WHERE DID MY EDAILY GO?
Due to a few IT gremilins eating an edition of the eDaily you will have noticed a 48 hour gap between bulletins - sorry! This is a bumper edition to make up, and you should now be getting a daily dose of all things ThreeWeeks by email each day until Monday 31 Aug.

If you're looking for back issues of either our print daily or eDaily editions, you can link to them from here (the print dailies will download as a PDF...

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CHILDREN'S SHOWS

It Was A Dark And Stormy Night
Wizard Presents Storytellers Danya Miller & Louise Coigley
Gone are the days when I would pluck a book from my shelf, toddle over to my bottom bunk and delight in my parents' two hundred and thirty third rendition of an Ahlberg classic. Danya Miller and Louise Coigley allowed me to regress - but this time without the need for a plastic sheet - as they wrapped the auditorium in a blanket of soothing tones and enacted the tale of Antonio, an Italian boy kidnapped to tell stories, with a warm friendliness; unfortunately, though, the atmosphere of wonderment they created was sometimes broken by stilted lines and drops in pace. The days of bedtime stories may be in my distant past but I have a new found yearning for that bottom bunk ritual.
Scottish Storytelling Centre, 7 - 14 Aug, 1.00pm (1.50pm), £7.50 (£5.00), fpp12.
tw rating 3/5
[oi]

Doctor Austin & Doug Safety's Time-Tastical Time Tale
Time-Tastical Productions
Shhh! Adults, don't let your children realise you don't know want entropy is...! Kids will learn lots about the world of time and science in this show packed full of bangs, explosions, electric shocks and experiments (which almost always go to plan) at the hands of this likeable double act. Puppetry, audience participation and (perfectly scientific) circus tricks all bring learning to life, while toilet humour is literally embodied on the stage in the form of Doctor Austin's portaloo cum time-machine. There are few jokes levelled at adults, but spectators tall as well as small were kept entertained by the abundance of liquid nitrogen: what's not to love about that smokey stuff?
Underbelly's Hullabaloo, 8 - 31 Aug, 2.50pm (3.50pm), prices vary, fpp10.
tw rating 3/5
[sw]

Patrick Monahan's Stories And Fables For Kids That Like To Sit At Tables!
Phil McIntyre Entertainment
They say you should never work with kids, and I agree, unless you are Patrick Monahan. Effortlessly combating their unruliness, spontaneity, and inadvertent humour by being spontaneous, humorous and imaginative, it is easy to see that Monahan never lost that childish sense of play that is too often discarded as we grow into petulant teens and morose adults. Set in exotic lands, Monahan's amusing allegorical anecdotes and repartee caters both for the kids and the parents. Relying as much on the audience's participation as his flock of sheep as he does on his slideshow of sketches, Monahan transports the older generation back to their childhood, and the younger generation into a land far, far away.
Gilded Balloon Teviot, 7 - 30 Aug (not 17), 1.30pm (2.25pm), prices vary, fpp14.
tw rating 4/5
[tp]

Dilly Dilly
Tabula Rasa Dance Company
Dilly Dilly is probably a flower who likes to dance. And why not? At Dance Base the slogan is "Give Dance a Chance", and this particular dance gives younger folk a chance to see a cute and charming performance. The garden set is beautiful. The dancing is assured, but maintains an air of childlike wonder as Dilly Dilly gradually learns more about herself and the natural world around her. The way that dance and nature is mixed seamlessly with video makes this a good introduction to dance for the young TV literate generation accustomed to programmes like 'The Teletubbies'. While not a show for dance purists, its engaging opening and style mean that 'Dilly Dilly' is pitched perfectly at its target children's audience.
Dance Base - National Base for Dance, 5 - 16 Aug (not 11), 10.30am (11.15am), £5.00, fpp11.
tw rating 4/5
[rtw]

The Wind In The Willows
Cambridge University ADC
The story of Toad is perhaps one of the most famous children's tales in the English language, yet this production has such vibrancy that it seems brand new. The charming costumes and inspired props assist an extremely talented cast in creating characters that entertain and engage the audience. James Walker's Toad is captivating and energetic, and director James Moran's playful adaptation of the script is fresh and amusing, with an appropriate balance between slapstick and character driven humour. The staging is delightfully creative and well managed; even the set changes are entertaining. This children's show is definitely not just for children; The Cambridge ADC has created a stunning and memorable 'Wind In The Willows' that will appeal to all ages.
Gilded Balloon Teviot, 5 - 31 Aug (not 18), 12.30pm (1.40pm), prices vary, fpp17.
tw rating [4/5]
[nc]

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COMEDY

Dan Willis: Control-Alt-Delete
Dan Willis/Laughing Horse Free Festival
Imagine your favourite teacher or lecturer from the past - were they likable, friendly, and passionate about their subject? This is Dan Willis. Clearly, an enthusiasm for computer programming is helpful in a stand up show about such a subject, but whether this is enough is open to question. Still, whilst Willis' show isn't exactly a riot, his amiable manner and great delivery mean passing an hour in his company is not at all unpleasant, and there's a chance you may even learn something. His tendency to wander off the subject is more endearing that it is annoying, and whilst it isn't necessary to know anything about computer programming to enjoy this, it is certainly helpful if you are, like him, a self confessed geek, and proud of it.
Laughing Horse @ Espionage, 6 - 30 Aug, 6.10pm (7.10pm), free ticketed, ffp41.
tw rating 3/5
[ha]

Dave, Mark and Teddy- How to Fake Basic Human Emotions
Laughing Horse Free Festival
This show should have been called: shit, shitter and shittest, as each subsequent act was worse than the last. When you have to resort to jokes about your grandmother raping you, I think it's time to stop, and I think my fellow audience members thought so too; I was appalled, disgusted and quite frankly embarrassed at the level of crudeness on display here. This probably sounds prudish, but there is a skill in combining coarseness with wit - a skill these three clearly lacked - along with comic timing, story-telling and charm. Many of the jokes needed explaining, and I wish they hadn't bothered: sometimes ignorance really is bliss. They were rather apologetic about their show; perhaps they too knew it was bad.
Laughing Horse @ The Hive, 6 - 31 Aug, 7.00pm (8.00pm), free, fpp42.
tw rating 1/5
[sg]

The Free Late Show
Yariv Perelmuter/Laughing Horse Free Festival
Judging a stand up comedian after only seeing one performance can be cruel; there's no other kind of comedy that is liable to change so much from night to night depending on the audience and performer. Israeli stand up Yariv Perelmuter had a bad night when I saw him, and while a sullen audience gave him little to work with, his weak material, disjointed set and a palpable lack of confidence and preparation all let him down. Then again, it was his first night. He's got time to hone and improve his act, so why not stop by later in the run and see how he's getting on? It's a free show, so you've nothing to lose.
Laughing Horse @ Jekyll & Hyde, 6 - 21 Aug (not 13), free, fpp 52
tw rating: 2/5
[tl]

It Speaks! Tales Of A Reluctant Showgirl
Ophelia Bitz
This is a confusing and unstructured show that at times appears to be nothing more than a loosely veiled ego trip. The show is presented in a cabaret style, although there is often no progression between songs and routines, resulting in an unfortunate jukebox feel. In the show's favour, the songs themselves are consistently impressive, Ophelia is clearly talented, and can sing with a heartfelt emotion that could extend beyond this small venue. However, the piece is undermined by its confusing and annoying links as Ophelia drops character in order to check her running order, or comment on 'the magic of theatre'. Perhaps the show will become more structured as the run progresses; although it missed the mark tonight, these confessions clearly possess potential.
Laughing Horse @ The Newsroom, 6 - 22 Aug (not 10, 17), 11.15pm (12.10am), free, fpp61.
tw rating 2/5
[nc]

It's Got Jokes In - Free
Catie Wilkins, Hannah George and Lou Sanders/Free Festival
Meet Hannah, Catie and Lou - possibly three of the most uninhibited but very funny young ladies providing laughs aplenty for free this Fringe. Hannah George (and her booming, female-Blessed style voice) succeeded as the glue holding everything together, and her excellent natural ability to recover maintained momentum when some jokes were less well received than others. Catie Wilkins may have failed to extract intimate details of audience members' sex lives but the remainder of her stage time was great entertainment. Lou Sanders had the best comic timing, particularly with her anecdote regarding bizarre train announcements about an ill-stocked buffet carriage. Complete with risqué jokes, unintentionally funny technical difficulties and quirky personas, 'It's Got Jokes In' was well worth a visit.
Laughing Horse@Espionage, 6 - 30 Aug, 3.35pm, free, fpp 61.
tw rating 3/5
[mm]

Lewis Schaffer- Bigger and Blacker
Lewis Schaffer/Laughing Horse Free Festival
"How am I doing?" Lewis Schaffer rhetorically asks his audience, knowing full well that he is completely self-destructing before our eyes. Comparing himself to an autistic kid having an "emotional dump" on stage, the New Yorker tries to persuade us that the sense of discomfort created by his extreme lack of confidence makes him a "niche market", setting him apart from convention. An interesting idea, and at times there is humour in his self- awareness and apparent desperation to get off stage, but this is overridden by his repetitive and un-insightful lectures about nationality. The highlight of the show was when he threw a timer in frustration, ending his performance, which he accurately described as a "hostage situation".
Laughing Horse @ The Counting House, 6-30 Aug, 6.40pm, free, fpp 72.
tw rating 2/5
[rd]

Mark Restuccia and Toby Brown: Undiluted
Mark Restuccia and Toby Brown
Like Jimmy Carr before he presented mind-numbing quiz shows on Channel 4 and when he was actually fresh and funny, Mark Restuccia and Toby Brown produce comedy by inverting normal day to day topics into funny yet sickening punch lines. They're to be found in the depths of C soco, and watching the pair is not a bad way to unwind after a hectic day at the Fringe. From the subject of finding your first grey pube stuck in your mother's mouth to the matter of wheelchair-bound basketball players wearing specialised trainers, Mark and Toby don't provide the most hilarious or intelligent comedy, but do raise more than a few laughs from the audience. They have potential for improvement, but I hope they stay away from Channel 4's quiz shows.
C soco, 5 - 31 Aug, 9.00pm (9.50pm), prices vary, ffp75.
tw rating 3/5
[tp]

Afternoon Tea
Gemma Leader and David Kelly/PBH's Free Fringe
One way to guarantee that you pack out a venue on the Free Fringe is the offer of free cake, and so it was that we were at capacity in the Voodoo Rooms Speakeasy. The scene was set for a thoroughly civilised hour, but one that, unfortunately, failed to entertain. Although both Gemma Leader and and David Kelly are perfectly affable and accomplished performers, there was very little connection with the audience, strange for something that initially seemed so friendly. The material was also fairly weak and seemed unrehearsed, with banter between the two needing to be sharpened up. I'm sure that later in the run it will be knocked into shape, but as it is, this needs some work.
The Voodoo Rooms, 8 - 28 Aug (not 17), 3.40pm (4.40pm), free, fpp20.
tw rating 2/5
[ras]

Posh And Trampy Do Some Comedy
Lou Sanders & Tania Edwards With Special Guests
They say you should never judge a book by its cover and that is good advice when applied to this show. Despite the trashy sounding title, the standard of humour on offer has aspirations to the upper classes of comedy. Genuinely funny jokes combined with personable styles of delivery to create just the right atmosphere for some brilliant banter. Both comediennes were possessed of likeable qualities, and Lou Sanders in particular had a very engaging glint in her eye. Jekyll and Hyde is a quirky little venue where punters enjoy spending time basking in its bizarreness; the benefits of free comedy of this standard, as well as the intoxicating effect of the bar will surely prove alluring to the lunchtime crowd.
Laughing Horse@Jekyll & Hyde, 6 - 22 Aug, 12.00pm (1.00pm), free, fpp88.
tw rating 3/5
[bm]

The Canterbury Tales
Tabard Productions
'The Canterbury Tales' is a quick and energetic romp through Medieval England with stories of knights, cuckolds, cockerels and of course, fair (and sometimes very naughty) maidens. Careening through several of Chaucer's adapted Tales in under an hour, the direction and harmony of this production is solid, and actors slip seamlessly in and out of various characters. The stand-out performance comes from Tom Garner, most memorable in his role as the Miller, whose subtle intonations and facial expressions provided a texture that contrasted with the more monotonous delivery of the rest of the cast. On the whole however, 'The Canterbury Tales', loud and rambunctious with little variance, falls somewhat flat, and the production is mildly amusing at best.
C too, 6 - 31 Aug (not 18), 6.45pm (7.45pm), prices vary, fpp185.
tw rating 2/5
[iq]

The Dark Party
The Dirty Brothers
Solemn, sad and silent, this trio put their bodies through a series of inventive punishments like a troupe of particularly gloomy and violent clowns. The chewing of glass, the licking of mousetraps and electric shocks to the nipples are just part of a night's work for The Dirty Brothers, but despite the eye watering masochism on display, it's curiously not very involving. The pace of the show is far too slow, moments of wit are rare, and by the end, it is hard not to feel that you are simply watching three men hurt themselves for no particular purpose. If you are after a bizarre late night spectacle then this might hit the spot, but don't expect to laugh, just to wince.
Underbelly's Hullabaloo, 7 - 29 Aug (not 18), 10.40pm (11.40pm), prices vary, fpp42
tw rating: 2/5
[tl]

7 Deadly Sketches
Stage And The Hands
There's nothing in this show that has not been done before, and done infinitely better. The approach is lifted straight out of Python, a sketch on the Crystal Maze is 15 years too late and far inferior to Adam and Joe's efforts, and the highlight of the entire show is an updated Abbot and Costello routine. The group's youthful bravado does not translate to stage presence, and it had the feel of a badly organised Sixth-form talent show. Gimmickry abounded: 3D glasses, Chupa-chups, and a variety of sound effects coordinated by the (rather talented) sound technician. I'm afraid that just because, in meta moments, you refer to the sketches as "shit", it does not stop them actually being just that.
C central, 7 - 15 Aug, 9.10pm (10.00pm), prices vary, fpp95.
tw rating 1/5
[ras]

Des Bishop: Desfunctional
Lisa Richards & EdCom
"I'm not a shocking comedian", Des Bishop declares. Maybe not, but his stand-up show does have a rather shocking central theme, the idea that laughter may not always be good for you. Making jokes is a sign of emotional illiteracy, the American-Irish comic explains, reflecting on his own hang-ups with honesty and self-awareness. Fear not, however, he does deliver laughs aplenty along the way, in a relaxed performance that pinpoints aspects of Irish culture with hilarious accuracy and moves seamlessly between such diverse topics as the weather, adolescence, and the moral imperative to masturbate. Can't help hoping that Des doesn't overcome his emotional illiteracy just yet, and keeps the jokes coming.
Assembly@George Street, 6 - 30 Aug (not 17, 24), 8.45pm (9.45pm), prices vary, fpp 43.
tw rating 4/5
[arc]

The News at Kate
PBH's Free Fringe/ Kate Smurthwaite
Comedy that cuts through the crap. The News at Kate is a topical show that presents news events, politics and a few celebrity stories, inviting us to see beyond the propaganda and laugh at what is left. Highlighting the ludicrous truths about our democracy, charming and opinionated Kate Smurthwaite compares our parliamentary elections to the Big Brother voting system; you'd really rather just vote to get rid of the whole thing. Other targets include the BNP, Jeremy Clarkson, and the Christian Party, who, Kate reveals, have a policy of removing the dragon from the Welsh flag due to its satanic connotations. Smurthwaite's political conscience and her light-hearted approach make the show really enjoyable, and an effective platform for transmitting her manifesto of progression and common sense.
The Voodoo Rooms, dates vary, 8.25pm, free, fpp81.
tw rating 3/5
[rd]

One Man Lord of the Rings
Underbelly Productions
One ring to rule them all, one man to act them all! Charles Ross, the playwright and actor behind the critically acclaimed 'One Man Star Wars Trilogy', returns this year with his highly anticipated follow-up, 'One Man Lord of the Rings'. With no props, music or costumes and equipped with only a bottle of water, Ross relies solely on the power of his masterful impressions to propel this hysterical show forward. From the booming voice of Gandalf the White to the high-pitched whimpering of Sméagol, Ross depicts the mannerisms and individual traits of each character with amazing precision, adding his own touches of parodic humour while staying true to the fundamental spirit and pathos of Jackson's films. A truly fantastical performance.
Underbelly's Pasture, 6 - 16 Aug, 8.35pm (9.35pm), prices vary, fpp84.
tw rating 4/5
[sn]

The Oxford Imps
From the first second of the first minute, The Oxford Imps commanded the rapt attention of their audience. With the traditional 'Whose Line Is It Anyway?' style crowd participation format, short games involving time warped scenes and theme-based joking kept up the pace, and any comedy troughs were soon overcome with new tidal waves of humour. It was in the truly bizarre extended sketches, however, that the team's collective genius shone. One story on the theme of 'Aardvark' began with a zoo escape and ended raucously with two characters murdering receptionists to satiate a TV exec in return for a CBBC show slot; this is the kind of chaos you can expect from a refreshing, unabashed, hilarious and, of course, impish team.
Gilded Balloon, 5 - 31 Aug, 3.00pm (4.00pm), £9.50 (£8.50), fpp 84
tw rating 4/5
[gb]

Alistair Barrie - Happiness
Good Sense Of Humour / Brett Vincent For Underbelly Management
As Barrie notes, for a show called 'Happiness', there is a lot of misery in the material. Luckily, the audience were kept happy by his hilariously caustic commentary on the ills that plague modern life in Britain. Barrie is at his funniest when delivering his blisteringly funny rants (his tirade on racism in South Africa alone was worth a fiver). The audience's happiness was marred only by a few gimmicky elements: poor quality AV segments and a man dressed as Kathy Bates. These were unfunny and distracting, and seemed to have been shoehorned in to try and make the show different. There is no need for this; Barrie is an excellent stand up comic, and he should be happy with that.
Downstairs at the Tron, 6 - 30 Aug (not 19), 7.40pm (8.40pm), £5.00, fpp22.
tw rating 4/5
[al]

Double Penetration
James Mason &Michal Grobelnyl/ PBH's Free Fringe
Crude, clumsy and unoriginal are just a few of the words that spring to mind when describing the chaotic affair that was 'Double Penetration'. What initially promised to be a 'strategically funny outlook of exasperation', instead turned out to be a messy concoction of cheap gags, failed attempts at deadpan humour and sexist jibes, in which alternative stand-up comedians James Mason and Michal Grobelnyl embarrassingly struggled to gain a rapport with their increasingly restless audience. The performance reached its catastrophic climax when, on losing the flow of his routine, Grobelnyl broke down, blaming the unsympathetic crowd for his comedic failings. Double Penetration? The best option with this show would have been total withdrawal.
The Illicit Still, 8 - 29 Aug, 4.20pm (5.20pm), free, fpp45.
tw rating 1/5
[sn]

Eric's Tales of the Sea: A Submariner's Yarn
Eric
I could never have anticipated such an emotional rollercoaster from a comedy about submarines. As Eric talks the audience through his time in the Royal Navy, he juxtaposes humour with life-threatening situations, relentlessly shifting between the two, and completely screwing with our emotions. His sublime comic timing and his skill for story-telling has everyone engrossed as he describes the adventures, dangers and laughs he experienced as a submariner, but the overwhelming theme of the show is one of friendship. The audience is hushed as he takes us to the edge of tears, before abruptly switching gears, replacing the expectant silence with laughter. Thrilling, witty and inspirational, 'Eric's Tales of the Sea' leaves you feeling uplifted and emotionally drained. A one in a million show that I can't recommend highly enough.
Just the Tonic @ The Caves, dates vary, 2.40pm (3.40pm) , £5.00, fpp48.
tw rating 5/5
[rd]

Iona Dudley-Ward's A Bit Of A Character
Iona Dudley-Ward
With character comedy, you succeed or fail on the authenticity of your creations: they have to seem real to the audience, but to make us laugh, they must cross the boundary into the absurd. First up is Lyn, the confidence coach, whose every mannerism is incredibly well-observed and excruciatingly self-conscious, even her nervous-but-firm handshakes. The way this persona engaged the audience shows how confident a performer Iona Dudley-Ward is. Her physical characterisation interests the crowd further with the next creation, Genevieve the dance instructor, who constantly breaking into little jukes and jives as the mood takes her. This production is worth a look if only for the quality of the stronger characters; the hilarious concluding film of Lyn attending a dinner party only left me wanting more.
The Voodoo Rooms, 8 - 28 Aug, 12.00pm (1.00pm), free, fpp60.
tw rating 4/5
[ras]

A Betrayal Of Penguins
John Gallagher & Matthew Smyth
They're charming, and not just because they're Irish; Matthew Smyth and John Gallagher have a very casual way of operating in their show, and from the moment you enter the room, you warm to these guys and their relaxed manner. Their act mainly consists of genuinely funny jokes thrown together with some that seem to have been designed so that they purposely fall flat, and this style works particularly well as the duo refers back to these flat jokes in a self-deprecating kind of way, which always appears natural. Their interaction onstage is conversational, yet has obviously been prepared and ultimately works a treat. Added to this is some good audience-working, making this show well worth the ticket price.
Sweet ECA, 7 - 31 Aug, 1.30pm (2.20pm), £7.50 (£6.50), fpp30.
tw rating 4/5
[db]

The Chippendales: The Ultimate Girls' Night Out
Gilded Balloon
As I stood in line waiting for the show surrounded by a group of very intoxicated women, I wondered if there would be more to this set than a group of men stripping for an hour. Sadly, there wasn't. The Chippendales put on a fairly modest performance for the crowd; of course there were many flashes of oiled chests, and the odd rear view, but nothing too risqué. For some reason the show also included a Justin Timberlake impersonator, who jumped on stage sporadically, complete with backing dancers, during the numerous outfit changes. The costumes worn included those of fire-fighters, cowboys, and sailors, plus, bizarrely, one of them even did a stint as Michael Jackson; the audience, on their feet the entire show, didn't seem to mind too much about this strange choice of character. The show was billed under 'comedy' in the fringe guide, but I'm afraid it was funny for all the wrong reasons.
Guilded Balloon Teviot, 13 Bristo Square, 5 - 31 Aug (not 28), 10.00pm (11.00pm), prices vary, fpp34.
tw rating 2/5
[et]

Minority Report
The Stand Comedy Club
I recognised Ava Vidal from 'Michael McIntyre's Comedy Roadshow', but I had no idea how tall she was. Probably shouldn't mention that though, as this show is all about our tendency to stereotype. You'd have thought that our society would accept and embrace minorities by now, but Vidal paints a different picture, aided by ridiculous homophobic and racist broadcasts from the depths of YouTube, and satirical sketches from the 'Minority Report' team across the country. Vidal is the perfect host and is accompanied by a different guest comic every day, with their own minority to report from. This is a witty look at commonplace intolerance and a chance to catch one of comedy's rising stars.
The Stand Comedy Club, 5 - 31 Aug (not 17), 2.30pm (3.30pm), £8.00 (£7.00), fpp78.
tw rating 4/5
[nc]

Colin Hoult's Carnival Of Monsters
Avalon Promotions
Haunting and hilarious character comedy! Juxtaposing the sinister with the fantastically funny, Colin Hoult plays a quite devilish assortment of oddballs, from an elderly man who blames all the world's problems on Baboons, to a friend-seeking monster. With macabre music, curious costumes and morbid masks, it's a menacing aesthetic experience. With Colin's impeccable impersonations, witty lines and effective use of audience inclusion, everyone was highly entertained throughout. Highlights included a sympathy-inducing story about the best day of one poor soul's life spent in a bush, and a significant scene on the London Underground with an otherworldly twist. I laughed so much that I appeared radiant for a good while after the show!
Pleasance Courtyard, 5 - 31 Aug, 3.30pm (4.30pm) prices vary, fpp 36.
tw rating 5/5
[bm]

Everything You Wanted To Know About Life, But Never Cared To Ask
Bad Bread
This show ran like a well-oiled machine from start to finish. It began with the somewhat creaking start of an over-used egg and sperm joke, but as the show progressed so did the quality of material, and the majority of sketches were clever, original and well-executed even if there were occasional moments when punchlines lacked, well, punch. There was, however, the novel use of a small child's voice to introduce each new sketch, which helped to weld each part seamlessly to the last. Roars of laughter were heard from the audience during the inspired 'lawn chess match' and 'squirrel bank' sketches, both of which made good use of a fast-paced script and the group's talents for physical comedy. A pleasure to watch.
The Spaces @ Royal College of Surgeons, 7 - 15 Aug (Not 9), 8.05pm (9.05pm), £5.00 (£4.00), fpp48.
tw rating 4/5
[et]

Paul Sweeney And His Imaginary Friends
Paul Sweeney and Guests
"I'll come up with something better tomorrow" are never good words to hear from the mouth of a comedian, and I was left hoping for the sake of future audiences that Paul Sweeney fulfils this promise. His routine had tantalising but scant moments of witty observations about his personal life (alcohol and drugs are like an "attractive couple with a rather abusive relationship"), but left me with the feeling I was watching a shambolic, albeit affable, poor man's Russell Brand. I would also defy anyone to sit through his show without experiencing the distracting and overwhelming urge to offer him a hair-clip. In Sweeney's own embarrassed words "You get what you pay for - and this is a free show."
Laughing Horse @ City Café, 7 - 16 Aug (not 10, 12), 7.00pm (8.00pm), free, fpp86.
tw rating 2/5
[kd]

Inside Alan Francis & Barnaby Power
Alan Francis & Barnaby Power/The Stand Comedy Club
There is no doubting Alan Francis' and Barnaby Power's abilities as actors and performers, as they can really hold an audience's attention; their material was intelligent and verbose and made for good old-fashioned sketch comedy. One scene in particular, based in a South London boozer, smacked rather of Pete and Dud, but with more sharply defined homo-eroticism. I found myself wondering if, blessed with this gift of eloquence, they do not somewhat over-indulge themselves: too much time is dedicated to establishing scenes, so they take a while to get around to the laughs. They are also all quite protracted, and a few shorter sketches may have helped pick up the pace. All in all, some good quality comedy, just rather thin on the ground.
The Stand Comedy Club II, 6 - 30 Aug (not 17), 5.20pm (6.20pm), £8.00 (£7.00), fpp 60.
tw rating 3/5
[ras]

The FKN Newz
Deek Jackson
What's worse than no-one laughing at stand-up? One person laughing. So goes the old joke, and this was that kind of show. Instead of insightful satire, we were treated to streams of profanity, conspiracy speculation and crude sexual metaphor in a set focussing on the near humourless exposition of such revelations as the Iraq war being about oil, which was further limited by a dependency on both a laptop and a guitar: a recipe for technical problems. By the time we reach the show's conclusion, all humanity has been condemned as comprising either ignorant peasants or bomb-making baby-killers. Are such claims ironic or sincere? Frankly I don't know, and what was presumably intended to agitate only manages to depress.
Laughing Horse @ Espionage, 6 -30 Aug, 11.05pm (11.55pm), free, fpp50.
tw rating 1/5
[ras]

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DANCE & PHYSICAL THEATRE

Malaje - The Flamenco Circus
Cia Albadulke (Spain)
This talented group have picked up on the link between the decadence of the circus and flamenco dance, and blended the two in this mocking portrayal of flirtatious competition, doing so with an energetic display of impressive physical skill and characterisation. A playful running plot consists of men attempting to boast with acrobatics and dance, but the women lampoon their peacock feather efforts, and thus adopt the clown aesthetic; they continue to attempt to catch the attention of a stylish flamenco dancer by juggling. A set of Andalusian music is an appropriate accompaniment to these entertaining parodies, flips and splits, which, far from being a subversion of circus traditions, represent an innovative layering on top of them. Highly entertaining and family friendly.
New Town Theatre, 5 - 30 Aug (not 17), 12.00, prices vary, fpp116.
tw rating 4/5
[apy]

A Lot of Nerve
Martha & Arthur
Clue's in the title, see; an honest surface that reveals the brash truth of this show and refuses to be anything but. Martha & Arthur's erratic nonsense fills an hour with impressive performances and tightly choreographed routines, fast slapstick and cabaret weaving into a surreal whole, void of mundane logic, that splits an audience's response in two, with very little ground between. Any show that presents such a love-it hate-it challenge is always worth a shot; this is an hour of irreverence and insincerity, and entertaining as a result, even if it did at more than one occasional feel like slipping into a darker realm of hallucinatory consciousness.
Pleasance Dome, 7 - 31 Aug (not 11, 17, 24), 22.50, prices vary, fpp115.
tw rating: 3/5
[sb]

The Opposite of Waiting
Linda Wells Turner
Waiting: a state of passivity emblematic of women's prescribed role in society, according to this courageous new piece. In Lisa Wells Turner's latest solo endeavour, a central protagonist struggles to discover alternative outlets for female identity, while grappling with the unwritten rules that encourage conformity. Movement, words and song are interwoven to convey graphically the character's conflicted interior state, as Turner anxiously paces around the stage's edge, suggesting a woman pushing against the boundaries of what is acceptable or possible. While the spoken monologue does become a little prosaic and dreary, the snatches of traditional melody carry a powerful and eerie emotional force. Thought-provoking and occasionally claustrophobic, this piece rewards the sensitive spectator with moments of abstract beauty.
Venue 13, 7 - 30 Aug (not 17), times vary, £7.00 (£5.00), fpp117.
tw rating 3/5
[arc]

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EXHIBITIONS

Passing
Kate Pollard
When looking at Kate Pollard's photography exhibition, a personal journey through grief and longing, portraying her family in the aftermath of her father's death, a viewer will inevitably feel as though they're participating in something very personal. By manifesting the sense of loss present in her works, Pollard questions the limits between private and public, for although the exhibition deals with the photographer's own experience, it draws on viewers' own emotions as they empathise and sympathise with another family's grief in this familiar situation. The images are presented in an empty white room with photos in simple black frames, and the manner of the exhibition doesn't try to enforce sentimentality, but reminds us that these snapshots of someone's domestic life are really honest and deliberate invasions of privacy.
Atticsalt, 1 - 29 Aug, Mon - Sat, 2.00pm - 6.00pm, free, eafpp 8.
tw rating 4/5
[hh]

'Venice' In Association With The Paul Stolper Gallery, London
Peter Blake
Art is not about the origins of a particular object but rather the context in which it is put. The latest exhibition of work by the father of British Pop Art is based on the juxtaposition of different images with backgrounds of Venetian views. Combining new and old, extraordinary and mundane, Blake makes magic happen above the skies of Venice. Every screenprint has a certain theme, reminiscent of Blake's obsession with collections. In addition to 'The Venice Suite', some of Blake's works from 'Alphabet' and 'Love' are also exhibited, the latter being a series of literally diamond-studded images of celebrities. Visitors are also able to see a documentary about the artist's creative process, giving a glimpse to Blake's fascinating museum-like studio.
Edinburgh Printmakers, 18 July - 29 Aug, times vary, free, eafpp 16.
tw rating 5/5
[hh]

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MUSIC

Creole Choir Of Cuba
World Festival
Phenomenal, spectacular, simply brilliant. The members of this choir, descendants of Haitians, sing in French Creole and tell stories from Haitian history, yet this performance is far from antiquated. Individual members introduce themselves to their audience as they take their turn to lead the choir, and their jubilation is unbelievably uplifting; the lead male only had to open his mouth and I'd burst into tears because the depth and soulfulness of his voice was so overpowering. The confidence and experience of the group obviously feeds their tangible pleasure in performing, and they welcome the crowd to join in that enjoyment with open arms. They sing with passion, dance with style and have woven together a flawless show that is best described as mesmerising.
The World @ St George's West, Aug 6 - 31, 6.00pm (6.50pm), prices vary, ffp113
tw rating 5/5
[am]

Festival Folk at the Oak/The Wee Folk Club
Festival Folk at the Oak
Take one muggy pub basement with space for thirty, add some folk, and then enjoy. Hosting over two hours of music from different artists every night of the festival, 'Folk at the Oak' has achieved something rather clever: a decent show in the centre of town, which is also a bargain. Take the recent gig from the fiddle and accordion duo, Sandy Brechin & Ronan Martin, who gave a rousing session of jigs, reels and airs. Their good natured banter combined with a few drinks made for an easy going, intimate mood. 'The Wee Folk Club' is an ideal evening's entertainment in itself, or as a starting point for the night ahead. Either way it's pretty folking good.
The Royal Oak, 31 Jul - 31 Aug, 8.30pm, £5.00, fpp147.
tw rating 3/5
[rp]

Colours of the Night
Nick Pynn
Nick Pynn performs solo, but displays the bizarre and wonderful talent of becoming an entire orchestra. Through a combination of technological trickery and sheer musical expertise the multi-instrumentalist serves up thundering contemporary folk: by building up dense layers of looped samples, bolstered by the rumble of a foot-pedal base, Pynn can change from one string instrument to the next mid-song. The effect is almost mathematically logical but still manages to evoke a sense of raw spontaneity, especially tangible with the use of a typewriter for rhythm and a self-made ukulele crafted from a coconut. According to Pynn, once on a visit to Italy the summer heat caused his violin to explode, and somehow in his performances the same thing seems all too possible.
Inlingua Edinburgh, 5 - 30 Aug (not 10, 16, 17, 24), 10.00pm, £8.50, fpp144.
tw rating 4/5
[rp]

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MUSICALS & OPERA

Murder Mystery Musical
Andy Jordan Productions
This loathsome yet lovable array of showbiz egos and eccentrics, stranded on a private island and being threatened by a killer, will have the audience roaring and rolling in the aisles. With more Freudian slips than an eel overdosing on Viagra, and an outstanding cast delivering riveting performances - in particular Rebecca Bainbridge as the over-attentive and gawky Lauren, and Gina Murray as a ruthless and vampy reporter - this is a sure winner. An experienced and professional team adapt marvellously to the minimalism of the Fringe as actors often double as musicians, and the simplistic set is used with much pomp and good humour. Hilarious and wonderfully polished, 'Murder Mystery Musical' never misses a gag, and leaves the audience humming and skipping away delightedly.
Musical Theatre @ George Square, 7 - 31 Aug (not 11, 18, 24), prices vary, fpp173.
tw rating 5/5
[iq]

The Rex Roman Pink Floyd Show
CH Entertainment - Festival Highlights
Burn your money; you'd be putting it to better use and not sit through a tortuous hour and fifteen minutes of your life that you'll never get back! Third rate Butlins shows have more redeeming features than this smug embodiment of middle class mediocrity. The cheap humour relied heavily upon two characters' energetic eyebrows and a host of homophobic jokes, while the singing was second rate, the acting awful and the 'plot' doesn't even exist. I pray that Pink Floyd never have to see their amazing music raped like this, and as for Denise Van Outen, who gets a reference here, I hope she knows how hazardous any connection to this show could be to her career. 'Rex' is a prize example of the overpriced Fringe show.
Udderbelly's Pasture, 7 - 23 Aug (not 12, 19), 10.15pm - 11.30pm, prices vary, fpp 175. tw rating 1/5
[tbo]

Gingers! The Musical
Dirty Pop
This show was so much fun, I almost forgot to write anything in my little reviewer's notebook. Eight female characters meet at a secluded retreat for people with ginger hair, each with a story to tell. Every character was superbly created and portrayed, but 'Mist' in particular was acted with a touch of comic genius. The narrative focuses on the injustices suffered by the ginger population, and with two ginger grandmothers, I felt like I belonged; the theatre was also obviously a haven for a red haired thirty percent of the audience, though there's plenty to appeal to those whose locks are of a different hue. The dance scenes were slick, the songs sung with panache and the whole show dazzled with humour and understanding. Just remember, people: "Beauty is in the heart, not in the hair".
Musical Theatre @ George Square, 6 - 31 Aug, 11.15pm (12.15pm), prices vary, fpp170
tw rating 4/5
[bw]

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THEATRE

The Bone House
Village Theatre
Apparently, I'm a serial killer. Well, a potential serial killer. Eugene Crowley has a test to check this, which he uses to warn his audience that any of us could be a murderer. As the show progresses, we becomes scarily complicit in graphic reconstructions, as Crowley shows us more and more of humanity's dark side, our attraction to the thrill of horror and fear. Not one person in that audience is safe; Crowley strips away the normal safety barriers (like "It's okay; it's only a play!") and makes theatre dangerous again. No theatre event has ever scared me before this: this play told a story, made me laugh, made me sad and scared the living daylights out of me. It was everything that theatre should be.
Underbelly, 6 - 30 Aug (not 17), 23.35pm (1.35am), prices vary, fpp184
tw rating 5/5
[rtw]

His Ghostly Heart
The Girl Next Door Theatre Company
Don't let the fact that this emotive piece is written by one of the lead writers from Skins deter you, because it is simply beautiful. The play takes place in a post-coital darkness, forcing the audience to close their eyes and open their ears, as they bear witness to the masterful yet colloquial language which feels like it has not been written but sculpted. The superb plot gradually twists the audience along its graceful, raw and emotive course, which is still provoking tears in my eyes. Anybody who has ever loved will be left an emotional wreck by a play which is impossibly personal to every single audience member. A masterpiece inspired by our inner-most thoughts.
Pleasance Courtyard, 5 -31 Aug (not 17), 3.45pm (4.15pm), prices vary, fpp200
tw rating 5/5
[tp]

The Frontman
Felix Productions
The sombre and haunting tale at the heart of 'The Frontman' is unravelled when a confused and nihilistic young musician with a dark past is coaxed into telling his story by a somewhat self-serving biographer. Mystery and melancholy dominate as, gradually, fragments of twisted desires and intentions come to light and form a picture of the frontman's shadowy past. Strong performances, sympathetic flawed characters, cynical humour, and a positively brilliant and soulful original song make the build up spectacular, but the show is let down by a rather anticlimactic ending; the dramaturgy of the play appears too grave for the petty fate of the frontman. A testament to a lost and wandering generation where meaninglessness prevails, the play not only draws attention to ambiguities in language, but appears to evade meaning itself.
Underbelly, 7 - 22 Aug, 4.40pm (5.40), prices vary, fpp197.
tw rating 3/5
[iq]

Faust in the Box
Bridge Markland and Scamp Theatre
Here is the theatrical equivalent of watching a naked man attach mousetraps to his nipples. No artistic merit at all, and you watch on, just wishing it would just stop. In this show, Bridge Markland and a supporting cast of hand-puppets stand in a box, lip-syncing to pre-recorded dialogue from Faust, interspersed with trite pop musical cues. It's not so bad it's good; it's so bad it's like mucous gunging up your brain. Markland's performance ranges from camp over-exaggeration to mumbled 'sincerity'. It is unpleasant to watch her act, and she woefully misjudges what it is to contemporise a classic play. Worst of all, it's crushingly earnest. Bridge Markland wants to touch you with her puppets. Don't let her.
Underbelly, 7 - 29 Aug, 4.25pm (5.25pm), prices vary, fpp 194.
tw rating 1/5.
[krc]

Nightfall
Hurtwood Theatre Company
Sex workers, newly-weds and barflies are the subject of 'Nightfall', the depiction of a cross-section of British life after dark. The majority of this piece is without words, leaving the ensemble with the task of presenting these varied sub-plots through mime. They rise to the challenge, with a precision of movement that expressively and humorously captures recognisable characters and situations, backed by a jaunty, upbeat soundtrack. The delightful lightness of touch here is succeeded by a shift towards pathos when the actors do eventually break their silence, sometimes with poignant effect. In general, however, the words fall a little flat in comparison to the preceding physical eloquence. Still, striking a fine balance between tragedy and comedy, this play is a pleasure to watch.
Sweet ECA, 7 - 23 Aug, 12.05pm (12.50pm), £7.00 (£6.50), fpp214.
tw rating 4/5
[arc]

Rachel Rose Reid: And They Lived...
Louis Hartshorn and Brian Hook Present
Who says adults don't need bedtime stories? Welcome to Rachel Rose Reid's world of princesses, giants and faraway lands, in which the epic meets with the intimate; the lyrical with the conversational; the poignant with the just plain silly. In her charming, unpretentious manner, Reid will indulge your child-like cravings for adventure and fantasy, tempting your curiosity and tugging at your heartstrings. Musical interludes - in which Reid performs a range of material, from Disney to Joni Mitchell - showcase a powerful and affective voice, while casual chit-chat with the audience reveals a humorous, engaging and intelligent young woman. A delightfully nostalgic way to end the evening, 'And they lived...' will send you home to a night of mysterious and exotic dreams.
Pleasance Courtyard, 5 - 25 Aug (not 17), 10.45pm (11.45pm), prices vary, fpp223.
tw rating 4/5
[rb]

Underword
PBH's Free Fringe
You never know quite what you'll be in for with spoken word cabaret, but this show was simply delightful. A charismatic emcee leads the proceedings as various spoken word artists are invited onto the stage, and the short stories and contemporary poems that follow, showcased by talented readers, range from the poignant to the hysterical; this snappy and compelling material will ensure that even the most sceptical won't be caught looking at their watches. Really capturing the spirit of the fringe, 'Underword' is a relaxed and well-humoured free show through which the spoken word genre will undoubtedly find new fans. A different programme is on offer each night and just as well: this show will keep you coming back.
Fingers Piano Bar, 8 - 29 Aug, 7.50pm (8.40pm), free, fpp 236.
tw rating 5/5
[ac]

Suckerville
Spitting Distance
There's this myth about drama schools, that they produce pretentious, dull drama. In the show's own words: "The funny thing about myths is that they're so often true". This particular production is by the Central school of Speech and Drama, and it doesn't, in my opinion, buck the trend. A shadowy opening sequence consisted of actors contorted into awkward positions, repeating the phrase "[t]he fact is" followed by a - you got it - fact about an economic crash. Now, who wouldn't enjoy that? Praiseworthy multimedia aspects such as live filming and an effective soundtrack aid the piece, but "[t]he fact is" that this is a morbid, slightly soporific daydream about suicide, and by the end you're just about ready to push the actors over the edge yourself.
C cubed, 6 - 31 Aug (not 18), 7.10pm (8.10pm), prices vary, fpp231.
tw rating 2/5
[tbo]

Soft Murders
Found Reality
Art feeds off art. 'Soft Murders' is a performance inspired by the work of three artists and it attempts to recreate both their work and aspects of the artists' personalities through physicality. The show is very atmospheric, resonating with sexuality and alternating between being menacing, funny or just plain curious. The electronic music, when combined with choreography, creates the impression that it's deconstructing the images that are created. The physicality is basic, movement is not lyrical or polished, but rather very real and somewhat brazen. The focus appears to lie on transmitting emotion rather than achieving perfection of stylised movement. However, it is not clear if the purpose is simply to reproduce or criticise and reach conclusions, which is confusing.
Venue 13, Lochend Close, 7 - 15 Aug, 4.15pm (5.15pm), £8.00 (£5.00), fpp 120.
tw rating 3/5
[ms]

Private Peaceful - Michael Morpurgo
Scamp Theatre
"I've got the whole night ahead of me", breathes Private Peaceful. "I want to remember everything". Thus we are plunged deep into a sea of memories, from his first day at school to his first fits of love, his eager conscription to harsh wartime reality, and finally, fatally, to the crime he is charged with: cowardice in the face of the enemy. In a breathtaking performance, Finn Hanlon paints vivid pictures of brooks, forests and trenches while seamlessly morphing into myriad characters from Peaceful's past. As the night goes on and his imminent execution draws nearer, a letter from home provides a heart-achingly tender moment, during which the audience feels the full force of the unjust fate awaiting him.
Udderbelly's Pasture, 6 - 31 Aug (not 17), 2.00pm (3.15pm), prices vary, fpp222.
tw rating 4/5
[rb]

Dolores
Danú Theatre Company
Donna Patrice and Sarah Fahy offer performances of commendable emotional pitch in Edward Allen Baker's two-hander, which explores domestic abuse in inner-city Dublin. Dolores, fleeing from her brutal, bullying husband, seeks refuge in the house of her estranged sister Sandra. Their resultant contretemps, though lacking in allusion and elucidation, nevertheless peddles a compelling line in rough-hewn, earthy dialogue. In truth, these characters lack the erudition necessary to provide a telling treatise on the horrific cause and effect of violence within the home, but the depth of their feeling for each other cannot be doubted. At its best, 'Dolores' is a tale of familial unity; of blood that is ultimately thicker than water, of the interminable beauty and sadness of sisters.
The Space On The Mile @ Jury's Inn, 6 - 29 Aug (not 9, 16 & 23), 5.30pm (6.30pm), £7.00 (£5.00), fpp 190.
tw rating 3/5
[jkp]

Café Amour
The Kids Are Alright
Interesting ideas, brave acting, but over-contrived surrealism in this intriguing set-up of a woman finding herself in a café with twenty-seven men she has slept with. It's a promising plot line if an unlikely or highly unfortunate one for her. Dreams are interwoven into lofty concepts of love after too many lovers are introduced, which only make the piece even more puzzling, but sole actress Jacklyn Bassanelli ought to be proud of her performance, as she successfully commands the audience's attention with her confidence and dancer-like posturing on chairs in sweeping dresses; she also brazenly enacts a brusque sex scene, quite an accomplishment on her lonesome. A nice try, then, but too abstract and melodramatic, in my opinion.
The Space@Venue45, 6 - 22 Aug (Not 16), 2.35pm (3.15pm) £7.00 (£6.00), fpp 185.
tw rating 3/5
[bm]

East 10th Street
Brian Barnhart, Axis, Richard Jordan, In Association With David Elliott
My abiding memory of New York is of my hotel's superintendent, a stern man with a tube protruding from a wound in his neck, who gave the unnerving impression that he might drop down dead at any moment. He could so easily have been a character plucked from Edgar Oliver's powerful reflections on his life surrounded by lunatics living in a Lower East Side townhouse. Shrouded in the haunting shadows of his past, Edgar expressively recounts his neighbours' outrageous escapades, before revealing the lonely truth about his own life spent wandering deserted streets. This compelling and skilled performance truly captures the spirit of New York City and the wealth of human stories that make it so special.
Traverse Theatre, dates vary, times vary, prices vary, fpp192.
tw rating 5/5
[lj]

Ophelia (Drowning)
3BUGS Theatre
Unease swept over me in waves as I entered the intimate swimming pool and heard the sounds of Ophelia's unnerving humming floating across the room. I gripped the pill earlier thrust into my hands a little tighter; my expectations were high. But the acting was consistently outstanding and Ophelia's madness always convincing, as Helen Morton sang recent pop songs in husky, broken tones - eyes wide, body limp. Other post-modern elements, including the use of a hair-dryer as a means of suicide, gave the play a contemporary edge, making the issue of suicide haunting and immediate. It was a heart-wrenching exploration of the motives behind the actions of a well-known character, combining the traditional and the post-modern to create an unmissable experience.
Sweet Grassmarket Swimming Pool, 5 - 18 August, 9.30pm (10.10pm), prices vary, fpp 217.
tw rating 5/5
[ck]

Quaternary
St Paul's Boys School
A show featuring five public schoolboys on a trip to Iceland evoked images of Enid Blyton's Julian, Dick, and Timmy the Dog setting off on another adventure. But how wrong I was! Taking 'Paradise Lost' as its inspiration, this incredibly mature physical theatre performance focuses on personal stories, revelations and epiphanies, and especially the glacier, said to be "the first breath of God frozen at the site of creation". Listen out for gems of information on the different types of water, ten-day house parties and an interview with Charles Manson; I bet you, as I did, go on Youtube after the show. Slick, frightening, fresh, and a fast-paced, revolutionary performance from the school-age generation.
C soco, 7 - 15 Aug, 5.35pm (6.35pm), prices vary, fpp118
tw rating 4/5
[bw]

Stefan Golaszewski Is A Widower
Richard Jordan Productions In Association With CKP And United Agents
Golaszewski is the star at the centre of his glitter ball, single-handedly holding a captivated audience in his palm. You never feel crushed, though; only cared for. The play is an insight into the wonderful incomprehensibility of love. It simultaneously makes you believe in real love and want to hold it at arm's length with the most extreme caution. The protagonist's refreshing depiction of sex is endearing and he explains that at one point he had a "constant semi" for his wife. I confess I had a constant theatrical semi throughout this show. His wife was called Pudding and he thought she was sweet; this show is fantastic and I'd have it instead dessert any day.
Traverse Theatre, 6 - 30 Aug (not 10, 17, 24), times vary, prices vary, fpp229.
tw rating 4/5
[tbo]

Stars On The Ceiling
Teater Fredag
A gentle, heart-warming play, 'Stars On The Ceiling' tells the story of a normal, quiet girl, struggling to cope with all the hardships of a teenager's life, and her mother's gradually declining health. The main character, Jenna, is ably played but, although the other performers were all competent actors, there seemed to be a certain reluctance visible on stage which soured things somewhat: at times the actresses were called upon to sing pop songs, whistle, play male characters and even, at one point, a horse, and at these moments, the obvious awkwardness felt by the actresses could not help but draw the audience out of the action. Ultimately, although a nice story, it has nothing desperately interesting, original or insightful to say.
C central, 7 - 31 Aug (not 18), 2.15pm (3.30pm), prices vary, fpp229.
tw rating 2/5
[al]

Micaela Leon: Kabarett Berlin
Micaela Leon & Green Room Presents
One-man shows are always somewhat of a gamble and can either turn out to be huge successes or enormous failures. This is a success from beginning to end and a show that keeps you wanting more. By narrating the stories of revolutionary women in the Weimar Republic, Leon brings an era back to life, as well as introducing characters who become tangible in front of our eyes. Alternating between personae, she clearly transmits each woman's hunger for life against the backdrop of an age of socio-political turmoil. Her acting is captivating and incredibly expressive. The cabaret songs suit her voice and temperament perfectly and she performs with gusto and a seeming lust to become a revolutionary herself.
C, Chambers Street, 5 - 31 Aug (not 17), 9.35pm (10.30pm), prices vary, fpp 210.
tw rating 4/5
[ms]

Breakfast With Burns
Henderson's
John Cairney might be more than twice the age that Robert Burns ever was, but his tribute to the Bard is full of youthful vitality and charisma. This one-man show interweaves the story of the celebrated Scottish poet with anecdotes from Cairney's own life and acting career. Served alongside the morning's helpings of poetry and prose is a hearty breakfast and a warm welcome from Cairney himself, who meets, greets and jokes with individuals before delivering his lyrical script with effortless flair and poignancy. Special mention must go to the debuting venue, a charming, family-run business, dedicated not only to their culinary services but also to presenting Scotland's best artistic talents. A morning to remember.
Henderson's Vegetarian Restaurant, 3 Aug - 5 Sep (not 9, 16, 23, 30 Aug, 6 Sep), 10.00am (11.30am), £10.00, fpp 185.
tw rating 4/5
[rb]

Art
Article 19 in Association With L Cubed
What is art? New life is breathed into Yasmina Reza's classic by this talented cast, and the chemistry between them is evident in abundance as they expose the hypocrisy and absurdity of the contemporary art scene with enthusiasm, felt tips, and an alarming amount of white paint. In particular, Benjamin Darlington's portrayal of the neurotic Ivan is spot on and a joy to watch; look out for his apoplectic pre-wedding family-politics rant; surely he must be bursting blood vessels on a daily basis? David Mouriquand's sardonic Mark brings out the best of Reza's subtle sarcasm and humorous dialogue. Those who hate the rise and success of the likes of Damien Hirst, this is the play for you.
C central, 7- 31 Aug, 10.10pm (11.25pm), prices vary, fpp180.
tw rating 4/5
[kd]

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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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