From the theatrical side of the Free Fringe - among the plays appearing on the Free Fringe this year are 'The Duchess', 'Tales Of Agony And Ecstasy' and 'The Clown's Dream' - check the full Free Fringe programme here. Photos by Elena Heatherwick.

BOX OFFICE REVIEW OFFICIALLY ANNOUNCED AT FRINGE AGM
So, it was the Annual General Meeting of the Edinburgh Fringe Society this morning, and tension filled the room as the great and good of the Edinburgh Festival community amassed to express their frustration at the Fringe board's handling of the new box office system. Much expressing went on once the meeting was thrown open to the floor for general discussion, though little frustration was released because the board seemed unwilling to discuss the debacle in public, instead urging all to await the results of independent review that has been called.

That review was formerly outlined by Fringe Society chairman Baroness Elizabeth Smith, and consists of three parts.

First there will be an inquiry into the procurement and management of the box office system which was commissioned at the start of the year and which failed so spectacularly at the start of this year's Festival. This will be an independent review to be undertaken by consultants to be appointed by an independent steering group consisting of representatives from various government bodies, including the Scottish Arts Council, Scottish Enterprise and the Scottish government. A budget has been assigned by the Fringe Society to cover the costs of this review. It is hoped this review will be completed by November.

Second, an IT company will be appointed by the Board to review the whole situation and to make recommendations as to how the Society can better service the ticketing needs of the Fringe Festival, in 2009 and beyond.

And third, as expected, the Fringe Society announced a wider review of its purpose, to investigate what the Fringe Festival in its current form really needs from its Society. The timescale for this part of the review was less fixed, but the Board promised extensive consultations with all of their stakeholders, including performers, promoters, venues, the city and, one would hope, ticket buyers too.

The review was generally accepted as a good thing by those present, despite many being frustrated that the existence of the review was used by the Society's Director and board to avoid answering any tricky questions as to why the Society had commissioned such an unproven ticketing system so late in the day. With that in mind the board was urged to ensure that a concise but full report from all the reviews was made public, while one member proposed that an EGM should be called once the reviews had been completed to allow further public discussion once all the facts were in place.

Debate about the Society's failings dominated the meeting to such an extent that the election of new members to the board almost passed unnoticed, except for the drawn out wait for votes to be counted. Of note among the new appointments were The Stand's Tommy Sheppard and Underbelly co-chief Charlie Wood, both vocal members of the Fringe community who no doubt hope to shake the Society up from within.

--

STAGE AWARD SHORTLISTS ANNOUNCED
So, it's the end of Week 2, and that means award announcements galore at the Edinburgh Festival. In fact, here's three all in one go.

First up, the theatre industry's The Stage newspaper has announced the shortlists for its Acting Excellence awards, which recognise the talents of professional actors working at the Fringe. Underbelly has emerged as the "surprise leader" this year, those being the words of The Stage itself, who were possibly shocked to discover venues other than the Traverse stage theatre at this Festival. Oh no, hang on, I think it's a surprise because last year shows at da Belly only scored two nominations and this year they got seven. The Traverse wasn't too far behind though, scoring five mentions on the shortlists this year, a score equalled by The Pleasance.

But enough of the idle stat analysis, it's the short lists your want to see, and it's the short lists you gonna get. Enjoy.

Best Actor
Ciaran McIntyre for Deep Cut (Traverse)
Simon Merrells for On the Waterfront (Pleasance Courtyard)
Jud Charlton for ABFCAP: The Life and Times of Ian Dury (Zoo)
Will Lyman for The Patriot Act (Gilded Balloon Teviot)
Jot Davies for Lough/Rain (Underbelly)

Best Actress
Rhian Morgan for Deep Cut (Traverse)
Rhian Blythe for Deep Cut (Traverse)
Helen Embleton for Motherland (Underbelly)
Kate Donmall for Lough/Rain (Underbelly)

Best Ensemble
Kudos for Face in the Crowd (Underbelly)
You Need Me for How It Ended (C Cubed)
Big Wow for Dark Grumblings (Underbelly)
The Paper Birds for In a Thousand Pieces (Gilded Balloon Teviot)
Traverse Theatre Company and Birmingham Repertory Theatre Company for Pornography (Traverse)
Live Theatre for Motherland (Underbelly)
East Productions and Nottingham Playhouse for On the Waterfront (Pleasance Courtyard)

Best Solo Performer
Peter McDonald for Nocturne (Traverse)
Matthew Zajac for The Tailor of Inverness (Assembly @ George Street)
Karen Dunbar for A Drunk Woman Looks at the Thistle (Assembly)
Cameron Stewart for My Grandfather's Great War (Underbelly's Baby Belly)
Jim Jarrett for Vincent (Assembly @ George Street)
Stefan Golaszewski for Stefan Golaszewski Speaks About a Girl He Once Loved (Pleasance Courtyard)

Commenting on this year's shortlists, the head of the Stage's Edinburgh Festival team, William McEvoy, told reporters: "The presence of verbatim theatre is notable on this year's shortlist. The Ensemble category is bigger and more varied than usual, provoking debate and deliberation even at the nominations stage. We were also impressed with the variety of work on display in the solo performance category, now in its third year. It should be an exciting week of judging."

The overall winners will be announced at an event at The Hub on the final Sunday of the Fringe, 24 Aug.

--

MUSICAL THEATRE AWARDS ANNOUNCED
More awards, and the nominations are out for the second Musical Theatre Awards, an awards programme launched at last year's Festival to celebrate the best, erm, well, musical theatre at the Fringe.

And the nominations are:

Best Book For A New Musical
Departure Lounge - Dougal Irvine
The Jonah Boy - Jane Buckler
On The Island Of Aars - Chris Larner

Best Lyrics For A New Musical
Barbershopera! - Toni & The Guys
Departure Lounge - Dougal Irvine
On The Island Of Aars - Chris Larner
Tony Of Arabia - Chris Bush

Best Music For A New Musical
Departure Lounge - Dougal Irvine
The Jonah Boy - Jane Buckler
Only The Brave - Matthew Brind
On The Island Of Aars - Chris Larner

Most Promising New Musical
Barbershopera! - Toni & The Guys
Departure Lounge - Dougal Irvine
Only The Brave - Matthew Brind (Music/Lyrics), Stephen Coleman (Book/Lyrics) And Rachel Wagstaff (Book)
On The Island Of Aars - Mark Stevens (Music) And Chris Larner (Book/Lyrics)

Dress Circle Award For Best Musical Production
Barbershopera! - Toni & The Guys
Departure Lounge - West End International, Newpalm Productions & Andy Barnes Productions
Funk It Up About Nothin' - Chicago Shakespeare Theater
On The Island Of Aars - Quuup Productions

Announcing the nominations, Nick Phillips, co-chair of the awards panel, told ThreeWeeks: "When considering the selection of nominated musicals in our five categories we started from the basis that Musical Theatre can be viewed in terms of the noun 'theatre' and the adjective 'musical' to describe shows which focus on character in action expressed through song and/or dance. Rather than being a simple escape, it is perhaps the most complex form of theatrical synthesis and hence why so much of it fails to reach the aspirations of this most complex of forms. In addition we wanted to measure the relative success of how a show balances the demands of inner dramatic tension with overt theatricality and convention. It has been particularly interesting to note the strength of musical comedy this year in the 49 shows viewed, in particular aspirations to lyrical wit, and this is reflected in the nominations".

The overall winners will be announced alongside the final batch of Fringe Firsts at the Assembly Hall next Friday.

--

TOTAL THEATRE AWARD NOMINATIONS
And finally for today, the 2008 shortlists for the Total Theatre awards, the awards programme designed to celebrate the best physical theatre on the Fringe and, also, those who are, and I quote, "pushing at the boundaries of traditional theatre". I think it's all about the shows that offer a "total theatre experience". Or something like that. I'm sounding vague I realise, which isn't doing these awards justice, because this is one of the award programmes that really does do the wider Fringe justice, even reaching beyond the Fringe this year to take in some of the excellent shows on at the Forest Cafe. A team of 16 assessors have seen no less that 268 shows this year, and their shortlists for their five prizes are as follows:

Experiment and Innovation
Enclosure 44 - Humans, Dance Base, Janis Claxton Dance - Edinburgh Zoo
The Factory, Badac Theatre Company/Escalator East to Edinburgh - Pleasance Courtyard
Once and For All We're Gonna Tell You Who We Are So Shut Up and Listen, Ontroerend Goed, Kopergiettery & Richard Jordon Productions - Traverse Theatre
Paper Cinema, Night Flyer & Kora - Forest Fringe
Plastic, 30 Bird - Pleasance Courtyard
The Office Party, Underbelly Productions and Assembly - Udderbelly's Pasture
Wanderlust, Anonymous Ensemble - Underbelly

Graduate Company
Crocosmia, Little Bulb Theatre - The Space on the Mile@The Radisson
How it Ended, You Need Me - C cubed
Invasian Festival presents ID, HuNuNunMul - ClubWEST @ Quincentenary Hall
21:13, Dancing Brick - C Soco

Story Theatre
Before We Remember, Gomito Productions - Bedlam Theatre
Cloudcuckooland, The Onassis Programme - Festival Highlights - Pleasance
How the Giraffe Got Its Neck, Tall Stories - C Too
The Man Who Planted Trees, Puppet State Theatre Company - Scottish Storytelling Centre
Slick, Tron & Vox Motus - Traverse Theatre
The Zawose Family, RealWorld - The World @ St George West

Visual Theatre
Circus Oz, 30th Birthday Bash - Assembly Hall, Mound Place
The Idiot Colony, RedCape Theatre - Pleasance Dome
Hamlet Episode, Daegu City Modern Dance Company - Rocket@Roxburghe Hotel
Mime for Laughs, Mono Mime Comedy Theatre - Hill Street Theatre
Polaris, Adriatic: Vojta Svejda, Jan Benes-McGadie - Zoo

Young Company
Architecting, THE TEAM & National Theatre of Scotland Workshop - Traverse Theatre
The Caravan, Look Left Look Right - Pleasance Courtyard
Holdin' Fast, DOT 504 - Zoo Southside
In a Thousand Pieces, Paper Birds - Gilded Balloon Teviot

The Total Theatre Awards will be presented at GHQ on Thursday, 21 Aug.

--

Send in news: editor@threeweeks.co.uk

Answering the ThreeWeeks Quick Quiz today... Greg Fleet

1. What is your 2008 show all about? It's about Edinburgh Hibernian's classic 3-2 victory over Falkirk on Sat 16/08/08. It's also about Simon Munnery – he dreams of having wheels for hands. 2. Why should we come and see it? Because for every empty chair, an angel in heaven falls victim to knife crime. 3. If your show was an olympic sport, what would it be and why? The women's high jump, because I'm tall and sexy and a woman.

4. What are you most looking forward to about this year's Festival?
Getting out of the Festival and going to Easter Road with Andy Maxwell to see Hibs beat Falkirk 3-2.

5. What are you least looking forward to about this year's Festival?
The cancerous growth of generic corporate stand-up comedy. And all the Australians – my God!

6. What advice would you have for someone trying to navigate the Fringe?
Carry a compass, a man and a radio. And fly the jolly roger at full mast.

7. What advice would you have for someone trying to survive the Fringe?
Let go, stop trying. The Fringe will love you if you let it. Seriously, there is a lot of dignity here.

8. Describe your show in three words
Where's my pony?

Greg Fleet - Secrets & Lies, Gilded Balloon Teviot, 30 Jul - 25 Aug, 9.30pm (10.30pm), prices vary, fpp 56.

Greg Fleet & Friends, Gilded Balloon Teviot, 18 - 20 Aug, 12.30am, fpp n/a.

Even more reviews for you! 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

Fuchsia Dunlop
Edinburgh International Book Festival
Fuchsia's travels around China have without a doubt given her a wide knowledge of Chinese cuisine, as evidenced by the many descriptions and slides of diverse foods that she shared with the audience. The first Westerner to be formally trained in Chinese cookery in China, Fuchsia is un-squeamish about even the ingredients most shocking to the Western palate, describing with relish the taste of squishy, rubbery goose intestines and the textures of crunchy deep-fried bugs as the audience either squirmed or drooled in their seats. The talk also included an interesting introduction into the history and diversity of Oriental cuisine, proving that there is far more to Chinese food than your average high street takeaway.
Pepper's Theatre, 11 Aug, 4.00pm, bfpp 11.
[sh]

Gavin Esler And Jim Muir In Conversation With Tony Grant
Edinburgh International Book Festival
Over five decades on and the BBC's 'From Our Own Correspondent' is still bringing brilliant journalistic writing to our radios every week. Gavin Esler, Jim Muir and Tony Grant have all been involved with the programme for a long time, reporting from war-torn Basra to sunny California. Their insights into the world of correspondence and war reporting was fascinating, even if it did sound like a lot of waiting around for head office to call. As expected, the discussion was interspersed by many anecdotes from their travels, some more disturbing, such as Muir's experiences in a minefield, and others more light-hearted, like the behind-the-scenes workings of the White House under Clinton. An inspiring event that makes me feel I might have found my vocation.
RBS Main Theatre, 11 Aug, 1.30pm, bfpp 10.
[sh]

Steven Berkoff - The Balfour + Mansion Event
Edinburgh International Book Festival
To celebrate food is to celebrate life and Steven Berkoff does both. With passion and humour, he inspired his audience to think about how food and meals are woven into our existence, from the sensuality of a tomato, to the pain inflicted on geese in the production of Fois Gras. He focused on the history of Jewish food, which has developed from deprivation, and argued that cultures take on characteristics of the animals which surround them - the Jew as a chicken, French as pigs and the English like their barking dogs. Down-to-earth and fascinating, Berkoff was not calling for a shake-up of attitudes to food, but rather, he follows his nose. And he does so with vigour.
RBS Main Theatre, 12 Aug, 8.00pm (9.00pm), bfpp 16.
[js]

Body Shopping
Edinburgh International Book Festival
Did you know that legally, we don't actually own our own bodies? That's right: we have more ownership rights to an artificial limb than we do our own legs. Scary thought eh? In this fascinating and slightly scary discussion on the 'commoditisation of the human body', three experts in the field, Donna Dickenson, Graeme Lorry and James Ironside, debated the pros and cons of such ownership issues and who else is clamouring for a slice of the pie, from organ-trafficking criminal gangs to multinational pharmaceutical companies. Though the talk went quite deep into scientific and legal details, it was refreshingly well- explained and well-chaired, meaning that even a clueless arts student like myself could understand and join in the debate.
Highland Spiegeltent, Aug 13, 7pm, bfpp 20.
[sh]

CHILDREN'S

Ants In Your Pants
Albert & Friends Instant Circus
Unless uni-cycling over a ramp has made it into the Moscow State Circus, then I'd hazard a guess that 'Ants' don't offer the skilled circus antics billed in their Fringe Programme entry. Despite this, the children seemed pretty satisfied with the ample audience participation on offer at the behest of Albert, a rather gruff clown. Personally he disconcerted me, and at one point his gravelly barks managed to make a kid cry - never a good idea at children's entertainment. However what perplexed me even more than Albert, were his 'friends', who gave him a wide berth, preferring to stand, sullen faced with arms folded, as though they were about to enter Brat Camp USA. Perhaps it was something he said.
Royal Botanic Garden Edinburgh, 10 - 17 Aug, 1.00pm (1.45pm), free non-ticketed, fpp 11.
tw rating 2/5
[rsj]

Alice
Breakaway Theatre Company
Breakaway Theatre Company certainly attack this re-working of Alice In Wonderland with barrels of energy; all the actors throw themselves into their performances, and their enthusiasm is commendable. Unfortunately this adaptation just seems a little pointless. Scenes that are transferred with slight alterations from Lewis Carroll's magical world to a senior school provide too many tenuous links, awkward parallels and unsatisfactory puns that don't quite work as well as intended. The musical numbers provide welcome breaks and the pianist's skills are excellent, but as pleasant as they are they don't add anything to the scenes. The mostly young cast try hard but ultimately there is little to recommend a show that feels like an average school production.
C soco, 10 - 16 Aug, 11.00am (12.15pm), £8.50 (£7.20), fpp 10.
tw rating 2/5
[rd]

The Bear Who Paints
Ribcaged Theatre Productions in Association With Blue Penguin Productions
A bright, vivid production that uses song, puppetry and music to tell its tale, 'The Bear Who Paints' is a story with a message about freedom of expression and censorship, with plenty of laughs along the way. The acting is strong across the board, and the integral music in the show adds as much richness and colour as the vibrant costumes and props. There was some lovely audience participation, and a superb puppet at the centre, which the kids loved, plus they got to join in by bringing along their own artwork. Occasionally some of the movement was out of sync, and the guitar needed tuning, but overall it was performed to a very high standard. A cleverly-staged play for all the family.
Pleasance Courtyard, 10-24 Aug (not 19), 11.40am (12:30pm), £7.50 (£5.00), fpp 11.
tw rating 4/5
[dk]

The Magical Jello Returns, Again!
Calum Fleming
It's a surreal experience watching a children's magician plying his trade and realising that nothing has changed in seventeen years. The props, the tricks and the crappy puns are exactly the same now as they ever were. There's certainly a case for the 'if it ain't broke' argument, and given the uncontrollable hyperactive hysteria radiating off the young children, the old routines are still as popular as ever with their target audience. Despite this, Calum Fleming appeared nervous in his performance. This is the kind of show you'd expect at a children's birthday, and there are a lot more imaginative ways to keep children entertained at the Fringe.
Diverse Attractions, 11 - 16 Aug, 11.15 am (12.05pm), £4.00, fpp 16.
tw rating 2/5
[rd]

The Comedy Cartoon Story Show
Phil Sheppard
What would you do if your reflection got caught in a mirror? What happened to the Princess when she had to Pee? Phil Sheppard explains through his cartoons in this hour of storytelling. Reminiscent of storybook television shows, the format cleverly kept the interest of even the smallest children by having one story in four parts, and shorter ones interspersed between. The energy generated by Shepherd when telling the stories was massive, and there was quite a bit of shouting, but the effort to bring it all to life was admirable. Unusual and exciting, with beautiful cartoons and cleverly crafted stories, this was brilliant fun for the kids, but outside, it was also the parents who were raving about it.
Laughing Horse@Edinburgh City Football Club, 5 - 11 Aug, 2.10pm (3.00pm), free, fpp 11.
tw rating 4/5
[rs]

Corryvreckan
YDance
Treacherous waters, dancers tossed and turned on the tide, Norse warriors and a magnificent sea witch. With a beautiful score and scenes of haunting intrigue deep below the surface of the North Sea, YDance transports us to the mythical world of Corryvreckan. Vibrant as they are talented, the dancers give flawless performances that surpass many of the adult shows I've seen in recent days. The enchanting choreography draws us in alongside impressive costumes and a remarkable rotating set and before you know it, we too are swept up in the mysterious ebbs and flows of the whirlpool. A must-see for young dance enthusiasts, this show won't fail to capture the imagination... and the more seasoned ones won't be disappointed either.
Dance Base - National Centre For Dance, 12 - 16 Aug, 12.00pm (12.45pm), £7.00, fpp 12.
tw rating 4/5
[fc]

Painting Music Workshop
Painting Music
Have you ever used a paint brush like an instrument? Long strokes for drawn out notes, jumping dots for plucked notes and squiggles for everything in between? What colours would you paint for different feels of music? Quite unanimously blues, purples, greys and browns were used for sad, yellows and greens for happy and red and black for angry or dramatic music. The children painted whatever came to their minds in response to beautifully played live instrumental music, which allowed them to be not only creative but also messy; one little boy even invented nose painting. This workshop is educational, teaching little ones also about the instruments played, and is thoroughly enjoyable for everyone.
Sweet ECA, 3-25 Aug (not 11), 12.50pm (1.35pm), £3.00 (£5.50), fpp 17.
tw rating 4/5
[da]

COMEDY

An Attention Seeking Phase
Richard King
The inclusive nature of the Fringe means that the quality of the acts that comprise it varies greatly, and unfortunately for Richard King, his show was right at the bottom end of the scale. He claims to be an attention seeker, apparently wishing to verify this by showing pictures of himself bungee jumping and wearing fancy dress, but the only laughter was shared between the few audience members, in mutual disbelief at the dreadful material. The show was excruciatingly slow, and the highlight of this otherwise dire routine was the point at which he asked the audience for a challenge for him to complete for his next show; an excuse to vent our irritation on this man for wasting forty minutes of our time.
Holyrood Too, 10-14, 17-21 Aug, 11.15pm (11.55pm), £6.00 (£5.00), fpp 29.
tw rating 1/5
[af]

MacAulay & Co
BBC Radio Scotland
It never really bodes well when you walk into a room and discover you're the youngest person there. By about forty years. The live BBC Radio Scotland show focused on some of the most talked about artists at the Fringe, blending snippets of routines with witty interviews. Between the featured comedians were two superb performances from 'The Blues Brothers Band', though I fear the brilliant rendition of the 'Scrubs' theme tune went straight over the silver heads. Never mind, BBC fans were watching their favourite personalities, and it's always a treat putting a face to a voice. Add some hilarious interviews and impromptu amateur bagpipe renditions and it was a bout of the giggles for both old and young (though admittedly, mostly old).
The Spiegel Garden, 11 - 22 Aug (not 16,17), 10.00am (11.30am), free ticketed, fpp 75
tw rating 3/5
[lk]

Tillerpop
Matt Tiller PBH's Free Fringe
Matt Tiller is a well-meaning guy who for some strange reason thinks he's funny and that he has the performance skills required to make people laugh. His cheap jokes, short songs and appalling delivery made me laugh out of pity; the second pint may have helped too. The most interesting part of the show was the audience participation. Tiller asked me if I had done any good deeds recently, and I foolishly mentioned that I had given money to a really crap free show. As I left, I repeated this good deed. If he had spent less time on the tacky projection and more time on his material, I might be able to say it was entertaining.
The Canon's Gait, 9 - 24 Aug, 3.40pm (4.45pm), free non-ticketed, fpp 104.
tw rating 1/5
[zl]

Bob Doolally For One Night Only. Live And Talking Balls!
Stand Comedy Club
What a load of pish, but mostly funny pish; dirty, daring, drunken and appallingly abusive, no matter what football team you support. Not being up on my Scottish football, a lot of the jokes flew over my head but his comments on politics, paedophilia, Gordon Brown, Paul Gascoigne and the Olympics got the crowd roaring; the atmosphere quickly becoming that of a rowdy Saturday football match. The real strength of Bob Doolally was his ability to play off the audience, namely the fucker in the front row. This element of improvisation highlighted that this really was a one off show, and as he finished his second bottle of vodka, it became clear there was no set script.
The Stand Comedy Club 3, 11 Aug, 8.00pm (9.45pm), £10.00, fpp 34.
tw rating 3/5
[sg]

Teen Comedy Improv
Backstage - Ireland
Teen doesn't necessarily mean tame; this confident bunch take a no-holds-barred approach to improv (quite literally when it comes to discussing the mechanics of threesomes). Six young Irish people delivered assured and up-for-it improvised sketches, plus the odd bit of stand-up, that was both for and about teenagers. It was the usual interactive improv stuff, where the audience provide settings, words and stories as inspiration or constraints for the sketches. Of course, this relies on the audience being similarly up-for-it, and the actors seemed a little frustrated by the young viewers' timidity. This show has a clear target audience in mind, but the performers don't act their age - their improvising skills could stand-up comfortably alongside any others at the Fringe.
Augustine's, 12 - 17 Aug, 7.45pm (8.45pm), £7.00, fpp 102.
tw rating 3/5
[hw]

Alyssa Kyria: Woman Of The Year?
Alyssa Kyria
With Edinburgh's recent weather it would be nice to take a quick break to Greece, though not with Greek WAG Ariadne, Alyssa Kyria's latest character creation. Ariadne compères the show and introduces Kyria's other characters, and as impressive and convincing as they are as creations, the material they deal with isn't really able to support them. There is a certain one-trick-pony feel to each character, and once their initial premise is outlined it just seems to be a case of repetition. Kyria also falls into the trap of using sub-par video clips as an audience distraction between changes. Her credentials as a character actress remain intact; they just need something a bit better to work with.
Pleasance Dome, 30 Jul - 25 Aug (not 11, 18), 6.15pm (7.05pm), prices vary, fpp 24.
tw rating 2/5
[th]

Andrew O'Neill's Totally Spot-On History Of British Industry
Good Sense of Humour
Technology can progress at an incredible pace, and similarly, the advances in this show since I first saw it in its infancy are quite something. A man in a pub reading from his laptop is now a dark sharply-dressed expert taking the audience on a journey with a slick slide show and music of varying taste. The technology isn't the only thing that's improved: the static lecture has been pimped-up, and vocal participation from the audience gets things warmed up after the rather slow start. The historian façade can't hide the anarchic stand-up beneath as tangents and riffs display accomplished ad-libbing. Get on board this pumping engine with the bastard son of Ozzy Osbourne and David Starkey as he takes you on a satirical-history tour.
Underbelly, 31 Jul - 24 Aug, 11.35pm (12.35am), prices vary, fpp 26.
tw rating 4/5
[se]

Bite-Sized, Improvised, Televised
Rob Broderick, Padraig Hyland
The basis for this show is that two Irish comedians take suggestions from the audience and then dub these over short film clips, and it works quite well. Their ability to improvise and bounce off each other really keeps the show together and their carefully selected film clips are good for messing around with. Audience interaction didn't go as far as picking on people and they weren't rude, but then they could have said anything with their accents and got away with it. The two comedians work well together and tell some funny stories of their own, for a free show it's good and although the film clips may be repeated, the commentary will be different each night.
Laughing Horse @ The Counting House, 31 Jul - 25 Aug, 8.10pm (9.00pm), free, fpp 34.
tw rating 3/5
[fa]

Joe Levi's Short Stories
The Animals of Butter Bridge
'Joe Levi's Short Stories' is probably the nearest you will get to being part of a real life Mad Hatter's tea party, only without the tea. Three bizarre stories are told and performed by Joe and his interestingly attired friends; the first short story was, without a doubt, the best. The other two, although faintly amusing, were missing something of the brilliance of the first sketch. A shame, because if they had kept up the standard of the first throughout the show, it could have been spectacular. The show was entertaining, but be prepared for some quite eccentric comedy as the stories tend to go off in extraordinary directions. Joe Levi certainly has some imagination.
Sweet Grassmarket, 11-24 Aug (not 17), 5.15pm (6.15pm), £8.00 (£7.00), fpp 66.
tw rating 3/5
[lp]

The Improphecy Chronicles
The Noise Next Door
Tired of cocky comedians trying to prove how wacky and post-ironic they are? Bored of experimental dance theatre attempting to convey the true sense of what it means to have your skin on inside out? Fret no longer, people, for I have the cure. Well, I don't personally, but these guys do. Leaving pretensions at the door, The Noise charm the audience with their unaffected style and slick improv. Picking audience members at random, they construct the show around whomever and whatever they find with hilarious results. You name it, they'll sing it. And with a whole new barrel of improvised laughs every night, you need never have to go to a crap show again.
C central, 1 - 25 Aug, 9.35pm (10.35pm), prices vary, fpp 60
tw rating: 4/5
[fc]

Junk Band Story ... Uh?!
Pop Theatrical Group
I was, perhaps wrongly, expecting a show akin to 'Stomp', but this just wasn't. They do make impressive instruments out of junk: xylophones from beer bottles, toms from tubes and sellotape. I couldn't quite work out how the bass guitar was constructed but it did sound very much like one, and was played with calibre and control. The lead guitarist used his voice and we got some beat boxing too, but I was still disappointed. This is clearly an extremely talented group with great potential, but the set-up was silly and too long. The martial arts and dance were enjoyable though, especially when they got the audience to join in. More playing of the junk, please!
Universal Arts Theatre, 3-25 Aug (not 13), 10.30pm (11.30pm), prices vary, fpp 67.
tw rating 3/5
[da]

This Is Not A Subject For Comedy
Ivor Dembina/Laughing Horse Free Festival
As the title indicates, subjects such as the Holocaust and suicide bombings in Israel don't make for light entertainment, even if they do come from anti-Zionist Jewish comic, Ivor Dembina. When I first saw Ivor this Festival in 'Shaggers', I remember through my drunken haze that he was funniest of the four comedians. In this performance he masterfully weaves together Jewish humour, storytelling, and cleverly offensive jokes about Christians, Jews, and Muslims to brilliant effect. His material is intelligent and clever; embedded with truth and honesty. He didn't resort to circumcision jokes, instead relying on the predictable references to Jews and money. This is the best comedy show from the Free Festival I've seen: thought provoking humour for any schmuck.
Laughing Horse @ Espionage, 2 - 25 Aug, 6.05pm (6.55pm), free non-ticketed, fpp 103.
tw rating 4/5
[zl]

Slap, Tickle And Squeak
Slap, Tickle And Squeak
These theatre sports actors don't have the wit or consistent dynamic between them to make this improvised show a success, despite an interesting Shakespearean tale, a lion taming sketch, and an interpretive dance entitled 'Spreading Butter'. Theatre sports are risky, and as a result there were several lulls in the performance when both the audience and actors knew the improvisation wasn't working. The three players were energetic, though, and did well to interact with the audience while keeping up the pretence that they were Vaudeville performers and it was the year 1908. Unfortunately this type of Vaudeville was less spectacular and more reminiscent of an average pub night. If you enjoy improvised comedy, however, this might be worth your while.
Underbelly's Baby Belly, 31 Jul - 24 Aug (not 11), 5.15pm (6.15pm), prices vary, fpp 97.
tw rating 2/5
[zl]

Pagagnini
Yllana
I have cried at Pachabel's Canon before, but never with laughter. It seems that these four virtuoso musicians got a little bored of playing simple classical, and instead decided to explore a whole world in which new and comic meaning is injected into musical standards. Jumping around, making a mockery of each other, playing anything from Country to Blues to U2 this is incredibly slick and impossibly funny. Each of the quartet used their instruments to create a character; violins became drums, or banjos, or even a toreador's cape. When it comes down to it, these guys can play music stunningly, but that's not good enough now, I'll always want a hilarious show as well. Whoever said classical music was boring?
Universal Arts Theatre, 13 - 25 Aug (not 18), 7.05pm (8.15pm), prices vary, fpp 85.
tw rating 5/5
[rs]

London Underground Song And Yet More Ballads
Amateur Transplants
Despite lacking some of the key ingredients to comedy - confidence, originality, interaction - the Amateur Transplants do possess an important one: the ability to make you giggle like a small child. Changing the lyrics of well-known songs by a variety of artists from Lennon to Abba, the singing pair's writing is witty, silly and immature; they relate Ribena to autism and perform a 'masochism tango'. The show is marred slightly by mediocre singing, an overriding theme of 'smut' and a strange mix of seemingly half-written songs. However, there are some great unexpected puns, and the duo certainly manage to get the audience giggling. It's not big, it's not clever... but it is funny; though it probably helps if you're the kind to laugh at your own farts.
Medina & Negociants, 9 - 16 Aug (not 12), 7.00pm (7.55pm), £9.00 (£7.50), fpp 73.
tw rating 3/5
[ha]

Jon Richardson: Dogmatic
Jon Richardson
Jon Richardson's show has to be the most fun you could have (with your clothes on) in a prefabricated hut disguised with miniature windmills. I can't tell you how relieved I was to finally watch some stand-up that left me with what I thought was fast becoming an all too elusive comedic afterglow. In his show Richardson claims to be "dogmatic", angry and negative - a demeanour that finally meant he wound up in Swindon. It's no surprise, then, that the poor guy looked so happy to play to a packed out house. Jon Richardson is seriously funny, and in serious danger of becoming my new comedy crush, which is weird because he's not really my type...
Pleasance Courtyard, 30 Jul - 25 Aug, 8.40pm (9.40pm), prices vary, fpp 66.
tw rating 5/5
[rsj]

Frank Woodley - Possessed
Assembly & Token Events
It is remarkable that such a finely drawn character has been paired with chaotic absurdity and wild extroversion to such great effect in this delightful show. But then Frank Woodley is a remarkable performer; his mastery of many dramatic disciplines allows him to shift from slapstick to pathos in the blink of an eye. Woodley's one-man show lets him revel in this shift; as he plays Louie, a recluse possessed by the spirit of an Irish lass from the nineteenth century, every fibre of his being emanates physical and emotional ingenuity. Chaplin-esque stunts whiz us through the romantic tale and leave us gasping and laughing. Though the narrative thread of 'Possessed' is occasionally tenuous, the show blossoms under the whimsical care of its creator.
Assembly @ George Street, 31 Jul - 25 Aug (not 11, 19), 6.45pm (7.55pm), prices vary, fpp 50.
tw rating: 4/5
[dp]

Bridget Christie: The Court of King Charles II The Second
Siobhan Rhodes With David Johnson And John McKay In Association With Show + Tell Productions
Charles II is England's greatest king, full of lip and lustrous of hair, he feared nothing but frizz and split ends. Bridget Christie leads the audience on a romp through Restoration England, taking in a celestially voiced Christopher Wren (that's what happens when you spend all day in churches), an indignant lisping Pepys ("stop blogging, nobody cares what you do or think") and a chattering, rasping, Black Death. The material itself is very variable, but it's all performed with sly energy and vigour; duff gags are dismissed with an 'oh sod you then' roll of the eyes at the audience. This is the third time Christie's Charles has appeared in some guise at Edinburgh and, with any luck, it won't be the last.
Underbelly's Baby Belly, 31 Jul - 24 Aug (not 12), 4.50pm (5.50pm), prices vary, fpp 35
tw rating 4/5
[cmg]

DANCE AND PHYSICAL THEATRE

Aequus
Jean Abreu
There are 50 boxes onstage in 'Aequus' ('even balance' in Latin). I'm not sure why though, as they're barely used, and this show is all about the five dancers' bodies and the striking shapes they create. Choreographer and dancer Jean Abreu took inspiration for the piece from the rainforest of his native Brazil, and the soundtrack evokes just that, with tribal rhythms and percussive rainforest sounds as well as live mandolin and violin. The performances are professional and confident, whether they're creating skittering, twitching creatures on all-fours, or flowing over one another like water, or spinning and flicking across the stage. There's little sense of story or meaning here, but this dynamic dance piece is performed with muscular grace and fluidity.
Zoo Southside, 10 - 16 Aug, 11.25am (12.15pm), £10.00 (£8.00), fpp 112.
tw rating 3/5
[hw]

Blank Album
Gilmore Productions
Who's got talent? Though few are chosen, many are determined to answer the call, and 'Blank Album' seems like an open audition to showcase it. Not wanting to waste any of their abilities, apparently, the cast proceed to demonstrate them all at once; as a result the show, while colourful, feels empty and yet cluttered. The moments it works best are when there's a focus on the music ('Ice' and 'Cold Walk' are lovely) as the choreography only borders on the edge of interesting. There are moments of stand up which are amusing and the encore vindicates the whole piece with a tongue-in-cheek pastiche of musical genres, but the show as a whole needs reworking. Come back Simon! We miss you.
Assembly @ George Street, 10 - 18 Aug, 4.30pm (5.30pm), £12.00 (£9.00), fpp 112.
tw rating 2/5
[sr]

Balé De Rua
Now this may sound excessive, but I'm not sure there are enough adjectives at my disposal to express just how wonderful this show is. Taking their inspiration from the favelas of Brazil and a quantity of dance disciplines, Balé de Rua have a quality of movement that will not be contained by words. Indeed, the fiery and dapper dancers begin by announcing, "We want to talk about Brazil" and then proceed to give their bodies voice. Hands, faces, torsos and toes speak volumes, as does the vibrant afro-Brazilian percussive music composed especially for the show. Choreography, lighting, sound, and costume unify seamlessly to create worlds of slavery, grief, joy, and liberation. Liberated and overjoyed, the audience cannot remain separate from the dance.
Assembly @ Assembly Hall, 31 Jul - 25 Aug (not 4, 11), 6.50pm (8.00pm), prices vary, fpp 112.
tw rating 5/5
[dp]

Shut Up! - Listen!
Theatre Company 'SU'
I was genuinely amazed with this production and I also found the whole experience rather unsettling. Imagine a world in which you can't be heard; everyone is talking, whispering, shouting, screaming over one another and in different languages, in a maddening attempt to be listened to. Out of panic, insanity and desperation one may, quite literally, kill for the privilege. The stage fighting is very well crafted and terrifyingly realistic; the dance and physical movement is original and creative while the acting is fierce; both comic and deadly serious. Although I was enthralled by this dynamic piece of physical theatre it is quite disturbing and may not be for everyone. There is some nudity.
Sweet ECA, 11-17 Aug, 1.30pm (2.15pm), £7.00 (£6.00), fpp 121
tw rating 4/5
[da]

Driven
Neel de Jong
As you go in, the small theatre is completely dark, apart from a few dimmed spotlights. On stage, sitting in the middle of her bin bags, is a crazy old bag lady chanting and swaying. After a few minutes, the mumbled chanting suddenly becomes audible, with words and sentences thrown in there too. The seemingly crazy ramblings start to become meaningful, poignant and truthful. She then works herself into a frenzied dance, accompanied only by the haunting tune of a piano. Neel de Jong transports us to a beautifully different world in this short performance; magical and profound, 'Driven' will leave you with a sense of wondrous calm. It is like nothing you will have seen before.
Bedlam Theatre, 11-23 Aug, (not 17), 10.00am (10.30am), £6.00 (£4.00), fpp 114.
tw rating 5/5
[lp]

The Lie-In, The Itch And The Whore's Robe
On The Verge
I'm not really sure what just happened, although I believe it has something to do with a clock. Word games played by a shrill voiced hag, dance and movement, mime and outlandish behaviour combine to create a random, over-the-top, explosion of theatre. I felt the performers were quite like the clowns of silent pictures, with lots of slapstick falling about and exaggerated facial expressions. I just wish I had a clue what was going on; it was all a bit much, very strange and deranged. I'm guessing that the screaming witch was an alarm clock, and that the guy caught up in the rat race constantly battling with time - Argh! It was just bizarre and disturbing, but fun nonetheless!
Rocket @ Demarco Roxy Art House, 31 Jul - 23 Aug (not 4, 10, 17), 5.20pm (6.15pm), £7.00 (£5.50), fpp 118.
tw rating 3/5
[mj]

EVENTS

The Radio Cafe
BBC Radio Scotland
It's hard to recommend a show that depends so much on the quality of its guests. Luckily for me, today's musical attraction on Radio Scotland's weekday lunchtime slot are the fabulous Orkestra Del Sol, whose brass-led Mediterranean rhythms provide a welcome burst of sunshine on another rainy day. The other guests prove of interest too, including Scottish acting legend Bill Paterson, and Taggart creator Glenn Chandler, talking about his Festival show, 'Boys of the Empire'. Clare English is an amicable host, seeming genuinely interested in the Festival, and striking a suitably friendly rapport with each interviewee. Even with its variable line-up, it's hard to see how this show could be anything less than interesting.
The Spiegel Garden, 11 - 22 Aug (not 16 or 17), 1.15pm (2.00pm), free non-ticketed, fpp 129.
tw rating 3/5
[tm]

Whisky With ... Tutored Tasting
The Scottish Malt Whisky Society
Trying to follow our host describe the complexities of whisky making is somewhat hindered by the effects of the complex-flavoured 62.6% single cask single malt I'm sipping. Actually, I manage to follow most of what's being said, and the miniature distillery model helps to make it clear. As for tasting, my nose had a great time, with aromas from cinder toffee to Pina colada wafting up my nostrils, and getting to drink the three very different whiskies wasn't bad either. The society's Queen Street headquarters are nearly as tasteful as their wonderful range of special spirits and I found myself still there some time after the event was supposed to finish, sampling a fourth whisky. You just can't beat a dram.
The Scottish Malt Whisky Society - 28 Queen Street, 10, 24 Aug, 7.00pm (8.00pm), £14.00, fpp 131.
tw rating 4/5
[se]

Scotland: A Changing Nation
National Museum of Scotland
As Scotland plays host to the international arts community it only seems right that there be an exhibition dedicated to the people of this small but mighty country. The exhibition journeys through war, industry and culture, celebrating the sheer and overwhelming diversity of skills established here. Scottish people have many reputations and these are openly discussed in video format, "the happiest people you'll ever meet", is the best description, in my opinion. The exhibition is a fun, eclectic mix of tokens from the Scottish past, even proudly displaying the awful wallpaper from the 70s. With interactive exhibits exploring everything from textiles to sport this is a truly family-friendly exhibition. Worth a visit!
National Museum of Scotland Chambers Street, 27 Jul - 30 Aug, 10.00- 17.00, free, fpp 135.
tw rating 4/5
[mi]

MUSIC

Affabre Concinui
Polish Chamber Singers
From sublime Polish Renaissance music to contemporary classics, Affabre Concinui have got it covered, and are able to switch from sweet, soaring harmonies into swingin' rock-n-roll rhythm with complete ease. This charming sextet effortlessly mesmerise the audience with their heavenly vocals and witty, playful sense of fun. Starting off modestly impressive, over the course of an hour the group build to new levels of perfection, with beautiful voices melding together sweetly enough to bring a tear to the eye, whilst a unique aspect of the performance is the surprisingly accurate impressions of musical instruments which keep the audience smiling throughout. A fantastic sense of humour shines through - their on stage presence is mischievous and their timing (both musical and comedic) is spot-on. A wonderful show.
St Andrew's & St George's Church, 8 - 12 Aug, £8.00 (£6.00), times vary, fpp 138.
tw rating 5/5
[ks]

Jive Aces
The Jive Aces
What a night from the Jive Aces! With bright yellow suits, fifties hairstyles and buckets of pizzazz they sure know how to get the place jumping and move the crowd to boogie woogie. The peppy first set included 'Shake, Rattle and Roll', 'Sweet Georgia Brown' and 'Boogie Woogie Country Girl', but it was in the second that they really went to town. Special guest Toni Elizabeth Prima did four numbers, and then her mother, the great Keely Smith, duetted 'In The Mood For Love' with Jive Ace front man Ian Clarkson. They are a little exaggerated, and Clarkson can be a bit affected, but anyone who's ever appreciated that fifties sound should catch this outfit when they can.
City Edinburgh, 11 - 13 Aug, 9.15pm (11.15pm), £10.00, fpp 155.
tw rating: 4/5
[tb]

The Joy Of Sax: Third Time Lucky
Sax Collective
A brilliant performance from four saxophonists who know each other inside out. There's Rob (baritone), Zoe (alto), Ryan (tenor) and Sophie (soprano) and the versatility this mix gives the arrangements is breathtaking. But the arrangements are only half of it; the group weave in jokey interpretations and coordinated movements to create a wonderfully entertaining hour. They bobbed on Gershwin's 'Lady Be Good', wore masks for 'The Simpsons' theme and their sequences for 'The Lion King' medley were stunning. They didn't just swing the house down but were technically excellent as well and played the faultless four movement Pier Gynt suite after racily enacting the protagonist's story. It was another imaginative, lively scene in this must-see gem of the Fringe.
St Marks, 11-15 Aug, times vary, £7.00 (£5.00), fpp 155.
tw rating 5/5
[tb]

Otway And Barrett
John Otway And Wild Willy Barrett
A surprising amount of fun for a self-confessed failed pop star and an enigmatic, bearded guitarist with a binned amp and a taste for destruction. With bandy, haggard Otway bouncing and pogoing around in circles next to the dour, sardonic Barrett on slide, banjo and 3 string electric punk guitar, the failed duo didn't just rely on their past 1977 hit, but crafted a set of comedic abnegation to lift their performance to a quirky success. A take on failure and a nostalgic trip down memory lane for the few spasmodically thrashing veteran fans, Otway and Barrett were a treat. As enjoyable as watching a half-naked balding guitarist can get, really.
clubWEST@Quincentenary Hall, 3 - 16 Aug, 9.00pm (10.00pm), £10.00, fpp 160.
tw rating 3/5
[ab]

Scottish Clarinet Quartet And Friends
Personally, I feel a bit sorry for the clarinet. Let's face it; they lack the sexiness of a saxophone, are without the oomph of an oboe, or even the romanticism of the flute. Perhaps you could go so far as to say that it's the hardest done by of all the wind instruments. Needless to say, this recital delivers what the title of the show suggests. There are four of them. They play lovely clarinet music. They... well that's about it really. If this type of music isn't your bag, I don't think that the quartet, though supremely talented, would be groundbreaking or innovative enough to change your mind. Maybe one day a clarinet could charm the pants off of you. Just not today.
St. Andrew's And St. George's Church, 11 Aug, 2.30pm (3.30pm), £8.00 (£6.00), fpp 163.
tw rating 3/5
[lk]

Sweet June
Sweet June comprises John McGlynn, a director of the remarkable Irish vocal group Anuna, and Maria Fitzgerald, a talented young composer and an accomplished guitarist. Fiona Wight, lead singer of Riverdance, accompanies them on guest vocals for the occasion. This is beautiful, organic contemporary Irish music with traditional elements peeping through at times and, although Fiona is actually English, her hauntingly soaring vocals have a definite Irish lilt to them, in keeping with the music. Sweet June are a very new ensemble and have a lot of kinks to iron out as far as performing live is concerned, but they're coming back next year and I'll be there to see them.
Gilded Balloon Teviot, 10 - 11 Aug, times vary, £12.00, fpp 165.
tw rating 3/5
[mb]

Fukien Secondary School, Hong Kong
Normally, when I note that a show is free, it makes me wonder whether or not this is an indication of its weakness. In this case however it most certainly isn't, something the full audience probably would have agreed with. The collection of youngsters played a number of traditional Chinese pieces before ending their show with several solo dances and, aided by their highly enthusiastic conductor, the group worked very well together. In addition, watching their hands move across the instruments was a work-of-art in itself, such is the delicate touch needed. Concluding with a version of 'Auld Lang Syne' any true Scot would be proud of, you'd be hard pushed finding a better way to pass some (free) time.
The Royal College of Physicians, 12 - 15 Aug, 12.30pm (1.15pm), free, fpp 144.
tw rating 4/5
[zh]

A Partisan's Daughter
Louis de Bernières And Illone Antonius-Jones
"I am in rebellion against my youth" said Louis de Bernières, to a room full of what felt like a WI convention. But for the audience, it was a regression back to primary school with the handing out of quirky percussion instruments to play along to Louis and Illone's music. Which was lovely. It felt like we had all been invited to someone's living room; they brought up fond and funny reminisces, joked with the audience with natural ease, played Fauré (amongst others) and introduced us all to the Mandolyre. It was a promotional event for Louis' new book, but it was so enjoyable and personal that the purpose seemed forgotten and having heard the extracts, it's to be highly recommended.
Valvona & Crolla, 4 - 12 Aug (not 10), times vary, £10.00 (£8.00), fpp 160.
tw rating 4/5
[rs]

Moishe's Bagel
The Lot was packed to the rafters and it seemed that Scotland's entire gypsy contingent were out in force to take a bite out of Moishe's Bagel, a band resembling a fancier, vocal free Gogol Bordello. This super tight ensemble is made up of five of Scotland's finest, who employ a plethora of instruments including the accordion, which before tonight was my least favourite of instruments, but with their atmospheric and contemporary utilisation, my opinion has changed. Their Philip Glass influenced compositions meander wonderfully in many different directions, and their work is sometimes apocalyptically dark, but it mostly consists of theatrically experimental jazz infused numbers that transport you far from this damp night in Auld Reekie to some sort of frenzied vodka fuelled celebration deep within the Balkans.
The Lot, 13, 21, 24 Aug, 9.30pm, £11.00 (£9.00), fpp.158
tw rating 5/5
[mb]

MUSICALS AND OPERA

Elegies For Angels, Punks and Raging Queens
Latymer Theatre
Centred around the quilt project from the 80s made for those who died of AIDS, 'Elegies' is a series of poetic monologues and songs about ordinary people coping with being diagnosed with the disease, and those around them who took care of them. Such stories, whilst sometimes clichéd, also make for a strong insight. There can be a fine line between sentimental and cheesy, but 'Elegies' has got the balance just right, and the touches of dark humour add humanity to such a haunting subject. The cast was a mix of strong and weak voices, which sadly made for a disorganised arrangement, but some of the solo pieces were inspiring. Whilst not the best production, it still leaves you feeling uplifted by its power.
Zoo Southside, 10 - 16 Aug, 12.00pm (1.00pm), £6.00 (£4.00), fpp 170.
tw rating 3/5
[lh]

Sweeney Todd ... The Demon Barber Of Fleet Street
The Maltings Youth Theatre
Ladies and Gentlemen, step right up for the most savage butchering Fleet Street, and indeed Edinburgh, has ever seen. This is am-dram at its most bloody, with poor performances every step of the way. Sondheim's score was handled beautifully by pianist Neil Metcalfe, but the same cannot be said of the cast. Neither acting nor singing was up to scratch although, fortunately for the principles, 2008 saw the release of the 'Sweeney Todd' film - cue Johnny Depp impressions all round. Ultimately, like most youth theatre productions, there were just too many kids to try and cram onstage and not enough talent to go around.
Greenside, 11 - 16 Aug, 6.15pm (8.05pm), £6.00 (£4.00), fpp 178.
tw rating 1/5
[fc]

Apocalypse: The Musical
Feed The Ducks Productions
It's not often that a whore and a milkman get to save the day, let alone the world. The direction of this off-kilter comedy was cleverly managed, as the musical takes place in Heaven, Hell and a little town called Oakland. The acting was dramatic and pantomimesque, but when one of your main characters is a cow it's probably inevitable, and it worked in the dramatic setting. A real problem was that the lead girl didn't seem able to hold the songs well enough, at times just shouting instead of really singing, which detracted from the rest of the cast. However, special mention must go to Daisy the Cow whose 'moo' is probably the best on the Fringe this year.
C, 30 Jul - 25 Aug (odd dates only), 8.15pm (9.45pm), prices vary, fpp 168.
tw rating 3/5
[rs]

A Slice of Saturday Night
Viva Youth Theatre
Let Viva Youth Theatre take you back to the swinging sixties where the Beatles rule Britannia and the mods, rockers and hippies all coexist harmoniously. They all come together in Club A-Go-Go, presided over by Eric 'Rubber-Legs' De Vere, who is getting on a bit, but refuses to believe that his days as a rocker are over. The cast combine wonderful vocal ability with first-class comedic acting skills which mark them out as stars of the future; the live band of accomplished musicians interchange and become part of the cast on occasion. The songs in this production are high-quality, catchy compositions that could easily rival those of 'Grease', making this one of the best musicals I've seen in ages.
Augustines, 12 - 16 Aug, 4.15pm, prices vary, fpp 178.
tw rating 4/5
[mb]

Lunch Lady: Tater Tots Of Love
The American High School Theatre Festival
"Pass the sick bag - its another High School Musical", was my first thought, when kids with air-brushed good looks burst into song in the school lunch hall; but rather than saccharine dross, this new musical has a sinister side. Socially awkward, yet hardly lacking in the looks department, Anthony David falls for perfect and popular Clarissa and receives unlikely assistance from the dinner staff, so far soooo utterly predictable. Only, get this, Clarissa's perfection came at a price: she made a Faustian pact with the school's demonic Dean. The songs were mostly good, although a few of the chorus numbers could have done with a little more volume and diction. A school musical that for a refreshing change doesn't sell its soul for vomit-inducing cheesiness.
Rocket @ Roxburgh Hotel, 10, 12, 14, 15 Aug, times vary, £6.00 (£4.00), fpp 174.
tw rating 3/5
[se]

Ella, Marilyn, Marlene & Me
Melissa Western (Australia)
Melissa Western is absolutely brilliant in this musical fairytale cabaret. A simple and silly storyline, with a fairy godmother in a hairbrush and a wish for three 'divas', was effective by not distracting our attention too far from the exceptional talent that Melissa has to offer. Her aptitude for music is vast and versatile, and can be exemplified by the skill and deftness which was applied to the roles of her many divas. Enthralling vocal talents wowed the audience, and had the ladies at the front hollering and bopping along to the sweet melodies of Marilyn Monroe and the bawdy tones of Marlene Dietrich. Melissa is beautiful, funny and charismatic in this fairytale for all ages.
The Vault, 4 - 25 Aug (not 11 & 18), 10.10pm (10.55pm), prices vary, fpp 170.
tw rating 5/5
[km]

Kiddy-Fiddler On The Roof
Bad Taste Ideas Factory
Groan if you hate novelty musicals, ones that tap into the disposable elements of contemporary pop culture. 'Kiddy-Fiddler' fits that bill, but was surprisingly enjoyable. The blocking in places could have been better managed and was sometimes a little messy, but the rest of the production was tight and fully in control, and the singing was excellent; Mrs Hardbody especially had a beautiful voice. "Light of my loins" was a favourite quote, but the moral of this small tale is apparently that "Inside us all there's a Kiddy-Fiddler on the roof", which I'm pretty sure isn't one I'll carry easily into my everyday life. Don't go expecting a re-working of 'Fiddler on the Roof': instead be ready for bondage, bling and bad rhymes.
Rocket @ Demarco Roxy Art House, 31 Jul - 25 Aug (not 10, 17), 10.00pm
(11.15pm), prices vary, fpp 174.
tw rating 4/5
[rs]

The Last 5 Years
Dicey Productions
'The Last 5 Years' is a little gem of a musical from Jason Robert Brown that I'm ashamed to say I'd never heard of before yesterday. Essentially, it's a two-hander that tells the story of a couple falling in and then out of love, forwards and backwards. It's a clever conceit, with the two performers kept tantalisingly, and later painfully, apart, unable to make any kind of contact with one another except for an all too-short duet when their timelines cross. This small and inescapably low budget production nevertheless stages the dual narratives very well, and the lyrics have a real and bitter ring of truth in them that, coupled with some excellent performances, lend the musical real power.
Rocket @ Demarco Roxy Art House, 11 - 25 Aug (not 17), 3.25pm (4.45pm), £8.00 (£7.00), fpp 174.
tw rating 4/5
[rj]

THEATRE

Ane Wee Touch O' Class By Rikki Fulton
Leitheatre
The New Town's nouveau riche are sent up in this Burgh based 'Bourgeois Gentilhomme', adapted from Molière by the late Rikki Fulton. The script, while simplifying and abridging the original, stays true to Molière's comic intentions, with word-play, puns, innuendo and asides to the viewer. The elderly audience around me provided a few asides of their own, too, not unlike those running commentaries available on a DVD's special features. Don Arnott, as the eponymous social climber, ably pulls off Fulton's prose and his great physicality has the audience in stitches whilst the characters' tasteless aspirations are conveyed with riotously over-the-top set and costumes. A good old-fashioned comedy that delighted its audience and honoured a man who's been described as a Scottish legend.
St Serf's Church and Hall, 2 - 16 Aug (not 3, 10), times vary, £8.00 (£6.00), fpp 182.
tw rating 3/5
[se]

The Art of Juggling Women
Zeitgeist Industries
Alex is the new Carrie Bradshaw, only somehow not as crude and sexually-charged, therefore lovable in a cute way. The dynamics between him and his three women explore those all too familiar relationships - the tidying wife, the sex kitten that you lose stamina for and the elusive work colleague that always keeps you guessing. This production is cleverly arranged and uses a balanced combination of off-stage diction and audience-directed monologues, but the plot sometimes drags a little and seems to lack the 'Sex and the City' gossip and glamour. Alex is a crafty man from whom both sexes could learn a thing or two about relationships; no promises, however, that the new tactics learned will actually work!
The Space @ Venue 45, Aug 11-16, 7.00pm, £7.00 (£5.00), fpp 184.
tw rating 3/5
[mi]

Beowulf
Philip Wharton
A hooded figure walks onto a dark stage with a lit candle, speaking in foreign tongues, and this is how the play ends, a very long two hours later. It's a play which could do with more than one actor as it is very heavy-going listening to one person putting on a series of voices as he plays out the different characters. It's also not for those with a short attention span; if it was an hour then maybe it would be better and more absorbing. Philip Wharton made a brave choice doing this play, he's good in his roles and the lighting works well, as does the simple set, but it's just far too long for this kind of performance.
Greenside, 11 Aug - 23 Aug (not 17), 3.30pm (5.30pm), £8.00 (£6.00), fpp 185.
tw rating 2/5
[fa]

The Boy From Centreville
Central School of Speech and Drama
This is a powerful piece of verbatim theatre that silenced the audience and brought tears to people's eyes, whilst the company's partnership with Complicite made its physical nature spectacular to watch. Inspired by the tragedy that was the Virginia Tech University shootings last year, this piece is devised from the actual words and experiences of the survivors. An amazing design team combine light, sound and visual effects to create a multi-sensory extravaganza that aids the understanding of the story whilst creating suitable mood changes throughout. For a preview performance, the fifteen-strong ensemble were focused and slick throughout, whilst their diction was clear and comprehensive. An extremely moving and polished production that I would highly recommend.
Pleasance Courtyard, 12 - 19 Aug, 1.30pm (2.30pm), £9.00 (£7.00), fpp 187.
tw rating 5/5
[ad]

Christmas Is Miles Away
High Aces Theatre Company
It's a real triumph for a theatre company when the audience leaves a performance with an actual stomach-gripping emotion inside. However, when said emotion is one of sheer exasperation at the drivel you've just witnessed, it's slightly less than triumphant. This potentially gritty, honest and heart-warming Northern drama was ripped to shreds by some appalling casting decisions. Why the lead 'heterosexual' male was as camp as Christmas, and made absolutely no effort to commit to his character, is beyond comprehension. Add to this some simply shocking acting and you'll be wishing you were miles away from this car crash. One high point though, I did thoroughly enjoy watching the lady next to me fall asleep...
The Space @ Jury's Inn, 11 - 16 Aug , 5.05pm (6.25pm), £7.50 (£7.00), fpp 191.
tw rating 1/5
[lk]

The Cloud In Trousers By A Girl In A Suit
Samantha Bloom
Samantha Bloom does well to entertain and make relevant the dense poetry of 20th century poet Vladimir Mayakovski, in a surreal journey about love. Her decision to dress as a woman in male attire adds incongruous depth, especially as Bloom caresses the red dress or confronts her love Maria as a woman delivering male speech. This one-woman show is excellently supported by a quirky cellist, whose brief interactions with Bloom - fighting over the vodka bottle - break up the prose, adding humour to an otherwise deep, Mayakovski memoir. The reason behind using a voice-over toward the end was unclear and disconnected me from Bloom's otherwise engaging performance. Nevertheless, this is poetry enlivened on stage to entertain and engage.
Underbelly, 4 - 17 Aug, 2.00pm (2.45pm), £8.50 (£7.50), fpp n/a.
tw rating 3/5
[zl]

Cracked
SYD
This play is about a group of school friends who all become involved with drugs; it tries to be a hard-hitting examination of what happens to people and their relationships when they become addicted. Unfortunately, it was neither shocking, original nor dramatic. The performers completely failed to evoke any sympathy (or any other sort of emotion) for their characters, which may partly be blamed on the structure of the piece (we were continually fast-forwarded two months, the next day and then a year into the future) and the audience were not given enough time to properly involve themselves with the action. There was a serious lack of character development and the plot took us nowhere; Overall, a very stilted, flimsy performance.
Greenside, 11-16 Aug, 1.50pm (3.10pm), £6.00 (£4.00), fpp193.
tw rating 1/5
[lp]

Do You Want To Lose Weight?
Elizabeth Roddick
For most people the Festival is a time for beer, takeaways and general excess. If you really think that now is the time to start eating healthily I commend you, but I'm secretly laughing at your misguided intentions. Using a repeatedly stalling Powerpoint presentation, Elizabeth Roddick asks us to visualise our goals whilst listening to 'inspiring' music (has the Titanic soundtrack ever motivated anyone to do anything even remotely life-affirming?). Unfortunately all you will really learn from this show is that broccoli is good, beer is bad. There, I've just saved you £7, feel free to send it to me, C/O the Threeweeks office. But then I'd only spend it on beer. And probably chips. And maybe some cake.
Sweet Teviot Place, 11 - 17 Aug, 2.30pm (3.15pm), £7.00 (£6.00), fpp 196.
tw rating 1/5
[gs]

Emigrants
Wiczy Theatre
The back of a camper-van may be one of the more unusual venues at this year's Fringe, but it certainly proves an effective way of realistically portraying the plight of two Polish immigrants struggling with life in the U.K. With a cramped audience sitting in the back, the performance becomes poignant verging on painful, as each argument about food or money and each hopeless tale of the future becomes all too easy to imagine. All of the characters are too easy to relate to, one an intellectual, the other a labourer, but both united in a need for food and money (and alcohol). It may be a little too long, but nothing will hit home quite so hard this Fringe.
Rocket @ Demarco Roxy Art House, 11 - 17 Aug, times vary, prices vary, fpp 198.
tw rating 3/5
[tm]

Encounters 1
Traverse Theatre Company
This year The Scotsman's Joyce McMillan hosted the Traverse's annual panel discussion show, with guest directors Indhu Rubasingham (Free Outgoing - Traverse Theatre), Ben Harrison (The Tailor of Inverness - Assembly @ George Street) and Dominic Hill, the new artistic director of the Traverse itself. Discussion ranged across a number of topics, focusing initially on the role of the director and the tension between acting as a facilitator for a writer's vision, and as an artist in their own right. Much debate also concerned the EIF's tagline, "artists without borders", and the meanings and implications of it. A thoroughly fascinating conversation, this is definitely worth attending next year, if you are at all interested in the world of theatre.
Traverse Theatre, 11 Aug, 2.00pm (4.00pm), £6.00 (£4.00), fpp 198.
tw rating 4/5
[al]

Gilbert, or Death by Obituary
Red Tie Productions
There's something about the name Gilbert grouped with the words 'death' and 'obituary' that immediately makes me want to go to a large, raucous party. The only thing more depressing than this guy's life is in the name of his hometown; leading a humdrum existence in small-town America, Gilbert is a newspaper obituary writer with no material. Michael Vukadinovich's performance is simple and understated, with occasional moments of dry humour. Had the show been longer than forty minutes, I think I would have been bored. As it was, I was drawn into his gloomy life. Not much seems to happen, but then I think that's the point. This one-man show is slow-moving, but ultimately warm and life-affirming.
The Space@The Thistle, 5 - 9, 11 - 16 Aug, 5.10pm (5.50pm), £5.00 (£4.00) fpp 201.
tw rating 3/5
[ah]

InvAsian Festival: The Self Murder
SSSR Production
The word suicide usually has very negative connotations. 'The Self Murder' is a perceptive piece of theatre that approaches suicide from a different and unorthodox point of view. The performance is not predictable although the manipulation of the audience's emotions is a little overpowering and I found the logic and plot too twisted and dark to understand or empathise with the characters. Having said that, the music that emanates from the lone on-stage piano is vital in creating atmosphere and is most definitely the glue that holds this production together. Enjoyable is not the word to describe this production - would it ever be right to enjoy a performance about suicide? Perhaps moving is the word to use.
clubWEST @ Quincentenary Hall, The Royal College Of Surgeons, Aug 3-25, 1.00pm, £12.00 (£10.00), fpp 207
tw rating 2/5
[mi]

Life Is
Whitewash Players
Despite the fact that this play should probably be praised for grappling with that age-old 'meaning of life' issue, a convoluted plot left me feeling merely dazed and confused. That said, the characters were well played, and the cast commanded a stage presence which showed potential; furthermore, they deserve credit for dealing head-on with a host of relationship issues, including domestic abuse and gay rights. However, they were hindered by a script which was all over the place, allowing little room for character development - one minute they were having tea and cake, the next all hell breaks loose. So if you do go, take your thinking cap - you may very well need it.

St John's Church, 11 -16 Aug, 4.00pm (5.00pm), £8.00 (£6.00), fpp 212.
tw rating 2/5
[km]

'The Maids' by Jean Genet
Fregoli Theatre Company
Jean Genet's 'The Maids' is a classic play that not only explores the relationships between sisters, but those between maids and their mistresses. This production is not particularly memorable; the acting is competent but not exceptional, and the props are sparse and uninteresting. If you're going to take a classic play to the Fringe, you shouldn't simply do the obvious. The symbolic use of colours and fabrics is interesting, but hardly new. I was left feeling like there should have been more to it - either outstanding acting or perhaps an unusual set. If you're interested in the play, this is a good chance to see it on stage, but if you're looking for something new and innovative, then this not the show for you
Rocket @ Demarco, Roxy Art House, 11- 16 Aug, 9.45pm (11.00pm), £8.50 (£7.50), fpp 214.
tw rating 2/5
[kk]

Stolen Secrets
Mulberry Theatre Company
Although this is essentially a piece of fairly amateur community theatre, it is an imaginatively staged piece performed by a lively young company. This collection of urban fairy tales explores the secrets of ordinary East Londoners, from the old woman locked in a cupboard, on to a girl who takes her tomboy tendencies too far, and to the lovesick girl who sews her beloved's shirt into her own flesh, bringing a new meaning to the saying 'wearing your heart on your sleeve'. Much more could have been made of the tragedy in these tales; the exuberance of the performers often mean subtler moments in the text are missed. However, despite its flaws, this is a touching tale of teenage troubles taken to the extreme.
The Space@Venue 45, Aug 11-16, 12.10pm (12.50pm), £5.00 (£3.00), fpp. 233
tw rating 3/5
[je]

Tom Jones
The American High School Theatre Festival
Quote (imagine American accent): "Oh my god, that was so superbly spontaneously awesome!" (Accredited to the young boy sitting behind me). There are two things wrong with this statement: firstly, the production was not spontaneous - it had clearly been well rehearsed and had lots of hard work put into it. Secondly, the production was not awesome. It was good for a high school production, and the cast dealt with the unfortunate collapsing of the set very professionally, yet there was an inescapable amateurism that defined the entire performance. The narrator has a cheeky sense of humour that aroused some schoolyard giggles, however, and the over-dramatic characters cause a little hilarity amongst the very young audience.
Rocket @ Demarco Roxy Art House, 10 - 15 Aug (not 12, 14), Varying times, £6.00 (£4.00), fpp 238
tw rating 2/3
[mi]

Oh! What A Lovely War
Sandbach School Theatre
A critique of the realities of WW1, this version of Joan Littlewood's 1963 stage show is quite simply one of the best theatre productions I've ever seen. From the full-of-action opening - in which the whole cast fool around the stage while dressed as macabre clowns - to the subtler but just as amazing conclusion, there was not one moment of this production that did not have the audience (myself included) hooked. Yes, sometimes some of the dialogue was incoherent (perhaps the cast could have done with speaking more slowly) and yes, one of the clowns bears an uncanny resemblance to Tim Curry's 'IT' (hello insomnia), but you'd be hard pushed to find fault with this. Oh! What A Lovely Show.
The Royal College of Physicians, 11 - 15 Aug, 4.30pm (6.10pm), £8.00 (£7.00), fpp 220.
tw rating 5/5
[zh]

Please Don't Feed The Models
Neapolitan Theatre
Former model Sarah Standring was the master of many egos in this blisteringly brilliant satire of the modelling world. The show slyly suggests that it's offering an insider's account of the fickle industry, but never once indulges in implications of martyrdom. Sarah plays several eccentric characters with conviction and wit: including the gay diva, the angelic face with a gutter voice, and the Paris Hilton styled bimbo. Yes, the characters were typical, but realism wouldn't be satire, and the show would cease to be fun. Unfortunately, some people failed to grasp this. That said, the twenty-somethings next to me were literally hollering with joy by the end, and as for me, well, I'd definitely pay to go and see it again.
Underbelly's Baby Belly, 3 - 24 Aug (not 11), 6.30pm (7.25pm), prices vary, fpp 225.
tw rating 4/5
[km]

The White Rose
MMVI Theatrical
It is Munich 1942 and terror has gripped the citizens of Nazi Germany; this is the tale of the people who refused to be ruled by fear. A true story, it is based on the beginning of the White Rose Nazi resistance movement, and is beautifully acted, the tension so well evoked that one terrified audience member cried out when the young movement's leaders decide to fight the noble cause that will lead to their execution. However, a mere forty minutes of a story with such human anguish and historical intrigue felt overly fleeting. Nevertheless, it is testament to the skill of this talented company that it was torturous to be left hanging just as the action began, knowing the tragedy that was to come.
The Space@The Thistle, dates vary, 13.05pm (13.50pm), £6.00 (£5.00), fpp.241
tw rating 4/5
[je]

What All the Rabbits Are Doing
Sabotage Theatre Company
'What All The Rabbits Are Doing' is an excellent example of what the Fringe festival should be about: brilliant and innovative new writing executed by passionate young actors. Andrei Alén convincingly portrays a convicted rapist, forced to take life-drawing classes as part of his rehabilitation, whilst Zöe Hinks sensitively takes on the role of his life model. Tackling issues such as mental illness, rape and fear of death, it is a morbid and disturbing piece. Although the use of multimedia worked well, in order for the play to have more weight, the script could have been improved by the more in-depth development of characters and subplots. In spite of this, Sabotage Theatre Company is full of talent to get excited about.
The Zoo, 1st - 25th Aug, 2.50pm (3.40pm), £7.00 (£5.00), fpp 241.
tw rating 4/5
[kk]

ABFCAP: The Life And Times Of Ian Dury
Playback Theatre
This was an amusing insight into the sex, drugs and rock 'n' roll lifestyle that Dury led with his band, the Blockheads. The play was more of a series of anecdotes interspersed with musical numbers from the band's heyday than a plot-driven performance, but this seemed to suit the subject, given that the life of a rock star often appears to be a series of incidents rather than a continuous story. It did, however, give the impression that this was a play where nothing much happens. One thread that ran throughout was Dury's often fraught relationship with his manager, and this was portrayed well by the actors. For those intrigued by life behind the scenes of a rock star.
The Zoo, 1 - 25 Aug (not 11 or 18), 1.25pm (2.35pm), prices vary, fpp 180.
tw rating 3/5
[rg]

Dear Theo...
STaG
"Do you... 'get it'?" one art gallery punter asks another, before they are blasted out of the way by two verbose art critics. Do they 'get it' either? Even the painters whose lives we follow in brief, neatly choreographed glimpses don't have any rational approach to art, in fact, they generally end up quite mad, with the exception of one, who, perhaps more interestingly, keeps his feet on the ground. This is a charming, witty piece with a moment or two of delightful irony. Colour is used to great effect and the music perfectly captures the thoughtful mood of the play. Even if you do 'get it', you will still walk away with questions, which is precisely as it should be.
Bedlam Theatre, 11 - 23 Aug (not 17), 10.50am (11.40am), prices vary, fpp 194.
tw rating 4/5
[jwm]

Last Tango In Little Grimley
Omskirk Theatre Company
Welcome to the Annual General Meeting of Little Grimsley AmDram society. Only trouble is, the members of this small company just can't act. So they sell their show through sex. A little like 'Calendar Girls' but not a slick, this was a sweet production: AmDram playing AmDram playing AmDram. It was like watching your parents perform, but in the best possible way. Simple and uncomplicated, the meetings were akin to those in 'The Vicar of Dibley'; this could be any village in any part of the country. The plot itself was reasonably predictable, the characters fairly familiar, but it was quite slow in places and the cast could tighten the delivery up. Remember: there's no business like show business!
The Space @ Jury's Inn, 11 - 16 Aug, 3.05pm (4.55pm), £6.00 (£5.00),
fpp 210.
tw rating 3/5
[rs]

You Don't Need To Know That
Gonzo Moose
After being arrested for no apparent reason, Beresford Jones is forced to fight for his rights and prove to a court and jury that he is not guilty, of anything. This trio of talented actors take you on a frenzied journey through the trials of the law, from innocence to death row. The characters provoke a hopeless and ridiculous state of affairs for Mr Jones, an inescapable situation that appears to be leading him inevitably towards disaster. The result is a slapstick comedy that doesn't quite provoke side-splitting effects, but does still result in a few cheeky sniggers. A real strong point is the set design, which provides a practical but visually engaging feature to the production.
Pleasance Courtyard, 30 Jul - 25 Aug (not 11), 3.15pm (4.30pm), prices vary, fpp 243.
tw rating 3/5
[am]

Market Boy
Italia Conti Ensemble
Sex, stilettos, and drugs in the 80s - 'Market Boy' delivers what it promises; set in Essex's Romford Market, it tackles political issues whilst following a young boy's journey into manhood, and is full of entertaining stereotypes and English banter. It's an ensemble effort, which successfully captures the fast paced hustle and bustle of the setting, and the relationship between the leading boy and girl, played by Raphael Verrion and Karla Crome, is especially poignant, highlighting the beauty of young love. However, the boy's relationship with his single mum is less well realised, and chorus reactions are over-dramatic at times. Nonetheless, the characters are followed through with conviction, and,
on the whole, it offers a vibrant depiction of one area of English life.
Rocket @ Roxburghe Hotel, 15 Aug, 5.10pm (6.20pm), £6.00 (£4.00), fpp 215.
tw rating 3/5
[ls]

Tom And Sal
Ice No Lemon Production
Tom and Sal are the hosts of a dysfunctional talk show in this satirical glance at the media world and celebrity culture. Chris O'Shea and Alice Russell play the egoistical and blundering pair, who are surrounded by an incompetent production team on a show that wants to be 'Richard and Judy', but is ultimately more like 'Punch and Judy'. This show jumps with two feet into every taboo possible and is not for the easily offended, but will suit anyone with a dark sense of humour. It's a bit overacted, but I guess that's the style that they're going for. In any case, it is funny and maybe closer to reality than you might think.
Sweet Grassmarket, 11 - 24 Aug, 11.00pm (11.50pm), £8.00 (£7.00), fpp 238.
tw rating 3/5
[mj]

Fully Committed
Café Society
It's a hard life as a struggling actress, making your money as a waitress. It's also hard for one lone actress to create what must have been over 20 parts on one small stage, with no props and no help, other than from her own ingenuity. Caroline Hickey was faultless in her portrayal of Sam, hounded by Chef, Jean-Claude, Caroline Rosenstein-Fishburn and the Mafia to name but a few. A constantly ringing phone was the only accompaniment to her one-woman show, in which she achieved the miraculous with this sweet piece about those who spend their lives being downtrodden by the rest of the world. Humorous and challenging, this was a stunning performance that will make any waitress thank God that someone knows their pain.
Sweet Grassmarket, 13 - 25 Aug, 3.50pm (5.00pm), prices vary, fpp 201.
tw rating 4/5
[rs]

David Almond's 'Clay'
Yvonne Arnaud Youth Theatre
Stephen Rose has been supposedly been blessed by an angel, but has an instant charisma worthy of the devil himself in this stage adaptation of David Almond's novel, 'Clay'. It is the story of Davey, a rather timid, non-committal lad, whom Stephen entices into creating a living clay golem to fight off the genuinely scary local bully, Mouldy. The story is well handled and compelling, with some neat visual trickery and boldly painted characters, although the chorus's involvement in scenes sometimes feels like an intrusion on something that would be more effective if kept intimate, especially in the charged scenes between Davey and Stephen. Nevertheless, the young cast deliver a show with great depth, while exploring some very dark places.
Augustine's, 12 - 25 Aug (not 18), 14.45pm (15.45pm), £8.00 (£6.00), fpp 194.
tw rating 3/5
[jwm]

'Crave' by Sarah Kane
3Bugs Fringe Theatre
You won't laugh, it's definitely not a 'nice' way to spend an afternoon, and you'll probably want to have tickets to a very funny comedian lined up for immediately afterwards. But holy shit; I knew Sarah Kane's play was powerful, but to see it performed by such an exceptional group of actors is truly phenomenal. The private despair that usually remains silent is revealed here through four fragmented voices, in this heartbreaking look at grief, mental illness and the destructive power of love. I may sound like my mum now, but these guys are far too young to be this talented. Haunting and incredibly beautiful, if you aren't moved, then you probably have no soul.
Sweet ECA, 11-25 Aug, 3.15pm (4.15pm), £8.00 (£7.00), fpp 193.
tw rating 5/5
[gs]

Another Kind Of Silence
FullCircle Productions
One of the richest kinds of theatrical experience is leaving a performance feeling inspired and changed; not just artistically, but politically and socially too. In this striking piece of theatre, Liz Rothschild plays environmentalist and author Rachel Carson, who took on the chemical industry in the 1950s and 60s in order to make the risks of insecticides such as DDT known. As its writer and sole performer, Rothschild gives a highly accomplished performance; intelligent, subtle and moving. It isn't necessary to know a huge amount about biology and ecology, as Carson's passion is the driving force behind this piece. With beautiful evocations of nature and issues that are undoubtedly no less crucial today, this is resonant and awareness raising, and delivered excellently.
Hill Street Theatre, 1 - 24 Aug (not 11, 18), 3.40pm (4.45pm), prices vary, fpp 183.
tw rating 4/5
[lr]

Cross-stitching
Nottingham New Theatre
The idea of a man's femininity being an actual character on stage in the shape of an omnipresent woman is an intriguing one, so I was disappointed that this play did not live up to its premise. The actors did well to portray the identity crisis of a man uncomfortable with himself and his sexuality, but the play itself was lacking something like desperation and vigour. I didn't completely believe the love between Richard and his partner, although the relationship between Richard and his femininity was convincing. I wanted to see something different, but I'm afraid this was like so many other productions I have seen; the plot or concept is good, but the performance is just not gripping enough.
C soco, 13 - 25 Aug, 1.00pm (1.50pm), prices vary, fpp 194.
tw rating 2/5
[ah]

VISUAL ART

Tracey Emin: 20 Years
National Galleries of Scotland
Sex, sex and more sex - image after image of female genitalia. This exhibition will confirm any preconceptions about Tracey Emin, but for once I came away feeling that I understood and appreciated her work. But it's not a celebration, it's about loneliness, rape, death and abortion and all the accompanying mental struggles, as much a personal catharsis as it is public exhibition. It's worth reading the handwritten text and watching the documentary style videos, including Tracey chatting to her Mum. Yes, the art is self obsessed, and yes, it's shocking, but it's also worth noting the technical skill, especially in the figurative painting. Sketches, photography, painting sculpture and installations, the diversity kept me enthralled for a good hour.
Scottish National Gallery of Modern Art, 2 - 30 Aug, 10.00am - 6.00pm, £6.00 (£4.00), fpp 136.
tw rating 4/5
[sg]

Vanity Fair Portraits: Photographs 1913 - 2008
National Galleries of Scotland
This is the only place you'll get Louis Armstrong, George Clooney, Prince William, Helen Mirren, George Bush and Albert Einstein in the same room. Forget about 'Hello' and 'OK!', this is how every celebrity, artist, film star, politician and royal would want to be photographed. I cannot emphasis enough the quality of this exhibition, oozing both sophistication and style. It's not just that these are portraits of the famous and influential which make it successful, even if you can forget the subject matter for a moment, these are beautifully composed photographs. Balancing examples of the magazine as well as over-sized shots, this show was far more than an archive of one of the world's most renowned magazines.
Scottish National Portrait Gallery, 27 Jul - 31 Aug, 10.00am - 6.00pm, £6.00 (£4.00), fpp 136.
tw rating 5/5
[sg]

A Lad And His Dad
Peter and Nato Welton
Realistic versus idyllic, son versus father - no conclusive victor. The magical thing about this exhibition is that two completely different views of the world and of art are brought together in the same space, and yet the two styles of work complement each other. Nato's work is mainly concerned with capturing images of modern technology, whereas his father Peter has a beautiful command of watercolour, which he utilises to create calm scenes of nature. The contrast in generation is clear but not in conflict, as the more time one spends exploring the works, the less they jar and the more intrigued one becomes. There are definite subtle links between the two men's work.
The Royal College Of Physicianst, 11 - 15 Aug, 11.00am ? 5.00 pm, free, fpp 134.
tw rating 3/5
[mi]

Andrew Grassie
Talbot Rice Gallery
Do not go to this exhibition with a hangover. There are two reasons for this - the first being that the brightness of the white space will burn your eyes, and the second being that in order to appreciate Grassie's work you will have to have your wits about you. The works displayed are miniatures exploring 'behind the scenes' of art. I cannot explain how amazing it is to look at these perfect images knowing that they were created by human and not machine. Grassie spends three months on each piece and does not use a magnifying glass: I confess to thinking a magnifying glass is exactly what is needed in order to discover that these are not photographs. Truly remarkable.
Talbot Rice Gallery, 1 - 30 Aug, 10.00am - 5.00pm (2.00pm - 5.00pm Sun), free, fpp 132.
tw rating 5/5
[mi]

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