Someone has got to be Counting, TheSpace at Surgeons’ Hall.
Based on a true story, Someone Has Got to be Counting painstakingly follows a laboriously annotated life where every aspect of one’s day is counted and written down (in a coded shorthand) in an exercise book. As someone who uses Excel probably more than I should, at first I could see the appeal of doing something like this; but it doesn’t take long for the downsides of this lifestyle choice to become apparent. What particularly comes over is how the obsession completely imprisons the person doing the counting. They are never free from their grid of numbers, crosses, dashes and squiggles; miss a day, or do it in the morning not the evening (or vice versa) and it completely blows their mind. Lisa Vetta gives a compelling and meticulous performance, and the production is enhanced by a superb soundtrack by Lai Power that truly adds to the nightmarish pressure of the obsession.
Joby Mageean: Titty Icarus, PBH’s Free Fringe at Whistlebinkies.
Joby Mageean is back at the Fringe after five years with a one-off work in progress show, Titty Icarus, in preparation for a proper Fringe Blitz next year. Joby has a wonderfully relaxed, communicative and warm-hearted style and tells his stories with terrific fluidity and naturalness. He has some great new ideas here for a show, including how easy it was to become a father, some unusual parenting awards, and how skinny dipping is easier for two. There are also some more serious – and completely unpredictable – observations about his mum. When the show is fully worked up for next year I’m sure it will be a winner; in any event, Joby is just one of those comedians you never tire of listening to, as those comedy nuggets keep on coming.
Di(n)e, TheSpace on The Mile.
Slumped on the floor, Noah wakes up to discover his old girlfriend knocking at his door. Then his brother; then his father. They all bring food. Sounds cosy, doesn’t it? Just one thing, however; his girlfriend, brother and father are all dead. So is Noah too? Awkward introductions and reconciliations follow; as does the arrival of a takeaway delivery guy. But who orders a takeaway if they mean to kill themself? Connor Rock’s Di(n)e is an unexpectedly heartwarming and positive play that examines love and relationships, regrets and hope; and Invisible Strings’ engrossing and entertaining production is smartly acted and mines all the humour present in this unusual and provocative situation. Very enjoyable!
Weather Girl, Summerhall.
Stacey reports live from a Californian wildfire; it’s hot enough for her make-up to run, but it could have been worse – she could have been living in the household where everyone died because they assumed it was all a government hoax. Back in the studio, she’s a professional who can skip from pointing out 102 degrees in Bakersfield to introducing the cookery segment – so much so that her bosses promote her to a new job based in Phoenix. Phoenix! The driest place in the country! An awful date with a man whose name she can’t remember, her secret stash of prosecco rumbled, and a night on the town with her homeless mother all contribute to a nightmare scenario where the temperatures just get hotter, but life somehow has to go on. Brian Watkins’ gripping yet hilarious play treads the balance of looking climate change head on whilst recognising all those excuses to pretend it doesn’t exist. A stunning performance by Julia McDermott holds our attention from the first to the last moment, spanning every conceivable emotion under the (incredibly hot) sun. Very effective lighting and staging help bring this important story to life. You’ll be tingling all over from both the pleasure of the performance and the pain of its message.
The Bookies, Summerhall.
If Joe Orton was Scottish and currently writing for the Edinburgh Fringe, I reckon he’d come up with The Bookies, the hilarious story of Pat, an aggressive bookmakers’ shop manager, his compliant assistant John, his ruthless area manager Michelle, and ex-mountaineer client Harry, who’s addicted to the roulette machine. Pat is expecting Michelle to give him the employee of the year award (together with its all-important £5000 prize) – instead she has other, less beneficial plans for him. But Michelle has also let things slide, including not instructing the shop safe to be repaired. With everyone feeling hard done by, thoughts turn to revenge and theft. But by whom, and will they get away with it? Alongside the humorous plot and strong characterisations, the play also demonstrates how work-placed banter can easily trip into bullying and racism. Brilliant acting, a hilarious and inventive script and some no-holds-barred comic stage combat; I loved every minute of it.