Prima Facie, NT Live

 What a performance! A feat of memory, of emotion, of power, and of physical coordination and sequence, and Comer never lets up.

She plays Tessa, an up and coming defence barrister. She sees herself as an integral and essential element of the legal system, believes in that system and that the defence barrister has their role in testing out the work of the police and CPS.

But when she finds herself the victim of a sexual assault the system suddenly looks very, very different. Gone are the checks and balances she put her faith in, now it's weighted against her, against women, against victims. And very much against those who find themselves challenging the legal establishment (her rapist is a colleague). From this perspective the concept of 'reasonable doubt' takes on new meaning.

While the performance is always strong, the script gets a little lost. It works well in the initial part, where she is the confident lawyer, but loses the sense of drama, and turns into clunky polemic to get it's message across at the end. It's a shame, for the set and effects are superb, the story being told an important one. Not just for sexual assault, but with wider implications for our society. So it's a shame that some of that impact, that communication, is dissipated by the ending. An important work to see nonetheless.

In Conversation With... Caroline Lucas, Stand 3, Edinburgh Festival Fringe

One interviewer, one guest, one audience.  Good questions, even better answers.  Lucas was by far the best MP in the last Westminster parliament, and this hour reminded us why.  Very strong and clear on the subjects of democracy, the need for 'the left' to become much better communicators (perhaps the only thing they can take from the vile Niggle Fuhrage...) and learn to tell a more compelling 'story'.  She's demonstrated a clear grasp of the bigger picture, both ecxologically, as you'd expect, and politically (as you'd also expect).  Joined up thinking and, more importantly, a deep sense of humanity.  Very critical of a media that is allowed to spread disinformation (the Daily Fail came in for particular criticism) and how to cobat that.

Always interesting, always thought provoking.  Almost always right.  A remider of what an asset Lucas is and has been to UK public life.

Harun Musho'd : Why I Don't Talk to People About Terrorism, Pilgrim, PBH Free Fringe, Edinburgh Festival Fringe

 Good to visit a new (to us) Fringe venue, a very interesting looking bar just off the Cowgate, with the venue in a curtained off back room.  Great use of old suitcases in the bar.

Musho’d has an Arabic name, but triple nationality (and none of them are Iranian or Libyan…).  But he explains why not talking about terrorsim remains the best policy for him, and a lot about his highly dysfunctional and diversely multinational family.  

He has a civil service HR background, so maybe that’s why he enjoys ticking off lists for his audiences so much.  And very entertaining they can be.  It’s a cosy show that draws you in, despite lacking fluency at times.  There’s a lot of strong and imaginative material, making good use of his relationships with others.  And a Monty Python type rant thrown in which is excellent.

Very enjoyable.

Hannah Gadsby : Woof!, McEwan Hall, Edinburgh Festival Fringe

 She’s become so admired for clever and cleverly structured shows that pack a moral punch.  So this one came as a bit of a disappointment.  Not that there weren’t plenty laughs, and a few serious points made, but it felt like a slightly flippant addition to the Hannah G canon, when judged against what’s gone before.

No harm in that of course, but don’t expected the heavy hits of days past.  No doubt they will return one day, she’s too good not to.

So this addressed big questions like where did all the cabbage patch dolls go to?  And something about Taylor Swift that went over my head (wee tip to Gadsby - reactions to Swift aren’t just binary, because as well as like or hate there’s the ‘totally ignore’ alternative…).

There was some interesting musing on the nature of fame and success, and if her move up the socioeconomic scale, after so many years of just getting by, had changed her for the worse.  Leading into her highlighting some of the worst aspects of capitalism, and big capitalists.  Even the odd dig at supposed equality of rights.

But overall it was just a few decent laughs, a few interesting stories, and a demonstration that, even in this mode, Gadsby has totally mastered her craft.

Ben Target : Lorenzo, Pleasance Dome, Edinburgh Festival Fringe

 This one was fascinating from the moment you entered the room. Target is there, doling out cups of coffee from the hip, and asking you to write down your perfect death. So you sit, and you think, and you notice the fascinating workbench in the middle, with some other intriguing props scattered around the stage. And that's all before the show begins.

This is the story about an old man dying, and Target becoming his live in carer. Yes, it gets to be very sad at times, but so well told that it is always riveting, and full of the laughter they would often share. Plus a great deal of silliness, in line with the character of Ben himself, and the dying Lorenzo.

It's Target's story, Lorenzo's sory, family history, relationships, stresses and joys, genuine love and emotion. With live carpentry, acrobatic skills and a surprise toilet. Even a little audience involvement (although nothing that could make anyone feel uncomfortable).

This is one of the great shows of the Fringe, the kind you wish everyone could see, but leaves you feeling privileged that you had the chance, and which lives with you thereafter. A story of deep humanity, the power of love and silliness, and hanging out with old people. 

See it!

Why Am I (Still) Like This, Surgeons' Hall, Edinburgh Festival Fringe

 Nicole Nadler, an Edinburgh resident, but originally for the US, created a surprise success of a show at the '23 Fringe, based around her experience of being diagnosed with ADHD as an adult. This follow up goes back to that source material, and expands upon it because knowing is one thing, but being the different person she hoped it would make her is something else entirely.

She combines elements of storytelling, theatre, stand up and generally having a rant. Speaks too fast at first, which can make her difficult to understand at first, but is a part of the persona. And this multi-syllable per second style does make for a very in-your-face experience for the audience.

It's a well structured show, with a history of her symptoms as both child and adult, and the impact it had upon her, notably self-hatred. Having a diagnosis helps, explains, but doesn't solve. And, having had some experience of working with a few people like her, I recognised much of her story and associated difficulties.

It's very commendable, but it's a hard show to really like. Such an intense and personal subject does need some light relief for the audience. But the few laughs were neither frequent enough or big enough to do the job. It ends up feeling like we're watching something akin to a therapy session for the performer. But I suspect it must be helpful to anyone with a similar diagnosis.

One further criticism. In her thank yous at the end she missed out the sound person, who had done a great job of following some quite complex cues.  

Iona Fyfe, Acoustic Music Centre @ UCC, Edinburgh Festival Fringe

 A solo hour from Fyfe, just her and keyboard in an intimate setting. Featuring her pure, sweet voice, and more than competent piano accompaniment. A wide mix of songs on offer, both traditional and contemporary, and often eclectic. A Nick Cave song she'd translated into Scots. A similar treatment of Richard Thompson's Poor Ditching Boy, appropriate as it derived from a Scottish story. Some a cappella, some with choruses for the audience to join in with. And lots of murder!

Iona is very knowledgeable about the origins of her material, and communicates it in an amusing manner. Never a rip roaring gig, but nevertheless enjoyable and a pleasant way to pass the time. Even if 4pm is not her best time of the day!

Dara O'Briain : My Life is a Work in Progress (Work in Progress), Assembly Rooms, Edinburgh Festival Fringe

 Very much still a Work in progress, and one of two different versions he has on the go at the moment (intending to merge the best of both into the final product), but more than slick enough to provide great entertainment.  He did give his script to a guy in the front row, telling him to write down the odd word as indicated, when something new worked well.

And so much did work well.  Stories from his life, and career.  A large middle aged man learning to ski badly makes for a great self-deprecating tale.

But the highlight came in the second half of the set.  Having previously done a show about finding his birth mother (he was adopted as a baby), this was the story of trying to find out who his father was, and making contact if possible.  It’s a long tale, with unexpected twists, and some sad moments, some tense moments, but O’Briain never lets it get uncomfortable and always finds a punchline.  Punchline after punchline.

A hilarious and well structured hour that shows a comedian at the height of his powers.  But does he always have to talk so fast? Some it was lost simply from there being too many syllables in not enough seconds!

During the show Dara mentioned that the prequel to his father-search story was on iPlayer in his stand up show, So Where Were We?  It covers how he made contact with his birth mother, and is just as funny/sad as this live show was.