Spirit of the Favela, Spiegeltent, Gyle Centre, Edinburgh Festival Fringe

 A different location, way out at the Gyle, a different Spiegeltent (plain outside, fancy inside, with a central stage), and a different show for us, outsiode our usual comfort zone.  I am not, historically, a fan of cabaret, but this one sounded intriguing.

And I came out very happy that I took the risk.  It was certainly different, but it was great fun.  Music, dance, some spectaciular acrobatics, a thread of a story about the poor of the favelas stadning up to the rich property developers.  Colour, spectacle, audience interaction, and some breathtaking stunts (the woman spinning from the ceiling by her hair was a highlight).  Very enjoyable.

Christine Bovill : Tonight You Belong To Me, New Town Theatre, Edinburgh Festival Fringe

An evocation of 1920's America through the songs of the Jazz Age.  Bovill, suitably costumed, tells tales of the period, from post war euphoria to Wall Street Crash, interspersed with classic songs that have retained their power in the decades since.  She's an accomplished storyteller with a knack for summarising and decent comic timing.  She took us through the best of the age - Charlie Chaplin, Dorothy Parker and the dance crazes - and the worst - Al Capone, the Ku Klux Klan and mass poverty - partly through the eyes of the great observer of the time, F Scott Fitzgerald.  Surprisingly informative given the limited time available.

She's a better singer, with a strong smoky alto voice that adapts well to different styles.  There was a great rendition of Alcoholic Blues, and a surprising Ol' Man River, so often a preserve of the deepest bass voices.  Her accompanists on piano and fiddle were competent, injected some occasional sparkle into the arrangements, but it's Covill's voice and phrasing that dominate, and rightly so.

The format works well, Covill has the stage presence to carry it off, and the result was very enjoyable in a low key kinda way.  Worth a look.

Christine Bovill : Tonight You Belong to Me had it's final performance in the New Town Theatre on 25 August.

The Afternoon Show, BBC Blue Tent, Edinburgh Festival Fringe

A recording of Radio Scotland's daytime show featuring a wide range of acts from the festivals around the city.  The interest in these events can come as much from observing the technicalities and procedures involved in the recording, and how much the audience is prepared (manipulated!) by those running it, as it does from the show itself.  This recording was primarily for radio, but some of it will make it on to TV, so there plenty of cameras in evidence.

The show was hosted by both the regular presenters, Janice Forsyth and Grant Stott, both safe pairs of hands for this kind of thing.  Today's line up certainly offered variety, and there was probably at least one or two items for everyone, with live music, drama and comedy, and a regular rotation of guests on the sofa for some chat.  Rather than itemise every act, here's a flavour of the diversity of genres on offer.  There was a DJ accompanied by orchestral musicians playing dance music; a weel kent Edinburgh crime writer talking about his band, book festival event and rediscovering one of his oldest works; a forensic 'mind reader' who was quickly able to determine the date of birth of an audience member through a simple routine; two actors giving a sample of a play they have on the Fringe; a singer of Kate Bush songs; an actor and writer whose show is about their relationship to a famous pop star; the composer and librettist of a new opera; a stand up comedian with a show about the worst year of her life; New York cabaret singing; two solo artists with shows about the dire effects of poverty on our society; and one of Ireland's finest and sharpest comedians.  Like I said, something for everyone.

Personal highlights for me included ian Rankin (who else?) talking about a book he'd written decades go and now realised it wasn't as bad as he'd thought it was; Darren McGarvey and Scottee talking about their shows which talk about the social impacts of poverty and class; and, best of all, the few minutes we had to benefit from the wit of Andrew Maxwell.

Go into BBC shows like this with an open mind and there's always enjoyment to be found.

India Flamenco - A Gypsy Tale, Alba Flamenca, Edinburgh Festival Fringe

I am always aware that the reviews I write are painfully amateurish, but I give each one my best shot, and they're really just for my enjoyment.  However sometimes I know when I'm way out of my depth, and trying to write about dance is one of those times...

The show opens to an empty stage and a lengthy piece from an unseen (and pre-recorded) narrator telling us of the origin story of the Romani people in northern India, and the start of their migration westwards.  Cue an Indian dancer, Indian music, and a series of dances.  I'm guessing her moves took the story forward, but I'm not clued up enough to be able to figure out how.  She certainly had a very expressive face, and excellent timing.

the narration moves the story on to the Middle East, which saw a belly dancer take over on stage, and eventually to Spain, the cue for a Flamenco dancer, with two accompanying musicians.  The finale featured all five in an ensemble piece, and brought the legend to a close.

The flamenco guitarist was impressive, the singer intriguing, the dancers seemed technically proficient and worked well together.  But most sections felt overlong (I wasn't the only audience member confused as to whether a dance had ended or not) and the 'story' felt forced and long winded.  I looked at my watch more times than I'd have liked to!

If you love watching dancers doing their thing you might love this.  But for the rest of us it's best avoided.

Exposing Edith, George Square Studios, Edinburgh Festival Fringe

Australian cabaret star Michaela Burger, backed by guitarist Greg Wain, tells and sings the life story of the legendary Edith Piaf.  Key moments from the chanteuse's career and the characters she's involved with are told/acted out, interspersed with her most important songs.

The script avoids the trap, common to many of the genre, of becoming a Wikipedia entry with musical interludes, and the stories are interesting and relevant.  Burger has an excellent voice and comes close to the Little Sparrow's delivery.  Her acting skills don't shine quite as brightly (although her accents were very convincing), and the performance needs a bit more pace and humour to lift it.  But overall this is an enjoyable and informative show, and Wain's skill on the strings contribute a lot towards creating the Piaf atmosphere.  If you've got an interest in Piaf this is worth giving a go.

Exposing Edith is on in George Square Studios until 26 August.