Did we mention the ThreeWeeks podcasts which you can download right now at www.threeweeks.co.uk/podcast? And once you've enjoyed listening to Reginald D Hunter, Miles Jupp, Nicky Pynn, director Kiran Gill and those most Penny of Dreadfuls, you can look forward to hearing interviews with this little lot later in the week, all of whom have spent some quality time with the ThreeWeeks microphone thrust at their mouths. From left to right - Jason Cook, Hils Barker, Andrew Clover - photos by James Robertson.

EIF POET DIES
Sad news with a Festival link first. Palestinian poet Mahmoud Darwish, a poem of whose has been adapted by the Palestinian National Theatre for this year's Edinburgh International Festival, has died aged 67.

He died after suffering complications during open-heart surgery in the US. The play, 'Jidariyya', which will be performed from 14-17 Aug at the Lyceum Theatre, is based around a barely conscious poet awaking from heart surgery and facing his mortality.

Darwish was probably the most famous Palestinian poet in the world, often using his work to highlight his home country's politcal woes, and a high profile critic of infighting between Palestinian factions.

FRINGE SOCIETY ANNOUNCE INQUIRY INTO BOX OFFICE TRAUMAS
The Fringe Society is to launch an independent inquiry into the box office debacle that has left many venues struggling to print tickets and some shows oversold.

With press interest in what is actually quite a long-running story, having grown since the Festival itself began, and with increasingly angry venue managers and promoters now briefing against the Fringe's co-ordinating body - who they claim have handled the whole thing somewhat incompetently - the Society's board have announced they will undertake an inquiry into the whole shebang, including a specific meeting to discuss the problems with the managers of the 100+ independent venues that operate at the Festival.

The inquiry may be an attempt by the board to pre-empt what could be an especially tricky Annual General Meeting for the Society, which is due to take place on 16 Aug, and where performers and venue managers are expected to bring the Fringe body under close scrutiny, in particular with regards to the box office issues. The inquiry also follows a call by if.comedy awards chief Nica Burns for the Society - of which she is a great supporter - to use its upcoming fifieth anniversary to review what it does and how it works.

Sweet Venue Manager Julian Caddy provides his critical analysis of the Fringe Society in the 'What's Wrong With The Edinburgh Festival' column in the Week Two edition of ThreeWeeks this Tuesday, while Fringe Society board member Alister O’Loughlin will give his take on the state of the Fringe and the role of its Society in our Week Three edition, alongside Assembly boss William Burdett-Coutts. All of this precedes the ThreeWeeks Big Debate on the wider issues of 'What's Wrong With The Edinburgh Festival' at the Roman Eagle Lodge on 21 August at 2.30pm.

SUN ALMOST SHINES ON FRINGE SUNDAY
While inquiries got underway elsewhere, much of the Fringe Society's energy was presumably being dedicated to Fringe Sunday, the Fringe Festival's big bash on the Meadows which has the advantage of being unticketed. And despite predictions of the whole thing being a complete washout, in the end it remained mainly dry.

Over 100,000 people made their way to the event, taking in the likes of Fiona O’Laughlin, Shazia Mirza, Jimeoin, Dan Nightingale, Andrew Bird, the Soweto Gospel Choir, Camille O’Sullivan, Caesar Twins, Kayla Kavanagh and The Bastard Children Of Australian Folk, all of whom provided free snippets of their Festival shows. Ten new bands, meanwhile, showcase their tunes on the now traditional Fringe Sunday band stage sponsored by the Performing Rights Society.

Commenting on the day, Fringe Society boss Jon Morgan told ThreeWeeks: "Fringe Sunday is always a hugely enjoyable day. Every tent has been packed all day long which shows how popular the event is. I’d like to thank to Bank Scotland and PRS for their support this year, and of course all the volunteers who give up their week to help put this fantastic day together".

The lovely Camille, meanwhile, commented: "The sun has come out and it reminds me of Glastonbury - there’s the same great festival feeling".

HERALD DISTRIBUTE THE FIRST ANGELS OF THE FESTIVAL
Yet another Traverse-dominated Fringe awards bash for you - sometimes I wonder if the Trav shouldn't disqualify itself from such things and force critics to go and see the real Fringe. But we're hearing very good things about the Traverse show 'Deep Cut', written by Philip Ralph, so it probably did deserve another broadsheet award - this time it got one of those Angel Awards from The Herald. With its Fringe First and now Herald Angel you really ought to see this show - though its completely sold out so if you haven't got your tickets yet I don't think you will.

Other Angel winners included another Traverse show, Adam Rapp's 'Nocturne', plus 'Bale De Rua' at Assembly Hall and Drum Cat's 'Dream Of Cat' at C too. Also honoured were an Edinburgh Art Festival exhibition at Inverleight House called 'Protest Pictures' featuring the work of veteran British pop-art artist Richard Hamilton, and that strange performance piece taking place at Edinburgh Zoo, Janice Claxton's 'Enclosure 44: Humans'.

The Little Devil award - the Herald's tradtional nod to those theatre companies with a 'show must go on' philosophy - went to Real Circumstance who, as previously reported, ironically saw their play 'Lough/Rain' rained off after a leaky roof at Underbelly flooded a lighting desk. But quick action ensured only one performance was affected. And finally the Archangel award - which is like an Angel award, but with the word 'Arch' before it - went to yet another bloody Traverse show, though it was to the lovely Enda Walsh for his play 'The New Electric Ballroom', so we'll let them off.

FORMER EDINBURGH BISHOP MURDERED AT THE FRINGE
I know theatre needs to be more realistic in this reality TV age, but killing off a real bishop every night in a bid to make a production of 'TS Eliot's Murder In The Cathedral' seem more real is probably as extreme as it gets. And in a church as well.

OK, it's not quite that extreme, but Old St Paul's Drama's production of the Eliot play does see former Bishop Of Edinburgh Richard Holloway play the unfortunate Arch-Bishop Becket, who ends each performance dead on the chancel steps. So, if you want real bishops dying in your bishops-themed plays, then this is the one for you.

'TS Eliot's Murder In The Cathedral' runs at Old St Paul's Church on Jeffrey Street from 14 - 16 Aug at 5pm.

Send in news: editor@threeweeks.co.uk

Answering the ThreeWeeks Quick Quiz today... Diet Of Worms

1. What is your 2008 show all about? Our show is about a lot of things really. But mainly it’s about a friend we invented for ourselves called the Puffincat. He's kind of a Soviet spokes-thing for the younger generation (and the result of a cruel bout of forced cross-breeding on a naval war vessel). He's a popular guy and our show is all about his many different wonderful friends. Through song, stand-up, sketch, dance and some silly props we get to meet them all over the course of the hour. 2. Why should we come and see it? Because it’s genuinely lots of fun, basically. We don't really think it's like anything else we've ever seen at the Fringe before and we just love performing it. Also I think we could all learn an awful lot from the Puffincat. He's an interesting guy.

4. What are you most looking forward to about this year's Festival?
We're really looking forward to being in the city. It’s an incredible town, we love just being there. Apart from that, we’re looking forward to seeing some great comedy on a daily basis and racking up a ridiculous CPD (crepe per day) ratio.

5. What are you least looking forward to about this year's Festival?
Flyering, to be honest. We don't know about the other guys but we hate it. It’s a very necessary evil but we’re not particularly good at it. Being out-going and loud while performing on stage is one thing but it’s hard to do that on the street. Guess we'll just have to grin and bear it though.

6. What advice would you have for someone trying to navigate the Fringe?
Follow your instincts. Word of mouth is the best way to pick a show to see in our opinion. There's so much good stuff out there, keep your eyes and ears open and you'll soon find it.

7. What advice would you have for someone trying to survive the Fringe?
Try to be as laid back and easy going as you can. It’s a crazy town during the Fringe and you can become overwhelmed if you're not careful. Just take it as it comes.

8. Describe your show in three words.
Lots of Fun

Diet Of Worms: Friends Of The Puffincat, Gilded Balloon Teviot, 30 Jul - 25 Aug, 5.15pm (6.15pm), prices vary, fpp 46.

Even more reviews for you! Some, though not all, of these also appeared in edition 08 of the printed ThreeWeeks Daily. Remember only a selection of our reviews appear in the printed Daily and Weekly, they all appear here in the eDaily. Enjoy...

Speedy links:
Children's Shows - Comedy - Events - Dance - Music - Musicals & Opera - Theatre - Visual Art

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

CHILDREN'S SHOWS

The Lighthouse Keeper
Clive Nicholas Andrews
There's more than a touch of Buster Keaton to Clive Nicholas Andrews, the talented physical comedian who plays the titular lighthouse keeper. His show is mostly devoid of dialogue, and during the performance Andrews clowns around with a succession of props: hats, an umbrella, cups, flags, even a ukulele. All of these are comedy fodder to this naturally gifted performer who makes intricately physical routines seem effortless. The lack of dialogue means that language is no barrier, making this one of the best shows on offer for non-English speakers. While the performance was never less than impressive, it only rarely managed to solicit more than a murmur of laughter from the reasonably large audience; the kids, however, loved every minute.
Dance Base - National Centre for Dance, 6 - 10 Aug, 12.00pm (12.45pm), £7.00, fpp 16.
tw rating 3/5
[al]

Three Billy Goats Gruff & Other Furry Tails
Theatre of Widdershins/Escalator East to Edinburgh
Almost entirely sold out for the second year running, this show is the perfect place to take your kids this Festival. The storyteller has come from the magical land of Three with three wonderful stories to entertain you. The performance is full of fantastic puppets and has a bright, colourful set, helping to tell these tried and tested tales in a new and novel way. The Three Little Pigs made me laugh, and the audience were encouraged to join in with the huffing and puffing, which built a strong rapport with the storyteller. Goldilocks has a modern twist, and the Three Billy Goats Gruff boasts the best puppet (the Troll!). Get a ticket while you still can.
Scottish Storytelling Centre, 2 - 23 Aug (not 3, 10 or 17), 11.00am (12.00pm), £7.50 (£5.00), fpp 18.
tw rating 5/5
[dk]

Let the Earth Breathe
KeNoDeKe
This is a charming cautionary tale about the damage humans are doing to the planet. Set in a rubbish dump, the Jester shows us what people have thrown away, and what amongst the refuse could have been recycled or reused. A 'wee seedling' is discovered trying to grow in amongst all the rubbish, and we are asked to teach the seed how to grow into a tree. We learn about the ozone layer, how to compost food, and that we should be more careful about what we discard. "Reuse, recycle, consume less, share more!" is the mantra. Throw in some audience participation - I was a tall, strong tree at one point - and percussion, singing and musical instruments, and you have some good, educational fun.
Acoustic Music Centre @ St Brides, 7 - 24 Aug, times vary, prices vary, fpp 15.
tw rating 4/5
[ah]

Aesop The Storyteller
Leon Conrad
A comic blend of modern slang and archaic phraseology transports us to the timeless world of Aesop and his fables. Aimed at children, but containing enough food for thought to satisfy adults, this show is in the no frills tradition, relying solely on gestures, voice and the odd atmospheric lighting effect. Poet and performer Leon Conrad interweaves the fables with stories of Aesop's life, and, despite some confusing overlapping, Aesop emerges as a symbol of freedom. Rhyme and an array of regional accents carry us through the winding narrative that encompasses Aesop's rise and fall, from slave, to revered sage, to ostracised prisoner. This ambitious, eclectic piece demands an attentive listener; children in the audience obliged the emphatic Conrad and reaped the rewards.
Hill Street Theatre, 1 - 24 Aug (not 6, 13, 20), 12.25pm (1.30pm), prices vary, fpp 10.
tw rating 3/5
[dp]

COMEDY

Barry And Stuart: Part-Time Warlocks
Underbelly Productions By Arrangement With Objective Talent Management
Radioactivity! Doowap! Lactation! Transmogrification! It's hard not to like Barry and Stuart, two Scottish comic illusionists, and their highly entertaining routine of quickfire magic and oddball comedy. Especially when one is wearing a deer's head while having a microphone thrust down his throat. Their routine contained both the more obvious and expected setups along with ingenious and genuinely impressive/shocking displays of "magence" - a particular highlight being one of the tricks demonstrated in their show, "Tricks From The Bible". That or the humping pirates. With quirky, often very funny and well-written deliveries, the two are a particularly good pairing, bouncing well off each other in their set and consistently getting deserved laughs.
Underbelly, 2 - 24 Aug (not 12), 10.20pm (11.15pm), prices vary, fpp 31.
tw rating 4/5
[ab]

Andrew Stanley's Comedy Mish Mash
Lisa Richards in Association With Edcom8
Someone give Andrew Stanley and Fred Cooke their own TV show. Now. For rarely can two men enthrall an audience with such amusing banter, and warm, welcoming charm. Theirs is a bizarre but brilliant show, full of biscuits, music and a real interest in the people they're performing to. Every sentence spoken by either brings down the house, and bigger things can only come their way. In fact, the only thing stopping this show getting the full 5 stars is their choice of guest stand-ups. Neil Hickey and George Fox are far from disappointing, but their above par material is let down by inexpert delivery. Nevertheless, this is probably the most fun filled hour you'll find at the Fringe.
Gilded Balloon Teviot, 30 Jul - 24 Aug (not 5, 11 or 18), 11.30pm (12.30am), prices vary, fpp 27.
tw rating 4/5
[tm]

Bringing The 'Funny'
Little Acorns
There's nothing really wrong with the Little Acorns; they're accomplished performers, their material is fairly solid, and the show as a whole is a relatively polished package. The problem is that there was nothing really to chew over after the show; there were no climatic set-pieces, no outrageous laughs, nothing that pushed any boundaries. There were some nice touches here and there, but overall it seemed to be afflicted by a distinct shade of bland. Hints of David Mitchell and 'The IT Crowd''s O'Dowd are detectable in two of the performers' personae, though a third was never really utilised. With a few more big laughs or a little something extra, I perhaps wouldn't have left feeling so indifferent.
The Space @ The Thistle, 2 - 9 Aug (not 3), 12.05pm (1.00pm), £6.00 (£5.00), fpp 35.
tw rating 2/5
[th]

Devlin's Daily
Stand Comedy Club
A veritable smorgasbord of tasty comic treats, and all for absolutely nowt. Host Bruce Devlin showcases the best and the worst of Fringe stand-up talent, and today's line up included Felix Dexter, Madame with an 'E' and Ginger and Black. There are free ticket giveaways and Devlin will also fill you in on the Fringe's sexy backstage gossip: who's sleeping with who, who's hitting the bottle, etc. Devlin's a talented host, although sometimes seems to make up for lack of material just by insulting the audience. Essentially, it is just an opportunity for other comics to come and get some free advertising, but it did mean seeing the wonderfully deadpan Ginger and Black for free, which made my morning.
The Stand Comedy Club, 4 - 25 Aug (not 16, 17, 23, 24), 12.30pm (2.10pm), free, fpp 46.
tw rating 3/5
[je]

The Return Of The Scottish Falsetto Sock Puppet Theatre
The Scottish Falsetto Sock Puppet Theatre
It's incredible that so many laughs can be created by just two socks. Yes, really, just socks. Like no other underwear, these puppets will have you in stitches as they sing, attempt to re-enact Shakespeare's 'King Lear' and then sing some more. The terrible two have lots of fun along the way and this one man show is engaging, full of energy, and very, very witty. The Scottish Falsetto Sock Puppet Theatre adapts to new situations well, listening to audience input and responding to it, which simply makes this show funnier, and will ensure you get a different performance every time. A show that will rock your socks off - if only all laundry could be this fun.
Gilded Balloon Teviot, 30 Jul - 24 Aug, 8.45pm (9.45pm), prices vary, fpp 91.
tw rating 4/5
[kc]

Aeneas Faversham Forever
www.pennydreadfuls.co.uk
How do you follow up a five-star, award winning show that took the Festival by storm last year? If you're the Penny Dreadfuls you put on an even better show, a tour-de-force of Victorian-themed comedy that somehow manages to be even funnier than last year's. A pastiche of Victorian adventure fiction, Aeneas Favisham Forever is packed to the bally rafters with top quality gags and whimsical buffoonery. It would have been easy for the Penny Dreadfuls to rest on their laurels, or recycle old material, but instead they have developed the genre - the genre they created themselves - to new heights, packing in an insane number of indescribably funny and clever jokes. This is one of the Festival's must-see events, as the sold-out room tonight demonstrated. Good show!
Pleasance Courtyard, 30 Jul - 25 Aug (not 11), 7.10pm (8.10pm), prices vary, fpp 22.
tw rating 5/5
[al]

Joanna Neary's Magic Hole
Avalon Promotions
Let's start by making something very clear: Joanna's Neary's magic hole is her mouth. And out of it tumble the scripts for some wickedly funny sketches, in which we witness a nervous sex toy saleswoman, a friendly dolphin, and an absolutely priceless impression of Bjork. Neary's an extremely talented actress with razor sharp wit and physical skill, and in her trademark madcap manner switches between ages, sexes and nationality. It's also very intelligent humour, and takes in a wide range of genres that will appeal to a diverse range of stand-up fans, including some hilariously deadpan song-and-dance resembling a particularly funny impression of 80s dancers Pan's People. Once you enter her magic hole of the sublime and the ridiculous, you'll never want to leave.
Assembly@ George St, 31 Jul - 24 Aug, 5.00pm (6.00pm), prices vary, fpp 65.
tw rating 4/5
[je]

Rick Shapiro - Wildcard
Mick Perrin For Just For Laughs
Rick Shapiro is a rambling, stuttering, dishevelled mess. He is also really funny. Never quite sure what he's saying or why, we ride on the wave of mayhem he creates, bearable because of frequent gems. He manages to be surprisingly articulate; his satire is eloquent and interspersed with surreal interludes as he weaving astonishing tales about his hedonistic past. The monologue often returns to the subject of women and sex, about which he has a lot to say, sarcastic and casual misogyny aside. Although he often loses his place, seemingly drowning in words and memories, it's done in a way which isn't annoying. Instead, it's almost endearing, and his finale is quite breathtaking in a touching way. Weird, wonderful filth.
The GRV, 30 Jul - 24 Aug (not 12), 7.45pm (8.45pm), prices vary, fpp 92.
tw rating 4/5
[ks]

Tea and Cake II: In The Gateau
Tea and Cake
The problem I had with this sketch show was that I just didn't get it, and apparently I wasn't the only one, as laughs from the rest of the audience were also few and far between. The fight against 'crap mime' became a tedious running theme (unfortunately it didn't get any funnier) but the mock bloopers at the end were rather amusing, even if they did strike me as a rather lazy way to finish the set; it was as if they had run out of ideas and had merely recycled the first half of the show. The cast are clearly very talented, but I felt that their material had let them down. Or maybe it just flew well over my head.
Underbelly, 31 Jul - 24 Aug (not 11), 3.50pm (4.40pm), prices vary, fpp 101.
tw rating 2/5
[rg]

Simon Brodkin Is Lee Nelson
Avalon Promotions
I suspect that this is an act that relies heavily on noisy, enthusiastic audience participation to shine, and unfortunately, this audience was not quite up to the job. Quickly identifying the hot girls and posh guys to pick on, Lee 'Nelsy' Nelson ended up bullying responses out of his sometimes reluctant audience, and his ad libbing was a little stilted at times. Despite this, he recovered his act with his prepared material, where his ruminations on the subject of fatherhood, and his brilliantly named child Stairwell (named after the place where he was conceived, a la the Beckhams) were consistently amusing. Blunt, swaggering, and likeable, Brodkin plays a very believable chav, but this does not always translate into first-rate comedy.
Pleasance Courtyard, 30 Jul- 25 Aug (not 20), 8.30pm (9.30pm), prices vary, fpp 96.
tw rating 2/5
[af]

Tim FitzHigham
Whoever said that the English eccentric is dead? Tim FitzHigham has an expert feel for the absurd, which seems to flow authentically from his own personal, endearing oddness. This year, following the lead of Will Kemp, Shakespeare's greatest clown, FitzHigham decided to morris dance from London to Norwich. One policeman who stopped him on the motorway seemed to think that this might be some kind of a joke. "It depends which reviews you read." What's at stake is precisely what Kemp set out to find: the true nature of comedy, which is a very serious matter indeed. With energy, wit, anecdote and blisters, FitzHigham demonstrates that TV-hit stand-ups are only one way to find laughter at the Fringe.
Pleasance Courtyard, 30 Jul - 25 Aug (not 6), 6.00pm (7.00pm), prices vary, fpp 104.
tw rating 4/5
[cw]

Plested And Brown In Health and Stacey
Plested And Brown
Danger seeking Geography teacher Stacey and paranoid health and safety officer Michael Proffitt encounter cannibals, Nazis and ex-pats on the Island of Sambuca, a place populated by Britons fleeing the stresses of the M25, rising fuel prices and the CCTV culture. Totally topical, and pinpointing all the worst bits of British society whilst tickling the audience with jungle rhythms, the Macarena, the Ketchup song and miming to Shirley Bassey, it's literally a laugh a minute and just got funnier and funnier. The duo had perfect on-stage harmony, and the show provided such variation that the audience was always kept on their toes. There's a cheeky stunt with some speedos, incidentally, so watch out if you're in the front row.
Pleasance Dome, 30 Jul - 24 Aug (not 11), 4.20pm (5.20pm) prices vary, fpp 87.
tw rating 5/5
[sg]

DANCE AND PHYSICAL THEATRE

InvAsian Festival: Rainbow Ride
clubWEST & Dance Ihayami
This seemed to me something like a very bad trip on LSD. Maybe there needs to be some sort of spiritual connection between the viewer's soul and the performance, but that connection didn't happen for me. Connections were made, however, between colours, planets, star signs and sins. There are seven sins, therefore there were seven colours, and seven dancing women, each personifying the spirit of a sin, and a man who mimed the traits of the sin and was tempted by the women. It occurred to me that this would be a good warm up for amateur dramatic group, but it is certainly not worth a dedicating to a fee paying show. Perhaps I am on the wrong spiritual level to appreciate the performance's message?
ClubWEST @ Quincentenary Hall, The Royal College of Surgeons, 3 - 25 Aug, 5.45pm (6.45pm), £9.00 (£7.00)
tw rating 1/5
[mi]

A Journey Through The World of Dance
Twisters-UK
Clap your hands as the medium of dance explodes before your eyes. With a cast of only fifteen it is astonishing that this dance journey around the world stopped to explore eight different destinations. The best things about this production were that it really celebrated the fun aspects of dance, the performers didn't take themselves too seriously, and you could actually see that they were enjoying themselves. The audience, although glued to their seats, were bobbing and tapping along, which isn't surprising; this show makes you want to find out where your local dance lessons are, as the performers are easy to relate to and completely engaging. The overall performance is possibly a little rough around the edges, but it's only a small issue.
The Bongo Club, 6 Aug, 3.00pm (4.00pm), £6.00, fpp 117.
tw rating 3/5
[mi]

Black Box Lost
The Third Hand Theatre Company
Is this what becomes of all of us? A fate that only a premature death can save us from? Lost in our own minds, crippled with senility; do we grow old only to revert back to infancy? Through a combination of expressive movement, mime and rant, we are taken on an amusing and disturbing exploration of old age and dementia. Jerky, disordered motion set to peculiar, discordant music, topped off with distorted expressions and verbal incontinence are used to present the aged in all their glory. What more can there be in the winter of life than death, tea, biscuits, moaning and sleep? And yet it all seems rather endearing. Wacky and abrupt, but strange enough to be brilliant.
The Space on the Mile @ The Radisson, 2- 9 Aug, 9.00pm (9.50pm), £7.00 (£6.00), fpp 112.
tw rating 4/5
[mj]

Passion Of The Sorors
Idle Motion
This new piece of physical theatre devised by this small company is pretty revolutionary, bringing a story of the Bible's 'Passion' to life by unusually using five nuns and five white clinical chairs. The accomplished company deliver a polished performance and use the chairs effectively to conjure hard-hitting sounds and to symbolise images such as Jesus' cross. This is an innovative piece of theatre that has a refreshing new angle on the Bible, although the movement of the five chairs at times seems unnecessary and without purpose. The pace could be speeded up, and repeated motifs could be varied, but all in all there is a great sense of unity amongst this pleasing company.
The Space@The Thistle, 2 - 16 Aug (not 3, 10), 4.10pm (4.50pm), prices vary, fpp 119.
tw rating 3/5
[kc]

Step Into Africa 3
Cafda Youth Dance Company 34/18
Fusing dance styles is commonplace in today's ever fracturing contemporary dance scene. Practitioners such as Akram Kahn have created boundary-pushing works that challenge people's perceptions of their cultures and expose them to otherwise undiscovered experiences. Something similar is attempted by Cafda Youth Dance Company in their current production 'Step Into Africa 3', an amalgamation of South African traditional and contemporary dance. The piece switches between the two styles with confidence, but the energy is missing during the contemporary sections, only picking up when the cast don their wellies and get their stomp on. If you're a fan of this type of dance, it may hold your attention, but if not, then there probably won't be much to grab you.
Zoo Southside, 5 - 9 Aug, 11.30am (12.15pm), £7.00 (£5.00), fpp 121.
tw rating 3/5
[nb]

Dance Base Presents... Alan Lucien Øyen & X Factor Dance Company
Dance Base
There must be something about the North that makes people highly idiosyncratic, as this diverse triple-bill of performances from Iceland, Scotland and Norway would seem to show. Ketilsdóttir's piece is the most unusual, exploring falling in love through dialogue and movement, with no music but a very effective (and disturbing) use of voice as rhythm, but it was a little repetitive at times, and could've been shorter. X Factor's sinister Scottish piece was beautiful, using a complex play between light, shadow and smoke with a fitting poetic narration. Finally Øyen's interpretation of dying moved many of the audience to tears, the dancers fusing seamlessly into one tragic character to the distinctive soundtrack of Sigur Ros. Overall, a great showcase.
Dance Base, 6 - 16 Aug (not 11), times vary, £11.00 (£7.00), fpp 113.
tw rating 4/5
[sh]

Interrupt
Collisions Dance
Studio spaces can often be the best places to see dance, their intimate nature providing an altogether more personal experience. Not so with Collisions. Despite close physical proximity, the audience remained as disengaged from the dancers as they were from each other. What was an excellent partnership technically was nevertheless unconvincing in terms of the rapport between the participants. The choreography was pleasing but often hesitant, and while it was well-executed and sincere, the overall performance lacked conviction. At times they seemed close to something truly progressive, at others it felt like we were watching a rehearsal. This show could have been so much more. With such accomplished performers, the company has real potential, if only its members could dance outside the box a little.
Zoo Southside, 4 - 9 Aug, 5.30pm (6.10pm), £7.00 (£5.00), fpp 116.
tw rating 3/5
[fc]

EVENTS

Invasion Festival: Vayu Naida Company: Storytelling - An Ancient Art -Workshops (Adults)
Vanyu Naida Company
Are you sitting comfortably? The small group attending this workshop sat on the floor with our teacher, the calm but expressive Vayu Naidu. We all like telling stories, don't we? Well, understanding and involving your audience is key, Vayu explains, as she compares and contrasts traditions from around the world. We all told stories, a liberating experience that gave Vayu an opportunity to give us individual advice. I told the sad, true story of being sent to a break-dancing workshop by the sadistic slave-drivers of ThreeWeeks. Though this seminar was short, we were able to get relatively deeply into the heart of the story-teller. I wished it could have gone on longer though. That said, several of the ideas have stayed with me so perhaps it has. The End.
clubWEST @ Quincentenary Hall, dates vary, 1.45pm (3.00pm), £8.00 (£5.00), fpp128.
tw rating 4/5
[se]

Oor Tours the Only Musical Tour Of Edinburgh
Oor Tours
No need for an iPod as I made my way along the Royal Mile, I had my own live music. The rain had deterred anyone else from taking the tour, so I felt like a Monty Python knight with his own personal strolling singer. I didn't mind the rain, I was too busy enjoying Graeme E Pearson's fine voice and site-specific songs. There are songs from Burns to Scott (he didn't just write novels), traditional tunes that tug the heart strings as well as more recent, humorous ditties about the town and its history. To some this may sound like a nightmare - a busker following you about - but with such a charming musical guide, I felt proud not embarrassed.
Three Red Phone Boxes on Royal Mile, dates vary, times vary, £8.00 (£6.00), fpp129.
tw rating 4/5
[se]

MUSIC

The Bastard Children of Australian Folk
CWQ
Like five ragtag dandies or colour-blind mafioso in oh-so-stylish velvet, waistcoats, snap brim fedoras and ties, The Bastard Children of Australian Folk looked the perfect counterpart for their rustic, dirty country folk. At times echoing Tom Waits' carnivalesque gutter-wail style, and at others flirting with a lo-fi indie sound, The Bastards were frenetic and rowdy throughout, displaying a constant liveliness that wasn't too well received by the audience, their music occasionally seeming cramped and undercut by the lack of drunken frolickers. Despite this, their show is worth seeing for the touches of spirit and life in their performance. These Melbourne musicians are confident, uplifting, and intoxicating, amply aided by their numerous toasts.
C Central, 1 - 25 Aug (not 11), 8.20pm (9.10pm), prices vary, fpp 141.
tw rating 3/5
[ab]

Celebrity Organ Recitals
Peter Backhouse
It is with a great deal of relief that I write that Celebrity Organ Recitals is not, as the title may suggest, Channel 4's new reality TV series; after all, St. Giles' Cathedral is far too classy for that. Instead, celebrated organist Peter Backhouse treats us to a programme of fantastic music, spanning the centuries to give a wide and varied taste of the genre. St. Giles' is the perfect vessel for Backhouse's execution, allowing him to simultaneously defy the vastness of the instrument as he trips his way through lighter interludes, and utilise the cavernous cathedral to crash out the foreboding and grandiose finale. Altogether relaxing, eccentric and thrilling, Backhouse's performance was a thoroughly pleasant way to spend an evening.
St. Giles' Cathedral, 6 Aug, 8.00pm (9.15pm), £7.00, fpp 144.
tw rating 3/5
[ks]

Dada Noir
A heady mix of the beautiful and the bizarre, this show is a warped fairground of music. Patti Plinko is led on stage blindfolded by her boy, who wears a gas mask throughout. "Our set is pretty much about suicide, murder and cheating on people", she giggles, but this show is in no way bleak, as sex and death are linked in an incredibly charismatic and productive partnership. Her voice is remarkably multi-faceted, ranging from husky and seductive to rough and vicious, and her driven performance is full of a dangerous energy, as she rocks into a musical ecstasy with her ukulele. She sings original material easily mingled with outlandish covers, adding her own unique personality to every track.
C Central, 1 - 25 Aug (not 11), 9.35pm (10.25pm), prices vary, fpp 146.
tw rating 4/5
[af]

David Benson Sings Noël Coward
Festival Highlights
With its feather boas, straw hats and blonde pigtails, this was never destined to be a low-key affair, and Benson's deliciously camp performance here is attuned, assured and engaging. Beneath all the flamboyance lies a genuine passion for Coward and his material; some significant effort has evidently been put into piecing together a set consisting of established classics and rare unearthed gems. Benson is quick as a whip as he banters with his pianist and the crowd, and it's clear that both performers are enjoying themselves. There's not much here for anyone who isn't a Noël Coward fan, and it may feel dated to some, but Benson brings Coward's songs to life with vigour, enthusiasm and gusto.
Assembly @ George Street, 1 - 25 Aug (not 13), 3.40pm (4.40pm), prices vary, fpp 146.
tw rating 3/5
[th]

Jazz At Lunchtime
Ian Millar & Dominic Spencer
I'm sat in the candlelit cellar bar at the Radisson Hotel, having some lunch in front of two jazz musicians playing against a backdrop of the beautiful Scottish scenery. This is 'Jazz At Lunchtime', and I love it. Although I was slightly apprehensive about the use of footage from Glencoe, Pittenweem, and Edinburgh's very own Salisbury Crags (after all, jazz isn't often associated with heather and hairy Highland cattle), I thought it fitted in with the silky music surprisingly well. Millar and Spencer performed classic jazz standards as well as original compositions, and proved themselves to be extremley talented musicians. Very cool music played in a magical atmosphere - this will appeal to jazz novices as well as hardcore enthusiasts.
Radisson SAS Edinburgh Hotel, 3 - 25 Aug, 12.30pm (2.00pm), £7.00 (£6.00) (£3.00 C), fpp 154.
tw rating 4/5
[rg]

Melee
The Edge Festival
Melee won't go down in history as one of those bands who changed music forever, but they might be remembered by their fans as a pretty good rock/pop band. There were plenty of white sparkly smiles and perfectly styled hair-dos as they played their set of melodic, polished songs, which sounded very similar to the work of Maroon 5. A cover of '500 Miles' got the crowd singing along, but their chatting between songs was awkward and almost painful. Occasionally they deviated away from their pop-rock style into a more rocky section, but then there was also a song which sounded like it had come straight off SingStar 80s. Nothing new musically, but you might hear them on day-time radio.
Cabaret Voltaire, 6 Aug, 7.00pm (10.00pm), £7.50, fpp 157.
tw rating 3/5
[fa]

Antonio Forcione & Adriano Adewale
If you've had a tough day, go and unwind to the unique sound of this brilliant musical partnership, which ranges from carnivalesque Brazilian-Italian fusion, to soothing cinematic meditations upon water, combining flamenco guitar and African and Latin rhythms. These two musicians seem to be having the time of their lives on stage, communicating with each other instinctively and smiling the entire way through. The talent that they both possess is formidable; Forcione is hailed as the Jimi Hendrix of the acoustic guitar, and Adewale created incredible rhythms and sounds with his impressive and bizarre percussion section. The acoustics in the Assembly ballroom were exemplary, and the natural energy that emanated from these performers was infectious, creating a magical evening of musical entertainment.
tw rating 4/5
Assembly @ George Street, 31 Jul - 25 Aug (not 11), 10.15pm (11.15pm), prices vary, fpp 140.
[af]

Nick Pynn's Driftnet
Nick Pynn's show is undoubtedly one of the best experiences of the Festival. A whirling dervish of a one-man-band, his set was a superb and kaleidoscopic musical venture through looped delays and field recordings (spoken word, Rich Hall's poker talk and a stormy Birmingham rail station). Armed with a stage filled with a mêlée of quirky unexpected instruments, homemade cocoleles and the "crystal sisters" - an obviously beloved wineglass orchestra - he not only creates rapturous musical arabesques in a wonderfully unique way, but plays like a demon too. I was one of only three people in the audience that night, a very special experience that never once dropped below the standard of incredible. Highly, highly recommended.
Inlingua Edinburgh, dates vary, 10.00pm (11.00pm), prices vary, fpp 159.
tw rating 5/5
[ab]

Swing in the City
Hull University Big Band
This Big Band give the impression they take a more relaxed approach to standards and for one or two tunes, notably the funk piece 'Chicken', it worked. A little later in the set, 'relaxed' began to feel more like 'lethargic', but this was the band's first night and they'd spent the day on the motorway coming in to a relentlessly rainy Edinburgh, so they could be forgiven. Plus, the pace picked up later on, especially with 'Sing Sing Sing'. Mention should go to Becky and Paula on saxes and Toby on trumpet for some excellent solos, and the rest of the band for their consistent and heart-warming input. A great gig to open your show-packed evening on the Fringe.
City Edinburgh, 6 - 13 Aug (not 9), 6.00pm (7.00pm), £6.50 (£4.50), fpp 165.
tw rating: 3/5
[tb]

MUSICALS AND OPERA

I Love You, You're Perfect, Now Change!
Take Note Theatre
Following men and women from first dates to senile pick-ups, here we see many situations we already know evoked in a new way, with lots of comedy thrown in to boot. Most of the story is told through songs, and they are hilarious; the words are clear, you can follow what is being said, and some of the best lines are contained in the lyrics. The talented cast were able to do justice to the script and sounded great when singing in harmony and in solo. This Fringe favourite is as funny and witty as ever, and it's extremely well done by Take Note Theatre. On a rainy day here at the Fringe, 'I Love You, You're Perfect, Now Change!' is a great way of bringing some sunshine into your life.
Musical Theatre @ George Square, 3.45pm (5.00pm), prices vary, fpp 173.
tw rating 4/5
[fa]

Sailing To Tomorrow
Carpe Diem Productions
This spirited Scottish Company perform a musical that is very close to home, having been written by Scottish composer Peter D Robinson. The opening of is magically powerful, the 30-strong cast tantalising the audience, as their voices resonate around the church venue. However, as soon as the show starts to progress with dialogue and solos, it becomes sadly all too clear that this is an am dram production, due to the occasional slipped lines and flat notes. Nevertheless, Carpe Diem still manage to pull off a very reasonable performance of this musical about the Highland Clearances of 1845, even if it is a little too long for a show at the Fringe.
St Mark's artSpace, dates vary, 7.45pm (9.35pm), £10.00 (£7.00), fpp 177.
tw rating 3/5
[kc]

We Will Rock You
Gordonstoun School
I love Queen, and anyone trying to fill Freddie's shoes has a lot to live up to. This school group managed to give us a pretty gifted substitute for the man himself, and there were also some great voices in support, although their talents are raw as yet. The musical, if you don't know it, is Ben Elton's effort at constructing a slightly silly dystopian plot around the lyrics of Queen's greatest hits, and this version is one of few Fringe productions with a reasonable budget and large cast; it's hugely ambitious. The visual elements are certainly impressive, and although it lacks the snappiness of a professional production, it is a lot of fun, and a great excuse to sing Queen songs all the way home.
Stage by Stage Edinburgh Academy, 6 - 9 Aug, 19.00pm (21.30pm), £10.00 (£8.00), fpp 179.
tw rating 3/5
[jwm]

THEATRE

The Boor
Moving Parts Theatre Company
Battling against the blare of the Royal Mile, this cast certainly makes a fair amount of their own noise in their adaptation of Chekov's short story. The blackness of the set and costumes, accompanied by minimal props made this visually pleasing, in particular during the ensemble scene of the servants cooking in the kitchen, which was choreographed beautifully and was terribly evocative of women at work. The differences between the sexes were explored in the play, but mainly focused on the nature of women, and not men. The supporting actors were strong, and I would have liked to have seen their stories developed further, however, what started as a serious but humorous play, descended somewhat into pantomime towards the end.
Diverse Attractions, 4 - 9 Aug, 7.30pm (8.30pm) £10.00 (£7.50) fpp 187.
tw rating 3/5
[gm]

The Open Couple
Shattered Nerve Studios
'The Open Couple' begins with Antonia trying to kill herself. Frankly, I wished she'd succeeded. This two-hander about a dysfunctional couple who end up dissatisfied after trying an 'open' relationship is penned by Nobel-prize winner Dario Fo with his wife Franca Rame. The script is excellent, and this should be a witty and explosive comedy, but thanks to an extremely irritating performance from Lauren Anderson as Antonia, it's short on laughs. She starts at a high-pitch of huffing, puffing, contemptuous anger and due to poor direction stays on that one note for the whole show. There's energy and commitment here, plus some vigorous sex mimes, but all nuance and sympathy for the characters is lost. You're better off reading it.
The Bongo Club, 3 - 24 Aug (not 17), times vary, £6.50 (£5.00), fpp 221.
tw rating 2/5
[hw]

Sister Cities
Sidewalk Studio Theatre Productions
While their mother lies dead in the bath tub, four sisters with four different fathers are brought together in her living room to consider her loss and their own lives over vodka and scrabble. Secrets are revealed and accusations flung as these very different characters - an uptight lawyer, a free-spirited Harvard student, a best selling author and a conformist teacher - let their hair down and clash over what family, duty and taking control means. The all-female cast were superb all round, with slick and dynamic performances of a script that was packed with unexpected twists and turns. Absorbing from start to finish, this was funny, touching and ultimately a warm affirmation of family despite dysfunction.
Gilded Balloon Teviot, 1 - 25 Aug (not 11, 18), 6.45pm (7.45pm), prices vary, fpp 231
tw rating 4/5
[lr]

The Six Wives Of Timothy Leary
Weaver Hughes Ensemble
Turn on, tune in, drop out. Most people have heard the mantra of Dr Timothy Leary, Psychologist and hero to the Acid generation, but few will be aware of the people behind the man, the women who supported him through his prison stints, and, possibly, made him the person he was. 'The Six Wives Of Timothy Leary' intends to sweep away the mystery that shrouds these women's experiences of life with the LSD king. In the Form of monologues, these six highly competent actors deliver some very believable performances. The script is accessible, and all the characters evoke some kind of emotional response, but it's just too long and begins to bore towards the end. If only Leary had married four times instead of six.
Pleasance Dome, 31 Jul - 25 Aug (not 11, 19), 5.00pm (6.25pm), prices vary, fpp 231.
tw rating 3/5
[nb]

We Had Names
The American High School Theatre Festival
Here is a story of innocence lost, of fervent hope when the whole world appears to be crashing down. The place is Czechoslovakia, 1942; the stories belong to the child victims of the Holocaust. Written by a young American schoolgirl, Kimberly Acker, the play has been built on the poems of children held in the ghetto of Terezin near Prague. This production is a great tribute to their lives, and it's wonderful that Acker has recognised the importance of keeping their memories alive. This is a moving piece, especially since so much of the script comes from the real words of children who never got to live their dreams. This difficult subject matter has been treated with the respect it deserves.
Church Hill Theatre, 4 - 9 Aug (not 5, 8), times vary, £6.00 (£4.00), fpp 241.
tw rating 4/5
[mj]

Wide Asleep
Z Theatre Company
Wide Asleep pulls us into society's obsession with prescribed happiness - from Prozac to sleeping pills, we are all numbing down. So perhaps the confusion is all part of the effect, for I spent most of the show blissfully oblivious to what was going on. This didn't actually stop it from being an enjoyable performance though, with some great characterisations and brilliant acting from the young cast. But still, the story, if there was one, felt flaky and disjointed, with rather arbitrary film vox-pop style interviews projected onto the back wall. I left feeling I'd enjoyed it but wouldn't be able to explain what it was about - rather like the effects of the happy pills the show satirises.
The Space@ Venue 54, 4 - 15 Aug (not 10), 6.30pm (7.15pm), £5.00 (£3.50), fpp 109.
tw rating 3/5
[sh]

Which To Burn
Rachel Ogilvy
Literally found in a cupboard, this one woman show is a joy. The story is about a supply teacher trying to settle into a new school, and her love of the Forth rail bridge. This unappealing synopsis does no justice to either the play or the performance; told by a wonderful actress who is reminiscent in places of Joyce Grenfell, it is an enchanting Scottish tale underscored by an emotional search for peace of mind. Innocent when it needs to be, and funny when it wants to be, 'Which To Burn' is one of those shows that wouldn't work anywhere else, and its quaint naivety and location make it an excellent addition to the top of your Fringe to do list.
Gilded Balloon Teviot, 31 Jul - 25 Aug (not 11, 18), 1.15pm (2.15pm), prices vary, fpp 241.
tw rating 4/5
[rh]

Working Girls
Temptation Theatre
'Working Girls' was certainly an interesting experience. Five girls who work the streets each tell their stories, and demand that we don't judge them. Described as 'uncomfortable theatre', which it most definitely was, the girls not only addressed the audience directly but were right up in their faces about it. It was not until the last two girls, however, that the stories became properly powerful and intense; the very last girl to confess to the audience was so sincere and so desperate that I found myself very close to tears. This intensity continued even after her story, and the rest of the performance was quite distressing to watch. If it does nothing else, this performance will most definitely make an impression.
The Space@Jurys Inn, 1-9 Aug (not 3), 8.35pm (9.20pm), £5.00, fpp 242.
tw rating 3/5
[lp]

The Murder Monologues
Writer's Voice Productions
In this dark, intimate space two murderers lurk, one a sympathetic character, the other a cold-blooded killer. First we meet Claude, the pilot who dropped the Hiroshima bomb. He is racked with guilt and robs banks to try and atone, ultimately ending up in an asylum. The role is thoughtfully played by Adrian Turner, who makes the most of John Foster's piece and resists the temptation to overplay it. The second monologue introduces Theo, child-murderer and paedophile, imprisoned on Death Row. Sheila West's writing is interesting, but ultimately did not affect me as much as the first piece. Conor Irwin gave a dedicated performance, but it lacked intensity, and I occasionally felt he was struggling with his words.
The Space@Jury's Inn (V260), 1 - 16 Aug (not 3, 10), 1.05pm (2.05pm), prices vary, fpp 217.
tw rating 3/5
[dk]

The Rebel Cell
Babasword Productions
The year is 2013 and Britain, once a land of freedom and expression, has become an Orwellian dystopia, ruled by an oppressive nanny state. Enter Baba Brinkman and Disraeli, two Lit-Hop MCs with different solutions to solving society's problems. Part spoken-word poetry, part basement club battle, these two astounding lyricists transcend common perceptions of what hip-hop can achieve. For so long the bastardised voice of the socially delinquent, the true nature of this art form was all but lost, but in the hands of these two ridiculously talented performers it has been re-instated as the relevant, passionate voice it once was. Powerfully intelligent and awe-inspiringly eloquent, these guys are the saviours of hip-hop.
Pleasance Dome, 30 Jul - 24 Aug, 5.40pm (6.40pm), prices vary, fpp 225.
tw rating 5/5
[nb]

Regretrosexual - The Love Story
Stain Entertainment
Regretrosexual is much like an extended episode of a good sitcom. The lead resembles a younger, more charismatic Jerry Seinfeld and the script is full of witty one-liners and pithy observations. The plot's focus on the difficulties of telling the truth in relationships could have been lifted straight from a sitcom, and it is a testimony to the calibre of the script and the verisimilitude of the performances that it is easily able to hold an audience in rapt attention for over an hour. The actors playing Dan and Colleen have a natural chemistry and a real, believable rapport which ensures that the heart of the play is every bit as well cared for as the brain.
Sweet Grassmarket, 1 - 25 Aug, 2.20pm (3.35pm), £8.00 (£7.00), fpp 226.
tw rating 4/5
[al]

Table 23
Hot Tubs and Trampolines
Welcome to the Mermaid Café, the haunt of the lonely, owned by the depressed and run by mischievous staff. If you've ever worked in the service industry, you'll understand the frustration of those on a shift, and if you want tips on how to make laying a table look good, don't think about going elsewhere. The incorporation of movement into the play was so fluid it was easy to forget that it doesn't actually happen in real life. Pull up a chair and let the world of this hard-working café enthral, amuse and make you sob. At times funny, and at others dark, this stunning cast navigated the tightrope balance between comedy and tragedy effortlessly.
Gilded Balloon Teviot, 30 Jul - 25 Aug (not 19), 1.45pm (2.45pm), prices vary, fpp 234.
tw 5/5
[rs]

Fall
Traverse Theatre Company
Zinnie Harris's tale of secrecy, lies and the evil that humans possess within them makes two and a half hours go by in the blink of an eye. This is in part due to the magnificent script, but it's made all the more enchanting by the incredible cast. From Kate, who indulges in futile conversations with her deceased husband's colleague (and fellow war criminal) Evener, to PM Pierre and his life-changing realisation that he doesn't want to be responsible for choosing whether or not to reinstate the death penalty, each character is inextricably linked to the other. Their fates come to a harrowing and explosive end after a decision is finally reached in this fast paced and thought-provoking play.
Traverse Theatre, 2 - 24 Aug (not 4,11,18), times vary, prices vary, fpp 199.
tw rating 4/5
[zh]

Frog Man
Meanwhile Theatre Company
What a peculiar story. It's a bit like a modern equivalent of the fairytale about the princess and the frog, except in reverse and a whole lot more sinister. Told by two men and a woman, with the help of an overhead projector, what at first appears to be the idyllic world of Pleasantville quickly turns on its head in this hyperactive and mildly annoying show about a police frogman, a smelly boy and an asthmatic floosy who likes dancing to ABBA. The plot itself is quite intriguing, dealing with surreal matters of life, love, death and infidelity and, although it seemed a little disjointed at first, it all came together in the end with a curious spiral of quirky twists.
The Zoo, 1 - 25 Aug, 6.45pm (7.50pm),£7.00 (£5.00), fpp 201.
tw rating 3/5
[mj]

The British Ambassador's Belly Dancer
Nadira Murray
It's difficult to comment on the talent of an actor when they are playing themselves, telling their own story on stage, but Nadira Murray is a woman with an incredible, unbelievable true story to tell, and you must hear it. She completely manages to transport her audience to her homeland of Uzbekistan, taking them through the story of her life of abuse, poverty and rape, and of her relationship with current husband and ex-British diplomat, Craig Murray. This co-written piece is to be commended for its frankness, and the story is neither embellished nor sentimental. Nadira is a very good storyteller, holding your attention throughout despite very little movement on stage. This Belly Dancer is sexy, charming and tough; go see the documentary of her life on stage.
Gilded Balloon Teviot, 8 - 24 Aug (not 11), 1.30pm (2.40pm), prices vary, fpp 169.
tw rating 4/5
[zl]

Hand-Me-Down
The Empty Space and Kate Craddock
This is a quaint, funny and heart-warming play about the nature of charity and everything that is connected with it. Kate Craddock plays three characters, one a young Glaswegian girl who has grown up in second hand clothes, a second a charity shop volunteer, the third a gap year student going to Africa to do charity work (but who lives off daddy's money whilst at home). This play raises some serious questions and has a strong moral grounding, whilst the use of props is brilliant, and music and lights are also used to endearing effect. It's described as a 'little piece of charity shop heaven', but I think it's a little piece of theatre heaven.
Pleasance Courtyard, 30 Jul - 23 Aug (not 2,13,14), 12.45pm (1.35pm), prices vary, fpp 202.
tw rating 4/5
[fa]

Women Of Troy
Belt Up (Nothing To See/Hear)
Blind-folded and hand-led into the Red Room, I sat apprehensively in pitch blackness with ominous and haunting music playing seemingly out from the ether. Disorientated, I removed my blind-fold, to watch a moving and truly dynamic take on Euripides' 'Trojan Women'. The beauty of 'Belt Up' is that they completely take down the theatrical fourth wall, wonderfully blurring the boundaries between the performers and the audience, who sit side-by-side. So, expect to be touched and involved in the action as though you really are witnessing the aftermath of Troy. The consummate performances, emotional depth and stunning visuals render 'Women of Troy' an arresting, and brilliantly conceived experience that both intoxicates and engages the heart, mind and senses.
C central, 1 - 25 Aug, 8.30pm (9.45pm), prices vary, fpp 242.
tw rating 5/5
[rsj]

VISUAL ART

Heroes and Heroines
Amnesty International
In the spectacular St Giles' Cathedral, many people may bypass this small exhibition, consisting of photographs of unknown heroes and heroines from countries such as China, Kenya and Cuba. What is striking, however, is not so much the photos but the words that accompany them, often a poem by the subject, and a description of their life and struggle. Taking time to read these stories is moving, as many of these celebrated people are journalists in the vocational sense: individuals striving to bring to light the truth about the harsh realities of their countries despite the threat of persecution. The notions of truth, belief, peace and selflessness are made all the more intense in the cathedral setting, and more inspiring than any sermon.
St Giles' Cathedral, 1 - 27 Aug, opening hours vary, free, fpp 134.
tw rating 4/5
[gm]

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