CHILDREN'S SHOWS

Burglar Bill
Pandora's Box Theatre Company
If only burglars were this friendly, who knows what could happen? This wholesome entertaining family show, though slightly lacklustre, has the answers. Charting Burglar Bill's transformation to reformation, Bill goes from robbing to baking and from bachelordom to marriage. The show had a welcoming air to it with chirpy songs and sprightly acting. Ian Saunders, who played Bill, was like an avuncular Phil Mitchell in 'My Fair Lady', all singing and a bit cockney; he really engaged the audience with his banter. The predictable format of the show became a bit repetitive at points, but overall it was a pleasing piece to behold, not children's theatre at its best, but did its job well. Pleasance Dome, 5 - 31 Aug (not 18, 25), 2.30pm (3.20pm), prices vary, fpp9.
tw rating: 3/5
[sp]

Giraffes Can't Dance
Blunderbus Theatre Company
Join Gerald and friends as another children's favourite is given the Blunderbus treatment. This simple moral tale about difference is told by four actor/puppeteers and an assortment of jungle creatures through a mixture of prose, song and dance. The performers are far better puppeteers than actors, and there are some problems with sound and diction, but the superb puppets are the stars of the show, and ably manipulated. The songs are catchy, and the dances fun, but at times the show feels a little long and the kids became restless. They make good use of the space and aisles, though, making sure the kids (and adults!) were involved, and got a chance to see Gerald and the others close up.
The Space @ Royal College of Surgeons, 7 - 29 Aug (not 16), times vary, prices vary, fpp11.
tw rating 3/5
[dk]

The Rubbish Show
Incognito Theatre Company
As the evil Morgoon attempts to take over the universe, the heroes on the Starship Thingy travel around cleaning up her mess. Digestable messages about the damaging effects of pollution and global warming are entertainingly delivered in a variety of locations - such as 'Fartopia' - to an interested young audience. This culminates towards a final countdown on TV programme 'The Rubbish Show' where goodies and baddies go head to head, with the opportunity for the audience to throw scrunched paper at the loser. Although audience participation is frequent, unfortunately the cast fail to ad-lib with willing children and the show generally seems a little under-rehearsed. However, costumes and characterisation are bold enough to provide an eco fun-filled show.
Zoo Southside, 9 -15 Aug, 12.05pm (12.45pm), prices vary, fpp16.
tw rating 3/5
[apy]

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COMEDY

Alex and Helen's Radio Nowhere
The Young Marriage Club
It's hard to pinpoint what has gone wrong in this sketch show-come-sitcom. Alex Nash and Helen Cripps are clearly talented performers with a great chemistry, but are let down by what is, all in all, just a disappointing show. The innocence of the story, and childlike characterisations give the overall feeling that one is actually watching a kids' show. It's reasonably well written, but the laughs are few and far between, and although the audience mostly smile throughout, it's with a bemused sort of pity, if that is the word. It's the almost patronising, look-we-are-making-funnies style that brings the show down, and the lack of anything remotely ground breaking or edgy. The effect is a flat performance that is easily forgotten.
Just The Tonic @ The Caves, 6 - 30 Aug (not 18), 3.00pm (4.00pm), prices vary, fpp21.
tw rating 2/5
[ha]

And Bosnich Is Off His Line...
Cambridge Footlights / PBH's Free Fringe
An offshoot of the Cambridge Footlights, this one hour free show is worth a look in. Consisting of four male stand-up acts crammed into the hour slot, there is a quick turnover of material from guys who have a good enough sense of what's funny. Throw in that the compere (who does the Bosnich related bit) looks and sounds a bit like Jack Dee, and this gig can (if you squint) seem like a quicker, smaller and cheaper version of an episode from the first series of 'Live at the Apollo'. The attempts by all four guys at working the audience were a bit duff, but then I suppose audiences who haven't paid can be a bit duff themselves.
Nichol Edwards, 8 - 29 Aug (not 17), 1.45pm (2.45pm), free, fpp23.
tw rating 3/5
[db]

BBC Comedy Presents
BBC
The BBC presented ninety minutes of comedy that offered an 'appropriate' audience some chuckles but no roars of laughter to produce a gentle Sunday night. The line-up began with Tom Deacon who earned a few brownie points with his nifty knack for accents, but he was bettered by Ginger and Black, a couple of musical storytellers who combined bluntness and tunes and instantly became personal favourites. Despite his obvious charm, Dan Antopolski was surprisingly mediocre with a rather exhausting rap, while the energetic Jack Whitehall brings to mind a Bristolian Russell Brand, slightly less funny but a tad more ecstatic. However, it was Dan Atkinson who provided the best laughs as the reliable compere.
Pleasance Dome, 5-31 (not 18, 25), 11.00pm (12.30am), prices vary, fpp27.
tw rating 3/5
[cd]

The Big Comedy Breakfast
Mark Burrows, Robert Auton and Diane Spencer
While travelling to The Big Comedy Breakfast I wondered how it would differ from a similar show I saw only hours earlier. There were definite similarities: both had three fresh talents, one overall favourite and were brand new to Edinburgh. This was far more entertaining than the first, particularly because of Rob Auton's humorous poetry, and was especially well-prepared, excepting the small problem of one comedian's hangover, but somehow it added to the overall comedy! One slightly risky joke was ill-received by an audience member but enjoyed by everybody else; the feeling was that it is called a joke for a reason and that offence is unintended. Overall, a promising show which will, I'm sure, get better as the Festival progresses.
Sweet Grassmarket, Apex City Hotel, 7 - 31 Aug (not 17), 11.30am (12.25pm), £5.00, fpp30.
tw rating 3/5
[mm]

The Complete Works Of William Shakespeare (Abridged)
Black And White Rainbow
Applying a twist to conventions, an all-female cast performed the one-hour power show made famous by The Reduced Shakespeare Company over twenty years ago. Those who've seen it before will know the script is an impressive feat, with some very imaginative synopses of the plays (and sonnets) of the bard, including my personal favourite, 'Titus Andronicus' as a cooking programme. The cast performing this show brim with energy and confidence on stage, interacting with the audience pretty much constantly throughout the hour, creating a fun and exciting atmosphere for all present. The technical team are fantastic, giving the act a very professional feel and ultimately making this a hitch-less production of a classic show.
The Caves, 5 - 30 Aug (not 18), 2.50pm (3.50pm), £8.50 (£7.50), fpp39
tw rating 4/5
[db]

Enough Rope
Harbingers
With no overall narrative, this all-male trio perform a mixture of long and short sketches punctuated by blackouts. Here is some advice for future shows: blackouts aren't great comic devices, even more so when they turn out to be, what must be dubbed, 'greyouts'; nothing lets an audience down more than long sketches which end with flat punchlines; short sketches with no punchlines at all do not make good comedy - short is not inherently funny, you need some comedy in there too; hitting each other with frying pans doesn't pull in the laughs, not even if you manage to miss the sound cue for the frying pan's impact with the other guy's forehead. Oh wait, that is funny.
The Caves, 6 - 30 Aug (not 18, 26), 12.10pm (1.00pm), £8.00 (£7.00), fpp47.
tw rating 2/5
[db]

Eureka!
Eddie O'Dwyer / PBH's Free Fringe
Primarily publicised as a non-stop hour of "young, brilliant Edinburgh comics plus guests", this stand-up comedy showcase was instead shortened to scarcely forty minutes of disorganised mayhem. As a result of unforeseen circumstances, the special guest had cancelled, leaving comics Eddie O'Dwyer and Daniel Webster in the lurch. In spite of this, the pair persisted, attempting to adapt their acts in order to salvage the show. The more promising of the two was newcomer O'Dwyer who, despite looking incredibly nervous, delivered his material with a certain charismatic flair. However the effectiveness of this routine was somewhat undermined by the constant need to venture backstage to check on material. Regrettably, instead of going out with a bang, 'Eureka!' fizzled out.
The Illicit Still, 8-17, 20-29 Aug, 9.00pm (10.00pm), free, fpp48.
tw rating 2/5
[nm]

An Evening With Ben Dover: Innocent 'Til Proven Filthy!
Ben Dover in Association With Bluebirdfilms.com
With titles such as 'Sex In The Settee' in Ben Dover's back catalogue, his porn has always been tinted with a touch of humour. On entry, Dover receives rapturous applause and has men whistling in admiration of his achievements. He opts for an autobiographical approach, taking the finer details of sex and exposing them unashamedly. Immediately arrogant, Ben teases the crowd with awful puns,but receives massive laughs. His cheeky, honest storytelling ability transforms him from a boasting ladies' man into a likeable, entrepreneurial hero as he broaches subjects unmentionable in this review! It's enough to make you feel slightly uncomfortable, but laced with laughter, Ben Dover is not innocent, he's unmissably filthy.
Underbelly, White Belly 8-30 Aug (not 17), 10.00pm (11.00pm), prices vary, fpp48.
tw rating 4/5
[gs]

Four Sad Faces: Pith And Vinegar
Four Sad Faces/PBH's Free Fringe
A collection of likeable sketches combined to create a show that didn't leave me with a sad face, but not a happy one either. Making me smile on the odd occasion, the enthusiastic performers exhibited some original ideas such as a daredevil spoof aptly titled 'Pressure Point'. Sadly, some ideas - such as the Amnesiacs - were clever but wasted because the gags weren't strong enough and often too blatant. This show reminded me of those BBC3 shows that no one bothers to watch except a few devoted fans, but I've no plans on becoming one soon. Just like the Amnesiacs I'll no doubt have blanked this one out in a few days time.
The Canon's Gait, 8 - 18 Aug, 12.10pm (1.05pm), free, fpp 51.
tw rating 2/5
[cd]

Hari Krishna And The Philosopher's Stoned
Karl Edrik
As is perhaps evident from the title, this routine dealt with issues of drugs and spiritual enlightenment delivered in a bohemian style by Karl Edrick. The anecdotes were engaging and it was clear he has lived an extremely colourful life, however, I felt that many of the stories could have been told much more effectively. As it turned out, the sheer implausibility of many of his life events, rather than the delivery, were the most entertaining part of the show. The set slowed down towards the end rather like the last desperate drag before stubbing out. Not the worst show I've seen by a long shot, but don't expect to come away with a new-found perspective of the world.
Laughing Horse @ City Cafe, 19 Blair Street, 7 - 30 Aug, 5.40pm (6.40pm), free, fpp56.
tw rating 3/5
[et]

The Improverts
EUTC
Entering their twentieth year at the Fringe, The Improverts are something of a festival institution. Their secret is slick staging and bags of confidence, and as they improvise sketches based entirely on audience suggestions there is real pleasure to be had in watching them heroically freestyle their way out of the most unpromising situations. It provides smiles and chuckles rather than belly laughs, and there are times when the sketches are sustained more by energy than by wit. But if the show isn't always hilarious, it is consistently fresh, playful and fun. Improvised comedy is by its nature hit-and-miss, but The Improverts put on a reliably entertaining show.
Bedlam Theatre, 6 - 29 Aug, 12.30am (1.30am), £6.00 (£5.00), fpp59
tw rating 3/5
[tl]

It's Not The End Of The World (But You Can See It From Here)
Mike Bubbins
Newcomer Mike Bubbins is amusing and compelling; he'd clearly have made a fantastic teacher. Unfortunately for the kids, however, he's quit his teaching job in order to focus on comedy, and his first show at the fringe is a promising start. His set contains some genuinely funny observations and witty stories as he describes a number of characters from his hometown Barry Island (which is apparently a lot more depressing than 'Gavin and Stacey' would have us believe). The show does feel slightly lengthy, and Bubbins doesn't quite manage to keep his energy up for the whole performance, but at five pounds a ticket, it's not the end of the world if he's not entirely to your taste.
The GRV, 6 - 30 Aug (not 18), 1.40pm (2.40pm), £5.00, fpp61.
tw rating 3/5
[nc]

Jake Yapp Presents Hallo, Music Lovers!
Jake Yapp
Whether you are disgusted or enthralled by modern pop music, Jake Yapp's show might be for you. His niche is replicating the styles of such artists as Lloyd Webber, Lily Allen and Dizzie Rascall in a slightly satirical way. I say slightly, because Yapp doesn't quite reach the hilarity of Flight of the Conchords or Tim Minchin; he does, however, succeed in making the audience chuckle even if he lacks the razor edge of his more well known contemporaries. Despite the fact that his parodies could be better, Yapp has a talent for impressions and banter, and is happy to play on anything that the crowd throws at him, squeezing out its potential for humour with his skilled comic timing, before it becomes repetitive.
Just The Tonic @ The Caves, 6 - 30 Aug (not 18), 8.20pm (9.10pm), £8.00 (£6.50), fpp62.
tw rating 3/5
[tp]

Jo Romero Touched For The Very First Time
Laughing Horse Free Festival
Ever wondered what an AA disco was like? Full of sweets, caffeine and angry people, according to Jo Romero. Taking us through the perils of alcoholism, Christian dating and lack of sex, Romero gives an eccentric and funny performance. Her interaction with the audience gives this show a fun and intimate feel whilst also giving her the chance to try out a scene she has written for 'Eastenders' involving Nigel Harman's character and nudity. There were a few awkward points in the show but Romero recovered well by having an unabashed approach to the material. A thoroughly likeable woman, Romero has a light-hearted approach to the more serious matters in life. No Benylin / Night Nurse cocktail needed to enjoy this.
Laughing Horse @ Meadows Bar, 6 - 30 Aug (not 18, 25, 31), 6.30pm (7.30pm), free, fpp 67.
tw rating 3/5
[lcw]

Kent Valentine- How To Love Everyone (Even The Arseholes)
Kent Valentine
As this Australian comedian bounded onstage with child-like excitability, I was expecting a set brimming with crude jokes and misogyny topped off with a few scathing remarks about the British weather. Instead what we got was a clever and surprisingly poignant stand-up routine focusing on one man's attempt to love even the most unlikeable of characters. Although frequently straying off-topic with stories of 'Star Wars' and Guitar Hero, his well-crafted script always relates his experiences back to the central theme of 'love for all'. Valentine's infectious energy seemed to reverberate around the audience who came away with just a bit more love in their hearts. A refreshing change from the stereotyped Aussie comic, almost certainly destined for bigger things.
The GRV, 6 - 31 Aug (not 18), 8.45pm (9.45pm), £5.00, fpp68.
tw rating 4/5
[et]

Kit and the Widow: All That Twitters
Kit And The Widow
An idiosyncratic and amusing show, Fringe veterans 'Kit and the Widow' dazzled the audience with their risqué conversation and camp repertoire of well-known musical numbers. Beginning with a political rendition of 'Les Miserables'', 'I Dreamed a Dream', which lamented the credit crunch, Kit captivated with his impressive energetic vocal performance while the Widow on piano, played on with great aplomb. The show continued onwards in similar vein, with Kit and Widow launching into their comedic songs while taking breath to initiate playful conversation with the audience. However, the performance was somewhat marred by the need for the duo to 'tweet', an activity which seemed to be tagged on in an attempt to stay relevant. On the whole, though, an hour of non-stop outrageous fun.
Stage by Stage Edinburgh Academy, 8-23 Aug (not 12), times vary, prices vary, fpp69.
tw rating 3/5
[sn]

Laid Back And Laughing
Presents Karl Davidson & Val Lee (+ Guests) / PBH's Free Fringe
This show is getting two stars and do you know whose fault that is? It's your fault. How did you expect these performers to get into the swing of things with such tiny audiences? There were five of us in the audience the night I went, and while we were sympathetic, we were far too reticent to give the evening any momentum. I didn't really enjoy myself at this show, but then I feel sure that I was not seeing these comedians at their best. They seemed very low afterwards and you should feel guilty. You should think long and hard about what you've done and then go to see this show, or another free show like it - what do you have to lose?
The Rat Pack, 8 - 16 Aug, 6.40pm (7.40pm), free, fpp70.
tw rating 2/5
[nf]

LAWV Chillers: The End Of The World
LAWV Chillers Comedy
These transatlantic sketch artistes may court opprobrium, being (as they undoubtedly are) brash, loud, unconscionably rude and all half-deranged. They also collectively possess a raw talent for the unhinged, an undeniable sense of what constitutes the best harmless, knockabout fun. The resulting colourful, free-wheeling and hugely entertaining comic-strip cabaret, comprising song, dance, improv and a little messianic philosophy, has something to do with the six ways by which the world could possibly end. Those with a preference for the sombre or po-faced should perhaps stay away, but who knows? It might just raise a smile; it has certainly kick-started my Festival into effervescent life. It is a razzle, a revel, a shindig, a wing-ding: not genius, but an inspiration nevertheless.
C central, 7 - 18 Aug, 8.20pm (9.10pm), prices vary, fpp71.
tw rating 4/5
[jkp]

Mervyn Stutter's Pick Of The Fringe
Mervyn Stutter
Now in its 18th year, this show has become a Fringe institution. Although there are loads of shows offering a selection of acts under one roof, all too often these focus on stand-up comedy alone, and frequently just the big, well-known names. Stutter's show is different, offering a much broader selection of acts: stand-up, theatre, sketch shows, music, magic... He prides himself on selecting some less well-known performers too, giving them the chance to reach a wider audience. All of the acts I saw were outstanding, with sketch show 'Comedy Bitch' and 'Showstopper! The Improvised Musical' as the highlights. There is no better way to get a good sampling of the whole Fringe in one place than here.
Underbelly's Hullabaloo, 8 - 30 Aug (not 11, 18, 25), 1.00pm (2.30pm), prices vary, fpp 77.
tw rating 5/5
[al]

One Degree Of Separation
Chris Mayo and Tom Rosenthal/PBH's Free Fringe
Tom Rosenthal's is a student and Chris Mayo isn't. That's the separation. There's another though, sadly; one is a hell of a lot funnier than the other. Rosenthal's material is enjoyable but unfortunately follows the typical route of student jokes involving, parties, sex, drugs, repeat. Never boring, just somewhat predictable. Tom paints student life as fun, but not funny. Chris Mayo ups the pace, however, and to much relief. Well spoken and packed with tales of life experiences, his material is full with off the cuff sarcastic commentary and is amusingly unpredictable, like life outside the university walls. A pleasant debut by two names to look out for in the future.
The Rowan Caves 8 - 29 Aug (not 13), 8.30pm (9.30pm), free, fpp84.
tw rating 3/5
[gs]

Phil Kay - London Aye!
Gilded Balloon
Our first taste of true Scottish rain is falling outside as Phil Kay welcomes us into his show, already chatting and singing and joking with a Sunday night crowd. We're taking our seats and waiting for the show to start while Phil mimics, laughs, and hums to himself. He creates an intimate atmosphere and people slowly mist off, waiting for the show to start. Then he continues chatting, talking about us waiting for the show to start, and then goes behind the curtain to introduce himself. Phil walks out, but still, I'm waiting for the show to start. I feel I should be rolling around in the aisles but for some reason, I'm not, because I'm waiting for the show to start. I leave, waiting for the show to start.
Gilded Balloon Teviot, 7 - 21 Aug, 11.45pm (12.45am), prices vary, fpp 87.
tw rating 3/5
[rrs]

Pig With The Face Of A Boy
Free Fringe Festival
The idea of an "anti-folk" band with an accordion raises major questions, which are thankfully soon answered by 'Pig With The Face Of A Boy'. Their off-beat silliness charms from the start with a ditty on safety hazards in the London underground, and they quickly move onto urges to eat placenta and embrace sheep. This left some of the audience a touch bemused, but most in fits of laughter at the sheer invention and wit of Dan Wood and Donald Newholm. Both are accomplished musicians, entertaining as much with their playing as their jokes. It's well worth slinging a few pennies into their enormous hat; these boys are in danger of making 'anti-folk' the new rock'n'roll.
Laughing Horse@ The Newsroom, 6-30 Aug (not 18), 1.55pm (2.45pm), free, fpp 88.
tw rating 4/5
[jd]

Rich Hall
Off The Kerb Productions
Most stand-up shows could do with a theme. Well, at least a few similar ideas threaded with some coherence. Fine... how about enough material to complete an hour? Surprisingly, the craggy man from Montana didn't deliver any of the above. When he did occasionally seize an idea by the throat he gave inspired geographical put-downs and a hilarious comparison between the comedian and the sandwich. Presumably, Hall had planned such a sparse framework to allow audience interaction and, were this Rich Hall as expected, such a feat would be child's play. But tonight a few non-committal responses were all he could elicit, and he lacked further material to patch a quick repair job; disappointing coming from such an esteemed comic.
Assembly, 6 - 30 Aug (Not 17), 10.30pm (11.30pm), prices vary, fpp90
tw rating 3/5
[gb]

Rogue Males
Adam Riches
After his successful run of 'Alpha Males' last year, Adam Riches returns with 'Rogue Males', a comedy so uniquely entertaining that you leave out of breath when it unfortunately finishes. Riches' comic timing could not have been better as he dealt out joke after joke and bantered with his cast and crew in an amicable fashion. Special mention goes to Riches' sidekick, a talented actress who takes on roles of a sex clinic nurse and a warped version of Daniel Day Lewis with exceedingly amusing aplomb. Riches may be hilarious, but his sidekick added that little extra sparkle. With audience participation, a lively atmosphere and a genuinely rapturous atmosphere, 'Rogue Males' was one of my most enjoyable outings so far.
Pleasance Courtyard, 5 - 31 Aug, 3.30pm, prices vary, fpp91.
tw rating 4/5
[mm]

The School For Scandal
Pleasance, Comedians Theatre Company and Jeremy Meadow
A visual feast fit for a libertine. With lavish and luxuriant costumes and a sumptuous set, there is grandness galore in this comedy of manners. But is it a case of style over substance? Lines are fluffed and forgotten all over the show, and thus it is more of a pantomime than a polished piece of theatre. The witty puns and satirical plotline of Sheridan's comedy are, this said, joyful and amusing to observe. Out of all the eccentric characters on stage, Mrs Candor is fabulously ridiculous with her demented facial expressions and rumour-mongering. Though errors abound, 'School For Scandal' is a rollicking romp, and the exuberant cast are evidently having a jolly good time in performing this classic eighteenth-century play. Fanciful, frivolous, funny, farcical theatre.
Pleasance Courtyard, 5 - 31 Aug (not 12), 190, 4.00pm (5.30pm), prices vary, fpp94
tw rating 4/5
[bm]

Tom Adams: Dropped As A Child
PBH's Free Fringe
It takes a special kind of person to get an entire room of people singing the words 'vomit and wee' in unison; Tom Adams did just that. While most comedians hate comparisons with their peers, I'm sure Adams would not object if I drew parallels between him and the likes of Tim Minchin or Stephen Lynch (although he's not quite as crude as the latter comedian). He interacted well with the audience between songs, and his charm and innocence was enough to convince us to join in with even the most ridiculous lyrics. The show was cheerful, imaginative and thoroughly entertaining and I would willingly pay to see this excellent free hour's entertainment.
The Royal Mile Tavern, 127 High Street, 8 - 29 Aug (not 18, 26), 7.20pm (8.20pm), free, fpp106.
tw rating 4/5
[et]

The Twat Files
Tom Bellhouse/PBH's Free Fringe
It's common enough to see a horror film so bad it's funny. Here, though, is a comedy show so bad it's terrifying. A one-man, multi-character routine exploring what it is to be a twat, 'The Twat Files' made me wonder why none of Tom Bellhouse's friends had warned him off trying this. Every punchline fell flat but, despite this, Bellhouse was shameless in striving for a gag. I'd have admired his fearlessness were his jokes not so abundantly hateful. Riffing on how you put your girlfriend on a diet and demonstrating with a picture of an anorexic woman simply isn't comedy. Avoid this: it's lame, boring and offensive, and at the end, he will call you a twat.
Voodoo Bar, 8 - 29 Aug, 5.45pm (6.45pm), free, fpp107.
tw rating 1/5
[krc]

Wil Anderson - Wilosophy
Token Events
When he first strides on stage, backed by AC/DC's 'Back in Black', flip-flops on his feet and Ashes quips on his lips, you could be fooled that you were in for an hour of macho, knockabout Aussie humour. Yet Anderson delivers so much more in an inspirational evening where laughs are plenty but are grounded by a deeper meaning. He scrutinises bad logic and poor argument to great effect, a particular highlight being when he demonstrates that the human body is not so intelligently designed after all. His 'Wilosophy' appears to be "use humour to overcome prejudice", and it warms the cockles of my heart to see stand-up that is sincere without being preachy, and also genuinely very funny.
Udderbelly's Pasture, 6 - 31 Aug (not 17), 8.50pm (9.50pm), prices vary, fpp110.
tw rating 4/5
[ras]

Long Tooth
Festival Highlights
Comedy where the joke is that the characters are bad at comedy is a risky game. It's all too easy to stumble into genuinely bad comedy, and unfortunately, that does happen during 'Long Tooth'. The performers play two characters - an over-earnest history buff and her charmingly naïve friend who seems to have wandered out of a school play - who are supposed to make a hash of their historical sketches, bickering and fighting as they try to salvage their show with hilarious consequences... theoretically. Although there are a few laughs to be had, and their audience interaction is blessedly innocent and inoffensive, it's too hard to tell the bad from the faux-bad, which leaves the show feeling amateurish and disappointing.
Gilded Balloon Teviot, 5 - 29 Aug (not 12), 2.30pm (3.30pm), prices vary, fpp73.
tw rating 2/5
[al]

Sammy J: 1999
Sammy J
Sammy J hasn't got a lot going for him; scrawny, nerdy, socially inept and worst of all he has a habit of randomly bursting into song. Fortunately these are the perfect tools with which to create his musical about life on the murky bed of the social hierarchy. '1999' is a semi-autobiographical retrospective of a time when you had to make choices between the phone line or the Internet and when the needs of your Tamagotchi came before your own. Sam McMillan's script is beautifully crafted, not cramming every minute of stage time with cheap gags, but taking the time to develop the character. Thus when the jokes do come, they hit you twice as hard. It's brilliantly unpredictable and wonderfully nostalgic.
Underbelly, 56 Cowgate, 6 - 30 Aug (Not 17), 6.00pm (7.00pm), prices vary, fpp93.
tw rating 4/5
[et]

Susan Calman: The Last Woman On Earth
Underbelly and Corrie McGuire For Objective Talent
This potty-mouthed, homosexual Scot is nothing if not committed. Always ready with an incisive retort, for the duration of the show she is uncompromisingly loud, proud and full of energy. Her comedy relies on down-to-earth observational wit, absurdity and the sheer power of her no-nonsense on-stage persona. In other words, this type of comedy is the opposite of biting political satire. Much to their delight, the audience is encouraged to participate and allow Calman to stand back and simply orchestrate the flow of events expertly. The show progresses in the shape of a bell curve (the comedy tails off towards the end), but it matters not because by then, everyone is already under the spell of this unpretentious comedienne.
Underbelly, 7 - 31 Aug (not 19), 8.10pm (9.10pm), prices vary, fpp104.
tw rating 4/5
[rr]

Zip Zap Zop - Free
How Do I Get Up There?
This lightning-fast whirlwind of sketches from Scottish three-strong group How Do I Get Up There? just about leaves enough gaps to have quite a few laughs. Some scenes show signs of brilliance, such as finding out what Noel Edmonds really hears from the banker, and a cruel but entirely accurate portrayal of Glasvegas front man James Allan. Others are a little predictable, and some go for some very cheap laughs, which let them down somewhat. However, if these were simply cut out, we'd have an intelligent, lively and, crucially, very funny sketch show on our hands. Probably wise to catch them now whilst they're free, as they're surely destined for bigger things next year.
Laughing Horse @ City Café, 15 - 30 Aug, times vary, free, fpp111.
tw rating 3/5
[ha]

Shitty Deal Puppet Theatre Company's Oh! What A Shitty War
Axis Of Evil Productions/Escalator East To Edinburgh
They don't believe in budgets, those puppeteers at 'Shitty Deal'. Just as well, as otherwise we'd have been denied a thrillingly low-tech show which relied on that most timeless of things: imagination. It wasn't slick, wasn't family-friendly or well thought-through, but it seemed to charm the audience anyhow. There were clever uses of set and amusing allusions to film (at one point a glove puppet and a Barbie doll do the deed) but the puppets' main selling point was that they didn't have one. They were deliberately and wilfully rubbish, and the audience admired their lack of pretension, paying handsomely for that honesty. Despite the flaws, it was big, dumb and fun, and not even all that shitty.
Zoo Southside, 7 - 29 (not 17, 24) Aug, 5.00pm (5.40pm), prices vary, fpp97.
tw rating 3/5.
[jd]

Nick Mohammed in Apollo 21
CKP By Arrangement With United Agents
It's forty years since the moon landings, so Buzz Aldrin has decided to organise a bit of a get together for us. Nick Mohammed plays Buzz as a sort of Peter Kay figure, leading the audience nostalgically through his experiences as the second man on the moon. It's an unusual format, almost an extended single comedy sketch, and it is very effective. The jokes are constantly funny and performed with skill, and the props, which have a wonderful makeshift comic personality about them, are fun too. A little time is given to the conspiracy theories, of course, but they are not the centre of the show. It's just a clever, enjoyable comedy portrait of the real men behind the phenomenal event.
Pleasance Courtyard, 5 - 30 Aug, 4.45pm (5.45pm), prices vary, fpp81.
tw rating 4/5
[cw]

Maggie Service With A Smile
Maggie Service
Maggie Service is a comic performer of undeniable skills, which she exhibits to the full in this newly-penned piece. Playing a range of female characters linked by their lack of self-awareness and abundant neuroses, she transmits a message about the nature of modern womanhood. It is assumed that of the two sexes, the male animal has suffered the biggest personality crisis in the wake of post-feminist aftershock. Service, though often with tongue rigidly in cheek, exposes the potential pratfalls of the contemporary lady. The show's faults are structural: the characters (dim-witted phone operative, braying drama teacher, wannabe starlet) are too stereotyped to make this great monologue theatre, but the routine is too rigidly choreographed to be outstanding stand-up. Frustrating.
Gilded Balloon Teviot, 3-31 Aug (not 17), 3.15 pm (4.15pm), prices vary, fpp74.
tw rating 3/5
[jkp]

The Laughs And Loves Of Henry Blofeld
Festival Highlights
Henry Blofeld, or 'Blowers' as he is more affectionately termed, is one of the best-known voices in Test Match Cricket. His illustrious career and extraordinary experiences translate perfectly into an engaging account of his life in which he details his days as an Etonian and recalls his rendezvous with Ian Fleming. However, what really makes this show extraordinary is Blofeld's rich and fluid delivery; he manages to make many of today's performers, some of whom feel the need to prefix every word with obscenities, look juvenile and lazy. Unfortunately this show is only on for a two-day run here but if you have the opportunity to see it some time, don't miss this perfect catch.
Venue 150 @ EICC, 150 Morrison Street, 15 - 16 Aug, 1.30pm (2.30pm), £15.00 (£14.00), fpp71.
tw rating: 4/5
[et]

Fresh Faces At The Free Fringe
Donny Worthington, Elise Harris and Others/ PBH's Free Fringe
Experiencing the fringe in some ways resembles visiting a casino: everyone's taking risks and weighing the odds, perhaps chancing their luck on an unknown name, all in the quest for comedy gold, the jackpot of quality entertainment. With a different line-up of five new acts each day, 'Fresh Faces' is the Russian roulette of the Free Fringe, as there's no telling what you'll get, but chances are there'll be at least one good comedian among the duds. That said, it's not a huge gamble, because even if you do get a non-starter, an embarrassingly amateur and unfunny performer, the brevity of each slot means it'll at least be over quickly. And after all, it's free, so the stakes aren't high.
The White Horse, 8 - 29 Aug, 2.50pm (3.50pm), free, fpp 52.
tw rating 2/5
[arc]

The Moroccan Disco Spokesman
Tommy Holgate/Laughing Horse Free Festival
Some holiday snaps should remain firmly in the photo album; unfortunately this advice is not heeded in this show of humourless jokes and meandering stories. The show retells 'comedian' Tommy Holgate's adventures as he makes his way on a bike through Morocco, with the aim of busting some moves when he has reached his destination. This was aided by random projections that often had no connection with his expeditions, but furthered his rambling tangents, talking about such stimulating things as celebrity six-packs. The show was somewhere between the 118 advert and a bad school disco, seventies revivalist meets sleazy, pointless jokes. Even the price of the show, which is free, is no consolation for this flat, gagless show.
Laughing Horse @ The Argyle, 6 - 30 Aug (not 17), 3.40pm (4.40pm), free, fpp79.
tw rating 1/5
[sp]

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DANCE & PHYSICAL THEATRE

Faites L'Amour Pas La Guerre
Barking Abbey Drama
"Everybody can can", Jim Broadbent's booming voice can be heard caterwauling out of speakers at numerous points in this production. Unfortunately not everyone 'can' in this unsubtle production of jarring gimmicks and unjustified interpretations. Imagine a Christina Aguilera video which had the scriptwriters and actors of the Carry On films, minus the comic timing, and you arrive at this show. An underdeveloped conceit transposes the sex strikes of the Lysistrata to the Moulin Rouge, all channelled through the medium of Shakespearean-esque couplets. Trying to meld the old with new, none of these interpretations is clarified in the show, and failed to enhance this old tale. Hackneyed dialogue and cumbersome unfocused acting were the finishing touches to this ill-thought out show.
Gilded Balloon Teviot, 9 - 14 Aug, 11.00am (12.00pm), £5.00 (£4.00), fpp114.
tw rating: 1/5
[sp]

Appel/Ring Cycle
Company Decalage/Shamita Ray
Like two snakes being charmed into competition, Company Decalage's 'Appel' consists of contorting moves, impossible shapes and flowing transitions. To say that Mikael Marso Riviere and Navala Chaudhari compete in an Eastern-infused dance-off does not do justice to the grace and strength in their exquisite piece. They create breathtaking dances, finding ways to move the human body which are both dynamic, natural and seemingly impossible. 'Ring Cycle' by Shamita Ray was slightly disappointing after the wonder of 'Appel', though. She created excellent moments, especially with her use of spotlights and shadows, but I found myself urging her to stretch out that bit more, jump that bit higher and inject her performance with a few more volts of energy to capture my imagination.
Dance Base, 5 - 16 Aug (not 11), times vary, £5.00, fpp112.
tw rating 4/5
[tp]

Elvis Still in my Heart
Pretty Good Girl
Elvis was not so much still in the room as chained to the radiator in 'Elvis Still In My Heart'. The musical composition's strength made up for a slow-burning first half, but as the show rolled on Katey Leader's truthful, earthy performance drew the audience into the more nuanced and poignant turn from Louise Barrett as Elvis-obsessive Agnes. At first the hugely impressionistic and physical style jarred with the shows darker themes, and the character of Tasmin was left virtually untouched despite ample stage time. Despite this, the character's secrets were slowly accepted and their humour and heart shone through, until Barrett delivered a final kick of poignancy. Given time, suspicious minds may be converted.
Pleasance Dome, Preview 6 - 31 Aug (not 17) 5.30pm (6.30pm), prices vary, fpp114.
tw rating 3/5
[jd]

Found
Curious Seed
"What if I found her in a letter?" A woman known to a man only through another's written word slowly takes shape in his mind and takes hold of his heart. It's an intriguing concept, and there are moments of true beauty in Christine Devaney and Michael Sherin's interaction, as they weave their paths around each other, evoking a sense of the tension existing between reality and fantasy. But their incessant circling of the space and unfathomable fragments of dialogue do grow a little tiresome and, as it goes on, the piece starts to lose focus slightly. It is the deeply powerful live score that drives the show, making musicians Luke Sutherland and Jer Reid the true stars of 'Found'.
Dance Base, 5 - 16 Aug (not 11), 8.30pm (9.30pm), £5.00, fpp114.
tw 3/5
[rb]

Nouvelles Folies
Fiat Lux (France)
An odd and mildly amusing showcase on cultural differences, in which a young professional couple decide to holiday in a remote seaside town and there encounter some mischievous fisherman. The set up reminded me of the episode of the Mighty Boosh (probably the best one) called 'The Legend of Old Greg' but in comparison this show wasn't a fraction as funny. It's easy to imagine the strangeness that ensues when the fishermen are involved, and there is a quality moment when one has a harmonica inside of his mouth with the concomitant ridiculous facial deformity. However, while there were a few charming moments, and some stylised physical dexterity made it visually interesting, I found myself decidedly un-enthralled, and spent the majority of the performance fantasising about picnics.
New Town Theatre, Freemasons' Hall, 96 George Street, dates vary, times vary, prices vary, fpp117.
tw rating 2/5
[bm]

Ranganika, Island Of Dance
Arakavila Dance And Theatre Foundation, Sri Lanka
If, like me, you're not a connoisseur of Sri Lankan dance, then this show will provide a comprehensive introduction to the genre. Clad in vibrant, traditional dress, Ranganika's young cast are, for the most part, engaging performers: flexible, fit and polished. Particularly impressive are the drummers, whose hands move at unearthly speeds to produce layered and complex rhythms. It's just a shame they didn't open their performances out a bit more, or really share with us their enjoyment of the music. Leaps and somersaults abound in the second half of the show, making for an impressive spectacle, but what the hour most powerfully conveys is the Sri Lankan sense of community, something foreign and enticing to a Western audience.
The World @ St George's West, 6 - 30 Aug (not 10, 17, 24), 4.30pm (5.30pm), £10.00 (£8.00), fpp118.
tw rating 3/5
[rb]

The Red Room
David Hughes Dance Productions
David Hughes' adaptation of Edgar Allen Poe's famous story is impressive and captivating. The nobles party while the peasants die, and this production excellently captures that sense of revelry and hedonism. However, I couldn't help but feel that the exclusivity of the story spilt somewhat accidentally into the show, making the production perhaps inaccessible for audiences unversed in dance. That aside, this is clearly an impressive piece, with exquisite choreography and breathtaking execution at its best when the hedonism spills into the sex, violence and insanity that constantly lurk under the surface of the party. The production could perhaps benefit from a more satisfying end but this is nonetheless an interesting and abstract take on the famous tale.
Traverse Theatre, 8 - 16 Aug (not 10), times vary, prices vary, fpp119.
tw rating 4/5
[nc]

Tales Of The Apocalypse
Airealism
The delicate works of high-jinks accomplished by figures on the high trapeze were a marvel. As they grappled, tumbled, fell and soared with death-defying dexterity and grace, I was astonished, agog at times, with mouth all agape. There can be no doubting the colossal abilities of this exceptionally-talented troupe. And yet, a crucial element was lacking that no theatre worth the name can go without: narrative. In ballet or on the sports field (areas of athletic excellence that compel us beyond distraction) there's always a story. It's what holds our attention, gives all that bustling physicality its vital context and scorches images in our minds' eyes incandescently. Without stories, we are lost to the apocalypse, fumbling in the dark.
Gilded Balloon Teviot, 5-16 Aug, 11.30 pm (12.30pm), prices vary, fpp 122.
tw rating 3/5
[jkp] subbed jb. Fine.

Tap Kids
New York Stage Originals 'Tap Kids' (USA)
Spec-tap-ular! I had expected this show to be a hackneyed bore; the thought of watching some wholesome American youths dealing with high school dramas and dancing their little hearts out was a nauseating one. Within the first ten minutes, however, that certain something that is soothing and satisfying about the clippity-clap of the tap had seduced me. It was more than that, though; the choreography was wonderful and the co-ordination seamless, and with some slick dances to some jazzy numbers, I entered into a kind of tap trance. Playground mishaps were represented by sulky struts and there is a great dance-off with boys playing basketball. The spirited and polished performances of these kids were inspiring, and the story line conveys something of the hopefulness of youth.
New Town Theatre, Freemasons' Hall, 96 George Street, 5 - 30 Aug (not 17), 5.45pm (6.45pm), prices vary, fpp122.
tw rating 4/5
[bm]

The Shadow Orchestra
Xavier Mortimer/Prod Illimitees (France)
Unless the audience were offered baguette and Brie on arrival I don't think this piece could be more deliciously French. Xavier Mortimer, multi-talented musician-cum-magician treats us to accordion music and mime of the traditional kind - the suitcase seemingly stuck to the floor despite the artiste's Herculean attempts to shift it. The Gallic charmer compels inanimate objects to dance, to fly, to dissolve and reappear in the blink of an eye: flowers tumble from between cymbals, brooms and wine bottles emerge from tubas. It's a shame that the orchestra of shadow figures accompanying Mortimer is digitally projected, but it is skilful nonetheless. This is a sweet, funny show of simple pleasures and clever tricks - one for the family.
New Town Theatre, 5 - 30 Aug (not 17), 4.00pm (5.05pm), prices vary, ffp119.
tw rating 4/5
[dp]

Alba Flamenca
To be honest, this is astounding. Crafting odysseys from impeccable musicianship and dancing, that channelled all facets of flamenco lyric into the emotive gunshot taps of the two dancers, Alba Flamenca combine the virtuosity of a flawlessly imaginative classical guitarist and a powerful vocalist with dancers that impress even the most uninitiated. With an innate grasp of the diverse compas, soleas and the rhythmic diversity of flamenco style, and never for a moment letting the dramatic atmosphere become substandard, this show should be considered as far more than simply a rendition of flamenco, but as a rich musical display of many aspects of a diverse art form. Very alive, with explosive, vivacious dancing, and very intense.
Alba Flamenca, Alba Flamenca, 7 - 30 Aug, times vary, £12.00 (£10.00), fpp112.
tw rating 4/5
[sb]

Ousia
Array/Darren Johnston
Feeling my way along dark, dank and smoke-filled corridors I could only assume this was a prelude to the show. Which it was. A solo dancer performs in a laboratory; confined, trapped and feeling their way through the space. A jagged soundscape and extensive strobe lighting highlight the surreal nature of the performance, which is very much installation rather than dance based. The back 'wall' has a black screen which at one point shows highly effective and moving black and white film footage of a tutu clad dancer, and at another, her self dancing in tandem in a mirror image. This isn't a production to suit every dance lover, but it's exciting, entertaining and something that little bit different.
Dance Base @ Out of the Blue Drill Hall, 5 - 30 Aug, times vary, £6.00, fpp117.
tw rating 3/5
[bw]

Spaceman
The Arches At St Stephen's Presents Dudendance Theatre
There is poetry in Darwin's Theory. Dudendance transforms evolution into a metaphor for human progress and our individual will to evolve and St. Stephen's becomes the primordial forest, complete with the warm throb of the cicada. But before we get too comfortable, a hunched figure in an old-fashioned nightdress and cap creeps on stage, faceless and terrifying. She sheds her dress to reveal an early ancestor of Man who morphs into many riveting forms, including a chimp and a robot, at each stage physically struggling against itself in order to move on. This mysterious and haunting exploration of what it means to be a living, moving, work-in-progress leaves us questioning the human need to keep setting ourselves new challenges.
The Arches At St Stephen's, 9 - 31 Aug (not 17, 18, 24, 25), 5.30pm (6.30pm), £7.00 (£5.00), fpp120.
tw rating 3/5
[ft]

Taiwan Song Jiang Battle Array
Shih Chien University, Kaoshiung Campus
Marching soldiers traversing a vast marquee bombard their audience with colour: bold crimsons and rich golds in the uniforms, and intricate blue patterns on their cheeks. Over the next hour, drumbeats representing the order of battle provide the rhythmic foundation for traditional flag and martial-arts inspired dance which, despite there being at least forty performers, is impressively slick. This piece revolves around a Taiwanese philosophical folk tale of how the gods save the civilians from evil spirits; the free programme's detailed plot explanation allows the audience to not only appreciate the spectacle but the epic drama too. A thoroughly enjoyable experience of a traditional art form and fiction, provoking thought about the influence, if any, of art on nature.
Meadowbank Sports Centre, 7 - 13 Aug, times vary, £3.00 (£1.00), fpp 121.
tw rating 4/5
[apy]

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MUSIC

Jazz At Lunchtime
Ian Millar and Dominic Spencer
Opportunities to hear live jazz over lunch may be few and far between, but fans shouldn't get too excited about this one. Millar and Spencer play against a video backdrop of Scottish landscapes, and although beautiful, it's a bit of a gimmick. They perform a mixture of standards and originals, both of which are left a little pedestrian without the support of a rhythm section. Millar's saxophone playing is polished but less can be said of the keyboard work, which left the performance rather sketchy. The man sitting next to me managed to catch a few winks - the dimly lit cellar bar was quite soporific and the music was certainly "chilled" - but those of us who like our jazz more stimulating should look elsewhere.
Radisson SAS Edinburgh Hotel, 7 - 31 Aug, 12.30pm (2.00pm), £7.00 (£6.00), fpp150.
tw rating 2/5
[ac]

The Magnets
Underbelly Productions
Audience participation is key when attending The Magnets. Whilst the aim is to relax and have fun, expect to clap, shout, sing endlessly and dance embarrassingly. The premise is simple: six guys, six mics, and a lot of music. The magnets blend piercing harmonies and jaw dropping human beatboxing whilst performing genre spanning tracks from Lady Gaga to AC/DC. The show flows seamlessly, and the choreography is step perfect. Having no backing tracks or instruments, this is the true definition of 'what you see is what you get', and with one man drum solos and an A-Z song quiz, the set's diversity makes 60 minutes fly by without a pause to stop for breath. Slick, sexy, instantly lovable and absolutely unmissable.
Udderbelly Pastures, 7 - 31 Aug (not 17), 5.25 (6.25pm), prices vary, fpp153
tw rating 5/5
[gs]

Latin Jazz With Robin Del Castillo Band
Robin Del Castillo & The Latin Band Show
Descend the stairs into the El Barrio Nightclub and you've travelled thousands of miles. A hidden gem, this venue has an authentically Latin flavour and the music on offer is no different. Atop the stage, an eight-man outfit outnumbers the audience two to one, but that doesn't stop them launching zealously into every zesty number; this band are clearly doing what they love, and they certainly do it well, with marvellous performances from all. It's rough around the edges at times, but that's all part of the charm as the players banter away on stage. More of a party than a concert, the atmosphere in El Barrio begs for a dance floor - this 60-minute fiesta will leave you wanting more.
El Barrio Nightclub, 7 - 29 Aug (not Wednesdays), 5.00pm (6.00pm), £10.00, fpp152.
tw rating 4/5
[ac]

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MUSICALS & OPERA

The Three Chillies
Three Chillies
The Three Chillies, an Australian cabaret act, can certainly sing. Belting out much loved numbers, they combine comedy with some genuinely impressive vocals. However, their music is better than their comedy, leaving one with the feeling that it would be quite nice if they stopped 'joking' over songs and just sang them well. There are exceptions - the sign language interpreted love song is hilarious, as is the tale of being thrown out of Malaysia sung to the tune of 'Memories'. Whilst there isn't a weak note between them, sometimes it feels a little karaoke, as some songs are a bit cheesy and it descends into something with a 'girls night out' kind of vibe. An entertaining hour, but certainly not for everyone.
City Edinburgh, dates vary, 8.30pm (9.30pm), prices vary, fpp176.
tw rating 3/5
[ha]

Vision
St Ives Youth Theatre
Retelling the relatively well-known (if you were packed off to Sunday School) story of Saint Bernadette who saw visions of the Virgin Mary, St Ives Youth Theatre go about it with contemporary school kids and pop-rock songs with a jazzy edge. Generally solid musical direction, together with some moving vocal performances, made the production just about bearable; however, the cast was absolutely massive, and as they all swarmed on stage like locusts, stage blocking, movement and dancing became clumsy and messy. Advocating faith in an age of logic, science and cynicism, the overt Christian message of the show made me personally feel slightly nauseous; the audience however, filled with septuagenarians and nuns for the most, really didn't seem to mind.
Sweet ECA, 8 - 15 Aug, 2.30pm (4.15pm), £10.00 (£9.00), fpp 177.
tw rating 2/5
[iq]

Oklahomo! Far From Kansas
London Gay Men's Chorus
Welcome to Dick's Halfway Inn. Immensely entertaining, this 'Brokeback Mountain' inspired story of a Western gay support group is outrageously hilarious. Somewhere in Oklahoma where everyone is called Billy, a group of men try to sort out their love lives until a stranger from Scotland comes along and teaches them a few lessons about love. The singing is excellent and the cast has a real talent for comedy. The performers don't take themselves seriously, letting all the clichés about gay life emerge, yet showing how underneath these, there's a longing in everyone. Many well-known and enjoyable songs keep the mood up, and the audience choking with laughter. Completely insane comedy with shameless self-irony, this is the one to see.
Sweet ECA, 16 - 22 Aug, 9.45pm (10.45pm), £9.00 (£7.00), fpp174.
tw rating 5/5
[hh]

Bloodbath - The Musical
Sanctuary Films Ltd
Scream meets Grease in this sexy slasher musical, which was horrifically chaotic but still ridiculously fun. As The Waterman selected his next victim, the entertaining array of characters belted out tunes full of sexual and murderous innuendos. The unconvincing Anthony from Blue was a tight squeeze for a young John Travolta, and the choreography was often terrible, but the show had several highlights, including a bitchy newsgirl, a hot camp policeman and foxy ranger cheerleaders who provided the pizzazz. Tony McHale's lyrics worked well for tunes like 'Serve and Protect' and ' Serial Killer', although some made the mortal mistake of relying on the actors' vocal talents. Still, this is a perfect piece of trash for an almost harmless night out.
Musical Theatre @ George Square, 6 - 31 (not 11, 18, 25), 9.30pm (10.45pm), prices vary, fpp166.
3/5
[cd]

Chomp: A Zombie Musical
Fusion
Flesh eating zombies and songs combine in this show which, despite lacking any real bite, still retained energy throughout. The dismal American accents, wooden acting, and poor vocal projection of the actors ensured the show always felt like nothing more than a school production. However, on this basis, there were also some aspects which should be noted. The idea was amusing and never took itself too seriously and the cast who were clearly having a lot of fun all played zombies startlingly well; especially the artful-dodger-like Zombie King who had stage presence and coped impressively during a technical cock-up. It's just a shame the show only offered rump instead of fillet for me to sink my teeth into.
C, 7-8 Aug, 5.15 (6.15), £8.50 (£7.50), fpp168.
3/5
[cd]

Have a Nice Life
Nice People Theatre Company
The show begins as seven broken characters gather for a fun, quirky and endearing ninety minutes of musical group therapy. Unlike many musicals the whole story occurs in real-time; this reflects the strength of Matthew Hurt's compelling script, which provides some unconventional and emotionally engaging observations of self perception - most effective through the characters Jackie and Frank - and never becomes pretentious or clichéd. The ensemble all make the most of their moments to shine, and despite being occasionally out of tune, they are never out of sync with each other. There is a genuine sense that the cast are in it together no matter what, which enhances the warm-hearted nature of this tender show.
Musical Theatre @ George Square, 7 - 16 (not 11), 12.00pm (1.30pm), prices vary, fpp171.
tw rating 4/5
[cd]

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TALKS & EVENTS

Royal Bank on the Royal Mile
Festival Fringe Society
Glorious chaos reigns on the Royal Mile for the full month of August, so that even paramedics need to get on their bikes to delve into the throng. Stages both upper and lower played host to a plethora of talent from student musicals to ex-miners with guitars through acapella groups singing dodgy covers of McFly. Avoid the fliers to enjoy the carnival atmosphere, and if you're feeling brave glamorously assist a street performer. Short sets and constant changes mean there's always a distraction at hand, and there'll be at least one performer you'll feel like seeing later. If leafing through the Fringe guide leaves you overwhelmed and unconvinced, take a stroll down the Royal Mile - you're guaranteed to be won over.
The Royal Mile, 7-31 Aug, all day, free, ffp130.
tw rating 5/5
subbed jb. fine

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THEATRE

Hot Air
Ten Pence Short
This is the kind of show the Free Fringe does very well; it's short and simple, sweet and fun. A pair of amateur criminals, brought together by an internet chatroom, meet outside their latest target and work up the courage to begin. Nothing much happens after that, but the winning performances and sharp script keep things entertaining, as the tensions mount and the pair's many neuroses threaten to ruin everything. It soon becomes apparent that they are each motivated more by their own strange fetishes than by greed, and despite the surreal set up they each have a wistful desperation about them that rings very true. 'Hot Air' is a charming oddity that's well worth your time.
Laughing Horse @ The Argyle, 6 - 22 Aug (not 17), 1.55pm (2.40pm), free, fpp201
tw rating 3/5
[tl]

The Hotel
The Invisible Dot
This innovative new 'comedy of sorts' written and directed by Mark Watson is a fantastic take on promenade theatre. The set is wonderful, with such an exquisite attention to detail that it is easy to forget that this isn't an actual hotel. The performers are all incredibly engaging and entertaining, whether they're trying to convince us that everything's alright, or interrogate us as part of their 'admin procedures'. There is so much to see and experience over the hour as well as a compelling underlying story to pursue. This is so much more than excellent theatre: it is a showcase of improvisational comedy's most promising young talent. Make sure that you check out this extraordinary performance while vacancies remain.
Assembly @ George Street, 5 - 31 Aug (not 17), 4.15pm (5.10pm), prices vary, fpp201.
tw rating 5/5
[nc]

I Like It To Be A Play Every Afternoon
CalArts
CalArts' adaptation of two Gertrude Stein plays results in a palatably surreal, humorous performance with something a little 'showtime' about it. Onto the bare stage burst actors who, without plot or coherent dialogue, somehow manage to evoke complex psychologies, acute social mores, and distinctive relationships in fragments of drama, music and movement. The young cast have great confidence in their material and the show sits very comfortably in the established minimalist Fringe theatre mould. CalArts' revels in Stein's work do not give us an edgy, anti-establishment piece, but something consistently easy-going. Consequently, the show lacks depth, but an hour spent in the company of 'I Like It To Be A Play Every Afternoon' is an hour spent in good company.
Venue 13, 8 - 22 Aug (not 17), 11.45am (12.45pm), £8 (£5), fpp198 (formerly 'Gertrude Stein').
tw rating 3/5
[dp]

Love Letters On Blue Paper By Arnold Wesker
Up In Smoke Theatre Co
Wesker's 1976 play is a subtle and moving reflection on the days before death; predictably sombre in tone, the terminally ill character runs the emotional gauntlet, from denial and anger to acceptance of the impending uncertainty. It's a revival of a heartbreaking but ultimately uplifting tale with some lovely ideas: dealing with the love between husband and wife, their history and his importance to her is revealed in poignant letters, and all his musings on life are confided to his professor friend. The three actors were all quite skilled and naturalistic; genuine tears, even, were shed in the most saddening scene. While it was long and slow, can that be a criticism of the play when surely that is what waiting to die is like?
The Space On The Mile @ The Radisson, 7 - 22 Aug (not 9, 16), 8.10pm (9.25pm), £8.00 (£4.00) fpp208.
tw rating 3/5
[bm]

Little Johnny's Big Gay Musical
Random Accomplice
I think that before I went to see this show I was under the impression that I didn't like musicals; this hoot of a show has converted me. Johnny bounds around a snazzy set, his name in lights behind him, while singing us his life story. This Ardrossan boy's tale could be dull but it's told with so much humour and Broadway verve that it's elevated to something enthralling. You'll laugh more times in this show than in the majority of the Fringe's comedy and you'll be treated to a number of playfully incorporated popular standards that give the story an degree of timelessness. I left feeling refreshed, and recommend it even to Lloyd Webber-aphobes.
Pleasance Dome, 5 - 31 Aug (not 10, 17 and 24), 10.00pm (11.10pm), prices vary, fpp207.
tw rating 5/5
[nf]

Luck
Making Strange Theatre Company
Las Vegas is both the most horrible and most wonderful city on earth, and this show captures both sides of the devilish dichotomy. Kim (inhabited by Megan Riordan), a woman with a family who deal in cards and dice, narrates her life story with meditations on luck, fate and morality, bewitching the audience with dancing, mime, Sinatra, stories and tricks of the trade. The meta-theatrical aspect is astonishing as Kim is forced to riff on topics determined by roulette wheel spins, or coin tosses; the likelihood that no two shows in the run will be identical creates a thrill both for Riordan and the audience who will certainly by awestruck by the best value-for-money Vegas show you'll see.
Udderbelly's Hullabaloo, 7 - 31 Aug (not 17), 8.10pm (9.10pm), £10.50 (£8.50), fpp209.
tw rating 4/5
[jb]

Matinee Matinee Ensemble
A crackly film projection with satirical titles sets up a classy opening to this stunning show. It's mime without the cringe, a show where they send up the genre's own conventions. Technically perfect, they are like animated comic strip characters providing KBANG!-type sound effects and occasional dialogue punch-lines; this is the wittiest and best observed physical comedy I have ever seen live, with Simpsons level of satire. However, then they embark on a tribute to The Kung-Fu movies and I start to wince: I know they are parodying Hollywood stereotypes but the nature of mime lends itself to cruelty, and I find myself wanting their position clarified. An impressive piece doesn't dissipate my anxiety, and the final dance from Thriller is cheesy.
Pleasance Dome, Aug 5-31 (not 17, 24), 12.00pm (1.10pm), £8.00 (£5.00).
tw rating 3/5
[km]

Memento Mori
Leicester University Theatre
In a rickety house, a stooped old man and sharp-suited bright young thing are plotting sinister deeds and remembering the dead. With each man more absorbed in his own wicked machinations than with the real world or each other, their ramblings become interweaving monologues punctuated by scattergun exchanges, confusingly revealing their dark pasts. The real story lurks threateningly in the silence, with murder and intrigue communicated through wry grimaces and darting eyes, which these two actors have a clear talent for. However, the sporadic angry outbursts are less convincing and jar with the rest of the moody piece, and ultimately the haunted house conjured on this stage is more the stuff of cheap fun-fairs than chilling nightmares.
The Space on the Mile @ Jury's Inn, 7 - 15 Aug (not 9), 8.45pm (9.15pm), £4.50 (£4.00), fpp210.
tw rating 2/5
[lj]

More Famous Than God
Without The Aid Of A Safety Net
Who is more famous than God? Apparently the answer to that is Simon Cowell, or so 'More Famous than God' claims. The idea sounds catchy and the title is definitely intriguing, however the show itself is another matter. The performance has no clear message. It is a presentation of today's fixation with reality television and the psychotic need for fame and glory, but it does not interpret the situation or offer any true insight. The characters are semi-stereotypical and semi-underdeveloped, although the acting is quite polished. In the end the show achieves neither the status of comedy nor of ominous prophesy. Although a pleasant way to spend an evening, the story won't stay with you.
Laughing Horse @ The Outhouse, 7 - 22 Aug, 2.30pm (3.30pm), free, fpp212.
tw rating 2/5
[ms]

My Queer Valentine
Rick Lau (Accompanied By Warren Wills)
I was going to say that this one-man cabaret is, and will remain, a minority taste. This would be a disingenuously back-handed compliment. For once, the blurb in the festival literature rings true: 'Queers/non-queers welcome'. Rick Lau is a performer of considerable charm, blessed with both vocal and figurative dexterity. His songs, (music/lyrics penned exclusively by homosexual artists) are funny, poignant and worldly-wise. He is more than ably accompanied by pocket virtuoso Warren Wills on piano. My bitter regret was the lack of a narrative, or motive, for this set of tunes: where was their context? Who exactly wrote them, and under what duress? By engaging with his audience more directly, Lau would become a force to be contended with.
Universal Arts @ St. George's West, 8 - 30 Aug (not 18), 8.00pm (9.00pm), prices vary, fpp214.
tw rating 3/5
[jkp]

The Puppet-Show Man
Flattering Panda Productions
The stories of Hans Christian Andersen are timeless, endorsing universal truths which still apply today; throw in some crude sock-puppets and you've got yourself a show. This is a performance which transcends genres, incorporating live music, on-stage painting and, of course, puppetry. Kids and grown-ups will be delighted by vibrant retellings of 'The Ugly Duckling' and 'The Emperor's New Clothes'. The young cast are energetic on stage, and their comic delivery is consistently entertaining, though it's questionable how well their almost self-parodying humour would translate to more mainstream audiences. The cramped performance space also makes for some slightly clumsy prop changes. Luckily, this is somehow woven seamlessly into the slightly kitsch vibe of this humble, but heart-warming show.
The Spaces On The Mile @ The Radisson, 7 - 22 Aug (not 9, 16), 3.05pm (3.55pm), £6.50 (£5.50), fpp222.
tw rating 4/5
[rc]

Snatch Paradise by Van Badham
The Gemeinschaft Dogs
At least one of the women in this image-obsessed play has false breasts. She's a singer/actress whose boyband-star boyfriend has just come out of jail with amnesia. As his memories come trickling back, he reacts against the abuse and manipulation of his life. Van Badham gives us a world where sex is payment for everything, lust is the same as love, and public image is all. Mind, the songs are belting good parodies. It takes an outside perspective to see how dirty, corrupt and disgusting it all is; this show successfully delivers a mix of pop, porn, violence and PR (oh, and full-on nudity). Not one for the kids.
Underbelly, 6 - 30 Aug, 10.05pm (12.00am), prices vary, fpp228
tw rating 3/5
[rtw]

A Slice Of Saturday Night
Why Not? Musical Theatre Company
This slice of Saturday night is served with a visit back to the 60s to the Club A-Go-Go where a group of youngsters go to dance, flirt and get their hearts broken. An excellent young cast ensure that this revival sizzles with energy and creates nostalgia for the decade, even in those who weren't around in the first place. There's a nod to the alternative side of the 60s, but the main focus lies with the hip mods who live for that special night of the week, spent with the father-figure club manager Eric (Rubber-Legs) de Vene who provides the boys in his club with very important life-lessons. If you're looking for early-evening giddy entertainment, take a bite.
The Spaces @ Royal College of Surgeons, 8 - 15 Aug (not 9), 4.45pm (6.15pm), £8.00 (£7.00), fpp176.
tw rating 4/5
[hh]

Sylvia Plath - Three Women, The First Revival
Inside Intelligence
Sylvia Plath's only play, Three Women, tells the story of three different accounts of pregnancy, birth and its aftermath through the monologues of The Wife, The Secretary, and The Student. Here, it is performed excellently, using a simple backdrop, minimal props and lighting, and focusing attention on some superb acting. The monologues intersperse, and all three leads deliver convincing, passionate and often touching performances to honour the beautiful and insightful poetry of Plath. Special mention must go to Neve McIntosh, the secretary who has only ever miscarried, for her dramatic, moving portrayal of the woman who seems only to suffer. All three women should be applauded for an honest, simple performance of the poetic and moving tales.
Assembly @ George Street, 6 - 31 Aug, 11.00am (11.50am), prices vary, fpp231.
tw rating 4/5
[ha]

Tasty Treats
Straylight Australia
This Australian programme of short vignettes offered an amusing taster of the bitter, the sweet and the downright bizarre. Tasty Treats consisted of three plays unified and bound together by the recurring theme of life, death and the potential for rebirth. The first and most successful of which, was 'Haircuts' a tragic-comical yet nevertheless sharp-witted account of a young gentleman and his paternal relationship with his barber. Despite the promising start, the subsequent plays 'Falling, Praying' and 'A Little Blue' failed to hit the mark, instead deviating from the opening tone of the programme becoming increasingly more slapstick and surreal, albeit still retaining some of the wry humour of its predecessor. All in all, 'Tasty Treats' remains a mixed bag.
C soco, 6-30 Aug (even days only), 2:00pm (2.30pm), prices vary, fpp232.
tw rating 3/5
[sm]

Unknown Album
Chris Payne Productions
The culture of pop is the dauntingly vast subject tackled by Fred Gordon's new play. His premise is that popular music thrives upon the creation and propagation of certain marketable, safe stereotypes; personality subdued in favour of bland conformity. Whilst this practice is the stock-in-trade of certain moguls, (Waterman, Aitken & Stock/Simon Cowell) they are ridiculous beyond satire: the mirror, as they say, does not lie. Besides, popular music is generally a great clarion call to the individualist spirit; the combined talents of Sid Vicious, Morrissey and Iggy Pop attest to the industry's higher ideals. In what other environment could such men flourish so? This play, sadly, seldom veers beyond the self-evident into the head-on crash of revelation. Worth missing.
Underbelly, 6 - 30 Aug (not 18), 11.45am (12:45am), prices vary, fpp236.
tw rating 2/5
[jkp]

Words Of Honour
Jermyn Street Theatre
"Mafia is not just a language, not just a code. It is an exhibition of intelligence, a permanent display of power." This is just one of the important lessons that Marco Gambino will explain as he strips away the myths that shroud the mafia in secrecy. Gambino has magnificent stage presence and is by turns secretive, sly, frightening and accepting. Even if you do not have a particular interest in organised crime, this show focuses as much on the cultural aspects as it does on tales of blood and revenge. The highlight was Gambino going through a certain street map, explaining which areas the mafia practised extortion in and why. It suddenly made this organisation feel very, very real.
Assembly @ Assembly Hall, 6 - 31 Aug, 4.10pm (5.10pm), prices vary, fpp240
tw rating 4/5
[bw]

Animal, Vegetable Or Mineral?
Dorothy Key/Laughing Horse Free Festival
An unpretentious look at the way we make the decisions which rule our lives, this show asks simple questions about the complicated nature of our existence. The action is built around a videotape of a man being questioned during the game 'Animal-Vegetable-Mineral?'. Ensemble work builds on the themes exposed, while a loose narrative follows characters through significant turning points in their emotional and professional careers. Some humorous and touching individual performances arose from this, but the emotion was at times overplayed, and the focus in general a little too wide for us to engage fully with characters. However, it was nonetheless evident that this young group possesses a great deal of potential as devisers and performers - watch this space.
Laughing Horse @ The Argyle, 16 - 22 Aug, 6.15pm (6.55pm), free, fpp179.
tw rating 2/5
[sw]

Brocante Sonore: The Mechanicals
Zic Zazou
Extraordinary, exhilarating, exhaustive: a frenzy of free-wheeling invention. It seems impossible that this motley-looking crew, ambling about in overalls, could have produced such sonically poetic, visually dazzling fireworks. But this was a display, for all its casual execution: a virtuosic symphony of sound and motion, chronicling the curious rigours and respites of men coming together to work. Within the set's factory floor confines (like a re-realisation of Terry Gilliam's 'Brazil' by Jean Pierre Jeunet), maestros play boxes with hammers, nails with bows, pipes, tubes and chair legs with hefty gusts of breath; they blow into glowing conches, ring buzzers, clatteringly pour beads down metal chutes and, occasionally, deign to play conventional instruments. The result stupefies for, improbably, it is beautiful.
C, 16 - 31 Aug, 7.30pm (8.30pm), prices vary, fpp 185.
tw rating 5/5
[jkp]

Diary Of A Madman
Fail Better
Set in Tsarist Russia, Nikolai Gogol's classic story of a class-conscious civil servant descending into delusion makes an appearance in Edinburgh this year as a one-man play, enacted by Chris Tester. Immediately the small, claustrophobic staging introduces you to the living quarters of this lonely and neurotic man, preparing you for the intensity of what is to come. Gradually, despair shuffles to the surface and time begins to break down, cleverly conveyed in this production as the patters of daily routine are manipulated into mania. It's a haunting study of mental breakdown, although one slightly limited by the distant preoccupations of the story's original cultural context (don't mention the revolution, as they say). A powerful and moving piece of theatre.
Underbelly, 16 - 30 Aug, 1.25pm (2.40pm), prices vary, fpp190.
tw rating 4/5
[cw]

Home Of The Wriggler
Stan's Cafe
Five redundant car factory workers recount the lives of their ex-colleagues, from their dismissals to the many years that followed. Set in a post-oil world, the actors power the stage lights using old running bikes, which creates an airy ominous atmosphere, heightening the sense of despair and hopelessness within the play. All five performers maintain a conversational, matter-of-fact tone and avoid any temptation to sensationalise their situation. However, as the story switches every few minutes between acquaintances from their past it was difficult to form any sort of emotional attachment to the story, and the five main characters always remained at a distance from the audience. It was an ambitious concept, which fell just slightly short of the mark.
Underbelly, 16 - 30 Aug, 12.00pm (1.20pm), prices vary, fpp200.
tw rating: 3/5
[et]

Neville's Island
Sherborne Theatre Company
"I am better than this!" screams one of the indistinguishable characters. No you aren't, but anyone with any theatrical experience or knowledge is. If you were a middle class, middle management, middle aged audience member you may have been able to relate to these two dimensional plot devices but I would hope you'd still have appreciated how predictable they were, and bemoaned it. The acting was adequate, at times funny, but usually unsure of itself. It's annoying when there is unfounded confidence in a performer but even more so when they don't have enough! Prolonged blackouts and monotone line deliveries dulled this piece, but the killing blow was struck long before that with the plodding writing. It's simply a bit limp.
C soco, 16 - 22 Aug, 6.45 pm (7.55 pm), prices vary, fpp 214.
tw rating 2/5
[tbo]

Tree Duet
spell#7 (Singapore)
The programme proudly declares this is 'eco-performance minus moralising' - that much is true. There is no political, cultural or ecological message here; it pays lip service to all without delivering on any. Rather, it is the metaphysical equivalent of shrugging your shoulders. A few of the actors' moments of narration are charming - notably their autobiographical stories about their children - but these few precious nuggets are mired in a morass of pretentious nonsense and self-conscious movement that is utterly devoid of significance. They lost me completely at the moment a bonsai tree was transplanted from a pot to the actor's stomach, and we were subjected to five minutes of atonal piano music as the small tree slowly rose and fell.
New Town Theatre, 16 - 22 Aug, 11.30am (12.30pm), prices vary, fpp 234.
tw rating 1/5
[al]

Underground: A Forgotten World
Crooked Teeth Theatre
Quentin Tarantino's spirit is writ large over this sharply-acted and sharply-scripted show which ends with a glottal stop; something isn't quite complete. An Aeneas-like journey into the underground (where "it never rains"), detective Morden must retrieve the Charing Cross, encountering Piccadilly and Victoria (can you spot the inspiration yet?). Much brilliance is seen here: characters are individual and well-realised, and Jonny Sims' script is bursting with verbal tics and a brutal combat sequence. Yet the overall effect feels more vignette than ancient epic. Perhaps, like Tarantino films, this is a grower whose impact increases over time and it baffled me utterly; perhaps Sims' next script will be his 'Reservoir Dogs' but this felt more 'Death Proof'. One to gamble on.
Sweet ECA, 16 - 30 Aug, 5.45pm (6.35pm), prices vary, fpp235.
tw rating 3/5
[jb]

A Midsummer Night's Dream
Beijing Film Academy
Kung-fu lovers and circus-clown mechanicals set the tone for this games console inspired rendition of Shakespeare's famed romantic comedy. Enchanting touches such as fibre-optically lit head pieces, weapons and the all important love-inducing digital chip (potions don't get a look in) combine to create a 'Matrix'-esque world of fun and mischief, plotting and ... glitches. Sporadically, the characters unfortunately encounter a series of technical malfunctions (much to the amusement of the audience) in which they develop a repetitive syndrome, switching their bodies and facial expressions, making for excellent slapstick comedy. The virtual reality is furthered by interruptions from the game itself, and projected digital images, enhancing the theme of fate versus self-determining action. Visually tantalising and refreshingly performed throughout!
McEwan Hall, 14 - 23 Aug, times vary, £12.00 (£10.00, £35.00F), fpp211.
tw rating 4/5
[nm]

Billy Budd
KCS Theatre Company
There's a five minute sequence at the beginning of this play which contains all the character development for the remaining hour and thirty five minutes. I didn't expect 'Billy Budd', adapted from the Herman Melville novella of the same name, to comprise so many flat characters, acting out an easily predictable plot mashed together with lots of clunky symbolism. The acting is mixed, as you'd expect from a near twenty-strong cast of schoolboys, and features some overt depiction of homoerotic tension, which is quite brave for a school cast to emphasise. However, I didn't gain any real sense of why this was emphasised; from guesswork I'd say taboos were being broken just for the sake of breaking them.
C too, 16 - 22 Aug, 4.40pm (6.20pm), prices vary, fpp 183.
tw rating 2/5
[db]

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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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