FRINGE BOX OFFICE UPDATE
So, how about an update on the box office situation at the Edinburgh Festival Fringe? That sounds like fun. As you will probably have heard or read, the Fringe Society, who operate the central box office for the Fringe Festival, have introduced a new ticketing system this year and it has, to put it lightly, been experiencing some technical problems.

The Fringe's central box office is selling tickets for most shows - online, on the phone and at the Fringe office on the High Street - but they are still experiencing delays, and they recommend you buy tickets directly from a venue where you can (and, in fact, for some venues you will have to).

Some venues operate their own online box offices via their own websites, or can take pre-orders or reservations over the phone. Or you can, of course, go along to the venue and buy tickets over the counter. Do note, that some Fringe venues were originally planning on using the Fringe's new system to power their own box offices but had to switch at the last minute as a result of the technical problems. As a result of which they too may be experiencing delays in processing tickets.

People who have already bought tickets via the Fringe Society's website or call centre and need to collect them can still do so from the Fringe's box office on the High Street or the E-ticket Tent on Princes Street, though if they are for later in the Festival it's recommended you leave it closer to the show date by which time the backlog and delays may be less. The exception to that is tickets for the Queens Hall, Brunton Theatre, Meadows Theatre, Festival Theatre and Playhouse Theatre, which should all be collected from the venue. In addition to that, tickets ordered after 6pm on 28 July for shows at any of the Assembly, Gilded Balloon, Pleasance or Underbelly venues, and George Square Theatre, must also be collected from the venue.

Which hopefully all makes sense! Press and promoters out there in eDaily-land should also note the box office problem has affected the Fringe Society press office who are having to book press tickets via venues rather than their central system - so they too are experiencing delays. None of this, of course, effects the other festivals (eg International Festival, Book Festival).

Quite what the fall out of all this will be in the Fringe Community remains to be seen. There are a lot of angry producers and promoters and venue managers out there, though most people have been far too busy to get angry with anyone in particular so far. A lot will probably depend on whether people feel ticket sales have suffered because of the chaos. Meanwhile, how the Fringe Society will manage to pay for all the extra resources it has had to pull in to battle the backlog also remains to be seen. But the show, of course, must go on - the consensus seems to be that now is the time for selling as many tickets as possible; late August will be the time to consider why ticket selling proved to be quite so tricky this time round.

Any further updates on ticketing are sure to be posted on www.edfringe.com. We will also include updates in the eDaily as we get them.

Answering the ThreeWeeks Quick Quiz today... Richard Herring

QU1: What is your 2008 show all about? It's about me looking back at my childhood to try and determine whether being the headmaster's son has had a detrimental effect on me as an adult and whether I can blame it for my psychological weaknesses. It's about nature versus nurture and is thus like Shakespeare but with more jokes about wanking. Or should that be better jokes about wanking? QU2: Why should we come and see it? You should come if you want to. Other comedy shows are available.

QU4: What are you most looking forward to about this year's Festival?
I am looking forward to doing the show. The previews have been going better than for any show I've ever done and I think this could be a really enjoyable year. That and having my annual cheese and mango chutney baked potato at the Tempting Tattie.

QU5: What are you least looking forward to about this year's Festival?
I haven't been drinking much this year and am dreading the hangovers that I might be experiencing. But I'm going to try to be good, so if you see me downing shots in a bar at any point, take the glass out of my hand and send me home.

QU6: What advice would you have for someone trying to navigate the Fringe?
Walk softly and carry a big umbrella.

QU7: What advice would you have for someone trying to survive the Fringe?
As long as you breathe oxygen, drink liquid and ingest some food you should get through it OK. Very few people have ever literally died here. Though the streets are haunted by the ghosts of terrible perfomances. And I have contributed to my fair share of those particular ghouls.

QU8: Describe your show in three words
The Headmaster's Son.

The Headmaster's Son, Underbelly, 31 Jul - 24 Aug (not 20), 7.30pm (8.30pm), prices vary, fpp91.

Here they are, the first full batch of Edinburgh Festival Fringe reviews for 2008 - some of which also appeared in edition 01 of the printed ThreeWeeks Daily on Saturday. Remember only a selection of our reviews appear in the printed Daily, they all appear here in the eDaily. Enjoy...

ThreeWeeks Ratings Explained
1/5: Bad
2/5: Mediocre
3/5: Good
4/5: Very good
5/5: Excellent

CHILDREN'S SHOWS

The Little Mermaid
C theatre
A far cry from the saccharine sweetness of the Disney cartoon, this version of The Little Mermaid is much closer to Hans Christian Andersen's original tale, complete with the heartbreaking finale. An enchanting fusion of acting and storytelling – with just a dash of sword fighting and shadow puppetry – this is an enthralling performance for children and adults alike. The tragic ending does seem a little abrupt, but given that the youngest members of the audience were a little restless after fifty minutes, this was no major crime. While suitable for children aged four and over, I wouldn't recommend it for those under the age of six or seven as younger children may not enjoy the amount of narration in the production.
C, 30 Jul – 25 Aug, 11.20am (12.10pm), prices vary, fpp 16.
tw rating 3/5
[al]

How Does The Kanga-Roo?
Rubber Duck Theatre
In theory, this show has everything that a kid’s show should have – singing, storytelling, a mix of bright costumes and engaging scenery, but somehow Rubber Duck Theatre just don’t manage to pull it off.  It was clear that this show was under-rehearsed, the cast seemingly unsure of their song lyrics, which inevitably led to an unconfident performance lacking in energy, and an audience of cringing spectators. It’s not all bad, however; these performers are clearly better actors than they are singers and they bring moments of fun to their telling of the story of Bruce the Kangaroo.  Engaging puppets are also imaginatively used and they bring a fairytale feel to the performance, but as the show stands it is an unpolished muddle of musical mess.
C, 30 Jul – 25 Aug, 10.00am (10.45am), prices vary, fpp 14.
tw rating 2/5
[kc]

COMEDY

The Boom Jennies: Shindig
The Boom Jennies
If you have ever wanted to be privy to a musical conflict between three out of four Beatles, or wondered exactly what it is that squirrels bicker about when no-one's listening, then look no further.  The Boom Jennies have the answers, and delightfully fuse girlish charisma with an often biting wit as they proceed snappily through their quick-fire sketch show.  Switching between finding the awkwardness in middle-class day-to-day predicaments and more bizarre situations with pleasantly surreal punchlines, the show is frequently laugh-aloud funny in its irreverence.  The troupe themselves are infectiously energetic and on the ball, which makes for bubbly, naughty, engaging fun.  Three girls, one stage, an enormous capacity for wit: a great show.
C Soco, 30 Jul-25 Aug (not 11), 7.40pm (8.35pm), prices vary, fpp 35.
tw rating 4/5
[ks]

Tom Wrigglesworth: I'm Struggling To See How That's Helping
CKP By Arrangement With Comedy Store Management
Yorkshire humour is distinctive in its understatement. It is familiar and comforting, grumbling rather than harsh, and transcends age and gender. Tom Wrigglesworth's show is a product of his Yorkshire roots, taking inspiration from his family and everyday life. His main premise is that there are plenty of concepts introduced as solutions to problems that, in fact, make the original issue worse. He offers his own alternative and at times terribly imaginative solutions, drawing quirky conclusions from mundane situations. This is easy-going, gentle comedy, as is evidenced by the guitar strumming as the audience enter, and Wrigglesworth's tendency to self-deprecation. His anecdotal style is enjoyable and, when his observations are clever or recognisable, it is very funny. Unfortunately at other times his performance can be underwhelming.
Pleasance Courtyard, 30 Jul - 25 Aug (not 12 Aug), 6.00pm (7.00pm), prices vary, fpp 106.
tw rating 3/5
[gm]

Wittank: Sexy Pudding
WitTank
Not all bites of 'Sexy Pudding' are deliciously funny, and only some are flavoursome. Yet this sketch show does contain the right ingredients: an endearing cast, a sense of both verbal and visual humour, and enough unexpected punch lines to display the company’s comic intellect. Unfortunately, WitTank inconsistently combines these ingredients, and the writing outstrips the delivery. The script’s wit shows up weaknesses in performance, and thus the climax of some scenes leave one unsatisfied. While little details of sketches are impressive, their overall schemes aren’t rich enough. I admire 'Sexy Pudding' for its unclichéd approach to its subject matter - be it the London Olympics, gap year students, or the Princess Diana phenomenon - but the lingering taste was only pleasant.
C soco, 30 Jul – 25 Aug (not 11), 6.05pm (7.05pm), prices vary, fpp110.
tw rating 3/5
[dp]

Zoe Lyons – Mangled Mantra Of The Messed Up Modern Mind
Zoe Lyons
After a patchy start, with as many jokes misfiring as hitting the mark, it took Zoe Lyons a while to get into her routine, as she struggled to find a consistent tone to bind together what were in truth a bunch of vaguely related anecdotes. The laughs were sporadic and there was a look of panic in this performer’s (infected) eyes. However, both the moment when she gently, yet firmly put down a drunken heckler, and her heart-stoppingly funny rant on the birth of bitterness helped her to win the audience over completely. This is not the best stand up show you will ever see, but it is clever, funny, observational comedy with its heart in the right place. Mostly.
Pleasance Courtyard, 30 Jul – 25 Aug (not 6, 13), 7.00pm (8.00pm), prices vary, fpp 111.
tw rating 3/5
[al]

DANCE AND PHYSICAL THEATRE

Nycht-Hemeron
Outside In Theatre
It's pretty well known that dancing in unison has to be flawlessly timed in order to be truly breathtaking, and in this case it just... wasn't, which is a pressing issue when synchronisation is meant to provide the backbone of your performance. This physical theatre production aimed to track the passage of man from dusk to dawn, the highlight being the clever use of torches to simulate stars in the night's sky. The performers were, without a doubt, talented young women, and there were moments that were almost beautiful on this stop-start journey, but they were few and far between. Add to this some bizarre voice-overs and an accompanying soundtrack that felt more Yamaha than Beethoven, and the result is a little lacklustre.
C, 30 July - 25 Aug, 10.00am (11.00am), prices vary, fpp119.
tw rating 2/5
[lk]

EVENTS

A Night At The Movies
Gallimaufry & Greene
In theory, dance interpretations of famous films, set to the music from those films, could have gone very wrong. In practise, however, it was really very good. The performance was a series of dances which merged together, and also used video projected onto a wall, a useful signpost to what was coming next. It is not necessary to know the stories of the films involved; each dance was so good that it explained itself. There were three dances which stood out as particularly moving – ‘Sophie’s Choice’, ‘The Red Shoes’ and ‘All Quiet on the Western Front’. A larger stage would have done justice to this performance, and it is one which is unusual, but works brilliantly.
C, 30 Jul - 25 Aug (not 11), 7.15pm (8.05pm), prices vary, fpp 118.
tw rating 4/5
[fa]

MUSIC

The Rat Pack – Live
Hartshorn-Hook Productions
Sharp suits, bow ties, whiskey and swing greet you on a night peppered with classics from Sammy, Dean, and old Blue Eyes himself. Add the back up of kicking brass and super-tight rhythm sections, and you should be onto a guaranteed winner. Almost, but not quite. Manchester based Hartshorn-Hook Productions give us all the classics from 'My Way' to 'Mack the Knife', but the intermittent quality of delivery keeps the roof squarely attached to the walls and whilst the three frontmen's vocals are strong and believable, the banter between numbers comes off as contrived. They make up for it all though, with an outstanding version of 'One for the Road'; a valiant effort, Frank would be proud.
C, 30 Jul – 25 Aug, 9.55pm (10.50pm), prices vary, fpp 161.
tw rating 3/5
[nb]

MUSICALS AND OPERA

Assassins
Through The Window Theatre
Get your finger on the trigger for 'Assassins', a musical that tells the story of nine individuals who’ve taken a pop at a president. Stephen Sondheim’s exploration of what drove these trigger-happy misfits – obsessive love, glory, mixed-up morality or just stomach pains – was performed with great enthusiasm, and while there were occasional problems with clarity and patchy American accents, actors handled the shifts between humour and poignancy with ease. Performances were mostly solid, whilst one actor was scene-stealing as Charlie Manson’s disciple ‘Squeaky’, with a wide-eyed, twisted energy that was genuinely unnerving. A dipping pace was revived by a confident James Clark as assassin ringleader Booth, who ensured the production went out with a bang.
C Venue, 30 – 31 Jul, 1 – 16 Aug, 7.55pm (8.35pm), prices vary, fpp 168.
tw rating 3/5
[hw]

Edges
Nimbus Theatre
STDs, Subway coupons and 'Sex and the City' are just some of the passing references in this smart modern musical. From a slightly schmaltzy opener, 'Edges' quickly moves into a series of fresh and funny songs which loosely follow four twenty-somethings trying to grow up. A sarcastic, perceptive humour invigorates numbers on Facebook addiction, gay boyfriends and wishing death by dysentery on an ex. However, the funnier material is so effervescent it makes more serious moments seem like a bore, and the attempt to get self-helpy in the last song felt like a bad note to end on. Ultimately, though, the performances were polished and professional enough to make this a slick and sassy show.
C, 30 Jul - 25 Aug, 10.30pm (11.30pm), prices vary, fpp 170.
tw rating 3/5
[hw]

Kiss Of The Spider Woman
Eltham College
More radical than Cabaret, this Kander and Ebb musical charts the relationship between a tough revolutionary and a flamboyant window dresser in a South American prison. Visually the versatile barred set and choreography were a great match and the spider woman looked nearly as beautiful as she sounded, whilst of the chorus, Will Sutcliffe shone vocally and physically as a convincing convict. The odd-couple dynamic, however, rather failed as, while David Burnett touchingly portrayed homosexual Molina, Will Vander Gucht as Valentin was wholly unsuited to the role of a  headstrong Marxist, portraying him with all the zeal of a damp bath mat. The surprise of the couple finally hooking up was somewhat undermined by the fact that Valentin never seemed a particularly credible hetero.
C, 30 Jul - 7 Aug, 11.40pm (1.10am), prices vary, fpp 174.
tw rating 3/5
[se]

Yo! Chunhyang – A Pansori Musical Of Chunhyang
Handong Global University
‘Yo! Chunhyang’ is confusing; it’s the story of a betrothed girl who refuses the advances of an evil lord, and yet, for such a simple story, it is surprisingly hard to follow.  The problem is that this show has tried to pack in far too many forms without considering how they will gel together: traditional Korean music alongside Western pop, naturalistic acting alongside physical theatre and dance. The English lyrics that I could make out were rather facile, while the Korean pansori music felt out of place. It does find its feet occasionally – one scene featuring a chorus of twisted, doll-like concubines works beautifully, but most of the show is sadly disjointed and without a real sense of purpose.
C, 30 Jul – 25 Aug, 5.45pm (7.00pm), prices vary, fpp 179.
tw rating 2/5
[jwm]

THEATRE

After Liverpool
Quick Thrill Productions
What do you talk about when there’s nothing left to say? An ensemble of six versatile actors seamlessly switched partners to depict a series of couples struggling to communicate with words and bodies. They captured the humour of cyclical bickering with flair, as well as the darker note of lingering doubt as to whether we ever truly know someone. There were moments of laugh-out loud comedy and of powerful intensity, especially in the monologues, but as a collection of scenes this play doesn’t allow for a huge amount of development, which led me to share the characters’ frustration that something wasn’t quite getting through. I felt the actors had even more to give, though, and that the show will develop well over its run.
C soco, 30 Jul – 25 Aug, 6.25pm (7.15pm), prices vary, fpp 180.
tw rating 3/5
[lr]

Answers
NUTS
Four aides to an MP with alleged BNP affiliations debate how to deal with this potentially government-destroying situation. ‘Answers’ is an ambitious piece of theatre which explores political corruption, freedom of speech, and civil liberties, depicts party in-fighting and sleaze,  and exposes the hypocrisies of contemporary British politics. Apparently democracy isn't always about getting what you want – well, there goes my belief system! Unfortunately, this complex piece is let down by the fact that some of its actors fail to deliver the required depth needed to remain faithful to the narrative. Interestingly, the show poses more questions than it answers - this isn't a bad thing, but if only for trade descriptions, they should think about changing the title.
C soco, 30 Jul – 25 Aug (not 11), 1.45pm (2.35pm), prices vary, fpp 183.
tw rating 3/5
[rsj]

Lucidity
King’s Players
Take a failed suicide attempt, a private rehabilitation clinic, mix it with insanity and you have ‘Lucidity’,  a very dark play performed by a talented young cast who maintained focus and professionalism throughout.  Slick scene changes and surreal music ensured the smooth running of the performance and maintained the intensity of the play’s focus; it rather involved the audience in the madness. Plays of this nature are often pretty heavy going and this was no exception, with violent, gut-wrenching scenes leaving you squirming in your chair. The acting was sincere but there were moments of over-dramatisation which took away the poignancy of a scene and left the audience peppered with saliva.
C soco, 30 Jul – 16 Aug, 12.15pm (1.15pm), prices vary, fpp 213.
tw rating  3/5
[kc]

One On One & Working Saturdays
Lincoln School of Performing Arts
Grab yourself a vindaloo and crack open a beer - this is theatre with a massive kick of testosterone. ‘Working Saturdays’ is a hilarious exchange between two bored factory workers and their obsession with a mysterious box, and feels like a sharp and witty homage to Pinter’s ‘The Dumb Waiter'. A much darker piece follows: ‘One On One’ is an emotionally disturbing drama where a father viciously interrogates a man he believes has raped his daughter, and features some truly harrowing performances. Both scripts have a tendency to be slightly repetitive, but if you like a strong plot that hits you where it hurts, this play will not disappoint. An excellent start for the company’s first year at the Fringe. More, please!
C soco 30 Jul – 25 Aug (not 11), 16.15, £9.50 (£8.50) fpp 221
tw rating 4/5
[je]

Old Girls
Pistolwit Productions
‘Old Girls’ is, roughly, exactly what it says on the tin. It’s a slice of enjoyable and frivolous farce with a script that tries really very hard to be 'Sex And The City' with a very British farcical edge, but never seems to quite possess the wit to pull it off. Whilst the performances are good, if somewhat overdone, the depth which the show always seems to promise never quite arrives. For all that, this is a funny show, and well worth a punt if you're looking for something frivolous to while away the Fringe. The trouble is, with all the talk of “darkly comic maelstroms of violence and revenge”, I was hoping for something with just a little more bite.
C soco, 30 Jul – 25 Aug, 3.40pm (4.30pm), prices vary, fpp 220.
tw rating 3/5
[rj]

Volpone
Hand To Mouth Theatre Company
Greed, deception and parasites - Ben Jonson’s satirical comedy should, in the right hands, have the qualities for great theatre. Unfortunately, this production is an incomprehensible farce. The protagonist, Volpone, missing the complexity for an obsessive con artist, is a pale imitation of Russell Brand, lacking both the lecherous vulgarity and the cutting edge charm that define the comedian. The set is uninspiring, the 'multimedia'elements a futile attempt to update the confused narrative and the puppetry is frankly an unnecessary embarrassment. That said, this is early in the run and some of the cast do show promise, with solid, accomplished characterisation, necessary in a piece such as this. Alas, ‘Volpone’ lacks coherence, edge and soul - the result is underwhelming.
C, 30 Jul - 25 Aug, 12.15pm (1.30pm), prices vary, fpp 241.
tw rating 2/5
[rh]

Whacker Murphy’s Bad Buzz
RJ Arts
Whacker Murphy is an Irishman in a tracksuit toting a can of Tennents Super, a hurley and a Lidl bag and this one-man show about him is a piece of lyrical innovation. Edwin Mullane’s extraordinary use of language, expressive voice and exuberant gestures really bring life to this tale of dodgy dealing, robbery, and brawls in takeaways. He has an angry energy and a passion that is infectious, whilst his anecdotes are darkly comical in places - such as the story of Kanchelsis the dog, whom Whacker attempts to put out of his misery with two tubs of sweet and sour sauce and a stick. This show is fresh and energetic, and will certainly leave the audience with a good buzz.
C Soco, 30 Jul - 25 Aug, 9.45pm (10.40pm), prices vary, fpp 241.
tw rating 3/5
[af]

What’s Wrong With Angry?
Glenn Chandler Presents
Political and defiant, 'What’s Wrong With Angry' tracks the trials and triumphs of a teenage boy and his struggle to retain gay pride in the homophobic society of the early nineties. Solid performances from the principal actors are supported by a generally decent cast, and the writing is sharp and subtly crafted. Unfortunately, the lighting design leaves something to be desired and a number of questionable directorial decisions means the play never quite reaches its potential. The soundtrack provides the only clue as to the era, and the accompanying moments of dance are uncomfortable. There are some powerful moments, but these are nestled within what is ultimately a flimsy interpretation of this passionate and poignant story.
C, 30 Jul – 25 Aug, 15:25 (16:55), prices vary, fpp 241.
tw rating 3/5
[fc]

Womb Man
RJ Arts
If you’re going to succeed in a one man show, it has to be good, and Ricky Payne performing his new one man play ‘Womb Man’ was very, very good.  Payne’s performance begins with a bizarrely believable impersonation of an ape which then gradually turns human.  This is certainly funny, and makes one wonder how the rest of the play will evolve. The actor segues through an array of different voices and the fast-paced changeover of disparate characters leaves the spectator at times struggling to keep up - you can't help but wonder how Payne himself manages.  However, he certainly does succeed in holding the stage and this talented performer has the audience engaged from start to finish.
C soco, 30 Jul – 25 Aug, 2.30pm (3.30pm), prices vary, fpp 242.
tw rating  4/5
[kc]

All Dressed Up To Go Dreaming
Pope Joan Theatre Company
Being one of three audience members for the first performance made me feel 80% excited and 20% worried. I shouldn’t have worried, however, as this play was well acted, even if the accent was a bit dodgy. In fact, the actor involved may be too good for this play, although the level of intimacy seemed to suit him. Pulling apart his ‘co-star’ - a life-size rag doll - verbally and physically allowed him to showcase his talents, including the ability to hold a note. It is worth trying to fit this play into your schedule, as 'All Dressed Up To Go Dreaming' proved itself a short, sharp show, which was as good as it was intimate - I left feeling 100% excited.
C soco, 30 Jul - 25 Aug (not 11), times vary, prices vary, fpp 181.
tw rating 3/5
[fa]

Auditorium
Three’s Company
What if you were being watched and you had no idea? And then you found out? Well this play shows how some people might react to this situation, and does it brilliantly. The action begins the moment you enter the performance space and the show is great all the way through. It involved audience participation - although after thinking about it I wasn’t sure if the people used were audience members or simply really good actors. On one level this play is funny and silly, and on another level it is clever and raises some important questions; most importantly, it had everyone laughing out loud and it left me feeling thoroughly entertained. This play was odd, but brilliant, and well worth seeing.
C, 30 Jul – 25 Aug, 9.05pm (10.15pm), prices vary, fpp 184.
tw rating 4/5
[fa]

A California Seagull
The Red Chair Players
“Let’s talk about my wonderful life”, says Taper to Nina. Only it turns out that the life of a celebrity isn’t so wonderful after all. ‘A California Seagull’ is a fascinating satire about the nature of stardom and its corrupting influence, based on Chekhov’s ‘The Seagull’, and performed by a talented cast. The damaging impact of fame is revealed beautifully in the character of Nina, a naïve country girl who is completely in awe of Taper, a renowned film director. The storyline isn’t new, but it doesn’t matter. By transplanting Chekhov’s tale into contemporary American society, the issue of celebrity, and the responsibilities that come with it, is shown to be both timeless and universal.
C, 30 Jul – 9 Aug, 1.35pm (3.05pm), prices vary, fpp 190.
tw rating 4/5
[rg]

Darning Jilly
Royal Holloway Theatre
The premise of ‘Darning Jilly’ is intriguing: a young woman obsessed with Jack the Ripper has committed a series of brutal murders and the play is a search for her motives. Unfortunately, due to an overly wordy script, answers are not exactly forthcoming. The writer has obviously read Sarah Kane, and the themes are strikingly similar to ‘4.48 Psychosis’. The acting is very good in parts and the lead actress is particularly strong, but they’re struggling with roles that are underdeveloped, and some characters are totally superfluous. Scenes are often poorly directed, including one physical scene that jars with the rest of the production. If the actors are seemingly struggling to understand the play, the audience haven’t a hope.
C soco 30 Jul – 25 Aug, 14.30, £9.50 (£8.50) fpp 194.
tw rating 2/5
[je]

Dragon Lady: Being Anna May Wong
The Green Room Presents Red Velvet Productions
“Too Chinese to play Chinese role”: the dogma suppressing the prolific career of the first Chinese-American movie star, Anna May Wong. Alice Lee resurrects the life and loves of the starlet with an unrestrained infusion of energy and passion, which is made even more impressive by its one-woman format and minimal amount of stage distractions. The monologue charts the alienation inherent in a Western upbringing bound by a 'yellow shell', whilst drawing eerie comparisons to modern day issues of mixed identity in the Western world. The performance can seem mildly repetitive at times, so please don't go to see it if your concentration is a tad off. That said, Lee's vibrant performance is bewitching.
C soco, 30 Jul ? 25 Aug (not 12), 05.10pm, £7.50 (£6.50) £9.50 (£8.50) £8.50 (£7.50), fpp 197.
tw rating 3/5
[km]

The Exquisite Corpse
True/Fiction Theatre
5, 13, 2, 12, 1... they may just look like ordinary numbers, but in this cleverly conceived show, the audience determine the order of scenes and ultimately the show performed. With a six million to one chance of the sequence being repeated, chances are your experience will be a unique one, resulting in a fast-paced and unpredictable play. Theatre, visuals and a dynamic score blend together seamlessly to produce a high-quality professional production that matches the skilled actors on stage. The separate scenes leave you longing for a complete story as you link what you see and hear into a jigsaw puzzle of sadness and humour linked by common themes of love, loneliness, violence and hope. Innovative and compelling.
C, 30 Jul – 25 Aug (not 11), 6.40pm (7.40pm), prices vary, fpp 199
tw rating 4/5
[bw]

ShakesPod
Willing Suspension Theatre
ShakesPod tries to bring the Bard’s verses into our technological age, by putting them ‘on shuffle’.  Nice idea, and the opening sequences of well-choreographed physical theatre had all the makings of a fun, Shakespeare-inspired farce. But playwright Jeffrey Bracco has confusingly decided to set his play amidst the chaos of Paris 1968, a background which distracted from the cleverly inserted soliloquies and detracted from what could have been a far simpler and more coherent storyline.  Though the snippets from the Bard were well performed by the cast, the vernacular dialogue felt rather forced and clunky, as if the play couldn’t decide between the two.  An idea with potential, but distracted by far too much superfluous content.
C, Chambers Street, 30 Jul – 25 Aug, 5.10pm (6.15pm), prices vary, fpp 230.
tw rating 2/5
[sh]

Silence In C Minor
Silent Collective
There's little time for any silence as two actors switch frenetically between characters, telling the story of two workers and their investigation into the insidious advertising company Organum. The acting and the energy make this very watchable, but the plot needs a little more tweaking and, while it is funny, there's much more potential for humour with this slick double-act. J P Cooper plays the more uptight Alex alongside a host of others, including the love interest Cassie - excelling in the pathetic - while James Groom delivers brash and sinister characters with aplomb. A dark little satire on identity theft and office slaves which has room to grow into something even more exhilarating.
C soco, 30 Jul - 25 Aug (not 11), 9.45pm (10.35pm), prices vary, fpp230.
tw rating 3/5
[se]

21:13
Dancing Brick
Two suitcases sit on an empty stage and whispers fill the air, setting the scene for a tale of miscommunication and misinterpretation. Two actors wait at a train station, one English, one Italian, each waiting for the other to speak. Using mime, voice-overs, and a varying array of physical devices, the duo explore the ways in which we communicate when language fails. Performers' energy is high, with both switching impressively between English and Italian, but beyond the original concept the plot is at best patchy and at points non-existent. Physical intermissions re-hash the same idea to little effect, meaning that the end product, although at times cute, feels disjointed and a little pointless.
C soco, 30 Jul – 25 Aug (not 11), 7.30pm (8.30pm), prices vary, fpp 239.
tw rating 2/5
[nb]

Undermind
Tictek Productions
If you've lost your RTGs (rose-tinted glasses), don't fret. There aren't many occasions during this witty, challenging and debate-provoking performance where you'll long for that rosy glow. Tom Campion's script is tight, clever and vastly original. Couple this with engaging, emotive characters and the show is on to a winning format. After all, it's no mean feat to introduce, demonstrate and show the effects of memory-deleting drug RTG in an hour, but the five-strong cast do so with succinct professionalism. Unfortunately the concluding scenes leave one slightly underwhelmed; such a sharp script really deserves a punchy, poignant ending. Then again if you don't like it, I suppose you could just dose up on some RTG...
C soco, 30 Jul - 16 Aug, 12.30pm, prices vary, fpp 239.
tw rating 3/5
[lk]

Who’s Afraid Of Howlin’ Wolf
Poison Whiskey Theatre
If I could go back and narrate all the failures in my life, I hope it would be as slick as was managed in this snapshot of banter and blues. Lester, our cynical DJ, drags up the ghost of the undeniably sexy Charlotte, and recounts the time he spent ‘living dangerously’ with her to his Welsh techie. Having read the description of this show beforehand, it was disappointing that the ‘live band’ was actually a guy with a guitar, but the care paid to every character by this small cast made me forget that it wasn’t their real lives. Though it could have wallowed in misery, it had what Charlotte claims is the difference between blues and melancholy: style.
C soco, 30 Jul – 25 Aug (not 11), 8.45pm (10.00pm), prices vary, fpp 241.
tw rating 4/5
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Split Ends
Lincoln School of Performing Arts
In some ways, watching this play was a bit like watching Hollyoaks - I could have left half way through, made a cup of tea, come back and still have known what was going on. The problem with this play was that it was predictable, although it does feature some young, promising actors who seem to have a lot of potential, and they were what made it watchable. The highlights of the play were the brief moments of suspense and tension which, if left to less talented performers, could have been dire. The production and its stars, given a better script, and less direction, could have been brilliant. Unfortunately, I also felt as though they had forgotten to perform the ending.
C soco, 30 Jul – 25 Aug (not 11), 1.30pm (2.20pm), prices vary, fpp 232.
tw rating 2/5
[fa]

Clockheart Boy
Dumbshow
Few shows at this year's Festival will contain as sweet a fantasy as the idea that a clock can give life to a boy with no heart. And even fewer shows will have the childlike joy and imagination to make this world of patchwork robots and idiosyncratic dreamers so inviting. Obsessed with finding the daughter he lost years ago, the professor inadvertently brings life to the Clockheart Boy, who sets out on his own quest to find out if one can love without a heart. This magically realised tale becomes a dreamlike spectacle of sight and sound, all performed with an enthusiasm to delight both children and adults alike.
C, 30 Jul – 16 Aug, 3.15pm (4.30pm), prices vary, fpp 191.
tw rating 4/5
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Reviewer details are online at www.threeweeks.co.uk