ELVIS DIED OF BURGERS, Summerhall.

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

An Interrogation, Summerhall.

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

Showgirls and Spies, Pleasance Dome.

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

Public – The Musical, Pleasance Courtyard.

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

Bill’s 44th, Underbelly Cowgate.

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

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

Here’s the schedule for 5th August:

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

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

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

13.10 – An Interrogation, Summerhall.

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

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

15.00 – Showgirls and Spies, Pleasance Dome.

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

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

18.30 – Public – The Musical, Pleasance Courtyard.

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

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

20.35 – Bill’s 44th, Underbelly Cowgate.

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

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

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