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CHILDREN'S SHOWS

Alice: Through The Looking Glass
C theatre
I found much of this play pretty bewildering, but this was perhaps appropriate given that most of it is set ‘Through The Looking Glass'. In several areas this production excels: the performers are convincingly transformed into lissom kittens and a shifting jabberwocky,  while the convoluted, riddling dialogue is delivered smoothly and with charm. Elsewhere, however, there was trouble; incessant pop culture references grew wearing, and the innuendo, though safely oblique, seemed pointless. Also, our Alice was troubled by some very pedestrian angst (not liking football, being self-conscious about rapping, split ends). The children in the audience seemed neither captivated nor restless. When called to, they participated, albeit with a degree of trepidation. I think they were probably as bewildered as me.
C, Chambers Street, 5 - 31 Aug, 2.20pm (3.05pm), prices vary, fpp8.
tw rating 3/5
[nf]

Garden Detectives
National Museum Of Scotland
Even on the sunniest day we've had in a month there were quite a number of children contentedly inspecting the interactive displays at the ‘Garden Detectives' exhibition in the NMS. By peering through holes at stuffed mice, catching magnetic cartoon fish and smelling a sunflower, it is hoped that visitors will learn something about what lurks, crawls or grows in a British garden. The exhibition is small but there is plenty to keep you occupied and it is easily accessible in a buggy. Contributors to the visitors' book had reached the consensus that those aged between three and seven would enjoy themselves best; their general comments varied from “the best children's exhibition we've been to” to “POO”.
National Museum Of Scotland, 31 Jul - 6 Sep, 10.00am (5.00pm), free, fpp11.
tw rating 3/5
[nf]

Sleeping Beauty And The Time Lords
Spotlites Theatre Productions
Sleeping Beauty on a space station? I'll try anything twi...once. This interactive children's show managed in a flash to create confusion: a first half full of character introductions and a patchy plot had me wishing that the evil fairy – sorry, Cyberwitch - would put a time lock on the interval. Little ears zoned out, bums got fidgety. Excited tots were invited on stage to jump about a bit or hold a piece of string which, though not quite the inter-galactic battle of their dreams, they didn't seem to mind. Beauty's white robe was the only reminder of the original fairy tale; she must have run out of tin foil for her space suit having roasted a chicken the night before.
Spotlites @ The Merchants' Hall, 5 - 31 Aug, 1.30pm (3.15pm), £5.50 (£4.00) (£15.00F), fpp16.
tw rating 2/5
[oi]

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COMEDY

Sketch Crunch
Marigold
During the Edinburgh Festival, the desire for fetid pig meat that grips most drunkards at midnight changes into a compelling urge to find a comedy act in the arse end of the C venues to laugh at. You could probably do worse than 'Sketch Crunch' - this comedy trio have plenty of energy and a couple of good gags – but you could certainly do much better. Most of the sketches are weakly written, fizzling out with poor punchlines, and there are few genuine big laughs to be had. Much like a greasy kebab or an intimate experience with an ugly stranger, mediocre sketch shows like this one are best enjoyed whilst heavily under the influence. Do not attend sober.
C soco, 5 - 31 Aug, 11.55pm (12.50am), prices vary, fpp99.
tw rating: 2/5
[tl]

I Wish I Could Be Like Andrew Watts
Andrew Watts
Lovers of stand-up laced with a cerebral cutting-edge should, without further prevarication, flock to this show. Andrew Watts is a man of great learning, which he wears proudly upon his tailored sleeve. You needn't necessarily know your epistemology from your a priori to enjoy the majority of his gags, but it might help you to appreciate why exactly Richard Dawkins' atheism gets such a caustic kicking. Mr. Watts has something of the alternative, down-at-heel iconoclast about him; rarely could a passable Boris Johnson-lookalike with a Mark Corrigan inferiority complex have told pussy jokes with such intellectual surety. Watts is not a natural comic technician and his timing often flies off-key, but he nevertheless possesses a beautiful(-ly depraved) mind to share.
C soco, 5 - 31 Aug (not 17), 10:00pm (10:50pm), prices vary, fpp61.
tw rating 4/5
[jkp]

Jimmy McGhie's Northern Meeting
Avalon Productions
Hilarious, self-deprecating and loveable, McGhie is usually the butt of his jokes: he relates his faux pas with Scottish dancing, admits to visualising hovercrafts whilst receiving a blow job, and vents his dislike for alpha-male, girlfriend-poaching, Australian water sports instructors. He's a fantastic storyteller; the anecdotes flow seamlessly and the audience are kept enthralled by his energetic stage presence, complete with dance moves, impersonations and the ability to improvise. McGhie's experience of the Northern Meeting, an aristocratic party weekend in the Highlands, provides the show's focus, and he paints a comical image of Rupert, Henry and those with double-barrelled surnames. McGhie jokes that he's no Brad Pitt...well, actually, he's rather easy on the eyes. I guarantee you'll leave this show with a grin.
Gilded Balloon Teviot, 5 – 31 Aug (not 17), 9.30pm (10.30pm), £9.50 (£8.00), fpp64.
tw rating 5/5
[sg]

Luke Toulson: Too Many Last Cigarettes
Shambolic and distracted, Luke Toulson looks as though the start of the festival has sprung up and whacked him in the face, but that's why we love him. He's just like us, except, of course, that he's a highly skilled and very, very funny comedian. His new show is based around one “life-changing” story about fatherhood and, in amongst the cheeky gags and sharp observation, there's a sense that we are really getting to know him. His style is so conversational, in fact, that some members of the audience think they are actually having a conversation with him; Toulson deals with it like someone teasing his friends whilst out at the pub. This definitely has the potential to be a hit.
Pleasance Courtyard, Aug 5-31, (not 17), £9.50 (£8.50) fpp74.
tw rating 4/5  
[km]

Scenes From Communal Living
Dramatic Change
The one thing you don't want from an improv group to is predictability, but unfortunately that's what you get here. The troupe offered up the ‘communal living' related jump-off points suggested by the show's title, and chose predictably 'wacky' suggestions from the audience help to build a scenario played out by two members of the group, who would roll out an ‘antagonisms aside, let's love each other' sketch. Their tendency to fall back on the L-word became painfully predictable and when the last scene ended in a SNOG - I saw that coming - it neatly confirmed that the gags had become desperate. Saying that, certain performers were great, though others were terrible, and it was the former who save the show with bizarre characters and amusing riffs which (here's the surprise) make it worth a punt.
C Soco, 5 – 31 Aug (not 17), 3.25pm (4.25pm), prices vary, fpp94.
tw rating 2/5
[am]

Monsters From My Id
Aaron Barschak
In which Holocaust jokes are told by a man dressed as Jesus. Aaron Barschak found infamy by gatecrashing Prince William's birthday party dressed as Osama Bin Laden, and has since brought a number of shows to the Fringe. Here he performs a stand-up set that fails to hit the mark, as he too often relies on his past stunts or some one-liners which simply fall flat. In his defence, Barschak is an engaging storyteller, and has some genuinely humorous and insightful observations; he is at his best as he explains the Freudian theory behind his show, although his point soon becomes laboured and the jokes never quite hit the mark. This is an interesting premise, but the few decent gags do not warrant the awkward hour of seat-squirming.
Spotlites @ The Merchants' Hall, 5 – 31 Aug, 10.15pm (11.15pm), £8.00 (£5.00), fpp79.
tw rating 2/5
[nc]

The Noise Next Door: Otherworld
Noise Next Door
A reviewer would have to think very hard before not giving this show five stars. What fault have they found? Is it in the show? Or is it, as seems more likely, in the reviewer's own bitter and jealous heart? This energetic improv show is propelled by audience suggestions and the performers' supernaturally quick minds. It's like Derren Brown does improv. “What's that, audience? A three-minute comic song about a toothpaste factory and Siberian flour? Well, as it happens, I have just such a song tattooed on my back!” I'm tempted to see this show again in an attempt to learn their secrets, but I fear that performances such as these are simply beyond the capability of mortals.
C, 5 - 31 Aug (not 17), 10.40pm (11.40pm), prices vary, fpp83.
tw rating 5/5
[nf]

Dan Atkinson: Death By A Thousand Pricks
Avalon Productions
I'd be willing to bet a fiver that Dan Atkinson's school report read “shows promise, lacks application”, words infused with affection but tinged by disappointment. His show read like a shambolic essay that had been hashed out after an evening playing Playstation and getting stoned. That's not to say it wasn't entertaining – wow, he covered a lot of ground - but no teacher would let this pass, despite his obvious flair. If you're wondering why I've taken to treating Dan like a sixth former, I blame the opening spate of inane dick jokes, which, bizarrely, segued into naïve moral outrage at Britain today. This show is packed with ideas, insights and impersonations that delight, but don't expect a polished performance; he simply hasn't put the hours in.
Pleasance Courtyard, 5 – 31 Aug, 9.30pm (10.30pm), prices vary, ffp40.
tw rating 3/5
[am]

Whose Play Is It Anyway?
Sink Or Swim Productions
Fresh to the Fringe this year are Sink or Swim Productions, with their audacious attempt to improvise a full forty-minute play. It's possibly a pity they chose to do a long-form show; their evident ability could be better framed in a stricter format as too often laughs are sacrificed for the sake of exposition. With sketches, you can abandon ship when heading for choppy waters; with a play, you are in for the long haul. The saving grace was the nemesis for the evening Jemima Hamilton and her henchman D. W. Cayser: both tickled laughs out of a reluctant crowd with aplomb, proving that it is always more fun to play the baddies. For improv you need a receptive audience, and this show should manage to keep its head above water.
C soco, 5 – 31 Aug (not 17), 10:55pm (11.45pm), prices vary, fpp109.
tw rating 3/5
[ras]

Scenes Of A Sketchual Nature
The Leeds Tealights
Unsurprisingly, some of the sketches on offer here don't quite hit the mark; what is surprising is just how few of them actually do misfire, given the frequently outrageous content. The four performers cover a number of disparate topics, including rapist etiquette and superhero job interviews, with a simple sketch involving one man and a conch shell stealing the show. On those few occasions when the sketches failed to get the laughs it was generally due to an excess of bizarre surrealism, although if you are easily offended this probably isn't the right show for you. This is sketch comedy without a message or an agenda, but it is no less funny for that.
C soco, 5 – 31 Aug, 4.35pm (5.35pm), prices vary, fpp94.
tw rating 4/5
[al]

Serate Bastarde (Bastard Nights)
Expresso! Teatro Italiano: Dionisi
Showering in Silvio Berlusconi's spunk and holding beauty pageants for underwear-clad burns victims is not what comes to mind when one thinks of satire; yet satire it was, and bitingly so. Struggling against strong accents, Serate Bastarde attempted to diffuse today's mad world by going mad themselves, coupling the aforementioned acts with emotive and witty tales. The three ladies blatantly pointed out how numb we have become to the social injustices surrounding us, which could have become grating if it weren't for the constant feeling of unease they simultaneously created. Serate Bastarde seems to have taken in two clichés – social and absurdist theatre - producing a somewhat stilted performance which, to use a cliché of my own, is an experience.
C Soco, 5 - 31 Aug  (not 17), 11.00pm (12.00am), prices vary, fpp95.
tw rating 3/5
[tp]

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DANCE & PHYSICAL THEATRE

Anwesha Company: A Mind's Journey In Search Of Destiny
Anwesha Company & Green Room Presents
Two women, bound by chains, lie motionless on the floor as I enter the space. As the show (and the chains) unravel, the performers fuse traditional Indian dance and more contemporary schools of movement in a physical evocation of the tug between Eastern and Western values. While there are some instances of clichéd and poorly-delivered dialogue, the choreography itself is innovative and varied in its portrayal of the struggle between 'tradition' and 'freedom'. Anwesha, the company's namesake, immediately enchants the audience with her soft expressions and delicate movements and the dancers, clad in vibrant, traditional dress, are pursued through grimy London tube stations by video projections, giving the culture clash a physical context. Overall, a charming and poignant performance.
C, Chambers Street, 5 - 31 Aug, 7.05pm (8.05pm), prices vary, fpp112.
tw rating 3/5
[rb]

Celtic Caledonia - The Curse
Siamsoir Celtic Dance Company
This is a rather twee piece of physical theatre that is undoubtedly pretty, but may perhaps prove too old fashioned for some. It had all the loveliness occasioned by smiling girls with long, flowing locks, twirling around in emerald velveteen dresses and, with the graceful movement and grand musical score in harmony, it made for pleasant viewing. While the piece was visually enchanting, the storyline was less than riveting, however, and on several occasions the group choreography seemed untidy; the solo dances, however, were spectacular. The show oscillated between dynamism and dullness, and I enjoyed it like a lukewarm cup of tea; I am the sort of tea devotee who likes it hot, however. I would recommend this for lovers of fairies, Gaelic history and Irish dancing.
C, Chambers Street, 5 - 15 Aug, 11.30am (12.25pm), prices vary, fpp113.
tw rating 3/5
[bm]

Spectrum
Avant Garde Dance Company
Okay, now I'm scared to fall asleep watching telly. A chap in this invigorating dance piece falls asleep – not sure how, the telly's so loud – and the girl from the old Test Card comes to life. Creepy. She and her friends - who might be from inside the set - borrow their movement styles from hip-hop and give the whole thing a desolate, urban sort of feel, a theme enhanced by the use of multimedia. I couldn't help thinking, however, that the Test Card is a bit out-dated; some of the clips, as well the concept of television dominating life, are quite last century. It's all about the internet these days, and that's got its own store of demons that Avant Garde could explore.
C, Chambers Street, 5 - 31 Aug (not 17), 4.05pm (4.55pm), prices vary, fpp120.
tw rating 3/5
[rtw]

Sweet
Chotto Ookii Theatre Company
The common misconception that what takes place on stage must be big and over-emphasised to be any good is thankfully avoided by many performers at the Fringe; unfortunately, the Chotto Ookii Theatre Company fell right into this trap with their clichéd and at some points cringe-worthy performance of ‘Sweet'. For a show that was tipped to break stereotypes with a dystopian anti-rom-com, it was disappointing to see it only helped reinforce them. Admittedly, the enchanting music, well-choreographed (but rare) dance scenes and rather 'sweet' props – such as a pumping heart and lit-up blue balloon - did add a sparkle to the performance, but the comedy was far from side-splitting. This award-winning theatre company sadly tried too hard and the result was tragic.
C, Chambers Street, 5 - 31 Aug, 3.15pm (4.15pm), prices vary, fpp121.
tw rating 2/5
[lw]

Venezuela Viva
Las Lizarraga Dance Company (Venezuela)
Passionately performed, 'Venezuela Viva' is a true celebration of the Venezuelan people. The enchanting choreography is accompanied by flamenco, castanets and, more unusually, history: not just a spectacle, this show informs the audience about a flourishing community and how it came together from different corners of the world, through authentic touches such as a live band and Spanish vocals. Projected images of the breathtaking landscape complement the beautifully costumed dancers perfectly, depicting the passage of a waterfall to the tranquillity of a lake. It's hard to keep up with the footwork involved in this piece, and left me personally concluding that these women must have ankles of steel. A truly mesmerising show, with a well-earned standing ovation.
Venue 150 @ EICC, 3-23 Aug (not 10, 17), 5.20pm (6.40pm), prices vary, fpp123.
tw rating 4/5
[nm]

Man-Made: 1,2,3
On The Verge
As children, we play. We ask questions. When dissatisfied with the answers we break boundaries. One day, we wake up and conform. In the first of a trilogy of pieces, On The Verge explores the engaging idea that that child lies dormant behind an adult robot conforming to a synthetic society. Whilst an economic use of props is engaging and creative, unfortunately the movement feels limited to the obvious and is accompanied by a noticeably unoriginal soundtrack. The lack of cohesion between the all too dichotomised narrator and chorus feels like a missed opportunity, but their enthusiasm ensures that this is an intriguing piece likely to provoke thought about its topical subject tomorrow, though unlikely to do so next week.
C, Chambers Street 5 - 30 Aug, 12:30pm (1.20pm), prices vary, fpp116.
tw rating 3/5
[apy]

Manolibera
Espresso! Teatro Italiano: Scarlattine Teatro
 ‘From page to stage' sums up ‘Manolibera'; or perhaps the description 'from slide to stage' is more accurate; as an artist, hired as a technician, draws on would-be-boring statistics slides projected on stage, two actors become cartoon caricatures and become a living, unravelling comic. Actors and drawings blend perfectly to create a world where drawn objects suddenly appear on stage and where constant mishaps generate continuous ripples of laughter. The interplay between reality and fantasy reveals that creativity can thrive anywhere and even feed off routine. Through its liveliness and forthright simplicity, a powerful message about retaining one's imagination in an increasingly problematic, consumer-driven world emerges, as we are swept from stage back into childhood.
C, Chambers Street, 5 – 31 Aug (not 17), 3.55pm (4.55pm), prices vary, fpp116.
tw rating 4/5
[ms]

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MUSIC

Another Place
Dave Thomas
“It changed my life,” says Dave Thomas of the film ‘Amelie', which inspired his love of the accordion back in 2001. Following his sincere and endearing introduction comes an hour of accordion and piano music, including parts of the ‘Amelie' soundtrack, and several pieces composed by Thomas himself. The film's influence on his music is clear, and perhaps the homage is a bit too pervasive, as the music often seemed just like variations on the soundtrack. The moments of originality, however, were impressive and interesting. What he does, he does well, and it is a pleasure to see this unusual instrument played with such passion. An enjoyable and pleasurable hour, especially for ‘Amelie' (and accordion) fans.
The Bongo Club, dates vary, times vary, £9.00 (£8.00) fpp138.
tw rating 3/5
[jt]

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MUSICALS & OPERA

Facebook: The Musical
Orbaum & Springall in Association With Hartshorn-Hook Productions
Is musical cyberspace worth a poke? A teenage boy unwittingly creates a Facebook profile of the perfect woman, and the infamous blue-and-white world is explored by a fivesome armed with softcore swearing and adolescent angst. The entire cast boast strong vocals but often fall short as actors, though this is partly due to an over-long script which doesn't truly get to the heart of why Facebook is fascinating. In fairness, it is essentially a feel-good frolic, and the comic absurdity of belting “I throw a sheep at you” isn't lost. Sadly, the many failed attempts to tackle modern issues bog down the moments of well sung hooks. ‘Facebook: A Musical' should be kept on limited profile at best.
C, 5 – 31 Aug, 10.30pm, prices vary, fpp170.
tw rating 2/5
[rp]

Rent
EUSOG
“...five-hundred, twenty-five-thousand, six-hundred minutes...” or about one-hundred-and-twenty; either way you're going to want a bathroom break. This good-looking company had rave reviews last year, but sadly this new offering didn't yield so much. Lacking energy and spark, it felt more overacted than well-rehearsed. The play's grittiest characters, Angel and MiMi, were weakest, their voices so quiet they couldn't be heard from the middling rows, and although the entrance of Maureen and ‘la vie boheme' brought life to the production, the show lulled soon after. The promising actors can hopefully pick up the pace and projection to bring the fire to this musical in future, but at this performance, it felt like the candle had not been lit at all.
Spotlites@The Merchants' Hall, 5 – 31 Aug (not 9-15), 7.45pm (9.40pm), prices vary, fpp175.
tw rating: 3/5
[rrs]

The Sugar Dandies: Ladies Not Required
The Sugar Dandies
Strictly Come Dancing gets something of a gender rewrite with this act, an attempt to capitalise on the nation's new-found obsession with formal dancing, but with one key difference: both the dancers are men. Undoubtedly talented performers, the Sugar Dandies bring a playfully camp approach to ballroom classics, while glamorously clad in a succession of skin-tight, sequinned ensembles. The problem with the show, however, is that these dance numbers are disappointingly short compared to the interminable interludes filled with stilted anecdotes from the dancers, or tired one-liners from the aged compere.  Fair dues to Bradley and Soren for challenging the establishment as a same-sex couple, but there's just not enough material here to keep an audience entertained for fifty minutes.
C, 5 - 15 Aug, 9.50pm (10.40pm), prices vary, fpp121.
tw rating 2/5
[arc]

The Thing About Men
Out Of The Bubble
Question: how do you turn a cliché into a musical? Answer: probably best you don't bother. Despite the writing coming from a reliable source, the plot and musical numbers lack Joe DiPietro's usual charm, resulting in a resoundingly mediocre performance. There are no stand-out songs, no real movement on stage, and what should be a light-hearted jaunt into the suburban milieu of unhappy marriages is not helped by a chemistry-deprived cast. Furthering its downfall is the casting of pubescent-looking male leads to play middle age men, which results in an unconvincing character formation. The cast clearly have talent, as evidenced by their strong, bold solos, but unfortunately seem more school play than Broadway in this production.
C, 5 - 15 Aug, 7.40pm (8.40pm), prices vary, fpp177.
tw rating 2/5
[ha]

Ed: The Musical
Stopped Clock
What a way to end a day! 'Ed: The Musical' is a hidden gem. You will find this whoopingly funny chamber musical tucked away in a small studio, where the tight space is used to cunningly versatile effect, and thankfully keeps the dodgy dancing to a minimum, though it's all hilariously tongue in cheek. A strong cast of unrefined talent delivers a heartfelt performance of an achingly heartbreaking story, complemented by a moving score played by an onstage band and wonderfully witty lyrics replete with punning that'll make your eyes pop. One superbly sung song entitled 'Liquid Sunshine' summed up this experience; it was theatrical sunshine at all times. So if you need to brighten up those dark Edinburgh evenings, go catch some rays with Ed.
C soco, 5 - 31 Aug, 10.15pm (11.15pm), prices vary, fpp 172.
tw rating 4/5
[tbo]

Guys And Dolls Junior
Take3 Theatre Company
Do guys ever grow up? In this endearing production, it is clear that dolls grow up faster, as it is they who carry this show: Lauren Mairs is excellent as Nathan Detroit's overbearing beau Miss Adelaide, in a peroxide blonde wig and squawking in a New York accent; in contrast Kelly McCabe is all poise, and sings beautifully as Miss Sarah. Marking the exception to the female dominance rule is William Reekie's lively rendition of 'Sit Down, You're Rocking The Boat', delivered with zeal and charisma, and heartily applauded by the audience when the lights go down. In short, here is a show with all the infectious enthusiasm of a school play, but with a number of standout performances.
Spotlites @ The Merchants' Hall, 5 – 10 Aug, 3.45pm (5.00pm), £8.00 (£6.00), fpp 171.
tw rating 3/5
[ras]

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THEATRE

Bob's Date
Nuts
In this light-hearted play –  reminiscent of 90s sitcom 'Herman's Head' – the cast each take on the role of a different aspect of one man's psyche, as he goes on his first date for two years. Stuffy, pompous Logic tries to keep order between a frustrated Libido and diminutive Confidence, while Nerves quivers excitedly on the floor. As if things weren't already complicated, Emotion turns up, her bitchy big-sister Memory in tow, when Bob's date reminds him of his ex. This interesting concept is let down by an uneven script and forced performances; the shallow characterisation may suit the characters' natures as aspects of their personalities, but it also robs the otherwise funny show of any real weight.
C soco, 5 – 22 Aug, 12.30pm (1.20pm), prices vary, fpp184.
tw rating 3/5
[al]

A Respectable Wedding
OnO Theatre
A family about to snap, just like their furniture. Does this sound familiar to you? Brecht's short play, here translated by Rory Bremner, will ring a bell with anyone who has had to suffer those excruciatingly inappropriate moments that so often afflict the average set of nuptials. The barely-there set showcases strong performances from all the cast, who guide the audience through dodgy dance moves, alcohol-fuelled come-ons and tetchy comments. This show is not for the faint-hearted, but will certainly make you laugh, whether that be at the rapid loss of glued furniture or the guests' own farcical behaviour. Either way, the resounding theme of these discordant squabbles is summed up by the proposition: "Anyone for a drink?" Make that a double.
C, Chambers Street, 5-15 Aug, 3.35pm (4.25pm), prices vary, fpp225.
tw rating 4/5
[nm]

Cigarettes And Chocolate
Braindead Theatre Company
Don't abstain from this theatrical treat. With this piece, adapted from Minghella's radio play, Braindead tell the story of a girl who gives up speaking for Lent; a silent protest against the white noise of a superficial society, blind to the suffering of others. Gemma's silence acts as a catalyst for those around her to spout guilt-ridden confessions, angry declarations and witty observations about life, London, and adopting Vietnamese children. The enthusiasm and energy of the cast make up for the sometimes unpolished nature of the performances, and while a braver adaptation might have set this radio classic more comfortably on its feet on stage, the end result is nonetheless engaging, humorous, and at times moving. You may want to discuss this one.
C Soco, 6 - 15 Aug, 6.55pm (7.55pm), prices vary, fpp186.
tw rating 3/5
[sw]

A Clockwork Orange
EatTheBaby Productions
Being one of the few who have neither read nor seen 'A Clockwork Orange' before, I approached Eat the Baby's production with an open mind. When the show began with actors speaking nonsense, I was concerned that this could be a very long hour ahead of me, having considered that Oxford students do not make for the most believable thugs. However, as the show continued, I was impressed; the distinct scenes kept the play interesting throughout, and the show was visually very creative. The cast was large and therefore not everyone had a chance to shine, but lead actor Jacob Taee's performance was compelling, and the two actresses should be commended for the variety of roles they undertook.
C, 5 – 22 Aug, 10.00pm (11.15pm), prices vary, fpp187.
tw rating 4/5
[jap]

The Dandelion's Story
Modli Theatre (Korea)
Greeted by a very friendly giant white puppy, any adult audience member will quickly realise that this show is mainly intended for children; but he or she will nonetheless be charmed by much of what follows. The story begins when the aforementioned dog does his doggy business and the resulting poo magically transforms into our surprisingly sweet faecal protagonist. The story is a charming parable of the natural world, told through narrative dance, which explores the existential theme of self-worth (ugly duckling style). A spectacular lights show is the highlight: young and old will be enthralled as stars dance before their eyes. The performances are faultless, the costumes marvellous, the special effects dazzling; overall, a beautiful production.
C, 5 – 31 Aug, 1.45pm (2.45pm), prices vary, fpp189.
tw rating 4/5
[cw] subbed nm

Don't Forget To Breathe
Clear Sky Theatre
Birdsong, a bench, and a burnt-out city boy who's missed his train. Insert a beautiful, mysterious stranger here and this forlorn and fidgety young man soon finds himself holding a one-way ticket to self-discovery, wondering “can a stranger really change your life?” After a slow start, moments of humour and subtle tragedy arise from actor-writer Paul Booth's sensitively portrayed Charles, well matched in Claire Reid's dreamy but incessantly probing Saz. You may begin to find the philosophical outpourings of this would-be guardian angel a little grating, but the production as a whole is perfectly watchable. Can a play change your life? This one probably won't, but why not take a seat and enjoy the views?
C Soco, 6 - 22 Aug, 11.25am (12.20pm), prices vary, fpp191
tw rating 3/5
[sw]

Lucky Dip
Stopped Clock
Writer Stuart Price brings a sweet twist to the idea of doing anything to win, despite this play's uneven balance between subtlety and farce. 'Lucky Dip' is about Doug and Frances, who meet when they take part in a competition to win £10,000; all they have to do to win is stay in their bathtub the longest. The resulting comedy is sometimes flat or crude, and the beginning is slightly fragmented with only an irritating ‘Late Night Love' DJ to anchor the narrative and set a forced mood with 80s love songs. Luckily, Price succeeds with his original concept, which works best without the farcical tone, and the warm connection between the leads - most effective in the bathtub moments - helps to create an infectious and winning love story.
C, 5 - 31 Aug, 1.30pm (2.30pm), prices vary, fpp209.
tw rating 3/5
[cd]

Monday
Freedom Tongues
A raw, intense experience, 'Monday' – written and performed by Gloria Williams – will leave you feeling like you've been punched in the gut by a sobbing child. Williams' performance is harrowing and mesmerising in equal measure, and hits home the fear and powerlessness felt by an abused teenager trapped behind the façade of her apparently normal life, hating her home but tied there by love. Williams' language is rhythmic and lyrical, encompassing myriad disparate dialects every bit as vivid and engaging as the human drama she portrays. Some of the play's symbolism may be slightly less nuanced and measured than the faultless performance and powerful, poetic script, but this is an outstanding, emotional piece which should not be missed.
C soco, 5 – 31 Aug (not 17), 8.15pm (9.15pm), prices vary, fpp212.
tw rating 4/5
[al]

The Shape Of Things
SPL
This is a simply staged and stunningly acted production of Neil LaBute's superbly written play that is funny, honest, provocative, and achingly sad. Revolving around the tangled love lives of four American students in a claustrophobic campus town, the script examines the boundaries of art, the constant acts of manipulation and betrayal involved in friendship and in love, and the redemptive significance that a single true moment can have. If you think it sounds a bit worthy, don't be put off – its also extremely funny and effortlessly watchable, mostly due to a cast who give committed and convincing performances that never strike a false note. Easy to watch, but difficult to forget. Go and see this play.
C, 5 - 31 Aug, 8.05pm (9.15pm), prices vary, fpp227.
tw rating: 5/5
[tl]

Time Out Of Joint
Heart Productions & Not/Applicable Theatre
Biographical information about Shakespeare is speculative and sketchy. Given. Does this mean a production, marketed as 'thought-provoking' and 'insightful' in its programme materials, can seriously include pillow and water fights between Shakespeare's mistress and former lover as possible events surrounding the writing of 'Hamlet'? I think not. Using quotes from 'Hamlet' in this ridiculous setting, postulating how Shakespeare thought them up, seemed more corny than clever. Of the three characters, the mistress is perhaps the most ill-conceived; suggested as the dark lady of Shakespeare's sonnets, she is portrayed as a clichéd French tart, 'oo-la-las' included. Between wondering whether the play was trying to make me laugh or think, it's safe to say I did neither.
C Soco, 5 – 31 Aug, 2.45pm (4.15pm), prices vary, fpp234.
tw rating: 2/5
[db]

The Trial
Belt Up Theatre
A central column. A pit of light and umbrellas. Who is judge? Who is jury? Androgyny and drum and bass. Guided only by miming actors and instinct and fear, audience is cast and cast are audience. Am I dreaming? Waltz to murmuring beats and circus song. But really, am I dreaming, in an empty room of LED lights and smoke and mirrors? Run against time into nothing, into no-where. Be afraid, intrigued. Laugh. Scream. Shake. Do not ask me where this started or how it got to its end or how it feels that Kafka is in the corner of the room, watching. Nodding. Don't ask why or how. Just go. Go.
C soco, 5 – 31 Aug, 11.20pm (12.30am), prices vary, fpp234.
tw rating: 5/5
[rrs]

Zeitgeist
Zen Zen Zo Physical Theatre
At times, it's disturbing. At others, it's downright disgusting. But it's always captivating, always original and always bursting with energy. Eight performers, wearing nothing but g-strings and a coat of white body paint, present a bold and often beautiful exploration of human interaction through a series of dance-theatre pieces, which will no doubt shock, thrill and astonish audiences. Portraying everything from shrieking babies to grotesque supermodels, Zeitgeist's performers are lithe, skilful and superbly expressive. It doesn't matter if you've never heard of Butoh theatre because Zen Zen Zo's raw, avant-garde approach appeals to your instincts over your intellect, leaving dream-like images etched onto your mind as you wander – somewhat dazed – out into the night.
C, Chambers Street, 5 – 31 Aug (not 17), 10.55pm (12.00am), prices vary, fpp 123.
tw rating 5/5
[rb]

Unit 46
Complete Wellness Productions
Unit 46 is a comic yet poignant look at the lives of two incompatible neighbours. Although it's sold as a ‘fly on the wall' account, the script can occasionally feel slightly too forced and self conscious, but the piece is effectively staged, and the set is built with an attention to detail that is reflected in the intricate characterisation. The performances are engaging from the outset, each one fantastically well observed and appealing in its own way.  Leof Kingston-Smith's Tim reads a stack of letters with such endearing enthusiasm, and Lucy Miller's Diane retorts with such candid audacity, that an audience cannot help but recognise and warm to them. This is an engaging and satisfying comment on our society's failure to communicate. 
C, Chambers Street, 5 –  31 Aug (not 17), 6.45pm (7.45pm), prices vary, fpp236.
tw rating 4/5
[nc]

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REVIEWERS: Ajantha Chandrasena [ac], Alice Kelpie [ak], Alistair Bagley [ab], Amy McLeod [am], Amy Powell Yeates [apy], Andy Leask [al], Anne Clark [arc], Barky Matthews [bm], Bethany Whiteside [bw], Chris Davis [cd], Chris Morphy-Godbear [cmg], Chris Wright [cw], Claire Koeshgerian [ck], Claudine Quinn [cq], Corinne Meredith [cm], Daniel Bjelis [db], Daniel Guerrero [dg], Deborah Klayman [dk], Dora Petherbridge [dp], Ellie Tuck [et], Felicity Thomson [ft], Gina Scott [gs], Gordon Bruce [gb], Grace Murray [gm], Hannah Atkinson [ha], Helen Harjak [hh], Iman Qureshi [iq], Isabel Nicholson [in], James Sharpe [js], Jasmine Phillips [jp], Jessica Pinkett [jap], Jonathan Brick [jb], Jonathan Durie [jd], Jonathan Kerridge-Phipps [jkp], Jonathan Tilley [jt], Kari McKenna [km], Kate Davis [kd], Kate Clarkson [klc], Katie Ruth Conaglen [krc], Kiran Gill [kg], Kirstyn Smith [ks], Laura Webb [lw], Lois Jeary [lj], Luci Wallace [lcw], Madeline Denny [md], Margarita Semsi [ms], Miles Morgan [mm], Nicholas Foulis [nf], Nick Coupe [nc], Nicola Merrifield [nm], Olivia Ivens [oi], Rahim Rahemtulla [rr], Ralph Scott [ras], Rhiannon Smith [rrs], Rhys Pearce [rp], Richard T Watson [rtw], Rob Jones [rj], Rob Cooke [rc], Rose Dykins [rd], Rosy Banham [rb], Ruth Johnston [rsj], Sam Pallis [sp], Sarah Nisbet [sn], Sarah Williams [sw], Sian Hickson [sh], Sophie George [sg], Susie Safavi [ss],Tadhgh Barwell O’Connor [tbo], Thomas Peel [tp], Tim Leach [tl].

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