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CHILDREN'S SHOWS

Baxterbear's Tales: Storytelling For All Ages!       
Baxterbear Ltd
This show is an hour of stories taken from the 'memoirs' of Baxterbear, told by Icelandic friend Snorey. Storytelling requires skill, particularly when you are aiming it at an audience of children, and although Snorey had a nice manner and possessed patience in spades, he failed to engage or command his small audience, allowing the kids to wander unchecked, and in fact pausing when they did to wait for them to settle. This took any momentum out of the piece, and meant the stories dragged on and failed to hit their mark. The language was also very grown up, as were many of the funny asides, which were enjoyable for the adults, but unsuitable for the age group it was supposed to cater for.
The Caledonian Hilton Hotel, 3 - 31 Aug, 2.00pm (3.00pm), £5.00, fpp9.
tw rating 2/5
[dk]

React! Impro For Kids
C Theatre
The reaction? Giggles, and lots of them, as this smiley quintet successfully tickled the crowd's imagination with their ridiculous props and nonsensical stories. Suggestions from the audience gave birth to characters such as the pumpkin man who lives on the moon and the three-headed sweetcorn salesman. Games that included speaking in gobbledegook, imitating bizarre party guests and enacting TV shows were skilfully conducted by a group who obviously love to entertain. The sound effects, meanwhile, emphasised amusing moments and quick lighting fades to black rescued the group when they couldn't find the words, ensuring scenes stayed snappy. If belly laughs from bearded fathers and gurgles from a bouncy baby are anything to go by, this fun five appeal to all.
C, dates vary, 1.20pm (2.05pm), prices vary, fpp15.
tw rating 4/5
[oi]

The Fairy Queen
Theatre Alba
Hidden away beside Arthur's Seat is a gem of a kids' show waiting to be discovered. It's a brave thing to stage an outdoor promenade production in Edinburgh, particularly one for children, but Theatre Alba are just that fearless. In this unashamedly Scottish production, Tammy Troll and Princess Peacha take you through the grounds of the Manse, as they attempt to rescue the Fairy Queen from the Wicked Witch and the Ugsum Kelpie. The children don't have a second to be restless, as the action moves quickly from one beautiful location to the next, with interactive songs to guide the way. It's slightly off the beaten track, but this show is well worth the trip, for the drama, danger and 'Draigons' along the way.
Duddingston Kirk Manse Garden, 3 - 16 Aug, times vary, £5.00, fpp11.
tw rating 4/5
[dk]

The Lion The Witch And The Wardrobe
Wendybird Productions
It's a shame Aslan didn't save us all a little earlier in this adaptation of CS Lewis's classic tale; despite extensive cuts to the story, the play seemed too long, especially for the smallest spectators. Additionally, the transition from wardrobe to woodland was clunky and the order of early scenes confusing, though engaging dancing, lively performances from the woodland creatures and a deliciously evil white-witch managed to recapture the young audience's attention. The main problem, however, was that the show lacked the essential fun of this adventure story, which no amount of noisily blasted snow could regain. The excitement of the Pevensie siblings was frequently hard to spot, and with the exception of young Lucy, the actors barely passed as children. Yawnia.
C too, 7 - 22 Aug, 3.10pm (4.25pm), prices vary, fpp12.
tw rating 2/5
[sw]

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COMEDY

3 Pints Of Laughter (2.114 Litres) Comedy Show
Sophie's Voice and Special Guests
Oh dear. Everyone knows stand up comedy is hard, which makes it unfathomable to me why someone so clearly devoid of any comedic talent would put themselves through this. The obviously uncomfortable comic – and I use the term in its loosest sense – was not only unable to tell a joke, but frequently struggled to complete a sentence. Her rambling, oft-repeated stories were staggeringly awful; so much so that I spent the first 45 minutes hoping this was in fact some inspired 'David Brent' style character, an intentionally unfunny comedy persona. Sadly not. Words really can't do justice to this show's atrociousness; please trust me when I tell – no, beg – you to avoid it at all costs.
Laughing Horse @ The Newsroom, 6 – 15 Aug, 3.00pm (3.55pm), free (non-ticketed), fpp105.
tw rating 1/5
[al]

Apocalypse Wow!
Dougie Hastings
Combining the insincerity of Blair with the pretension of Cameron, comedian Dougie Hastings depicts the shortcomings of fictional political leader William Hampstead in this satirical character-based comedy. Taking the form of a resignation speech to the press, Hastings draws on current affairs such as war, terrorism and the economic crisis - craftily adapting them to create a dark dystopian vision of future Britain. Although enjoyable and somewhat witty on occasion, the show felt disjointed at times due to the choppy, uneven nature of the character's blundering delivery. Overall, while generally well scripted and acted, 'Apocalypse Wow!' fails to do what it so boldly suggests in its title, to wow.
Laughing Horse@The Argyle, 6 - 30 Aug, 12.00 (12.30), free, fpp25.
tw rating 3/5
[sn]

Cheese-Badger (And Other Stories)
Tom Ovens And Frank Paul
With a name like Cheese-Badger it was difficult to go into this show with a serious face on. This double act did their best to work with the small crowd and venue, but unfortunately, many of the jokes lacked clarity and often the sketches went on longer than necessary. One of the young performers, Tom Ovens, had particularly good comic timing and great delivery; however, the pair didn't seem to spark off each other well enough to really ignite the audience. The title sketch focused on the secret agent Cheese-Badger and the story was picked up at various intervals throughout the show. This thread could have tied up the show neatly but was, instead, left hanging... less Brie, more Dairylea.
Laughing Horse @ The Hive, 6 - 30 Aug, 5.45pm (6.45pm), free, fpp34.
tw rating 2/5
[et]

Crimewhoppers
Karl Edrik
In this show, Karl Edrik tells the story of his life, from the early days as a 'disruptive' school pupil in the Shetland islands to his experience as a law graduate on the run for drug trafficking. In case any police are reading, Karl has served his time and is now an up-standing citizen giving back to the community as a stand-up comedian, though in truth he is better at telling stories than writing jokes. You will enjoy the Indian parable about the perils of alcohol and the tale of evading Interpol in Paris, but you are unlikely to contribute much more than the odd sympathetic chuckle to the proceedings. Nonetheless, not an unpleasant way to pass an hour.
Laughing Horse @ Espionage, 6 -30 Aug, 3.45pm (4.45pm), free, fpp 40.
tw rating 3/5
[cw]

Anil Desai – Stand Up Comedian
Chameleon Productions
A uniquely entertaining show, Anil Desai performs 52 impressions in 52 minutes. Much of his act is improvised; he relies on the audience for situations and jobs, before acting these out as a succession of 52 famous personalities, drawn at random from a deck of cards. The verisimilitude of some of the scenes was sacrificed for speed, and one or two of the impressions were a bit too much like caricatures (although he is right that Bob Dylan does sound like Cartman from 'South Park'), but he was consistently funny and memorable. In particular, I think the image of Arnold Schwarzenegger making love to Nicholas Cage is one that will haunt the audience for some time...
Gilded Balloon Teviot, 5 – 30 Aug (not 17), 8.45pm (9.45pm), prices vary, fpp25.
tw rating 4/5
[al]

Bitch Got Owned
Sajeela Kershi
A comedy show with the name 'Bitch Got Owned' was not the most appealing prospect, but it turned out to be a fairly enjoyable way to spend an afternoon. The comedienne at the helm was Sajeela Kershi, whose anecdotes mainly focussed on her Indian upbringing and a controversial previous show she was involved in. She came across well, but her routine lacked structure, some of the stories were confusing, and her requests for audience participation were a little ambitious, leading to a rather unsuccessful attempt to get us all to dance around the room. Not a must see show, but to give her the benefit of the doubt, Sajeela admitted that this was the first performance and improvements were to be expected.
Laughing Horse @ Espionage, 7 – 31 Aug (not 12, 19, 26), 5.10pm (6.00pm), free, fpp 30.
tw rating 3/5
[jap]

Katrina And The Wives
Katrina Thompson/kitty go miaow miaow...Production
A likeable comedienne, Katrina engaged her audience with her friendly disposition despite having only a handful of gags. Impersonating seven wives ranging from a posh Amy Winehouse to a depressed communications trainer, Katrina quickly confirmed her ability as an actress. Unfortunately, the comedy was often bland and uninspired, her spontaneity with audience responses wasn't as sharp as it could have been, and her wife resources were a little disappointing and lacked much topicality. However, the intimate audience were definitely on her side, and happily joined in when she wrapped up the show with a witty rendition of 'Always Look On The Bright Side Of Life'. Katrina – with some more exciting ideas – may one day ride the big comedy wave.
Laughing Horse @ The Counting House, 6 - 30 Aug (not 10, 17, 24), 5.00pm (5.55pm), free, fpp68.
tw rating 3/5
[cd]

Myth-Illogical Improv
Goats In The Shell
The funny thing about improv shows is that, although every performance is unique, at the same time they're all strangely similar, drawing on the same basic format to produce a brand of humour that centres on random scenarios and rambling narratives – rather like a game of consequences. Bristol's Goats In The Shell prove themselves experts in this genre, seizing on audience suggestions with energy and charisma, and conjuring an original array of comic characters as they construct their unscripted 'myth'. Despite their quick-thinking skills and imagination, however, the results are ultimately amusing rather than side-splitting. Hardly ground-breaking stuff, but an enjoyable enough lunchtime diversion, especially as it doesn't cost a penny.
Laughing Horse@The Argyle, 6 – 22 Aug, 12.40pm (1.35pm), free, fpp80.
tw rating 3/5
[arc]

Nik Coppin - Loquacious
Good Sense Of Humour/Laughing Horse Free Festival
Listening to him rant about a bad ThreeWeeks review he once received was the only time I felt slightly awkward during Nik Coppin's set; not sure whether he has amazing intuition or it was just a coincidence. With his desperation to make friends, and his beaming smile - which takes over his whole face - he puts his audience at ease from the outset of his show, which, as its title 'Loquacious' might imply, sees the comedian spending an hour talking bollocks. Not that this is bad; his anecdotes from his travels around the world are genuinely amusing, as is his repartee with the crowd, but it was easy to see that Coppin was, in this preview week, still testing what worked.
Laughing Horse @ Espionage, 6 - 30 Aug (not 19, 26), 7.20pm (8.20pm), free ticketed, fpp82.
tw rating 3/5
[tp]

The Downage
Hotdoctors
The words 'messcore', 'randomosity' and 'tomfoolery' appear on the leaflet for this show; enough to make anyone wary. 'The Downage' is a haphazard mix of video sketches and songs that appears to aim for a Mr Scruff-like charm, but remains pretty rough around the edges. Despite the messiness there are some good ideas on show here: a 'Cheers' videogame, a horse doing dressage to a hip-hop beat and a very clever sketch about an interview with John Trivulta and Drew Ba-REE-more. Unfortunately, none of this is quite enough to make up for the rest of the show, where nonsense and obscure famous-people references reign and perplex. The good bits have potential though, and polished-up this could be interesting.
Sweet Grassmarket, 6 - 16 Aug, 11.00pm (11.40pm), £7.00 (£6.00), fpp45.
tw rating 2/5
[nf]

Dr Gazeebo: The Case of the Missing Sock
Big Spoon Little Spoon/Laughing Horse Free Festival
Put together a Dr Who rip-off, a superhero spoof and a collection of rubbish sketches and you get this nonsense of a show. As the show began to unfold and Dr Gazeebo attempted to reclaim his sock from Captain Cuddles, it occurred to me this could have worked as a children's show, but when I heard lines like "I want to chew your anal beard", I realised that there was no category for something so utterly dismal and uncomfortable to watch. The actors themselves seemed aware that there was no hope as they stumbled around the stage, ad-libbing and delivering sloppy performances. It's free, so I guess they had nothing to lose, but it was still painfully unfunny and quite simply, a total mess.
Laughing Horse @ Edinburgh City Football Club, 6 - 30 Aug, 1.10pm (2.10pm), free, fpp44.
tw rating 1/5
[cd]

Domestic Goddi 2: How To Cope
Avalon Productions
Don't be fooled by the title: men are very welcome at this vaguely gynocentric sketch comedy show. The declared theme is not especially promising, but thankfully it is barely implemented; the only coherent thread is that all the sketches can be performed by two women. These are consistently funny, and in several cases quite brilliant, my favourite being 'Hot Gear', in which female versions of Clarkson and Hammond road test high heels. Rosie Wilkinson and Helen O'Brien bound energetically onto the stage as cheerleaders, and their performance maintains energy throughout. My only complaint is that one sketch is rather unkind to the Irish traveller population, but I suppose pretending to be Jeremy Clarkson might have that effect on a person.
Pleasance Courtyard, 5 – 31 Aug, 1.30pm (2.30pm), prices vary, fpp44.
tw rating 4/5
[cw]

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DANCE & PHYSICAL THEATRE

Boh
Espresso! Teatro Italiano: Sanpapié
A great show does not always need to be lavishly decorated with hi-tech lighting, a jam-packed soundtrack or complex props to be any good. The beautifully contrasting set and costume colours of black,  white and red in 'Boh' proved that sometimes less really is more. Through stunning choreography and an upbeat yet emotional musical score, the poetic and private world of Miss L, played by Lara Guidetti, is revealed. The use of a magical red wardrobe enhanced the theatrical enchantment, while, amongst the intimacy and intensity there were also several comic moments, such as that featuring a ballet-dancing red box, which had the audience in fits of giggles. A graceful and moving show, interspersed with some well-executed humorous moments. Simple but effective.
C, 5 - 31 Aug, 4.40pm (5.30pm), prices vary, fpp112.
tw rating 4/5
[lw]

The Simplicity Of Grasping Air
Lindsay John
This is the kind of arty performance piece that will leave the uninitiated thinking, "I could do that easily". But you couldn't. Combining aspects of dance, costume and installation into his work, John draws inspiration from the Japanese dance technique Butoh, choreographing the traditional grotesque imagery into the piece and wearing the white body make up. Each simplistic slow hyper-controlled motion is beautifully portrayed, masking the true intricacy and precision involved, while the soundscape, lighting, and moving imagery blend seamlessly to provide an intense half hour. If physical theatre influenced by performance art is your thing, this may be the virtuoso show of the Fringe. A legend within this genre, Lindsay John is a joy to watch.
Dancebase, 5 - 10 Aug, times vary, £5.00, fpp120.
tw rating 4/5
[bw]

The Wayside/Riff
Laila Diallo and Matthias Sperling
A dim orange light, a lone woman is tying her laces, reaching. The shoes are removed, the reaching persists. This is 'The Wayside' a new piece performed and choreographed by Laila Diallo which is bound to please contemporary dance fans, her use of motif and her controlled, graceful movements adding to her hypnotic, dreamy style. We then experience 'Riff': taking samples from Diallo, Matthias Sperling creates a tribute to her, featuring her work alongside excerpts from Forsythe and Jeyasingh. With commentary from a display screen, the names as well as the movements are muddled, combined and ultimately 'remixed' overhead. Sperling brings Diallo's choreography onto a par with two renowned choreographers; it's clear that he has every intention of imprinting her style in our minds.
Dance Base – National Centre for Dance, 7 - 16 Aug (not 11), times vary, £5.00, fpp123.
tw rating 3/5
[cm]

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MUSIC

Air Alba
Nancy Nicolson, Alistair McDonald and Tony Mitchell
Air Alba comprises seven shows promoting Scottish culture of which I saw only one – 'Nancy's Burns'. At this concert-come-history lesson, Nancy Nicolson welcomes all with the charm of a doting relative, and enchants her audience in the Royal Oak's intimate venue with tales of childhood, Scottish folklore and, of course, Robert Burns. It's tremendously endearing. As she invites volunteers to share a dram with her, you can't help think of family and fireside story-sharing; this is an experience unlike any other, and one is left feeling oddly changed as the show ends and the spell breaks. Nancy's talk is informative, her songs delightful. It might not be everyone's cup of tea, but you'll never feel more at home at the Fringe.
The Royal Oak, 1 - 30 Aug, times vary, £7.00 (£5.00), fpp137.
tw rating 4/5
[ac]

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MUSICALS & OPERA

An Improvised Musical
NoShoes Theatre
Ever wanted to stage your own Fringe show? Here's your chance; NoShoes Theatre take suggestions from the audience and, as long as you have a brilliant title, an intriguing setting or some interesting props with you, the talented cast will come up with a musical comedy replete with quite a few gags. These enthusiastic young actors with good vocal skills and a live band will turn an empty stage with nothing but a few chairs on it into the setting for something special; you might, for example, find out what happens if you go to the gym with amnesia and then decide to have a barbecue. As part of the responsibility of what is happening on stage lies with the audience, brainstorming before the show is recommended.
C soco, 5 – 31 Aug (not 17), 5.30pm (6.30pm), prices vary, fpp 172.
tw rating 4/5
[hh]

I Love You, You're Perfect, Now Change
Exeter University Footlights
You could be forgiven for thinking that a prerequisite for any self-respecting musical at the Festival is a sizeable slice of cornball Americana. This particular production of  this Fringe favourite doesn't disappoint when it comes to campy staginess, but the cast and crew also bring a great deal more to the table. The direction is inventive, and yet it has the feel of a well-polished performance, with the actors' timing spot-on and the choreography tight throughout. The two brightest stars are Alice Coulson and Glynn Jones, and they feature together in the show's piece de resistance, 'Tear Jerk', a brilliant duet which is a microcosm of the production itself: highly entertaining whilst also revealing truths about the relationships we pursue.
C, 5 – 31 Aug (not 17), 9.00pm (10.15pm), prices vary, fpp171.
tw rating 4/5
[ras]

Merrily We Roll Along
DULOG
Once a West End hit, Stephen Sondheim's 'Merrily We Roll Along' is taken on here by the ambitious Durham students' opera and musical theatre group. In general, the musical numbers are well-managed by the enthusiastic and talented cast, many of whom also play instruments on stage, and the story is intriguing, moving backwards in the life of a successful composer to an iconic starting point. However, considering its plot, the musical would benefit from better costumes and props: the barely existent set design doesn't help to convey a proper feeling of the period, which is a shame, as it would have been interesting to observe the changing times between the late 50s and the late 60s. Although diligently performed, there is nothing remarkable about this production.
C too, 6 – 31 Aug (not 18), 9.05pm (10.10pm), prices vary, fpp173.
tw rating 3/5
[hh]

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TALKS & EVENTS

The City Of The Dead Tour
Black Hart Entertainment
With a charismatic host, whose imaginative, witty and highly informative performance has the crowd hanging on his every word, this tour brings Edinburgh's haunted past to life with a journey into the covenanter's prison, lair of the world-famous Mackenzie poltergeist, which would normally be out of bounds to the public due to the frightening and inexplicable events that have occurred there. As the sun sets, the tour descends from humour and history into an unsettling atmosphere, and when the host unlocks the gate to the prison, you really question whether you have the guts to enter. This has everything you could want from a ghost tour: it left me feeling genuinely terrified and entirely satisfied.
Large Black Sign Outside St Giles' Cathedral, Royal Mile, 31 Jul - 31 Aug, times vary, £8.50 (£6.50) (£5.00 C), fpp124.
tw rating 5/5
[rd]

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THEATRE

Changing The Wheel – Bert Brecht And Me
Peter Thomson
We are still living in 'the Dark Ages'; that is the conclusion of Peter Thomson's one-man show, which raises a lot of good questions, but in the end resolves very little. Based on somewhat strange connections between Brecht's and Thomson's own life, it appears to be a political statement rather than a work of dramatic art; listing biographical information about Brecht and historical facts of the 20th century isn't very captivating, let alone informative to anyone who is aware of recent history. Although the ideals of Brecht's work are explained to a probably previously uninformed audience, 'Changing The Wheel' moves away from Brechtian theatre, becoming a passionate but fruitless lecture that even Thomson's charm as a performer can't save.
Spotlites @ The Merchants'  Hall, 5 – 31 Aug, 8.40pm (9.50pm), £8.00 (£6.00), fpp186.
tw rating 2/5
[hh]

Crave                                                                                                                                        Royal Holloway Theatre Company                                                               
If you want to see a masterpiece of British theatre directed and played by a genuinely talented company you must go and see this production of Sarah Kane's 'Crave'. A 24-hour diner is the perfect setting for this play, where the characters, A,B,C and M, voice their private fears, memories, regrets and desires. Lewis Collier in particular shone while playing the barman A, hitting the perfect note of Kane's darkly comic writing. The characters moved believably from humour to despair, weaving solo lines seamlessly into ensemble passages. Perhaps what needed to develop was a connection with the audience who, in this preview, remained quiet throughout extremely funny passages. Nevertheless this was a gem; professional, unpretentious and accessible.                                                          
C soco, Aug 5 - 31, 1.55pm (3.10pm), prices vary, fpp188                                             
tw rating 4/5                                                                                                                           
[km]

The Critic
Lincoln Company
The Critic strikes me as a theatrical rollercoaster; not the sort which takes you on a whistle stop ride of excitement and adrenaline, but one where you find yourself queuing for far too long, only to find the slow climb up detracts from the pleasure of the entertaining dips. Excluding an odd dance, the cast had fun with the wit of Sheridan's script, producing some charismatic double-acts while inserting some topical humour. However, this topical humour was hit and miss, and some of the comedy seemed obvious and clichéd which, when coupled with tiresome soliloquies, undermined the merit of the production. With enjoyable scenes marred by dragging moments, The Critic is more of a Log Flume then the Big Dipper.
C, 5 - 31 Aug (not 17th), 5.10pm (6.20pm), prices vary, fpp 189.
tw rating 2/5
[tp]

A Fistful of Snow
Castles In The Sky In Association With Hartshorn-Hook Productions
Back to Svalbard! Do another draft! Humour set in the Arctic Circle's snowy wastes soon melts in these balmy Scottish climes. This is a play that doesn't know what it wants to be, let alone what it is. There are some eureka moments when you think a true comic will step out of the surrealist scramble of genres, or perhaps a poignant piece about personal paranoia will appear but alas, no. Painfully, there is taped applause used throughout the show which only highlights its real counterpart's obvious absence; that said, Danny Alder is a charismatic and energetic performer with evident talent. Ultimately, Chester James - the protagonist - wants to write "a very simple comedy". Seems he'd have achieved that goal with this.
C soco, 5 - 31 Aug, 8.00pm (9.00pm), prices vary, fpp195.
tw rating 2/5
[tbo]

Foursome
Stopped Clock
The film 'Withnail & I' immortalised the phrase, "Even a stopped clock tells the same time twice a day". 'Foursome' offers something of the same comforting rationale. In a world that has a tendency to toss-up the odd horrific curve-ball, the indomitable nature of the human spirit in the face of adversity never ceases to amaze. A light-fingered, tragic-comic chamber piece detailing the loves and losses of two twenty-something couples, the play depicts the same consoling constants as Withnail's twisted timepiece. Its faults are illustrated by the flip-side of the conundrum: how best to confront the appallingly familiar? This keen troupe of talented actors can't quite hide the truth: we've all seen this script before.     
C soco, 5-31 Aug, 4:30pm (5:20pm), £7.50-£9.50, prices vary, fpp 196.
tw rating 3/5
[jkp]

Light Bites
Straylight Australia
Three short plays, totalling only thirty minutes, and it's just as well; while Straylight's performers were certainly competent, they struggled to bring this revue to life. Most poignant was the central play, where the audience was invited to join a bereaved husband coming to the slow realisation that his love was gone forever. The production didn't quite manage enough empathy, but was an intelligent piece of writing nonetheless, more than can be said for its accompanying pieces. These lacklustre comedies milked only a handful of good ideas, and the overall effect was as unfunny as it was laboured. Audiences are invited to take in a second trio of 'Light Bites'; these might be more impressive, but I wouldn't hold my breath.
C Soco, 5 – 31 Aug (odd days only, not 17), times vary, prices vary, fpp206.
tw rating 2/5
[ac]

The Lover
The Lincoln Company
"Is your lover coming today?" I won't spoil the ending by answering that question, but in this venomous rendition of one of Pinter's early plays, you are never entirely sure who is telling the truth within the portrayal of a marriage surely built to keep sexual relationship counsellors in business. Verbal darts are thrown with relish between the two cast members, whether discussing the state of the venetian blinds or the extra-marital sexual relations of the other ("You looked. Why shouldn't I look?"). Yet at times the delivery seemed slightly monotone and could have benefited from slightly more characterisation of each different role in order to avoid confusion. In true Pinter style, he keeps you guessing until the end.
C Soco, 5 – 17 Aug, 9.25pm (10.45pm), prices vary, fpp208.
tw rating 3/5
[kd]

Once A Catholic
Southampton University Students' Union Theatre Group
There are laughs to be had in this erratic comedy of Catholicism, but they offer no sanctuary to a script in urgent need of salvation. Set in a Catholic girls' school in 1950s London, this should be a  comedic critique of the church's sometimes cruel, always doctrinal role in education, but Mary O'Malley's 30 year old play has not aged well. Relying on crude Irish stereotypes to get its laughs and on bland teen dilemmas for drama, it produces a few of the former and none of the latter. It is gamely staged by an energetic cast, but this production is uncertain whether it wants to be ribald farce or coming of age comedy. In the end, it's neither.
C, 5 – 21 Aug (odd days only), 12.00pm (1.10pm), prices vary, fpp216.
tw rating: 2/5
[tl]

Or[f]unny
Espresso! Teatro Italiano: Animanera
Potentially a warning to all parents about what might happen when two children (played by adults) are left at home with no mummy, this outcome is illustrated in a disturbingly sexual manner. Relying mostly on mime and an exciting soundtrack, the most 'interesting' – safest word, I think - moment was probably as the girl basted and stuffed the boy like a turkey, finishing with a seasoning of tomato sauce and toothpaste poured all over his naked body. Although, watching someone lick up biscuit crumbs while masturbating was certainly different. Due to the passionate performances and slick technical execution, 'Or[f]unny' left me torn as to whether I'd seen something insanely brilliant or just simply insane; a bloody good laugh though!
C Soco, 5-31 Aug, 21:35 (22:35), prices vary, fpp217.
tw rating 3/5
[cd]
 
Shakespeare For Breakfast
C Theatre
This brief and irreverent adaptation is an energetic, engaging and entertaining production that draws the full comic potential from Shakespeare's text. The young company conjures a refreshingly flippant take on 'A Midsummer Night's Dream', reduced to less than one hour and served with coffee and croissants. There are some delightfully caricatured performances from the vivacious cast, who manage to remain compelling and amusing despite being on at such an early time. The complexities of the text are treated with a playful intelligence that allows some fantastically irrelevant departures from the original plot and breathes new life into the characters and situations. This long-established Fringe institution has managed to remain fresh and engaging: a tasty and nutritious start to the day.
C, Chambers Street, 5 –  31 Aug, 10.00am (10.55am), prices vary, fpp226.
tw rating 4/5
[nc]

The Yellow Wallpaper.
Ethereal Pants.
Gothic drama is famed for its melodramatic tendency, something sadly not missing from this otherwise commendable adaptation. The plot is confused being not only about, but having its own, restless agitation, and too much emphasis is placed on physicality which, in the confined space, quickly becomes farcical. The use of a slightly (and irritatingly faltering) heightened RP fails to help the period setting of the piece. There is, however, quality acting in this (almost) one-hander with a simple but effective set, the expertly chosen soundtrack supporting moments of stunning aesthetic beauty which allows this overtly feminist work to be widely accessible. At times all will "weary of reiterate refrain" but this is an insightful production playing with interesting concepts.
C soco, 5 - 31 Aug (not17), 11.40am (12.40pm), prices vary, fpp241.
tw rating 3/5
[tbo]

All About Me
Lynn Ruth Miller
Could you do three shows a day for an entire month? Most casts would refuse to. Lynn Ruth Miller jumped at the chance, and she does it alone and in style. 'All About Me' is a collection of stories from Miller's own life as a child in depression era America. Her beautifully told tales evoke memories that at times overcome her with emotion and as an audience member you can't help but be moved. Sometimes the pace drops but you really won't care, because she's totally captivating. With her you laugh and very nearly cry while listening to this fascinating oral history. However don't be fooled: Lynn Ruth is not an old fogey, she's bursting with energy, slightly wacky, but always wonderful.
Laughing Horse @ The Counting House, 6 - 30 Aug, 3.45 pm (4.35 pm), free, fpp178.
tw rating 4/5
[tbo]

Parents' Evening
Tickled Pig Productions
On entering the performance space, I was approached by an effusive gentleman, who slapped a nametag onto my chest, urged me to take a glass of squash, and heartily assured me of my son's academic capabilities; the skilled cast of 'Parents' Evening' offer up a host of funny, sharply observed academic stereotypes, from the barking PE instructor and his young Aussie sidekick, to the cringey English teacher who's having it off with the secretary. The audience's reluctance to partake when it all becomes interactive actually serves to recreate the awkward dynamics of a real-life Parents' Evening, but while performances are sterling, the show's content and structure is found wanting. A play with great potential, if only the material matched the performances.
Sweet ECA, 6 – 30 Aug (not 17), 5.30pm (6.30pm), £8.00 (£7.00), fpp 219.
tw rating 3/5
[rb]

The Shade Ain't Right
The Lincoln Company
A talented cast, gorgeous set and witty play, 'The Shade Ain't Right' opens fantastically, with the two leading ladies singing the blues with their spectacularly soulful voices. Inspired by Josephine Baker, the show is set in the dressing room of 1920s Harlem Club, set off by kitsch props that accurately depict that era and lend some glamour. Dealing with the thorny theme of racism with entertaining dialogues and deftly layered humour, it is cleverly done; sitting in the front row I became perturbed when a scuffle appeared to be heading towards my lap, but despite the play's convincingly shambolic demeanour, everything was in control. If you want to see some dazzling acting in an intimate venue then this is a show for you. I was disappointed when it was over.
C soco, 5 - 18 Aug, 12.55pm (1.45pm), prices vary, fpp226.
tw rating 4/5
[bm]

Jordy Pordy: Taking The Bull By The Horns
Performed By Jordan Herskowitz
Have you ever wondered what goes on inside a mascot's head? This autobiographical one man show is here to expose the person behind the giant face and oversized football jersey, and Jordan Herskowitz gives an energetic, likeable and evidently heartfelt performance. However, the script tended to rely on clichéd phrases and Jewish stereotypes to an almost painfully predictable degree, taking the safe option too many times when exploring different characters and scenarios, and sometimes his depictions of family life came across as slightly too sugar-coated and overtly sentimental. Despite this, Herskowitz was an enthusiastic performer, sensitive when sharing his personal experiences as a brother to siblings with cystic fibrosis, and confident in raising the awareness of the importance of organ donation.
Sweet Grassmarket, 6 - 30 Aug (not 17), 8.20 pm (9.15pm), £9.00 (£8.00), fpp203.
tw rating 3/5
[kd]

Beggars Belief
Out of the Window Productions
Five friends engrossed in a game of Monopoly: it sounds like the recipe for a fun and cosy night in, but for the characters in 'Beggars Belief', it is a recipe for disaster. With one confused over a supposed visit from God, another cheating on his girlfriend (another player), and the other pondering over the absence of the final player, the antics of this original comedy make for a greatly enjoyable show. Although a slow starter, the intriguing plot gripped me and by halfway I was fascinated. The beauty is that, while being a light-hearted comedy, it has a serious element and explores the nature of relationships. Understated, witty and with a talented cast, this is one for your list!
C Cubed, Brodie's Close, 6 – 31 Aug (not 18), 6.35pm (7.35pm), prices vary, fpp182.
tw rating 4/5
[mm]

Chronicles Of Long Kesh
Green Shoot Productions
Long Kesh, aka Maze Prison, was Northern Ireland's most infamous prison; it housed prisoners who had been interred without charge, and in 1981 ten prisoners died there during a hunger strike. This enthralling, powerful play chronicles the history of the prison, interweaving the stories of the guards, Republican and Unionist inmates, and their families. Martin Lynch's razor sharp script cleverly avoids favouring any side politically, instead treating the audience to an immersive, intelligent reflection of life in the H Blocks. It deftly avoids any urge to be maudlin or overly dramatic, and uses a range of songs to reflect camaraderie and division within the communities affected by the Troubles. Comparisons with Gregory Burke's 'Black Watch' are inevitable, and fully justified.
Assembly @ Assembly Hall, 6 – 30 Aug (not 10, 17, 24), 12.00pm (2.00pm), prices vary, fpp186.
tw rating 5/5
[al]

Mother/Son
Written And Performed By Jeffrey Solomon
For many mothers, a son's homosexuality can be difficult to accept. In this way, Bradley's mother is in no way unique. Jeffrey Solomon's solo play explores the strain that such revelations can put on a family, as a woman learns to overcome her own prejudices, which before now had lain dormant. Solomon's portrayal of both characters is entertaining and skilfully executed, but the script tends to lack the subtlety required for truly 'laugh out loud' comedy. Equally problematic is the speed of the narrative, which gives little time to examine the causes of prejudice (other than Bradley's mother's desire for grandchildren).This little play should be applauded for its big ambitions, but sadly, it fails to live up to them.
Sweet Grassmarket, 6 – 31 Aug (not 17), 5.35pm (6.45pm), £9.00 (£8.00), fpp212.
tw rating 2/5
[rc]

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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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