Edinburgh Fringe 2024 Reviews – no one is coming to save us, Lads of the Flies, FUFC, Ajahnis Charley: Thots and Prayers, Dan Tiernan: Stomp, Reginald D Hunter, and It’s OK I Still Think You’re Great

Posted on August 10, 2024 by therealchrisparkle

no one is coming to save us, Pleasance Courtyard.

A group of friends gather together for an adventure in the forest – some know each other extremely well, some are on the sidelines of the group dynamic. They’re just ordinary young people with ordinary young people’s concerns, interests, and anxieties. Somewhere in the forest a moment of carelessness causes a small fire to take root… and it grows, and it grows. What at one point looks like a grey butterfly is revealed to be a piece of ash; and the fire has disastrous consequences for the group and for one particular individual. Pepperdine Scotland have produced this ambitious and highly relevant play by Lewis Hetherington that considers the problems of climate change and the lengths some people will go to in order to protest and do what they must do to save the planet. A cast of thirteen rise to the challenge of telling this wide-ranging story in a relatively small acting space. With so much content in the play, perhaps it spreads its story a little thin in places by trying to do too much; but its heart is very much in the right place and it’s an absorbing watch.

Lads of the Flies, The Space at Niddry Street.

Four young rugby club guys (well, three and Peter) go off on a Duke of Edinburgh expedition in the wilds of Scotland and get separated from the rest of their group. Lewis is the team captain and assumes the boss role; his best friend Kieran is his number two. Misogynist Baxter is also a force to be reckoned with. And there’s Peter. This clever play presented by Student Theatre at Glasgow isn’t an adaptation of Lord of the Flies but does cast a nod in its direction, as there are battles for supremacy between the four boys, and also a sexual relationship develops between two of them. To make the gender stereotyping and internalised homophobia even clearer, the guys are all played by female-presenting actors – which brings its own level of hilarity to the proceedings. Extremely funny and very telling, this is a surprise gem of a production.

FUFC, TheSpace on The Mile.

A bad day in goal is one thing; a bad result from the cancer specialist is another. FUFC centres on a 53-year-old man who has been diagnosed with prostate cancer, which he talks about with his old mate. The most important message to take home from the production is that if you’re male, and over 50, get a PSA test. As a piece of theatre, I must confess it has a number of deficiencies; but that’s not really the point.

Ajahnis Charley: Thots and Prayers, TheSpace at Surgeons’ Hall.

I’ve seen many a stand-up comedian, and plenty of sketch groups; but I don’t think I’ve ever come across a solo sketch show before. Thots and Prayers – the meaning is explained right at the beginning if you’re in any doubt – starts with Ajahnis sent to Gay Heaven but his entry is not guaranteed unless he can earn enough Homo Points to be admitted. God’s sense of humour is revealed when He requires Ajahnis to earn those extra points during a series of sketches, where he might increase – or accidentally decrease – his allocation of points. Many of the sketches are very funny indeed; a few don’t entirely land, primarily due to the largely British audience not recognising some of his references. Ajahnis is a naturally very funny person and exudes charisma and confidence. Very entertaining!

Dan Tiernan: Stomp, Monkey Barrel Comedy 1.

An hour in the company of Dan Tiernan is always explosively unpredictable. In his new show he takes on the challenges of Danger Can, the perils of Leeds Festival and ends up with a sensational magic trick. With loads of bright and inventive new material and a multiplicity of callbacks, Dan is on terrific form. You can expect a show crammed with laughter and fearless crowd work. Just don’t put your feet on his stage or talk during his act – it really isn’t worth it!

Reginald D Hunter: Fluffy Fluffy Beavers, Assembly George Square Studios.

Few comedians have the pure physical and vocal authority that Reginald D Hunter has on the stage. In this new show he gives us a few insights into how the lockdowns of a couple of years ago affected him, as well as a series of marvellous comic observations told in his inimitable style – and in a way that no one else simply can. Although he teases us with the possibility that we may be offended by what he says – it’s all done with heart and a great feel for the power of language. To be fair – Kardashians had better watch out. And why the title Fluffy Fluffy Beavers? If I told you, you wouldn’t believe me.

It’s OK I Still Think You’re Great, TheSpace at Symposium Hall.

A domestic comedy/drama amongst some twentysomethings, Cambridge University’s Heart of Hearts Productions’ It’s OK, I Still Think You’re Great is, rather like the old Jona Lewie song, set in the kitchen at a party. Gin and Tibby used to share the flat but Gin moved out and Anika moved in. Now Gin is back to celebrate Tibby’s 25th. Initial resentments subside, and the play follows the three characters over a busy day and night, with friendships re-established, relationships ended and ambitions realised. To be fair, not much actually happens in this play – most of the action is offstage – but it nicely portrays the desires and anxieties of a group of young women who, in the words of the Fun Boy Three, are Having all the Fun.

The Edinburgh Fringe All Month Long – 10th August 2024

Posted on August 9, 2024 by therealchrisparkle

It’s still all go, let’s have a look.

Here’s the schedule for August 10^th.

11:25 – Dissociation, theSpace @ Surgeons’ Hall. From the Edinburgh Fringe website:

“Dual personalities meet but don’t recognize each other. Are they natural enemies in a fight to the death, or is love a possibility? Brilliant ambiguity leaves the audience with a lot to think about. ‘What an amazing ride from start to finish. Everything about this play was totally relatable and thought provoking. Almost like an outer body experience. Just the right amount of comedy/drama.’ Mark Heany.”

Yet another meaty play to start a Fringe day. It sounds like a thought-provoking experience, so we thought we’d take a lucky punt and hope for the best.

13:10 – Phil Hammond and Dame Clare Gerada: Fifty Minutes to Save the NHS, theSpace @ Surgeons’ Hall.

“Two doctors devise, with your help, a revolutionary health manifesto. Does the NHS need saving, funding or fixing? Will a change of government make much difference? Why can’t we be like Sweden or Singapore? Is ‘Health For All’ an aspiration or a joke? Why are NHS staff so angry and knackered? Do we live too long or not long enough? Where can I buy some end-of-life drugs? Laugh, shout, argue, vote, save the NHS. Seriously subversive. The perfect election wind down. All profits to Doctors in Distress charity.”

We’ve seen Dr Phil a number of times and he never fails to present an intelligent and witty sideways slant at the NHS in all its glory. It will also be interesting to hear his views about how a new government might change things. We’ll see!

15:00 – Rebels and Patriots, Pleasance Courtyard.

“Hath not a Jew eyes? Hath not an Arab eyes? Israeli-Palestinian co-creation following four friends and how mandatory conscription to the IDF affects them. One wants to get out, one’s a pilot, one was never drafted, one’s torn inside. A raw multilingual, physical portrayal that exposes the consequences army life has on the mental-health of the teenagers enlisted. It explores themes like protest against war, self-harm and what it means to be Israeli and peace-pursuing; the critical voice for coexistence under the pressures of politically motivated violence. Who’s a rebel? Who’s a patriot?”

This play couldn’t be more timely; and if it’s bold but fair in its approach, it could be one of those productions that stays with you a long time.

16:55 – Martin Rowson: Shred the Front Page, The Stand Comedy Club 5 & 6.

“Multi-award winning cartoonist, writer, performer and poet Martin Rowson will work his way through the day’s papers while he outlines his hilarious and often acrimonious relationship with the dozens of daily and Sunday newspapers, magazines and publications he’s worked for (and mostly been sacked from). Almost everyone except The Sun. Only because they never asked. With the aid of a shredding machine, extremely strong language, unsettling images and brutal assessments of the people who own, edit and gob off incessantly in our “fearless mainstream media”.”

Full disclosure – Martin is an old school friend (both an old friend and an old school) and when we saw his show last year I gave him four stars because it was excellent but I wanted to keep him on his toes. Let’s see if he earns that extra star this year.

19:55 – Run, theSpace @ Surgeons’ Hall.

“Set over an unforgettable summer and encompassing all of space and time, Run explores what it means to love, to lose and grow from a boy into a man. As a young man’s night unfolds and falls into chaos – some of it real, some of it not – Yonni pulls us into his world. A world filled with school riots, first loves, beached whales, sunshine, cinema, sex, rebellion and political demonstrations. First produced at VAULT 2016, No Frills return with their highly acclaimed production, now starring Taylor Moore (Blood Brothers, Romeo and Juliet, Mary Poppins, Cinderella).”

This sounds like a thoroughly entertaining play about growing up; something we’ve all done (to a greater or lesser extent) so there should be something here for everyone to recognise.

22:00 – Randy Feltface: First Banana, Assembly Rooms.

“The first banana appeared on earth 10,000 years ago. Randy Feltface believes humanity has been in a downward spiral since. The only logical solution is a brand-new comedy show from a felt-faced comedian with an axe to grind. As seen on Netflix and NBC, Randy has spent the past 19 years winning awards and garnering critical praise while amassing a huge, devoted following across the globe. Randy has written and performed a dozen comedy shows, released seven comedy specials, played to sold-out crowds around the world and been nominated for Best Comedy at the Edinburgh Fringe.”

Mr Feltface is new to me but he comes highly recommended. This is an additional performance as his earlier Saturday show sold out pretty quickly. I’m expecting raucous hilarity.

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

Edinburgh Fringe 2024 Reviews – Dead Mom Play, The Shroud Maker, It’s the Economy Stupid, 16 Postcodes, N. Ormes, Jack Goes to Therapy, The Gentleman of Shalott and Alexandra Haddow: Third Party

Posted on August 8, 2024 by therealchrisparkle

Dead Mom Play, TheSpace at Niddry Street.

Ben Blais’ Dead Mom Play takes two themes and weaves them together with bravery and unexpected hilarity. How do you cope with the memories of your recently departed mother – those feelings of grief, resentment, guilt and self-absorption? And how do you write a play that does justice to those feelings – and to the memory of the woman who was not only your mum but so much more? And how do we all cope with Death being an ever-looming presence in our lives? There are, of course, no real answers to those questions, but this play is an unexpectedly hilarious and self-deprecating take on one son’s experience. Beautifully and inventively written, and given top performances by Griffyn Bellah as the son in question, Liv Hodder as his hyper-critical mother and Joe Bellis as the funniest representation of Death I can remember. Very revealing, very different and hugely entertaining – not what one might expect from the title. Well worth getting up early for!

The Shroud Maker, Pleasance Dome.

The extraordinary story of Saoud, orphaned as a girl, who learns the art of sewing, raises a baby boy whom she discovered under a cactus at the age of fourteen; how he grows to be a man, gets married, and has a baby. But her family responsibilities don’t end there, and her tough life continues to take unexpected turns. Hers is the ultimate story of survival; her job as a shroud maker for the dead of Gaza is only a small part of who she is. Julia Tarnoky’s amazing storytelling skills allow us to experience at first hand the incredible events that have come together to form her life. A true tour de force – and a mesmerising performance.

It’s The Economy Stupid, Pleasance Dome.

Everyone knows the phrase It’s the Economy, Stupid, but that easy and glib statement hides a range of personal tragedies and disasters; it’s not just numbers, it’s lives too. Joe Sellman-Leava and Dylan Howells have created a unique combination of economic education and an account of Joe’s family, whose shop hit the buffers in the late 80s recession leading to bankruptcy. In those days, there were provisions in place so that they could be rehoused and eventually rise, phoenix-like, from the proverbial ashes. Today, those safety nets have gone. Presented as a double-act, with Joe as the lead narrator and Dylan there to keep him on the straight and narrow (and also to provide a touch of magic – I sat very close to him and still couldn’t see how he did any of it), this is a salutary tale for the present day and an awkward reminder for anyone affected by previous recessions. Inventively staged with dozens of cardboard boxes concealing a host of surprises, this is a most creative piece of educational theatre.

16 Postcodes, Pleasance Courtyard.

Jessica Regan has lived in 16 postcodes in London ever since she left Ireland. Each has its own particular significance to her, its own memories, its own joys and its own horrors. And as we the audience appreciate her reminiscences of perhaps five or six of those special places, we also remember the postcodes where we have lived, and realise it’s both a curious and useful way of delineating our pasts. Her highlight postcode is Walthamstow, E17; it would have been mine too, having spent a very happy year there as a postgraduate student in the early 1980s. Ms Regan exudes a warm and welcoming presence and has an effortless storytelling style that helps you lose yourself in her words. A charming, almost delicate entertainment.

N. Ormes, Assembly Roxy.

We’re all used to a traditional acrobat act; a staple of the circus and variety show, a troupe of athletic and strong performers perform amazing feats of strength high in the air or carrying the weight of the lighter acrobats. The tables are turned in N.Ormes, where Agathe Bisserier and Adrien Malette-Chenier perform acrobatic exercises par excellence – but not only does Adrien launch Agathe high above him, she also lifts him high above her, and it’s an incredible show of strength from both of them. Both artistic and acrobatically impressive, this is an act quite unlike any other you’ll see!

Jack Goes to Therapy: A (Somewhat) Romantic Comedy, Zoo Playground.

Jack has split up from Carter – and, try as he might, he’s not taking it well. Especially as Carter has now partnered up with Alexander, with whom he and Carter had a threesome not long ago. It’s hard not to take that kind of thing personally. A chance remark from an STI nurse that maybe he should try therapy sends Jack into the capable psychiatric help of Dr Harold; and he makes a promising start. Supported by best friend Macy, colleague Patricia, flatmate Derek, and even one of his kindergarten children, Gina, can Jack put aside his past issues and move forwards? Zac Williams gives an honest, tender and extremely funny performance as Jack in this delightfully positive and kind play which, for all Jack’s problems, makes the audience feel like they’ve just bathed in goodness. Great work!

The Gentleman of Shalott, TheSpace on The Mile.

They say if you’re going to do a cover version of a song, make it different and make it your own, don’t just copy the original. Here’s a cover version of The Lady of Shalott – not just the famous painting, but also the poem by Tennyson; she spins in her tower and will be cursed if she look down to Camelot. Therefore she can only look at the shadows in her mirror, which reveals characters such as the shepherd and the page. But when Sir Lancelot rides by the temptation is too great and she takes to a boat which will float her down to Camelot – and her ultimate downfall. Gareth Watkins has turned this story on its head and performs as The Gentleman of Shalott, also trapped in a tower, weaving on his loom, connected to the outside world by his periscope that acts as the mirror, and the sex-line link which he uses sometimes to rebuff and sometimes to open up to his gentlemen callers. Mr Watkins has a terrific stage presence and a powerful but warm voice which he uses to great effect in his various associations with those other gentlemen. There is something of a coup-de-theatre in the final scene which I won’t spoil for you but remains in perfect keeping with Tennyson’s original. A very creative and inventive treatment of a much-loved 19th century poem brought bang up to date. Perplexing yet invigorating, a rewarding theatrical achievement!

Alexandra Haddow: Third Party, Monkey Barrel Comedy 2.

Alexandra Haddow’s new show is entitled Third Party; in her quest to find an alternative for the Great British voting public, she has founded a third party for you to elect (other than those rather obvious main two). It’s not got a bad manifesto; in real life you might well be tempted. But the show is about much more than that, as we hear all about the attempts she and her boyfriend make to have a slightly less vanilla sex life. Ms Haddow is a truly slick comedian with constantly funny and creative material, delivered with all the confidence of Eric Cantona taking a penalty. Not to be missed!

The Edinburgh Fringe All Month Long – 8th August 2024

Posted on August 7, 2024 by therealchrisparkle

It’s another very busy day so let’s take a look.

Here’s the schedule for August 8^th.

9:20 – Dead Mom Play, TheSpace @ Niddry St. From the Edinburgh Fringe website:

“A young writer is forced to face Death, his ego and his dying, critical mother after getting stuck in a play of his own creation. Charlie tackles guilt, denial and a freezer full of lasagnes in this dark comedy.”

It’s a very early start – but if guilt, denial and a freezer full of lasagnes doesn’t wake us up, what will? I’m expecting one of those comedies where you grimace at the tastelessness before letting rip with the laugh. Fingers crossed.

11:05 – The Shroud Maker, Pleasance Dome.

“Hajja Souad sells shrouds for burying the dead in Gaza. They’re always in demand. This compelling, moving black comedy inspired by a real-life character takes us on the 70 year journey of her life, weaving a harrowing story of courage, love, escape and disappointment with comic fantasy and true stories to create a vivid portrait of life in Palestine before the recent heartbreaking events. Written and directed by Ahmed Masoud. Performed by Julia Tarnoky. Audience comments: ‘One of the most remarkable performances I have seen in theatre’. ‘Fantastic piece of theatre – an urgent, sometimes shocking narrative’.”

You have to double-take when you realise that this is described as a black comedy, given the current situation in Gaza. Nevertheless, there’s always a kind of gallows humour everywhere, and if it’s done with bravery, panache and top quality writing, this could be a very strong play.

13:10 – It’s the Economy, Stupid!, Pleasance Dome.

“Joe Sellman-Leava and Dylan Howells embark on a quest to uncover how the economy wins elections, and why the force that dominates our lives is so bloody complicated! Armed with bags, boxes and an old board game, Joe and Dylan calculate how their lives have been shaped by the economies they grew up in. Developed with and directed by internationally acclaimed Katharina Reinthaller, and produced by Worklight Theatre, It’s the Economy Stupid is a bold new show from the Fringe First winning creators of Labels and Fanboy.”

I’m sure it’s completely true that it’s the economy that wins elections, more than any other aspect of a government’s performance or what’s promised in a manifesto. This sounds like a lively, irreverent piece of comedy, and hopefully – like a party manifesto – it will deliver everything it promises!

15:30 – 16 Postcodes, Pleasance Courtyard.

“Twenty years, 16 postcodes, one city. In her debut storytelling show, Jessica Regan (BBC, Channel 4, Guilty Feminist) shares lessons lived and learned from a life in no particular order. Each show is drawn from true tales of love and landlords, of mice and men and more, told with help from the audience who will play their part in her odyssey as she moves North, South, East and West, finding out which is best. This is a journey through an impenetrable city with an all-too-open heart. You’ll laugh, you’ll cry, you rent cos you can’t afford to buy…”

This sounds like a very personal account of one person’s journey to find their own place – both a home to call your own and a situation where you feel comfortable. But there’s obviously also an interactive element to the show which gives it a curiously edgy identity. I do not envy young people struggling to find somewhere to live – let’s hope this provides a helpful insight into the problem.

17:15 – N. Ormes, Assembly Roxy.

“Provocative, dysfunctional and tender, N.Ormes is an award-winning circus show that pushes the limits of gender norms with never-before-seen acrobatic exchanges. Don’t miss its Fringe comeback! Skilfully combining acrobatics and dance, we follow our two protagonists and their relationship, navigating between complicity and power struggles. Come witness this inspiring journey to see how the exchange of roles and acrobatics blurs our preconceptions! ‘Poetic. Edgy’ ***** (Edinburgh Festivals Magazine). ‘Amazing stunts’ ***** (BroadwayBaby.com). ‘Original and visceral’ **** (FringeReview.co.uk). ‘A defiant celebration of equality in strength’ **** (Scotsman).”

We haven’t had much in the way of circus shows scheduled so far, and this sounds like it will be an excellent crossover between circus and theatre, as well as playing with traditional gender norms. With any luck – great fun!

19:20 – Jack Goes to Therapy: A (Somewhat) Romantic Comedy, Zoo Playground.

“Jack is a 29-year-old Kindergarten teacher and a hopeless romantic. So when the love of his life leaves him for another man, Jack is heartbroken. Determined to find happiness by sheer willpower alone, Jack re-enters the dating world with a vengeance. Dating new men left, right and centre, Jack soon spirals out of control and finds himself in a therapist’s office wondering, ‘what now?’ A critical and box-office sensation on premiere in Vancouver, Jack Goes to Therapy is a brilliant, enchanting, laugh-out-loud one-man play.”

Returning to the world of dating if you’re not expecting it must be a complete nightmare, with all the pitfalls of the apps – but how do you do it without them? This should be a very funny play.

20:45 – The Gentleman of Shalott, TheSpace on the Mile.

“In his tower on an island in the river, Martuni weaves, masturbates and keeps fit. His only distraction from the monotony – the horny suitors on his dating app: Reaper longs to be a dog at the foot of Martuni’s bed; Page wants to rescue Martuni in a hot air balloon and save him from the war, the drought and environmental collapse; Shepherd invites himself round for sandwiches and trifle. Will Martuni be lured outside? Or will the curse of his social anxiety and narcissism keep him imprisoned forever?”

I’m going to hazard a guess here – this probably isn’t a show to which you should take Granny (although Granny’s been around long enough to have known and seen much more than the rest of us!) Gender-swapping on the Lady of Shalott is an inventive basis for a play, and I’m hoping this will be an innovative and exciting production.

22:00 – Alexandra Haddow: Third Party, Monkey Barrel Comedy.

“The news has been on fire for so long now we’re probably out of petrol. Should we all just embrace societal collapse and enter our Last Days of Rome era? This is a show about sex, politics, ageing, nihilism and maybe hope. In a world where we’re always told to pick a side, is there a third option? Best New Show nominee (Leicester Comedy Festival, 2023) British Comedy Guide recommended. ‘Haddow is going places’ (London Evening Standard). ‘One of the most exciting new acts on the circuit’ (Frankie Boyle). ‘A whole lot of laughs’ (Skinny).”

We’ve seen Alexandra Haddow a couple of times now and she’s a very reliable comedian with terrific observations and an excellent stage presence. This should be a great way to end the day.

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

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

Posted on August 6, 2024 by therealchrisparkle

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

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

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

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

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

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

Pillock, Assembly Rooms.

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

Robin Grainger: Refurb, The Stand Comedy Club 2.

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

A Play by John, TheSpace at Surgeons’ Hall.

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

Edinburgh Fringe 2024 Reviews – A Fire Ignites, Malion, The Last Laugh, A Jaffa Cake Musical, To Watch a Man Eat, Sooz Kempner, Colin Hoult: Colin, and The Shadow Boxer

Posted on August 5, 2024 by therealchrisparkle

A Fire Ignites, TheSpace at Surgeons’ Hall.

It’s impossible for us, in the safety of our free societies in the West, to comprehend the sheer oppression of the Iranian people, specifically the women who dare to protest by burning their hijabs. They face imprisonment at best, execution more likely. Parisa was one such brave young woman who did not survive her protest. Tara Tedjarati writes and performs in her own show, A Fire Ignites, and it’s a vital story that needs to be told to as wide an audience as possible. The characters she portrays represent various aspects of Iranian society, from her best friend Maryam, hiding her sexuality because the truth would be fatal, to Yasaman, Parisa’s mother, who can’t forgive herself for not escaping the post-revolution regime. Fine writing allows us a vital insight into these tragic, yet defiant, lives. The presentation, by necessity, lacks a little fluidity as Ms Tedjarati changes from character to character, but the show leaves you with a greater understanding of the frustrations and determination of the protesters. And the plaintive message and melody of A Fire Ignites, This is Me will haunt you all day.

Malion, TheSpace at Surgeons’ Hall.

I confess I’m not that au fait with the story of Pygmalion; he was a mythical sculptor who fell in love with a statue he had created – if you want to find out more, Ovid is your friend. In Tired Horses’ retelling of this myth, Piggy invites his scurrilous mates round to his studio to show off his new sculpture, his own vision of immaculate, pure beauty, of which he is enormously proud. The lads, however, are not so interested in depictions of classical beauty unless they can see her naked; when Piggy refuses, they tease him for not sharing their sexist and disrespectful view of women. They goad him into joining in with their appalling sexist behaviour. The statue, however, has other ideas… This is a powerful portrayal of misogyny and toxic masculinity and how, if unchecked, it grows and corrupts those around it. There are several genuinely horrible moments – but they work so well together that you’re completely hooked as to what happens next. Brilliantly written, full of inventiveness, very well acted, and a horrifying dissection of what makes some men behave the way they do.

The Last Laugh, Assembly George Square Studios.

They used to say everyone knew where they were when JFK was shot. A generation later, everyone remembered where they were when Tommy Cooper died. I was at home, watching Live from Her Majesty’s on TV, looking forward to seeing the great man do his stuff and make me roar with laughter as he always had, ever since I was a little kid. A piece of all of us died that day. Paul Hendy’s The Last Laugh takes Cooper, together with those other long lost comic heroes, Eric Morecambe and Bob Monkhouse, and places them in an imaginary shared dressing room, getting ready to go on stage. They examine what motivates themselves as comedians, what it is that makes them laugh, what they get out of it, and who were their own comic heroes. Names like Robb Wilton, Arthur Askey and Max Miller are deeply rooted in the past now, but you never forget those who made you laugh in your formative years. Sheffield Panto’s very own Damian Williams is a perfect Tommy Cooper, dressed in vest, pants and fez, cutting a scruffy yet lovable figure. Northampton Panto’s very own Bob Golding is Eric Morecambe, enacting an excellent recreation of Morecambe’s physical humour and his rattle-gun laugh. Simon Cartwright brings back to the Fringe his extraordinarily accurate impression of Bob Monkhouse, the carefully mannered comic genius whose strength – and interest – in comedy rested more with the writing of jokes than in their performance. It’s a little over an hour of pure nostalgia, written from the heart and with some wry dramatic irony as we know how and when these heroes are going to leave us; but they don’t. Perhaps Monkhouse’s jealousy of Cooper’s and Morecambe’s natural ability to make us laugh is repeated a little too often; and the lighting/electricity crackling effect, which tells us that this is an imaginary event, is also overplayed. But it’s both a fascinating exploration of what makes comedy work, and a delightful stroll down comedy’s Memory Lane, tinged with just a bit of sadness. Great work by everyone!

A Jaffa Cake Musical, Pleasance Courtyard.

Whilst everyone has their own opinion of this most pressing question – is a Jaffa Cake a cake or a biscuit? – you might not know that there was indeed a court case to determine the issue back in the 1990s when Customs and Excise wanted it proved that a Jaffa Cake is a biscuit so that it could attract Value Added Tax. And Gigglemug Theatre’s immensely entertaining A Jaffa Cake Musical takes us back to that legal wrangle and the barristers hired to argue the toss. Nicely delving into their legal training and family support for (or hilarious opposition to) their careers, we follow the tribunal’s daily progress until – finally – a decision is made! Written by Sam Cochrane, who plays defence barrister Kevin, and performed with great gusto and terrific musicality by a cast of five who belt out the witty songs to the accompaniment of Alex Prescot’s eloquent keyboard, you’ll lose yourself in the silly but fun story and catchy tunes. I did admire how the costumes inevitably included somewhere that delicious shade of orange that we all associate with the noble Jaffa Cake. You’ll be dying to eat one at the end!

Sooz Kempner: Class Of 2000, Underbelly Bristo Square.

Sooz Kempner’s new show, the Class of 2000, takes us back to that very year when she took her GCSEs, when all it took to be chic was to drench yourself in Impulse. In this show, she’s trying to work out what Class actually is, and where she fits into its Big Picture. But she’s into dressage, so she must be posh, right? Sooz spends a little over an hour searching for Class in all the wrong places, and, as you would expect, there’s many a hilarious comic observation to laugh at and enjoy. She also takes the opportunity to deliver some of her outstanding singing impressions. Somehow, somewhere during the show, the comic narrative gets a little lost and some of her comic ideas don’t quite gel. A meetup with one of her TV heroines at the end also doesn’t quite flow organically. But it’s worth the ticket price to discover the value of horse jizz, let alone the rest of the show!

To Watch a Man Eat, Greenside at George Street.

Behind every successful man there’s a good woman, they used to say in the rather patronising good old days. Meet Andrew: swiftly ascending the promotion ladder at his City financial services office – you know, the one founded by Daddy. And here’s his charming wife Melissa, always at hand to give him the boost and, erm, relief he needs. But which of them is the more ambitious? And what happens if somehow the greasy pole of success gets more slippery than either of them expected? Their fractious relationship is set alongside the life of happy-go-lucky firefighter Micky. Totally unstressed, despite the pitfalls of his work; luxuriating with a morning Tesco trifle for breakfast, making the best of his three-day weekends. He’s probably not going to get any higher up the promotion chain; but who’s got it right? Sadie Pearson’s witty and more than slightly terrifying new play explores some of the worst aspects of our personalities, and doesn’t shy away from some unappealing conclusions. The structure of the play occasionally feels a little over-complicated, and it takes a while for our understanding of the characters to fall into place, but it’s entertainingly acted by the cast of three – Lily Walker, George Usher and George Lorimer, whose slobbering over his spare rib dinner will be a memory hard to erase for a few days!

Colin Hoult: Colin, Pleasance Courtyard.

The devilishly funny Colin Hoult has cast off the mantle of his wonderful creation Anna Mann and is now concentrating – arrogantly, he says – on himself with his show Colin. It’s very much a nostalgia-fest of his family life in Nottingham, with his weird uncles, aunts and brothers and his burping, farting father. Who plays with a Ouija board with a seven-year-old anyway? Encompassing his diagnosis of ADHD (other neurodiversities are available), it’s a very funny hour with a comedian who constantly riffs off the audience – so if you sit anywhere near the front, you will become involved! A very safe pair of comedic hands, and guaranteed laughter throughout.

The Shadow Boxer, TheSpace at Niddry Street.

Jack is a bricklayer by day and a boxer by night. After an unexpected surprise win in his home town of Portsmouth, Jack sets his sights on representing Great Britain at the 1968 Olympics. With his beautiful fiancée Susan, they appear to live the perfect life – what could possibly go wrong? That’s one interpretation of this multi-levelled play; however, maybe none of this happened. Maybe it was all the fantasy of a troubled young man’s brain? It’s up to us the audience to decide for ourselves where the boundary between reality and delusion lies. Lucas English gives an excellent performance as Jack – or is it Isaac? – conveying the character’s desire to live an unrealistically model successful life mixed with his struggle to control rage. Or is his behaviour simply controlled by therapy? The clues are there: a late night brain teaser of a play!

Edinburgh Fringe 2024 Reviews – Sell Me: I Am From North Korea, Ascension, Love’s A Beach, Stuffed, Our Little Secret: The 23andMe Musical, The Chaos That Has Been and Will No Doubt Return, and Daliso Chaponda: Feed This Black Man Again

Posted on August 4, 2024 by therealchrisparkle

Sell Me: I Am from North Korea, Pleasance Courtyard.

A dramatic and moving monologue from Sora Baek, herself a second generation North Korean refugee, who tells the fascinating story of a girl so poor that she offers herself up for sale to raise money for her mother’s medications. It’s a terrifying story of exploitation, and hiding from danger, combined with a substantial element of old-fashioned thrill and quest for survival, as the girl manages to find her way to freedom. Beautifully written and performed; personally, I occasionally found the narrative a little difficult to follow, and there’s also considerable use of the Korean language which (I presume) the vast majority of the audience will not understand. But if ever a production had its heart in the right place, it’s this; and Sora’s character’s story will live in one’s heart and imagination long after the show finishes.

Ascension, Bedlam Theatre.

The story of Leendert Hasenbosch brought to life in Dan Hazelwood’s eloquently written and wonderfully rule breaking version of Hasenbosch’s own diary. Simply staged but with superb use of the stage, Dan Hazelwood completely convinces as the man punished for sodomy by being abandoned on Ascension Island, together with Conor Mainwaring as his one-time lover Andrew, who floats in and out of his reminiscences. Mr Hazelwood has superb clarity of diction which really helps the text stand out. A very moving portrayal, with a few clever nods to today’s culture, underlining how the prejudice that eventually would destroy his life continues three hundred years later. It’s also extraordinary how the original diary was found and rewritten to deter others from living their real lives; literally a case of rewriting the books to suit the contemporary rulebook. Riveting content, terrific theatre!

Love’s a Beach, Pleasance Courtyard.

A fascinating insight into how the lives of ordinary people become distorted once they become victims of their own social media success. Ben and Cyrus are in the final round of a TV reality show and boost their social numbers by scheduling a bizarre range of public appearances, from selling adult nappies to guest appearances at an A Level results party. The prospect of an all-expenses month’s stay at a luxury resort in Dubai is temptation beyond endurance for Cyrus – despite the UAE’s lack of LGBT rights. An enforced split between the couple is announced – but is it for real, or just for convenience, a free holiday, and the clicks? After all, they’re both totally devoted to each other, right? James Akka and Iain Ferrier shine as the couple whose relationship strains under the glare of publicity. A clever story, well written and completely believable, performed with fun and panache.

Stuffed, Pleasance Courtyard.

Ugly Bucket Theatre have created a show about food banks – the increasing necessity for them, the ignorant complaints about their users, and the generosity of those who give their time to staff them or their resources to buy the food that goes into them – which is without question a vital topic for our times. They are essentially a clowning company, and their vibrant movement fills the stage to great effect; there is one scene, set as a TV game show where a contestant has to make choices about where their limited finances will go, which works powerfully well. Using verbatim recordings alongside a modern techno throb, sometimes the vital message of the speech gets lost in the noise; and many of the individual scenes went on far too long for me, accidentally weakening the importance of the content in the process. This is a show conceived and performed with the very best of intentions, but the end product is sadly not for me.

Our Little Secret, Gilded Balloon Patter House.

The hit of last year’s Toronto Fringe, Our Little Secret makes its way to Edinburgh in a blaze of glory. The true story of how 31 year old “only child” Noam Tomaschoff discovered that his parents had not been entirely truthful about the circumstances of his birth; his father was infertile and Noam was born through IVF with donor sperm. Not only that, but there’s a WhatsApp group for all the people he had “artificially-fathered”; 39 at last count. That’s some surprise! Obviously, as a natural song-and-dance man, Noam had no alternative but to create a musical about his story; and with the help of composer Ryan Peters and producer Russell Citron, they have made the extraordinarily beautiful and deeply emotional Our Little Secret. The songs are first rate – the one about how the world is made for brothers had me (not very successfully) holding back the sobs. Noam Tomaschoff is a star in the making, filling each number with the emotions that only the person with the true lived experience could completely convey. At our performance we had the additional delight of being in the presence of not only the composer and producer, but also Noam’s parents! I don’t think there was a dry eye in the house. It was also sold out – so you need to get your skates on to book a ticket!

The Chaos That Has Been and Will No Doubt Return, Summerhall.

Chalk Line Theatre’s new play, Sam Edmunds’ The Chaos That Has Been and Will No Doubt Return, explores the lives of young people in Luton; partying, the challenge of buying alcohol underage, staying over at their mums’ houses, daring to take that first kiss with the most fanciable girl in town. It celebrates the essential decency of working class upbringings, whilst also facing up to the horrors of knife crime and trying to find the links that join the one to the other. It’s a superbly written play, bringing out the best in people, and given three terrific performances by its sensational cast – Olatunji Ayofe, Amaia Naima Aguinaga and Elan Butler – who bring all the fun, friendship and danger of modern urban living to the Summerhall stage. A fully deserved instant standing ovation showed just what a positive and uplifting play this is. If you’re looking for top-quality work by young actors at this Fringe, look no further.

Daliso Chaponda: Feed This Black Man Again, Underbelly Bristo Square.

The ever-reliable Daliso Chaponda returns to the Edinburgh Fringe with Feed This Black Man Again – a nod to the title of his first Fringe show 22 years ago – half his lifetime, amazingly enough! He goes back to his early family life before going to university in Canada; explores the world of AI Dating Apps, and tells us of his father’s unfortunate reputation for trying to ban farting in Malawi. Mr C constantly spins off the audience’s reaction and much of the show is based on interaction between us and him with a range of questions and suggestions that always end in a good laugh. It’s not the most challenging humour, nor does it make you see life from a different perspective, but it’s always extremely good natured and very funny.

Edinburgh Fringe 2024 Reviews – Catafalque, Janie Dee’s Beautiful World Cabaret, Karen, Will Sebag-Montefiore: Will of the People, Kavin Jay: Unsolicited Advice, Amos Gill: Going Down Swinging, House of Life, Heckling Masterclass with Diploma (Ben Clover), and Silence The Musical

Posted on August 4, 2024 by therealchrisparkle

Catafalque, Summerhall.

Every so often a play comes around that stops you dead in your tracks and makes you see life from an angle you’ve never encountered before. Amy Conway writes and performs Catafalque, a stunning play that investigates so many dark problems; starting with the problems a civil celebrant faces when the family of the person whose funeral she’s conducting hold back from telling her anything about their lost loved one. Fern suspects something is being concealed from her, over and above usual bereaved reticence. But when the truth about Martin slowly becomes obvious, Fern’s own issues are triggered – and sometimes you simply have to tell the truth. Amy Conway delivers a superb performance as Fern, but more than that, it’s an extraordinarily beautifully written drama with endless twists and surprises that challenge the audience in so many ways. One of those rare plays where you come out of the auditorium a different person from the one who went in. I couldn’t recommend this more strongly.

Janie Dee’s Beautiful World Cabaret, Pleasance Dome.

It’s not often you can get truly up close and personal to a West End Star, but Janie Dee’s Beautiful World Cabaret gives you that opportunity. A sequence of familiar, and less familiar songs that all take an individual look at the natural world is the thread that unites this show to create a stunning hour of music for the ears and compassion for the planet. Accompanied by two singer/dancers, Sophia Priolo and Josephina Ortiz-Lewis, and the amazing violinist Sarah Harrison and accordionist Igor Outkine, the music just flows over you as you sit there frankly entranced the whole time. My own personal hairs-on-the-back-of my-neck moment came when Janie sang Sondheim’s Another Hundred People whilst Sarah alongside her played a stressed, frantic string arrangement. Every show has a different guest artiste and we couldn’t have been more delighted to welcome Frances Ruffelle singing Piaf’s Je ne regrette rien in both English and French. But the whole show was sensational; cabaret with a message – not preachy, just heartfelt, with amazing music.

Will Sebag-Montefiore: Will of the People, Underbelly Bristo Square.

Will only had two jobs this year – to write an Edinburgh show and get married. The show was all done and dusted earlier in the year until Sunak announced the election; Starmer won, and all poor old Will’s songs and skits went out of date. He hasn’t even written his vows properly yet either, so he spends the whole show planning his wedding, with a member of the audience playing the part of his intended; in the performance we saw, that was, er, me. And I must say he paid court very nicely! Will’s online satire translates deftly to the stage, and – despite his opinions to the contrary – his voices for Starmer and Trump are very impressive! Not every joke lands but it’s still a very good hit rate and Mr S-M is so likeable on stage that he could probably get away with literal murder and it would still be funny. All in all, a very positive Fringe debut!

KAREN, Underbelly Cowgate.

Ah, the office romance! When you’ve been with Joe for four years and you go to Alton Towers for your 30th birthday treat and it’s an odd setting but maybe, just maybe, this is where he’s going to propose…. Or is it KAREN whom he’s fallen for? Dumped halfway through her Calippo, she has no alternative but to try to get her life together; she can pick over the bones of her past love with best friend Stacey, and she can hope that boss Tony might give her that great promotion to New York – but will she just get over it, or will KAREN always be the worst thing that ever happened to her?! A joyously written and energetically performed tale, there’s something for everyone in this blisteringly funny yet also surprisingly sad play. Writer/performer Sarah Cameron-West leads us through her character’s hilarious and memorable journey through heartbreak and beyond. A total delight!

Kavin Jay: Unsolicited Advice, Hoots @ The Apex.

Kavin Jay’s new show Unsolicited Advice takes you back to all those times when your family and friends know much better than you how to deal with your problems. This is a universal issue – Kavin Jay may be from Malaysia but it’s just as prevalent in the UK! Mr Jay cuts a very warm and welcoming figure on stage – and even though we all agreed he has the kind of face where we would lock the car door if he approached you – we didn’t mean to offend him. It’s a fun, fluid hour of very relatable comedy with a Malaysian twist; I loved his idea of how you might spice up your sex life, and his mechanic uncle’s foolproof way of conceiving a child. Lots of laughs, and the kind of stand-up show where you come out feeling good about the world. Thoroughly enjoyable; if Mr Jay is a new name to you, trust me it’s well worth spending an hour of your precious Fringe time in his company.

Amos Gill: Going Down Swinging, Underbelly Bristo Square.

Amos Gill comes on stage, all guns blazing, exploring comic ideas where angels fear to tread. His initial opening gambit – that straight white men have it tough at the moment – is a risky tactic and one which many in an Edinburgh Fringe audience might not warm to – but, fair play to him, although he dangerously teeters on the edge of giving offence, he always manages to steer clear of it, and that’s down to his excellent word-craftsmanship. He has a terrific routine about bringing his racist father to one of his New York comedy gigs, which uses the concept of racism as a creative comedic tool! Not a lot of subtlety but with some very valid comic observations, and a strong, confident, attacking delivery.

House of Life, Underbelly Cowgate.

Do you want to be saved? Not only saved, but reborned, self-esteemed, and purged? All this and much more awaits you at the House of Life, a riotous show featuring the Rave-rend, who leads us through this bizarre ceremony and creates an extraordinary quasi-religious fervour with a few instruments, a TV screen and assistance from his faithful sidekick Trev. A show that doesn’t take itself remotely seriously and gets a huge, active response from the audience who play an essential part in sharing this cult-like, faith-defying hour of sheer joy. All very funny and anarchic, most of the audience ended up on stage at the end singing Spanish lyrics to revive our beloved Rave-rend out of his trance. Unlike anything I’ve ever seen before, and largely defying description; you just have to see it for yourself!

Heckling Masterclass with Diploma – Ben Clover, Laughing Horse at Bar 50.

What is it about Ben Clover that makes him always omit his name from his shows’ titles? This year he hits Edinburgh with his Heckling Masterclass (With Diploma), a thoroughly hilarious idea where he takes his willing (and not so willing) students through the art of delivering top quality heckles – at the right time, to the right person, in the right way and with the right motivation. Anything less is a no-no; transgress, and you might not come away with your diploma (secret: none of us did.) Ben has an unerring knack of relaxing and moulding his audience so that they are absolutely ready for his style of humour; and I can tell you, our audience totally lapped the whole show up. It was a particularly funny moment for me when he realised, with huge relief, that the media tickets issued for this performance hadn’t been snapped up by The Guardian but by Yours Truly. Clearly, I lulled him into a false sense of security so I’m therefore awarding him only four stars because a) it was brilliant but b) I don’t want him to get cocky.

SILENCE!: The Musical, Underbelly Bristo Square.

The Silence of the Lambs is one of those films that got underneath the nation’s skin… and there’s no doubt that SILENCE! The Musical could do the same. What impressed me the most about this show was how well the story and the film lends itself to a musical adaptation, albeit in parody form. SILENCE! takes those lambs very seriously, as they make up the all-singing, all-dancing chorus that binds the show together, a truly ovine ensemble if ever there was one. There are some lovely nods to other Big Musicals – I noted Newsies and A Chorus Line at least – and some hilarious characterisations, and superb musical performances. Some of the lyrics are, perhaps, not for Granny; but then she’s unlikely to be up at 11:15 pm in the Underbelly Cowbarn. Very funny, very musical and totally outrageous!

Edinburgh Fringe 2024 Reviews – Shellshocked, Casting the Runes, Glitch, Gwyneth Goes Skiing, Liam Farrelly: Flipbook, Arturo Brachetti: Solo, Tarot: Shuffle, and 1 Hour of Insane Magic: After Dark

Posted on August 3, 2024 by therealchrisparkle

Shellshocked – An Explosive New Play, Pleasance Courtyard.

Another superb production from the team that brought us Jesus Jane Mother and Me last year. Philip Stokes’ gripping and intense new two-hander brings an artistic but vulnerable young man who has seen the horrors of war into the clutches of a creepily authoritarian older man. The young man seeks employment as the older’s apprentice, and has been sent by his mother to impress the “master craftsman” into giving him a job. But jealousy – both professional and personal, and the drive to create a powerful work of art that will immortalise the artist, coupled with the young man’s PTSD following action in the Second World War, all combine to create a mentally unstable battle of wits which has to be resolved one way or another. Strong performances from Lee Bainbridge as the intimidating and prissy artist Mr Lupine, and Jack Stokes as his wannabe apprentice Wesley, desperate for an income to provide for his poverty-stricken family. Full of plot twists and surprises; the production doesn’t really need the occasional incidental music which slightly distracts from the intensity of the text. Nevertheless, a chilling and truly creepy start to one’s Fringe day!

Casting the Runes, Pleasance Courtyard.

You could hear the proverbial pin drop all the way through this superbly atmospheric and chilling supernatural thriller; an adaptation by Box Tale Soup of M. R. James’ original 1911 short story. Noel Byrne plays Professor Dunning, the smugly confident lecturer who can explain anything supernatural as trickery and deception; and Antonia Christophers plays Rebecca, the sister of John Harrington, who recently died from a freak accident. Desperate to warn Dunning that his life is in danger, she tries to convince him that Karswell, a mysterious man who has been trying to get Dunning to publish his work, was involved in the death of her brother – who had published a review critical of his work. But will he listen? Stunningly acted, and slickly presented, with a beautifully versatile set; and some truly expressive puppets playing the many other roles that weave in and out of the story. A gripping play that never lets the tension subside and has you on the edge of your seat throughout. I was hooked on their every word! Simply magnificent.

Glitch, Assembly George Square.

Edith Alibec acts out her own smartly written monologue about a young woman who attends a school reunion, the starting point for her getting back in touch with old contacts. Over the course of the next hour we learn about her loves, her attempts to earn a living, her friends present and past; and primarily her mother, who has always fascinated our heroine because she wears a false breast due to her mastectomy. It’s a rather sad tale and Ms Alibec tells it with conviction and intensity. She sits on a chair in the centre of the stage for the entire performance apart from a couple of times when she stands – and then sits back down again. I can’t help but think her story could have more impact if the presentation wasn’t so static; and perhaps it’s also a little overlong. Nevertheless, it’s a powerful performance of an eloquent text, and we get to know the heart of the character with great insight and emotion.

Gwyneth Goes Skiing, Pleasance Courtyard.

I don’t keep up to date with the gossip columns so I wasn’t aware of the hoo-ha surrounding Gwyneth Paltrow and her skiing court case, but here’s a way of finding out about it in a slightly less serious manner than reading the newspaper reports. Awkward Productions return to the Fringe after their hugely successful Diana The Untold and Untrue Story last year with Gwyneth Goes Skiing, and, as you might expect, it features snowstorms, snowballs, Alpine squirrels and rabbits and the legendary (well it is now) Deer of Deer Valley. Linus Karp also returns, giving his portrayal of Diana last year a quick adjustment to present Gwyneth Paltrow as the epitome of commercial exploitation and Hollywood shallowness, together with Joseph Martin as Terry Sanderson – not an optician – who bumped into her on the slopes. Literally. As with Diana, the show ropes in a number of audience members to play additional roles, and as always at the Fringe, these moments provide some of the stand out memories of the show. Whilst Gwyneth never reaches the heights of Diana, there are still some very funny scenes and characterisations – even if some of it feels a little repetitive and too long.

Liam Farrelly: Flipbook, The Stand Comedy Club 2.

Liam Farrelly’s new show is primarily about his becoming a father at the age of 21 and how it immediately made him grow from a boy to a man. Let’s face it, he never foresaw having to attend baby ballet lessons in his mid-twenties (let alone taking his daughter there). Fortunately, it’s all a success story, as his flipbook (hence the title of the show) reveals with a finale of happy family images. Liam is a terrifically gifted comedian, cramming loads of material into the show with barely a moment to take a breath; and most of his comic observations land well – you certainly don’t come away feeling short-changed. There are a couple of pauses where he refers to the video screen to play a couple of short animations – these come across as completely unnecessary, as he’s a good enough comedian not to rely on supporting gimmicks. He has the best joke of the Fringe for me so far, as part of his opening sequence about why he doubts that Hogwarts is meant to be based in Scotland – I’m not going to tell you what it is! His sincerity shines through and really helps the act go with a swing. A very enjoyable hour!

Arturo Brachetti: Solo, Pleasance at EICC.

It’s been many years since I last saw Arturo Brachetti, and my memory is that his act was based on his being a quick-change artist beyond compare. But Solo, his new show at the Pleasance in the Edinburgh Conference Centre, is much more than that. Loosely based on a nostalgic trip around his old home, each room reveals a series of TV characters, movie stars and chart toppers that Mr Brachetti brings to life in an extraordinary sequence of costume changes. But it’s also a laser light show, mime, magic and even sand painting, all brought together with his inimitable panache. There’s even a role for his occasionally wandering shadow! A show that’s particularly suitable for children – the majority of whom in our audience sat agog at what was going to happen next. Beautiful, charming, and amazingly skilful.

Tarot: Shuffle, Pleasance Courtyard.

Those three funsters, the Tarot pack are at it again with a new show, Shuffle; in a nutshell, there are various tarot cards on display on stage and each of them represents a sketch, and it’s up to us, the audience, to make the choice of which cards to choose and which to, well, discard. But is it a free choice? And, moreover, does it matter? Adam, Ed and Kath are on terrific form with a variety of sketches, all of which work (and that’s not something you can say about virtually any other sketch show). If you’re not careful, you’ll be singing that dreadfully catchy song at the end of the show all the way home. Always worth seeing during the Fringe – and Shuffle shows them at the top of their game. In the words of Carly Simon, even though they’re taken out of context, nobody does it better.

1 Hour of Insane Magic: After Dark, Gilded Balloon Patter House.

Luke Osey, Elliot Bibby and Cameron Gibson team up to present a late night version of their Insane Magic show, with guest artistes each night. The magic tends to fall into one of two categories, card tricks or mind reading; but both are performed with cheeky good humour and an amazing amount of how did they do that-ness. Don’t think that just because you’re not sitting on an aisle seat that you won’t be called up to help them – there’s a lot of audience participation in this show. And, to be honest, there’s not a lot of additional adult material deployed that might scare Granny – just some good, old-fashioned, perplexing magic – what’s not to like?

Review – Edinburgh Previews with the Comedy Crate: Jacob Nussey and Markus Birdman, Cheyne Walk Club, Northampton, 27th July 2024

Posted on July 28, 2024 by therealchrisparkle

With the Edinburgh Fringe just around the corner, there’s just time to squeeze in two more Preview shows – courtesy of those nice people at the Comedy Crate – before half the comedians in the country up sticks and head North of the Border.

Our first act was Jacob Nussey, whom we last saw a year ago as part of a Comedy Crate night. He’s a gifted comedian, with a wry, authoritative style and a steady, earnest delivery to whom it’s impossible not to warm. He is now shaping up his material about the other places where he has worked – primarily Amazon – into a full Edinburgh show for next year. As a result, this was very much a work in progress set, as he finds a way to link together his ideas into a finished format. It’s an excellent idea, as everyone has some experience of Amazon one way or another, so it’s very relatable and recognisable. Nicely self-deprecating, and full of amusing observations, it’s probably too Early Doors to gauge the show as a whole, but so long as he keeps up those unexpected insights I’m sure he’ll do great.

Our second act was Markus Birdman, a fantastic comedian whom we’ve seen many times before and was, indeed, an early recipient of a Chrisparkle Award back in 2013. Having taken his health problems (two strokes which affected his sight) as the basis of his last Edinburgh show, he’s amplified them and is now concentrating on people’s reactions to his earlier material in his new show, We Are All in the Gutter, but Some of Us Are Looking at the Gutter (the sound you hear is Oscar Wilde turning in his grave) on at the Banshee Labyrinth in Edinburgh from 3^rd to 17^th August (except for those pesky Tuesdays).

I can’t hide the fact that I am an enormous fan of Mr B and every time he brings a new show out, he confirms that my awe of his comedic abilities is fully justified. Even when he’s checking his exercise book to make sure he’s on track (this is still a Preview/Work in Progress) he has such energy and such spiky turns of phrase that you never know what to expect next. From unexpected admissions of racism (joke) to the concept of straight guys giving other straight guys an orally good time because, why not?, Markus Birdman turns the negativity he received following his last show into a powerfully positive new hour of comedy. Taking some inspiration from his religious upbringing and his family life – although not necessarily in the way you’d expect – the show is a plethora of brilliant ideas and superbly spun stories that will be an absolute winner when it hits Edinburgh.

That’s it for the Edinburgh Previews – the real thing starts in a few days. If you’re joining the Exodus to Bonnie Scotland, have a great time – and if you’re not, you can always follow the best (hopefully) of the action by keeping an eye on my reviews!

The Real Chrisparkle

Tag Archives: Edinburgh Fringe