lurking in its wooden belly. That is, if it actually is a horse – the jury’s out on that one. But Odysseus is a bit of a bully and we’re not terribly happy about it! Cue a fun hour of early Greek military mayhem as the rebellion grows – but will we save ourselves from certain death in Troy? Fishing 4 Chips present a show full of energy, hilarious characterisations and gentle, funny audience interaction. It’s perhaps a little repetitive and my interest waned occasionally, but it’s entertainingly original and very well acted throughout.

4-stars

We Are, in Fact, the Problem, The Space @ Surgeon’s Hall.

Four old school friends regularly meet up for dinner at Lizzy’s house – although she prefers to be called Liz nowadays. Alicia is looking forward to it, but suspects there will be arguments; Lena arrives, bubbling with excitement that she has a new girlfriend; and finally Sasha arrives, full of confrontation and clearly ready to pick a fight. And there are lots of those; in fact, once the opening niceties are out of the way, the play consists of serial bickering and resentments that these young women clearly need to air and come to terms with once and for all. Unfortunately, the play is rather cumbersome and laborious, repetitious and heavy; and the acting isn’t as good as one would normally expect from a Sheffield University Theatre Company show. However, I admired the fact that the story makes genuine progress throughout the play and ends with a positive look towards the future.

Anuvab Pal: The Department of Britishness, Assembly George Square Studios.

Anuvab Pal commands a great authority on stage – he has a strong voice, bags of confidence, an attacking style and he’s clearly a very funny chap. He also has the ability to  culturally compare Britain and India which offers a mine of inventive possibilities. For this show, The Department of Britishness, he is now employed to promote everything British – to the British; and it’s a funny idea to have someone Indiansplaining what it is to be British. He has some good material and a few nicely nailed punchlines, but somehow, it doesn’t all come together. Perhaps it’s because he takes the idea of the Department of Britishness but then only lightly deals with it and doesn’t follow through with killer observations. Good, but I was hoping for better.

3-stars

Locusts, The Space @ Surgeon’s Hall.

When Pastor Pete gets back in touch with Stephen, whose church he used to attend thirty years ago, he wants him to telephone Pete’s daughter Gillian; she has just left her husband, but Stephen hasn’t spoken to Gillian in years. However, we gradually realise the reason Peter wants Stephen to ring her; and it’s not a phone call that Stephen is prepared to make. Locusts is written by Ian Tucker-Bell, who plays Stephen, and is based on his own experiences of growing up, and being subjected to gay conversion therapy, and the damage and shame it caused. Powerfully performed and sensitively written, one of the play’s strengths is that Pete is not seen as some kind of villain; he is only doing what he thinks is best and obeying what the Lord has told him. A play that leaves you thinking and analysing long after the curtain has come down.

4-stars

The Good Dad (A Love Story), The Space @ Surgeon’s Hall.

This is the fourth production of Gail Louw’s The Good Dad (A Love Story), having been premiered in London just before the pandemic, and it’s great that it has finally received the decent run it deserves. It’s a tough watch – trigger warnings abound – and is the story of the prolonged sexual abuse by a father on his daughter, over a number of years, to the extent that he leaves his wife and sets up home with the daughter, with whom he has four children. The writing is powerful, impactful, beautifully structured and succinctly expressed; and Sarah Lawrie’s performance is emotional, gripping, and hand-over-mouth shocking at times. One of those glorious theatrical experiences when writing and performance combine to make something truly special – and provide a dreadful insight into a hideous slice of life.

The Edinburgh Fringe All Month Long – 22nd August 2023

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Only four shows today – a nice mix of drama and comedy!

Here’s the schedule for 22nd August:

12.35 – Lena, Assembly George Square. From the Edinburgh Fringe website:

“1974. 10-year-old singing sensation Lena Zavaroni rockets to stardom on Opportunity Knocks, ITV’s top talent show. 25 years later, we discover a very different Lena, one for whom the glory days are long gone. Exploring what had happened to her in the intervening years reveals a wholly contrasting story. Written by BAFTA and Olivier award-winner Tim Whitnall and directed by Paul Hendy, Lena, a compelling play with music, features a live band and five-strong cast, starring Erin Armstrong as Lena and Jon Culshaw as TV’s original Mr. Starmaker, Hughie Green.”

I remember what a big star Lena Zavaroni was in the early days – and how tragically her life developed. I think this could be quite a sad play, but I’m looking forward to it nonetheless.

15.10 – Sooz Kempner: Y2K Woman, Underbelly Bristo Square.

“The award-winning, viral sensation returns with a brand-new hour following her sell-out 2022 run. As the year 2000 approached, Sooz was about to turn 15 and the PlayStation 2 was about to launch… it was a new beginning for the world. But with the Millennium Bug, was the world also about to end!? Now, almost a quarter of a century later, things feel eerily similar… New millennium, video games, Alanis Morissette… a show for anyone who remembers the year 2000 or had big dreams as a kid. ‘Kempner has funny bones’ **** (Scotsman). ‘Brilliant’ (LA Times).”

I’d heard a lot about Sooz Kempner in the past until last year we saw her for the first time and she’s every bit as good as I’d hoped. Can’t wait for this!

17.30 – Walking Home, Gilded Balloon Teviot.

“It’s just another day in the office when news that a colleague has been sexually assaulted reaches the boardroom. Emotions run high, but deadlines need to be met. Walking Home is a devised performance exploring the politics and tensions within the issue of sexual violence against women and people of marginalised genders. Shedding a light on the community’s role in this conversation, it’s built on real experiences collected from people of diverse genders, nationalities and walks of life.”

Another play that tackles an important issue for our times, I hope it’s enlightening and bold. Should be good!

20.50 – Frank Skinner: 30 Years of Dirt, Assembly George Square.

“A highly anticipated brand-new hour from comic legend Frank Skinner (‘King of stand-up’ (Bruce Dessau, Evening Standard)), following his sell-out hit Showbiz. ‘Frank Skinner has funny bones… even at the top of the comedy tree it’s rare to see his sort of fast-thinking but slow-talking instinctual wit…’ (Dominic Maxwell, Times). ‘Doing what he does best… the gags just keep on coming. Stand-up’s coming home’ (Mark Wareham, Mail on Sunday). ‘Skinner is warm, impeccable company and his way with a punchline is masterful… a delight.’ (Paul Fleckney, Guardian).”

Second time lucky for the return of Frank Skinner with the show that he was due to bring to the Edinburgh Fringe last year but couldn’t because of a family health issue. Hopefully now he’s back and on terrific form!

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