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Five out of five - Another batch of 5/5 shows - 'Lies Have Been Told: An Evening With Robert Maxwell' at Assembly@George Street, 'Eight' at the Bedlam Theatre and 'The Boy From Centralville' which concluded today at the Pleasance. Photos by James Robertson and Kat Gollock.

PAUL FOOT ATTEMPTS RECORD BREAKING GIG-ATHON
Mark Watson has set the bar high for any comedian attempting to break a world record at the Edinburgh Festival with all those record-breakingly long stand-up gigs he's done over the years (did the longest one last about five months, I can't quite remember?).

But long standing Fringe comedian Paul Foot reckons he can break another record, and one that doesn't involve staying awake for several days. He plans to break the world record for performing the most stand-up gigs in 24 hours by doing no less than 20 sets in 20 different Fringe venues later today - kicking off at The Argyle at 12.15pm and not stopping until he reaches the Meadow Bar, 19 gigs later, at 2.30am.

Given the weather forecast, running between all those venues is going to mean he'll be very damp by the end of it. Staying up for three days in one dry venue may seem easy by comparison.

--

NEW POETRY PRIZE PRESENTED AT BOOK FESTIVAL
A Cambridge University graduate has won the first Edwin Morgan International Poetry Competition, which comes with a five grand prize, which is nice. The winner of the new competition was announced at the Edinburgh International Book Festival.

Kate Miller beat 1000 other entrants to win the prize with her poem 'After The Ban'. On her work, Dr David Kinlock of Vital Synz, the poetry society behind the new award, told reporters: "The quality and volume of entries we have had for this competition are a testament to the vibrant health of poetry in 2008. Kate Miller's entry exemplified the original, distinctive voices we were looking for. She is a worthy winner and has set an excellent example for future winners to follow".

Adding her voice to the proceedings, Book Festival boss Catherine Lockerbie said: "I'm really delighted that we have been able to support and host the inaugural awards in the Edwin Morgan International Poetry Competition".

The prize, as you probably noticed, is named in honour of eminent Scottish poet Edwin Morgan, and the winners were announced by his publisher, Professor Michael Schmidt.

Send in news: editor@threeweeks.co.uk

Answering the ThreeWeeks Quick Quiz today... Rob Deering

1. What is your 2008 show all about? How to be a feminist tit man, with added rock. 2. Why should we come and see it? Partial nudity, scenes of mild peril, and a sexual swearword. 3. If your show was an Olympic sport, what would it be and why? The triple jump, because that sounds the rudest. They might as well have called it the three-way. 4. What are you most looking forward to about this year's Festival? Being back in the Baby Belly - for me it's Woodstock, Glastonbury and Aylesbury Civic Centre all rolled into one. 5. What are you least looking forward to about this year's Festival? That empty feeling you get after letting your egotism run rampant for weeks on end.

7. What advice would you have for someone trying to survive the Fringe?
Pace yourself. It's three and a half weeks. Keep it up like that and within a fortnight you'll be picking up victorian illnesses scientists thought had long gone.

8. Describe your show in three words
SEX!! (not sex).

Rob Deering Boobs 2008, Underbelly's Baby Belly, 31 Jul - 24 Aug, 8.20pm (9.20pm), prices vary, fpp 92.

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 - Music - Musicals & Opera - Theatre

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

BOOKS

Danny Wallace - The Young Scot Event
Edinburgh International Book Festival
Firstly, I may as well admit that I'm a fan, so I'm biased. But so are a lot of people, apparently, 250 of them in this sold out theatre. Wallace is a writer and a comedian and the fact he achieves a superb balance between modesty and assertiveness makes him incredibly likable. Although sometimes it seemed as if the bumbling nature of his presentation was contrived, he put the audience at ease and there was steady tittering throughout. As a cult leader, a Yes Man and now an advocate for Friends Reunited, his presence frequently bursts out of the text. What's more, he seems to be able to speak to the literary difficult-to-reach age group: teens to young adults, or those just refusing to grow up.
ScottishPower Studio Theatre, 13 Aug, 8.30pm (9.30pm), £9.00 (£7.00), bfpp 20.
[js]

Kate Clanchy and Kapka Kassabova - Nations Unlimited
Edinburgh International Book Festival
Bulgarian born Kapka Kassabova, who's written her memoirs at the age of 35, entered the morning's discussion with fiery intellectualism. I couldn't say that her passion comes from the troubles she's experienced, but I think they've contributed. By contrast, British author and journalist Kate Clanchy had quieter assertiveness. Her book recounts her friendship with a Kosovan refugee and she read an interesting scene about the sister of her friend, who had broken a code of honour by getting pregnant out of wedlock and gave birth to a baby with gigantism. Although both books explore the concept of immigration, the two authors seemed quite distant in their interests, thus making the discussion somewhat disjointed, though interesting nonetheless.
Peppers Theatre, 13 Aug, 11.00 (12.00), £9.00 (£7.00), bfpp18.
[js]

Liz Lochhead
Edinburgh International Book Festival
Does a play count as a play if it consists of a series of unrelated monologues? Does a poem exist if it has not yet been spoken? These were among the points debated by Lochhead in this wider discussion of dramatic writing and literature. Of particular interest were her views on what happens to a play when it ceases to be performed, leaving only the printed word, especially since her plays are now taught in many schools and universities. The readings from her plays and poems were thoroughly enjoyable, and the talk provided a fascinating insight into the theatre. According to Lochhead, 'Theatre is, for me, about language'; on Wednesday she explained the implications of this belief with wonderful clarity.
ScottishPower Studio Theatre, 13 Aug, 3.30pm, bfpp 19.
[rg]

Libby Purves: Lived Lives
Edinburgh International Book Festival
Outliving your children is a huge burden for any parent, but if the child took their own life, some may find that unbearable. It seems remarkable then that Libby Purves and her husband suffered exactly this fate and yet found hope and comfort. There is a reason for this though, namely their son Nick's secret legacy; a collection of previously unknown about diaries and poems. This introverted young man left behind a raft of scatter-brain poems and logs from his time travelling the Pacific, of such beauty and resonance that his mother laboriously transcribed and published them. Having heard brief extracts, it seems a sensible decision, as Nick's poetry is at once mawkish, mirthful and mind numbingly brilliant.
RBS Main Theatre, 13 Aug, 4.30pm, bfpp 19.
[pl]

Steve Bloom - Nature and the Environment
Edinburgh International Book Festival
Somewhat different to other literary events, wildlife photographer Steve Bloom had his audience mesmerised by an array of visual delights from his adventures. Notwithstanding a few inevitable technical hitches, Steve guided us through his film of an elephant effectively snorkeling in the sea by use of his trunk, to a photo of a juvenile hippo being ravaged by the lion equivalent of hoodies. Although at one point I felt as if I was looking through somebody's holiday snaps, the photos are of an amazing quality and Steve has gone to amazing lengths to capture them- scuba diving, flying in a light aircraft and experiencing temperatures from -40 to +50 °C.
RBS Main Theatre, 13 Aug, 3.00pm (4.00pm), £9.00 (£7.00), bfpp 19.
[js]

Alexander McCall Smith
Edinburgh International Book Festival
Glaswegian gangster funerals, alleged nudism in Edinburgh's Moray Place, and of course the highly divisive issue of the pronunciation of 'Gullane'; McCall Smith treats each with his trademark serious wit. Much of the humour of his work comes from this treatment, not least in the character of Bertie, aged six, who is already having relationship issues. The reading from 'The Unbearable Lightness of Scones' illustrated this wonderfully, with McCall Smith displaying a delightful fondness for his characters. Passionate about Botswana, he is knowledgeable about its situation and its people, but makes it clear that he would never use his position to meddle in governmental affairs. Tremendously funny at times and inspiringly serious at others, this event was simply superb.
RBS Main Theatre, 16 Aug, 6.30pm, bfpp 32.
[rg]

CHILDREN'S SHOWS

Mrs Wobble The Waitress
Forbidden Theatre Company
Mrs Wobble the Waitress, wobbles. Mr Biff the Boxer, boxes. Mrs Plumb the Plumber, plumbs. Simple though it is, the tales of Allen Ahlberg were brought to life, seemingly from nothing, by the cast of this show; from the boxing ring to the wide stretches of the ocean all was created on stage from the imagination of the actors. Robbie the Robber threatens to steal the cakes and by the end (as was the intention) the children are all telling him not to touch them. On occasions it felt a little
overcomplicated but it was lovely to see such classic characters on stage, even though I suppose I'm a little old for it now. Uncomplicated, gentle family fun.
Pleasance Dome, 10 - 25 Aug (not 18), 11.30am (12.20pm), prices vary, fpp 16.
tw rating 4/5
[rs]

Misterstourworm And the Kelpie's Gift
Circular Music
The set, consisting of two oversized chairs draped with sheets, doesn't give a particularly strong impression when you enter the theatre; but the way in which they are used throughout the 45 minute play shows that looks can be deceiving. The storytellers emerge from underneath and begin to unravel the set as they do the story, telling a simple but effective tale of a brave boy who overcomes a terrible monster. The performers are strong and build a nice rapport with the children early on. However they effectively tell, then re-tell the same story; 'making it up' the first time, then 'doing it properly' with projections and music. A very competent and enjoyable piece, but I left feeling a little short-changed.
Musical Theatre @ George Square, 12-25 Aug, 10.30am (11.15am), £6.50 (£5.50), fpp 16.
tw rating 3/5
[dk]

Russian Play
Koleso
A fantastic way to start a day at the festival, 'Russian Play' is a big, fun party for kids (and adults too, don't tell!). The friendly performers start off singing and dancing, before dragging members of the audience up on stage to participate, perhaps reluctantly at first, in a number of traditional Russian games and dizzying dances. Before long everyone is joining in, experiencing something like a cross between the hokey-cokey and a Ceilidh; words can't quite do it justice, but it was a tremendous amount of fun, especially when our understanding of the games went awry! Fifty minutes flew past, and by the end of the show everyone there had been won over by this unique, involving glimpse into another culture.
C, 13 - 25 Aug, 11.00am (11.50am), prices vary, fpp 18.
tw rating 4/5
[al]

COMEDY

AAA Stand Up
Combining topical, observational and downright daft humour, this hour long stand-up show is the product of three excellent stand-up comedians. Paddy Lennox, who opens and compères the show, is laid-back and charismatic, and acts as a successful counterpoint to Tom Craine's dynamic energy and fast pace. Craine's ideas for dressing strippers up as Suffragettes to re-enact significant moments in feminism show both his intelligence and razor-sharp wit. This diverse and entertaining show is topped off with the filthy ruminations of Maff Brown who, according to his stand up routine, spends most of his time terrorising innocent members of the public. Vastly entertaining, this show proves that the AAA stand-up comedians have great things ahead of them.
Pleasance Courtyard, 30 Jul - 25 Aug, 7.15pm (8.15pm), prices vary, fpp 20.
tw rating 4/5
[af]

Achtung Pal
LIP Theatre
'Achtung Pal' is a not your typical comedy, but a Nazi rom-com musical set in Scotland. With this unusual premise, the writing and the cast needed to be top notch, and unfortunately they were not. The cast seemed under-rehearsed and the writing led to some scenes and characters being lost or under-developed. Billed as "a collision between 'Allo' Allo', 'Blackadder' and 'The Mighty Boosh", this promised far more than it delivered. Although some elements of farce were present, they were not delivered with adequate wit or timing, and the ventures into the surreal, such as a human cat, were neither funny nor original. The evening culminated in a cringe-worthy sing-a-long of 'All You Need Is Love", topping off a night of poorly executed comedy.
Sweet Grassmarket, 11 - 24th Aug, 10.00pm (10.50pm), £7.50 (£6.50), fpp 21.
tw 1/5
[kk]

Ali Cook - A Touch Of Vegas
Mick Perrin For Just For Laughs Live
A touch of Vegas in a basement room in Teviot is, as Ali Cook points out, a bit ironic. His only concessions, thus, are some magic dust and Sharon the dove, but he really does not need gimmicks. Part illusionist, part stand-up, Cook intersperses the two and is equally great at both. Mixing the classics - pulling a rabbit from a top hat ('no one does this anymore'), and the not-so-classics - pulling a goldfish from a ten pound note, his manic charm means that you will be instantly drawn in, and may even allow him to smash up your mobile. He does eat razor blades and it does get gruesome, but when it's this astonishing, you won't mind.
Gilded Balloon Teviot, 30 Jul - 25 Aug (not 11), 9.15pm (10.15pm), prices vary, fpp 23.
tw rating 4/5
[ks]

And the Captain Said...
Fish and Game
Such is the endearing charm of Eilidh MacAskill that I easily forgave the fact that the show was under-rehearsed; she's a performer with a whimsical humour and natural comic timing as well as being a dab hand with the ukulele. Unfortunately, 'And the Captain said...' is still in a workshop state. The set is cobbled together and two shipmates are missing but despite this there are still sparks of salty humour and physical comedy with some fun musical ditties. I hope she keeps some of the madness while making her tall tales of the sea a little more shipshape. I missed every performance of 'Eilidh's Daily Ukulele Ceilidh' show last year, but when this Captain finds his sea legs I'll make sure to catch him.
Forest Fringe, 13 - 14 Aug, 5.00pm (5.30pm), pay what you can, fpp n/a.
tw rating 2/5
[sr]

A Beginner's Guide To Happiness
Paul Coneely
Paul Coneely is like a jolly uncle, warmly greeting you at the door and handing round cookies, but whatever you do, don't encourage him to do his 'routine'. Mocking the ludicrous names for paint colours on a Dulux chart seems kind of old, so I may just stoop to his level and describe it as like watching the aforementioned many colours dry. If only he had gone a bit deeper instead of sticking to banal observational stuff; he's a big man but he avoided really pulling his weight into the spotlight. The happiness theme was a good idea, but he skimmed the surface and only grabbed my attention at the end with his discussion of death. Needs a beginner's guide to comedy.
Holyrood Too @ Faith, 1 - 24 Aug (not 11, 18), 10.15pm (11.05pm), £6.00 (£5.00), fpp 31.
tw rating 2/5
[se]

Carl Donnelly Vs John Robins Vs Predator
Carl Donnelly & John Robins
A little heads-up for anyone interested in going - the Predator is just the sound guy in a mask. And he doesn't tell jokes. Which is probably a good thing, as I hear humour on Predator's home planet is still on mother-in-law jokes. Carl Donnelly and John Robins have both evolved somewhat beyond that, and each have half an hour here to entertain an audience prepared to sit in a damp, dripping cave. They have similar relaxed, friendly styles, but Donnelly focuses more on life's little quirks, while Robins shows himself to be an amusing story-teller, even if each story seems to focus on sex. They'll even let you try on the mask at the end.
Underbelly's Baby Belly, 31 Jul - 24 Aug (not 12), 7.20pm (8.20pm), prices vary, fpp 37.
tw rating 3/5
[tm]

The Art Of Dating And Dumping
Dave Florez
I really wasn't sure what to make of this. Proclaiming itself a workshop on the titular 'art', the show has a very confused format and never convinces or amuses, thanks to the clunky script and some very by-the-numbers performances. The three performers trot out cliche after cliche in repetitive, unoriginal pseudo-sketches, which make the same jokes over and over, and then invariably end with a wee touch of misogynistic physical comedy. Is it really funny when a man spits in a woman's face because she is late? Maybe I'm just missing something, but regardless, I don't think I have anything to learn from this hackneyed how-to guide, and I certainly wasn't laughing.
Assembly @ George Street, 1 - 25 Aug, 8.50pm (9.50pm), prices vary, fpp 29.
tw rating 1/5
[rj]

Carey Marx
Stand Comedy Club
Carey Marx is not one for mincing his words. Instead, he scrutinises them, particularly the ones he has compiled in his top ten most offensive topics, which have real potential to become excellent comedy fodder. He cuts through the barrage of political correctness surrounding such touchy subjects as little people and women (and indeed, little female people) and finds the grain of sense buried deep within the hullabaloo, leading you to at least acknowledge his point of view, if not agree with it. Although this is a worthwhile concept, there is little innovation here. Maybe it's a generational thing, but mostly, the topics never really felt that hardcore to begin with.
The Stand Comedy Club, 31 Jul - 24 Aug, 9.10pm (10.10pm), prices vary, fpp 36.
tw rating 3/5
[mb]

Fool Koller
Eric Koller
Much of what is labelled 'fringe' is really fairly mainstream, but Eric Koller's work undoubtedly resides on the outskirts of normal; frenetic, frenzied and fucking odd. This self proclaimed Mr Bean on acid looks like the unhinged lovechild of Arthur Smith and ubiquitous broadcaster Mark Lawson. He is a cartoon character made man. His schizophrenic act leaps erratically from moving vignettes of elderly men to brilliantly debauched, phallic, water spraying finales. The comedy's outdated, but if you model yourself on Mr Bean you're not really looking to be cutting edge. It is in his serious scenes where he truly shines. Sadly though, this kind of work lives or dies on its audience and tonight the crowd's cynicism castrates Koller's comedy.
Hill Street Theatre, 1 - 25 Aug (not 13), 10.45pm (11.45pm), varying prices, fpp 50.
tw rating 3/5
[pl]

Gavin & Gavin - It's A Long Road That Doesn't Have A Bend
Gavin & Gavin
Sibling rivalry is the only redeeming feature of this lacklustre double act's show. A pair of Irish sisters, as inseparable as 'shagging dogs', recount their shared, and unfortunately bland, childhood. The mediocre biography aside, it is their lack of any comedy that lets them down, doing little to provoke laughter from the audience, but instead creating mirth from each other. Whilst telling anecdotes, the humour is insular, and when resorting to rudeness, items such as 'air shagging' do nothing but distance the audience. However much I want to, I just can't seem to find them funny. As warming as the pair are, as comedians they are little more than giggling aunts who seem to enjoy themselves, perhaps a little too much.
Gilded Balloon Teviot, 30 Jul - 25 Aug, 6.45pm (7.40pm), prices vary, fpp 53.
tw rating 2/5
[rh]

InvAsian Festival: Gender Pretenders
The Schmooze Brothers
Ladies and Gentlemen: it is a pleasure to announce that the winner of the Worst Fringe Show award has been won by (drum roll please) 'Gender Pretenders' for their truly awful production. It is the most tasteless, boring and unfunny show I have ever had the misfortune to see. The Cherry Sisters were not clever or amusing in their role as compère. Why they thought their audience had to be 'taught' about being gay, being Jewish, gay Jews or lesbian sex is beyond me. Next, enter the Schmooze Brothers. I'm sorry but once you have seen one song being mimed, with edited lyrics and obvious dance moves, you really don't need to see another five or six. What total crap.
clubWEST @ Quincentenary Hall, The Royal College of Surgeons, 10 - 16 Aug, 9.45pm (10.45pm), £10.00 (£9.00), fpp 62.
tw rating 1/5
[lp]

Obsessive, Compulsive, Disordered - Free
Nick Pettigrew / Laughing Horse Free Festival
My hands and feet go numb sitting on the floor in this jam-packed venue, but pins and needles are a small price to pay to see this friendly, free funny-man, and he has some suggestions for numb hands too. Nick proves a lovable guide to the problems of OCD, turning his troubles into lots of laughs. An accomplished gag-smith with an eye (ear?) for puns, his seemingly shy act develops into some quite bold banter with the audience. The act adapts amusingly to allow for the assertive girl in the front row, who, Nick discovers, is single. Numb hands, by the way, are a great for spicing up masturbation, but this super stand-up leaves me with little need to amuse myself.
Laughing Horse @ Jekyll & Hyde, 3 - 24 Aug, 6.55pm (7.55pm), free, fpp 83.
tw rating 4/5
[se]

Random Observations of a Gap Year Student
Lucy Drever
Lucy Drever's energy alone is enough to recommend this one woman show. As writer and performer, she takes a pacy and at times very funny look at situations in everyday life. The impetus for this is mostly a gap year Lucy took in South America, and where she came across different stereotyped nationals of various countries. She plays these characters in an exaggerated manner, admittedly sometimes going slightly over the top where I thought she could have been a little more subtle. Lucy is from Edinburgh, and her observations of Scottish folk are wonderfully wry; there were several people in the audience beside themselves with laughter. This show is what the fringe should be all about. Great stuff.
Diverse Attractions, 11 - 16 Aug, 7.30pm (8.30pm), £7.00 (£5.00), fpp 89.
tw rating 3/5
[ah]

Carol Leifer - When You Lie About Your Age, The Terrorists Win
DEREVO Theatre
Not all Fringe shows are hard-hitting; some, like this one, are just rather comforting. Carol Leifer's show is a set of four monologues read from the page; they cover her father, her midlife coming out and her adoption of a baby. Even the sexual stuff is pretty innocent so don't come expecting any cheap thrills, or, for that matter, many jokes. Carol has a star-studded past as a comedy writer, however this show seems more personal; its main goal seems to be catharsis rather than entertainment. It is enjoyable though; an imagined conversation with 'Mr. Big Picture' (Little Picture's in rehab) is a definite highlight. If you're looking for something calm and life-affirming, this is just the ticket.
The GRV, 12 - 24 Aug, 4.00pm (5.00pm), prices vary, fpp 37.
tw rating 3/5
[jwm]

David O'Doherty: Let's Comedy
Stand Comedy Club/Lisa Richards Agency/Chambers Management
David O'Doherty offers the complete comedy package. Wry humour? Check. Witty wordplay? Check. Pithy observations? Check. I could go on, but in essence, this self-deprecating comic is genuinely a must-see. It's hard to pick out a single highlight from his excellent routine, but the song charting the highs and lows of a relationship through text messages was a perfect moment, capturing humour, pathos, and the quintessence of contemporary life. His routine ranged across many topics; nightmares, technology, and the hyperbole found in festival reviews. With an act this good, it's hard to avoid excessive praise, so I'll leave it to the man himself to sum up: "if you miss this show, you are officially a dick."
The Stand Comedy Club III & IV, 30 Jul - 24 Aug (not 11), 9.00pm (10.00pm), £9.50 (£8.50), fpp 44.
tw rating 5/5
[al]

Elizabeth And Raleigh: Late But Live
Blue Box, Eleanor Lloyd, Festival Highlights, Anthony Field Associates, Underbelly and Skullduggery
With their britches bursting with gags, Sir Walter Raleigh (Miles Jupp) and Queen Elizabeth (Simon Munnery) pull off this glorious display of costumed silliness, following the story of the Queen's relationship with her favourite courtier. Jupp's dashing Raleigh and Munnery's pernickety queen do credit to that quintessentially British obsession with dressing up as our ancestors and ridiculing them, and both actors were on top form. Seeing the pair break character as their own laughter on stage got too much for them was hilarious, especially as Elizabeth force fed Raleigh his beloved mashed potatoes while they sang 'You Don't Bring Me Flowers' to each other, and he knelt at the block in England boxer shorts. Pure showmanship and brilliant entertainment.
Udderbelly's Pasture, 31 Jul - 25 Aug, 10.35pm (11.35pm), prices vary, fpp 48.
tw rating 4/5
[lr]

Ismo Leikola - Rogue State Finland
Ismo Leikola
Sometimes a language gap really aids communication; Ismo Leikola has developed his slightly indistinct mumbling so that it includes the few words needed to form a joke and no more; the audience is actively involved in filling in the blanks and the jokes become that much more enjoyable. That's my theory anyway. It also helps that the writing is clever and imaginative; his list of electronic things that wouldn't work well with petrol had the audience doubled up to the point of contortion. His rather shy on-stage presence is endearing, but he is wary of interacting with his audience, which is a shame, because from his first mumbled syllable he has them in rapt attention. An excellent ambassador for stand-up.
Underbelly's Baby Belly, 31 Jul - 24 Aug (not 12), 10.30pm (11.30pm), prices vary, fpp 62.
tw rating 4/5
[jwm]

James Sherwood - Songs Of Music
James Sherwood
Spoofing classic pop songs, James Sherwood seamlessly interweaves the political and satirical into the inspired ditties tapped out on his keyboard. He may not have the greatest voice, but he has a sharp wit. All this makes for an oddly enjoyable evening's worth of entertainment, where the crowd is not only tickled pink, but informed of the grammatical errors in some of our favourite tunes. Particularly good was a crowd-rousing song about surviving eight years under George W Bush - no mean feat! Imagine Bill Bailey on a smaller scale, mixed with an Elton John who reads Private Eye, and you pretty much get the measure of this show. If you like the sound of that, then you'll love this.
Holyrood Too @ Faith, 1 - 24 Aug (not 18), 6.00pm (6.50pm), £6.00, fpp 63.
tw rating 4/5
[rsj]

Ladma Vs. The World
Ladma
Get rid of that archaic 'it's free so don't expect much' attitude; this is gold, and it's lying about in a stuffy little room above a pub on the Grassmarket. This show features films (not your standard grainy shot-from-a-mobile YouTube variety, but skilfully produced television-worthy ones) and sketches with a bit of banter. I'm not one for hysterics, but the film about pet hates had me in fits, and my only criticism is that people were laughing so hard they blotted out some of the jokes. A Southerner's take on 'the North' produced some priceless mockumentary genius, while the live element of the show, featuring a scarily believable life coach sketch amongst others, is well executed. Highly recommended free comedy.
Beehive Inn, 2 - 23 Aug, 18.30pm (19.30pm), free non-ticketed, fpp 69.
tw rating 4/5
[jwm]

Owen Niblock: Twisted Whimsy - Free
PBH's Free Fringe
I don't think I've ever come across anyone quite so talented at being geeky as Owen Niblock; he's the master of all geekdom. One man, several instruments (including a three string guitar that's almost as weedy as him) and a head littered with strangeness. Much of his material is based upon self-deprecation, generally relating to his non-alpha male stature or love of science and computers, yet underneath this, there is a self-confidence that shines through; pride in his own geeky powers, perhaps. He is incredibly funny. He tells short sharp jokes (in G major), makes up queer little ditties and draws pictures about a worm's dietary habits; it's like a mind map into the uncharted territory of Owen's warped brain.
The White Horse, 2 - 23 Aug (not 11, 18), 5.45pm (6.35pm), free, fpp 84.
tw rating 4/5
[mj]

Old Rope In The Courtyard
Tiffany Stevenson And Guest Hosts
Circuit comedians make their money from repeating old material night after night ad infinitum, a problem exacerbated by the format of the Edinburgh Festival. The excitable Phil Nichols offers the solution: a night where new or established acts try out untested material, or else hold onto 'old rope'. Inevitably it will be hit and miss, but this is to its credit. Experimental it may be, but disappointing it is not, indeed, it makes comforting viewing to see big names not quite hit the mark. Everyone wins with this chance to catch the best comedians stringing together threads of wit, and an arena for jokes you won't see at other variety nights, this is the only ropey gamble you're guaranteed to win.
Pleasance Courtyard, 1 - 24 Aug (not 5, 12, 19), 10.45pm (11.45pm), prices vary, fpp 83.
tw rating 4/5
[rh]

Afternoon Men
Laughing Horse Free Festival
'Afternoon Men' was definitely an enjoyable hour in the company of some very talented comedians. Sara Pascoe's slightly ditzy persona heightened the humour of her everyday observations, particularly her indignation at inanimate objects (how dare a carton of audacious orange juice tell her to 'concentrate'?). Bringing new life to the humour of misunderstandings, she could well be one to watch in the future. James Everett was a crowd-pleaser of similar proportions, with puns and gags that were so groan-worthy they were hilarious. Both were perfectly charming, and were the highlights of the show. The line up differs from day to day but judging by this afternoon's performance, this is a brilliant way to sample some decent free comedy.
Laughing Horse @ Jekyll & Hyde, 1 - 23 Aug, 3.20pm (4.15pm), free non-ticketed, fpp 22.
tw rating 3/5
[rg]

About Benson & Hill
B & H Productions
The funny thing about these two young chaps was that they seemed just as surprised when people laughed at their jokes as when they didn't. The not so funny thing about them was that they appeared to be on a mission to mention paedophilia every fifteen minutes. However, if we ignore the paedophile gags (and perhaps they should too?), their material wavered between striking a superior and a self-effacing tone, which kept us guessing and smiling. For this is a show of smiles and giggles rather than hilarity as Benson and Hill open windows onto their past lives in Newcastle and Leicestershire and onto their present lives in London. Quietly we laugh with them and at them, and occasionally with flashes of recognition, at ourselves.
Sweet Teviot Place, 1 - 25 Aug, 5.15pm (6.15pm), prices vary, fpp 20.
tw rating 2/5
[dp]

An Audience With Mr Methane: Adventures In Show Business - Free
PBH's Free Fringe
Drinking Guinness, eating a kebab, getting into bed, farting and then smelling it under the duvet would be more pleasant than this. Mr Methane renders the age old saying "never look a gift horse in the mouth" obsolete, because tonight I saw people walk out of a free show. I guess it's true - you only ever revel in your own shit. Indeed I almost hoped Mr Methane would follow through with his farts, if only to shame him into realising just how crude, horrible and unnecessary this show is. Remember when your brother did the 'pull my finger' thing on you as a kid? Well this show is the grown up equivalent of that, only not nearly as funny.
The Standing Order, 9 - 23 Aug, 7.45pm (8.25pm), free non-ticketed, fpp 29.
tw rating 1/5
[rsj]

Bunny Galore Live And Sedated
Tat Productions
I was unsure what type of show Bunny Galore was putting on. Was it, as she originally stated, a journey through her showbiz history? Was it a showcase for her singing talents? Or was it a drag-queen comedy? Whatever it was, it all felt a little self-indulgent. A baffling and poor five minute video clip distraction was an ill-advised use of time, a void that could have been filled by Galore's underused assistant, who herself was more comically prolific in the small amount of stage time she had. Somewhere between a samba rendition of 'Wonderwall' and a singing glove puppet, I lost interest in this. There's enough enthusiasm here, just not enough laughs.
Zoo Southside, 1 - 25 Aug (not 13), 5.00pm (5.40pm), £7.00 (£5.00), fpp 36.
tw rating 2/5
[th]

A Couple of Couples of Comics
Brittain, Kearns, McGrane and Moran/PBH's Free Fringe
Free comedy is a mixed bag, and free student comedy is an even bigger risk - but in this case it's one worth taking. East Anglian comics Tom Moran, Jonathan Brittain, Johnny Kearns and Lorcan McGrane filled an enjoyable if variable hour at the Standing Order. Brittain gave the standout performance with witty jokes and fast-paced wonderings about what not to say when your friend tells you she's becoming a man. Moran also put on a good show as compere, but lost it when he started reading his jokes out from a piece of paper. The rest were a likeable bunch who brought a few laughs, but whose acts need a bit more polish.
The Standing Order, 2 - 23 Aug, 9.00pm (10.00pm), free, fpp 41
Tw rating 3/5
[seg]

Derek Ryan: Mongrel
Derek Ryan
At his first ever Fringe show, Derek Ryan was under-prepared, hadn't done any flyering and had a video which we all had to huddle around his laptop to watch. But, his chat about animals and humans made up for the shortfalls. Tales from his travels in Africa were funny and his stories always linked back to the theme of the way animals and people are intertwined. He discussed everything from dressing your dog to what direction a rhino can travel in, and in doing so he gently tickled my funny bone. This show will get better as his run goes on and I'm hoping he won't have to refer to his set list in future shows. It's free and worth a peek.
Laughing Horse @ The Counting House, 11 Aug - 25 Aug, 7.05pm (7.50pm), free, fpp 45
tw rating 3/5
[fa]

Edward Aczel: Do I Really Have To Communicate With You?
Show + Tell Productions
It's hard work trying to follow Edward Aczel's slow, deliberate, self-deprecating character comedy, because he's a master of it, but his relentless deadpanning becomes very tiring. It's not boring, because he keeps the laughs going throughout, stringing us along with some excellent recurring gags, a gift for comic timing and the nonchalant delay of punch-lines. But when I got home, I was so drained I just wanted to sleep. His funniest moments come when he gets to the edge of his character; when emotion rears its ugly head, when he almost corpses at the results of the games he plays with the audience. But these moments are few, and one fears they can't be repeated in his rehearsed, one-dimensional frame.
Underbelly, 3 - 24 Aug, 4.05pm (5.05pm), prices vary, fpp n/a.
tw rating 3/5
[rj]

Fresh Faces at the Free Fringe
Danny Worthington and Others/PBH'S Free Fringe
This show really was a mixed bag but it's worth going along for a taste of the good and the bad. Many of these 'Fresh Faces' were promising, some only just missing the mark because of predictable material, and given the intensive experience offered by the Fringe, they could improve dramatically over the course of the month. Certain comics out of the many performing, such as Jane Hill, did nevertheless raise the mark substantially, and provoked many genuine belly laughs. It's difficult to make a wholehearted recommendation of such a show, however, because it's highly unlikely that the show will ever be the same again, and will probably vary vastly in terms of its performers because of its 'open to all' nature. But for a bite size chunk of the Fringe, it's worth investigating.
The Mercat Bar, 2 -23 Aug, 6.30pm, free, fpp 51.
tw rating 3/5
[km]

A Potrait of Shazia Mirza
Shazia Mirza
Shazia Mirza performs with a distinctive comedy voice that should put most other comics to shame. Her edgy material really stands out, flirting with controversy without being overbearing, shocking, or particularly offensive. Her Muslim background, combined with her British nationality, places Shazia in a unique position to poke fun at the issues bugging Britain today. It was strangely refreshing - not to mention very funny - listening to this feisty lady discuss absolutely everything from suicide bombers to WAGs, and being too fat and allegedly 'confusing' for American television. People love that she's breaking taboos and discussing the things that most would not dare to, material which becomes endearing, fun and goddamn hilarious in her hands.
Pleasance Courtyard, 3 Aug - 25 Aug (not 5), 9.35pm (10.35pm), prices vary, fpp 88.
tw rating 4/5
[km]

Secret Midnight Gig
Various Artists
"We have absolutely no idea who will be on," claim the organisers. So how should I review an ever-changing line-up that can even be a mystery to those behind the show? No, I don't know either. What won't change, I dare say, is just how inebriated the audience, host and performers all are, and it's this alcohol-soaked edge that does encourage a relaxed atmosphere, as banter is rife and each act is brave enough to expose their most daring material. It's not unlikely that some big names will appear in future line-ups: I was treated to fifteen minutes of Alan Carr looking very confused as he slurred untested jokes. A good night of cheap laughs, but just don't expect any level of professionalism.
Laughing Horse @ Espionage, 31 Jul - 23 Aug (not 6, 13, 20), 12.05am (1.05am), free ticketed, fpp 94.
tw rating 3/5
[tm]

MUSIC

Seven Ages Of Man
Band Of Brothers
Tongue-in-cheek musical musings on youth, old age, and all that stuff in between. Brothers Mark and Simon Nathan have created a tea-and-crumpets style, Monty Pythonish musical set, poking fun at the mannerisms and foibles of a somewhat sheltered 21st century lifestyle in a self-deprecating, inoffensive manner. Despite not looking particularly comfortable until well into the performance, the songs didn't suffer and the voices certainly never faltered, as the young duo exhibited a real passion for performance, colouring their show with the occasional touch of theatricality. Numbers dedicated to national anthems, Alzheimer's and ASBOs let well written wit stand forth, with consistent, almost vaudevillian piano accompaniment throughout, and a solid vocal from a slightly green performer.
Sweet Grassmarket, 11 - 25 Aug, 2.30pm (3.15pm), £8.00 (£7.00), fpp 164.
tw rating 3/5
[ab]

MUSICALS AND OPERA

Aging Is Amazing - Free
Lynn Ruth Miller
A one-woman musical is a daunting prospect at the best of times, but when the woman in question is only a few years off a Zimmer frame, it becomes positively terrifying. Fortunately, Ohio born Lynn Ruth Miller pulls it off with more style than most people half her age, and the result is a funny, touching and original performance. Singing 40s style lounge songs, Miller covers inappropriate subjects such as drug abuse, sex for the over seventies and stripping, encouraging a willing audience to sing-a-long. Aside from a couple of weaker songs, there's nothing here that won't endear you to the 75 year old; to be honest, it's worth it alone to see an OAP in nipple tassels crooning about crack.
Laughing Horse @ The Argyle, 31 Jul - 25 Aug, 10.50pm (11.40pm), free, fpp. 168.
tw rating 4/5
[ha]

High School Musical
The American High School Theatre Festival
It's cheesy, it's predictable, but my god it's catchy! Beloved by tweens the world over, this is the story of the basketball jock and the beautiful maths geek brought together by their love of musicals. But will their love be foiled by their respective cliques and the bitchy blonde drama queen who urge them to "stick to the status quo"? I think you can probably hazard a guess. Packed with dance-your-socks-off tunes and quite dazzling choreography, this is everything a musical should be. The set was also quite unbelievable for what is essentially a school production, God bless those hard-working American moms! Slick as a professional ensemble, save your money on the West End version and go and see this one.
Church Hill Theatre, Aug 15-17 and 20, times vary, £6.00 (£4.00), fpp 173.
tw rating 4/5
[je]

Maury Yeston's 'December Songs'
Strictly Songtime
'December Songs' is a lament to the cruel, barren landscape which is the end of a relationship. Maury Yeston's song cycle expresses the whole gamut of emotions inherent in such a loss, from frenetic obsession to relief, from despair to longing. Anne Diack's clear soprano voice reaches for the rafters in these songs and she's beautifully accompanied by pianist Robin McCleish, whose fingers ripple over the keys like the water Diack sings of in 'By the River'. The loose story adds another layer to this performance, but it needs to be strengthened rather than forced. While the lyrics tell the story, it's the sound momentarily catching in Diack's throat on a note that conveys the pain of heartbreak so poignantly.
Edinburgh Academy, 14 - 16 Aug, 3.00pm (4.00pm), £6.00, fpp 175.
tw rating 3/5
[sr]

Jekyll and Hyde
Forth Children's Theatre
A musical version of Stevenson's macabre tale performed by teenagers? Didn't sound like a winning formula to me initially, but I was wrong. I was blown away by the incredible belter of a song 'Facade', and the big group numbers in the show were fantastic, with spine-tingling vocals, raunchy choreography and gripping facial expressions. Matthew Smith in the lead role carried the show well, though the female leads - while incredibly emotional and gutsy - were slightly weak vocally. However, this did not detract from a tremendous musical that was dark, complex and thought-provoking. The acting was superb, and the performances of a far higher quality than ninety percent of those given by the adult actors I have seen so far at the Fringe. I hope to see more of this promising young cast.
Inverleith Church Hall, 8 - 16 Aug (not 10), times vary, prices vary, fpp 173.
tw rating 4/5
[gm]

Perfect Pitch - In Concert
Perfect Pitch Musical Ltd
A collection of musical numbers from new work yet to hit the West End have been well sung and strung together by the talented voices of 'Perfect Pitch'. A highlight is Stuart Matthew Price's performance of his own composition 'Diary of Me'; his teenager-in-trouble solo delivered to his mother's grave is very moving. Some of the songs are hit and miss, though. 'Tickledom' the musical is too stupid and doesn't have the pizazz, jazz hands and melismas of others like 'Through The Door' and 'Over The Threshold'. Perfect Pitch have triumphed in their efforts to bring new musical work to audiences, and I for one want to see more, because their voices and professionalism cannot be faulted.
Musical Theatre @ George Square, 11 Aug, 6.00pm (7.00pm), £10.00 (£8.00), fpp 176.
tw rating 3/5
[zl]

Queen of Wyoming
SenovvA
Politics and family make for an interesting mix, and in this autobiographical story, Maggie Simpson tells all about her family and her involvement with her father's electoral campaign to be Governor of Wyoming, whilst keeping her addictions a secret. There are moments when your heart breaks for her, as she tells her tale armed only with a few props and a guitar. Speaking to her audience as though she might be talking to friends, she uses song as much as she uses speech. Those songs are beautiful, endearing, mysterious, striking; Simpson uses her voice like a second instrument, one moment putting on a gravelly, thick accent the next singing like a sweet innocent girl. To be frank, it's like listening to Joni Mitchell, but better.
Musical Theatre @ George Square, 31 Jul - 25 Aug (not 11), times vary, prices vary, fpp 176.
tw rating 5/5
[fa]

THEATRE

Already Gone / Almost There
Forest Fringe
What would be in your heaven? For the protagonist of 'Already Gone' (or possibly 'Almost There' - it was billed as both) heaven is grapefruit for breakfast, playing football for Norwich and doing smack with Jimi Hendrix. But pointless pleasure gets dull, and this production investigates whether an eternity of indulgence is really a reward or a threat. A monologue, it was delivered by the endearing Jonathan Broke, who created an intimate, personal atmosphere. Tom Bird's script was involving and believable while containing lots of funny lines, perfectly delivered, and although the ending strayed into darker territory it just resisted the temptation to hammer home any 'message'. There was a pleasing sense of freshness to the show, and it was free, too.
The Forest Café, 16 - 17 Aug, 3.00pm (3.40pm), free, fpp N/A.
tw rating 4/5
[hw]

27 Wagons Full Of Cotton
Thin Air Theatre UK
Tennessee Williams is one of my favourite playwrights and yet I was unfamiliar with this particular story, so I was quite intrigued prior to the show. Two slightly unusual aspects stood out about this production: Firstly, it has an all female cast, and secondly, the space lends nothing to the performance, placing all weight on the players' shoulders. Neither of these potential difficulties proved problematic, and in fact, both actually added to the piece. Anyone familiar with Williams' writing will know that his male characters tend to be misogynistic and brutal; the girls brought out these traits well. Perhaps they could understand them better than men? Some of the accents were at times ropey, but did not detract from this strong performance.
The Space @ The Thistle, 11 - 23 (not 17), 8.05pm (9.05pm), £6.00, fpp 239.
tw rating 4/5
[mj]

The Happy Prince
Peculius Stage Company
One of my all time favourite stories performed by a bright young talented group who certainly did not disappoint. If you would like an authentic fringe experience of a low budget production with fine amateur actors, in this case narrating and enacting an adaptation of Wilde's enchanting fable, then this will be a joy to see. They make use of the small performance space considerably well, their imaginative costumes and props laid out ready along the edges of the stage, creating a marvellous comic effect during the scene changes. A piece of material could double up portraying a bridge as well as the night sky which equally triggers and inspires the audience's imagination. The children were entranced not least by the music and lovely singing voices.
The Space@Jury's Inn, 11-23 Aug (not 17), 2.05pm (2.55pm), £5.00 (£3.00), fpp 203.
tw rating 4/5
[da]

Behoovers
'Bleu, Blanc, Rouge' purports to be the tale of the ordinary spectators of the French Revolution. It would be, if the ordinary people had sat around simply narrating bland and basic historical facts and opinions to each other, had conveniently neat differences of opinion to recite back and forth, and frequently burst out into plaintive song. Three young actresses do their very best to play seamstresses in revolution-era Paris, but struggle with a shocking script with no plot or structure, frustratingly choppy scenes, and some truly terrible poetry. The idea has potential, but it needs a massive rewrite if it is ever to become the true representation of the bystanders of history that it strives to be.
The Space@ Venue 45, Aug 11 - 24, 2.00pm (3.00pm), £8.00 (£6.00) fpp 187.
tw rating 1/5
[je]

Sez She
The American High School Theatre Festival
With an uplifting display of enthusiasm and passion, this troupe of energetic young girls bounce their way through a number of short, yet snappy skits. Each sketch is funny and clever, delivered with a wit that defies their young ages. This is a very modern production, dealing with some contemporary issues with a mature humour, however this is occasionally blighted by some attempts to be too 'wacky' or 'random', yet this will no doubt appeal to audience members who share the same generational quirks as the girls onstage. Overall, attempts to put across various messages succeed in a vague, high school sort of way - variations on the 'love yourself' theme. The girls' infectious cheeriness, however, will override any annoyance.
Church Hill Theatre, 16 - 20 Aug (not 19), times vary, £6.00 (£4.00), fpp 230.
tw rating 4/5
[ks]

The Rape Of Lucrece
Thievish Dog
Solo theatre is a commitment, but this was something else - stripped of any spectacle, this monologue is instead an irrelevant tale that is adequately explained by its title. A plethora of sentences is thrown and spat into a smattering of onlookers, the sheer quantity of words is admirable, and the acting itself wasn't at fault - but I'm left wondering who this is for. Frankly it is unnecessary - it doesn't test, update or critique. So distanced, that it fails to engage, an everest to climb that you expect so much more payoff for your concentration. Since there are far more surmountable mounds of theatre at the festival offering so much more insight and delight, this particular expedition is rendered unnecessary.
Underbelly's Baby Belly, 31 Jul - 24 Aug (not 12), 3.45pm (4.55pm), prices vary, fpp 225.
tw rating 2/5
[rh]

Stramash at the Store
Edinburgh People's Theatre
After a quick look round the busy church hall, it appears that I may be the only one under 50 here to see the latest work from one of Edinburgh's most esteemed amateur dramatics organisations. But this is a play for everyone. Well, everyone who knows what a 'stramash' is, and has ever read The Broons or Oor Wullie. It's 1962 and the King of Norway is over in Edinburgh to visit an old war friend, the manager of a department store. Cue much Are You Being Served style chaos as the employees prepare for such an esteemed guest. It may be too home-grown for some tastes, but its portrayals of every day Scots should charm the locals.
St Peter's, 2 - 23 Aug (not Sundays or Mondays), 7.45pm (10.00pm), £9.00 (£7.00), fpp 234.
tw rating 3/5
[tm]

Comic Potential
Rattlesnake! Theatre Company
'Comic Potential' has just that: potential. Despite being slightly slow in getting started, I was won over by this quietly complex story of two main themes, comedy and love, which are interwoven as we consider this question: could an android actress ever have the propensity for laughter or passion? Comedy in its modern day context is explored, allowing us to briefly consider the true nature of humour. However, each theme is simply dipped into and a lot of promising ideas are touched on but then fall by the wayside. This lends a frustrating edge to the overall performance, and with such a talented cast, it's a real shame that the play lacks the ability to open up to its own comedic and romantic potential.
C, Chambers St, 11 - 25 Aug (odd dates only), 1.35pm (3.05pm), prices vary, fpp 192.
tw rating 3/5
[ks]

Airswimming
Misplaced Reflection
Performers Eleanor Boyce and Georgina Carrigan are electrifying together, and the dynamic between them is what makes this production of Charlotte Jones 'Airswimming'. Depressing and hard-hitting isn't my favourite kind of theatre, so I was astonished to find out just how much I loved this show. The plot is well thought-out and the subtle twists throughout are fluidly handled. Dorph and Porph are two women who have been dealt a truly miserable hand, but their relationship develops whilst they are in an asylum, giving each a glimmer of hope. The plot goes full circle as the characters swap places, whilst the performances delivered by these two truly gifted actresses remain flawless and emotive.
The Space on the Mound @ The Radisson, 6 - 23 (not 10, 17), 3.40pm, £9.00 (£8.00), fpp 181
Tw rating 4/5
[mi]

Flush
Only Fools and Actors
This show is about a testosterone-fuelled group of acquaintances linked in various dodgy ways, the action centring largely around a poker table, with hearts, diamonds, clubs and spades scattered on the set and actors' costumes. While there were one or two good performances - Charlie's character was the most compelling and well-observed - the cast simply did not have enough on-stage chemistry to pull this off. The tableaux formed at the beginning and end were strong and striking, and it is a shame they didn't continue in this vein. There are glimmers of sassiness, but this production is too lacklustre to sustain this throughout, and unfortunately, the racy and depraved storyline of this play is not enough to recommend it
The Vault, 4 - 25 Aug (not 11, 18), 1.30pm (2.20pm), £6.00 (£5.00) fpp 200.
tw rating 2/5
[ah]

I Love You, Bro
Three To A Room
Incorporating text speak, Ash Flanders' Johnny tells the story of how he got caught in a fatalistic web of deceit, his brilliantly written words deeply uncomfortable as they explore forbidden desire, obsession and hatred. Based in the hermetically sealed world of Internet chat-rooms, this moving tale of unrequited love and loneliness delivers a subtle yet powerful warning against modern communications: Once in the ether, words can not only become manipulated, but also meaningless. Flanders is mesmerising, giving an almost hypnotic performance that lends 'I Love You, Bro' a lyrical quality. His nervy, yet assured, pulsating and visceral delivery had me hanging on Johnny's every word, and it is by far and away the best acting I have seen so far this festival.
Pleasance Dome, 30 Jul - 25 Aug (not 19), 2.25pm (3.30pm), prices vary, fpp 206.
tw rating 4/5
[rsj]

Shut Up, Play!!
The Original Tempo
'Experimental Japanese comedy' is perhaps not the best way to sell this family-friendly show; it is actually a delightfully offbeat musical-play that uses strong audio-visual elements and a handful of cute, jokey mimes. Throughout the show, The Original Tempo - six actor/musicians from Japan - make music from teacups, water, boxes, grunts and squeals, looping sounds and mixing them with audience input. This is all tied together with a simple, if somewhat unnecessary, 'Alice In Wonderland' influenced tale. Musical numbers - including a beautifully atmospheric indie tune and a guaranteed club hit complete with glow-in-the-dark drumsticks - are stronger than the theatre elements of this performance, and prove that blowing bubbles are woefully underused as a sound effect.
Sweet ECA, 10 - 17 Aug, 3.05pm (4.05pm), £8.00 (£5.00), fpp 230.
tw rating 3/5
[amc]

Greek
EMER Productions
Based on Berkoff's vision of 'Oedipus', this well co-ordinated production is incredibly slick and conveys a raw and edgy London. The action is quick but smooth and full of clever, witty humour that flows throughout to create an intelligent and unique performance. As a stylised production, it makes good use of aesthetics, such as the dramatic make-up; the physical actions are also impressive. A flawlessly delivered script combined with a fierce and determined pace gives the production a great deal of attitude, although at times this can be quite intense and difficult to follow. Diverse movements and spacing give the piece a visual sharpness whilst a precise use of rhythmical dialogue portrays a charismatic and slightly mischievous production.
The Zoo, 11 - 25 Aug, 10.15pm (11.30pm), £8.00 (£6.00), fpp 202.
tw rating 4/5
[am]

Hello! Ok?
Les Femmes Celebres/Bite Size
This demi-monochrome satire on celebrity culture is sharp, quick and lively, but ultimately wanting. Dozens of characters appear throughout the show - a highlight being a charming Hungarian maid - and the turnover is quick and diverse as entrances and exits are continuously made from different directions. The concept of fame is parodied with wry cynicism, but some characters do fall short of the mark, and as sketches blur into one another there becomes apparent a distinct lack of direction. There's lots going on but I couldn't quite grasp the overarching narrative that linked it all together. It is enjoyable in parts, though there is the lingering sense that nothing really new is being said here.
Hollyrood Too @ Faith, 1 - 24 Aug (not 18), 2.00pm (2.50pm), £5.00 (£4.00), fpp 203.
tw rating 2/5
[th]

Mr Loveday's Little Outing
Theatrical Theatrics Productions
This eccentric tale is short but sweet, offering a light-hearted, comedic tale of confinement, complete with ridiculously posh accents and a great deal of lunacy. Adapted from a story by Evelyn Waugh, this playful production focuses on patients from the County Home for Mental Defectives, which happens to be run by an alcoholic doctor. Whilst visiting her mad husband, garden party socialite Lady Moping becomes intrigued by the gentler lunatic Mr Loveday and so begins an appeal to set him free from his frivolous prison. Although much of the comedy isn't that hilarious, and some of the characters are portrayed rather obviously, it remains an enjoyable production that achieves its perky but though-provoking intentions.
Sweet ECA, 11 - 25 Aug, 1.45pm (2.35pm), £7.50 (£6.50), fpp216.
tw rating 3/5
[am]

No-One Arrives At Being Successful Alone
Queen Mary Theatre Company
Taking a look at a day in the life of Elle, we are invited into a world where students take copious amounts of drugs and have a lackadaisical approach to sex, all the while knocking back a vodka or two to keep them going (shocking stuff, I know). The majority of the leads were okay in their roles, but the actress who played Elle seemed a little awkward in her movement and speech, a factor which didn't help me engage with the story. Some of the naturalistic script was good, reminding me of the way I speak with friends, and I thoroughly appreciated the point this show was trying to get across, but in the end, it was all just a bit lacklustre.
The Space@Venue 45, 12 - 23 Aug (alternate days), 8.10pm (8.55pm), £3.50 (£2.50), fpp 219.
tw rating 2/5
[zh]

Loving Burns
RedHed Theatre
Even if you're not a lover of Robert Burns, I highly recommend going to see this breathtaking play, although it would help if you're at least familiar with the Scottish accent. Alicia Devine and Patricia Mullin both give stellar performances as the women who knew, and were deeply affected by, the roguish, magnetic Rab. Through the memories and accounts of his lovers, his widow and his mother we gain some insight into the true life of Burns, whilst gentle and touching poems and songs, interwoven with the performance, gave me goose bumps all over. These lassies are as much a laugh as they are sorrowful, and this play is as much a celebration of Burns as it is a mourning of him.
Rocket @ Roxburghe Hotel, dates vary, 5.30pm (6.15pm) prices vary, fpp 213.
tw rating 4/5
[da]

One Day I'll Go To Compostela
Marie Céline Lachaud
Though a little disorientating to begin with, this tale of romance found whilst on a pilgrimage soon becomes an engaging and lively monologue. Lachaud's performance is effortless, and it is evident that it is fuelled by a real passion for what appears to be an autobiographical experience. It did feel a little over-long as it's sprawling and messy in structure, and could do with some fat trimming, but Lachaud is lovable and watchable. Having originally been performed in French, the show survives translation intact with some charming idiosyncrasies. Its neuroses, and seemingly endless ups and downs can all get a little too much, but ultimately this is an original, endearing and polished character piece.
Hill Street Theatre, 1 - 25 Aug, 2.00pm (3.10pm), prices vary, fpp 220.
tw rating 3/5
[th]

Volpone
Belt Up (Nothing To See/Hear)
It takes some time to dawn on me that this is not actually another one of those dreams, as a be-masked, blue-faced, unidentifiable creature welcomes me into a luxurious boudoir with low pink lighting: half masquerade ball, half harem. Here, the tale of Volpone commences. This is a story of familial betrayal, but the plot ceases to be the most important aspect of this performance; the constant movement, musky scent of incense and myriad of colour will take over your senses. From the beginning, we are part of the show: a party guest, a common street walker, a member of the jury - you will be stroked, seized and possibly straddled. Obscenely aesthetic, this stunning sensual assault will be difficult to forget.
C Central, 1 - 25 Aug (not 7), 6.30pm (7.45pm), prices vary, fpp 240.
tw rating 5/5
[ks]

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