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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!

Edinburgh Fringe 2023 Reviews – Four, Rob Auton: The Rob Auton Show, Marlon Solomon: How to be an Antisemite, Shenanigans Cabaret, and Rosie Holt: That’s Politainment!

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Four, Gilded Balloon Teviot.

Let’s start with the positives! It’s a terrific premise for a show. Leonard, the lead violin of a string quartet, has died and the three remaining members had made a pact not to carry on after he’d gone, but to quit the quartet. But Hassim, their spivy, untrustworthy manager has recruited a new member, Kiki, to replace Leonard without telling the others. They decide, eventually, to allow a four-month trial, to see if they get on together and want to carry on. And the result? You’ll have to watch the play to find out! The play takes a variety of themes – grief, loyalty, the value of the arts, the need to move forward and change with the times, trust, and more – and deals with them pretty well. However, if you do decide to watch the play, there are five performers on stage and I regret to say that only one is a good actor. One is – and I hesitate to say this – very wooden indeed. The others give performances that are just about adequate. One of those tricky judgments – an intriguing play that’s not very well executed. Given the range of terrific shows on offer at the Fringe, I cannot recommend this show because of the acting. But it’s your choice!

 

Rob Auton: The Rob Auton Show, Assembly Roxy.

Having performed shows built on various subjects over the years, Rob Auton’s newest show is about the topic he knows best – Rob Auton. He takes us through personal moments over his formative childhood years, like the simple pleasure of watching a lava lamp with his sister, or his excellence on the cricket field, through his first experiences with the opposite sex and finding his feet as The Crab Cake Kid. Rob Auton is nothing if not engagingly honest; his flights of both fancy and fantasy take wing as he taps into his natural philosophical poetry and brings out many of the more ludicrous of his observations. His humour is not for everyone; few people have that kind of universal appeal. But personally I love wallowing in his mental somersaults; and, like all his shows, there is a journey to be followed and both the route to get there and the final end point are thoroughly enjoyable.

4-stars

Marlon Solomon: How to Be an Antisemite, Gilded Balloon Patter Hoose.

Marlon Solomon delivers a well-researched and entertainingly illustrated talk about the history of antisemitism which goes right back to the Bible and the earliest art, and is more engrained in human brains than I could ever have imagined. It’s a very informative  show – for example, I’d never encountered the word “jew” as a verb before – and it’s never used as a complimentary term. And isn’t that David Icke a horrendous stain on humanity? I’m glad to know nothing about him. Entertaining and educational, this is a fascinating and enlightening hour that never gets over-serious despite the seriousness of its topic.

4-stars

Shenanigans Cabaret, The Space on the Mile.

A brash, funny and talented burlesque show included circus stunts (I think that’s the right phrase), boylesque and some terrific routines. The cast change from tomorrow, so I can’t say how it will be next week, but tonight’s show was very enjoyable! Classic burlesque and cabaret at its best.

4-stars

Rosie Holt: That’s Politainment! Pleasance Courtyard.

I love Rosie Holt’s social media videos where she pretends to be a feckless and condescending Tory MP – they’re priceless. But how well does the character transfer to live theatre? We saw her show last year and it worked really well – not too much reliance on her pre-recorded material and plenty to laugh at. This year, however, it isn’t so successful. I commend her for using no pre-recorded material at all, so all the material was fresh and new; and the structure of the show is clever, with a right-wing shock jock TV and radio presenter warming up the audience for Rosie’s appearance as a bigoted MP and then reappearance as a stand-up comic. Unfortunately, the show never goes far enough in any one direction to be truly funny – the TV presenter holds back from being truly foul, the MP doesn’t quite make the social and political gaffes we might expect, and the “stand-up” sequence is full of padding and repetition and just doesn’t hit the jackpot. There’s still a lot to amuse and the characterisations are frighteningly believable; I just wanted more.

3-stars

The Edinburgh Fringe All Month Long – 21st August 2023

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Wanna know what’s scheduled for today in Edinburgh?

A heavy day of drama in Edinburgh today – with just a smattering of comedy in the middle!

Here’s the schedule for 21st August:

11.50 – this is a scam. The Space @ Surgeon’s Hall. From the Edinburgh Fringe website:

“Making it in the business world is tough – even more so when you’re a woman. Luckily, there’s a plethora of female entrepreneurs to emulate. Armed with books like Lean In and Girlboss, one musters her confidence and starts her climb up the corporate ladder. The other decides to fake what she can’t prove. Who will get there first, and what values fall to the wayside in the process? How far can you stretch the truth in the name of self-optimisation? When does charisma, boldness, and self-promotion become fraud? This play aims to find out.”

This sounds entertaining – seeing how well a faked past will get you in the world of business! Looking forward to it.

13.05 – Burning Down The Horse, Pleasance Courtyard.

“Following a sell-out 5-star production at Edinburgh Fringe ’22, Fishing 4 Chips are back with Burning Down The Horse, a brand-new immersive comedy set onboard the most iconic wooden animal in history – the Trojan Horse. Whilst being wheeled towards (almost) certain doom, you’ll have to contend with heroic egos, class clashes, and sword supply issues. There’s only one rule: Odysseus’ word is law. Oh, and for the love of gods – no naked flames! Join your fellow soldiers and experience what really went on inside the belly of the beast.”

This sounds very funny. Not familiar with the work of Fishing 4 Chips – if they do this well, this could be extremely good!

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

“We Are, in Fact, the Problem is about four friends from a private high school, who four or five years later have grown apart. However, still holding onto the bond they shared at school, they meet on occasion to share memories and catch up. As the evening progresses, more disagreements start to crop up until they start to question whether there is anything left of their original friendship.”

Old school reunions, eh? You always imagine they’re going to be great fun, but more likely than not you’ll have nothing in common anymore. Looking forward to seeing how the usually excellent Sheffield University Theatre Company tackle this subject!

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

“Anuvab Pal returns on official business. Post-Brexit, the British government want to sell the idea of Britishness to India. It has been done before, with dubious results. Now, they’ve set up a Department of Britishness and hired him. He will explain in detail why Indians should embrace Britishness, having done it himself. There is trouble ahead. ‘Very clever, very funny’ (Guardian). ‘India’s most intelligent comedian’ (New York Times). ‘One of India’s top comedians’ ***** (EdFestMag.com). As seen on Amazon Prime, QI and Big Asian Stand-Up (BBC Two).”

I hadn’t heard about Anuvab Pal before, but I idly clicked on a video of him performing and he is incredibly funny! I’m always interested in Indian culture, so I reckon this is going to be right up my street.

19.35 – Locusts, The Space @ Surgeon’s Hall.

“Locusts is a new play exploring lived experience of gay conversion therapy within an evangelical church. Out of the blue, Stephen is contacted by Pete – the pastor of the church he attended as a young man in the late 1980s. Back then, Pete taught that there was no such thing as a gay Christian and prayed that God would make Stephen straight – something Pete believes worked. Now he wants the same for his daughter – and he wants Stephen to help.”

There’s a lot to unpack here! Sounds like this will be a very creative narrative and will tell a strong story.

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

“The whole family knew he was a good dad. A really good dad. And Donna was special; he loved her the most. So why is Donna in prison? Based on real events from the 1980s, The Good Dad is a haunting family drama by multi-award winning playwright Gail Louw. Told from the unique perspectives of mother, daughter and sister, this three-time Off West End Award-nominated solo show is presented in support of the charity Victim Support. ‘See it and marvel at an actress right on top of her game’ (CloseUpCulture.com).”

This sound like it will be an acting tour de force if it’s done well! Should be a very interesting story.

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

Edinburgh Fringe 2023 Reviews – The Court, Mary Bourke: 200% Irish, and A Chorus Line

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The Court, Hill Street Theatre.

From the moment the reassuring sounds of the Crown Court TV Theme start up, you know you’re in safe hands with another case for our Edinburgh judge to officiate. It’s not denied that Cathy McDonald caused her mother’s death, a cancer sufferer in excruciating pain, but was it a mercy killing (manslaughter) or murder to get her hands on her inheritance? Nine jurors selected from the audience will make the decision and are also allowed to ask questions of the witnesses. Like last year’s Conflict in Court, this is a smart, nuanced piece of writing, designed to send you in one direction with your verdict, only to throw you into doubt and make you change your mind! Acted with a terrific blend of seriousness and stagey tongue-in-cheek, this is superb theatrical entertainment.

 

 

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

One of our must-see comedians every time we come to Edinburgh, Mary Bourke’s show 200% Irish seamlessly works through a number of comedy routines, from the racism of Peppa Pig, the physical side-effects of a handsome man on the company of women, to her appearance on Britain’s Got Talent and her experience of dealing with her husband’s stroke. If any of this sounds familiar, it’s because a lot of the material in this year’s show also appeared in last year’s, although to be fair this year it’s much more polished and word-perfect. So some of our laughter was the laughter of memory and recognition rather than exposure to a brand new damn funny joke. Nevertheless, it’s always worth paying to see Mary Bourke, even if she just read out a shopping list, such is the comedic majesty of her turns of phrase. Hugely funny as always.

4-stars

 

 

A Chorus Line, Paradise in Augustines.

A Chorus Line is my favourite musical of all time and I’m always keen to see new productions, although I always desperately hope that they are as true to the original Michael Bennett choreography and staging as is humanly possible. Edinburgh University Savoy Opera Group’s production, directed by Bella Taylor, comes pretty close and they do a tremendous job of recreating those superb dance routines on a stage the size of a pocket handkerchief; I don’t know how they did it, but they did it! 48 years since it first saw light of day, Chorus Line remains the beacon of everything that is good about performance, courage, love, friendship, support and all-round excellence. The production has some gender-blind casting which clearly works as everyone nails their characters, and there is some terrific dancing and singing too – especially in the harmonies. Personally, I entirely disagree with the decision to include an interval (unthinkable in A Chorus Line!) – however, it was very sensible to change the choreography for a couple of the characters where dancing was not the actor’s strength. I had a tear in my eye on a number of occasions – and I loved it just as much as I loved it when I first saw it on 29th December 1976 at the Theatre Royal Drury Lane – yes I am that old. And I haven’t even mentioned the live band, who were sensational. Given this is a student production it is way more successful than I could possibly have imagined. A superb achievement!

The Edinburgh Fringe All Month Long – 20th August 2023

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Wanna know what’s scheduled for today in Edinburgh?

Here’s the schedule for 20th August:

12.45 – Four, Gilded Balloon Teviot. From the Edinburgh Fringe website:

“In this poignant and compelling new work, an ambitious manager introduces a new first violinist to a longstanding string quartet with an uncertain future. As the reconstituted quartet plays, over twelve weeks of rehearsals and performances, it becomes evident that this new blood has disrupted the settled dynamics of the group. The award-winning playwright of Four, Clé Holly (Parallel Lines, Stretch, American Standard), is herself a violinist, and it shows in the verisimilitude of this sharply written drama. Featuring live music.”

This sounds like an interesting combination of genres. What happens when a new person disrupts a happy team?

14.25 – Rob Auton: The Rob Auton Show, Assembly Roxy.

“The Rob Auton Show is a show about Rob Auton. Rob Auton has written nine hit Edinburgh Festival Fringe comedy/theatre/spoken-word shows on specific themes including yellow in The Yellow Show, and sleep in The Sleep Show. In his tenth show Rob turns the pen on himself to explore the memories and feelings that create his life on a daily basis. ‘A genuine original’ (Guardian). ‘Makes laughter out of wonder. We need him’ (Scotsman). ‘Charming, eccentric and uplifting’ (Independent). ‘Brilliant’ (Stewart Lee). ‘One of my absolute favourites’ (Daniel Kitson).”

I’m a big fan of Rob Auton’s quiet, unconventional style so I’m looking forward to seeing what his new show is all about!

16.20 – Marlon Solomon: How to Be an Antisemite, Gilded Balloon Patter Hoose.

“From the maker of Conspiracy Theory: A Lizard’s Tale – **** (BroadwayBaby.com), **** (TheWeeReview.com) – comes Marlon Solomon’s highly anticipated second show. A black comedy about the current rise of antisemitism, where it comes from and what we can do about it. Marlon explores his own experience being a target and how it changed his life. Told in his own unique style, How To Be An Antisemite is a wry piece of storytelling which exposes a shocking underbelly in society that few know exist. It’s another comic tale which is no laughing matter.”

The last time we saw Marlon Solomon live was in the remarkable The Curing Room at Edinburgh a few years back. This will be a very different kettle of fish, and I’m looking forward to hearing everything he has to say about antisemitism.

18.15 – Shenanigans Cabaret, The Space on the Mile.

“East London’s five-star variety show comes to Edinburgh for the third year in a row, bringing you top-class cabaret acts from across the performing arts industry, including circus, burlesque, sideshow, acrobatics, live music, drag, dance and anything else we can get our hands on. From the weird and wonderful to the sublime and ridiculous, showcasing a diverse cast of both new and established performers, anything goes at this show and, indeed, anything can happen… Hold onto your hats as they’re about to be blown away! ‘Highly entertaining’ , ‘hilarious’ and ‘a revelation’ ***** (Audience Reviews).”

I don’t know why it sounds funny to associate burlesque with East London, but I’m sure this will be a great show!

20.00 – Rosie Holt: That’s Politainment! Pleasance Courtyard.

“The worse the political career, the more lucrative the subsequent entertainment opportunities. Matt Hancock may have slaughtered millions but now he’s making a killing. So can Rosie Holt’s viral hit MP follow “politainers” Dorries, Farage and Rees-Mogg and leap from the pages of Hansard to Heat? After her sell-out Edinburgh show last year, Rosie returns to tightrope the thin line between politics and entertainment. ‘The Thick of It levels of writing and performance applied to a very current flavour of political bullshit’ (Times). ‘Beautifully observed and performed’ (Guardian). ‘A character comedy treat’ **** (Time Out).”

We saw Rosie Holt’s Edinburgh show last year and it was a breath of fresh air – terrific political comedy. Hoping for great things again this year!

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

 

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

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

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

4-stars

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

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

4-stars

Married at First Sleight, Gilded Balloon Patter Hoose.

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

3-stars

 

 

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

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

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

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

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

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

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

The Edinburgh Fringe All Month Long – 19th August 2023

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

Here’s the schedule for 19th August:

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

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

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

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

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

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

16.50 – A Chorus Line, Paradise in Augustines.

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

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

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

Edinburgh Fringe 2023 Reviews – Loft Clearance, Long Long Long Live, Adam Flood: Remoulded, Kevin Precious: The Reluctant Teacher and Mark Thomas: Gaffa Tapes

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Loft Clearance, Greenside @ Nicolson Square.

A fascinating spoken word journey through one woman’s experience of having to clear a loft. Eileen Mahony shares with us some of the extraordinary discoveries she has made lurking in those boxes – plus hints on dealing with photos, collections and all those little personal nostalgic memories that inevitably get teased out of our brains if we’re challenged to throw out things that remind us of our late loved ones. Plus, the difference between collecting and hoarding – and I’m pleased to announce myself as very much on the collector side! Engaging and thought-provoking, and it’s something that most of us will have to contend with at least once in our lifetimes.

3-stars

Long Long Long Live, Greenside @ Infirmary Street.

Three mini-plays on the themes of homelessness, poverty, and injustice, all set against the millions of pounds that were spent on the funeral of Her Majesty the Queen last year. There’s a lot to think about in these short plays, and they set us an emotional challenge which continues long after you’ve left the theatre. It’s a small studio, but the talented group of three make the best of the space available and tell the stories with technical skill, humour, and commitment. I admired and appreciated the fact that they modulated their voices for a smaller acting space, rather than shrieking into our ears like some other acts.

4-stars

Adam Flood: Remoulded, Monkey Barrel Comedy (The Hive).

Adam Flood has spent £350 on a voice-changing device and he’s not afraid to use it. In an hour packed with fast and funny material, he takes us on a tour of his childhood and early adulthood, remembering the people and the experiences that brought him to where he is today. He has a brilliant gift of garnering notable facts about the random people he talks to in the audience and bringing them back into his material later on in the show. At the end of the show, he also lets us in to the lies that he has told during the last hour which is revealing to say the least! Extremely funny, with a superb lightness of touch, I reckon Mr Flood could be One To Watch.

Kevin Precious: The Reluctant Teacher, Laughing Horse @ The Counting House.

Kevin Precious has a wealth of experience as a school teacher and reveals the truth about the teaching experience – from dealing with disruptive, disrespectful kids and ghastly colleagues to the future of teaching and how we can con fresh meat into taking these appalling, low-paid roles under the pretence of making a difference. An assured pair of hands, Kevin takes us through the highs and lows of his profession and makes those of us who are not teachers very grateful for our career choices.

4-stars

Mark Thomas: Gaffa Tapes, The Stand Comedy Club.

Mark Thomas on his usual blistering form with a show chock-full of anti-Tory sentiment (phew!) and some superb material regarding the death of the late Queen. In these very troubled times it’s important to give vent to a voice that is so far from the pap-consuming, Lee Anderson-worshipping fodder that we see everywhere in the media, and question the garbage that we’re all being fed. Terrific stuff.

N.B. We arrived twenty minutes before the show and were told it was “standing room only”. Really? I don’t recall paying half-price tickets for a sub-standard show experience? Yet another example of Edinburgh Fringe shows disrespecting their audiences by over-selling the venues. Would you expect to stand if you’d booked a table in a restaurant? No! Then why should it be different at a comedy show. Poor form! (Actually, a better analogy is standing for an hour train journey – no one thinks that’s acceptable, it’s a sign that the trains are badly run!)