Brighton Fringe people answer the ThreeWeeks Q&A quick quiz. Today, Ross Gurney-Randall, one of the writers of 'Follow Me' which opened at Komedia this evening. Plug your show in the eDaily by simply sending in your answers to these five questions (plus a photo and listings info) to quickquiz@threeweeks.co.uk

The latest Brighton Festival and Fringe reviews from Team ThreeWeeks. Look out for more ThreeWeeks reviews here in the eDaily and every morning in The Argus each day in May. Hurrah.

A Guide To ThreeWeeks Ratings:
1/5 - somewhere around about God-darn awful, though possibly it's so bad it's good.
2/5 - just not any good really, sorry.
3/5 - good for what it is - if you like this genre, probably worth a try
4/5 - now, this is what we are talking about, a fine example of this genre
5/5 - oh Lord, so damn good, whatever the genre, go see this show if you can

COMEDY

The Cabinet of Curiosities
The Two Wrongies
Limbs are flying all over the place as the Two Wrongies kick-start their show with a chaotically choreographed dance extravaganza. Through a weird mix of physical theatre, comedy, a lot of naked flesh and general tomfoolery the double-act challenge the ways of conformity. Their reenactment of an air-sex competition might not gain them any points for political correctness and the inclusion of a story which almost manages to make you feel sorry for Phil Collins is a controversial move, but somehow it all works beautifully. It is hard to put your finger on exactly what it is that makes this show so hysterically funny, but let us just say that this evening, at least, two wrongies did make a right.  
The Nightingale Theatre, 14-15 May, 7:30pm, £8.50 (£6.50), fringe pp48.
tw rating 4/5
[jn]

Le Cirque De Improv
Off The Cuff Comedy Collective
Parky can only dream of interviewing God, and a volcano just about to erupt, but Off The Cuff managed it in the space of one short improv game. Many other great characters were brought to life by the eclectic group - the mysterious Dr Pool, the band Death Balls and a carp all made several appearances during the gig, giving it a vague continuity that raised it above a mere collection of sketches, something even written sketch comedy often fails to achieve. A hoe-down recounting in song the travails of the evening perfectly rounded it all off. This a smart bunch of impudent improvisers who create refreshing comedy out of thin air and make it look like it's the easiest thing in the world.
Hare & Hounds, 3, 9, 16, 23-25 May, 8:00pm, £5.00 (£4.00), fringe pp18.
tw rating 4/5
[se]

Bite-Sized! Improvised! Televised!
Rob Broderick & Padraig Hyland
Superman flies onto the top of a building to find a beautiful woman sipping tea. Gallantly, he approaches her, and says, "Dear lady... my rectum is sore". Of course, it's not really Superman, it's Rob Broderick and Padraig Hyland doing live voice-overs in front of a projector showing a clip of Superman with no sound. Asking the audience for the content of the next clip, the duo depended perhaps a little too much on the audience for material. The hour-long performance cannot be denied credit for innovation, however – the idea is a good one, and Broderick and Hyland are talented; alas, the crowded Heist and poor-quality clips led to some improvisational mishaps, keeping the show from being truly successful.
Heist, 3 – 18, 20 - 26 May, 6:00pm (7:00pm), Free, festival pp16.
tw rating 3/5
[cp]

MUSIC

The Magic Hand
Sytse Buwalda and Stephen John Kalinich
Featuring the former Beach Boys lyricist Stephen John Kalinich and the Dutch counter-tenor Sytse Buwalda, the 'Magic Hand' certainly has the 'unique' box ticked. First meeting at an art exhibition at Drakes Hotel (Brighton) last year, both performers fell in love with the piece of art 'The Magic Hand' by local artist Julie-Anne Gilbert and were inspired to create this inimitable piece. The setting of the spiritually liberal Unitarian Church definitely aided the performance, but the strong religious imagery evoked by the poetry, and the high pitch warbling of Buwalda, may be too much for some spectators.  However, it is precisely these avant-garde, strikingly different performances that make the Fringe what it is; a definite must-see for the more open minded Fringe connoisseur.
Brighton Unitarian Church, 14 and 16 May, times vary, £10:00 (£8:00); British Engineerium, 24-26 May, times vary, £12:00 (£10:00), Fringe pp37
tw rating  3/5
[sfw]

Mandolin Orchestra Concert
The Fretful Federation Mandolin Orchestra
One's first impression on seeing the Fretful Federation Mandolin Orchestra is the diversity of the instrument's range – close your eyes and it could be a full orchestral string section. Performing a mixture of classical and contemporary pieces, the group are ably led by founder Ian Harris, who conducts, plays solo pieces, and plays the saw for one piece, and his skill is evident throughout. The material, perhaps limited by the instruments, emphasises Baroque composers, leading to a degree of repetition. However, the award winning 'Song Of Japanese Autumn' rekindles interest, and is the standout track of the show. It's amazing the dedication and work this community choir have put into their music, however a keen dedication to the mandolins is needed to ensure the audience's enjoyment.
St George's Church, 13 May 8pm, £8 (£6), fringe pp35.
tw rating 3/5
[sb]

THEATRE

Sleeping Rough: A Duo of Duologues
Jacaranda Theatre
How could the description of two duologues depicting dialogues between the homeless not instantly recall 'Godot'? The latter duologue absolutely supports this connection, being a nihilistic piece of verbally raw exchanges and peculiar tales between the chaotic itinerants. Yet the first is a contrasting surprise: literal, aggressive and acutely observed, it is a witness to realism, smartly countering the more abstracted dialogue of the latter piece. Clenched and weary movements characterize each tableau, an endless fidgeting until the next hit and a resistance to meeting eyes. As testament to their abrasive and solitary quality, these portrayals are grating to watch, confronting a horrible situation in a starkly staged and barely lit space. For the very same reason as it's being laudable, it is an extremely harrowing viewing experience.
Upstairs at Three and Ten, 24 - 25 Aug, 3:00pm, £9.00 (£7.00), Fringe pp44
tw rating 4/5
[kc]

Having A Room Of One's Own
Varndean Studio Theatre Company / Otherplace Productions
Disconcerting the audience with their seating arrangements gave an irregular beginning to these two short pieces separated by an interlude. The first was a jolly romp set in 1980s Brighton with the themes of auras, materialistic values and love running through it. As the farce unfolded the five characters intermittently lip-synched to some well chosen 80's tracks and delivered some comedy moments. The acting wasn't great and the script was simplistic, but it was enough to make me laugh out loud. The second half introduced a different set of actors for a similarly jolly whodunit, that reminded me of Cluedo (was that deliberate?) and felt very much like a sixth form play.  That said, the actors were all so jolly that it was fun to watch and there was some obvious talent from many of those that took part.
Upstairs at Three and Ten, 13, 14 May, 6:45 pm, £6.00 (£5.00), Fringe pp41.
tw rating 3/5
[sa]

ThreeWeeks Reviewers Guide...
Sarah Agnew [sla], Steve Bromley [sb], Kate Charles [kc], Seth Ewin [se], Sean Farrance-White [sfw], Joel Gunter [jg], Jess Hookway [jh], Jessica Nero [jn], Laura Oliver [lo], Clearhos Papanicolaou [cp], Anna Pearce [ap], Richard Tatnall [rt].

ThreeWeeks is the flagship media at the Edinburgh and Brighton Festivals. Its mission is to provide as comprehensive coverage as is humanly possible of both these festivals, in particular reviewing those shows not getting media coverage elsewhere.

We launched ThreeWeeks in Edinburgh in 1996 because at that time the Edinburgh Festival was growingly hugely each year, but at the same time media coverage was, if anything, decreasing. That meant that many strands at the Festival - and especially the new, alternative and grassroots performers and companies which, as far as we could see, were what made the Edinburgh Festival so exciting in the first place - were not getting the coverage they deserved. From year one ThreeWeeks aimed to cover as many aspects of the Festival as possible, from the big names at the big venues through to the real grass roots shows not covered elsewhere. Over a decade later we continue to operate to that ethos, getting even closer to achieving it by reviewing over 1500 shows each Edinburgh Festival - nearly all of them - and hundreds more than our closest competitors.

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