THE EDINBURGH FESTIVAL IS GO
So, it's now properly 'Week 1' of the Edinburgh Festival 2008, and although it may feel like this Fringe has already been going on for two years, we have actually only just officially started.

TATTOO MADNESS
We know this because we've just been through the 'Opening Weekend'. And that means the arrival of 9000 people, several hundred coaches and lots of tartan clad marching people in Edinburgh's Old Town every night. Yes, it's Tattoo time everybody, and expect traffic chaos in central Edinburgh to ensue. Still, we do get fireworks every night (and even more this year, I reckon) which is pretty cool.

CAVALCADE
The Opening Weekend also brings with it, of course, that previously reported Festival Cavalcade, which consists of traffic chaos in a slightly different part of town, though the difference is that it's caused by floats instead of coaches. Despite the traditional rain, somewhere between the 50,000 people (estimated by the Police) and the 100,000 people (estimated by the organisers) turned up. They don't seem to be able agree on that exact figure, but it's still a lot of people.

FRINGE LAUNCH PARTY
For final proof that things have started, the Opening Weekend also delivers the Official Fringe Launch Party, which was so far away from all the other busy-ness this year - at The Edge hosting Corn Exchange - that they had to lay on a special bus to get everyone there from Princes Street. The theme this year was 'Glitter' (sparkly stuff, not soon-to-be-released-from-prison-former-glam-rocker) so if you see people wandering around with sparkly faces, it's not just a cheap ploy to sell their show, they're just showing off that they got tickets. Also that they haven't washed in 48 hours, but whatever.

And finally finally, the other thing that tells us the Festival is go are all those news reports about how well the 'Opening Weekend' has gone, how a record-breaking number of ticket have been sold (which, honestly, seems unlikely this year, record-breaking number of hand written scribble tickets distributed probably) and what a great Festival it's going to be. We have to take the stats suppliers word for the first two, but I reckon on the last point they are most probably right.

Answering the ThreeWeeks Quick Quiz today... Wolfgang Weinberger

	1. What is your 2008 show all about? It's about other people's sex lives! 2. Why should we come and see it? So we know exactly how and how often others are doing it. 3. If your show was an olympic sport, what would it be and why? Downhill skiing - sex and downhill skiing both are best when performed by Austrians.

5. What are you least looking forward to about this year's Festival?
Scottish wine.

6. What advice would you have for someone trying to navigate the Fringe?
Experience shows that usually the funniest shows are those that deal with sex and come from central Europe (f.i. Vienna)

7. What advice would you have for someone trying to survive the Fringe?
Don't listen to advice on how to survive the Fringe.

8. Describe your show in three words
Funny thing, sex.

A Guide To Sexual Misery, Sweet Teviot Place, 31 Jul – 24 Aug, 9.00pm (10.00pm),

More reviews for you! Some, though not all, of these also appeared in edition 02 of the printed ThreeWeeks Daily that was published in the early hours of Sunday morning. 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

Dr Bunhead's Crash Test Jelly Babies
Dr Bunhead
Ever wondered what happens if you dip your hand in sub-zero liquid nitrogen? How loud a balloon can explode? Whether farts really burn? These and many more questions are answered in Dr Bunhead's amazing explosive live-science extravaganza where, in age-old scientific tradition, he fearlessly volunteers himself (and some unfortunate jelly babies) as guinea pigs for an impressive list of zany experiments and demonstrations. The Doctor eccentrically peppers his show with tonnes of fascinating facts and anecdotes about scientific discovery as things explode alarmingly around him, leaving the audience ducking to avoid flying foam and bunnies, and doubled-up in stitches. How they let this mad scientist loose on a kid's show I'll never know - a must see for all the family.
Musical Theatre @ George Square, 31 Jul - 25 Aug (dates vary), 10.00am (11.00am), £10.00 (£8.00), fpp 12.
tw rating 5/5
[sh]

Little Red Riding Hood
Theatre Alba
To stage an outdoor performance during a Scottish summer takes a lot of pluck. Yet, this is no ordinary outdoor performance and, as we are led through the magnificent Manse Gardens, a new surprise behind each bush is enough to distract us from the drizzle. This fun take on a classic tale is supported by some refreshing characters including a bumbling bear, a restless rabbit and a wonderfully incompetent double act in the guise of a fox and a wolf. Interaction is encouraged as the children help the friendly animals to protect Little Red Riding Hood, and the humour is not too immature for parents. A heartening moral at the end will leave you feeling warmed, even if the sun does not.
Duddingston Kirk Manse Garden, 28 Jul - 16 Aug (not 3, 9, 10), 11.00am (12.15pm), £6.00 (£4.00), fpp 16
tw rating 3/5
[ks]

Amazing - You Can Juggle Now!
Comedy On The Square
I want to run away and join the circus. Fred the Clown has convinced me. If you too want to feel like a kid all over again, see this show, and take the kids - if you want. Fred's journey around the world of juggling will make you giggle, and have you forgetting why you ever spent hours at a computer. He kept kids aged five to twelve entertained and excited by his tricks, and when he called them up on stage made sure each was a superstar for a moment. After showing us what he could do, Fred then let us try for ourselves and we all had a moment in the spotlight. And now I can juggle, so I guess it works!
The Zoo, 1 - 25 Aug, 12.00pm (1.00pm), £5.00, fpp 10.
tw rating 4/5
[rs]

The Pirate, The Potato And The Camel - In Space
Top Edge Productions
When I was little the word 'impossible' didn't mean anything and I tried to dig a tunnel to Australia in my garden. Today I watched a pirate assemble a rocket-ship from a wheelbarrow, a ladder and an umbrella and I felt that same kind of unshakeable excitement. This show has great shovelfuls of imagination, and it could have been written by a child, except that the witty wordplay and nonsense songs are clearly the work of an old hand. The interactive elements are genuinely fun and I bemoan the fact that I'm clearly too old to participate in an interactive splat-the-rat. Take your kids to this show, but be warned - they'll be raiding the utility cupboard for props for a long time afterwards.
The Space@Venue 45, 1 - 23 Aug, times vary, £5.00, fpp 17.
tw rating 4/5
[jwm]

Rumplestiltskin
Unknown Theatre Company
Falalalalala! Falalalala! Flip-Flop the talking flea, Barry the Penguin and Shadow, and the sorry excuse for an assassin are just three of the colourful characters one can expect to adore about this jazzed up version of the classic fairytale. The musical accompaniment is quite something, bringing to life the literary action we all know and love. Singing voices like these are hard to come across and the young actors and actresses in this Welsh company demonstrated a mature grasp of modern day humour too. With steadfast singing and dancing, the show whizzed past and I was left chuckling to myself, not least because I'd see it again tomorrow.
Venue 13, 1 - 9 Aug, 4.00pm (5.00pm), £8.00 (£5.00), fpp 18.
tw rating 4/5
[kb]

COMEDY

Adolescence, Adulthood And The Ever-Widening chasm
Whispie's Chasm
This show has nothing to do with adolescence or adulthood, except perhaps in the sense that the group is young, but should be old enough to know better. The sketches are too long, self-indulgent and consistently fail to deliver the all-important element of a punch-line, and on top of that there was far too much shouting. This is not an awful show, however. Highlights include a tragically careless driving instructor and a wrestler treating a courtroom like a ring, the downside being that both sketches carried on long after their point had been made. The group's greatest asset is their natural charm and comic timing - if only this could be exploited in sketches with some structure to them, Whispie's Chasm could approach maturity.
Laughing Horse @ Espionage, 31 Jul - 6 Aug (not 3 or 4), 2.35pm (3.35pm), free non-ticketed, fpp 21.
tw rating 2/5
[jwm]

Apes Like Me
Kate Smurthwaite
It is hard to judge a comedian's material when there is an audience of two. Kate Smurthwaite's show is based largely on audience participation, and without any, she struggles to build momentum. As she describes the different characteristics of various species of apes, it begins to feel a bit like a classroom rather than a piece of stand-up and although her initial material is somewhat inventive, it relies too heavily on factual information. The second half of her show addresses evolution and creationism, but sadly lacked originality. I am in no doubt that Kate Smurthwaite's show would have benefited from a large, heckling audience, but her choice of material was neither groundbreaking nor exciting.
C Soco Urban Garden, 1 - 25 Aug, 7.00pm (8.00pm), prices vary, fpp 28.
tw rating 2/5
[kk]

Comedy O'Clock
Laughing Horse Free Festival
I'm not generally a fan of female comics, but Hannah George and Catie Wilkins have banished some of my prejudices by proving that women can indeed be funny when given a mic and an audience. Alongside them, Richard Bond made a convincingly amusing case about the below average size of his penis (though having only yesterday heard a comic compare himself to Tintin and a 12-year-old in the same sentence it felt a bit unoriginal, though I don't suppose he can be blamed for that coincidence). The real star of the show was Nick Helm, who was, in the best way possible, an excited 12 year old on stage, nervous, energetic and a fan of pointless games. This show made me laugh, and that's all you're asking for right?
Laughing Horse @ Espionage, 31 Jul - 10 Aug, 3.50pm (4.50pm) , free, fpp 40.
tw rating 3/5
[rs]

Dog Day King - Free
Snorri Kristjansson/Laughing Horse Free Festival
Snorri had me snoring. I can honestly admit I did not understand a thing I heard in this show. It is stand-up at its geekiest, but I don't mean to say the jokes went over my head. It was just boring. I'm sure Snorri and his roaring 'mentor' (the Ian McCaskill doppelganger in the audience), love to bellow anti-America jokes and shout 'I LIKE TITS!' in their toy batmobiles, but personally, as a girl with little hatred for the U.S and a pair of tits to boot, I was left extremely cold. He says he's not very lucky with women and maybe he's right. It's not you Snorri, it's me.
Laughing Horse @ Espionage, 31 July - 25 Aug, 2.10pm (2.55pm), free, fpp 47.
tw rating 1/5
[kb]

Mice Pudding - Free
Electric Mouse Comedy / Laughing Horse Free Festival
This show featuring three comedians is something of a mixed bag. The affable Irish compere is funny and charming, and has a good line in relaxed banter with the audience. The two comedians he introduced were less effective, however. The first was nervous and unfunny; he had a few clever puns in his repertoire, but they didn't make for big laughs. The third and final comic was Scottish, but sadly he didn't really do his country proud; a number of cultural references went over the heads of foreign audience-members, the resulting punch-lines falling flat. This prompted the line "that's Scottish humour" by way of an excuse. As a Scotsman in the audience, I'd like to set the record straight: it simply wasn't funny.
Laughing Horse @ Espionage, 31 Jul - 25 Aug, 4.20pm (5.20pm), free, fpp 78.
tw rating 2/5
[al]

Andy White: I Think Therefore I Joke
Andy White
Brummie Andy White presents a light hearted and often hilarious approach to the topic of philosophy, something which he claims most have dabbled in, albeit consciously or half-sleeping. Even if you haven't heard of philosophy, the jokes should be appealing to just about anyone, as was reflected by the mish-mash of nationalities and cultures in the audience who still choked with laughter. Expect any material from simple yet endlessly amusing 'chav' jokes, to a dumbed down version of Plato's metaphysics. Accordingly, his performance frantically hops between the mature straight-faced adult and some simply silly childish humour, all with a funky afro and shirt combo used to devastating effect. And it's free. No excuses, go see it.
The Argyle, 31 Jul - 25 Aug, 7.05pm (8.05pm), free, fpp 27.
tw rating 4/5
[km]

The Golden Age Of Magic
Ian Kendall
The Fringe Programme badly needs a magic section, there's a lot of it about and it's unfair for this relatively dry magical history tour to be palmed off onto comedy. That said, Ian Kendall's dignified delivery makes for great humour when the occasional mishap requires the use of his cuss word of choice, "arse". What differentiates Kendall from the rest of the magic crowd/coven is that he talks about other people rather than himself, specifically the real McCoy magicians of yesteryear. Tricks with cards, rope and rizla recalling the grand masters are simple, but well executed, and the close proximity of the audience volunteers allow Kendall little room for error. Fortunately the silver-haired showman's show is suitably slick.
The Zoo, 1 - 16 Aug, 9.00pm (9.50pm), £8.00, fpp 54.
tw rating 3/5
[se]

Ha Ha Hamlet
JC & JW Theatre Productions
Re-enacting the suicide of Ophelia by plunging a Barbie doll into a bucket of water pretty much sums up 'Ha Ha [not so much] Hamlet'. I felt like I had been shot after watching three middle aged men condense what is arguably Shakespeare's greatest work into a shambolic version of Monty Python meets the Chuckle Brothers on LSD. Likewise, my soul was destroyed by the awkward audience participation which at one point involved a repressed-seeming American reading aloud mild sexual innuendos for the audience's displeasure. Weak playing on Elizabethan words, naff gags, and camp buffoonery does not a 21st century comedy make. On the plus side, one of the performers looks vaguely like the scientist in 'Back To The Future'.
Gilded Balloon Teviot, 30 Jul - 25 Aug, 5.30pm (6.30pm), prices vary, fpp56.
tw rating 2/5
[rsj]

The Lunchbox Files - Free
Jane Hill, Rob Coleman And Jonathan Elston/Laughing Horse Free Festival
The Lunchbox Files proves there is such a thing as a free lunch(show) - shame they forgot to pack the laughs. Young comedian Jonathan Elston showed promise, though could be more confident. He had funny moments, including fat jokes at his own expense. Rob Coleman's self-deprecating set attempted to blend middle-aged sex failure with grammar gags. Sadly, poor timing resulted in delivery as flaccid as his erectile dysfunction jokes. Jane Hill also tried the 'I'm getting old which makes talking about sex funny' approach, and there were odd witty lines, but mostly the comic spinster thing just felt a tad tragic. More of a comedy snack than a lunchbox.
Laughing Horse @ The Argyle, 31 Jul, 1 - 25 Aug, 12.15pm (13.15pm), free, fpp 74.
tw rating 2/5
[hw]

DANCE AND PHYSICAL THEATRE

Augury And Entropy
HerPic Performances
Black leotards with wings and cumbersome forward rolls: this was the opening set and apparently meant to communicate something about endangered insects. 'Augury And Entropy' also went on to address climate change and the Palestinian conflict, in separate short performances. The last piece was the most affecting, the Middle East problems explored through ominous thudding beats and clunky dance: music and movement finally working together. There was an unpolished grace to it, summed up by the image of a girl clambering up a rope then just perching there like the man on the moon. I couldn't take my eyes off her. She summed up the show: moments of unexpected and understated power, but just too few and far between.
C soco, 1 - 9 Aug, 3.45pm (4.55pm), £7.50 - £9.50 (£6.50 - £8.50), fpp 112.
tw rating 2/5
[afd]

Round Turn And Two And A Half Hitches
Acting Thru Dance
The consequences of relationships are like knots - hard to undo. Blurring the lines between acting and dance, 'Round Turn And Two And A Half Hitches' explores the trials and experiences of relationships in our increasingly fractured culture. The dancers intertwine, coming together and breaking apart, mixing distinctive lines with harsher angles. The female dancers are graceful and at times exquisite. Unfortunately the males lack the same skill and poise, and though the quality of the choreography is generally high, it occasionally becomes repetitive. The trios and duets are imaginative and well executed and the acted intermissions contain some truly tender moments. The sections with the whole ensemble are the only thing holding it back. Regardless of this, Round Turn is an exciting, tender portrayal of modern relationships.
C Central, 1 - 9 Aug, 11.30am (12.20pm), prices vary, fpp120.
tw rating 3/5
[nb]

Capoeira Knights: Warriors Of Brazil
Favelas Of Hope
You don't have to go to Rio to party with the Brazilians. Combining martial arts dance with live music and percussion, Favelas of Hope introduce some of the culture of their unique and vibrant country. The genuinely awesome dancers are every inch the athlete and the talented musicians bring a whole new life to the humble tambourine, but despite the wow-factor, the show isn't very smoothly put together. The tit-bits of Brazilian history which serve to link the acts are interesting but the overall feeling is a little stilted. With such spirited performances, though, it's hard not to get caught up in the mood. The energy is infectious, and you'll definitely be clapping along, even if you're not quite ready for dancing in the aisles.
The World @ St George's West, 1 - 31 Aug, 7.00pm (8.10pm), £14.00 (£12.00, £5.00), fpp 112.
tw rating 3/5
[fc]

Children Of The Khmer
Cambodian Living Arts
I had no idea what to expect when I walked into the dark and transformed church hall that was to be the venue for Cambodian Living Arts' first show at the Fringe, but this production really caught my attention. The young performers, who looked to be in their early teens, have never before left Cambodia and their enthusiasm and excitement is clear and infectious. Dressed up as animals or as farmers in the fields, their traditional dances and music presented simple vignettes of work or romance, the coy and graceful girls contrasting brilliantly with the boys' wicked cheekiness. From haunting chants to mischievous drumming clowns and beautiful colourful costumes, this show deserves to be seen.
The World @ St George's West, 1 - 30 Aug, 4.00pm (5.10pm), £12.00 (£10.00), fpp 113.
tw rating 5/5
[sh]

Mr Gong's Hair Salon
Dae Gu Metropolitan Theatre Company
From the moment the director steps on stage to introduce 'Mr Gong's Hair Salon', we wonder what is going on, but this feeling doesn't stop there, and we continue to wonder for the next hour and 15 minutes. This show is supposed to be funny, but sadly there isn't much to laugh about - other than the outlandish masks that the cast wear. The show centres around a hair salon where not much actually happens other than that crazy characters come on and off the stage and harass audience members. This is a company that promises to create a new genre - but it's a failed attempt. You'd be better off spending your ticket money on a can of paint and watching it dry.
C central, 1 - 16 Aug, 12.40pm (1.35pm), prices vary, fpp 118
tw rating 1/5
[kc]

The Zawose Family
Realworld
Witness a precious piece of cultural history at St George's West. The charismatic Tanzanian Zawose family are descended from the late Hukwe Zawose, who became a musical ambassador for their country and enjoyed huge successes in the 1980s. Since his recent death, the family has struggled both to survive and to keep their music alive. A powerful documentary film tells their story, followed by a live performance. The traditional music, on hand-made instruments, is intensely personal and passionate, ranging from gentle lilting magic to exuberant joy. Intricate rhythms and raw, heartfelt vocals provide a unique and intimate experience, which is testament to the importance of music, not just as a pastime but also as a lifestyle and as part of a national identity. Mesmerising and uplifting.
The World @ St George's West, 1 - 30 Aug, 2.00pm (3.10pm), £10.00 (£8.00) (£5.00C), fpp 123.
tw rating 5/5
[lr]

EVENTS

Auld Reekie's Haunted Underground Experience
Auld Reekie Tours
How shocking can a few 'vaults' be? It's not the current though that makes this type of vaults shocking, it's their history. As you descend to the chambers beneath South Bridge, dank and eerie after a century of disuse, you experience each vault with its own twisted stories. No-nonsense guide Regan gave us the low-down, explaining why we shouldn't step into the stone circle in one room, and recounting the gruesome deaths from Edinburgh's Great Fire in another. Disappointingly, no-one fainted or vomited on our tour, but that doesn't mean we weren't scared, as the guide carefully played on our fears, leaving even a sceptic like me quite close to pissing himself. The most haunted place in Edinburgh (along with several others...) with the bonus of an adjoining pub which serves whisky after the tour.
Auld Reekie's Haunted Underground City Experience, 1 - 30 Aug, times vary, prices vary, fpp124.
tw rating 3/5
[se]

Arthur's Seat And The Salisbury Crags
Holyrood Park
Sick of flyers being thrust at you? I got away from the Festival excitement by going for a walk. A three hour ramble around Holyrood Park is brilliant; Arthur's Seat and the Salisbury Crags make for an interesting day, rewarding your huffing and puffing with stunning views. You're also on the edge of your seat, not knowing when you're going to break your ankle on the grassy descents. Don't wear boots without tread either, unless you've a piece of cardboard to bum-shuffle down on. As an Australian I think our Ayers Rock is much more spectacular than Arthur's Seat, but I did enjoy the bracing wind on the summit. It gives you a preview of a Highland winter even in summer.
Holyrood Park, anytime, free, fpp n/a.
tw rating 3/5
[zl]

JAZZ

Nimmo Brothers and Otis Grand And The Big Blues Band
Belting out loud, straight up blues-rock, the Nimmo Brothers opened with a rough roadhouse feel, gritty chops flying in an indulgent, onanistic set, perfect for sinking the first couple of pints. With both the guitarists on matching Gibsons competing for solos and facial contortion time, the brothers were great openers for the big blues sound of Otis Grand; raw boogie, laid-back strat-swing, and rootsy electric blues. Wandering into the crowd like a sweaty, white Buddy Guy, Otis and his incredibly tight band (with guest vocalist) blasted out their trans-American trick-bag, which the packed Jamhouse crowd lapped up, head-banging veterans and ponytailed apprentices alike. Overall, an enjoyable evening of feel-good raucous blues.
The Jamhouse, 1 Aug, 8.30pm (11.20pm), jbfpp 19.
tw rating 4/5
[ab]

MUSICALS AND OPERA

Cinderella
Scottish Opera
This classic fairytale is given a new lease of life by a seven strong ensemble that are not only all virtuoso singers but talented character actors as well - a rare treat. This was mainly due to the comic timing of Martin Lamb and Amanda Forbes, whose jealous, childish and greedy portrayals of the Baron and his daughter were extremely effective, although the company as a whole could have played for more laughs. With only a piano for accompaniment, the singers were pitch perfect and their cadenzas impressive. During quartets, quintets and full ensemble numbers the voices alone filled the space beautifully - especially during the men's arrangements. A few technical problems and a tad long but all in all a very enjoyable afternoon.
Assembly @ George Street, 31 Jul - 2 Aug, 12.45pm (3.30pm), £20.00 (£15.00), fpp 169.
tw rating 4/5
[ad]

The Last Five Years
Two Day Productions
A two-handed musical is always tricky to pull off, particularly in this show where the performers are on stage together, but not interacting with each other as one character's story is told forwards and the other backwards. The show was well staged and acted, and by and large the band were strong. However, the actress playing Cathy had tuning problems at many points and in addition, the actors' vocal qualities were entirely different, leading to some moments of oddly mismatched duet. The role of Jamie was played strongly, particularly in 'The Schmuel Song', and there were some very funny moments from Cathy, but overall the production did not move me or inspire much sympathy for the characters.
C Central, 1-16 Aug, 3.15pm (4:30pm), prices vary, fpp 174.
tw rating 3/5
[dk]

THEATRE

Deep Cut
Sherman Cymru
It's hard not to be filled with a sense of anger and frustration by this moving dramatisation of a family's struggle to uncover the truth about the circumstances surrounding their daughter's death. Phillip Ralph's script forwards a convincing case for a public enquiry into the mysterious deaths at Deep Cut barracks, through a compilation of documented evidence and personal accounts from people close to Private Cheryl James, one of four young soldiers who died suddenly, without explanation. Ciaran McIntyre and Rhian Morgan are both convincing and painfully captivating in their roles as James' bereaved parents - first endearing, then dragging you into their despair. A well delivered, emotive performance and a must see for all, especially those who care about justice.
Traverse Theatre, 31 Jul - 24 Aug (not 4, 11, 18), times vary, prices vary, fpp 194.
tw rating 5/5
[mj]

Discipline And Punish
SUDS Theatre Company
Six actors are thrown into a nearly bare room, a Pavlov style bell rings and suddenly it switches to a school, or prison, or middle-class sitting room. But the sign above the cast reads that they (and we the audience) may not talk, nor leave. The scenes signaled by the bells are interspersed with moments of what seems like our real-world, but are not quite claustrophobic enough to be believed. The movement within the vignettes is crisp, and characters humorous, but the main sections are sometimes a little stilted. Hopefully the actors will relax into their roles in time, and the unanswered questions will feel resolved, as otherwise this was a strong show.
C soco, 30 Jul - 25 Aug (odd dates only), 6.25pm (7.25pm), prices vary, fpp 195.
tw rating 3/5
[rs]

The Factory
Badac Theatre Company/Escalator East to Edinburgh in Association with the Pleasance
Disturbing, harrowing, shocking - these words aren't strong enough to describe the emotions stirred by 'The Factory'. In this story of the journey to the gas chambers, the audience were taken through the Pleasance cellars as if we were prisoners ourselves. Shouted at, sworn at, forbidden to move unless commanded, the performance was so credible that we were forced to identify with those who were sent to the prison camps, to the point where members of the audience were moved to tears. Most striking was the emphasis on the witnessing of atrocities; someone has to survive to give evidence, and in this instance, the audience is the witness. An important play to experience, but definitely not for the faint hearted.
Pleasance Courtyard, 1 - 24 Aug (not 12 or 19), times vary, £9.50 (£8.00), fpp 199.
tw rating 4/5
[rg]

Finished With Engines
Arches Theatre Company
This performance offers a clever, yet at times unnerving, satirical account of the paranoia and power struggles inherent in claustrophobic situations; in this case a nuclear navy outpost gone renegade. Electric dynamism between the two actors creates a striking performance, based on the fluid work of aspiring Scottish playwright Alan McKendrick. For the most part, the plot was well considered and witty, with a few laughs along the way, despite the jokes grappling with perturbing topics. McKendrick grabs the immense subject of nuclear weapons by the balls and throws it in the comedy deep end, which is surprisingly successful.
The Traverse Theatre, 31 Jul - 10 Aug, times vary, prices vary, fpp 200.
tw rating 3/5
[km]

Nocturne
Almeida Theatre Company
The American Dream - lusted after by many, lived by few and here, destroyed by one young man. This play takes its audience on a journey with the narrator, as he tells us about how he accidentally killed his sister, broke up his nuclear family and destroyed their American Dream. The narration contains a huge amount of beautiful and sensitive description and is completely successful in building its heartbroken world. Peter McDonald is exceptional in this one-man play, accurate in his mannerisms and expressions, and utterly convincing as the character. Go and see this show for an intense, emotional and exceptional experience.
Traverse Theatre, 31 Jul - 10 Aug (not 4), times vary, prices vary, fpp 218.
tw rating 5/5
[fa]

Time Bomb
Talk About Productions
Looking into the future is always a frightening prospect; alongside the talk of fuel shortages and astronomical prices, Talk About Productions presents this new play set in 2017. With the looming possibility of a nuclear war with Iran, this play has a poignancy that is very relevant for today. The acting is at times anticipated and so lacks credibility; but rising political figure Victoria Clarke (Denise Rocard) showcases the script's potential as she performs an electrifying ending speech. The set, as one would expect, is futuristic and although the play finishes abruptly it leaves us with a thought-provoking final line - "if I could have one regret it would be that I can't go back."
Sweet Teviot Place, 31 Jul - 10 Aug, 3.00pm (4.00pm), £8.50 (£7.50), fpp 237.
tw rating 3/5
[kc]

Architecting
The TEAM & National Theatre of Scotland
Do you know the story of Gone With The Wind? Well, it doesn't matter, as this high-octane, high-energy performance, that takes Margaret Mitchell and Scarlett O'Hara as its inspiration, is about so much more than the famous novel. It blends acting, multimedia, physical theatre and vocals to create a windswept (quite literally, at some points) tour de force. We begin in a bar in the southern states of America and move through different eras and places, exploring themes of racism, loneliness and inner turmoil, to name but a few. The acting is consistently excellent, the characters compelling, and the set adds to the surrealist feel of the play. I would highly recommend it to those who want to spend an exciting and unpredictable two hours.
Traverse Theatre, 1 - 24 Aug (not 4, 11,18), times vary, prices vary, fpp 184.
tw rating 4/5
[ah]

Banterbury Tales
Your Theatre Company
The use of the word 'banter' seems to bother a lot of people, and they may wish to avoid this show altogether. This would not be entirely unwise, although it is for the wrong reasons. The show is not a witty exchange between two geezers, but a man and woman acting out their own poetry to music, with absolutely no relation to Chaucer. The female character is jerky in her delivery, and the male speaks a lot of words yet says very little. There are, however, glimmers of humour, and pseudo-political comments, but with little plot and characterisation. It may work on paper but does not translate on stage, as any 'banter' here is a crossing of monologues, as opposed to an emotionally engaging interaction between two people.
Sweet Grassmarket, 31 Jul - 10 Aug, 5.15pm (6.15pm) £8.00 (£7.00), fpp 184.
tw rating 2/5
[gm]

Correspondence
Menagerie
"Would you like some Brandy? I keep it for moments just like these." A man and a woman gradually construct alternative realities in this absurdist drama that instantly transports you into a world of moody film noir. The script is wonderfully balanced, changing continually in pace and tone. Both actors deliver ever evolving situations with incredible skill, panache, and a masterful grasp of the dialogue. The set design is particularly impressive, suiting the mood perfectly, with the moonlight seeping through the fogged window, delivering us to wherever the performers dictate. This is vibrantly important theatre from a supremely talented company delivered by some of the best performers of the Festival. The Fringe would be a worse place without them.
Pleasance Courtyard, 30 Jul - 25 Aug (not 12, 19), 5.50pm, prices vary, fpp 192.
tw rating 4/5
[nb]

Cagelings
Gotcha Productions In Association With Off The Wall Theatre
This is compelling new writing from Off The Wall Theatre company, which works with disadvantaged youths. When three boys break out of a care home and play truth or dare on 'sui-slide' cliff edge, it's just a matter of time before one goes too far, as all three realise that freedom means staring out into oblivion. Aching and bitter, the script conveys their adolescent frustration which spills over into intimidation and violence. Hardened Ollie has been out for a while and tasted life, but eager Dazzer is still waiting to break free. Their hostage, posh-boy Stevens, has problems of his own. After a slightly stilted start, the intensity of this piece took over and delivered a bleak vision of adulthood after institutionalisation.
Venue 13, 1 - 9 Aug, 5.30pm (6.30pm), £8.00 (£5.00), fpp 190.
tw rating 3/5
[lr]

Plastic
30 Bird
All senses are arrested by this surreal, stylish, site-specific piece about sex-change operations and plastic surgery in Iran. Through the damp gloom of WW II bomb shelters, past jars of pickled onions and abandoned shoes we are beckoned by statuesque performers into the unruly desires and anxieties surrounding cosmetic surgery and the great gender divide. The audience are divided by gender for parts of the show and each group tellingly begins to wonder what the other experiences. Perplexing, sinister, darkly comic, and with a painterly handling of light, as well as teasing; their big tease, pickled onions and plastic surgery - both in the preservation business. Plastic is a clever human 'installation', but cosmetic and sex change surgery are confusingly blurred.
Pleasance Courtyard, 1 - 24 Aug (not 12, 19), times vary, £9.50 (£8.00), fpp 224.
tw rating 4/5
[dp]

Moonlight
Liverpool University Drama Society
A play bursting with emotion, in which the broken relationships of a family are fervently portrayed by a more than able cast. Michael Edwards' performance was powerful, capturing the character of bitter, dying Andy with passion and conviction. Despite the hard hitting reality of the play, the audience is offered relief through the smattering of humour that continues throughout, although it is sometimes lost amidst the complicated language used by the characters Jake and Fred. All the characters seem to be hiding some sort of secret, and although some of these come to light as the play progresses, many remain ambiguous - leaving the audience grasping for more. 'Moonlight' offers a reliable piece of theatre that is brimming with trepidation.
C soco, 1 - 9 Aug, 11.00am (12.15pm), prices vary, fpp 217.
tw rating 4/5
[mi]

Mort
Parabox Productions
There's a rule in theatre that you don't do a show where the subject cuts too close to home. No-one is doubting how much these guys might love Discworld, but that ain't a reason to come to Edinburgh and subject us to it. The story centres on young Mort, who finds a job as an apprentice to Death and his whiney, pubescent daughter. The play suffers from a ludicrously sloppy edit job, where scenes spring from nowhere, and characters have to explain crucial plotlines, seemingly because they haven't managed to squeeze that part in. There's some truly atrocious acting too, although the main character 'Death' manages to summon a few weak laughs. If you've got prejudices against Discworld, this will cement them.
C, 30 Jul - 25 Aug (not 11), 3.25pm (4.40pm), prices vary, fpp 217.
tw rating 1/5
[je]

1913 Or Nude Descending A Staircase
Strings Attached
Never before did I expect to feel so compelled by the year 1913. In a fusion of stories that deal with the life of Countess Maria Tarnowska during this year, various media forms are explored, from print to visual art, all of which provide a different perspective on Tarnowska's characteristics and the trials she faced. Using a simplistic set with symbolic props, four actors convey dramatic tales in a minimalist but convincing style, allowing the audience to embellish the scenes in their own imagination. This is aided by persuasive acting and live instrumentals. Occasionally characters' accents were disrupted by a strong American inflection, affecting the more distant feel, but it remains nonetheless a creative and interesting tale of feminine tragedy.
Sweet Grassmarket, 31 Jul - 24 Aug 3.55pm (4.55pm), £8.00 (£7.00), fpp 218.
tw rating 3/5
[am]

A Real Humane Person Who Cares And All That
Rested Theatre Company
This is a fantastic, gripping play which serves as a thought provoking analysis of cultural responsibilities; examining society's attitudes to violence in the arts, media, and different civilisations, and questioning comfortable liberal preconceptions regarding moral culpability. A 'serious' comedy always runs the risk of becoming preachy or pretentious, but this gem of a play neatly avoids this fate with its razor sharp dialogue, which is alternately laugh-out-loud funny and chillingly astute. The excellent, pacy script is well served by the uncompromisingly honest performances of the three actors, each of whom plays three roles. The play's unusual, 'nested' narrative structure serves to underline both the tragedy and the comedy inherent in the plot, seamlessly drawing the audience into its world.
Hill Street Theatre, 1 Aug - 25 Aug (not 13), 8.15pm (9.05pm), prices vary, fpp 225.
tw rating 5/5
[al]

Shakespeare's R And J
This Bridge Theatre
Taking a different approach to Shakespeare's 'Romeo and Juliet', This Bridge Theatre employs a cast of only four males, and uses this specific adaptation to address the nature of masculinity. No costumes are used, there are very few props, the lighting is simple and the boys split all the characters between them which is all very effective in presenting a challenge to existing gender roles. However, although this production was fairly innovative, the acting impressive and the overall performance enjoyable, there was still something lacking. It seemed to have that 'I've seen this before' feeling. Possibly it is time to try some of the not-so-well known Shakespeare? Having said that, the play was still dramatic, funny, intense, and definitely enjoyable.
C Cubed, 1-15 Aug (odd dates only), 11.00am (12.15pm), prices vary, fpp 230.
tw rating 3/5
[lp]

The Tartuffe
Belt Up (Nothing To See/Hear)
Hilarious, scandalous, fabulous, and other words ending in 'ous'. Pious? Ok, that one not so much. Belt Up seize Molière's comedy by the balls and drag it posing and flouncing into God only knows where. The result is a tour de force of song, dance, mime, sex, songs about sex, mimes about sex, sex with mimes... oh, and the tragic downfall of Orgon Poquelin. From the outset the audience is plunged into their surreal world of theatre, success, and soft furnishings. The brilliant cast are unrelenting in their performances which leave the fourth wall a shattered mess on the purple velvet carpet. So if audience participation isn't your thing, I hereby advise you to get a grip and go anyway.
C central, 1 - 25 Aug, 2.30pm (3.45pm), prices vary, fpp 235.
tw rating 5/5
[fc]

Discover Kymaerica
Eames Demetrios
I'm still not quite sure whether 'Discover Kymaerica' is an uncannily convincing piece of surrealist performance art, or the deranged ramblings of a delusional psychotic, but I'm leaning towards the latter. Either way, it's possibly the least entertaining way to spend an hour in Edinburgh this August. Taking the form of a slide show detailing the 'alternative universe' of Kymaerica, it is dull and bewildering, despite the handy glossary Eames Demetrios provides you with. If it is all an act, then kudos to him for coming up with some convincing, if tediously pointless, performance art, but as I left the venue I was genuinely wondering if Louis Theroux was waiting backstage to interview this charming and harmless, but completely mental-seeming man.
Sweet ECA, 31 Jul - 17 Aug (not 10), 2.00pm (3.10pm), £7.50 (£6.50), fpp 196.
tw rating 1/5
[al]

Reviewer details are online at www.threeweeks.co.uk