Boo Hewerdine and Heidi Talbot, Traverse

 Each a folk-world star in their own right, this very much a partnership of equals. Heidi's voice clear and a thing of beauty, Boo's expressive and calm. There's no fancy guitar work, but solid accompaniments enhancing the vocals, and some lovely harmonies when they combine. Each took it in turn to sing, both digging into their deep (very, very deep in Boo's case, going back to his days with cult band The Bible) back catalogues. A mix of tempos and subjects, with Heidi adding the traditional Bedlam Boys, all mashed up with Parton's Jolene.

All this and a comedy act too. Boo knows how to tell a good story, and his dry humour had the audience in stitches, while Heidi had a few tales to tell too. Both got the room singing along with them at times, notably on Boo's 'hit' song, Patience of Angels.

The encore gave us a duet of the classic What a Wonderful World, as made famous by Louis Armstrong, but this was one of the best versions I've ever heard.

A wonderful gig that flew by too quickly.

Frank & Percy, The Other Palace Theatre, London

 Percy (Ian McKellen) and Frank (Roger Allam) connect over dog walks on the Heath, and start to arrange to be out there at the same time each day.  First comes the usual dog-owners chit chat, but as the friendship grows they learn more about one anoother.  Frank, a retired seventyish teacher, is a widower still trying to find a place in life after the death of his beloved Alice.  Percy is an eightyish professor and controverialist, still actively writing and being published, who has long ago settled into the single life since her broke up with 'husband' (they were never officially married) Dennis.  

This casual acquaintenceship grows into something much deeper, and physical, as they meet more often, and Frank visits Percy's flat.  And that relationship finds itslef challenged by tsome of the changes which are an inevitable part of the ageing process.

In some ways the script is disappointingly devoid of any real meat, and what we have is very much in the light comedy genre, with both performers having fun whilst using their considerable skills to milk the laughs dry.  

That's not to say it doesn't introduce some more profound themes, but they are largely glossed over in favour of the funnies.  It's still good to see a late-life love affair played out before us, still too much a rarity in theatre and cinema.  Desire, lust and love are all there, along with illness, impotence, grief and loneliness.  Frank's recogntion of himself as a bi man feels a bit heavy handed, (although his Pride costume will live in the memory!). and that line of self examination is a recurring motif.

The set is minimal but flexible, the scene locations cleverly deliniated, and custume changesd, such as they are, often take place on stage.  

While it was a little disappointed to be oresented with somethign so lightweigt, this was more than compensated by seeing two old master paint their pictures before you.  Great fun.

Disfunction (A Play, a Pie and a Pint), Traverse

 Disfunction is the truth or dare card game, with a bit of role play thrown in, that sisters Moira (Maureen Beattie) and Melanie (Maureen Carr) have played, and developed, over the course of their lives. It's high risk stuff, or can be if played with a passion, because it can unearth secrets that are sometimes best left alone.

But the siblings are in dire financial straits, so their goddaughter Tanya (Betty Valencia) has proposed selling Disfunction to a gaming company, and they are to give a demonstration, via Zoom, in a few minutes. Are they ready?

They start playing and secrets and tensions emerge. How far are they prepared to go to get the contract? And are the real sisters as dysfunctional as their game play suggests?

The opening twenty minutes feel a bit too slow, and the games itself is far too confusing for audiences to understand in a 50 minutes drama, but the pace, and laughter, picks up as things get more heated. Secrets and lies, ridiculous dares. While the performances are excellent (although Valencia was often hard to hear properly), and Carr in particular gets to show off her gifts for physical comedy (her cake eating sequence is hilarious), the confusion of the game leaks into the script. It's a ll a bit too muddled to make any real sense.

Fun, enjoyable, but ultimately unsatisfying.

Meetings With The Monk (A Play, a Pie and a Pint), Traverse

 Performed and written by Brian James O'Sullivan, this is a semi-autobiographical tale of how he emerged from a low point in his life.

I say "tale", but that would be to minimise the cleverness of the "play" structure. Over the 50 minutes we see 3 Brians - the performer, the writer, and the character - as he both tells and deconstructs his story. Oh, and he even does the introduction that, in a more conventional production, would be done my a member of the Traverse staff.

If this sounds confusing the reality is different, as O'Sullivan guides through exactly what he's doing, providing his own narrator as part of the performance. It's all very meta, but done in such an entertaining way that it enhances rather than hinders. He uses a goodly number of props, and all of the space, right into the audience, to keep things mixed up, but the central story is never neglected.

The character Brian has been depressed, and seeks a way forward by spending a period in a monastery. One of the monks, Brother Felix (who, during the meetings, is played by the recorded voice of another actor, and spurs a bit of improv from O'Sullivan), talks with him, revealing his own humanity, ways of dealing with problems, and prompting Brian to look more within himself for what he needs.

It's a hugely entertaining show, full of laughs, but with some serious points to make. And if there's not really any profound ending, no answer to life, perhaps it offers something better than such trite simplicity. One of the best PPPs I've ever seen.

Pierre Schryer and Sean Gray, Traverse

 Schryer is a versatile fiddler from Ontario, with a large dose of excellent in the French Canadian perciussive skill of podorythmie. Gray is a guitarist, flautist and singer from south west Scotland. Although they've known one another for many years, this is the first time they've toured together. And it looked like a lot of fun for them both.

The first half gave us a strong international flavour, with tunes from France, Canada, Ireland and Scotland, some old, some new, plus a couple of Ayrshire songs, in Lallans, from Gray. And a mix of sensitivity and speed from the playing of both parties. The fiddler dazzles with imagination and variety in his play, the guitarist matching him with deceptively simple accompaniments and surprise moments.

The quality was increased by the third member of the act, who put in a few appearances for appropriate tunes. Danielle Emblom is a Minnesotan step dancer who brings joy to her performance and another layer of percussive accompaniment to the sets. It's just a shame that, in the Traverse bar, only the first couple of rows were able to observe her flying footwork. But the sheer energy and accomplishment of her dancing was obvious to all.

The second set brought further international influences, with a Middle Eastern tune to open, and a Brazilian towards the end. The pace of all three performers increased as things went on, and when they audience called for an encore this one was heartfelt. It helped that both Pierre and Sean are entertaining speakers, give interesting introductions to their material, and frequently fire off one another.

A glorious evening.

Lau, Queens Hall

 A largely similar show to that of April last year, and yet also completely different. The most obvious difference being the addition of Kathryn Joseph to the show. But it's the constant variations and improvisations that constantly refresh even weel kent tunes, and the Martin Green inspired electronic weirdness.

Not ones for the usual format, the trio came on and played a couple of standards from their back catalogue, with the simplicity of fiddle, accordion, guitar and Drever's vocals. Only then did support act Joseph come on, to play keyboard and sing. The first two numbers with the Lau boys doing her backing, then a few on her own. She's got a good voice, and the sparse Piano accompaniment suits her well, but it felt very one paced, mournful even. The interval was welcomed.

The second half was very different, with a long mash of tunes, songs, electronics, ethereal segues, movement of microphone stands, theatrics and even physical comedy. They use the full stage, and the choreography required is complex. Joseph joined them as backing singer, and her voice was well suited to the job, notably on Toy Tigers. It was all as impressive to watch as to listen to.

They ended the night, all four of them, singing the haunting Ghosts, which is as relevant as ever, given the continuing bigotry towards refugees. A beautiful end to an invogorating evening.

Stay (A Play, a Pie and a Pint), Traverse

 A romcom musical with a heavy dosage of sentimentality and emotional manipulation. Sounds a bit too Hollywood for the Traverse? You'd not be far off.

Kit (Daisy Ann Fletcher) and Rowan (Craig Hunter) have met up in a scruffy public park to scatter the funeral ashes of a loved one onto a pond. It's a slightly tense encounter, what with them being past lovers. In fact they were engaged before she left him. So why are they doing this together? And are they're affections for one another still alive?

While much of the script is in natural dialogue, there are several songs - of the tune free variety so beloved by the modern musical. Even a bit of dancing. Both have decent voices, with Fletcher the pick of the pair, both for her singing and acting performances. The music doesn't really add anything, and I found myself getting bored during those parts of the action, and waiting for things to move along.

Just when it looks like we're moving towards a predictable ending a twist arrives which Hollywood would feel very much at home with), although there have been clues along the way. The emotional manipulation comes on strong at this point. There is some effort to provide a few thoughts on the subject of grief, but song isn't really the vehicle for something that serious.

There were some strong jokes scattered through the 50 minutes, and a well acted scene where some ducks exert an influence, but overall I was glad to see the end arrive.