CHILDREN'S SHOWS

Three Potter Pigs
Spotlites Theatre Productions
These three magic-wielding piglets conjured up a fairly good show. Hammy, Hamione and Rasher weren't put off by the small audience and performed their amalgamation of ‘Harry Potter', ‘Lord Of The Rings' and ‘The Three Little Pigs' with gusto. A smattering of porky puns kept the adults amused while children were invited to help with tasks such as hypnotising a snake servant (who I first mistook for a monk) and save the day with spells made with foam wands. Unfortunately it was difficult to hear Lord Mouldipork through his wolf disguise and glimpses of actors scurrying backstage were distracting. Suitable for entertaining the gaggle on an inevitable rainy day this August will bring, 'Three Potter Pigs' will do the trick.
Spotlites @ The Merchants' Hall, 5 – 31 Aug, 11.15am (12.25pm), £5.50 (£4.00), £15.00, fpp16.
tw rating 3/5
[oi]

The Twits
Simply Theatre
This wonderfully silly production from a prominent Swiss theatre school is bound to delight younger audiences.  Set in a playground, the stage is creatively used, helping our imaginations travel from the Twits' house to a vibrant African jungle.  The young and energetic cast play a multitude of birds, Mugglewumps and Twits with a joyous and infectious enthusiasm. The story is carefully held together by the fantastic narrator and her musical assistant, while the young actors playing the Twits are so foul that they deserve every boo and hiss. The audience was engaged and entertained throughout, drawn into the action as they help the Mugglewumps to escape the Twits.  This is a fun and charismatic performance from some incredibly talented kids.
C Too, 6 – 15 Aug (not 9), 10.00am (10.55am), prices vary, fpp17.
tw rating 4/5
[nc]

Antoine and The Paper Aeroplane
Black Wulff Productions
It's 1935. Antoine the pilot descends rapidly through the night sky to the desert below. Breaking through a context of isolation and a scenario of desperation comes a tale of friendship and optimism. Some aircraft debris combines to form a charmingly cheeky creature, sparked to life by a highly-skilled puppeteer. As a series of adventurous episodes are bound together with an unfaltering fluency, Antoine and his companion define the difference between survival and living with their unlimited sense of ambition. The beautifully haunting live folk compositions couldn't be better-suited accompaniment. Children will readily join this dream-world whilst their parents will loiter at the entrance before they nervously shuffle in. An uplifting experience unearthing the unlimited potential of the imagination.
C, Chambers Street, 5-31 Aug (not 17), 10:30am (11.15am), prices vary, fpp8.
tw rating 5/5
[apy]

Happy Food DIY Pizza Party
Zanzero
‘Happy Food DIY Pizza Party' is like Ronseal: it does exactly what it says on the tin. Participants sit in the basement-cum-workshop-cum-restaurant of Zanzero, listening to serenades from likes of Sinatra and Martin on the CD player; dough, sauce and a selection of vegetables are paraded around for the children to look, touch and smell, before the actual un-fingered ingredients are brought out, and the kids are invited to create their own small pizza. As the food is cooked, a selection of nibbles are presented, and before long, you are able to tuck into your own magnificent creation and then leave with a goody bag. Although this is a fun exercise for kids, I think it is overpriced for what is essentially a small meal.
Zanzero, 10 -27 Aug (not 14 - 16 or 21 - 23), times vary, £12.50, fpp11.
tw rating: 3/5
[tp]

The Brothers Lionheart
Lionheart Productions Ltd/Pleasance Theatre
Suicide as a means of release? A second chance at life with all the people you've ever loved around you? It's an idea that's okay if you believe in a series of afterlives, which is an assumption you'll need to make for 'The Brothers Lionheart'. The two afterlives in this adaptation offer a chance for the brothers to be together again, a chance most of us don't have, in increasingly utopian settings. But they've come from a modern Britain, so the dragons, archers and sword fighting appear out of place. There are some strong, solid songs, but they're cancelled out by an awkward, messily-staged battle, and can't save this dubious adventure from its own plot holes.
Musical Theatre @ George Square, 7 - 31 Aug (not 11, 18, 25), 3.05pm (4.20pm), prices vary, fpp9.
tw rating 2/5
[rtw]

back to top

COMEDY

About The Scots
Bruce Fummey
Loud, sweary and offensive? But, Bruce Fummey proudly boasts, at least he's even-handed in his put-downs, liberally raining insults on the Germans, the French, the Scots and, inevitably, the hated English. It is his ability to laugh at himself, however, that allows him to get away with risky and sometimes uncomfortable forays into thorny areas such as bigotry, racism and national identity. This forceful and confident stand-up mixes social commentary with snippets of Scottish history, and amid the jokes raises some interesting questions about prevailing attitudes towards their Southern neighbours. His self-awareness rescues the show from descending into a nationalist rant, but, judging from audience reactions, this is still a show that's funnier if you're Scottish.
Beehive Inn, 5 - 30 Aug (not 8, 17, 24), 8.00pm, prices vary, ffp18.
tw rating 3/5
[arc]

Janeane Garofalo
Gilded Balloon
At this show you might be expecting a touch of glamour; Janeane Garofolo is after all an international comedian, someone who has been in Hollywood films and who has a huge Wikipedia page. Glamour, however, is in very short supply; instead we get farts and chafing and booze and underwear and shitting and politics and arthritis. Most of it is pretty funny and for me  – as a young man – all this extra information about ladies' underwear is fascinating. Despite the international calibre, a number of the jokes seem trite: "I bet I could do conducting/modern art; it looks easy". In general though, it's a riot of an evening with a special kind of foulness.
Gilded Balloon Teviot, 6 - 15 Aug, 8.30pm (9.30pm), £12.00 (£11.00), fpp62.
tw rating 3/5
[nf]

Jeff Kreisler's Get Rich Cheating
Jeff Kreisler/The Stand Comedy Club
Beat the recession, how? ...Cheat! In this seminar with a difference, Kreisler demonstrates the success of his theory through proven examples: the size of Fred Goodwin's pay packet, the length of the Bush dynasty, Paris Hilton's.... existence. Kreisler might slightly over-egg the mock-sincere, smarmy businessman trying to up sales of his book, and there are occasions where you may feel this is humour designed for an American audience, but nestled in amongst the sarcasm are some witty political references and laugh-out-loud observations that might just help you chuckle away the credit-crunch blues. You probably wont split your sides open, but then at least all that new, not-so hard-earned cash will stay safely in your pocket lining.
The Stand Comedy Club III & IV, 7-30 Aug (not 17), times vary, prices vary, fpp 63.
tw rating 3/5
[sw]

Me & Jezebel
Gilded Balloon
The golden era of Hollywood, when icons such as Joan Crawford and Clark Gable graced the silver screen, is long past.  This one-woman show, however, takes a nostalgic glance backwards in its affectionate portrayal of the gutsiest of them all, Bette Davis, who we meet through the anecdotes of an every-woman who unexpectedly received the geriatric star as a house-guest. Manning, who plays all parts, skilfully impersonates Davis' exaggerated diction, and the story, while not exactly thrilling, is full of lightly humorous episodes revealing a human side to the cinema legend. Despite slightly obscure subject matter - gone are the days when Ms. Davis was a household name  - there is pleasure to be derived from this beautifully realised vignette.
Gilded Balloon Teviot, 5 -31 Aug, 4.00pm (5.15pm), prices vary, ffp77.
tw rating 3/5
[arc]

Anna And Katy
Mick Perrin For Just For Laughs Live
It's sad that a show with such obviously talented performers is ruined by a dismally mediocre script. Anna Crilly and Katy Wix have perfected the delivery of their absurdist persona-based sketches, but the style is so familiar and their version of it so uninspiring that the skill of enacting it gets lost in the foggy boredom. The best gag was probably the use of fake long arms, but this might remind you of the ‘Dead Ringers' impression of Andrew Marr, although in the latter case the joke was not dragged out for ages and had some point beyond the bizarreness and presumed consequent hilarity of the scenario. Sorry, I want to like you, but there just ain't enough jokes.
Pleasance Courtyard, 5 – 31 Aug, 6.40pm (7.40pm), prices vary, fpp24.
tw rating 2/5
[cw]

Blow Up - The Credit Crunch Musical!
Clown And Bear Productions Present Oompah Brass Featuring Charlie Talbot
Equity shares, hedge funds and bottom-up analysis; sound boring? Not any more. Oompah Brass make finance come alive with their mix of rock and pop classics that explain the economic crisis. From Britney's 'toxic' debt to AC/DC's bankruptcy 'highway to hell', business will never be dull again. Standup Charlie Talbot tells the sad story of failed financier Max Klein, adopting a German accent which is as funny as his punch-lines. Sporting lederhosen and gulping German beer, the talented five-piece brass band delivers a jaw-dropping sound that leaves the audience in awe. If you want to be entertained and informed, 'Blow Up! The Credit Crunch Musical' will not disappoint. Just as long as you like your music very, very loud!
The GRV, 6 - 28 Aug (not 22), 4.20pm (5.20pm), £5.00, fpp31.
tw rating 4/5
[lw]

Fifty Minute Itch
Mark Restuccia and Toby Brown / PBH's Free Fringe
Although this show bears little similarity to its blurb (a fact noted by Toby Brown within seconds of coming onstage), it is still a surprisingly funny fifty minutes of standup, packed to the rafters with gags. Whether it's the photos printed off from the (genuine) Facebook group 'People who look like Mark Restuccia', or Stevens' stories of his cynicism born of comedy, the jokes rarely misfire. Crucially, both comics have excellent timing and a strong sense of their audience, and these are deployed effectively, elevating this show beyond much of the free comedy on offer. Even the new material that didn't work garnered some laughs, as the lads' commentary on their own failings in comedy was every bit as funny as their failings in love.
Nicol Edward's, 8 – 29 Aug, 6.00pm (6.50pm), free, fpp 49.
tw rating 4/5
[al]

Jokes From The Underground
Laughing Horse Free Festival
There is, as always, some terrible comedy to be found in the depths of this year's Fringe, I'm sure, but I doubt if there can be much worse than this. Three men without an ounce of charisma or confidence gave us an abject lesson in what not to do in stand-up, sniggering awkwardly at their own bad jokes, painfully explaining punchlines and giving a running commentary on how badly the gig was going. One even abandoned his material altogether to simply despair about how depressing it is to be an unsuccessful comedian. By the end of an excruciating hour of unimpressed silence and surreally embarrassing, off-topic nihilistic musings, the gig almost became hilarious in its utter failure to entertain.
Laughing Horse @ Edinburgh City Football Club, 8 – 29 Aug (not 19), 8.30pm (9.30pm), free, fpp 66.
tw rating 1/5
[rj]

Matt Harvey – Wondermentalist
Matt Harvey
Matt Harvey is not a natural comic – you might guess it from the title of his show.  As a poet however, he is clearly a talented man, and I thoroughly enjoyed listening to him perform his self-penned verse which never wavered in its both scintillating and thoughtful quality. I inevitably found myself asking the question which Harvey himself raised in the stand-up part of his routine, to much amusement from the audience, albeit because they too had thought of the question ten minutes earlier: why was this poetry-reading billed as comedy in the Fringe brochure? I don't have an answer, but can say those fond of poetry will not be disappointed.
Assembly @ George Street, 6 – 31 Aug (not 17), 3.35pm (4.35pm), prices vary, fpp76
tw rating: 3/5
[db]

Pappy's Fun Club's World Record Attempt: 200 Sketches In An Hour
Phil McIntyre Entertainment
Having seen their unsuccessful Channel Four pilot last year, I came to this show sceptical. In hindsight, it is easy to see why the ragamuffin, tatterdemalion buffoonery of this likeable quartet didn't translate well from stage to small screen. No back-handed compliment intended, but the act hinges on their immense ability to transmit an utter lack of talent. It's all an act, of course, and one that only extraordinarily versatile comedians could pull-off, but they appear to shamble, stumble and fumble their way through in a manner that'd make coarsest amateurs blush. Television doesn't like - doesn't transmit - such things; it likes spit and polish, best bib and tucker. Onstage, anarchy is free to play the king. Fantastic fun!        
Pleasance Courtyard, 5-31 Aug (not 17), 7.20 pm (8.20 pm), prices vary, fpp85.
tw rating 4/5
[jkp]

Two Left Hands – Another Mouthful
Leila Hackett and Charlotte Hudson
This deceptively insightful show seems initially to be a charmingly inoffensive little sketch show without too much swearing so as not to offend the more venerable members of the audience. Peel back the layers though, and it reveals itself to be a surprisingly sharp analysis of the twentieth-first-century female psyche. It looks at the attitudes towards, and of, women, and is a damning critique of modern apathy towards the principles of feminism. That may not sound like much fun, but these big ideas are cleverly conveyed through a host of witty sketches, such as the three witches of ‘Macbeth' re-imagined as a 'Loose Women'-style TV show, or a divorce settlement conducted by top trumps. Funny women making a serious point subtly.
Pleasance Courtyard, 5 – 31 Aug (not 12, 19), 4.00pm (5.00pm), prices vary, fpp108.
tw rating 4/5
[al]

back to top

DANCE & PHYSICAL THEATRE

Noir
Airealism
I must admit, my heart leapt as I entered the theatre and spotted the trapezes, ropes and hoops set up on stage. This, I thought, could be a really great end to my day of reviewing. Unfortunately, I left feeling a little disappointed. Based on the film noir genre, ‘Noir' is an ambitious spectacle which aims to combine thriller and aerial circus. Although the performers managed some quite impressive moves (acrobatics in a pair of killer heels is no mean feat) and created some aesthetically-pleasing shapes, the choreography was clumsy and lacklustre, and the acting involved prolonged, exaggerated facial expressions which ultimately failed to express any particular emotion. With the potential to fly high, this piece unfortunately crashed and burned.
Gilded Balloon Teviot, 7 - 16 Aug, 4.00pm (5.00pm), prices vary, fpp117.
tw rating 2/5
[in]

Everything Must Go (Or The Voluntary Attempt To Overcome Unnecessary Obstacles)
Beady Eye - Kristin Fredricksson
There's no doubt that Kristin Fredricksson loved her dad a lot. For the average punter, though, this tribute to him is a downright peculiar show, moving between anecdote and slapstick, music hall and character-sketches. Go along with it, however, and it becomes clear that Fredricksson's effort to reconstruct the eccentric and flamboyant presence of her cross-dressing father, surrounding herself with effigies of him on stage (puppets, cardboard cut-outs, video footage), is no frivolous enterprise, but a novel way of dealing with loss, albeit with many comical and celebratory moments along the way. Such personal work demands a personal response, so I can only speak for myself when I say I found this idiosyncratic piece truthful, sincere and deeply moving.
Augustine's, 7 - 31 Aug (not 9, 17, 24), 5.45pm (6.40pm), prices vary, fpp114.
tw rating 5/5
[arc]

Lola: The Life Of Lola Montez
Trestle In Collaboration With Increpación Danza (UK/Spain)
This is a racy and fast-paced performance, recounting the extraordinary life of Lola Montez, Spanish flamenco dancer and courtesan extraordinaire. This show highlights key turning points in Lola's life, including her well-publicised affairs with Bavaria's King Ludwig I and Liszt. Georgina Roberts is well-cast as the nineteenth-century celebrity, providing a passionate performance infused with fantastic humour; unfortunately the rollercoaster pace adopted made it difficult to keep up with the narrative, although actress Fiona Putnam moved impressively between characters, including Lola's mother, lovers and the pivotal Eliza Gilbert. Frederic Gómez's chief role seemed to be to provide flamenco ‘dance candy', unnecessary with the presence of virtuoso flamenco guitarist and fringe veteran, Ricardo Garcia, who maintains the Spanish flavour.
New Town Theatre, 9 - 30 Aug, 6.45pm (7.45pm), prices vary, fpp115
tw rating 3/5
[bw]

back to top

EXHIBITIONS

Where Seeing Is Not Believing!
Camera Obscura and World of Illusions
I can't say that I am overly impressed by a three-sixty-degree camera view of Edinburgh in a darkened room when you can step outside and soak up a magnificent panorama for a lot fewer steps than the Scott monument. However there are interesting facts about the city to be learnt during a fifteen-minute presentation and children can play at 'squashing' unknown pedestrians. The other three floors of this rather cramped building are crammed with a mixture of holograms, cameras, mirrors and illusions, with tons of interactive fun to be had. It seems expensive to take the whole family, when there are no more than two hours to be spent here, but it is still well-run, informative and enjoyable.
Camera Obscura and World of Illusions, 31 Jul-31 Aug 9.30am - 7.30pm, £8.50 (£7.00, £6.00C), fpp 135.
tw rating 3/5
[gm]

back to top

JAZZ FESTIVAL

Haftor Medboe Group 
Edinburgh Jazz & Blues Festival
The group consisted of a pulsing electric bassist, a beat-boxing trombonist, a knee-flexing saxophonist, a percussionist with five cymbals and Mr Medboe's jazz guitar licks, ably assisted in the stand out two numbers by a Bjork-like vocalist. This quintet played a banter-light set, which allowed their unique use of time signatures and rhythm to shine through. Their palettes of sound stretch far and wide and at created and at one point created an impressionistic musical rendering of lapping waves. Hypnotising rather than lobotomising, pleasant rather than noodling, the two hours passed far too quickly in the company of these virtuosi who know their instruments and are unafraid to test the limits of their improvisatory capacities.
Bosco, 5 Aug, 8.00pm (10.00pm), £10.00, jbfpp16
tw rating: 4/5
[jb]

Elephant 9
Edinburgh Jazz & Blues Festival
The first words I heard were those of softly spoken front man and keyboardist, Ståle Storløkken, greeting the audience.  After a similarly quiet introduction to the first piece, this Norwegian trio totally shocked me by launching into a full-on style of electric jazz fusion not seen since the days of Miles' mid-70s outfit. This group blew me away.  They played pretty much continuously for over an hour before admitting to losing track of time; not surprising when you consider the energy this trio put into making their music.  All performances; drums, keyboards and bass, were truly phenomenal – these three Norwegians are the most exciting performers I've seen in a long time.
Voodoo Rooms, 5 Aug, 9.00pm (10.30pm), £10.00, jbfpp16
tw rating: 5/5
[db]

Edinburgh Jazz Festival Orchestra Plays Duke Ellington
Edinburgh Jazz & Blues Festival
Joe Temperley drew an impressive crowd for this inaugural EJFO concert and it was no surprise given the all-star line-up. Soloists such as Phil Bancroft and Ryan Kisor dazzled in brilliant displays, but in the ensemble moments the band lacked lustre, and Ellington's voice was left strangely muted by their insensitivities to balance, and the music needed more room than it was given to truly sparkle. Perhaps complacency was at fault; Ellington can be spectacular when executed with care, but here he was rendered in a way that was too pedestrian. That said, it's hard not to please with such infectious tunes and these performances were delivered with charisma and élan. Ellington has been done better, but fans won't have been disappointed here.
Queen's Hall, 5 Aug, 8.00pm, £19.50, jbfpp16.
tw rating 3/5
[ac]

Sophia Domanich Trio
Edinburgh Jazz & Blues Festival
Listening to this trio live was frustrating and, in the end, an unpleasant experience. Their style was to lock together as a unit and make noise  and ccasionally they came across something that passed for melody. This was okay for first few songs, and the bassist and drummer pulled off good solos; however, the set dipped on the song ‘Surface De Reparation' when it became clear pianist Domancich just didn't want to play this evening. She kept building excitement, then either letting it go or passing it on to another band member, so the crowd never had the opportunity to applaud her. She came across as being peculiar and esoteric, while the other two just shouted until they were disciplined.
The Lot, 5 Aug, 9.00pm, £10.00, jbfpp16.
tw rating: 1/5
[tb]

Sophia Domancich/Raymond MacDonald
Edinburgh Jazz & Blues Festival
Sophia Domancich is a slight French pianist who takes a delicate approach to her playing, while British saxophonist, Macdonald, takes an exploratory and improvisational approach. Both musicians tend to turn away from regular rhythmic structure and melody, so it was unsurprising that this gig was more about the interaction of the individuals than the music. The first piece was very tender, the next had a frenzied start from Domancich before Macdonald entered, grappled the lead, and started game of chase. In the third, Macdonald felt hopeless and blue and Domancich supported him and helped him through a contemplative passage. The music felt a bit empty at times but for most of it, the pair had a good exchange, and achieved an atmosphere of breath-holding expectation.
The Lot, 5 Aug, 9.00pm, £10.00, jbfpp16.
tw rating: 3/5
[tb]

Tommy Smith and Jacob Karlzon
Edinburgh Jazz & Blues Festival
Midway through this gig, a meditative musical conversation, two distinctly bored children pester their parents to leave; lulled to sleep by the meandering saxophone of Mr Smith and the aimless clunking of Mr Karlzon's digits on the ivories. One realises, at this, that jazz is music for adults; those tiring of the daily routine and wishing to be free. The liberation in this duo's music, aided by their undoubted virtuosity in instrumentation and musicality, is cathartic after a long day at work and, rather than comprehension, one simply feels their modal, self-penned compositions. Spinal Tap may have written a jazz odyssey but the Smith Karlzon duo excels even them with their grown-up voyage from A to a distant B.
The Hub, 6 Aug, 6.00pm (7.40pm), £12.50, jbfpp 17
tw rating: 4/5
[jb]
 
Jeremy Monteiro: Singapore Swing
Edinburgh Jazz & Blues Festival
I must admit that I would not have picked up on Singaporean influences in pianist, Jeremy Monteiro's work had he not mentioned it. That's not to say the pieces he had written were bad; there is clear potential in his music. Couple that with his hugely impressive command of the piano and his showboating like Oscar Peterson in the trio days, and this should have been a sterling debut. The main problem was that for most of the evening this brilliant piano player was just compering for other, less impressive musicians. Additionally, Monteiro let slip that the six-piece group had only ninety minutes' practice for this two hour performance which, with the other musicians always stepping on each other's toes, really did show.  
The Hub, 6 Aug, 8.30pm (10.30pm), £12.00, jbfpp17
tw rating: 3/5
[db] 

Brass Jaw
Edinburgh Jazz & Blues Festival
Acclaimed quartet Brass Jaw's blazing brass a capella arrangements of both standards and home-grown compositions showcased the incredible flair of both their horn playing and their virtuosic solitary playing. Trumpeter Ryan Quigley was brilliant through tight structural passages and fluid improv space. There was always an obvious sense of enjoyment in the Quartet's playing and a palpable natural artistic rapport. Absolute highlights for me were the gorgeously explorative arrangements of JJ Johnson's 'In Walked Horace', and Horace Silver's 'Senor Blues', as well as two fine originals; baritone saxophonist Allon Beauvoison's sinister blues molestations in 'Holding Pattern', and alto Konrad Wiezniewski's comtemplative 'Feel'. There were tight harmonies throughout and fiery dynamics, including full-on blue in the face expirations; their performances were stunning.
The Lot, 6 Aug, 21.00, £10.00, jbfpp17
tw rating: 5/5
[sb]

Paris Washboard and Mike Hart's Society Syncopators
Edinburgh Jazz & Blues Festival
Witnessing Mike Hart on stage tonight was a privilege, but it comes from his achievements for the Edinburgh jazz festival rather than his musicianship. His seven-piece band all demonstrate individual skill but it lacks a united buzz, and their Edinburgh-influenced set ends abruptly, making them feel like a support act rather than half a double-bill. ‘Headliners' Paris Washboard provide the kick of the night with their predominantly twenties and thirties repertoire. Any avid jazz fan will be used to Fats Waller renditions, but probably not with a washboard providing the percussion. This element epitomises the joyous and cheeky humour with which they performed, but Louis Mazetier's exceptional piano solos stole the evening and made it a night to remember.
The Jam House, 6 Aug, 20:30, £12.50, jbfpp17.
tw rating 4/5
[apy]

back to top

MUSIC

Danny Lee Band
Danny Lee admits that "a lot of these songs come from my diary over the years"... a diary fraught with the same kind of meandering, steadfast, simple thinking as his songs reflect, no doubt. The band occasionally flirt with something more than mediocre, though, when the drifting barbecue wafts sift downwind and a particularly enlightening beam of sunlight arrives; the solo guitarist does sound a little like Carlos Santana, although it doesn't always fit the style of driving classic rock, and several of the compositions including the jazzier 'Just Fly' have their moments. So, in retrospect, it's a perfect free bar band for an hour of non-threatening lowered attention, just be sure to leave any pretensions safely manacled somewhere dark.
Danny Lee Band, Laughing Horse @ The Counting House, Aug 7, 9, 7.00pm, free, fpp 144.
tw rating: 2/5
[sb]

Mumford And Sons
The Edge Festival
Mumford and Sons seem to be blissfully ignorant of the fact that they're not actually hillbillies out on the range with a bucket and a banjo; however, I'm not going to be the one to tell them the truth about their London origins because their distinct folksy bluegrass is frankly too good to risk ruining the magic. Marcus Mumford brings ferocious passion to every wordy, heartfelt yearning, and when all four members join together in singing to the heavens and launch into a frenzied hoedown things start to get wild. With a stamp and a yelp Mumford and Sons have brought double basses and old fashioned harmonies rollicking into the modern age, and it is an exhilarating thing to behold.
Edge Festival @ Cabaret Voltaire, 7 – 8 Aug, 7.00pm (10.00pm), £8.00, pp n/a
tw rating 5/5
[lj] subbed

The Stranglers
The Edge Festival
"Making up for lost time" is how bassist Jean-Jacques Burnel describes The Stranglers' first show in Edinburgh for eighteen years, as he thrusts himself into ‘Peaches', the most gloriously sleazy piece of music to have spawned from the punk movement. More than three decades into their career and The Stranglers still manage to sound more innovative than most modern bands: the groove of the thick, intoxicating bass is what defines their sound, but the precision of Baz Warne's guitar playing gives credence to the intricacies of their music. The synthesiser tones may have dated somewhat, and Burnel's growling vocals lack the conviction they may once have had, but this is still a band whose contribution to contemporary music is enduringly relevant.
Edge Festival @ HMV Picture House, 7 Aug, 7.30pm (11.00pm), £23.00, fpp162.
tw rating 4/5
[rc]

Orkney Jazz At The Guildford Arms
Ken Ramage & Friends 6th Annual Jazz Jamboree
Cross the majestic opening of the Guildford Arms and you may as well send yourself back sixty years in time. The Orkney Ales on tap are hearty and deep, the clientele are tapping their toes and trombone legend Roy Williams is strutting his stuff on stage. Every note carries smooth subtleties like sips of bitter cocoa as he progresses through a programme of classic ballads, and his backing band interact perfectly with him. The only differences between then and now are that everyone's hair has morphed to various shades of grey and the drummer's introductions are a little more incomprehensible. If you can deal with that, bring a love interest and immerse yourself in the romance of the evening.
Guildford Arms, 7-19 Aug, 9.00pm (12.00am), free, fpp 157.
tw rating 4/5
[gb]

Simon Kempston
Influenced by the historical and geographical background of his native state, Scottish folk artist Simon Kempston takes his audience on an insightful musical journey from the winding streets of Edinburgh, to Stirling's Ladies Rock and beyond. Demonstrating his abilities as a skilled political songwriter, Kempston's songs subtly address the country's changing social climate while avoiding the trap of being mawkish or insincere. Instead, he is warm, earnest and open in his delivery, his baritone voice complementing his distinctive blues finger-plucking style perfectly. It is this virtuosity and honesty which makes Kempston's performance so utterly engaging, warranting strong applause from its spectators. A melodious voyage into the Scottish psyche that is definitely worth the second trip.
Acoustic Music Centre@St Bride's, 11, 24 Aug, 9.30pm (10.30pm), £8.00 (£6.00), fpp161
tw rating 4/5
[sn]

back to top

MUSICALS & OPERA

Quest
Damaged Okapi Productions, University of Warwick
‘Quest, n.: a long or arduous search for something'. In this case, a coherent plot line. The audience was filled with the cast's friends, which is fine, but generally annoying if the cast corpse and play to their friends more than anyone else. Making bitter comments about a bad review in The Scotsman isn't amusing either. The music was fairly catchy and some of the acting good but there was a aura of misplaced arrogance emanating from the production's cast, built up by the only people in the audience: who were their friends. Shouting does not equal anger, walking along a road does not really mean quest and a quote from a 2008 Britain's Got Talent finalist does not make a show.
Musical Theatre @ George Square, 7 – 16 Aug, 1.10pm (2.30pm), prices vary, fpp174.
tw rating 2/5
[rrs]

Chat! The Internet Musical
Take Note Theatre
Lee Freeman's entertaining musical contains enthusiastic performances and some catchy tunes despite its uneven characterisation and tendency to only browse over an intriguing concept. Initially revealing the desires of five lonely people trapped in front of their computer screens, the story doesn't always interweave the characters together as well as it could. Characters like single mum Michelle are promising but often too underdeveloped, as Freeman seems to give deliberate attention to the fourteen-year-old Brad who, on his coming-out journey, gets the wittiest lines and delivers the best song about the frustration he suffers at not being camp enough. With more character work this innovative show could easily become a much sharper online experience.
Musical Theatre @ George Square, Dates vary, 3.45pm (5.00pm), prices vary, fpp168.
tw rating 3/5
[cd]

back to top

THEATRE

The Fuss
Idle Hands
Mary is dying. Dying of cancer. A potentially tragic situation is transformed into a light-hearted examination of the dynamics of sibling interaction. Polar opposite brothers, Teddy and Matthew, must live together while they wait for (or hurry along...) their sister's death. Meanwhile, Mary lies in bed and dreams of Patrick Swayze. The attempt to balance the comic and the (literally) deadly serious aspects of the play is discernible but not entirely achieved. Whilst hints at deeper emotions are made, these are not always developed enough to be truly touching. There are, at the same time, some genuinely funny moments, but although these increase in number as the show progresses, I cannot help feeling that, overall, it lacked a little oomph.
Underbelly, 9 - 29 Aug (odd days only, not 19), 8.40pm (9.40pm), prices vary, fpp197.
tw rating 3/5
[in]

The ‘Amicable' Solution
Idle Hands
Solving problems is never easy. In this show the audience gets to chuckle at the characters' sexual shortcomings and mishaps as each of them drags out their personal insecurities.  Andy hasn't had sex with his wife for more than a year, but he's getting smitten with his slightly odd nude-model, while his wife Pam goes to the gym and meets the vainest guy ever. The four members of the cast are brilliant comic actors, making their roles simultaneously sympathetic and pathetic. The blurb in the Fringe programme may sound slightly mad, but in reality it's an honest and funny show with plenty of quirks and entertaining dialogue. The solution? Well, perhaps less ‘amicable' than expected.
Underbelly, 6 – 30 Aug (even days only), 8.40pm (9.40pm), prices vary, fpp179.
tw rating 4/5
[hh]

Super Situation
Miss L Lane-eous Productions
Extraordinary Girl isn't like the usual Hollywood superheroes. She's no millionaire like Batman, nor is she a super-scientist like Spiderman; in fact, she's pretty ordinary.
This quirky comedy is set in a world familiar to comic book fans: a post-modern world where celebrity superheroes must fit housework and signing autographs around fighting the forces of evil. Lois Tucker's silent, solo performance is undeniably brave, and her on-stage presence is captivating as she grins, giggles and grimaces her way through the everyday life of a superhero. The plot is far from engrossing, but Tucker's charisma compensates for it well. There's just something utterly charming about watching a superhero lying on a sofa, with a cup of tea, listening to power ballads.
The Bongo Club, 5 – 30 Aug (not 17, 23), 3.30pm (4.20pm), £6.50 (£5.00), fpp231.
tw rating 3/5
[rc]

Angle Of Incidence
Lux Lucis Productions
If you lose your reflection, what else do you lose? This is the gripping story of Latimer, who, after three years of solitary confinement, in the dark and without mirrors, is released, only to find he has lost his reflection. His struggle to come to terms with this is portrayed through a compelling performance from lead actor Tom Connor, who had the audience hanging onto every crack of his knuckles. The use of mirrors is powerful in reinforcing the theme of identity and how it is formed based on what we see of ourselves. Presenting the sinister consequences of Latimer's punishment, the play also provokes reflection on the issue of torture of political prisoners around the world.
The Zoo, 140 The Pleasance, dates vary, 2.50pm (3.50pm), prices vary, fpp 179.
tw rating 4/5
[rd]

Johnny Meister And The Stitch
Jigsaw Theatre Productions
From the moment Johnny Meister first swaggers onstage, we are gripped, dragged into his world of drink, drugs, sex and violence. The play is structured as two monologues: we hear Johnny narrate his day as he avoids Stitch who is looking to fight him, before Stitch takes the stage and narrates his version of events. Their eventual, violent meeting unfolds with a powerful, tragic inevitability. The script is uncompromisingly authentic and as sharp as a flick knife. The real tragedy at the heart of the play is the futility of the boys' conflict, and Stitch's realisation of the the pointless cycle of violence in which they are trapped. This is compelling, modern theatre, and deserves to sell out every night.
The Spaces @ Royal College of Surgeons, 7 – 15 Aug (not 9), 8.35pm (9.30pm), £6.00 (£5.00), fpp203.
tw rating 5/5
[al]

This Mortal Coil
Sydney Theatre School
Audience members for 'This Mortal Coil' are met with a dark, smoky room and a pop music soundtrack.... but no, it's not set in a nightclub – rather the Quaker Meeting House, attempting a young and trendy makeover. 'This Mortal Coil' is a thought-provoking tale of seven different women from different decades and places who find themselves in a room with no exit. Their discussion of how the world differs between the times the women come from causes many amusing moments, and although the moral of finding one's own path in life is somewhat simplistic, the method of arriving at it is what makes the play a pleasure to watch, alongside the mature acting skills of these promising young actresses.
Quaker Meeting House, 10 - 15 Aug, 6.30pm (7.30pm), £7.00 (£5.00), fpp233.
tw rating 4/5
[jap]

The Honeymoon
RashDash Productions
Sarah Waters meets ‘Absolutely Fabulous' in this brilliantly absorbing piece of Pot Pourri theatre: everything is here as two recently-wed women, Sophie and Charlotte (now ‘Charlie') escape their possessive husbands, their mantra of "Just Let Go!" upheld in anthems way above the calibre of Beyonce or The Spice Girls, sultrily purred or wailed. They swoop in perfect synchrony in wedding gowns, skimpy femme fatale costumes and panty dresses which brought the house down. Frank discussion on sex (and the act itself), identity and life itself coheres with the fantastic use of space and physicality, and the pace is unrelenting. This excellent take on contemporary womanhood, brings as many tears as laughs, especially given the shocking denouement. Flawless.
Bedlam Theatre, 6 - 29 Aug (not 9, 16, 23), 10.30pm (11.30pm), prices vary, fpp200.
tw rating 5/5
[jb]

Hangover
Collabor-8 Productions
Having a hangover may be something that most (if not all) of the audience can relate to, but it isn't often that 'the morning after' makes for particularly thought-provoking theatre. This play is different. David Elliot (as Danny) and Stuart Nicoll (as Danny's hangover) put on a performance that is at times comic, at other times savage, but always passionate. It is impossible to take your eyes off the duo as they examine the destructive conflict between cause and effect and the inescapable nature of human responsibility. The plot is full of twists, and though some crucial revelations are woven into the script slightly clumsily, this is nonetheless a unique play, and a rare chance to see two exceptional actors at work.
The Zoo, 7 - 31 Aug, 4.10pm (5.05pm), prices vary, fpp199.
tw rating 4/5
[rc]

The Love Shop
Big Village Theatre Co.
A funnily little tale of love, romance and a cosmic teapot, this is an easy show to watch and enjoy. Although there are some serious issues with diction from Michael Mills as Jack, the acting is good and the plot uncomplicated. Wendy Brindle and Alison Armstrong are a delightful double-act as the two Mrs Tavishes, and Sara-Jane McGeachy is particularly strong as Annie.  What let the show down, though, was its setting: why on earth is it set in the '60s?  The language is extremely modern throughout, but from time to time ‘groovy' or ‘dig' is shoehorned in, disrupting the flow of the lines and jolting you out of the world of the play, which is otherwise nicely drawn. 
Augustine's, 10 - 16 Aug, 7.15pm (7.55pm), £8.00 (£6.00), fpp208.
tw rating 3/5
[dk]

Folding House
Sheila Gordon/Gordonization
A protester is "starving for the truth" but if he were left like this audience he would have died, never knowing what the truth was. A few tenuous connections linked enjoyable scenes which, though singly interesting, were often baffling when put together. The minor excitement of actually having the opportunity to bid with paddles in a 'live' auction was fun, but relatively theatrically pointless. Gordon is clearly a class performer but needs to help the audience understand more with her writing, which is witty and skilful, though lacking an overall message. One scene ('Star Watch') consisted of two handheld lights which were quite mesmerising but, like the rest of the show, ‘pretty' simply doesn't pack a good enough punch.
The Spaces on the Mile @ The Radisson, 7 - 15 Aug (not 9), 2.05 pm (2.50 pm), £6.50, fpp195.
tw rating 3/5
[tbo]

Facebook Fables
Nonesuch Productions
We're sick to the back teeth with the bloody thing, but how many people can honestly say they haven't bought into the craze? As this show reminds us, Facebook has up to two million users at any given time: for many, it embodies the internet itself. Being such a phenomenon, writing a play about it seems less kitsch frivolity, more sociological necessity. Andreya Lynham, Amber Noble and Samantha Lyden have performed this public service, and done it well: these ladies are slick, street-sharp performers, and their show (a year in the making) is just as sleek, combining fragments of physical, music-hall and sketch show humour in a hyperbolic tale of web stalking gone horribly wrong. Not to be sneered at.                  
Gilded Balloon Teviot, 6-31 Aug (not 15), 1.45pm (2.50pm), prices vary, fpp193.
tw rating 4/5
[jkp]

Exodus 10:21
Canticorum Production
Whenever I'm talking to a group of people in the dark, I get annoyed if I can't see their faces. You probably know what I mean, and it's a feeling that this young, committed cast capture perfectly. Imagine if you will, that you were one of six people taken hostage and tied up in darkness, then left to talk to each other while gunshots were fired outside and an inept official occasionally tried to calm you down from afar. That's what this piece asks us to imagine. Being almost entirely in the dark lends a nervy claustrophobia to the whole thing. It's a bit like looking for your keys when no light shines; you wish someone would turn one on.
The Spaces on the Mile @ The Radisson, 10 - 15 Aug, 6.05pm (6.55pm), £7.00 (£5.00), fpp193.
tw rating 3/5
[rtw]

Dream Big
Jackie Halliday
Amid economic uncertainty, the scent of money and its link to desperation are subtly apt themes in this one-woman play written and acted by Jackie Halliday. At half an hour, it is an impressively concise theatrical study of three women as supplicants, each at the mercy of an invisible interviewer: a deluded, pushy mother trying to get her daughter into an elite school; a hippy private educationalist trying to be hired by that mother; and finally, the mother's mother-in-law, a devout Christian widow seeking promotion from her minister. Breezily taking on the challenge of enacting dialogue without the reactions of other actors, Halliday delivers both the humour and the pathos of her script to great effect.
The Vault, 7 – 31 Aug (not 17, 24), 4.30pm (5.00pm), £5.00 (£3.00), fpp 192.
tw rating 4/5
[cw]

Bedtime Stories
The Jolly Milkman in Association with Hartshorn-Hook Productions
Returning to the Fringe with a new cast and improved script, 'Bedtime Stories' showcases some very promising young writers and actors. The play consists of a selection of shorts which share the same simple set – a double bed – while all of the actors are dressed in pyjamas. Each makes use of the bedroom setting in a different way, including a tale about a bed shop salesman and an interesting take on the Little Red Riding Hood story. The play is entertaining throughout with a few hilarious moments, and there are several shorts which I would be interested to see developed into full length plays.
C cubed, 6 – 31 Aug (not 18), 9.45pm (10.35pm), £7.50 (£6.50)
tw rating 4/5
[jap]

David Leddy's 'Susurrus'
Fire Exit Ltd
Donning a set of headphones and armed with a map of Edinburgh's Botanical Gardens, I embarked upon the enchanting journey that was 'Susurrus'. As I wandered through rock gardens, sat under birch trees and looked out over lily ponds, David Leddy's carefully crafted audio-drama played through my headset, stitching together a rich collage of perspectives in a story which draws on and references Shakespeare's 'A Midsummer Night's Dream'. Passers-by and picnickers unwittingly came to play roles in the piece as I saw in them the characters and relationships from Leddy's poignant and absorbing script. Come rain or shine, this really is an exquisite piece of site-specific work; a "play to ease the anguish of a torturing hour".
Assembly @ Royal Botanic Garden, 4 Aug – 6 Sep, times vary, £8.00, fpp189.
tw rating 4/5
[rb]

The Dentist
Razia Israely
As a therapeutic ode to her father Rosi (Razia Israely) reflects upon her childhood relationship with a man haunted by his memories of Auschwitz. She captures the innocence and naivety of a child confronted with a father who lived daily in the hell of his memory, recalling interesting anecdotes such as the time she wrote a number on her arm to be more like ‘Papa', unaware of the hurt it might cause. The poetic style and deeply personal tone make the storytelling initially compelling, but often it felt she was reading from a novel; eventually the show began to sound too familiar, lingering on a topic explored so many times before, and sadly the show doesn't move or grip as it should.
Sweet Grassmarket, 6 - 31 Aug (not 18), 3.05 (4.15), £8.00 (£7.00), fpp189.
tw rating 2/5
[cd]

The Grind Show
TBA Collaborative
Theatre has long contemplated the nature of damnation, and ‘The Grind Show,' from TBA Collaborative is a minor entry into this infernal canon. Part traditional drama, part physical theatre, it presents Hell as a never-ending circus where The Lost perform the same torturous "acts" perpetually. Conceptually intriguing, the play isn't without wit and invention, and contains some deliciously unsettling grace notes. Unfortunately its ideas never properly coalesce, and in striving for philosophical importance, it only ends up shrill and hectoring. The performances have gusto but lack polish – excepting the excellent Shannon Erickson, an unearthly, engaging presence as the "unborn child". A thought-provoking experience, but never existentially terrifying, as one would expect a depiction of hell to be. An interesting failure.
C, 7 - 31 Aug (not 17), 6.05pm (7.10pm), prices vary, fpp198.
tw rating 3/5
[krc]

Metamorphosis
Cambridge University ADC
This stage adaptation of Franz Kafka's Metamorphosis is a shock to the system, but in a good way. Through the enthusiastic and talented cast, we see Gregor's demise played out as convincing and powerful physical theatre, and a dark humour underlying the graceful movements on stage. With excellent, sometimes breathtaking feats of acrobatic skill, and a perfectly timed chorus of human sound effects, the portrayal of the Samsa family is both touching and interesting; never is there a moment without an intriguing piece of action on stage. This production sees a difficult, surrealist play bought to life by a polished technical performance and a passionate cast, without scaring off those new to physical theatre – a feat rarely accomplished.
C too, 6-31 Aug (not 18), 8.00pm (8.50pm), prices vary, ffp 210.
tw rating 4/5
[ha]

Much Ado About Nothing
Lancaster University Theatre Group
Masquerade, deception and irony were each given room to play their part in LUTG's bite-sized version of ‘Much Ado About Nothing'. Condensed but not diluted, this adaptation successfully captured the essence of the original. The production could have used some tightening, but the creative use of an awkward space made for an entertaining performance all the same. Special mention must go to Oliver Trumble whose charismatic Benedick really stole the show, but the acting was otherwise a mixed bag. That said, the audience trembled in moments of passion, were at other times reduced to titters, and by the end, all had been led on Much Ado's oft-travelled journey. Shakespeare purists will undoubtedly find fault, but it's a good show nonetheless.
C cubed, 6 – 22 Aug, 1.00pm (2.00pm), prices vary, fpp 213.
tw rating 3/5
[ac]

Opening Night Of The Living Dead
Obstacle Productions
Is it reasonable to feel disappointed when a zombie ‘Romeo and Juliet' just isn't zany enough? This could, perhaps should, be a truly rollicking, late-night jamboree; but it suffers because of concessions to sanity. The show lacks the sheer frenetic, frenzied and breakneck pace that could have catapulted it, wailing and moaning, into lunatic Fringe legend. It also gets its teeth too stuck into the Bard, whilst ignoring the potential bloodbath: a small ensemble is not enough to convince even the least incredulous audience of the brain-dead apocalypse's murderous scale. However, the cast (whilst overburdened) are cue-perfect and brimming with vigour, and give their all for a clutch of genuine giggles. Utterly ridiculous, flawed but warm hearted and without pretence.              
C cubed, 6-31 Aug, 10.45pm (11.35pm), prices vary, fpp 217.
tw rating 2/5
[jkp]

Oua Umplute
Teatro Che y Moche
Perfect Pandemonium! Looking distinctive in top hats, long cloaks and dusty black, this band of Spanish gypsies quarrel and perform music with an enrapturing effect. When they weren't expertly playing the drums, violin, saxophone and guitar they were imbibing mysterious liquor on stage or up to something similarly strange. The highlight, though, was when they looked at me suddenly in amazement then declared I had exactly the same face as their grandmother, and serenaded me with her favourite song. Those not au fait with Español (and I'm one such) may consider the language barrier a weakness, but I think it enhanced the exoticness of the performance, and the confusion so central to its theme. Fantastic frenzied music and charismatic characters!
C Too, 6 -15 Aug, 5.00pm (6.00pm), prices vary, fpp218.
tw rating 3/5
[bm]

No Parole: My Family Is A Life Sentence
Carlo D'Amore
The play was like a Pedro Almodovar film on speed: outlandish, fraught, comic and underlined by a Hispanic pulse; all ingredients for a gripping production, but one that did not fulfil its promise. A new autobiographically-based, one-man show about a son's relationship to his fraudulent identity-shifting Peruvian mother, it's a potentially hilarious and tragic piece, and, dealing with issues about immigrants' displacement and the ties of family, it raises interesting questions. However the delivery is where this production falters. Though Carlo D'Amore is endearing, his overblown, quick delivery, and blurred physicality means characters are hard to discern and nuance doesn't seep through, denying an emotional impact, instead producing a clichéd veneer.
Laughing Horse@Espionage, 6 - 30 Aug (not 10, 17 and 24), 2.15pm (3.25pm), free, fpp214.
tw rating 3/5
[sp]

Swinging Zimmers
Reh-Tam Players
Professional obligation demands that I give 'Swinging Zimmers' one star – this, after all, was the ropiest play that I've seen since my primary school nativity – but never was one star given with less malice. Set in a care home for the elderly, this comedy seeks to explore the sad realities of dementia. It's well meaning, and the writer's heart is obviously in the right place, but the script, acting and staging were all shambolic by any objective standard. Still, both the audience (which appeared to consist entirely of relatives of the cast) and the cast themselves seemed to have a good time throughout, and however hapless the production was, the tragedy of dementia is something very worthy of attention.
St Mark's artSpace, 6 - 7 Aug, 5.30pm (6.30pm), £5.00 (£4.00), fpp231.
tw rating 1/5
[tl]

The Tartuffe
Belt Up Theatre
A marvellous masterpiece; thrilling theatre that immerses and impresses the audience, this hilarious, high-inducing contemporary reworking of Molière's classic was not only a glorious spectacle but an unforgettable experience that gladdened the heart. The characters, an assortment of cabaret performers from the romantic past, show you to your seat, which may be a bed or dilapidated old armchair, then the story begins. This comedy has it all: dazzling dialogues, flawless acting and a charming boudoir setting. It's eloquently executed with amazing use of props and impeccable performances from the entire cast who even manage to look French. There aren't enough superlatives in the dictionary to describe how fabulous this was.
C soco, 5 - 31 Aug, 8.55pm (10.05pm), prices vary, fpp 232.
tw rating 5/5
[bm]

Terry Pratchett's Lords And Ladies
Southampton University Students' Union Theatre Group
A true Pratchett play should be crammed full of bizarre characters uttering incomprehensible jargon; so a violent orangutan, the world's second greatest lover (who also happens to be a dwarf), and a pill-popping bursar are entirely commonplace in this Discworld adventure. Trouble is brewing in Lancre and it falls to a coven of three formidable witches to save the day. In reality however, it is the supporting cast, especially overeager Shawn Ogg and the charming Archchancellor, who really bring magic to the stage, while the witches fail to exploit the more subtle moments of humour and characterisation, and rely too heavily on the obvious comedy in the script. An amusingly silly but simplistic trip into Pratchett's parallel universe.
C Chambers Street, 6 – 22 Aug (even days only), 12.00pm (1.10pm), prices vary, fpp233.
tw rating 3/5
[lj]

Ward No.6
DocOrange
This show had the potential to be provocative, disturbing and poignant. However, rather than really exploring the human psyche, this adaptation chose to fall back on comedy thus making the audience chuckle rather than gasp. Initially I was concerned about the mental scarring a show about mental illness, set in an abandoned hospital in nineteenth century Russia, might inflict on the children in the front row; the patient's afflictions were amusing rather than scary, however, the show entertaining rather than hard hitting. Although this may not have been the point of Anton Checkhov's short story, the performance itself is worth seeing, the actors are skilful and it's suitable for the whole family; and at least it won't give you nightmares.
C cubed, 6 – 31 Aug (not 18), 4.10pm (5.10pm), £7.50 (£6.50), fpp238.
tw rating 3/5
[sg]

Warehouse 364
Nottingham New Theatre
‘Warehouse 364': where good things happen to bad people. The play's poster smacks you in the head with a witty line leaving you at a loss as to what to expect. However, the play itself does not manifest the same wit, except at times when the jokes are so remarkable and the humour so black that you can't help laughing. A somewhat disjointed plot, the lack of a powerful atmosphere and the fact that emotional climaxes feel slightly underplayed leave the viewer wondering what the point is really meant to be. More people in the audience might have enhanced the performance's energy; as it was, the play felt like an attempt to be ‘In Bruges', that didn't quite get there.
C cubed, 6 – 31 Aug (not 18), 2.15pm (3.00pm), prices vary, fpp 238.
tw rating 2/5
[ms]

Me Too - A Sideshow
Ulrike Quade Company (Netherlands)
Sexy and talented, yet freaky and scary, this 'side-show' underpinning the harsh reality faced by Siamese twins, split the audience in two. Based on their revue act, 'Me Too - A Sideshow' depicts the fun and fears of conjoined siblings Daisy and Violet Hilton through a stunning mix of puppetry, ventriloquism, dance, physical theatre and song. Gifted performer and creator Ulrike Quade taps into society's perverse curiosity about how Siamese twins 'do it' through the three (and sometimes five) boobed costume, a scene where puppet twin Violet 'goes down' on Daisy and a scene where sparkly rotating dildos represent men. This is theatre designed to shock; not for the conservative audience member.
New Town Theatre, Freemasons' Hall, 5 - 30 Aug (not 17), 2.00pm (3.10pm), prices vary, fpp210.
tw rating 4/5
[lw]

back to top

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].

back to top