Let's get physical - yes, it's the most over-used of ThreeWeeks headlines above a little selection of dance and physical theatre shows. From left to right - 'Blank Album' at Assembly [EH], the Czech Republic @ The Fringe showcase [EH] and 'Serendipity' at Sweet @ ECA [KG]. Photographer credits in brackets.

FRINGE DIRECTOR SAYS HE MAY LOSE HIS JOB OVER BOX OFFICE DISASTER
So, the big story today was that Fringe Society Director Jon Morgan has admitted he may lose his job over the whole box office debacle; though the much reported headline isn't completely accurate - what Morgan said, when asked if he feared for his job in light of the two reviews that have been set up to look into the ticketing fiasco, was: "Everything has to be up for consideration as part of the review".

The two reviews, which will look into exactly how the Fringe's central box office managed to cock up so majorly after the introduction of new technology, were confirmed after a meeting between the Society's board and forty venue managers yesterday. Both reviews are expected to look into the management of the ticketing crisis, and also the wider issue of what role the Fringe Society should have in helping to coordinate and administrate the ever growing Fringe Festival.

Confirming the reviews, The Scotsman quote Morgan thus: "I feel confident that I have made the right decisions in the situation I was in, and the range of options I had. I don't feel I have anything to fear from the review". He confirmed that an extra fifty staff had been brought in to help the Society's 130-strong August workforce deal with the fall-out of the box office problems, though denied rumours this was bringing the Society close to bankruptcy, saying the extra cost would be met by cash reserves that had been built up in recent years ready for such a crisis.

Morgan's comments regarding his position at the top of the Fringe Society come amid growing chatter to the effect that someone at the festival body will have to resign in order for there to be 'closure' on the whole issue. Though there doesn't seem to be much consensus among those who advocate some kind of resignation as to whether that would need to be Morgan himself, he being relatively new into the job.

That said, some journalists have said there has been a communication blackout at the Society ever since the ticketing problems began following the publication of the Fringe programme earlier this year, and that they are sure that Morgan's predecessor - Paul Gudgin - would have been on the phone to everyone as soon as the scale of the problems were realised. Gudgin, though, was well connected in Edinburgh circles prior to taking the Director's job, while Morgan was not.

The Scotsman article on the meeting also noted that Morgan has only seen two shows so far this Festival, implying that that too was some kind of failing; though I think I agree with Underbelly co-chief Charlie Wood who told the paper: "In a way that's a good thing. I would be more concerned if he had seen 200 shows, or 20. His job is to be in there, fixing the problems".

Yesterday's discussions between the Society and the venues doesn't seem to have done much to alleviate the anger that has been growing in parts of the Fringe community, with one venue manager calling the meeting "disastrous". Despite the agreement to undertake not one but two reviews, this weekend's Fringe Society AGM is still expected to be raucous as promoters, performers and venue managers air their grievances in public in front of the Fringe board.

Despite all the anger, it could be argued the box office debacle does have a silver lining of sorts if it forces a long overdue re-evaluation of what the Fringe Society is for and what services it should offer the Fringe community. If nothing else the box office traumas have illustrated the Society needs a much better communication strategy - something that was weak even in Gudgin's day - and out of this all a stronger Fringe Society, and stronger Fringe, may rise.

Don't forget the role of the Fringe Society, and wider issues around the development and promotion of the Edinburgh Festival, will be discussed at the ThreeWeeks Big Debate at the Roman Eagle Lodge on Thursday 21 Aug. Entry to the debate is free - to book places email debate@threeweeks.co.uk.

EMIN PIC NICKED FROM LOFT BAR
A picture that appears in a collection of self-portaits by artist Tracey Emin has been nicked from the Loft Bar at Gilded Balloon Teviot, which isn't that surprising a turn of events really. I'm surprised only one has been taken.

The display, placed in the venue's VIP bar to coincide with an exhibition of Emin's work at the Scottish National Gallery Of Modern Art, consisted of ten enlarged polaroids of the artist in various states of undress. Now there's only nine.

According to the Times the artist is on holiday at the moment so doesn't know one of her pictures is gone, with a venue insider quotes as saying "she's going to be furious" when she finds out. Personally I'd tell her on stage during 'Late N Live'. That's something I'd pay to see.

A bar frequented by drunken comics at the Edinburgh Fringe Festival may, in hindsight, not have been the safest place to exhibit ten photographs of Tracey Emin.

PLEASANCE ACTORS BREAKS A LEG ON STAGE
Yeah, you have to be careful when you tell actors to "break a leg" prior to a performance these days. Taking the cliche a bit too seriously was Adam Riches, one of the performers in the Pleasance show 'Alpha Males', who broke his leg on stage. Though to be fair I think he might argue it was the cast member who fell on him and inflicted the injury who was being too literal in his interpretation of theatrical expressions. But the good news is we hear that, while an ambulance was called and Riches was rushed off to A&E, he is in good spirits, most concerned the impromtu ending of his show. All at ThreeWeeks wish Adam the speediest of recoveries.

FRANKLY IT SHOULD BE BANNED
Fringe tip number one, if you're going to do a gay themed play at the Festival, make sure you arrange for some slightly homophonic audience members to walk out in disgust. So well done Glenn Chandler Presents, who, not by design I understand, managed to send a couple and their teenage son running for the exit with their production of 'What's Wrong With Angry?', a play that tells the story of two gay teeangers in the 1990s before the age of consent for gay sex was dropped from 21. The disgusted family were apparently heard describing the actions of the play's characters as "unnatural".

Writer/director Patrick Wilde told ThreeWeeks: "I saw the couple coming in with their son and thought that was very broad minded of them. It's not like our advertising hides the fact that it's a gay play. I have no idea what they were doing in the theatre.' The show's marketing features a topless schoolboy with the tag-line 'School's out, so is Steven'. There have been lots of criticisms in the press that the show is dated. It's set in 1992, and the new version was always intended as a period piece, a reminded of a time not so long ago. But such a bizarre incident as this - at the Edinburgh Fringe of all places - is a real reminder that it still has relevance".

And also that an outraged audience member is a good way of getting into Fringe news sections. Just like this one.

Send in news: editor@threeweeks.co.uk

Answering the ThreeWeeks Quick Quiz today... Justin Moorhouse

1. What is your 2008 show all about? My show is all about me culling my address book. I'm getting rid of my mates, wiping out the dead wood and clearing out the clutter of of contacts. 2. Why should we come and see it? Because by the end of this process I'M GOING TO NEED SOME NEW FRIENDS. 3. If your show was an olympic sport, what would it be and why? The shot putt, because I'm a big man who goes round and round in circles before a huge effort towards the end accompanied by a large grunt.

5. What are you least looking forward to about this year's Festival?
The classic 'over the shoulder' Pleasance Courtyard look. You'll be speaking to someone and then you'll realise they aren't really listening to you but in fact they are trying to grab the attention of the famous person stood twenty yards away.

6. What advice would you have for someone trying to navigate the Fringe?
Planning is key. And money, oh and accomodation, don't arrive here like I did as a visitor in 1999 and think "ah - it'll be easy to get a hotel room".

7. What advice would you have for someone trying to survive the Fringe?
Don't make a big deal about it, it's only entertainment, people in this city tonight are dying from terrible diseases,

8. Describe your show in three words
Pleasance seven fifteen.

Justin Moorhouse's Ever Decreasing Social Circle, Pleasance Courtyard, 30 Jul - 25 Aug, 7.15pm (8.15pm), prices vary, fpp 67.

Even more reviews for you! Some, though not all, of these also appeared in edition 11 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:
Books - Children's Shows - Comedy - Dance - Events - 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

BOOKS

Russell Razzaque
Edinburgh International Book Festival
Both Russell Razzaque's academic and personal backgrounds make him extremely well-equipped to investigate just what turns a human being into a human bomb. This highly topical discussion, focusing on the roots of Islamic extremism and the radicalisation of young Muslim boys, held many fascinating insights into why and how early extremist ideas can take root, with Razzaque drawing many case-studies from both his own experiences at university and those of young people he has studied today. Most interesting is Razzaque's hypothesis that it is cultural alienation in the UK that can turn into extremism, and so the importance of integration - a point that was rather starkly illustrated when an ad-hoc poll showed that there were no Muslims in the audience.
Pepper's Theatre, 9 Aug, 12.30pm, bfpp 2.
[sh]

David Owen
Edinburgh International Book Festival
What a relief to see a politician, albeit an ex one, being unguarded and heartfelt as opposed to media savvy. David Owen's heady mixture of gravitas and statesmanlike stature made the audience putty in his politically etched hands. He regaled the crowd with the shocking findings of his new book, 'In Sickness and In Power', which details the myriad illnesses historical heads of states covered up whilst in power, including Prime Ministers on uppers and a US President medicated up to the eyeballs amidst an impending Cuban missile crisis! The book is a clarion call for leaders to make public their mental and physical well-being, which may be conceivable but is perhaps impractical. It was nevertheless immensely enjoyable to hear.
RBS Main Theatre, 9 Aug, 15.00pm, bfpp 2.
[pl]

CHILDREN'S SHOWS

Sean Choolburra's 'In-Didge' Kids Workshop
Sean Choolburra
Being the only audience member in a one-man kids' show is not often a comfortable experience and it is testament to Sean Choolburra's seemingly endless charm that this show was nevertheless thoroughly enjoyable. This is essentially an interactive presentation; he is in full tribal body paint and in front of him is a fascinating line-up of boomerangs, fire sticks, wood blocks and so on, which he demonstrates, explaining the items and their traditions with a little tomfoolery, such as a didgeridoo impression of a hitch-hiker hitching a lift in a truck. This should be a great show for kids: they even get to make fire! If only there had been some kids in the audience. Apart from myself, of course.
Sweet ECA, dates vary, 11.00am (11.50am), £6.00 (£5.00), fpp 18.
tw rating 3/5
[jwm]

Comedy Club 4 Kids
Neapolitan Theatre
Who'd have thought there were so many kids in Edinburgh? And they all seemed to be at the Bongo Club last night. A nightmare if you're twenty-three and childless? Not so, I had a great time. The compère was extremely good at getting the crowd going, largely with a plethora of poo jokes, and despite the numerous high-pitched heckles that floated up to the stage every now and again, the children all roared with laughter at his irreverence. The two stand-up acts were slightly less successful, but that didn't really matter as by this point everyone was well warmed up and in a great mood. This is comedy for kids that both children and adults will find uproariously funny.
The Bongo Club, 4 - 25 Aug, 6.00pm (7.00pm), prices vary, fpp 12.
tw rating 4/5
[ah]

COMEDY

Phil Kay
Gilded Balloon Productions
Phil Kay speaks so quickly, we probably saw three shows worth of material in this one hour. As likely to say "upsadaisy" as "fuck", he was instantly likable as he rambled along, telling a story about old cars and new cars and his girlfriend's car. He could've been a mine artist or contortionist in another life - he puts his whole body into his comedy, acting out little bits and waving his arms when he gets excited. No wonder one eager punter couldn't wait for the punch line and clapped out of turn. Flitting from thought to thought at a million miles a second, Phil manages to be funny even when he's not coherent. Offbeat but on form, and well worth seeing.
Gilded Balloon, 30 Jul - 25 Aug (not 12,18), times vary, prices vary, fpp 87.
tw rating 4/5
[nv]

Lady Garden
Shiraz Productions .
What were the best things about the Spice Girls? Well, you could, to some extent, relate to them. They also celebrated being women, and weren't afraid to speak their minds (even if they did sing someone else's words). Well, that is kind of what Lady Garden is like. It is a series of sketches which look at everything from Tesco to gap years via South Western England and South Yorkshire. The young women who perform these sketched are obviously very talented and have had some brilliant ideas. Highlights include semi-naked news readers in Baghdad and a maid of honour belting out a rap with her crew. It is shocking, jaw-droppingly funny, spot-on comedy.
Gilded Balloon Teviot, 30 Jul - 25 Aug (not 13), 4.30pm (5.20pm), prices vary, fpp 70. tw rating 4/5 [fa]

Juliet Meyers: Strange Ears
A comedian with an identity crisis sounds disastrous; however, Juliet explores the funny side of family heritage. She could be described as a "chubby vegan" but prefers to admit to just being a really bad one. Anecdotes comparing colon cancer to the 'Antiques Road Show' and emptying the washing machine to delivering a baby calf are just a few of the weird topics she explores. There is a clear path set for the performance but when an unplanned digression occurs there are more laughs gained than in the rehearsed material. All that said, a lady who admits to buying a book entitled 'Karma Sutra For One' is surely worth a piece of your time. Non offensive comedy for the early evening.
Holyrood Too @ Faith, 3-24 Aug (not 11, 18), 7.00pm, £5.00 (£4.00), fpp 67
tw rating 3/5
[mi]

Josie Long - All Of The Planet's Wonders (Shown In Detail)
Josie Long
Josie Long has set herself perhaps the hardest task of all - that of bringing to peoples' attention the myriad wonders of the universe. In this hour of semi-philosophical observation punctuated by Josie's characteristic explosions of uncontrollable enthusiasm, jokes and graphs, I'm not sure she achieved her goal. Frequent changes of pace and tone are delightful and often funny, but some jokes misfire and there is a fair amount of joke-free monologue which lacks a sense of purpose. Josie is clearly awed by the world's wonders, but like the evangelist she struggles to communicate her point of view and when the lights dim, revealing several audience members wearing fairy lights, only she can see the constellation effect. She might take note of the parable.
Pleasance Courtyard, 30 Jul - 25 Aug (not 1, 9, or 19), 21.45pm (22.45pm), prices vary, fpp 67.
tw rating 3/5
[jwm]

Adolf Hitler & Mother Teresa walk into a bar...
Steve Hill and Laura Rugg/PBH's Free Fringe
In a small dark room in a Voodoo Bar that's quite close to Haymarket, Laura Rugg and Steve Hill walk into a bar to channel the forces of good and evil. This standoff is then slightly subverted by the fact that Rugg, a charmer with a guitar, an arsenal of accents and a hatred of certain singers and actresses, is rather a Mother Teresa with edge. As the Hitler of the title, Hill bounds onstage with endless energy and expletives to observe the uncomfortable humour in racism and paedophilia. The humour's coarse, and at times it's a bit of a rant, but between them both some witty digs, songs and observations lift this show into the realm of the mediocre.
Voodoo Bar, 2 - 23 Aug, 7.00pm (8.00pm), free, fpp 22.
tw rating 2/5
[sr]

Quincy: Single Mum
Edcom8
Sometimes it's hard to be a woman. This is something that Quincy is more aware of than the average man. Following the death of his wife, he had no option but to become both mum and dad to his kids. He's a big, tough geezer who was raised with the rule that anything more than a five-second hug with a person of the same sex, even your dad, is gay but this experience has nonetheless helped him to become awfully comfortable with his feminine side. Quincy radiates love and admiration for his children with a sensitivity that other comics can only dream about, between inoffensive but amusing stories that will leave you with a serious case of the warm and fuzzies.
Gilded Balloon Teviot, 30 Jul - 24 Aug (not 11), 21.15, £9.50 (£8.50), fpp 89
tw rating 3/5
[mb]

Raymond Mearns - Shaggy Dog Stories
Stand Comedy Club
Everything's relative. I suspect that the further from Glasgow you hail and the less of a lad's lad you are, the less funny Raymond Mearns seems. This isn't a generalisation about the Glaswegian sense of humour so much as a response to Raymond's frequent name-checking of his home city. Funny that he does so, as most of his set is about travelling away from home. He is a good story-teller but, for me, the punchline was often too far away and ultimately not worth the wait. It depends what your take is on jokes about personal hygiene and Eastern Europe; I wouldn't want to warn you off the show altogether, but beware that it appeals to a specific sense of humour.
The Stand Comedy Club III & IV, 31 Jul - 24 Aug (not 11), 7.40pm (8.40pm), £8.00 (£7.00), fpp 90.
tw rating 2/5
[nv]

Reginald D Hunter - No Country For Grown Men
Mick Perrin for Just For Laughs Live
Reginald D Hunter has a reputation for scandalous show titles, and he admits himself that many people are disappointed with this one, lacking as it is against the previously characteristic 'nigga'. He also has a reputation as a brilliant, sharp, witty and original comic, and sadly this show lacks some of that, too. Granted, I watched him play to a half empty air-craft hanger during what felt like the second great flood, but an established performer like Hunter should handle that easily. His complaints about the weakness of modern men, and his riffs on rape and easily offended audiences are funnier and smarter than anything else around, so it's a shame that he's let down by a flat atmosphere.
Pleasance Courtyard, 30 - 14 Aug (not 12), 11.15pm (12.15pm), prices vary, fpp 90.
tw rating 3/5
[vp]

Watson & Oliver
Watson and Oliver
Suited up, Watson and Oliver look like a professional pair, which made it hard to understand why I didn't enjoy myself; sketches were, on paper, different and original ideas - nazi sharks, a matador and a bull fall in love, composer showdown - but they just weren't funny. They enjoy flashes of brilliance in performance, due to the talent these two are blessed with, but these moments are let down by terrible punch-lines and gags. The climax too, a James Bond spoof built up throughout the show, was a tepid sketch seen countless times, just done by women. Though it is nice to see female comedians doing well, the new Mel and Sue show occasional glimpses of quality, but not something to dress up for.
Pleasance Courtyard, 30 Jul - 25 Aug (not 11), 5.10pm (6.10pm) prices vary, fpp 108.
tw rating 2/5
[rh]

South By South Wales
Good Sense Of Humour
Hailing from the Carmarthen area myself, I'm going to have to tread carefully when talking about Ellis James, considering I'm probably related to him in some way. Luckily in this respect, but sadly considering the name of the show, Ellis's was the only Welsh accent on stage. Matt Price was great as compère, relaxed and familiar with the audience, and if you ever want to see a room of people become a campfire, this is the place to go. However, the real star was Henry Widdicombe, whose surreal set opened with the fact that 'Cinnamon Grahams' are no more, instead renamed 'Curiously Cinnamon'. Oh, and if you're collecting Merlin Football Stickers this year, take them along, Henry has a shiny he'd like to swap.
Gilded Balloon Teviot, 30 Jul - 25 Aug (not 13), 5.15pm (6.15pm), prices vary, fpp 97.
tw rating 3/5
[rs]

Steve Hall: Vice Captain Loser
Avalon Promotions
Steve Hall is a middle class Catholic in a Jew's body who says 'truly' a lot. Recounting tales of self-deprecation and woe, he made me laugh a few times, but his show certainly isn't a laugh-a-minute type comedy, it's more like the funny conversations you have with your friends. He adds to that illusion by putting everything into context, elaborating with lots of background detail, giving to the sense that you really know him. The show is a look at all the funny-but-bad things that have happened to him recently, and he told us how he didn't want the show to be all negative; I found it hard to find optimism in some of the things he was saying, however.
Pleasance Courtyard, 30 Jul - 25 Aug (not 20), 8.30pm (9.30pm), prices vary, fpp 100.
tw rating 3/5
[fa]

Tom Allen - A Voyage Round My Mother
Tom Allen seduced most of the audience just by opening his mouth; he's got a wonderfully deep, plummy voice and a charismatic brand of camp, plus he's also terribly well-dressed and accompanied by a selection of potted plants. There's still the odd cheap gag nestled amongst his stories, though. These were sometimes a little long-winded and - despite humorous digressions along the way - he could have done with picking up the pace and getting to his genuinely funny conclusions. The particularly timid crowd led to banter feeling like a teacher-pupil stand-off, but this well-mannered comic wouldn't want to pick on anyone, in case they were having a bad week ("maybe their mum's died and their cat's got AIDS"). How very refined.
Gilded Balloon Teviot, 30 Jul - 24 Aug (not 11), 6.45pm (7.45pm), prices vary, fpp 105.
tw rating 3/5
[hw]

Two Episodes Of Mash
Avalon Productions
Nothing to do with potatoes (but a lot to do with offal!), Joe Wilkinson and Diane Morgan offer a variety of different sketches interjected with music, comical projections and them chatting a bit. It starts out very funny, but, whilst the material generates consistent giggling, as the show goes on the bigger laughs peter out. The characters are quietly quirky, not in the same sinister category as the inhabitants of Royston Vasey, for example, but one feels they may have been there on a coach trip. The Essex company Copps Scaffolding kindly sponsors the duo, and have also generously donated a prize for one lucky audience member; funnily enough it's not a cuddly toy. All in all, a worthwhile show from two very promising comedians.
Pleasance Courtyard, 30 Jul - 25 Aug (not 20), 8.30pm (9.30pm) prices vary, fpp 107.
tw rating 3/5
[gm]

Tommy And The Weeks - Powershow!
Mick Perrin for Just for Laughs Live
It is such a shame that this show - sorry, Powershow - started off so well, because our hopes were raised, only to be completely dashed by the end. As we all found our seats, the show's stars Tommy and Ed were having a little jamming session and it all seemed very promising. The first sketch didn't disappoint, either, it was very entertaining. However, from here on in, things got progressively worse; the scripted sketches seemed over-rehearsed and distinctly lacking the kind spontaneity that would help make it feel fresh and funny. Ironically, they were funniest when they were forced off the script in reacting to their audience. They may be amused, but we were not.
Pleasance Courtyard, 30 Jul - 25 Aug (not 12), 5.45pm (6.45pm), prices vary, fpp 105.
tw rating 2/5
[lp]

Walking Talking Dancing Puppets
Gruppo La Caldana
I love the fact that there is so much diversity on the Fringe. It gives us a few top of the pile, top dollar acts, oodles of mediocre shows, and masses of bottom of the heap amateurish acts. Sadly, this one falls into the latter group. The Italian comedy troupe perform a number of sketches; one of which features life-size puppets, but no discernable storyline or indeed, point. Two talented young girls carried most of the show with their high energy dance numbers and opera, which makes me wonder if the jokes and punch-lines were lost in translation, or were never there at all. In addition, somebody must have muddled the Euro/Sterling exchange rate, because £8.00 is extortionate for this.
Greenside, 4 - 9 Aug, 10.00am (11.00am), £8.00 (£7.00), fpp 108.
tw rating 2/5
[mb]

Will Stopha Is Feeling A Little Under The Weather
Will Stopha/Laughing Horse Festival
Will Stopha talks to strangers. He also talks to technology, psychology, ecology, and baseball caps; combining video projections with performance poetry, he guides us through the topics in hand and makes some interesting points along the way. The use of media is effective, and his verse is generally well written and wryly delivered, but while his observations are astute, they are rarely funny. In fact, the whole performance falls slightly short of the comedy mark, because although Stopha has some great ideas and presents them in an original and potentially engaging way, the passion for performing just doesn't seem to be there. The audience are exposed to his opinions rather than entertained by them, and we are left feeling informed but somewhat ambivalent.
Laughing Horse @ The Counting House, 4 - 10 Aug, 2.10pm (3.10pm), free, fpp 110.
tw rating 2/5
[fc]

...And Other Stories
Durham Revue
Well I take my proverbial hat off to the Durham Revue; they have pulled off a show which is both funny and original. Sketch shows are notoriously hit and miss, and while not all of this is 'hit', the bits that work are clever and wonderfully put together. A sketch about Freud as a young lad realising he is in love with his super-sexual mother was particularly good, and had the house beside itself; a couple of people next to me were guffawing loudly. While many amateur comedy shows seem to borrow heavily from outside influences, '...And Other Stories' refreshingly created its own niche. This six-strong sketch act is by no means perfect, but when it's good, it's pretty bloody good.
Underbelly, 2 - 24 Aug (not 12), 2.30 pm (3.30pm), prices vary, fpp 25.
tw rating 4/5
[ah]

Pappy's Fun Club: Funergy
Pappy's Fun Club
Arch enemies of The Penny Dreadfuls, but is this fun club really a match for their Victorian adversaries? They're certainly not as well-dressed, but the clumsily thrown together 'Blue Peter'-style costumes complement this cool comedy's rough 'n' ready nature. Nature plays a part, literally, with a cameo from Mother N, as the comedy troupe try to solve global warming with funergy. Insanely inventive, the show powers itself with manic creative energy, and like the Dreadfuls' show, there's a narrative but it emerges gradually as the show crescendos to a fantastic finish. Ad-libbed personal insults spring up organically, fuelling the ever-growing laughter. The force is strong in young Pappy's as the struggle continues in the Star-rating Wars against the Imperial Victorians.
Pleasance Courtyard, 30 Jul - 25 Aug (not 11), 6.40pm (7.40pm), prices vary, fpp 85.
tw rating 5/5
[se]

John Hegley - Beyond Our Kennel
John Hegley
Lost: the only latecomer in a sea of admirers. Now: his newest fan. Not a comedian, John Hegley's unique material feels like the work of political punk poets from times gone by, yet he hasn't dated one jot. His slightly odd delivery and beautifully surreal ideas create an hour's delicate comedy like no other. I feel foolish writing about him in mediocre prose, without even a half-decent rhyme scheme; only the lyrical genius himself deserves to pen this review. Alienating to some, but if you are prepared to share a room with a strangely inviting man, to hear about invisible hamsters, Tardis-like kennels and acronym based frolics, then give this man a chance. Though apparently it's only me who wasn't a follower already.
Pleasance Courtyard, 6 - 25 Aug (not 17), 11.50am (12.00pm), prices vary, fpp 66.
tw rating 4/5
[rh]

Danny Bhoy - By The Way
Danny Bhoy
Before yesterday, I'd never heard of Danny Bhoy. I arrived in an EICC packed to the rafters, and wasn't really convinced when the show opened with a 'Welcome to Scotland' film that trotted out every boring, untrue, self-deprecating stereotype about this country for the usual cheap laughs. "Haggis tastes bad! Bagpipes sound awful! Glasgow is rough! Edinburgh is posh! It rains!" So far, so one star and a slap on the wrist, and I don't care if it's meant to be ironic. But when Danny came out, I changed my tune. He has a talent for comedy and storytelling and a very disarming nature, and this is a well-crafted, hilarious show with a sublime climax. Go, if you can get a ticket. Just try and turn up ten minutes late.
Venue 150 at EICC, 8 - 19 Aug, 7.15pm (8.15pm), £14.00 (£12.00), fpp 44.
tw rating 4/5
[rj]

Laughing Horse Free Pick Of The Fringe
Laughing Horse Free Festival
No 'Pick Of The Fringe' will feature all the acts you should see at the Festival, but this line-up featured some excellent free talent, and the bombastically liberal Rick Molland is perfect for the role of compère. Of the six comedians plugging their shows, the highlight of them all was Ismo Leikola, a faux Finnish stand-up who uses language difficulties to great effect, making even porn jokes sound quite innocent. Of course, there are a couple of less effective comedians; Jay Hill can't help but be a 44 year old with little charisma and obvious jokes and Rob Coleman's politeness could be funnier, but if you want a free taster of the Fringe, this will give you plenty to dip into.
Laughing Horse @ Espionage, 31 Jul - 25 Aug, 6.00pm (7.10pm), free, fpp 71.
tw rating 3/5
[jwm]

Free And Easy
Stand Comedy Club
If you're a fan of improv, you'll doubtless be familiar with the games: staple classics such as the re-enactment of a scene in different styles and 'should've said'. The only variable is the people doing it and this lunchtime the comedians are Gary Dobson and Stewart Murphy. They riff off each other brilliantly, creating an atmosphere where everybody in the packed out audience is having as much fun as the comedians (that's lots of fun). The inclusion of guest Derek Johnston halfway through takes the show to darker places that unfortunately seem to provoke in-jokes, and sometimes the three of them do get momentarily stuck, but it's delightfully chaotic and, as you will be reminded after every deplorably cheap joke, it's totally free comedy.
The Stand Comedy Club, 2 - 24 Aug (weekends only), 12.30pm (2.10pm), free, fpp 51.
tw rating 3/5
[jwm]

Steve Day - Should I Stay or Should I Go?
Good sense of humour/Laughing Horse Free Festival
Steve Day was effortlessly funny, and very refreshing to watch, his story telling hilarious, and his material of a kind that us normal folk can relate to. We, the members of the average Joe audience were in stitches with Steve's painstakingly detailed descriptions of a BT call centre's inherent office politics, and the difference between the street cred of a value biscuit and a McVities. These tales were delivered with poetic hyperbole, giving Steve a sweet child-like charm. He approached the fact that he is almost fully deaf with flair and style, plus a tiny pinch of the anti-PC salt that Britain craves just now. So should he stay or should he go? I really hope he stays.
The Argyle, 1 Aug - 9 Aug, 8.20pm (9.20pm), free, fpp 100.
tw rating 4/5
[km]

DANCE AND PHYSICAL THEATRE

Dance Base presents... Rosie Kay Dance Company & Odd Johan Fritzoe
Dance Base
This is a double bill of dance delights. First off, stage lights rise on Odd Johan Fritzoe's four balls: objects soon to be used as playthings, shelter, sculptures, hurdles and props. The male quartet of performers interact with them with exhilarating energy and humour, their breakdancing kicks, spins and jumps representing the shape of the balls themselves. On to Rosie Kay, and the second piece of abstract dance (the duet 'Double Points:K') is a great reminder of what a wonderful dancer she is, and movement choreographed to JS Bach (one of three scores) was particularly breathtaking in its simplicity. One thing is for sure; I will never listen to that great composer in the same way again.
Dance Base, 6 - 16 Aug (not 11), times vary, prices vary, fpp 114.
tw rating 4/5
[bw]

...Etcetera...
Teatr K3
Enter this space and you are met with a disturbing sight. Bodies lay strewn across the stage, twisted and lifeless, but don't be alarmed, and don't scream murder yet. These are the bodies of the white cloth puppets of '...Etcetera...', the new production from world renowned puppetry company Teatr K3. Exploring the age old subjects of life, death, hope and love in an astoundingly original way, the three members of the company manipulate each puppet with unprecedented skill and flair, infusing each blank face with wonderfully unique personality. The puppets are effortlessly controlled to create such realistic movement you sometimes forget the performers are there, and the deeply evocative soundtrack completes this mesmerising performance created by true puppet masters.
Hill Street Theatre, 1 - 25 Aug (not 13), 1.10pm (2.00pm), prices vary, fpp 198.
tw rating 4/5
[nb]

Enclosure 44 - Humans
Janis Claxson Dance
Making the trip to Edinburgh Zoo on a miserably precipitous Friday may not seem like a particularly inviting prospect. But how about being locked in a cage in said conditions, for eight hours a day, being constantly observed by hordes of annoying children? I know which one I'd choose. But for this year's Festival, four dancers have chosen the latter, voluntarily imprisoning themselves in a social experiment that challenges our ideas about observation and captivity. It's an interesting concept, and the performers embody their characters well, but after 15 minutes or so the novelty begins to wear thin and despite their amusing mimicry this won't hold your attention for long. Still, on a day like today, you have to appreciate their dedication.
Edinburgh Zoo, 5 - 16 Aug, 10.00am (6.00pm), standard zoo admission, fpp n/a.
tw rating 3/5
[nb]

The Factory
Precarious
"Conformity is the new individuality". Not so for Precarious, whose dynamically different approach to theatre makes them one of the most exciting companies to emerge in recent years. The acting isn't outstanding, but it constitutes only a small part of this intensely physical and technical show whose haunting images will be etched permanently onto your brain. As the dancers twist and jerk in relentless contortions, the extraordinary use of media and staging creates scenes that are both stunning and disturbing in the same moment. Sinister and compelling, the writing is treacherously beautiful while the choreography is merciless in its innovation. The Factory is an assault on the senses that leaves you scarred and broken yet spellbound and aching for more.
Zoo Southside, 1 - 25 Aug, 8.30pm (9.35pm), £10.00 (£7.00), fpp 115.
tw rating 4/5
[fc]

The Gymnast
The Empty Space And Jane Arnfield In Association With Northern Stage, Newcastle-Upon-Tyne
I thought this was going to be really interesting, a physical exploration of the Khmer Rouge and one of history's darkest humanitarian horrors. So much for what I thought. "If there was a beginning, there must have been a time before that beginning"; this deep philosophical conundrum ended up rotating round in my mind and I began to wonder what had I been doing before I sat here. Had I always been here? It certainly felt like it. It might just be me, of course. I may be lacking in the cultural awareness and intellect to appreciate this work of theatrical art. If that is true, I'm sorry, but I'm sure I'm not the only one. It went right over my head and out the window; I found it pretentious, confusing and it left me perplexed
Pleasance Courtyard, 30 Jul - 23 Aug (not 13, 14), 2.30pm (3.50pm), prices vary, fpp 115.
tw rating 2/5
[mj]

Giselle
State Ballet of Georgia
As a child I was far too busy climbing trees (and being poor!) to go in for anything as "posh" as ballet lessons. It's taken 20 years, but the State Ballet of Georgia have managed to convince me of its appeal. Telling the much-loved story of Giselle, who goes mad and dies when she learns of her lover's deception, then becomes a spirit and has to dance to save him, the dancers are beautifully accompanied by the Scottish Chamber Orchestra. Moving with a mesmerising fluidity, it is, perhaps surprisingly, the male leads who leave the audience gasping with their sheer physical power and precision. This powerful show is perfect for anyone looking to see something that little bit more special.
Edinburgh Playhouse, 9 - 10 Aug, times vary, prices vary, eifpp 18.
tw rating 4/5
[gs]

Behind The Mirror
Ad Infinitum
A revolution is upon us. Gone are the days of British tourists on holiday speaking loudly and slowly to baffled Spanish waiters, because words aren't needed at all! Well, as long as Ad Infinitum promises to give us all a crash course in silent-movie speak. Communicating the entire production to an audience without a traditional script is highly admirable, especially if you also make enough sound effects to challenge the 'Soundmaster 300', and this style of comedy, harking back to the bygone era of silent cinema, demands real skill of its practitioners. The approach, though chuckle-some, did at times become tiring though, and the story was hardly gripping. Maybe next year they can rid Dad of that knotted hanky...
Pleasance Courtyard, 30 Jul - 26 Aug (not 11), 12.15pm (1.15pm), prices vary, fpp 112.
tw rating 3/5
[lk]

EVENTS

The Edinburgh Book Lovers' Tour
Allan Foster
If you want to get out of a theatre and spend some time in the Edinburgh that existed long before the Fringe was even a twinkle in a theatrical eye (and will continue to exist, relieved but strangely empty, into September) then try this. Allan Foster, a writer himself and a tour guide "by default", is everything a guide should be: quirky, knowledgeable, engaging, slightly curmudgeonly and with a sound understanding of when his audience might want to escape the weather for a coffee! He can talk about Walter Scott and Robert Louis Stevenson like old pals, but is satisfyingly irreverent and on top of this, the tour runs everyday of the Fringe, rain or shine. For this alone he deserves a medal.
Outside The Writers' Museum, 3 - 24 Aug, 10.30am (12.30pm), £10.00 (£8.00), fpp 125.
tw rating 4/5
[vp]

The Five Thirty Show
Stephen Jardine and Debi Edwards
There's a television camera so close it can see up my nostrils and into my brain; I'm just here to see the STV show but they've made me part of the on-screen audience. Now normally I'd love this sort of attention, it's just I haven't had a wash or a shave in twenty-four hours and I'm in some clothes thrown on in a hurry and soaked from the rain. It's difficult to hide in an audience of five, so I go along with it, laughing as guests Jason Byrne and Felix Dexter joke around with presenters Stephen Jardine and Rachel McTavish. I've just looked up the show on the interweb and I actually look fine, but I only appear for a split second.
Garden Café @ The Dome, 4 - 15 Aug (not 9,10), 5.30pm (6.00pm), free ticketed, fpp126.
tw rating 3/5
[se]

MUSIC

Voces Del Sur
The Latin voices of Central and South America. Songs of exile, love, social defiance and freedom, and a stunning voice that prickles the hairs, Voces Del Sur were wonderful; a small, unpretentious acoustic four-piece group playing various, sometimes politically-charged songs, of "freedom and having your wings clipped". Chilean vocalist Valentina Montoya Martinez was incredible, decked in red poncho and strumming along like some sylvan beauty. Powerful and at times lilting and muted, she graced the set with verse that captured an essence both of a Latin American demographic and an essential personal spirit, reflecting her own experience as an exile and wanderer. Try sitting underneath a massive extractor fan on a miserable day to aid spinal chills.
The Jamhouse, dates vary, 8.00pm (9.00pm), £3.00, fpp 167.
tw rating 4/5
[ab]

B Minor Mass
Ludus Baroque Chamber Orchestra and Choir
Accomplished soloists and an exquisite orchestra have been brought together under the baton of Richard Neville-Towle to perform the motley collection of sacred pieces which make up Bach's gorgeous B Minor Mass. However, in the case of Ludus Baroque Chamber Orchestra and Choir, top honours must go to the choir for the absolute beauty of their sound. The opening 'Kyrie Eleison' was a shining herald of the delights that lay ahead, counter-tenor Robin Blaize's 'Agnus Dei' was particularly lovely, and the Canongate Kirk provided beautiful surroundings. I'd recommend this as a must-see but, since it is already over, I can only urge fans of Baroque music to make a point of checking future Fringe programmes for performances by Ludus.
Canongate Kirk, 7 Aug, 7.30pm (9.30pm), £12.00 (£9.00), fpp 142.
tw rating 5/5
[jm]

Edinburgh Youth Gaitherin
With ages ranging from ten to twenty-one, this group of youngsters demonstrate an absurd amount of talent for a group so young. Formed fifteen years ago as a means for city children with a passion for music to learn and practice the craft of traditional Scottish song, the Edinburgh Youth Gaitherin are as well-intentioned as they are gifted. Jig follows reel as feet are tapped and heads nod, caught up in an infectious rhythm. It's no surprise the ceilidh in the last hour is a big hit, but the highlights are the delicate harp and extraordinary fiddle solos, which are astounding. This is an awesomely passionate performance and a real treat for traditional music fans.
Acoustic Music Centre @ St Bride's, 7 Aug, 7.15pm (10.15pm), £12.00 (£10.00), fpp 147.
tw rating 4/5
[tm]

A Jazz Education
Cambridge University Big Band
This was a very good big band performance with effusive, punctuated tunes played at a lively pace. The band leader was endearing and likable, and the playlist was current and fun; the area where they fell down was solos. An hour long performance is better if there opportunities for the audience to appreciate moments of personal flair and improvisation, and there were precious few here. More than one sax solo was screeched, and there was an over-reliance on solos from one person, who wasn't particularly good. It seemed ridiculous when the back line of brass seemed to be so full of ability. This band produced a very good sound, but need to work more on exploiting the talent of their individual members.
City Edinburgh, 5 - 10 Aug (not 8), times vary, prices vary, fpp 155.
tw rating 3/5
[tb]

Just Like A Woman - Barb Jungr Sings Nina Simone
Barb Jungr
Although Jungr claims that 'If it's good enough for Nina, it's good enough for me', this is far from your usual tribute act. She doesn't dress like Simone, or sing exactly like Simone, or attempt to imitate her in any way, but instead brings her own magic to classics such as 'Feeling Good', 'I Put A Spell On You', and 'Don't Let Me Be Misunderstood'. Jungr's phenomenal stage presence, her witty banter between songs, and her voice, entrancing enough to make you shiver, was so compelling that I couldn't take my eyes from the stage for the whole performance - and it wasn't just because of her rather fluorescent orange shawl. All in all, this was a flawless performance which made for a perfectly enchanting evening.
Assembly @ The Queen's Hall, 6 - 7 Aug, 7.30pm (9.00pm), £15.00 (£13.00), fpp 155.
tw rating 5/5
[rg]

Songs Of Kleptomania
Cabaret Direct
Not the cabaret of sequins, glamour and Las Vegas so much as the dark satirical songs of twenties and thirties Europe. Kirsty Bennett, squeezed into a tight red corset, and her pianist Tim Muller, have put together this evening of music that revels in sex, loss and Asian-fusion cooking. Acknowledging the fact that her songs are mostly written in the first person and are about disillusioned and deluded protagonists, Kirsty worked the audience well (admittedly, there was only two of us, but I'm sure the same would apply for greater numbers) drawing us into her uncouth world. There is a dark humour at play in her song selection, painting a picture of seedy lives and hopeless lovers. Very entertaining.
C Central, 1 - 25 Aug, 10.45pm (11.35pm), prices vary, fpp 165.
tw rating 3/5
[mj]

The Spirit of Scotland
Harry MacFayden
The Acoustic Music Centre is a hidden gem of the Fringe, with a line up filled to bursting with the cream of local and international folk music. Taking the eight o'clock slot at this year's festival is Harry MacFayden who delivers a charming performance of traditional Scottish and Irish folk, played to us on guitar, ukulele and bagpipes and sung with a richly expressive voice. Interspersed with anecdotes and peppered with between-song jokes, his show is likely to please anyone of a folk-orientated nature. The unfortunate reading of lyrics from a sheet for a few newer numbers makes his performance slightly amateurish though, which was a real shame as otherwise this was a heartfelt and enjoyable performance.
Acoustic Music Centre @ St Brides,6 - 9 Aug, 13 - 16 Aug, 8.00pm (9.00pm), £8.00 (£6.00), fpp 165
tw rating 3/5
[nb]

Classical Guitar And World Music - Neil Wilson
Neil Wilson The Guitarist
This is an incredible showcase of classical and world music, from Baroque counterpoint to Afro-Cuban dance. Scottish guitarist Neil Wilson showed exceptional flair and passion in his confident arrangements of such works as Bach's 'Violin suite in G minor', Astor Piazzola's 'La muerte del angel', and the wonderful reworking of Joaquin Rodrigo's 'Ivocation et danza', obviously enjoying the fruits of his prodigious talent almost as much as the audience seated straight-backed in the pews. The repertoire gave the young musician ample opportunity to let his technical virtuosity and emotional intensity stand out boldly, feeling and plumbing the musical directions, constantly playing with strength and profundity. Dynamic, intense and intricate, his performance was a treat.
St Mark's artSpace, 9, 20, 23 Aug, 8.00pm (10.00pm), £9.00 (£7.00), fpp 145.
tw rating 4/5
[ab]

MUSICALS AND OPERA

On The Island of Aars Festival Highlights - Quuup Productions
This show is confused. Its childish style clashes with its attempt to be a scandalous, naughty musical for adults with its sexual innuendos and an odd lesbian sexual awakening. I'm all for theatre as an escape and just going along to have fun but this show doesn't really arouse any feeling in the audience and the entertainment is rather cringe-worthy. The script is packed with corkers like "Isle of Aars" sung over and over until it sounds like "I love arse" - call me a prude, but it's just not funny. The singing's ok, the accents dodgy, the music's bad, the lyrics worse and the only person laughing in the audience is the musical director.
Pleasance Courtyard, 3 - 25 Aug (except 6, 13), 2.10pm (3.20pm), prices vary, fpp 176.
tw rating 1/5
[ad]

Big Bruvva - The Musical
Racky Plews
It really was only a matter of time before we had a musical about 'Big Brother', and you would think that, after so many years of it being on the TV, the producers of this show would have been able to come up with a brilliant idea and script - but alas, it seems that they did not. The characters were based on the typical BB types - the posh one, the hot one, the hermaphrodite - and each character had to sing to win the show - which the audience had to text in their votes for. The script had some classic BB references, and the singers were good, but unfortunately I wanted to evict this musical from the Fringe programme and my memory.
Musical Theatre @ George Square, 5 Aug - 25 Aug (not 19), 3.00pm (4.00pm), prices vary, fpp 169.
tw rating 2/5
[fa]

The Spitfire Grill
Royal Scottish Academy Of Music And Drama.
Scottish actors are to be commended for maintaining thick American accents, in song and speech, throughout this entire musical about ex-con Percy and her new home, a dead town called Gillead. Percy's character is well developed by Nicole Rowley, who rarely breaks from her eloquent and crisp singing. She is supported by a solid cast who exude professionalism and the polish of hard working performers. The story is a tad predictable though; Spitfire Grill owner Hannah expectedly reunites with her son who she said was missing in action in Vietnam, and Percy finds happiness in the arms of the local Sheriff. The Spitfire Grill is an enjoyable production, excellently sung by a well trained cast that falls short of the razzle dazzle.
Musical Theatre @ George Square, 7 - 25 Aug dates vary, 7.00pm (8.15pm), prices vary, fpp 178.
tw rating 3/5
[zl]

Sex And The Village
Applin and Pearse
Later that day I got to asking myself, is 'Sex And The Village' really more exciting than 'Sex And The City'? On this evidence, it may not be long before Carrie and co are swapping their Manolo's for wellies. In truth, the production did well not to dwell upon the Manhattan foursome too much, though comparisons between SJP and Kate Maylon will be plenty thanks to that curly blonde bob. For a new musical, the songs were impeccable, well delivered and fitting, whether the scene demanded a raffle or a poignant love declaration. Unfortunately, it's rather distracting (if not inexcusable) for a cast to still use scripts on their opening performance, undoubtedly cheating a superb, witty and achingly funny script.
Musical Theatre @ George Square, Aug 7- 10, 10.30am (11.20am), £6.50 (£4.50), fpp 177.
tw rating 3/5
[lk]

Return To The Forbidden Planet
Arts One @ Glenthorne High School
Humans must have a coping mechanism to deal with torture, because I laughed and clapped along with this galactic murdering of Shakespeare's The Tempest, in musical form. It felt like every possible tacky idea was put on stage; Wiggles-like choreography, a projection of stars in space and a Beach Boys song. The result is a collage that doesn't stick. Thank Prospero they finished with a groovy musical number - I never saw that coming. The live band was good however; they carried me through the audience participation of reversing polarity - another bad idea. The large cast should also be commended for their efforts, but the brainiac behind the trip to the Fringe should be dropped off in space.
Greenside, 4 - 8 Aug, 3.15pm (4.25pm), £7.00 (£4.00), fpp 177.
tw 1/5
[zl]

THEATRE

Creation & All That Jazz
The Last Chance Theatre Company
You may not know this, but heaven is actually run like any other corporation, only their headquarters are located far beyond the highest skyscrapers. When God came up with the idea of an inhabitable planet, his scouser son's company Jesus Christ Construction used the time honoured tradition of nepotism to win the contract. The trouble is, his key team members Tracey Buddha and Kevin Ghandi are too busy dealing with the effects of cupids bow to notice the whole project going belly up. The wonderfully bizarre central idea for this show is assisted by a luminous cast who beam with a natural comedic quality. My criticism, though, is that the occasionally rambling narrative leaves the production feeling unnecessarily long.
Augustine's, 4 - 25 Aug (not 11), 6.00pm (7.30pm), £8.50 (£6.00), fpp193.
tw 3/5
[mb]

Bite The Dust
Provisium Theatre and Kompania Teatr
This play is about the trials and tragedies of war. What the plot is, however, is a complete mystery. Pinpricks of light illuminated the actors on the stage while we were forced to listen to the author telling us how influential and controversial his play was via a pre-recorded video. For the rest of the hour and a half the actors stomped and shouted their way around stage, until by the end the plot was more blurry than at the start. Visually, it was beautiful, but if someone can follow this plot and write it down for me, please do. And a note to authors everywhere: it's not your play anymore, it's the actors'. Leave it alone.
Universal Arts Theatre, 1-25 Aug (not 13), 5.00pm (6.30pm), prices vary, fpp 186.
tw rating 2/5
[rs]

Off Out By Gill Adams
Crumpet Theatre Company
It's probably a guilty mark of my cynical mind that a play about the seedy underworld of prostitution and its effect on a mother and son - a pimp and a junkie - can seem so predictable, but still there's nothing in the script of 'Off Out' that you wouldn't expect. Each character and event fills its own niche, ticking the social commentary boxes in a script that could easily shed 1/3 of its weight. An adept cast keep the audience's attention, however, with each actor drawing out the important aspects of their roles, and Pamela Evans gives an especially bleak performance as rag-doll no-hope junkie May. If anything, 'Off Out' shows how a dedicated cast can make a play work.
The Space@Jury's Inn (V260), 1 - 9 Aug, 10.45am (11.55am), £7.00 (£6.00), fpp 220
tw rating 3/5
[rd]

Road
Flying Pig Productions In Association With Bungay High School
'Road' is a dark play. It's gritty and determined in hounding its depressed characters but sadly the girls portraying these characters were too naïve to understand the subjects they were addressing. A lot of the time they looked like young children playing dress-up, and seemed thankful to get to the end of their lines. If Scullery was our guide, was it necessary to have every member of the cast play him? Is a Wham! t-shirt and footless tights ever acceptable attire for a man? Even in the 80's? They were under-confident in addressing the audience and ultimately the play faltered through lack of energy.
The Space on the Mile@The Radisson, 2 - 8 Aug (even dates only), 8.00pm (9.00pm), £7.00 (£5.00), fpp 226.
tw rating 1/5
[rs]

The House Of The Grape
Les Petits
I hate to use the word 'charming', but everything about this play is pretty much just that. The location is, charmingly, a little French restaurant, which is pretty ideal for a play about a dysfunctional French restaurant, and the characters are so endearing you'll want to take them home. The action centres on a hopeless young waiter, the restaurateur (who is a wonderfully inept philosophy professor) and a manageress with a vindictive side. The cast of characters who could so easily have been wacky and over-eccentric, are sympathetically realised and believable - and while this is a farce, it doesn't suffer from the exaggeration common to the genre; the funny, well crafted lines are wonderfully downplayed with a comic effect that feels completely unforced.
Petit Paris, 4 - 24 Aug (not 10, 11, 17 or 18), times vary, prices vary, fpp 204.
tw rating 4/5
[jwm]

The Burma Play - A Comedy Of Terror
Northern International Theatre
This 'Comedy of Terror' offers a potted history of Burma, but the comedy sadly only amounts to silly walks and accents. I really wanted to like this undoubtedly worthy piece of theatre - proceeds went to charities, and it was dedicated to two Burmese comedians who were imprisoned without trial. There were gut-wrenching moments of description of the appalling treatment of protesters over the years: students herded into a van to suffocate in the midday sun, wounded demonstrators being cremated with the dead. But the acting was overdone and self-indulgent, and the delivery of a worthwhile message poorly-executed. Despite being artistically unfulfilling, 'The Burma Play' is nonetheless a timely reminder of the atrocities committed against the Burmese people.
St John's Church, 4 - 10 Aug, 4.00pm (5.00pm), £8.00 (£5.00), fpp 189.
tw rating 2/5
[hw]

Elvis Hates Me
Horizon Arts
There is something inherently disturbing about the sight of two Elvises in wheelchairs, especially when they are dribbling and incapacitated. In this play, which is set in a hospital, a nurse's obsession with all things media-related sees the three characters leaping out of their roles (and wheelchairs) to depict shows like 'Blind Date' and 'Gladiator'. It slowly begins to dawn on us that the nurse is having a personal crisis, stemming from a dysfunctional relationship with her cruel father. This is not sensational theatre, but the nurse gives a heartfelt and at times sinister performance as the Elvises' carer, and the convoluted plot eventually leads to an interesting conclusion. A perfectly enjoyable show if you are looking for something unexpected.
The Zoo Southside, 3 - 25 Aug, 4.00pm (5.00pm), £7.00 (£5.00) fpp 198.
tw rating 3/5
[ah]

How's Your Father?
Grimmace
Imagine Laurel & Hardy on crack: slapstick, aggressive and repulsive. The opening scene of a man re-enacting being born certainly made an impact and there were impressive moments of choreography, although these were few and far between; I never knew, for example, that it was possible to set a man picking his nose to the 'Mission Impossible' theme. However, the music soon became repetitive and an excess of vulgar scenes were uncomfortable to watch, making it a long 45 minutes. This is quoted as being a tour of the male experience, but is essentially two blokes fighting, masturbating, and picking their noses to music. Some women may feel that they don't need to leave their homes to see this performance!
Rocket @ Roxburghe Hotel, 31 Jul - 25 Aug (not 10 or 17) 6.30pm (7.30pm) £8.00 (£7.00) fpp 205.
tw rating 2/5
[gm]

Mensis
Swishtheatre
It was so bad it was like an "explosion", and now the little bits from the explosion float around and bump into each other, causing "pangs in the heart". That's not my imagery: it's how one of the whiny characters in Joanne Toner's play 'Mensis' describes her emotional turmoil. Three flatmates prepare for a night out while regurgitating as much stale dialogue as can be extracted from their utterly uninteresting characters. All the drama hinges on the ethical tension between hedonism and, you know, liking books. Move over Euripides! One night stands and cocaine apparently represent the depths of human depravity, which makes you wonder if this play is written by a twelve-year-old who has been watching 'Skins'.
The Space @ The Thistle, 2 - 16 Aug, 9.05pm (10.05pm), £6.00 (£4.00), fpp 215.
tw rating 1/5
[cw]

Office 212
Vista Theatre/ the University of Wales, Newport
The fact that the show starts with an overly hammed-up old woman beckoning the audience in "for their interview" simply does not bode well. Even without the inevitable Ricky Gervais/ Stephen Merchant comparisons, the thoroughly unlikeable characters, a vague plot and a series of ill-advised costume choices (bringing us within inches of a Sharon-Stone-in-Basic-Instinct moment) make it nigh on impossible for Vista Theatre to recover from that ill omen. Despite these faults, there are redeeming features: some almost charming office-based dance routines, well-executed video inserts and a playful aura. Sadly though, these aren't quite redeeming enough to make 'Office 212' worth recommending.
Sweet ECA, 1 - 10 Aug, 1.15pm (2.00pm), £8.00 (£7.00), fpp 220.
tw rating 2/5
[vp]

Requiem
The American High School Theatre Festival
Described as a 'War Statement', 'Requiem' fails to fully express the feeling that seems to be behind it. The first section is mainly choral, and has a lot of ad-libbing by the young cast, most of which is incomprehensible. The costumes appear to be from several different periods, and I preferred it later on when the majority just wore uniform black. Some parts are well written, particularly the exchange between the Mother and Sergeant, roles that were passionately played by Kat DeForest and Alicia Rodecap respectively, whilst Heather Ison also gave a notable performance, and my eye was drawn to her in the ensemble scenes. Overall the cast were good, but the play let them down, as did the tuneless final song.
Church Hill Theatre, 4 - 5 and 7 - 8 Aug, times vary, £6.00 (£4.00), fpp 226.
tw rating 2/5
[dk]

'Salome' By Oscar Wilde
Alton Fringe Theatre
There are 32 candles by the altar of St Patrick's - I know this because I counted every one of them while waiting for the acting to start. It never did. The cast seem to be afraid of any sort of physical contact, or indeed any kind of movement at all, hardly shifting from their starting positions for the whole 90 minutes. They somehow also managed to entirely bypass all of Wilde's wit and way with words, missing the jokes, slaughtering the dialogue and drawing no laughs from the audience. I think it would've made little difference if I'd closed my eyes but, being in the front row, I had to content myself with gnawing my arm off as discreetly as possible instead.
St Patrick's Church, 6 - 8 Aug, 7pm (8.30pm), £8.00 (£6.00), fpp 228.
tw rating 1/5
[sh]

A Servant Of Two Masters
Edward's Theatre Company
We don't have much theatre in Lincolnshire (potatoes can't act), so kudos to King Edward VI Grammar School for shedding their wellies and bringing this slice of Commedia dell'arte to the Fringe. Set in 18th century Venice, the play follows the travails of Truffaldino, a bungling chancer who unwittingly ends up as the servant of two lost lovers, each blissfully unaware that the object of their desire is lodging in the room next door. As you'd expect from a semi-professional school troupe, the acting is variable and the sets functional, but there's some energetic physical comedy and a general good humour in the delivery that papers over the cracks. Don't expect greatness, but this is a solid Fringe show.
Quaker Meeting House, 4 - 9 Aug, 8.15pm (91.45pm), £7.00 (£5.00), fpp 229.
tw Rating 3/5
[cmg]

Simply Fancy
Pig Island
Resembling CS Lewis seen through the eyes of The Mighty Boosh, this is a witty modern folk tale by a group who are simply magic on stage. The plot is basically the search by an embarrassing father (Charlie Garber) and his children (Nick Coyle and Claudia O'Doherty) for fruit for their grandma, but from this seed grows a world of ludicrous delights. All three actors deserve praise; Charlie's understated humour as the pathetic evil witch, Claudia's petulant child and Nick with his capering faun are all such a joy to watch, (especially Nick, his eyes are so sultry). This surreal quest for fruit salad has the sharp and sweet qualities of a pineapple, but will leave you with the warm fuzziness of a peach.
Gilded Balloon Teviot, 30 Jul - 25 Aug, 9.15pm (10.15pm), prices vary, fpp 96.
tw rating 4/5
[se]

Somewhere Over The Westway
The Portobello Panto
It's common, and fairly easy to do with 'The Wizard Of Oz': re-interpret the existing story, modernise existing characters and reference celebrity and popular culture in pantomime. Dorothy is now pregnant, scarecrow is a mindless raver, the tinman is Mr Bling, the lion is a Rastafarian hippie and the wizard is Bob Gandalf after Sir Bob Geldof. The large cast are solid and manage to navigate the small stage space well but this musical needs to choose its audience, however, as the drug taking on stage and sexual innuendo isn't suitable for children, yet the cast baby you with stupid audience questions. It felt like a school touring show; ill-suited to a small venue but otherwise entertaining.
Gilded Balloon Teviot, 30 Jul - 25 Aug, 4.15pm (5.15pm), prices vary, fpp 232.
tw rating 3/5
[zl]

Krapp's Last Tape & A Piece Of Monologue
Drumlin Players, Ireland
It is very hard to write a review about a show which you did not understand, so I will start by giving you some facts. 1. It is two short performances of Samuel Beckett's work. 2. Each is performed by a different gentleman. 3. The second performance is a monologue. The set worked well, dividing the stage for each piece. Although I listened as hard as I could, it was difficult to understand what was being said, so it was hard to follow. The performances were very sincere, it was just the content and the language which I struggled with. This is a show for fans of Beckett's work and life, and not really for anyone else.
Spotlites @ the Merchants Hall, 3 - 6 Aug, 4.10pm (5.20pm), £10.00 (£7.00), fpp 210.
tw rating 2/5
[fa]

The Sword Of Maximum Damage
Adam Riches
'I love being a geek!' a girl exclaimed whilst in the queue for 'The Sword Of Maximum Damage'. This lighthearted play doesn't only appeal to gamers though, as I have no interest in fantastical board games, and yet still found myself giggling. Two self appointed 'knights' and their younger siblings play 'Caverns and Kings', a Dungeons and Dragons-type game they take so seriously that it could tear them apart and maybe even kill them. The play may be a bit too enthusiastic about dice rolling and gaming lingo, but works because the actors embrace their bizarre characters. Throw in a love story and the play strikes a human note, whilst still making a farcical spectacle.
Underbelly, 31 Jul - 24 Aug (not 13 Aug), 8.40pm (9.40pm), prices vary, fpp 234.
tw rating 3/5
[ls]

Terminus
Abbey Theatre, Dublin
Fiercely angry and dark as hell, Mark O'Rowe's latest play is supremely excellent writing that screeches and rattles its way through to your very core. Comprising three monologues meshed together, the characters' lives interweave at points of birth and death in the most unlikely, and often in the most violent of ways. The piece ranges from the fantastical and supernatural to the bleakest of realities of drug abuse, rape and serial killings, set against a haunting set of broken mirrors, distorting the audience's view of the three actors. 'Terminus' is beautifully and subtly acted with quiet, fierce emotion, in free rhyming verse, which adds to the piece's hypnotic quality. Gloriously compelling, but not for the faint of heart.
Traverse Theatre, 1 - 24 Aug (not 4, 11, 18), times vary, prices vary, fpp. 236.
tw rating 4/5
[je]

Weights
Guy Masterson TTI in Association with Lynn Manning USA
Lynn Manning has had a turbulent life; after his harrowing early years, he was shot in the face and left blind at 23. 'Weights' is his autobiography, engagingly narrated by the man himself. It's a fearless account of some very unpleasant episodes, told with humour, passion and disarming openness. The piece suffers an ailment common to many one-man shows in that it is a little static, and the simplicity of the staging means that the chronology of the story is occasionally unclear, but these are minor niggles. It would be difficult not to get caught up in this tale of perseverance in the face of adversity, as Manning finds the path that would eventually lead him to the Fringe.
Assembly@George Street, 31 Jul - 25 Aug, 12.45pm (1.55pm), £13.00 (£12.00), fpp 241.
tw rating 4/5
[jm]

Borough Market
Breaking Butterflies
This slick production of a grim tale of lust, cocaine, and one man's desperate spiral into the gritty world of drug-dealing may not be everyone's cup of tea mid-afternoon, but it is terribly well put together. With energetic performances from a promising cast, and scenes that don't follow chronologically, the experience is thought-provoking. Unfortunately, at times the plot did provoke doubt in my mind, with elements that I just didn't believe in, usually when learning something about a character's background, which actually made them less credible rather than complex. These thoughts were lost, however, in the impressive climax of the show where the fragments come together and the audience are left somewhat stunned.
Pleasance Dome, 30 Jul - 25 Aug, 3.00pm (4.00pm) prices vary, fpp 187.
tw rating 3/5
[gm]

Like A Virgin
Bubblegum Theatre
Going into the theatre I was very unsure of what to expect from 'Like a Virgin'. Was it going to be some sort of cheesy ode to Madonna performed by a few desperate wannabes? Thankfully, I was pleasantly surprised. Yes, some Madonna songs did feature, but it actually had very little to do with her or her songs. Instead, it was a heart-warming but tragic tale about two young Geordie girls. This little play will make you laugh (a lot) and might even provoke a few tears. The acting was good and the accents were even better, and it proved to be quite an emotional journey: the woman beside me was weeping as she left. A surprisingly enjoyable performance, well worth watching.
Gilded Balloon Teviot, 30 Jul - 25 Aug, 2.45pm (3.45pm), prices vary, fpp 212.
tw rating 3/5
[lp]

The Straight Man
Guy Incognito
Now he's gay, now he's not. Now he's Jewish, now he's not. Now he's getting married, now he's not. There's a lot going on in this play and, while it's easy to keep up with events, it's difficult to understand the point of each new twist. The concept behind this story of a Jewish man who pretends to be gay in order to soften the real blow for his mother - that he is marrying out - is not original. Nor are the attempts at depth (what is love?) which seem contrived. Watch out for the Dad, easily the funniest character, particularly when compared to the typically Jewish mother who quickly becomes insufferable. A frustratingly weak ending offers no real resolution. Disappointing.
Pleasance Dome, 31 Jul - 25 Aug (not 12), 3.45pm (5.00pm), prices vary, fpp 234.
tw rating 2/5
[ks]

A Dog Called Redemption
Bright Heights Theatre Company
Street-life, class-clashes, addiction and relationships - just some of the themes touched on in this award-winning black comedy. Two down-and-outs find solace in each other's company, polar personalities but drawn together through circumstance find out how strong a bond can be. Their unlikely friendship is tested to the limits in this intelligently-scripted, fast-paced tale of homeless life. Both actors put in credible performances, but they must be careful not to become caricatures or let their performances dissolve into farce. Otherwise this was so engaging that I forgot I was sitting in a cave. In fact, Baby Belly 3 was the perfect venue for this show as the dank setting really enhanced the atmosphere.
Underbelly's Baby Belly, 31 July - 25 Aug (not 11), 3.35pm (4.30pm), prices vary, fpp 196.
tw rating 3/5
[nb]

The Absurdity of Vanilla
2headedpigeon Theatre Company
Despite the vaguely promising subject matter - looking at the absurdity of sex legislation versus the ready availability of all things sexual - I found myself bored and bewildered for 45 minutes. The acting is not of a high standard, the script is bizarre, and the plot is confusing. We have a man wearing tights and a basque pertaining to be some kind of hostess or stripper, a gynaecologist who isn't getting any, a blue-haired student and a sadistic city worker. They are all linked in some way, but we never really find out what their purpose is. This play would have benefited from a simpler set, and an attempt to explain the reasoning behind the action on stage.
Underbelly, 2 - 14 Aug (not 12), 10.45pm (11.30pm), prices vary fpp 180.
tw rating 1/5
[ah]

Cabaret Dante
Skin of the Teeth
This play about Edwardian thesps is very short - if you blink you'll miss it. Unfortunately my eyelids didn't descend quickly enough and I had to witness this ghastly melodrama. I had some empathy with the actress who resorted to drink and drugs due to the stresses of theatrical life, but weak acting left me indifferent to the rape performed at my feet. Apart from length, the other saving graces were the elegant costumes and gothic make-up. The forced abortion was moving until it evolved into a game of pass the red cloth that took up half the show's length. I don't know what the theatrical equivalent of a knitting needle is, but it was needed for this foetus of a show.
C soco, 3 - 9 Aug, 4.40pm (5.25pm), prices vary, fpp 189.
tw rating 2/5
[se]

Death By Chocolate: An Interactive Murder Mystery With Chocolate Tasting
IMMI HQ
I've never played a murder mystery game, and wasn't expecting it to be quite as fun as it was. This show offers the wonderful opportunity to become part of the investigation into AJ Oak's befuddling death at a singles party. Cause of death: poisoned chocolate. The briefing is a tad rushed, then the audience are cast into the role of student detectives, interview nine dubious suspects and sift through trays of evidence whilst pulling together what ever clues they can find. The characters are stereotypically suspicious and well-developed, turning the whole case into a delectable enigma. I was flummoxed. I am very impressed with how involving this is, though; essentially the more you probe the more you get. Oh and did I mention lots of tasty chocolate? Yum!
Zoo Southside, dates vary, 6.00pm (7.30pm), prices vary, fpp 194.
tw rating 3/5
[da]

Adventures Of Butt Boy And Tigger
Out Cast Theatre
Butt Boy is a 24-year-old gay guy who lives at home with his parents, works in a call centre, and who trawls the internet for guys. A little close to the bone for you? Well, it is for me. For virtually the entire play the two characters only interact online, which sounds extremely dull, but as their role-playing develops they act out their fantasies on stage. The acting is impeccable, with the vulnerable Butt Boy touchingly played by Angus Brown and fiesty Felix Allsop as the tougher Tigger. The odd couple's interaction during scenarios that range from the football locker room to First World War trenches induces both laughter and sympathy. It's a moving piece, I very nearly cried.
Pleasance Dome, 30 Jul - 25 Aug (not 5,12,19), 10.50pm (11.50pm), prices vary, fpp 180.
tw rating 4/5
[se]

Not Everything is Significant
Ben Moor
If you were to make reference to a diabetic Mariachi band and 'poodling' in an Essex car park in your own diary, fair enough. But when such references are inserted into your private diary by an unknown other, things seem a little weirder. A labyrinthine take on love and memory, 'Not Everything is Significant' follows a writer - experiencing writer's block, incidentally - who is sent a cryptic, already filled-in diary for the upcoming year. However, driven to pursue its bizarre indications, he finds he somehow only falls further from his destiny. The performance is both mesmeric and eccentric, and enjoys the added comedy of a figure (also played by himself) who footnotes the writer's life throughout the show.
Pleasance Courtyard, 30 July - 25 Aug, 3.15pm (1.15 pm), prices vary, fpp 219.
tw rating 3/5
[be]

Macbeth (Chamber Shakespeare Cycle Part II)
Chamber Shakespeare Company
Chamber Shakespeare Company has reduced Macbeth not in quality but to its elements: struggle, anguish and heartache. Gone are elaborate sets and costumes; instead there are three performers dressed in black on a small Japanese mat. Centred completely on the protagonist, removing superfluous characters and scenes, the effect is to create intimacy, in the physical space, but also between the audience and the character, such that we are almost inside his head. An intense atmosphere is created as the performers spit out every word with exacting vigour, every movement precise. This is pure Macbeth, a piece of psychological drama, without the glitz and glamour of popularist Shakespeare at the Fringe. One for only the less forgiving theatregoer; its intimacy would be lost if everyone went.
Hudson Hotel, 30 Jul - 25 Aug (not 11, 18), 1.30pm (2.45pm), prices vary, fpp 214.
tw rating 4/5
[rh]

Supper
The Puppet Lab
It's a shame the performance isn't as exciting as the idea itself, which had the potential to be great. But it wasn't. It was boring, in fact. The concept is that the audience watch two couples having dinner, and, via headphones, eavesdrop on what they are thinking. Well, it turns out that the inner thoughts of complete strangers are pretty mundane. A dropped napkin was pretty much the climax of the action and OK, the point was the inner monologue, but that didn't offer much either. This is conducted in a café, so it's hard not to be distracted by the stream of passers by, though if your eyes do wander, or even completely shut, I doubt you'll miss much.
Assembly @ George Street, dates vary, 2.30pm (3.05pm), £7.50, fpp 234.
tw rating 2/5
[sg]

Nola Rae - Exit Napoleon Pursued By Rabbits
Nola Rae
The beauty of this show is in its simplicity. Utilising nothing more than some battered Napoleonic soldier's equipment and a flimsy tent, Nola Rae's carefully choreographed clowning pokes fun at military figures. She has a brilliantly comic eye for transforming basic items into instantly recognisable characters; her ability to turn a woolly pair of socks into a rabbit and a leather satchel and coat into the vivid image of a soldier, shows an expert imagination. At times the narrative path lacks clarity and the gaps between certain set-ups and pay-offs are too prolonged, but her ability to work with an audience and keep them entertained and engrossed for most of an hour without uttering a word is remarkable. I salute her!
Footsbarn's Big Top at Calton Hill, 2 - 15 Aug, 5.00pm (6.20pm), £10.00 (£8.00), fpp 219.
tw rating 4/5
[rd]

One Flew Over The Cuckoo's Nest
Practical Magic Theatre Company
This production kept my heart in my mouth, as the saying goes: tension mounted, mental trauma was sensitively drawn, and the dark comedy of the piece was unforced. Dale Wasserman's adaptation of Ken Kesey's novel set in an Oregon psychiatric hospital was a wise choice for this company. Rather than seeming aloof and actorly the cast were recognisable, as if they might be our pals, and thus our sympathy and our alliance with what was happening on stage was abundant and forthcoming. At times it was just three brilliant central performances that lifted this production, the actors playing McMurphy, Nurse Ratched and Dale Harding imbuing their characters with psychological depth admirably. They performed without ego, taking the rest of the cast with them wherever they went.
Sweet ECA, 2 - 9 Aug, 7.15pm (9.05pm), £10.00 (£6.00), fpp 221.
tw rating 4/5
[dp]

This Is Not the Truman Show
University Of Manchester Drama Society
Brian, Julian and Alan discover that they are living within a play and try and discover a way to break free. This show is fairly well done, but wholly unoriginal, and becomes quite tedious once the characters realise their predicament. The use of voice-over would have been good had it not been so over-amplified, and the odd choice to mime to songs for a whole section had little comic effect and did not advance the plot. There were, however, some very nice moments, particularly the well performed looped scene between Brian and Julian. The simple set was used well, and despite some problems with diction the three main characters were acted well. Reasonably entertaining, but uninspiring.
The Space on the Mile@The Radisson, 2 - 16 Aug (not 3, 10), times vary, £8.00 (£6.00), fpp 236.
tw rating 3/5
[dk]

Out Of The Shoebox
Bradford Arts Network Academy
Swearing, shouting and stabbing; 'Out Of The Shoebox' is a grim reflection on child poverty, racism and social breakdown in the 21st century, as told by students from Bradford. I have to be honest, this performance is not great and needs a lot more work, but I hope they keep at it, work hard and get the most out of their Edinburgh experience. The show is an expression of how hard life can be and goes some way towards explaining the troubles young people face. However, if they intend to use it to lobby politicians, they need to cut down on the swearing, because it's hard to listen to, and think about how society could be made better, not just focus on its problems.
The Vault, 4 - 10 Aug, 3.15pm (4.15pm), £5.00 (£4.00), fpp 221.
tw rating 2/5
[mj]

Hutsul's Year
Kolomiya Theatre
Take a Ukrainian phrase book, or brush up your GCSE, because otherwise this is baffling. Theatre can be understood in other languages, but when a play is so heavy on speech, there is little point in watching it in a tongue you don't understand. The synopsis handed out at the start does little to help with the confusion; for a start it doesn't explain why a mad character wails between each scene. Magical realism it may be, but that's no reason for a needlessly cluttered set and deafening sound effects. Sad, because if I had known what on earth was going on, not even in English, just better explained through the acting, this probably would have been really wonderful.
Universal Arts Theatre, 1 - 25 Aug (not 13), 3.00pm (4.15pm), prices vary, fpp 205.
tw rating 2/5
[rs]

VISUAL ART

Research - RSA Residencies in Focus
Royal Scottish Academy
If there's one thing that struck me about this exhibition, it was its brevity. Tucked away in a single room in the lower galleries, it seemed more of a thoroughfare than a show. However, some of it is worth seeing: Eoghann MacColl's miniature drawings are intricately beautiful and Paulina Sandberg's sound recordings give a new twist to your standard BT answer phone message. But I can understand why there weren't many lingerers; Katie Orton's Picasso-inspired paintings are a long way off the grand master and looked more like an A-level project than professional work. With so little on display it's hard to understand the process behind the work, so don't make a special trip.
RSA Lower Galleries, 29 Jul - 28 Aug, 10.00am (5.00pm), Free, fpp 135.
tw rating 2/5
[sg]

Scottish Art Exhibition
Lloyds TSB Private Banking
When you think of Lloyds do you picture a galloping black horse? When you think of Scotland do you think of feisty nationalism? Well, both are on show in this exhibition; perhaps it's not surprising for a bank which is investing large amounts of cash in the 2012 London Olympics to showcase paintings of a selection of athletes, including Scottish hero Andy Murray, as well as plenty of cantering horses to ram home the corporate image. The quality's mixed; there's some great work and some chocolate boxy rubbish as well as the token Edinburgh cityscapes aimed at wealthy tourists. Artist Alasdair Banks is there for the duration of the exhibition to chat about his work; it's worth checking out.
Lloyds TSB Scotland, 3 - 24 Aug, 10.00am (4.00pm), free, fpp 135.
tw rating 3/5
[sg]

Richard Hamilton - Protest Pictures
Inverleith House
Each room in this exhibition has its own distinct identity, due to the impeccable curation which favours interesting juxtapositions and similar energies over chronology. It is exciting to walk through from the uplifting Warhol-esque Swinging London room, to the chilling Treatment Room. The most impressive room for me was The Troubles, with The Subject, The Citizen, and The State grouped together in a Holy Trinity of discontent and violence. This was easily the most thought-provoking room, with The State being the image of a solitary soldier, an anonymous force. Hamilton's use of various media adds a reality and tangibility to the works, making them all the more evocative of the era. Altogether an impressive collection arranged imaginatively.
Inverleith House - Royal Botanic Garden Edinburgh, 31 Jul - 12 Oct, 10.00am (5.00pm), free, fpp 135.
tw rating 4/5
[gm]

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