When Vincent Met John, TheSpace at Niddry Street.
An imaginary meeting between Vincent van Gogh and John Lennon, when both are at a crisis point in their lives and careers, leads to a fascinating debate about the nature, value and definition of art. Lennon, of course, has the advantage of knowing who van Gogh is (or was) but van Gogh, obviously ignorant of Lennon, cannot comprehend how someone like him could have what might be considered to be artistic ability. Today, we would consider both to be among the finest exponents of their art in their own time; but is one better than the other, or do different eras simply favour different styles? Can one person influence another and help them to see a useful way forward, or are they condemned to continue, blinkered, along their own, private path? Murray Andrews and Nick Wilkes deliver intense, convincing performances – they are exactly how we remember Lennon and imagine how van Gogh would sound and behave; and Mr Wilkes’ eloquent text is crammed with thoughtful and thought-provoking ideas and observations that make you continue to think about it long after it’s over.
Crime and Punishment, TheSpace on The Mile.
Talking Shadows bring their adaptation of Dostoevsky’s Crime and Punishment as a smartly condensed 45-minute play, featuring a talented ensemble of young actors. The tormented Raskolnikov stalks the stage while the rest of the cast ominously sit side by side at the back of the stage, watching, waiting, and reciting in unison (which they perform with chilling accuracy), providing voices in Raskolnikov’s head and adding to his nightmare. The relatively large cast adapt to the small acting space, without compromising on the fluidity and foreboding of their movement. A gripping retelling of this dark story with some excellent performances!
Michael Porter: Love and Brain Damage, Just the Tonic Nucleus.
Michael Porter’s new show, Love and Brain Damage, gets its unusual name from an unusual event in Michael’s own childhood. As a boy, a freak car accident left him with a frontal lobe brain injury which actually caused him to die three times before miraculously being nursed back to life over six weeks. Unsurprisingly, this has had a profound effect on him; on his voice, on his emotions, on his ability to communicate, and on his confidence. His comic delivery has an unrestrained, powerful quality, full of attack, and combined with his (self-confessed) aggressive Northern Ireland accent, let’s just say that nobody sleeps when Michael Porter is talking! Much of this show is about how that incident has affected him, but there’s also loads of great material about relocating to Scotland, his tough upbringing, and the joys of living in a town called… err… Muff. Full of energy and sincerity, the innate kindness and vulnerability that lurks under his gruff exterior shines through and makes for a rewarding, educational and, indeed, very funny hour.
Galahad Takes a Bath, Zoo Southside.
From Thomas Malory, through Alfred, Lord Tennyson to Lerner and Loewe and Monty Python, the Court of King Arthur has inspired literature, music and humour. The latest take on Camelot is Juggler’s Mistake’s Galahad Takes a Bath, starring Forest Malley as the eponymous knight, fresh in from a day’s knighting, and in desperate need of a bath – after all, it’s vital to maintain the clean purity that’s his brand – but first, he’ll take some questions, press conference style. Yes, he has a slightly unorthodox relationship with Lancelot, and no, he can’t give any further updates on the progress to find the Grail, other than what’s already been officially released. But when you dig down into Galahad the man, can anyone truly be that pure and untainted? Written with punchy spark by Jojo Jones, the play’s honesty and sincerity paint a picture of a wonderfully modern and recognisable Galahad, both brilliantly funny and surprisingly tragic. A hilarious, unpredictable, epoch-bending show, with a superb performance by Forest Malley, who invests Galahad with an unexpected, but completely believable personality. One of the best performances in this year’s Fringe.
1 Moment in Time, TheSpace at Surgeons’ Hall.
Sean Alexander, the Confusionist, asks us to consider one moment in time, and it’s a theme he weaves into the whole hour, including some truly extraordinary tricks and feats. Without giving any games away, there’s a trick that involves us all doing an elaborate sum on the calculators on our phones that has an amazing end result; there are other amazing tricks that involve a wedding ring and a message in a balloon, and my favourite, a deceptively simple trick which involves the synchronicity of two packs of cards shuffled separately. Mr Alexander presents the show with warmth, heart, and a sensitivity for the emotions that the show releases, and you’ll come away from it with a sense of awe and bafflement. Astounding!
I Did Something I Shouldn’t Have, TheSpace on The Mile.
Family secrets, eh? Every family has them; most don’t let them get quite this out of hand. Estranged from their father, and with their mother dead, three brothers grow up together as best they can under the care of the oldest, Harrison. Middle brother Will suffers badly from the effects of being abused by his father; and youngest brother Sean wants to know more about this father that no one ever talks about. After all, he’s sixteen now, and needs to understand his own identity. Vince, the father, is a complete monster of a man, and they’re all better off without him. But when Sean’s curiosity gets the better of him, he starts a chain of events that they would all come to regret. Paul-James Green’s ambitious play tells a fascinating and engrossing story that keeps the audience locked in and engaged throughout, although, to be fair, there are a couple of aspects to the plot that lack credibility. There’s a particularly strong performance by Gary Simpson as Vince – a genuinely threatening and evil presence on stage, and there is also some extremely impressive stage combat – especially involving Mr Simpson and Richard Michell as Will. If you’re looking for a happy ending – look no further! It’s not exactly a pleasant play, but it does expose a few family home truths.