A rare, and irresistible, chance to see this two part adaptation of Marcel Pagnon's novel back to back on the big screen. And still very much a classic when seen again.
Part 1, Jean de Florette, is set shortly after the end the end of World war 1, in a small Provencal farming community. Ugolin Soubeyran (Daniel Auteuil), a simple minded soul, returns from the army with a plan, which he sets about demonstrating to his avaricious uncle Cesar (Yves Montand) - growing carnations for the market. Having demonstrated the feasibility to Cesar's satisfaction, his uncle has to point out one obvious problem - carnations require large supply of water, and Ugolin only has a slow filling well on his land. There is, however, and unused spring on a neighbouring property, ideal for their needs. The owner won't sell, but the determined Soubeyrans settle in for the long game.
When their neighbour dies, with no obvious inheritor, the flower kings see their opportunity, and block up the spring to help dissuade any buyers, but are foiled when the owner's nephew Jean (Gerard Depardieu) decides to take up residence with wife Aimee and young daughter Manon. He has big plans for raising rabbits, all based on scientific theory he gets from books. Initially successful, he is befriended by Ugolin who provides 'helpful' advice, Cesar convinced that their time will yet come.
Finally the lack of water tells against Jean, and he is killed in an explosion when he tries to blow open a well (at the wrong spot). Cesar can purchase the farm for a knock down price, and he and Ugolin rush to unblock the spring which will help them to realise their fortune. But Manon is on hand to see exactly what they are up to.
Part 2 is set ten years on. Ugolin is a successful carnation grower, Aimee has moved back the city, but Manon (Emmanuelle Beart) remains, shepherding her goats and living a simple and often solitary life, still nursing her hatred of the Souberyans. Overhearing a conversation, she learns that the villagers knew of the plot by Cesar, but did nothing, the locals always taking the side of one of their own. Meanwhile Ugolin has spotted the grown up Manon and fallen obsessively in love with her. She, unsurprisingly, will have nothing to do with the man who she holds responsible for the death of her father.
Manon comes across the source of the spring which feeds the village (and the Soubeyran property) and blocks it up, an act of revenge for the wrongs of the past. The superstitious villagers believe it is a divine intervention for the crimes committed against Jean and Ugolin is driven to hang himself. Cesar is left to mourn the death of the family line, while Manon settles down happily with the village schoolteacher.
In a final twist Cesar learns that Jean was his own son, born to the love of his life (Florette) who had left him after a letter between them went missing. He dies, leaving everything to his granddaughter, Manon.
Set in the microcosm of a small community, and their small minded provincialism, the films explore elemental human themes. Jean's naive, enthusiastic optimism versus the cynical traditionalism of the locals. Good versus evil, the revenge motive, bonds of family, love and hatred. Set in a beautiful landscape and shot with an obvious feel for the land itself and a sense of the loneliness of the lives lived there.
In among a host of strong performances it's Auteuil's Ugolin that stands out in JdF, his mixture of simplicity and cunning, avarice and emotion creating a fully rounded character who can stir both our sympathies and dislike. He remains a strong force in the second movie, but it's Beart's performance that steals the show. With few lines to deliver, she still forces herself upon the screen, wild, vulnerable, intent upon avenging her father, and a source of endless fascination.
Thirty years on the pair remain compelling viewing, taking the audience into a world long since gone, but meeting human beings who are all too like ourselves.
Tuesday 12 December 2017
Thursday 23 November 2017
The Weir Sisters, Oran Mor, Glasgow
Margaret and Grace are excited that they can finally hold that eagerly anticipated welcome party for their sister Dorothy. Grace had died aged 22, Margaret at 63, and they've had to wait a long time for the 97 year old. And this is the Afterlife.
These two are old hands here, so they know their newly arrived sibling will be feeling disoriented at first, and argue about the best ways to help her acclimatise, and to realise who they are. Are Vera Lynn and sausage rolls really the best options?
When Dorothy finally walks through the gates she is old, cranky and confused. It takes a big effort from the others to get through the fog and rejuvenate their sister. Along the way each talks about their own death, and the sadness of the backstories that led to them. Bad marriages, domestic violence, lack of opportunity - the limitations placed on the lives of 20th century women. Women who earn a qualification in coping.
It's all a bit rushed at first, the scene setting crammed into the first ten minutes, but that reflects the limitations of a 50 minute drama trying to tackle some big themes. The performances manage to overcome these doubts, Meghan Tyler's Grace a mix of regret and optimism, Sandra McNeeley is a cynical, funny and damaged Margaret, while Deborah Arnott is excellent as the grumpy pensioner, but smartly casts off that prickly carapace to emerge into her sad but reasonable middle aged past.
There are a lot of laughs, as you'd expect from a write of Lynn Ferguson, but complemented by some heartbreaking monologues as each sister revisits the sources of their sadness. And Dorothy has a great line taking a dig at the modern resurgence of fascism, which she thought she'd seen off in 1945.
Entertaining, with more to chew on than your average short play. Highly recommended.
These two are old hands here, so they know their newly arrived sibling will be feeling disoriented at first, and argue about the best ways to help her acclimatise, and to realise who they are. Are Vera Lynn and sausage rolls really the best options?
When Dorothy finally walks through the gates she is old, cranky and confused. It takes a big effort from the others to get through the fog and rejuvenate their sister. Along the way each talks about their own death, and the sadness of the backstories that led to them. Bad marriages, domestic violence, lack of opportunity - the limitations placed on the lives of 20th century women. Women who earn a qualification in coping.
It's all a bit rushed at first, the scene setting crammed into the first ten minutes, but that reflects the limitations of a 50 minute drama trying to tackle some big themes. The performances manage to overcome these doubts, Meghan Tyler's Grace a mix of regret and optimism, Sandra McNeeley is a cynical, funny and damaged Margaret, while Deborah Arnott is excellent as the grumpy pensioner, but smartly casts off that prickly carapace to emerge into her sad but reasonable middle aged past.
There are a lot of laughs, as you'd expect from a write of Lynn Ferguson, but complemented by some heartbreaking monologues as each sister revisits the sources of their sadness. And Dorothy has a great line taking a dig at the modern resurgence of fascism, which she thought she'd seen off in 1945.
Entertaining, with more to chew on than your average short play. Highly recommended.
Molsky's Mountain Drifters, Traverse
One of America's greatest fiddlers is back with a new trio and a fresh take on country and bluegrass music. Alongside Bruce Molsky are banjo player Allison de Groot and guitarist Stash Wyslouch, both from a much younger generation but hugely talented.
The set has a mix of songs and tunes, old time music and some recent compositions. Molsky has a decent enough voice, as has Wyslouch, neither being that memorable, but at their best singing together where the harmonies worked well. De Groot only got the one lead vocal, but further contributions would have been welcome as her voice had a lot of character.
No such comments can be made about the musicianship and arrangements, which constantly highlighted the variations and virtuosity on offer. Lots of variety in tempo, with plenty of fast stuff to get the feet tapping, and some audience participation. They're an amusing bunch too, with plenty of laughs in the introductions and a clear sense of fun within the band. No doubt there would have been a bit of dancing too, but there was no room on offer in a packed out Traverse bar. Molsky has a big following and with good reason. This trio simply confirms his status as one of the best musicians in America.
The set has a mix of songs and tunes, old time music and some recent compositions. Molsky has a decent enough voice, as has Wyslouch, neither being that memorable, but at their best singing together where the harmonies worked well. De Groot only got the one lead vocal, but further contributions would have been welcome as her voice had a lot of character.
No such comments can be made about the musicianship and arrangements, which constantly highlighted the variations and virtuosity on offer. Lots of variety in tempo, with plenty of fast stuff to get the feet tapping, and some audience participation. They're an amusing bunch too, with plenty of laughs in the introductions and a clear sense of fun within the band. No doubt there would have been a bit of dancing too, but there was no room on offer in a packed out Traverse bar. Molsky has a big following and with good reason. This trio simply confirms his status as one of the best musicians in America.
This is Our Land (Chez Nous), French Film Festival, Filmhouse
Pauline is a home-visit nurse in a town in the Pas-de-Calais, well known and respected by the local community, but struggling to keep up with the demands of her life, which include two young children and her ill and uncooperative father.
Change arrives in the shape of Stephane, a boyfriend from her schooldays, who gets on well with her kids, but has his own dark secrets to hide. And the friendly smile of old family doctor, Berthier, who sounds her out about standing for mayor. He is a prominent member of the RNP, a nationalist party claiming to be "neither left nor right", who are looking for a candidate who can project the right kind of "one of us" image they think will appeal to voters. Pauline has her doubts, but is persuaded she's the right person for the role, that she'll be able to bring change to the community she sees suffering so many problems.
She's even courted by Agnes Dorgelle, the RNP's leader, and gradually comes round to the idea. Previously apolitical, but instinctively of the left, she's convinced she can do some good. Only to find the reality to be very different, and she's to become a puppet for a set of reactionary policies she wants no part of.
Director Lucas Belvaux made the film in a very brief period, and it was released shortly before this year's presidential election. So it's no coincidence we see the blonde daughter of a previous leader, trying to distance herself from his fascist past, yet pursuing the same political path but with better PR. It's a stark warning against the dangers of a resurgent populist neofascism that has gained traction all over Europe, and claimed the US presidency. France managed to avoid that fate, but Agnes and the RNP, aka Le Pen and the FN, came far closer than was comfortable.
It's hard to believe that the otherwise pragmatic Pauline falls for this con trick, but so many have that it may be truer than it seems. Plus there seems to be a bit of over reliance on coincidence to keep the plot moving. But these are minor quibbles, and this a movie that's well worth the watch. Emilie Dequenne is a compelling everywoman as the nurse, and Catherine Jacob's Agnes is perfect at delivering Le Pen's faux charisma and calculating ambition.
In a Q&A after the film Belvaux said that everything he portrayed was based on real events, sometimes toned down to make it less incredible. And that the Front National did an excellent job of promoting the film. They were so irritated that they orchestrated the placement of several hundred negative reviews from 'members of the public' - but several days before the film had actually been released! Fascists aren't always the brightest....
Change arrives in the shape of Stephane, a boyfriend from her schooldays, who gets on well with her kids, but has his own dark secrets to hide. And the friendly smile of old family doctor, Berthier, who sounds her out about standing for mayor. He is a prominent member of the RNP, a nationalist party claiming to be "neither left nor right", who are looking for a candidate who can project the right kind of "one of us" image they think will appeal to voters. Pauline has her doubts, but is persuaded she's the right person for the role, that she'll be able to bring change to the community she sees suffering so many problems.
She's even courted by Agnes Dorgelle, the RNP's leader, and gradually comes round to the idea. Previously apolitical, but instinctively of the left, she's convinced she can do some good. Only to find the reality to be very different, and she's to become a puppet for a set of reactionary policies she wants no part of.
Director Lucas Belvaux made the film in a very brief period, and it was released shortly before this year's presidential election. So it's no coincidence we see the blonde daughter of a previous leader, trying to distance herself from his fascist past, yet pursuing the same political path but with better PR. It's a stark warning against the dangers of a resurgent populist neofascism that has gained traction all over Europe, and claimed the US presidency. France managed to avoid that fate, but Agnes and the RNP, aka Le Pen and the FN, came far closer than was comfortable.
It's hard to believe that the otherwise pragmatic Pauline falls for this con trick, but so many have that it may be truer than it seems. Plus there seems to be a bit of over reliance on coincidence to keep the plot moving. But these are minor quibbles, and this a movie that's well worth the watch. Emilie Dequenne is a compelling everywoman as the nurse, and Catherine Jacob's Agnes is perfect at delivering Le Pen's faux charisma and calculating ambition.
In a Q&A after the film Belvaux said that everything he portrayed was based on real events, sometimes toned down to make it less incredible. And that the Front National did an excellent job of promoting the film. They were so irritated that they orchestrated the placement of several hundred negative reviews from 'members of the public' - but several days before the film had actually been released! Fascists aren't always the brightest....
Sunday 12 November 2017
Urban Folk Quartet, Atkinson, Southport
It's Folk Jim, but not as we know it. Their rhythmic inspirations, and even some of the material, might be drawn from traditional music, but the treatment is unique, and the result is innovative and exciting. They might be an English (and Spanish) group, but their influences comer from all over the British Isles, Europe, America, India....
While all four take their turn in introducing numbers, and all can be very funny, the undoubted leader is Joe Broughton, a virtuoso fiddler who turns his quick hands to guitar, mandolin and a bit of percussion. Also on fiddle, and an occasional turn at lead vocals, is Paloma Trigas from Galicia, while most of the singing duties fall to Dan Walsh, one of the world's great banjo players who also does his fair share of guitar work. Completing the line up is percussionist Tom Chapman.
Walsh has an enjoyable voice, and Trigas contributed a beautiful song in Spanish, but it's the quality of the musicianship and the imaginative arrangements that are UFQ's USP. Duelling fiddles, driving guitar, rapid fire banjo. How often do you get to hear a banjo sound like a sitar, or a line up of 3 percussionists and one banjo? It's constantly surprising and unpredictable music from a group of people who clearly love playing together and communicate that joy to their audience.
Underlying all the melodic fireworks, and, for me, the key to the UFQ sound, is the remarkable playing of Chapman. From his small, eclectic set up he throws out surprising beats that change, blend, strengthen and invigorate the stringed instruments, more akin to jazz drumming than conventional folk or rock. And he plays a mean djembe.
Even as subdued an audience as this one were on their feet by the end and dancing along to the energetic encore. UFQ are not to be missed.
While all four take their turn in introducing numbers, and all can be very funny, the undoubted leader is Joe Broughton, a virtuoso fiddler who turns his quick hands to guitar, mandolin and a bit of percussion. Also on fiddle, and an occasional turn at lead vocals, is Paloma Trigas from Galicia, while most of the singing duties fall to Dan Walsh, one of the world's great banjo players who also does his fair share of guitar work. Completing the line up is percussionist Tom Chapman.
Walsh has an enjoyable voice, and Trigas contributed a beautiful song in Spanish, but it's the quality of the musicianship and the imaginative arrangements that are UFQ's USP. Duelling fiddles, driving guitar, rapid fire banjo. How often do you get to hear a banjo sound like a sitar, or a line up of 3 percussionists and one banjo? It's constantly surprising and unpredictable music from a group of people who clearly love playing together and communicate that joy to their audience.
Underlying all the melodic fireworks, and, for me, the key to the UFQ sound, is the remarkable playing of Chapman. From his small, eclectic set up he throws out surprising beats that change, blend, strengthen and invigorate the stringed instruments, more akin to jazz drumming than conventional folk or rock. And he plays a mean djembe.
Even as subdued an audience as this one were on their feet by the end and dancing along to the energetic encore. UFQ are not to be missed.
Friday 3 November 2017
The Death of Stalin
A comedy certainly, but very much of the black variety. It's 1953, Stalin is found unconscious in his bedroom, and dies shortly after. Which opens the door to the other members of the Central Committee to start jockeying for position and take what power they can, while Svetlana and Vasily, Stalin's children, face an uncertain future.
Initially the leadership falls to Malenkov, Stalin's nominated deputy, but it soon becomes clear that he's week, unable to form alliances. Beria holds the strongest cards (he controls the NKVD, the secret police), is quickest off the mark in staking his territory, and quickly demonstrates his ruthlessness. Khruschev is the peacemaker, looking to build up the relationships which we already know will see him ultimately succeed. The others eye each other warily, or bluster to cover their own fears, but lack the determination to get the top job. The action ends only a few weeks after Stalin's death, but the winners and losers are starting to be obvious already.
It might be a comedy, but the horror of the Stalinist regime is all there. The indiscriminate arrests, torture and murder of anyone who gets on the wrong side of the authorities is a constant background theme, Beria casually walks along discussing lists of victims while all around him people are being beaten and shot. Right from the start the fear is there, when Stalin calls a concert hall to ask the radio director to send him a recording of that evening's orchestral performance. Rather than admit that no recording was made the director forces the musicians and audience to sit through it all again, clearly terrified of the consequences for him if no record is available for the dictator.
Like that scene, the comedy comes less from the lines themselves (although Paul Whitehouse's Mikoyan gets some crackers), and mostly from the ridiculous antics of the central characters, all the mental gymnastics, fallacious logic, lies and self deception needed to remain a part of the upper echelon of the political system. They scheme, manipulate, back down, change allegiances, anything to secure their own futures. It's a steroidal, and potentially deadly, version of the power games played out on any committee or group where people are out for what they can get.
Simon Russell Beale is a great Beria, callous, conniving, terrifying when he needs to be, while Steve Buscemi plays Khruschev as a much smoother character, patient, clever and ready to play the long game. There are standout performances from Andrea Riseborough as the tyrant's daughter, struggling to come to terms with the new reality, Michael Palin as the bend-with-the-wind Molotov, and, my personal favourite, Jason Isaacs clearly having tremendous fun as the forceful man of action, General Zhukov.
There aren't a lot of strong images, but it's a film strong on atmosphere, with plenty of background showing the horrors of a totalitarian state. It probably helps the viewer if they know a little about the real life characters, but it's not essential to enjoying the film. And, despite the dark subject matter, it's a very successful comedy.
But a comedy with a chilling edge
Initially the leadership falls to Malenkov, Stalin's nominated deputy, but it soon becomes clear that he's week, unable to form alliances. Beria holds the strongest cards (he controls the NKVD, the secret police), is quickest off the mark in staking his territory, and quickly demonstrates his ruthlessness. Khruschev is the peacemaker, looking to build up the relationships which we already know will see him ultimately succeed. The others eye each other warily, or bluster to cover their own fears, but lack the determination to get the top job. The action ends only a few weeks after Stalin's death, but the winners and losers are starting to be obvious already.
It might be a comedy, but the horror of the Stalinist regime is all there. The indiscriminate arrests, torture and murder of anyone who gets on the wrong side of the authorities is a constant background theme, Beria casually walks along discussing lists of victims while all around him people are being beaten and shot. Right from the start the fear is there, when Stalin calls a concert hall to ask the radio director to send him a recording of that evening's orchestral performance. Rather than admit that no recording was made the director forces the musicians and audience to sit through it all again, clearly terrified of the consequences for him if no record is available for the dictator.
Like that scene, the comedy comes less from the lines themselves (although Paul Whitehouse's Mikoyan gets some crackers), and mostly from the ridiculous antics of the central characters, all the mental gymnastics, fallacious logic, lies and self deception needed to remain a part of the upper echelon of the political system. They scheme, manipulate, back down, change allegiances, anything to secure their own futures. It's a steroidal, and potentially deadly, version of the power games played out on any committee or group where people are out for what they can get.
Simon Russell Beale is a great Beria, callous, conniving, terrifying when he needs to be, while Steve Buscemi plays Khruschev as a much smoother character, patient, clever and ready to play the long game. There are standout performances from Andrea Riseborough as the tyrant's daughter, struggling to come to terms with the new reality, Michael Palin as the bend-with-the-wind Molotov, and, my personal favourite, Jason Isaacs clearly having tremendous fun as the forceful man of action, General Zhukov.
There aren't a lot of strong images, but it's a film strong on atmosphere, with plenty of background showing the horrors of a totalitarian state. It probably helps the viewer if they know a little about the real life characters, but it's not essential to enjoying the film. And, despite the dark subject matter, it's a very successful comedy.
But a comedy with a chilling edge
#71 (A Play, a Pie and a Pint), Traverse
Chrissy's struggling. She still misses her deceased husband, and her fibromyalgia is getting worse. So she's made a big decision, and has asked her two oldest friends round to share it with them. Trouble is, they've never been able to stand each other, so will they be able to come together for Chrissy's sake?
Jean's an archetypal wee Glesgae wifie, staunch catholic and mistress of the unintentional malapropism. Coco is flamboyant, pretentious, and strives for her very own 'je ne sais quoi'. Chalk and cheese.
There's a bit of a mystery to be revealed, a bit of the past to be explored, but the storyline gets disjointed at times and doesn't stand up to much analysis as a coherent plot. It has the feel of an extended sketch rather than a full blown drama. This isn't a play that leaves you pondering the meaning of life.
In recompense it's just one laugh after another, with some hilarious wordplay, and a number of throwaway lines you have to be alert to catch on to. There's a moment of some tenderness towards the end, but the emphasis is very much on comedy, and it delivers as sheer entertainment.
Maureen Carr gives the standout performance as Jean, although she also gets most of the best lines (like the time she went to church and suddenly had an eppy fanny....), and a surprisingly excellent grime rendition. Claire Waugh is a less convincing Coco, an unlikely septuagenarian, but does a nice line if faux superiority. And Karen Dunbar, who also wrote the script, is suitably frustrated by the inability of the others to stop bickering and listen to her news.
Not the most memorable play in the P, P and P series, but one of the funniest, and that's no bad thing, is it?
Jean's an archetypal wee Glesgae wifie, staunch catholic and mistress of the unintentional malapropism. Coco is flamboyant, pretentious, and strives for her very own 'je ne sais quoi'. Chalk and cheese.
There's a bit of a mystery to be revealed, a bit of the past to be explored, but the storyline gets disjointed at times and doesn't stand up to much analysis as a coherent plot. It has the feel of an extended sketch rather than a full blown drama. This isn't a play that leaves you pondering the meaning of life.
In recompense it's just one laugh after another, with some hilarious wordplay, and a number of throwaway lines you have to be alert to catch on to. There's a moment of some tenderness towards the end, but the emphasis is very much on comedy, and it delivers as sheer entertainment.
Maureen Carr gives the standout performance as Jean, although she also gets most of the best lines (like the time she went to church and suddenly had an eppy fanny....), and a surprisingly excellent grime rendition. Claire Waugh is a less convincing Coco, an unlikely septuagenarian, but does a nice line if faux superiority. And Karen Dunbar, who also wrote the script, is suitably frustrated by the inability of the others to stop bickering and listen to her news.
Not the most memorable play in the P, P and P series, but one of the funniest, and that's no bad thing, is it?
Monday 30 October 2017
From the Air (A Play, a Pie and a Pint), Traverse
The twins are at uni now, Pete's taken early retirement from the rigs, and he and Claire are moving to Tuscany. Or they would be if Claire could overcome her flying phobia. And she's trying everything to get there.
Where do phobias come from? Can they be understood? Overcome? Claire's desperate and will follow up any promises to give her the answer, no matter how dodgy their claims might sound. Pete isn't impressed and he's wondering where it's all going to end, and what it all means for his life.
It can be an easy subject to laugh at - and this play is often extremely funny, watching Claire's irrational behaviour and Pete's increasing frustration - but nevertheless does try to give the subject a more serious exploration too. There's no pretence of knowing the answers, but this is an interesting portrait of just how difficult a severe phobia makes life, not just for the sufferer but for those around them too (the twins might be away now, but their still not immune from Claire's anxieties).
Two excellent performances from Angela Darcy and David McGowan, milking the laughs from the script, but also bringing out the pain and intractability of the problem, and their relationship is both disheartening and touching. It's always good to see mental health issues getting a treatment which helps develop greater understanding, and for such a short drama From The Air does a brilliant job of doing just that.
Where do phobias come from? Can they be understood? Overcome? Claire's desperate and will follow up any promises to give her the answer, no matter how dodgy their claims might sound. Pete isn't impressed and he's wondering where it's all going to end, and what it all means for his life.
It can be an easy subject to laugh at - and this play is often extremely funny, watching Claire's irrational behaviour and Pete's increasing frustration - but nevertheless does try to give the subject a more serious exploration too. There's no pretence of knowing the answers, but this is an interesting portrait of just how difficult a severe phobia makes life, not just for the sufferer but for those around them too (the twins might be away now, but their still not immune from Claire's anxieties).
Two excellent performances from Angela Darcy and David McGowan, milking the laughs from the script, but also bringing out the pain and intractability of the problem, and their relationship is both disheartening and touching. It's always good to see mental health issues getting a treatment which helps develop greater understanding, and for such a short drama From The Air does a brilliant job of doing just that.
Tuesday 17 October 2017
Hysteria! (A Play, a Pie and a Pint), Traverse
A performance of many parts - cabaret, musical, polemic, consciousness raising and more - that rattles along at a rapid pace that can leave the audience behind at times.
Hysteria and hysterectomy both derive from the ancient Greek word for uterus, and the central theme here is the inherent misogyny in our culture and society, and the damage that continues to cause. From Hippocrates through the use of 'hysteria' as a medical catch-all diagnosis for women who didn't fit into the 'correct' social mould, and on into 20th century popular culture where to be female is so often to be portrayed as weak, dependent, unstable, with the example of Trump to show how little progress has been made. Included are testimonies from women who have been sexually assaulted and how their experiences, and their difficulties in finding an understanding ear, have been so injurious to their mental health. It ended on a moving performance of Milck's 'Quiet', which has been adopted as an anthem for women's empowerment.
It's a fine ensemble performance from the cast of three, Annie Grace, Maryam Hamidi and an impressively androgynous George Brennan, and they provided plenty of laughs and visual stimulation (aided by a few visual elements on the screen behind them). But the script never quite seems to know what it's trying to deliver, even if the ultimate destination is clear enough. The opening quickfire statements take a while to catch on to, the aerobics routine brings an element of farce, but there's also a solo proclamation that smacks more of the lecture hall than the stage. These swings from ephemeral to heavy handed made watching a confusing experience at times.
Despite these criticisms the show never felt like a drag and the time passed quickly, and everyone watching will have taken away something new in their thinking. It might all be a bit of a curate's egg, but it's a worthy attempt to tackle a subject that needs to be raised and raised and raised again.
Hysteria and hysterectomy both derive from the ancient Greek word for uterus, and the central theme here is the inherent misogyny in our culture and society, and the damage that continues to cause. From Hippocrates through the use of 'hysteria' as a medical catch-all diagnosis for women who didn't fit into the 'correct' social mould, and on into 20th century popular culture where to be female is so often to be portrayed as weak, dependent, unstable, with the example of Trump to show how little progress has been made. Included are testimonies from women who have been sexually assaulted and how their experiences, and their difficulties in finding an understanding ear, have been so injurious to their mental health. It ended on a moving performance of Milck's 'Quiet', which has been adopted as an anthem for women's empowerment.
It's a fine ensemble performance from the cast of three, Annie Grace, Maryam Hamidi and an impressively androgynous George Brennan, and they provided plenty of laughs and visual stimulation (aided by a few visual elements on the screen behind them). But the script never quite seems to know what it's trying to deliver, even if the ultimate destination is clear enough. The opening quickfire statements take a while to catch on to, the aerobics routine brings an element of farce, but there's also a solo proclamation that smacks more of the lecture hall than the stage. These swings from ephemeral to heavy handed made watching a confusing experience at times.
Despite these criticisms the show never felt like a drag and the time passed quickly, and everyone watching will have taken away something new in their thinking. It might all be a bit of a curate's egg, but it's a worthy attempt to tackle a subject that needs to be raised and raised and raised again.
Front Country, Traverse
The name, and the acoustic line-up (double bass, guitars, mandolin, banjo, 5 string fiddle) suggest this would be an evening of country, bluegrass, maybe some wider Americana. But they prove to be so much more than this. There are certainly country influences in there, not least in the harmony vocals, but so too are jazz, soul, gospel, classical, folk, pop and more besides. This is a band with the imagination to match their musicality and the results are often surprising.
They play a lot of their own songs, and some instrumentals, but also heavily reworked covers from an eclectic range of sources. Where else would you hear a set that included songs from Woody Guthrie, the Carter Family, Eagles - and King Crimson?
Melody Walker provides most of the lead vocals, and her powerful voice is especially suited to the gospel numbers, but excels throughout, and she's a strong rhythm guitarist. The instrumental flair comes from Adam Roszkiewicz on mandolin, Jacob Groopman's guitar, and a man who has become one of my new musical heroes, the remarkable fiddler Leif Karlstrom . All three delivered some spectacular solos, but Kalstrom was consistently unpredictable and full of surprises in his playing. Underlying all these fireworks up front is Jeremy Darrow, a solid bassist with a flair for more than just rhythm.
Songs dominated the set, but there was a brief interlude when mandolin and fiddle played an excellent duet, followed by those two plus Groopman and Darrow playing a soaring piece that was one of the highlights of the evening. (Sadly not recorded yet.)
It's good to see a band that's happy to 'magpie' from so many genres and bend that material into their own sound. File Front Country under 'Great Music'.
Front Country are touring Scotland for the remainder of this week, and definitely worth a look if they are coming to a venue near you.
They play a lot of their own songs, and some instrumentals, but also heavily reworked covers from an eclectic range of sources. Where else would you hear a set that included songs from Woody Guthrie, the Carter Family, Eagles - and King Crimson?
Melody Walker provides most of the lead vocals, and her powerful voice is especially suited to the gospel numbers, but excels throughout, and she's a strong rhythm guitarist. The instrumental flair comes from Adam Roszkiewicz on mandolin, Jacob Groopman's guitar, and a man who has become one of my new musical heroes, the remarkable fiddler Leif Karlstrom . All three delivered some spectacular solos, but Kalstrom was consistently unpredictable and full of surprises in his playing. Underlying all these fireworks up front is Jeremy Darrow, a solid bassist with a flair for more than just rhythm.
Songs dominated the set, but there was a brief interlude when mandolin and fiddle played an excellent duet, followed by those two plus Groopman and Darrow playing a soaring piece that was one of the highlights of the evening. (Sadly not recorded yet.)
It's good to see a band that's happy to 'magpie' from so many genres and bend that material into their own sound. File Front Country under 'Great Music'.
Front Country are touring Scotland for the remainder of this week, and definitely worth a look if they are coming to a venue near you.
Monday 16 October 2017
Stu and Garry's Free Improv Show, Stand
It's been well over a year since I last went to see this pairing, and I'm happy to report that everything I said about them in my first review of their show still applies, and that I emerged back into the daylight aching from laughter. The same mixture of anarchy and imagination, the same sense of unpredictability, and the knowledge that some things are going to end up being running jokes throughout the show. And plenty of variety. Not many shows give you jokes about prime numbers AND a man simulating sex with a block of cheese, plus the chance to groan at some of the lamest puns around - but it's a free show, so what more could you want for your money?
An Edinburgh institution.
An Edinburgh institution.
Loving Vincent
To decide if this is a film you want to see you need to know three things.
1. This is the first full length animation to be entirely hand painted in oils, and can be viewed as a piece of history, a landmark in animated cinema.
2. The plot is clunky, improbable and suffers further from the distractions of the actors accents. Why does a French postmaster with a strong Irish accent have a cockney for a son? That postmaster wants to see a letter, written by the now deceased Vincent to his brother Theo, reach its destination, but so far it's been returned as address unknown. He persuades his wastrel son, Armand, to take the missive and seek out Theo. But the latter has also died, and Armand finds himself turning detective as he attempts to piece together the story of the painter's death. Did he really attempt to kill himself, as the official version of events says, or was something more sinister being covered up? Armand meets several people who knew Vincent in his final weeks, and listens to their stories, eventually returning to his father with his own version of events, and the letter delivered to somewhere where it will be appreciated. But it tells us little about Van Gogh we didn't already know, and, despite the occasional injection of excitement and mystery, is too pedestrian in the telling.
3. It's beautiful. In an extraordinary fashion. Armand's quest is painted in characteristic Van Gogh style, vibrant impressionist colours and heavy brush strokes adapted to provide movement, expression, life. The flashbacks are monochrome, with an almost photographic quality at times. Visually this is the kind of movie you could watch a dozen times over and still pick up on details you'd missed before, so rich is the texturing of the scenes. It feels strange at first to see well know faces like Chris O'Dowd and John Sessions rendered on screen in mobile oils, but you quickly get used to it. And there are frequent visual links to the works of Vincent that you get regular flashed of recognition from what's passing before you.
If you are able to accept the shortcomings in point 2, then I can strongly recommend a viewing of this gorgeous film.
1. This is the first full length animation to be entirely hand painted in oils, and can be viewed as a piece of history, a landmark in animated cinema.
2. The plot is clunky, improbable and suffers further from the distractions of the actors accents. Why does a French postmaster with a strong Irish accent have a cockney for a son? That postmaster wants to see a letter, written by the now deceased Vincent to his brother Theo, reach its destination, but so far it's been returned as address unknown. He persuades his wastrel son, Armand, to take the missive and seek out Theo. But the latter has also died, and Armand finds himself turning detective as he attempts to piece together the story of the painter's death. Did he really attempt to kill himself, as the official version of events says, or was something more sinister being covered up? Armand meets several people who knew Vincent in his final weeks, and listens to their stories, eventually returning to his father with his own version of events, and the letter delivered to somewhere where it will be appreciated. But it tells us little about Van Gogh we didn't already know, and, despite the occasional injection of excitement and mystery, is too pedestrian in the telling.
3. It's beautiful. In an extraordinary fashion. Armand's quest is painted in characteristic Van Gogh style, vibrant impressionist colours and heavy brush strokes adapted to provide movement, expression, life. The flashbacks are monochrome, with an almost photographic quality at times. Visually this is the kind of movie you could watch a dozen times over and still pick up on details you'd missed before, so rich is the texturing of the scenes. It feels strange at first to see well know faces like Chris O'Dowd and John Sessions rendered on screen in mobile oils, but you quickly get used to it. And there are frequent visual links to the works of Vincent that you get regular flashed of recognition from what's passing before you.
If you are able to accept the shortcomings in point 2, then I can strongly recommend a viewing of this gorgeous film.
Roddy Woomble, Pleasance
Support came from Kathryn Joseph (apparently). She came on, said little, never introduced herself, played and sang. A good, and distinctive, voice, decent piano playing, and the songs were pleasant enough. But I found it impossible to understand what any of them were about, and they ended up sounding all the same. It was frustrating to watch as there's clearly a good performer in there, still struggling to get out.
In the past the split between Woomble's indierock career with Idlewild, and his folkier solo albums, has been quite clearly delineated. His latest album, The Deluder, brings the two career strands closer together, and this stage line up reflects that move. Representing the folk element were regular collaborators Sorren Maclean (guitar) and Hannah Fisher, while drums, bass and fellow Idlewildian Andrew Mitchell on guitar and keyboards provided a rock heart to the sound.
The set was a mix of old and new from across his four solo albums, the powerhouse rhythm section giving a cohesion to the varied material. They're a tight unit, and Woomble lets himself fade into the background when the musicians get to show what they can do. Roddy doesn't say a lot, but his self deprecating style is the antithesis of the stereotypical rock singer and this gives him a stronger stage presence than any amount of physical antics ever could. His singing remains of the highest quality, phrasing and timing immaculate, and immediately identifiable, while the lyrics throughout are poetic, teasing, intriguing.
Strong performances from all the band, both Mitchell and Maclean getting the chance to show of their guitar prowess, but Fisher was a real star, bending her fiddle playing across genres (and what a joy to hear some rock fiddle once again), and lending an ethereal quality to the beautiful Remember to Breathe. Her vocals were a strong part of the overall package.
Woomble is generous to his audience, and clearly loves performing, but also gives the impression he'd be just as happy singing to an empty room, such is his love for his craft. And what could be more joyful that that to watch?
Oh, and this being Edinburgh there was only ever one song he could possibly end the night on. Waverley Steps remains a thing of great beauty, and Hannah was the perfect counterpoint to the Woomble vocals.
In the past the split between Woomble's indierock career with Idlewild, and his folkier solo albums, has been quite clearly delineated. His latest album, The Deluder, brings the two career strands closer together, and this stage line up reflects that move. Representing the folk element were regular collaborators Sorren Maclean (guitar) and Hannah Fisher, while drums, bass and fellow Idlewildian Andrew Mitchell on guitar and keyboards provided a rock heart to the sound.
The set was a mix of old and new from across his four solo albums, the powerhouse rhythm section giving a cohesion to the varied material. They're a tight unit, and Woomble lets himself fade into the background when the musicians get to show what they can do. Roddy doesn't say a lot, but his self deprecating style is the antithesis of the stereotypical rock singer and this gives him a stronger stage presence than any amount of physical antics ever could. His singing remains of the highest quality, phrasing and timing immaculate, and immediately identifiable, while the lyrics throughout are poetic, teasing, intriguing.
Strong performances from all the band, both Mitchell and Maclean getting the chance to show of their guitar prowess, but Fisher was a real star, bending her fiddle playing across genres (and what a joy to hear some rock fiddle once again), and lending an ethereal quality to the beautiful Remember to Breathe. Her vocals were a strong part of the overall package.
Woomble is generous to his audience, and clearly loves performing, but also gives the impression he'd be just as happy singing to an empty room, such is his love for his craft. And what could be more joyful that that to watch?
Oh, and this being Edinburgh there was only ever one song he could possibly end the night on. Waverley Steps remains a thing of great beauty, and Hannah was the perfect counterpoint to the Woomble vocals.
Love and Death in Govan and Hyndland (A Play, a Pie and a Pint), Traverse
"Christ. Shit. Fuck." *bangs head on desk*
An opening that gives a fair indication of what's to come, as funny meets frustration. Ivan is a successful writer, but he's got the dreaded writer's block, so instead of sitting at his desk he'll tell us a story. Of his mum who died ten years ago today, and her death from lung cancer. Of the gap that had opened up between them as he progressed from working class Govan to middle class Hyndland, and left his past behind.
It's about how we deal with death, and dying, and the knowledge that we can never know the mind of the person who's dealing with the end of their life. About how little we tend to recognise the real person underlying the persona we've grown to expect of a parent, the difficulty in seeing the young person they once were. Plus a bit of sibling rivalry thrown in.
There's a cracking, crackling script from Ian Pattison, consistently hilarious yet still able to peer into the fears and resentments and vexations that are a part of the people we become, and offering a moment of genuine pathos. Stephen Clyde's solo performance is superb, milking the laughs but still giving Ivan an irascible humanity, and well delineated impressions of Ivan's mother, aunt, brother and others.
A brilliant demonstration of what can be achieved with a fifty minute drama.
An opening that gives a fair indication of what's to come, as funny meets frustration. Ivan is a successful writer, but he's got the dreaded writer's block, so instead of sitting at his desk he'll tell us a story. Of his mum who died ten years ago today, and her death from lung cancer. Of the gap that had opened up between them as he progressed from working class Govan to middle class Hyndland, and left his past behind.
It's about how we deal with death, and dying, and the knowledge that we can never know the mind of the person who's dealing with the end of their life. About how little we tend to recognise the real person underlying the persona we've grown to expect of a parent, the difficulty in seeing the young person they once were. Plus a bit of sibling rivalry thrown in.
There's a cracking, crackling script from Ian Pattison, consistently hilarious yet still able to peer into the fears and resentments and vexations that are a part of the people we become, and offering a moment of genuine pathos. Stephen Clyde's solo performance is superb, milking the laughs but still giving Ivan an irascible humanity, and well delineated impressions of Ivan's mother, aunt, brother and others.
A brilliant demonstration of what can be achieved with a fifty minute drama.
Wednesday 11 October 2017
Leveret, Traverse
Three of England's finest traditional musicians playing a mix of the old, with some of their tunes dating back to the sixteenth century, and new, their own compositions. Rob Harbron (concertina), Sam Sweeney (fiddles) and Andy Cutting (melodeons, and one of nicest people you could ever wish to meet) meld together intuitively to produce a sound that, like the tunes themselves, combines the ancient and modern. Often quite simple melodies subjected to seemingly endless variations that added depth and understanding to the original. The sound is almost ecclesiastical at times, the concertina and melodeon combining to deliver a richness of tone that could rival a cathedral organ.
They can be verbally entertaining too, with some amusing stories about the origins of their sets. It was an enjoyable, admirable gig to be at, but lacked the spark needed to get the crowd involved and something a bit more up tempo would have been welcome to bring a bit of excitement and wildness into the proceedings. But that's not to detract from the beauty of the music. Leveret are masters of the trad arts and well worth a listen.
They can be verbally entertaining too, with some amusing stories about the origins of their sets. It was an enjoyable, admirable gig to be at, but lacked the spark needed to get the crowd involved and something a bit more up tempo would have been welcome to bring a bit of excitement and wildness into the proceedings. But that's not to detract from the beauty of the music. Leveret are masters of the trad arts and well worth a listen.
Pleading (A Play, a Pie and a Pint), Traverse
On their gap year after school, Freya and Michael are travelling the world. Or were, for they now find themselves in a Middle Eastern jail with nobody to turn to. Three weeks into their incarceration they are once again sharing a room, this time with bars on the windows, and sounding frightened, uncertain.
Cue Amelia, a defence lawyer appointed by the court, who explains the seriousness of the charges against them, and the consequences of being found guilty. And that she can perhaps get their sentence mitigated of they plead guilty. But are they responsible for their fate, or pawns in someone else's game? And when they are confronted with the starkest of choices, can they reach agreement on the way forward?
Through conversations between the couple, and their gradually evolving statements to the lawyer, the guilty party is eventually revealed, with a few red herrings along the way. Kim Allan's Freya is a volatile mix of innocence, calculation, exploitation and faith, while Daniel Cameron as Michael is aggrieved, petulant, defensive, accusing. Both are excellent, although I was less convinced by Nicole Cooper's Amelia, who lacked the sense of professionalism you'd expect from her character. The script has a few clunky moments as well, but overall this is an interesting take on an awkward subject, and how people can be manipulated.
Cue Amelia, a defence lawyer appointed by the court, who explains the seriousness of the charges against them, and the consequences of being found guilty. And that she can perhaps get their sentence mitigated of they plead guilty. But are they responsible for their fate, or pawns in someone else's game? And when they are confronted with the starkest of choices, can they reach agreement on the way forward?
Through conversations between the couple, and their gradually evolving statements to the lawyer, the guilty party is eventually revealed, with a few red herrings along the way. Kim Allan's Freya is a volatile mix of innocence, calculation, exploitation and faith, while Daniel Cameron as Michael is aggrieved, petulant, defensive, accusing. Both are excellent, although I was less convinced by Nicole Cooper's Amelia, who lacked the sense of professionalism you'd expect from her character. The script has a few clunky moments as well, but overall this is an interesting take on an awkward subject, and how people can be manipulated.
Damned Rebel Bitches, Traverse
A thriller, mystery and love story with 2 octogenarians at the heart of the action is an unusual mix, but Sandy Thompson has written a story that flits across the years and serves a reminder that the person behind the wrinkles is a reservoir of knowledge and experiences, not be lightly dismissed as the older generation so often is.
Before the actors take the stage it's the set that immediately fascinates. It's a chaotic jumble of seemingly random items - a wheelchair,a guitar, a pith helmet, lots of cardboard boxes and old chairs, stepladder, UPVC window, goldfish bowl, washing line, the list goes on and on. And every item will find a role in the drama as the set proves it's flexibility and constantly changes shape, time and place, the actors themselves moving the pieces around the board, and making their costume changes in among the jumble.
Ella's grandson Cameron has disappeared. In New York. So she sets off from Glasgow with older sister Irene, and together the too of them set about tracking him down. Early on in the tale we discover that an adventurous Ella manages to save him from the full force of Hurricane Sandy, and the play. But from then on the story unfolds through flashbacks, going right back to the sisters' childhood in wartime, and through various stages of their (primarily Ella's) lives. Her life is one of ups and downs that toughen her up into a woman who isn't going to be phased by a mere storm, and she can still teach the youngsters some lessons.
Throughout the action comprises short scenes, time and place announced by one or other cast member, with the four actors playing a wide range of characters and/or ages. Occasionally this can become confusing, the direction not quite taught enough to hold the timeline together, but the essentials are easy enough to follow. All four of the cast are excellent, but it's the seventy something Tina Gray as Ella who stands out - she can still do a wonderful nine year old. And all four get plenty of laughs, amidst all the traumas of war, bereavement, the big events in people's lives across eight decades.
Ella is an embodiment of the need to change with the times as life moves on, and not get stuck in a past that becomes fictionalised in memory. A lesson a lot of people could do with in current times....
Before the actors take the stage it's the set that immediately fascinates. It's a chaotic jumble of seemingly random items - a wheelchair,a guitar, a pith helmet, lots of cardboard boxes and old chairs, stepladder, UPVC window, goldfish bowl, washing line, the list goes on and on. And every item will find a role in the drama as the set proves it's flexibility and constantly changes shape, time and place, the actors themselves moving the pieces around the board, and making their costume changes in among the jumble.
Ella's grandson Cameron has disappeared. In New York. So she sets off from Glasgow with older sister Irene, and together the too of them set about tracking him down. Early on in the tale we discover that an adventurous Ella manages to save him from the full force of Hurricane Sandy, and the play. But from then on the story unfolds through flashbacks, going right back to the sisters' childhood in wartime, and through various stages of their (primarily Ella's) lives. Her life is one of ups and downs that toughen her up into a woman who isn't going to be phased by a mere storm, and she can still teach the youngsters some lessons.
Throughout the action comprises short scenes, time and place announced by one or other cast member, with the four actors playing a wide range of characters and/or ages. Occasionally this can become confusing, the direction not quite taught enough to hold the timeline together, but the essentials are easy enough to follow. All four of the cast are excellent, but it's the seventy something Tina Gray as Ella who stands out - she can still do a wonderful nine year old. And all four get plenty of laughs, amidst all the traumas of war, bereavement, the big events in people's lives across eight decades.
Ella is an embodiment of the need to change with the times as life moves on, and not get stuck in a past that becomes fictionalised in memory. A lesson a lot of people could do with in current times....
Monday 18 September 2017
Poozies
After a considerable length of absence it's back to the House once again to see a familiar name. The Poozies have been the pre-eminent all female band on the British folk scene for 27 years now. In that period the line up has changed several times, but has been a settled four piece for almost a decade. Until now. Still there are founding member Mary McMaster on electroharp and Eilidh Shaw on fiddle. Gone is the accordion of Mairearad Green and guitar and gutsy vocals of Sally Barker. In their stead come Sarah McFadyen on fiddle and banjo and Tia Files playing guitar. And what a change that has made....
Three of the group took a turn at lead vocals and all are more than competent, with the childlike quality of McFadyen's voice being particularly appealing. But this is now a band that's much more about the music than the singing. Files's guitar playing offers more complex rhythmic accompaniment than before, and the dual fiddles have created a new and exciting sound. With less traditional material than before, and no looking back to the band's extensive back catalogue, this has the feel of an entirely new creation - and a big step forward. A well balanced set, mixing songs and tunes, fast and slow tempos, differing styles of music. Four performers happy to give something of themselves to the audience. And a musical energy and imagination that brought constant surprise and delight.
A Highland walking song was transformed with Shaw's East European influences. Sets of tunes combined traditional styles with an eclectic range of approaches. McMaster's bass parts sound rockier than ever (something she clearly enjoyed). There's originality throughout, with some great endings to numbers. It's elevating stuff, with the sense of new directions to come. And they're funny too.
The (old) Poozies are dead, long live the (new) Poozies. Long may they continue to reinvent themselves.
Three of the group took a turn at lead vocals and all are more than competent, with the childlike quality of McFadyen's voice being particularly appealing. But this is now a band that's much more about the music than the singing. Files's guitar playing offers more complex rhythmic accompaniment than before, and the dual fiddles have created a new and exciting sound. With less traditional material than before, and no looking back to the band's extensive back catalogue, this has the feel of an entirely new creation - and a big step forward. A well balanced set, mixing songs and tunes, fast and slow tempos, differing styles of music. Four performers happy to give something of themselves to the audience. And a musical energy and imagination that brought constant surprise and delight.
A Highland walking song was transformed with Shaw's East European influences. Sets of tunes combined traditional styles with an eclectic range of approaches. McMaster's bass parts sound rockier than ever (something she clearly enjoyed). There's originality throughout, with some great endings to numbers. It's elevating stuff, with the sense of new directions to come. And they're funny too.
The (old) Poozies are dead, long live the (new) Poozies. Long may they continue to reinvent themselves.
Tuesday 29 August 2017
Blues Brothers - Live, C Venues, Edinburgh Fringe
A stage tribute to the famed duo featuring songs from the 1980 film. A 7 piece band, 2 women singers, a cowboy behind the bar who turned into a preacher, and, of course, Jake and Elwood up front. There's a few lines here and there to set the scene, but this show is all about the music and the dancing.
The band are competent (only the keyboard player and trombonist really stood out) and join in the fun. 'Jake' is a noticeably better singer than 'Elwood', but the latter compensates by being the best dancer of the group and a decent bit of harmonica work. However the best singer on the night was the smaller of the two women, both of whom got to do a lot more than just backing vocals. And the 'cowboy' came into his own as the show progressed, as singer, dancer and MC.
By the end they had most of the audience up on stage and dancing (even your reviewer - shock!), a great way to round of a Fringe day - and, in this case, the 2017 Fringe.
Sobering thought - Not only were none of the cast born when the original film came out, I doubt any of them had yet to emerge a decade later. But isn't that what you expect from a cult classic - timelessness?
This was the last performance of the show.
The band are competent (only the keyboard player and trombonist really stood out) and join in the fun. 'Jake' is a noticeably better singer than 'Elwood', but the latter compensates by being the best dancer of the group and a decent bit of harmonica work. However the best singer on the night was the smaller of the two women, both of whom got to do a lot more than just backing vocals. And the 'cowboy' came into his own as the show progressed, as singer, dancer and MC.
By the end they had most of the audience up on stage and dancing (even your reviewer - shock!), a great way to round of a Fringe day - and, in this case, the 2017 Fringe.
Sobering thought - Not only were none of the cast born when the original film came out, I doubt any of them had yet to emerge a decade later. But isn't that what you expect from a cult classic - timelessness?
This was the last performance of the show.
My Pet, My Love, C Royale, Edinburgh Fringe
Rob is frightened. Of sharks, of psycho killers, of being single for the rest of his life. But his biggest fear, and the most rational on the list, is losing his memories. He saw his grandmother decline and eventually die with dementia, and dreads becoming the person who's unable to remember anyone from their past. He talks to us directly, the thirty something actor who's uncertain where his life is going; plays his five year self who first experienced death and loss when his beloved pet fish died; and his imaginary future self, talking to his partner about the knowledge that he is losing his ability to remember. As the latter he replays the memories of their first date, second date... the things you think you'll never forget.
It's a powerful work from Australian Rob Gaetano, based on his own experiences and fears, and an intensely personal and heartfelt performance. Despite minor costume changes and shifts in lighting the scene changes aren't always clearly delineated and this caused minor confusion at times. Perhaps the already striking sound backing could have helped more in this respect. But that's a small quibble in what was a strong and affecting drama, with the use of the scattered keys an enduring metaphor for memories.
This was the last performance of the play.
Monday 28 August 2017
Dylan Moran - Work in Progress (Grumbling)
How can something so bad be so good?
We all know what to expect when a show is billed as a Work in Progress - the comedian will come on with pages of script and read from them a lot of the time, maybe even make some notes as they go along. It will be funny in parts, less so in others, and the pace will vary.
Moran's show was a bit like that. He walked on with a thick wad of A4. He did attempt to read from them occasionally, but mostly succeeded in making the pile messier and never being able to find the bit he wanted. All the time talking, either the bits he could remember, or whatever came into his head. In the end he gave up the unequal battle with the increasingly tempestuous paper, decided he'd done enough, and walked off.
Yet it was hilarious. Unendingly funny. It's not supposed to work like this....
The young as advertising fodder, the pains of being middle aged, how your family control you, why Mike Pence looks like he's harming a rodent or two, and a couple of squirrels arguing on a bin in Brooklyn accents. Dylan skips across his subject matter with mumbles and grumbles, a stream of nonsense that's kept alive by the surreal disconnects in his language with seemingly unrelated words slipping together like jam and cheese (I do like jam and cheese).
Was it a 'proper' show? No. Did I feel at all short changed? No. Moran could get laughs from the phone book. Now I want to know what the finished show will be like....
This was the last performance of the run.
We all know what to expect when a show is billed as a Work in Progress - the comedian will come on with pages of script and read from them a lot of the time, maybe even make some notes as they go along. It will be funny in parts, less so in others, and the pace will vary.
Moran's show was a bit like that. He walked on with a thick wad of A4. He did attempt to read from them occasionally, but mostly succeeded in making the pile messier and never being able to find the bit he wanted. All the time talking, either the bits he could remember, or whatever came into his head. In the end he gave up the unequal battle with the increasingly tempestuous paper, decided he'd done enough, and walked off.
Yet it was hilarious. Unendingly funny. It's not supposed to work like this....
The young as advertising fodder, the pains of being middle aged, how your family control you, why Mike Pence looks like he's harming a rodent or two, and a couple of squirrels arguing on a bin in Brooklyn accents. Dylan skips across his subject matter with mumbles and grumbles, a stream of nonsense that's kept alive by the surreal disconnects in his language with seemingly unrelated words slipping together like jam and cheese (I do like jam and cheese).
Was it a 'proper' show? No. Did I feel at all short changed? No. Moran could get laughs from the phone book. Now I want to know what the finished show will be like....
This was the last performance of the run.
Sunday 27 August 2017
David O'Doherty : Big Time, Assembly Hall, Edinburgh Fringe
Sitting down with a keyboard in his lap, a self deprecating O'Doherty launches into a daft comic song and strikes up an immediate rapport with his audience. And wonders out loud how he's still getting away with it, getting paid for this silliness. His modesty even extends to his home country - nobody would ever dare come out with 'Make Ireland great again'.
Working in telesales, having a superpower (he's sure he's got one, he's not figured out what it is though) and relationships all get a look in. Although there's not a lot of political comment he does talk about how much the world has changed in the past year, and astutely points out that our biggest worry now is the rise of fascism. The routines are consistently funny, observant of human foibles, and his twists of language and quick improvisations ensure it never gets predictable
He ends with the most existential heckles he's ever received - from children (he also write's children's books) - and his assessment of how well the front row of the audience performed. It's likeable, effective stand up, not ground breaking in any way, but consistently funny and enjoyable.
This was the last performance of the three night run.
Working in telesales, having a superpower (he's sure he's got one, he's not figured out what it is though) and relationships all get a look in. Although there's not a lot of political comment he does talk about how much the world has changed in the past year, and astutely points out that our biggest worry now is the rise of fascism. The routines are consistently funny, observant of human foibles, and his twists of language and quick improvisations ensure it never gets predictable
He ends with the most existential heckles he's ever received - from children (he also write's children's books) - and his assessment of how well the front row of the audience performed. It's likeable, effective stand up, not ground breaking in any way, but consistently funny and enjoyable.
This was the last performance of the three night run.
Saturday 26 August 2017
Dear Home Office : Still Pending
Phosporus Theatre's follow up to their show Dear Home Office at last year's Fringe. Although this is a drama, portraying incidents both real and imagined, it is the cast themselves who are the key to this production. Kate works in a sheltered accomodation unit in London, providing temporary shelter for refugees to give them time to get used to their new country. On stage she performs her real life role, and adds some narration to the proceedings. The remainder of the cast are young men from Afghanistan, Albania, Eritrea and Somalia, asylum seekers looking to escape the dangers of home and build a new life.
The action takes the form of vignettes from several parallel stories, illustrating the difficulties these men face - not just stultifying bureaucracy which makes them explain their situation over and over again, but language barriers, problems with work and housing, basic prejudice and bigotry, even cruelty, and despair at ever reaching their goal. But also the positives of support, help, determination and love they can encounter.
Elgi is trying to get an education, and friends, but money is always a problem. Kareem's life seems settled until his brother arrives, compromising them both. Akram has to appeal against the decision to deport him, but lawyers aren't always helpful. And Filmon dreams of being an actor, but struggles to be seen for who he is.
If you're looking for a perfect theatrical experience then this isn't it. By any objective standards the acting is often poor, the storylines confusing when lines are hard to hear or translations on the screen are blocked by the actors. But subjectively these things matter less than might usually be the case. Know that these men have direct experience of the events they are playing gives the show an authenticity, and a sense of a story needing to be told.
It's not one of the great works of theatre at this year's Fringe - but it is one of the most important, and well worth seeing.
Dear Home Office : Still Pending is on in Gilded Balloon at 14.30 until 27 August.
The action takes the form of vignettes from several parallel stories, illustrating the difficulties these men face - not just stultifying bureaucracy which makes them explain their situation over and over again, but language barriers, problems with work and housing, basic prejudice and bigotry, even cruelty, and despair at ever reaching their goal. But also the positives of support, help, determination and love they can encounter.
Elgi is trying to get an education, and friends, but money is always a problem. Kareem's life seems settled until his brother arrives, compromising them both. Akram has to appeal against the decision to deport him, but lawyers aren't always helpful. And Filmon dreams of being an actor, but struggles to be seen for who he is.
If you're looking for a perfect theatrical experience then this isn't it. By any objective standards the acting is often poor, the storylines confusing when lines are hard to hear or translations on the screen are blocked by the actors. But subjectively these things matter less than might usually be the case. Know that these men have direct experience of the events they are playing gives the show an authenticity, and a sense of a story needing to be told.
It's not one of the great works of theatre at this year's Fringe - but it is one of the most important, and well worth seeing.
Dear Home Office : Still Pending is on in Gilded Balloon at 14.30 until 27 August.
In Conversation With... Mark Thomas, New Town Theatre, Edinburgh Fringe
The last in a sixteen date series of interviews with people from varied strands of public life. Mark Thomas has won great respect for his work as a comedian, actor and writer, and especially for his political activism across 3 decades. The interviewer was local comedian Keir McAllister, although firelighter might be a more appropriate term. Keir didn't so much ask questions as put a match to the blue touchpaper and allow Thomas to fizz, sparkle and explode into unstoppable monologues that continuously entertained.
They covered his beginnings in comedy and political activity, the importance of his father in his life, and a period working as a writer for the great Dave Allen. As his desire to help people got stronger, so did his ability to become an annoyance to those with power over others, and he had wonderful tales of the lengths taken to wind up the likes of Nicholas Soames and Michael Heseltine.
Coming more up to date Thomas was passionate in his views on the Grenfell tragedy, and the conversations he had with some of the firemen who attended the blaze were inspiring, but also shocking for the willful disdain of politicians for the lives of the poorest in society. He is, of course, doing what he can to help, and raise awareness.
McAllister occasionally got in the odd question, but often found that no more than a few syllables could be uttered before Thomas was off again - although Mark did happily acknowledge that he recognised his 'failing'. Not that the audience could complain for his words are never wasted, and Mark is a master of storytelling. He could have gone on for hours, and we could have listened to him, for he is always funny, and endlessly interesting.
Thomas is an inspiration to those who want art to be relevant to society, and have the power to change things. Long may he continue.
They covered his beginnings in comedy and political activity, the importance of his father in his life, and a period working as a writer for the great Dave Allen. As his desire to help people got stronger, so did his ability to become an annoyance to those with power over others, and he had wonderful tales of the lengths taken to wind up the likes of Nicholas Soames and Michael Heseltine.
Coming more up to date Thomas was passionate in his views on the Grenfell tragedy, and the conversations he had with some of the firemen who attended the blaze were inspiring, but also shocking for the willful disdain of politicians for the lives of the poorest in society. He is, of course, doing what he can to help, and raise awareness.
McAllister occasionally got in the odd question, but often found that no more than a few syllables could be uttered before Thomas was off again - although Mark did happily acknowledge that he recognised his 'failing'. Not that the audience could complain for his words are never wasted, and Mark is a master of storytelling. He could have gone on for hours, and we could have listened to him, for he is always funny, and endlessly interesting.
Thomas is an inspiration to those who want art to be relevant to society, and have the power to change things. Long may he continue.
Friday 25 August 2017
Margaret Thatcher Queen of Game Shows, Piccolo George Square, Edinburgh Fringe
The setting might be more Camp David than Chequers, but Margaret Thatcher is back, with her prancing assistants Strong and Stable. Matt Tedford's Iron Lady is now a game show host, and that means contestants, and guest stars. The former are drawn, without overmuch pressure, from audience members, the latter offer S&S to play a range of political and TV celebrities. It's arch, it's tacky, it's amusing and there's a bit of real satire thrown in.
Song and dance routines, silly games based on old TV favourites where contestants get to destroy the NHS and rip up human rights, and the puncturing of political posturing. Pure entertainment that flirts with serious issues - and has had rewrites during the run as real life events impact on the script. Tedford is a solid presence at the centre of the mayhem, a parody Thatcher that's far more likeable than the original, and the sidekicks get plenty chances to show their own comic abilities as the targets come thick and fast - brexit chaos to the fore, but also the acolytes of Corbyn and the likelihood of Scottish independence. All done with the glitz and glamour of low budget daytime TV.
It's a lot of fun, and who couldn't love a show featuring Angela Merkel planting her fist solidly into Niggle Fuhrage's smug visage?
Margaret Thatcher Queen of Game Shows is on in the Piccolo George Square at 21.00 until 27 August.
Song and dance routines, silly games based on old TV favourites where contestants get to destroy the NHS and rip up human rights, and the puncturing of political posturing. Pure entertainment that flirts with serious issues - and has had rewrites during the run as real life events impact on the script. Tedford is a solid presence at the centre of the mayhem, a parody Thatcher that's far more likeable than the original, and the sidekicks get plenty chances to show their own comic abilities as the targets come thick and fast - brexit chaos to the fore, but also the acolytes of Corbyn and the likelihood of Scottish independence. All done with the glitz and glamour of low budget daytime TV.
It's a lot of fun, and who couldn't love a show featuring Angela Merkel planting her fist solidly into Niggle Fuhrage's smug visage?
Margaret Thatcher Queen of Game Shows is on in the Piccolo George Square at 21.00 until 27 August.
Joseph K, C Venues, Edinburgh Fringe
Written by Tom Basden, this is a reworking of Kafka's The Trial, brought into the twenty first century. K gets a shock when his sushi order is not only half eaten, but delivered by two sinister characters in dark glasses. He's told he's under arrest, made to sign a paper, but then allowed to continue with his life. Or not. Suddenly his daily routine becomes a struggle when his mobile is block, his access to cash restricted and isn't someone following him everywhere? He tries to find out what he's charged with, why he's been targeted, but gets tangled up in a jungle of bureaucratic rules, computer options and looping phone messages. Even his lawyer seems to be more against than for him, and the further he tries to take matters into his own hands the less he understands. Is there any way out of his nightmarish situation?
The company is from the sixth form of Kingston Grammar School, so it's a very young (and very large - 19 in the programme) cast. Most of them flit in and out of the action, with a few playing double roles. But at the centre of it all is the eponymous victim, who hardly leaves the stage for the whole 90 minutes, and Jamie Bisping carries it off well, suitably confused, frustrated and concerned. The quality of the other performances varies, but there was nobody who looked out of place. Lili Macleary needs to project more, but she was the only one whose lines got lost. In the funniest scene, where K goes to make a complaint, Finn Stammers and Hanna West are excellent, while Teddy Coward is clearly having a lot of fun as the obese, creepy lawyer, and Charlotte Le Feuvre stood out as both the Computer, endlessly providing useless options, and Bear, the glazier in the know. Credit too to a stage crew that had a lot of scene shifting to do, and kept any breaks in the action to a minimum.
A more mature cast could probably imbue the script with greater menace, fear and rising tension, but that doesn't make this a bad performance. The hour and half went quickly and it's a very enjoyable and thought provoking production. Definitely worth your time.
Joseph K is on in C Venues Chambers Street at 10.30 until 26 August.
The company is from the sixth form of Kingston Grammar School, so it's a very young (and very large - 19 in the programme) cast. Most of them flit in and out of the action, with a few playing double roles. But at the centre of it all is the eponymous victim, who hardly leaves the stage for the whole 90 minutes, and Jamie Bisping carries it off well, suitably confused, frustrated and concerned. The quality of the other performances varies, but there was nobody who looked out of place. Lili Macleary needs to project more, but she was the only one whose lines got lost. In the funniest scene, where K goes to make a complaint, Finn Stammers and Hanna West are excellent, while Teddy Coward is clearly having a lot of fun as the obese, creepy lawyer, and Charlotte Le Feuvre stood out as both the Computer, endlessly providing useless options, and Bear, the glazier in the know. Credit too to a stage crew that had a lot of scene shifting to do, and kept any breaks in the action to a minimum.
A more mature cast could probably imbue the script with greater menace, fear and rising tension, but that doesn't make this a bad performance. The hour and half went quickly and it's a very enjoyable and thought provoking production. Definitely worth your time.
Joseph K is on in C Venues Chambers Street at 10.30 until 26 August.
Thursday 24 August 2017
Funny Women, Gilded Balloon, Edinburgh Fringe
Does what it says on the tin. A line up of women comedians that changes daily. On this occasion the host was Amy Annette did the audience interaction bit that hosts do and talked about lying. A pleasantly amiable introduction to the hour.
The first of the four acts was Emily Lloyd-Saini who finds that, being half Indian, the TV roles she gets offered are predominantly medical - doctor, nurse, even vet. It might be stereotyping but at least her Indian father is proud of her for almost making it.... There were several good gags in the routine and I could happily have listened to her for longer.
I reviewed The Kagools earlier this week, and although this short set had much in common with their full show it remains hysterically funny to watch, not least because of the audience interaction. The best set of the show and I even got a hug from a Kagool - albeit leaving one side of my face covered in salsa....
Effusive Australian Sarah Benetto has her own ways of testing British reserve, and testing the limits of what it takes to get someone to intervene. She holds pretend phone conversations on buses that everyone else pretends not to listen to but is secretly horrified by. The imaginary chats were well structured, building up the tension and adding a few twists along the way so there were plenty laughs.
Last act of the day was air stewardess Maria, aka Alice Fraser. The faux-Latin persona began to drag a bit, but was saved by a very funny commentary on an air safety demonstration film. The character needs more depth though, so I'm not sure what her full show would be like for quality.
Who and what you get on the day will vary greatly, but it's one of those shows that's useful for discovering talents you might not otherwise come across. There was nobody awful in this line up, but it did highlight, once again, that The Kagools have definite star quality.
Funny Women is on in the Gilded balloon at 12.00 until 28 August.
The first of the four acts was Emily Lloyd-Saini who finds that, being half Indian, the TV roles she gets offered are predominantly medical - doctor, nurse, even vet. It might be stereotyping but at least her Indian father is proud of her for almost making it.... There were several good gags in the routine and I could happily have listened to her for longer.
I reviewed The Kagools earlier this week, and although this short set had much in common with their full show it remains hysterically funny to watch, not least because of the audience interaction. The best set of the show and I even got a hug from a Kagool - albeit leaving one side of my face covered in salsa....
Effusive Australian Sarah Benetto has her own ways of testing British reserve, and testing the limits of what it takes to get someone to intervene. She holds pretend phone conversations on buses that everyone else pretends not to listen to but is secretly horrified by. The imaginary chats were well structured, building up the tension and adding a few twists along the way so there were plenty laughs.
Last act of the day was air stewardess Maria, aka Alice Fraser. The faux-Latin persona began to drag a bit, but was saved by a very funny commentary on an air safety demonstration film. The character needs more depth though, so I'm not sure what her full show would be like for quality.
Who and what you get on the day will vary greatly, but it's one of those shows that's useful for discovering talents you might not otherwise come across. There was nobody awful in this line up, but it did highlight, once again, that The Kagools have definite star quality.
Funny Women is on in the Gilded balloon at 12.00 until 28 August.
Big Bite-Size Breakfast (Menu 3), Pleasance Dome, Edinburgh Fringe
Having seen both Menu 1 and Menu 2 it seemed only fair to complete the set. The identical format and cast to the other two, and probably the best overall offering of the trio.
Will you marry me? In Lifetime a couple meet on the street, propose, accept, marry, have rows, have kids, go to war, in a ten minute highlights reel. Are our lives really any different? In the very clever and extremely funny Fight Book four characters, A, B, C and D, engage in 'discussion' on Facebook from four recognisably stereotypical positions, complete with misunderstandings, overreactions, pretensions, oversensitivity and cute animal gifs. Is the invocation of Godwin's Law the inevitable end point? Four 'types' we'll all know - and fit into. Me? I'm a C....
A Different Time proves to be an unexpectedly moving drama, where the reunion of three old school friends shows how we can ignore the sufferings of others to construct our own version of the past. Fourth up is Emperor's New Clothes, a satire on the art world that has plenty of laughs, but doesn't quite hit the target. And finally Whiskey, a twist upon twist comedy where nobody is quite what they seem, with a wonderful performance from Rosie Edwards as the multi-accented femme fatale.
If you haven't seen any of their offerings then try to grab one before the run ends.
The Big Bite-Size Breakfast Show is on in Pleasance Dome at 10.30 until 28 August (the only remaining performance of Menu 3 is on the 27th).
Will you marry me? In Lifetime a couple meet on the street, propose, accept, marry, have rows, have kids, go to war, in a ten minute highlights reel. Are our lives really any different? In the very clever and extremely funny Fight Book four characters, A, B, C and D, engage in 'discussion' on Facebook from four recognisably stereotypical positions, complete with misunderstandings, overreactions, pretensions, oversensitivity and cute animal gifs. Is the invocation of Godwin's Law the inevitable end point? Four 'types' we'll all know - and fit into. Me? I'm a C....
A Different Time proves to be an unexpectedly moving drama, where the reunion of three old school friends shows how we can ignore the sufferings of others to construct our own version of the past. Fourth up is Emperor's New Clothes, a satire on the art world that has plenty of laughs, but doesn't quite hit the target. And finally Whiskey, a twist upon twist comedy where nobody is quite what they seem, with a wonderful performance from Rosie Edwards as the multi-accented femme fatale.
If you haven't seen any of their offerings then try to grab one before the run ends.
The Big Bite-Size Breakfast Show is on in Pleasance Dome at 10.30 until 28 August (the only remaining performance of Menu 3 is on the 27th).
Wednesday 23 August 2017
George Egg : DIY Chef, Gilded Balloon, Edinburgh Fringe
One word review - Delicious.
Egg has an explanation for why he's ended up cooking in his shed, a habitat he's recreated on stage where, with the aid of some surprising power tools, he shows just what culinary achievements are possible in such an unlikely environment. Three dishes - breakfast, lunch and dinner - are cooked during the show, and available for the audience to taste after (everyone gets a plastic fork on the way in).
You'll have to go along to find out just how effectively such diverse items as a wallpaper stripper, a power drill and a paper shredder can be turned into cookery gadgets, and to discover what delights he produces. All of the food tasted wonderful, especially the pasta, and the show would be worth the entry price for the recipes alone. But this is a comedy show and Egg keeps a constant stream of jokes, groanful puns, stories and the odd poem, even when handling a ferocious looking blowtorch to cook dinner. His money saving advice is hilarious and sets up a couple of great visual gags. Even the most predictable of jokes are delivered with such unassuming friendliness that you have to laugh.
It's funny, educational and smells great. Highly recommended.
A shout out to the Wee Boulangerie on Clerk Street, and Saundersons butchers on Leven Street, who have been providing the comedy chef with bread and meat to cook each day. Good to see local businesses supporting the Fringe.
George Egg is in the Gilded Balloon at 16.15 until 27 August.
Egg has an explanation for why he's ended up cooking in his shed, a habitat he's recreated on stage where, with the aid of some surprising power tools, he shows just what culinary achievements are possible in such an unlikely environment. Three dishes - breakfast, lunch and dinner - are cooked during the show, and available for the audience to taste after (everyone gets a plastic fork on the way in).
You'll have to go along to find out just how effectively such diverse items as a wallpaper stripper, a power drill and a paper shredder can be turned into cookery gadgets, and to discover what delights he produces. All of the food tasted wonderful, especially the pasta, and the show would be worth the entry price for the recipes alone. But this is a comedy show and Egg keeps a constant stream of jokes, groanful puns, stories and the odd poem, even when handling a ferocious looking blowtorch to cook dinner. His money saving advice is hilarious and sets up a couple of great visual gags. Even the most predictable of jokes are delivered with such unassuming friendliness that you have to laugh.
It's funny, educational and smells great. Highly recommended.
A shout out to the Wee Boulangerie on Clerk Street, and Saundersons butchers on Leven Street, who have been providing the comedy chef with bread and meat to cook each day. Good to see local businesses supporting the Fringe.
George Egg is in the Gilded Balloon at 16.15 until 27 August.
Paul Currie : Cats in My Mouth, The Hive, Edinburgh Fringe
Paul Currie has a mission - to stop adults taking themselves seriously. Making silliness the dominant force in this show. If you've ever wondered if Where's Wally? would make a good spectator sport, or wanted to sing in cat, or always hungered to dance like Black Beauty, or thought it would be good to see music played on a pot plant, then this is the show for you. It's also a show where you are going to join in or Mr Currie will be round to see you.
Currie's surreal imagination and energy make for an unpredictable hour, with few jokes and lot of visual and interactive humour. It's fast, very funny, and slightly scary at times. Audience members selected to take the stage with him can have an unsettling experience if they're not fully ready to enter CurrieWorld. But I laughed a lot and found myself dancing a lot more than I normally would, so there's much to be said for his bizarre approach to entertainment.
If you love the zany and unexpected then this is definitely worth your time.
Paul Currie is in The Hive at 20.30 until 27 August.
Currie's surreal imagination and energy make for an unpredictable hour, with few jokes and lot of visual and interactive humour. It's fast, very funny, and slightly scary at times. Audience members selected to take the stage with him can have an unsettling experience if they're not fully ready to enter CurrieWorld. But I laughed a lot and found myself dancing a lot more than I normally would, so there's much to be said for his bizarre approach to entertainment.
If you love the zany and unexpected then this is definitely worth your time.
Paul Currie is in The Hive at 20.30 until 27 August.
Ashley Storrie : Morning Glory, Counting House, Edinburgh Free Fringe
After a bit of chat with her audience Storrie laments that, despite having a famous comedian as her mother, she doesn't have the right background for comedy. She had a happy childhood, a good education and lives a comfortable life. Where's the laughs in that? But everyone else in her family has their sad story to tell, and that, and some of their odd behaviours, gives her more than enough material to work with.
Ashley's got an inventive way with words and comes up with some wonderfully original phrases, so even quite mundane tales come to life and provide laughs. You get into trouble at school and your mother's reaction isn't quite what the headmistress expected.What to make of a Xmas present that would have been ideal in 70s Belfast, but wildly inappropriate for 21st century Glasgow? No matter, it will come in handy later as a sex aid. And there's a Melania and Donald bedroom encounter you wish she wasn't so good at painting pictures of....
Storrie is a confident presence on stage, quick with comebacks and with areal honesty to her comedy. Highly recommended.
Ashley Storrie is on in The Counting House at 18.45 until 27 August.
Ashley's got an inventive way with words and comes up with some wonderfully original phrases, so even quite mundane tales come to life and provide laughs. You get into trouble at school and your mother's reaction isn't quite what the headmistress expected.What to make of a Xmas present that would have been ideal in 70s Belfast, but wildly inappropriate for 21st century Glasgow? No matter, it will come in handy later as a sex aid. And there's a Melania and Donald bedroom encounter you wish she wasn't so good at painting pictures of....
Storrie is a confident presence on stage, quick with comebacks and with areal honesty to her comedy. Highly recommended.
Ashley Storrie is on in The Counting House at 18.45 until 27 August.
The Kagools : Tutti, The Caves, Edinburgh Fringe
Shows describing themselves as "suitable for all ages" rarely are, but this is one that matches up to that description. Snugly enclosed in their hooded waterproofs, the wordless duo have developed one of the smartest and funniest shows of the Fringe. Their clowning, miming, well acted physical comedy would work well in almost any country.
Add in a constant stream of inventive silliness, plus clever use of technology, and you have an hour of almost non-stop laughs. Audience members are cajoled into cooperating with, on this occasion, the 'lifeguard' throwing himself enthusiastically into the part. There's a fair bit of water involved in the act, metaphorically, literally and on the big screen, the latter providing one of the highlights of the show with a beautifully choreographed swimming routine. And who doesn't love a unicorn?
Inspired.
The Kagools are in The Caves at 17.15 until 26 August.
Add in a constant stream of inventive silliness, plus clever use of technology, and you have an hour of almost non-stop laughs. Audience members are cajoled into cooperating with, on this occasion, the 'lifeguard' throwing himself enthusiastically into the part. There's a fair bit of water involved in the act, metaphorically, literally and on the big screen, the latter providing one of the highlights of the show with a beautifully choreographed swimming routine. And who doesn't love a unicorn?
Inspired.
The Kagools are in The Caves at 17.15 until 26 August.
Tuesday 22 August 2017
Aberpella Presents : 50 Tones of Grey, Surgeon's Hall, Edinburgh Fringe
Aberdeen University's award winning a capella group, four women and five men, tell a love story for the Tinder generation. They took turns in setting the scene for each number, providing some thematic narrative to a bunch of otherwise unconnected pop songs, and proved competent narrators. (If a bit ageist at times....)
They made self deprecating references to their dance routines and while these weren't up to the standard of the vocals the choreography added a lot to the visual appeal of the act. At least I didn't see anyone bumping into each other! (Although Ross Keightley needs to be more aware of the impression he makes with his hand movements.)
But it's the songs that matter and there were some impressively complex arrangements and great harmonies. Most of the group got their chance to perform solos and there were no weak links there either. Vic Metcalf might not have the best voice technically, but hers was the most interesting of the group, suggesting a potential future in blues and soul. The other women lacked her gutsy power, but all had sweet voices. Colum Findlay recently won an award as a soloist and it's easy to see why, although his slightly querulous tone is not to my taste. I was most impressed by Josh Baillie, the hard working vocal 'percussionist', who did one brief solo and sounded the best of the men.
An enjoyable way to start a Fringe day.
Aberpella Presents is on in Surgeon's Hall at 10.30 until 26 August.
They made self deprecating references to their dance routines and while these weren't up to the standard of the vocals the choreography added a lot to the visual appeal of the act. At least I didn't see anyone bumping into each other! (Although Ross Keightley needs to be more aware of the impression he makes with his hand movements.)
But it's the songs that matter and there were some impressively complex arrangements and great harmonies. Most of the group got their chance to perform solos and there were no weak links there either. Vic Metcalf might not have the best voice technically, but hers was the most interesting of the group, suggesting a potential future in blues and soul. The other women lacked her gutsy power, but all had sweet voices. Colum Findlay recently won an award as a soloist and it's easy to see why, although his slightly querulous tone is not to my taste. I was most impressed by Josh Baillie, the hard working vocal 'percussionist', who did one brief solo and sounded the best of the men.
An enjoyable way to start a Fringe day.
Aberpella Presents is on in Surgeon's Hall at 10.30 until 26 August.
Monday 21 August 2017
Dallahan, Acoustic Music Centre, Edinburgh Fringe
A disappointing Dallahan gig? Really? Well, yes, but certainly not through any fault of the band who gave another storming performance, with plenty of humour thrown in. The same settled line up as when I reviewed their performance at Tradfest in April so once again little to add to what I've written before about their abilities as a live act here and here, and why my appetite for the forthcoming third album grows ever stronger.
So why the slight let down? Well, this being the Fringe, the show only gets a one hour slot, frustrating when you know they have such a strong repertoire. Worse, the enforced move of the Acoustic Music Centre from the wonderful St Brides to the new location on Royal Terrace has resulted in much poorer acoustics, as well as poorer viewing for the audience. Let's hope that can be resolved next hear.
Dallahan was a one-off performance, but there are shows running at the AMC until 27 August.
So why the slight let down? Well, this being the Fringe, the show only gets a one hour slot, frustrating when you know they have such a strong repertoire. Worse, the enforced move of the Acoustic Music Centre from the wonderful St Brides to the new location on Royal Terrace has resulted in much poorer acoustics, as well as poorer viewing for the audience. Let's hope that can be resolved next hear.
Dallahan was a one-off performance, but there are shows running at the AMC until 27 August.
Saturday 19 August 2017
Tobias Persson : Sweden Sour, New Town Theatre, Edinburgh Fringe
In the morass of shows on in Edinburgh right now it helps to have a USP, and Persson is, probably, the only Swedish stand-up performing at this year's Fringe. Fortunately there's more to him than his nationality and he has a very funny, and at times thought provoking, act for anyone coming out of curiosity.
Sweden has attained a reputation for being one of the best and most enlightened societies in the world, but Tobias, who's as egalitarian and liberal as most of his peers, is here to let us know that not all is as well as it once was, and there are cracks appearing in the glittering appearance. He caricatures his own countrymen as indecisive and unwilling to act - it's often easier to relabel a problem rather than tackle it - and he fears for the future his children will face. It's a controversial view at home, where he finds himself under fire from the very left he feels himself a part of, and it does raise questions about how we handle similar issues here.
Persson has an engaging manner, and dealt well with a drunken heckler (who soon left), and has a fondness for demonstrating his ability to deliver pretty awful puns in his adopted language. But when in full flow it's best to pay attention, with a lot of the best laughs coming from little throwaways lying within the central flow of his thinking. There's more to his words than meets the eye.
Forget his origins and take Persson at face value - a respectably funny stand-up who has some interesting thoughts about European society to offer.
Tobuas Persson : Sweden Sour is on in the new Town Theatre at 17.30 until 27 August.
Sweden has attained a reputation for being one of the best and most enlightened societies in the world, but Tobias, who's as egalitarian and liberal as most of his peers, is here to let us know that not all is as well as it once was, and there are cracks appearing in the glittering appearance. He caricatures his own countrymen as indecisive and unwilling to act - it's often easier to relabel a problem rather than tackle it - and he fears for the future his children will face. It's a controversial view at home, where he finds himself under fire from the very left he feels himself a part of, and it does raise questions about how we handle similar issues here.
Persson has an engaging manner, and dealt well with a drunken heckler (who soon left), and has a fondness for demonstrating his ability to deliver pretty awful puns in his adopted language. But when in full flow it's best to pay attention, with a lot of the best laughs coming from little throwaways lying within the central flow of his thinking. There's more to his words than meets the eye.
Forget his origins and take Persson at face value - a respectably funny stand-up who has some interesting thoughts about European society to offer.
Tobuas Persson : Sweden Sour is on in the new Town Theatre at 17.30 until 27 August.
Mark Nelson : Irreverence, Gilded Balloon, Edinburgh Fringe
Nelson has achieved some fame recently through the viral videos he makes featuring his daughter and called The News at Three, a Scottish toddler's take on world events. He was quick to point out that anyone expecting that kind of cuteness from this show was about to be disappointed. His act is based on taking everyday events, often quite minor, and feeding them to us through the prism of his own comic, and very inventive, imagination. As Nelson says, he takes nothing seriously and neither should we. There's a lot based on life as a stay-at-home dad, the strange reactions of the women he encounters at mother and toddler groups, and an aspect of bring up your child you always hope you never have to deal with. Political messages are few in number, but he makes his anti-racist stance clear enough.
There's nothing particularly revolutionary or innovative about his routine, and, despite the title, there's little in the way of shock tactics. What he is though is very, very funny, and there's a high laughs per minute ratio. Nelson's mind is just warped enough to create an exaggerated world that's got just enough reality for us to envisage the situations, picture the people he builds up with his words. Great fun and well worth an hour of your time.
Mark Nelson : Irreverence is on in Gilded Balloon at 20.00 until 27 August.
There's nothing particularly revolutionary or innovative about his routine, and, despite the title, there's little in the way of shock tactics. What he is though is very, very funny, and there's a high laughs per minute ratio. Nelson's mind is just warped enough to create an exaggerated world that's got just enough reality for us to envisage the situations, picture the people he builds up with his words. Great fun and well worth an hour of your time.
Mark Nelson : Irreverence is on in Gilded Balloon at 20.00 until 27 August.
Joanne McNally : Bite Me, Assembly Roxy, Edinburgh Fringe
Dubliner McNally opens up the show in much the same way as many a stand-up, getting to know her audience, telling us a bit about her life and saying how awful it is to be a woman in her thirties back living with her mother. Conventional observational comedy, and some decent laughs.
But then things take a darker turn as she introduces us to the diet she was once on, the one that would make her more attractive, more successful, happier. Except it didn't of course, because she was suffering from bulimia which did huge damage to Joanne herself, and to the people in her life. It's an honest, weird, passionate, painful and sometimes funny story that takes the audience into the mind of an addict, all pretence and lies and delusion, through to the eventual admission that she had a problem, that she needed, and had to be ready to accept, help.
It's a powerful performance, and a valuable contribution to the understanding of an all too common mental health issue. Plus you'll never look at Louis Walsh the same way ever again.
If you want your comedy to be light and frothy this isn't the one for you. But anyone looking for a show that teaches them a bit more about life is well advised to see Bite Me.
Joanne McNally : Bite Me is in Assembly Roxy at 18.20 until 28 August.
But then things take a darker turn as she introduces us to the diet she was once on, the one that would make her more attractive, more successful, happier. Except it didn't of course, because she was suffering from bulimia which did huge damage to Joanne herself, and to the people in her life. It's an honest, weird, passionate, painful and sometimes funny story that takes the audience into the mind of an addict, all pretence and lies and delusion, through to the eventual admission that she had a problem, that she needed, and had to be ready to accept, help.
It's a powerful performance, and a valuable contribution to the understanding of an all too common mental health issue. Plus you'll never look at Louis Walsh the same way ever again.
If you want your comedy to be light and frothy this isn't the one for you. But anyone looking for a show that teaches them a bit more about life is well advised to see Bite Me.
Joanne McNally : Bite Me is in Assembly Roxy at 18.20 until 28 August.
Friday 18 August 2017
Big Bite-Size Breakfast (Menu 1), Pleasance Dome, Edinburgh Fringe
A return to the Dome to see the food-and-drink-toting Bite Size crowd again, in the same format as the previously reviewed Menu 2, but with five mini-dramas this time. Not as consistently funny as that previous performance, but offering some more thought provoking moments by way of compensation.
In the opener, A Night to Remember, a couple trying to boost their flagging relationship discover the dangers of role playing in a public space. Rebrand is smart and very funny, as a PR company try to give the military an image makeover. Their shallow manipulation of language is both hilarious and cringeworthy, and I loved the idea of the army having a fighting fixture list.
Wishes is the shortest of the quintet, a simple idea about a man who collects wishes and can sometimes make them come true. Fast forward to 2123 and a society where love has been made illegal and a bland tranquility has become the new normal, and showing any sing of passion can have serious consequences. I Do has some excellent jokes, but there's a sinister moral undertone to the tale. Stephen Laycock is great as the man who may or may not be quite what he seems.
Valkyrie at the Roller Disco highlights that all too common problem of romance between a human and an immortal, when a roller derby star falls in love with a winged warrior. It's as wonderfully daft as it sounds and Claira Watson-Parr is clearly having a lot of fun dressed as a cross between Wonder Woman and Pygar while being generally god-like. A fine way to end another excellent show.
In the opener, A Night to Remember, a couple trying to boost their flagging relationship discover the dangers of role playing in a public space. Rebrand is smart and very funny, as a PR company try to give the military an image makeover. Their shallow manipulation of language is both hilarious and cringeworthy, and I loved the idea of the army having a fighting fixture list.
Wishes is the shortest of the quintet, a simple idea about a man who collects wishes and can sometimes make them come true. Fast forward to 2123 and a society where love has been made illegal and a bland tranquility has become the new normal, and showing any sing of passion can have serious consequences. I Do has some excellent jokes, but there's a sinister moral undertone to the tale. Stephen Laycock is great as the man who may or may not be quite what he seems.
Valkyrie at the Roller Disco highlights that all too common problem of romance between a human and an immortal, when a roller derby star falls in love with a winged warrior. It's as wonderfully daft as it sounds and Claira Watson-Parr is clearly having a lot of fun dressed as a cross between Wonder Woman and Pygar while being generally god-like. A fine way to end another excellent show.
Thursday 17 August 2017
Cash Back (Songs I Learned from Johnny), New Town Theatre, Edinburgh Fringe
Not, I'm pleased to say, yet another Johnny Cash tribute act, but a tribute to the songs and legacy of the Man in Black. Scotland's leading Americana singer/songwriter, Dean Owens, is a big fan of Cash and recorded an album of his songs five years ago. For this gig he was accompanied by his usual excellent guitarist, Craig Ross, and the versatile Kevin McGuire on double bass. Sadly fiddler Amy Geddes was unable to make it, so some fiddle parts were filled in by Owens' harmonica, and the voices of the audience!
A mix of Cash compositions, songs he covered from the likes of Leonard Cohen and Nick Lowe, and Dean's own number about the night Cash played in San Quentin prison. Plus Heartbreak Hotel to mark the 40th anniversary of the death of Elvis. Owens did his best to cram in as many songs as possible, but can't resist the urge to tell stories to his audience, and he's all the better for doing so. He doesn't have the cash -down-in-the-boots register, so his versions are very much his own interpretations, and none the worse for that. The voice is smooth and expressive and immediately identifiable. Ross did a lovely job of creating the guitar sound of the Cash era, while adding his own flourishes, and McGuire was as reliable as always. It was obvious that the trio were having a great time on stage and could easily have gone on playing if time allowed.
A great show which sent the audience out grinning.
Cash Back (Songs I Learned from Johnny) was a one-off event, but you could buy Owens' album of the same name....
A mix of Cash compositions, songs he covered from the likes of Leonard Cohen and Nick Lowe, and Dean's own number about the night Cash played in San Quentin prison. Plus Heartbreak Hotel to mark the 40th anniversary of the death of Elvis. Owens did his best to cram in as many songs as possible, but can't resist the urge to tell stories to his audience, and he's all the better for doing so. He doesn't have the cash -down-in-the-boots register, so his versions are very much his own interpretations, and none the worse for that. The voice is smooth and expressive and immediately identifiable. Ross did a lovely job of creating the guitar sound of the Cash era, while adding his own flourishes, and McGuire was as reliable as always. It was obvious that the trio were having a great time on stage and could easily have gone on playing if time allowed.
A great show which sent the audience out grinning.
Cash Back (Songs I Learned from Johnny) was a one-off event, but you could buy Owens' album of the same name....
Alex Salmond... Unleashed?, Assembly Rooms, Edinburgh Fringe
Q : When is a Fringe show not to be treated as a Fringe show?
A : When it involves an SNP politician....
Salmond is, for now, no longer an elected politician, so should his show be judged for it's political content, or as an entertainment? In part he's created this dichotomy himself by including the word Unleashed in the title, suggestive of surprise revelations, yet the hour itself belies this with the feel of an old fashioned light entertainment show. There's a house band (The Carloways, who have nice Country vibe to their sound) to provide mood music and some jokey interaction with the start, a mystery guest to interview, and a comedian to provide a turn.
See it in this light and it's a pleasant enough way to pass the time. Salmond has long been one of the few senior politicians who can be genuinely funny, and he's a genial and amusing host, with a deep fund of anecdotes. His guest on this occasion was Fatima Manji, the Channel 4 News journalist. She made Alex look a bit uncomfortable when she asked about the joke which had got him into trouble a few days before, but he was soon back in control of the interview and there was a very interesting and relevant discussion on racism in society. The audience were, unsurprisingly, impressed that she felt Muslims generally felt more a part of society in Scotland than down south. Top Scottish comedian Janey Godley then came on to do a short set, including one of her famous video voiceovers, with Salmond wrapping up proceedings out in the audience.
Unleashed? That's the misleading bit, for there were none for the hoped for stories about Trump (although he certainly got plenty of mentions) or other political figures. Instead we got an entertaining and often informative show that doesn't create any shock waves, but is still well worth going to see. Not that you could decide to do so now - all tickets have been sold out for some time.
Alex Salmond... Unleashed? is on the Assembly Rooms at 13.45 until 27 August.
A : When it involves an SNP politician....
Salmond is, for now, no longer an elected politician, so should his show be judged for it's political content, or as an entertainment? In part he's created this dichotomy himself by including the word Unleashed in the title, suggestive of surprise revelations, yet the hour itself belies this with the feel of an old fashioned light entertainment show. There's a house band (The Carloways, who have nice Country vibe to their sound) to provide mood music and some jokey interaction with the start, a mystery guest to interview, and a comedian to provide a turn.
See it in this light and it's a pleasant enough way to pass the time. Salmond has long been one of the few senior politicians who can be genuinely funny, and he's a genial and amusing host, with a deep fund of anecdotes. His guest on this occasion was Fatima Manji, the Channel 4 News journalist. She made Alex look a bit uncomfortable when she asked about the joke which had got him into trouble a few days before, but he was soon back in control of the interview and there was a very interesting and relevant discussion on racism in society. The audience were, unsurprisingly, impressed that she felt Muslims generally felt more a part of society in Scotland than down south. Top Scottish comedian Janey Godley then came on to do a short set, including one of her famous video voiceovers, with Salmond wrapping up proceedings out in the audience.
Unleashed? That's the misleading bit, for there were none for the hoped for stories about Trump (although he certainly got plenty of mentions) or other political figures. Instead we got an entertaining and often informative show that doesn't create any shock waves, but is still well worth going to see. Not that you could decide to do so now - all tickets have been sold out for some time.
Alex Salmond... Unleashed? is on the Assembly Rooms at 13.45 until 27 August.
Wednesday 16 August 2017
Mark Thomas : A Show That Gambles on the Future
Since pollsters seem to be having a hard time of predicting our political futures Thomas reckons we need a new and better way of forecasting. Cue the Hive Mind, the collective wisdom of his audiences. Prior to the show we are asked to indulge in a bit of prophecy and suggest what might be worth betting on for future events, and these form the basis for much of the show.
Thomas explains he's been using the best of the predictions as the basis for a series of wagers, to the confusion of his local bookie. Any winnings will go to charity of course. As ever he can turn a simple dialogue in a betting shop into a hilarious theatrical moment. Turning to the audience's words he takes us through the logic or otherwise of their thinking, looking for those which show some prospect of being realised. Today the topics were, perhaps predictably, dominated by Trump, May and brexit, with the additional side amusements of considering Rees-Mogg as a future PM, and the possibility of Queenie abdicating some time soon. Thomas throws in some of the best ideas from previous shows, then gets us to shout out for which of today's offerings he should be off to seek odds on.
Loosely structured, with much improvisation, Mark is again on top form, testing out the audience's collective tolerance, engaging with hecklers and questioning those submitting proposals. There's plenty to think about, and even more to laugh at. Mark Thomas remains the master of politcal comedy.
Highly recommended.
Mark Thomas : A Show That Gambles on the Future is on in Summerhall at 18.00 until 27 August.
Thomas explains he's been using the best of the predictions as the basis for a series of wagers, to the confusion of his local bookie. Any winnings will go to charity of course. As ever he can turn a simple dialogue in a betting shop into a hilarious theatrical moment. Turning to the audience's words he takes us through the logic or otherwise of their thinking, looking for those which show some prospect of being realised. Today the topics were, perhaps predictably, dominated by Trump, May and brexit, with the additional side amusements of considering Rees-Mogg as a future PM, and the possibility of Queenie abdicating some time soon. Thomas throws in some of the best ideas from previous shows, then gets us to shout out for which of today's offerings he should be off to seek odds on.
Loosely structured, with much improvisation, Mark is again on top form, testing out the audience's collective tolerance, engaging with hecklers and questioning those submitting proposals. There's plenty to think about, and even more to laugh at. Mark Thomas remains the master of politcal comedy.
Highly recommended.
Mark Thomas : A Show That Gambles on the Future is on in Summerhall at 18.00 until 27 August.
Tuesday 15 August 2017
The Janice Forsyth Show, BBC Tent, Edinburgh Fringe
Janice Forsyth's regular Radio Scotland Show is, for most of August, being recorded in front of a live audience in the BBC's big blue tent. Taking advantage of the talent in the city around them, each show features an array of Fringe and other Festival acts, performing and discussing their work. Clearly the quality of the product is very dependent on the acts on that day, and for this one, on 15 August, there was plenty of variety to enjoy.
This was also the last in a series where Forsyth shared the host duties with Sonya Feldhoff of ABC's Radio Adelaide, and the show is also to be broadcast in Australia.
After the usual volume level checks, getting the audience to clap and cheer at nothing very much, the two presenters, very much a double act, got proceedings underway. Six pipers and two drummers from the Tattoo house band played a short set which heralded a chat with Brigadier David Alfrey, the Tattoo's producer. Some interesting facts and tales about the history of the event, the planning involved, and it's worldwide popularity.
The first of four Fringe shows being promoted, Saquatch: The Opera is an experimental piece about the legendary Bigfoot. A short excerpt, with two singers performing, had sparse instrumentation, clear and intriguing vocals, and was very different to classical operatic works. Writer Roddy Bottum explained the origins of the piece, driven by his desire to tell stories in his music.
In contrast the next song, from Frightened Rabbit front man Scott Hutchison, was a lot more accessible, the first of three he'd contribute to the programme, although his real reason for being there became apparent later. The next guest on the sofa was Selina Thompson who performs salt. (no capitalisation), a dramatisation of the journey she and a companion made over the old slave trade routes via Ghana, Jamaica and Britain, and the lessons they learned of those dark events of the past. It sounded excellent, with some innovative ideas, but I see from the Fringe site that all performances have already sold out. The return of the pipers and drummers ended the first hour of the show. Good musicians certainly, but their faux shortbread tin Scottishness holds little appeal for me (Playing Scotland the Brave without any hint of irony in 2017? Really?), but went down well with a large section of the audience.
After the news break we were back with American Apphia Campbell singing a song from, and discussing her one woman show Woke. This contrasts the stories of real life 1970s Black Panther Assata Shakur and the contemporary but fictional Ambrosia, a young woman losing her innocence and becoming a part of the Black Lives Matter, and the ongoing struggle against racism in the US. With events in Charlottesville still resounding this couldn't be more relevant.
Another excellent song from Hutchison and then he was on the couch alongside local poet Michael Pedersen. The latter's latest volume, Oyster, is to be launched at the Book Festival this Friday, and is illustrated by Hutchison. Pedersen was hugely entertaining, a non stop ball of energy, and his recitation of the title work from the book was one of the best moments of the show.
The final guest was MJ McCarthy talking about his show Turntable based around conversations with people around the city and the memories that music stirs in them. He demonstrated the process with Forsyth as his subject and she found herself relating more about her past than she'd bargained for. A last song from Hutchison brought things to a close.
Forsyth's not the sharpest of interviewers (Feldhoff was often the more astue of the pair), and the quality of the show is heavily dependent on the guests on any given day, but as a way of coming across acts which you might otherwise miss it's a worthwhile way to spend a morning. And all for free of course....
The Janice Forsyth Show is on in the BBC Tent at 10.00 until 24 August. Apply to the BBC for free tickets.
This was also the last in a series where Forsyth shared the host duties with Sonya Feldhoff of ABC's Radio Adelaide, and the show is also to be broadcast in Australia.
After the usual volume level checks, getting the audience to clap and cheer at nothing very much, the two presenters, very much a double act, got proceedings underway. Six pipers and two drummers from the Tattoo house band played a short set which heralded a chat with Brigadier David Alfrey, the Tattoo's producer. Some interesting facts and tales about the history of the event, the planning involved, and it's worldwide popularity.
The first of four Fringe shows being promoted, Saquatch: The Opera is an experimental piece about the legendary Bigfoot. A short excerpt, with two singers performing, had sparse instrumentation, clear and intriguing vocals, and was very different to classical operatic works. Writer Roddy Bottum explained the origins of the piece, driven by his desire to tell stories in his music.
In contrast the next song, from Frightened Rabbit front man Scott Hutchison, was a lot more accessible, the first of three he'd contribute to the programme, although his real reason for being there became apparent later. The next guest on the sofa was Selina Thompson who performs salt. (no capitalisation), a dramatisation of the journey she and a companion made over the old slave trade routes via Ghana, Jamaica and Britain, and the lessons they learned of those dark events of the past. It sounded excellent, with some innovative ideas, but I see from the Fringe site that all performances have already sold out. The return of the pipers and drummers ended the first hour of the show. Good musicians certainly, but their faux shortbread tin Scottishness holds little appeal for me (Playing Scotland the Brave without any hint of irony in 2017? Really?), but went down well with a large section of the audience.
After the news break we were back with American Apphia Campbell singing a song from, and discussing her one woman show Woke. This contrasts the stories of real life 1970s Black Panther Assata Shakur and the contemporary but fictional Ambrosia, a young woman losing her innocence and becoming a part of the Black Lives Matter, and the ongoing struggle against racism in the US. With events in Charlottesville still resounding this couldn't be more relevant.
Another excellent song from Hutchison and then he was on the couch alongside local poet Michael Pedersen. The latter's latest volume, Oyster, is to be launched at the Book Festival this Friday, and is illustrated by Hutchison. Pedersen was hugely entertaining, a non stop ball of energy, and his recitation of the title work from the book was one of the best moments of the show.
The final guest was MJ McCarthy talking about his show Turntable based around conversations with people around the city and the memories that music stirs in them. He demonstrated the process with Forsyth as his subject and she found herself relating more about her past than she'd bargained for. A last song from Hutchison brought things to a close.
Forsyth's not the sharpest of interviewers (Feldhoff was often the more astue of the pair), and the quality of the show is heavily dependent on the guests on any given day, but as a way of coming across acts which you might otherwise miss it's a worthwhile way to spend a morning. And all for free of course....
The Janice Forsyth Show is on in the BBC Tent at 10.00 until 24 August. Apply to the BBC for free tickets.
Catherine and Anita, Assembly Rooms, Edinburgh Fringe
Sarah Roy is impressive as the eponymous Catherine in this one woman performance. The play takes the form of conversations between Catherine and Anita, her friend from childhood, and with other important figures in her life. We only ever get to hear Catherine's side of the dialogues, but the script, and Roy's skills, leave us in little doubt about what's being said.
In a jumbled flow that gradually reveals the realities of her life, there's Catherine as a child, grown up and on her first date, as a married woman, simple adjustments to her hairstyle indicating the stage of development reached. A picture emerges of a troubled mind, a personality at odds with the world around her, and one both exploited and misunderstood. This is a drama about the abuse of children, the damage that inflicts, and the complexities of metal illness. How does someone cope with the knowledge that society doesn't see their behaviour as 'normal', but trying to fit in means losing a big part of themselves? Who gets to say what 'normal' is?
There's a wonderful scene when she has her first date in a restaurant, the timing superb as she gives us the feel of a natural conversation, but without any uncomfortably long pauses, just uncomfortable truths. The childhood scenes are a bit weaker, the phrasing too adult, even for one seen as precocious, but Roy has the ability to maintain the momentum and remain believable. We see a young woman who commits terrible acts in her desire to be 'Zebra Woman', in a need to protect herself, but still holds our sympathy through an understanding of what she's enduring.
Catherine and Anita is a powerful piece of theatre and a disturbing portrayal of disturbed personality. Highly recommended.
Catherine and Anita is on in the Assembly Rooms at 21.05 until 26 August.
In a jumbled flow that gradually reveals the realities of her life, there's Catherine as a child, grown up and on her first date, as a married woman, simple adjustments to her hairstyle indicating the stage of development reached. A picture emerges of a troubled mind, a personality at odds with the world around her, and one both exploited and misunderstood. This is a drama about the abuse of children, the damage that inflicts, and the complexities of metal illness. How does someone cope with the knowledge that society doesn't see their behaviour as 'normal', but trying to fit in means losing a big part of themselves? Who gets to say what 'normal' is?
There's a wonderful scene when she has her first date in a restaurant, the timing superb as she gives us the feel of a natural conversation, but without any uncomfortably long pauses, just uncomfortable truths. The childhood scenes are a bit weaker, the phrasing too adult, even for one seen as precocious, but Roy has the ability to maintain the momentum and remain believable. We see a young woman who commits terrible acts in her desire to be 'Zebra Woman', in a need to protect herself, but still holds our sympathy through an understanding of what she's enduring.
Catherine and Anita is a powerful piece of theatre and a disturbing portrayal of disturbed personality. Highly recommended.
Catherine and Anita is on in the Assembly Rooms at 21.05 until 26 August.
Sunday 13 August 2017
Holt and Talbot Can't Stand the Sight of Each Other, Sweet Grassmarket, Edinburgh Fringe
There's a lot to like about this show, which makes it's faults all the more frustrating. An early routine on reverse sexism is excellent, and could easily be five minutes longer, and there's another great dig at the patriarchal nature of society at the end. But maybe they haven't yet worked up material for a full hour together, and so resort to each taking a turn doing a bit of solo stand up. Amusing enough, but both felt disappointing after the sharpness of the observations when they were together.
It's still worth a look, for the best bits are very good. But I'm hoping they'll be back next year with a full sixty minutes of Holt & Talbot. That should really be worth seeing.
It's still worth a look, for the best bits are very good. But I'm hoping they'll be back next year with a full sixty minutes of Holt & Talbot. That should really be worth seeing.
Saturday 12 August 2017
Asian Network Comedy, BBC Tent, Edinburgh Fringe
Hosted by radio DJ Noreen Khan, the show brings together five comedians with Asian origins to do short stand up sets, to be available for viewing on the red button and iPlayer in October.
First up was Kae Kurd with material of the difficulties of being a Muslim in the midst of the post EU referendum bigotry, poking fun at ISIS and the pressure from his parents to fall in love, something he's still keen to avoid. It was a slick set, and Kurd is immediately likable, but a bit thin on the laughs.
The only one of the group who's not a UK resident, Aditi Mittal had an excellent piece on the huge damage inflicted on her country by imperial rule and partition, but also more personal revelations about the burden of her mother's demand for a grandchild. Funny, with a bit of education thrown in.
An impressive beard and infectious grin heralded the arrival of Sunil Patel. The uselessness of babies and his own lack of sporting prowess produced some good lines, but his material feels like standard thirty-something angst.
In contrast to Patel's measured delivery, Shazia Mirza is quick-fire, confident and possessed of excellent timing. But she's another under pressure to deliver a grandchild, an ever present theme it seems. Very funny on her meeting with Queenie though.
The final act was Irish-Iranian Patrick Monahan talking about the impact of his very mixed background and the comedy of family gatherings, and an oblique look at terrorists. He delivered the star quality the others lacked and fully justified his place as head of the line up.
An enjoyable evening, but, compared to last year's event, this felt like safe, conventional, observational comedy and it would have been good to see an act included that took more risks and showed some innovation. Maybe next year....
First up was Kae Kurd with material of the difficulties of being a Muslim in the midst of the post EU referendum bigotry, poking fun at ISIS and the pressure from his parents to fall in love, something he's still keen to avoid. It was a slick set, and Kurd is immediately likable, but a bit thin on the laughs.
The only one of the group who's not a UK resident, Aditi Mittal had an excellent piece on the huge damage inflicted on her country by imperial rule and partition, but also more personal revelations about the burden of her mother's demand for a grandchild. Funny, with a bit of education thrown in.
An impressive beard and infectious grin heralded the arrival of Sunil Patel. The uselessness of babies and his own lack of sporting prowess produced some good lines, but his material feels like standard thirty-something angst.
In contrast to Patel's measured delivery, Shazia Mirza is quick-fire, confident and possessed of excellent timing. But she's another under pressure to deliver a grandchild, an ever present theme it seems. Very funny on her meeting with Queenie though.
The final act was Irish-Iranian Patrick Monahan talking about the impact of his very mixed background and the comedy of family gatherings, and an oblique look at terrorists. He delivered the star quality the others lacked and fully justified his place as head of the line up.
An enjoyable evening, but, compared to last year's event, this felt like safe, conventional, observational comedy and it would have been good to see an act included that took more risks and showed some innovation. Maybe next year....
Friday 11 August 2017
Big Bite-Size Lunch : Best Bites, Pleasance Dome, Edinburgh Fringe
The Bite-Size team revive six hits from previous runs of their breakfast Fringe shows, with a mix of comedy and some more serious pieces.
Nice People brings us a cloyingly sweet couple talking about how they met, and revealing a very different background to their personas. The Interpreter sees a young translator caught between two increasingly fractious representatives of the US and a military regime, and unable to please either. In the new era of Trump-style 'diplomacy' this felt very relevant.
Uncomfortable Silences is a poignant piece about unrequited love, a When Harry Met Sally situation of friends who could maybe be lovers if only the right words were spoken. Stephen Laycock gives a moving performance as Nick, narrating his tale of unspoken affection, with some lovely physical touches to his acting. Key to the Mystic Halls of Time features two gamers who have spent the whole night pursuing a quest, only to find real life intruding on them with very different results.
Match Point was my favourite of the bunch, with one critical point in a tennis match played out while we hear the internal monologues of the players, the umpire and a love-lorn ballboy. Rosie Edwards' not-quite-a-has-been US veteran is the stand out here, playing throught a range of emotions in a short period.
The set ends with the touching Perfect Stillness, an imagined dialogue between a woman in a coffin and her husband who is composing her eulogy, and a dose of realism imposing itself on the memories.
Another enjoyable, and at times thought provoking, hour from Bite-Size.
The Big Bite-Size Lunch is on in Pleasance Dome at 12.30 until 28 August.
Nice People brings us a cloyingly sweet couple talking about how they met, and revealing a very different background to their personas. The Interpreter sees a young translator caught between two increasingly fractious representatives of the US and a military regime, and unable to please either. In the new era of Trump-style 'diplomacy' this felt very relevant.
Uncomfortable Silences is a poignant piece about unrequited love, a When Harry Met Sally situation of friends who could maybe be lovers if only the right words were spoken. Stephen Laycock gives a moving performance as Nick, narrating his tale of unspoken affection, with some lovely physical touches to his acting. Key to the Mystic Halls of Time features two gamers who have spent the whole night pursuing a quest, only to find real life intruding on them with very different results.
Match Point was my favourite of the bunch, with one critical point in a tennis match played out while we hear the internal monologues of the players, the umpire and a love-lorn ballboy. Rosie Edwards' not-quite-a-has-been US veteran is the stand out here, playing throught a range of emotions in a short period.
The set ends with the touching Perfect Stillness, an imagined dialogue between a woman in a coffin and her husband who is composing her eulogy, and a dose of realism imposing itself on the memories.
Another enjoyable, and at times thought provoking, hour from Bite-Size.
The Big Bite-Size Lunch is on in Pleasance Dome at 12.30 until 28 August.
Thursday 10 August 2017
Jon & Nath Like To Party, Free Sisters, Edinburgh Free Fringe
Infectious silliness always has a place on the Fringe and this show joyfully provides it. Fast paced sketch comedy with low budget props, barely recognisable impressions, audience participation and Jehovah's Witnesses. A delightful mix of awful and wonderful. There's a police drugs raid, life with various American film stars, deconstructed pizza, exorcism of demons and a gloriously tasteless sex scene. All delivered with a self deprecating enthusiasm that makes you laugh at them laughing at themselves.
If you need an early afternoon hour of daftness then this is just what you need.
If you need an early afternoon hour of daftness then this is just what you need.
Is Pee a Feminist Issue?, New Town Theatre, Edinburgh Fringe
The Cabaret of Dangerous Ideas is running a series of one-off events in which academics and professionals present arguments against conventional wisdom and discuss them with the audience. Physiotherapist and stand up comedian Elaine Miller has achieved some fame (with appearances on national TV, radio and in the press) as an advocate for exercise as a means to relieve the all too common problem of incontinence, primarily in women. In this show she proposes that wider awareness that you don't have to live with wetting yourself should be taken up as an important feminist issue.
Introduced and assisted by Susan Morrison, Miller elucidates the science and statistics which show the extent of the issue and how it can be tackled. And that the exercises she evangelises can also help improve sexual performance (this applies for all genders!). To help with her explanations she has some intriguing props, a very unusual variation on "pin the tail on the donkey", and a load of excellent punchlines. It might be educational, but this is also a very funny show. And you don't leave empty handed, with plenty of free gifts to take away - all related to the subject matter of course!
This show was a one-off event, but Miller tackles the same subject matter in her regular show, Gusset Grippers, which is just as funny and informative, with even more outrageous props. I can definitely recommend this from past experience.
Gusset Grippers is on in Woodland Creatures at 17.30 until 27 August.
Introduced and assisted by Susan Morrison, Miller elucidates the science and statistics which show the extent of the issue and how it can be tackled. And that the exercises she evangelises can also help improve sexual performance (this applies for all genders!). To help with her explanations she has some intriguing props, a very unusual variation on "pin the tail on the donkey", and a load of excellent punchlines. It might be educational, but this is also a very funny show. And you don't leave empty handed, with plenty of free gifts to take away - all related to the subject matter of course!
This show was a one-off event, but Miller tackles the same subject matter in her regular show, Gusset Grippers, which is just as funny and informative, with even more outrageous props. I can definitely recommend this from past experience.
Gusset Grippers is on in Woodland Creatures at 17.30 until 27 August.
Wednesday 9 August 2017
Angela Barnes : Fortitude, Pleasance, Edinburgh Fringe
Barnes delivers an enjoyable hour of observational stand up, in a chatty style that makes everyone feel comfortable. There's a lot about her personal life, especially her decision not to have kids, and a running theme about her love for nuclear fallout bunkers and fascination with the Cold War. While not overtly political, the horrors of both Trump and Brexit are each treated to an excellent punchline.
Open, accessible, well paced and very funny, Barnes is a safe pair of hands who delivers the laughs. Recommended.
Open, accessible, well paced and very funny, Barnes is a safe pair of hands who delivers the laughs. Recommended.
Hannah Gadsby : Nanette, Assembly George Square Studios, Edinburgh Fringe
Conventional wisdom says that nothing should be off limits when it comes to comedy, that there's always a laugh in there somewhere. Gadsby's show challenges that aphorism, suggesting that some stuff just isn't funny any more. To the point where this will be her final show and an end to her stand up career. I can only hope that was part of the joke, because she has so much of value still to say.
Nanette is a real person, but she exists here only as a symptom of the truths Gadsby wants to open up to us. The initial pace is slow, almost faltering, and you wonder if her heart isn't in it. She starts to deconstruct her own job, explaining the relationship of the build up of tension, and delivering the punchline that provides the release of laughter. And that she is, as she tells us, still a "funny fucker" - when she wants to be. The laughs are certainly there, but as the show goes on it's the tension that dominates, and the lessons it carries.
Growing up as a lesbian in straight laced, bible bashing, small town Tasmania gives her plenty of examples of the abuse people receive when they are seen as "different" and not just "people" when faiths or ideologies or, most insidiously, social conditioning allows them to be treated as such. Gadsby is angry, most deservedly so, and her fury is clear to see. Bigotry, conscious and unconscious, damages people, damages children. She uses her Fine Art background to show how the stories we're told about the world have been shaped by the powerful, notably the Straight White Male. Gadsby has her power to create tension bring a brief taste to her audience of what it's like to be "other" in a society which doesn't value you.
It might not always be funny, it can often be uncomfortable viewing, but it is important, and it will stay with you long after any conventional stand up has faded. This has to be one of the best offerings of the 2017 Fringe.
Hannah Gadsby : Nanette is on in Assembly George Square Studios at 17.30 until 27 August.
My review should end there, but I have a confession to make. As the strength of her arguments unfolded I found myself thinking that this show would probably never be seen by those who probably need it most. Then realised that I am one of those people. We all are.
Nanette is a real person, but she exists here only as a symptom of the truths Gadsby wants to open up to us. The initial pace is slow, almost faltering, and you wonder if her heart isn't in it. She starts to deconstruct her own job, explaining the relationship of the build up of tension, and delivering the punchline that provides the release of laughter. And that she is, as she tells us, still a "funny fucker" - when she wants to be. The laughs are certainly there, but as the show goes on it's the tension that dominates, and the lessons it carries.
Growing up as a lesbian in straight laced, bible bashing, small town Tasmania gives her plenty of examples of the abuse people receive when they are seen as "different" and not just "people" when faiths or ideologies or, most insidiously, social conditioning allows them to be treated as such. Gadsby is angry, most deservedly so, and her fury is clear to see. Bigotry, conscious and unconscious, damages people, damages children. She uses her Fine Art background to show how the stories we're told about the world have been shaped by the powerful, notably the Straight White Male. Gadsby has her power to create tension bring a brief taste to her audience of what it's like to be "other" in a society which doesn't value you.
It might not always be funny, it can often be uncomfortable viewing, but it is important, and it will stay with you long after any conventional stand up has faded. This has to be one of the best offerings of the 2017 Fringe.
Hannah Gadsby : Nanette is on in Assembly George Square Studios at 17.30 until 27 August.
My review should end there, but I have a confession to make. As the strength of her arguments unfolded I found myself thinking that this show would probably never be seen by those who probably need it most. Then realised that I am one of those people. We all are.
Tuesday 8 August 2017
Andrew Doyle : Thought Crimes, Stand 1, Edinburgh Fringe
Doyle says he wanted to call this show "Politics and Bumming" but wasn't allowed to use the title. Well it does accurately represent much of the content, a stream of opinions on gay rights and political views, with a strong desire to play the contrarian and push boundaries.
So he's opposed to same sex marriage, but for his own idiosyncratic reasons. He's a big Corbyn fan, but rejects the Guardian reading middle class reasons for doing so. Doyle befriends his audience, whether as individuals or en masse, then rejects them. He's always seeking the limits of what the room will accept, and certainly found it when he broached the ultimate in divisive topics, the EU situation. Underlying this is a well crafted performance, plenty of good punchlines, and sufficient orthodoxy-challenging to provoke the punters into actually thinking about what he's saying.
Yet there's one glaring omission. He asks us who voted for Corbyn, or for May, or for the Lib Dems, or for..... Nope, nothing more. To declare your interest in politics, then come to Edinburgh and totally ignore the different dimension to political life in this country is odd. It's an irony that a man who rightly complains about levels of entitlement ends up coming across as just one more Londoncentric entitled Englishman.
Andrew Doyle : Thought Crimes is on in Stand 1 at 18.30 until 27 August.
So he's opposed to same sex marriage, but for his own idiosyncratic reasons. He's a big Corbyn fan, but rejects the Guardian reading middle class reasons for doing so. Doyle befriends his audience, whether as individuals or en masse, then rejects them. He's always seeking the limits of what the room will accept, and certainly found it when he broached the ultimate in divisive topics, the EU situation. Underlying this is a well crafted performance, plenty of good punchlines, and sufficient orthodoxy-challenging to provoke the punters into actually thinking about what he's saying.
Yet there's one glaring omission. He asks us who voted for Corbyn, or for May, or for the Lib Dems, or for..... Nope, nothing more. To declare your interest in politics, then come to Edinburgh and totally ignore the different dimension to political life in this country is odd. It's an irony that a man who rightly complains about levels of entitlement ends up coming across as just one more Londoncentric entitled Englishman.
Andrew Doyle : Thought Crimes is on in Stand 1 at 18.30 until 27 August.
Monday 7 August 2017
Foil, Arms and Hog : Oink, Underbelly George Square, Edinburgh Fringe
YouTube sensations Foil, Arms and Hog are three young Irish guys with an anarchic view of life, and a fast paced sketch show that gets the audience involved from the start by singing the intro music (best not to turn up late, or you might be more involved than you'd expected....). It's in the nature of this kind of performance for there to be highs and lows, but F, A and H have created a consistently funny package. There's no theme (although look out for the odd call back), but each scene is set swiftly and clearly so there's no doubting the scenarios being played out.
Songs for the elderly, confused Michael Jackson fans, a dig at the BBC attitude towards regional accents, and are robot actors the future of cinema? If the airline baggage handler routine was a touch predictable it was more than compensated for by my personal favourite where a motivational speaker tries to deliver a talk to the inmates of a maximum security prison, and finds out how differently his words can be interpreted. And there's a cracking finale with an inter-species version of a well known children's game.
Very, very funny and one of those shows where you can feel the buzz from the audience as they leave. Highly recommended.
Foil, Arms and Hog : Oink is at Underbelly George Square at 20.45 until 28 August.
Songs for the elderly, confused Michael Jackson fans, a dig at the BBC attitude towards regional accents, and are robot actors the future of cinema? If the airline baggage handler routine was a touch predictable it was more than compensated for by my personal favourite where a motivational speaker tries to deliver a talk to the inmates of a maximum security prison, and finds out how differently his words can be interpreted. And there's a cracking finale with an inter-species version of a well known children's game.
Very, very funny and one of those shows where you can feel the buzz from the audience as they leave. Highly recommended.
Foil, Arms and Hog : Oink is at Underbelly George Square at 20.45 until 28 August.
Sunday 6 August 2017
Big Bite-Size Breakfast (Menu 2), Pleasance Dome, Edinburgh Fringe
The Bite-Size team are back with another three selections of morning mini-playlets, fronted by the cast distributing strawberries, coffee and croissants. Six actors, a mix of familiar and new faces. In this, Menu 2, there are six performances crammed into the hour, so there's no shortage of pace and energy on stage.
I Don't Know raises questions about the impact of gender fluidity on the US military and provides a hilarious starter, Billy Knowelden excellent as the officer struggling to keep up. In Scripted a young couple wake to find their whole day laid out in a script, raising questions about how much control we have over our lives and the impact of breaking from routine. Mama's Eggnog has another American setting, a trio of siblings taking in a drink with an unusual additive. In Stuck two strangers find themselves forced together in unusual proximity, and a chance to demonstrate their physical comedy skills, while Attack of the Killer Banana Spider is an arachnophobe's nightmare, even if the there's some appeal in what they produce for four hours. Finally, Ten Ton Truck features the smug couple everyone loves to hate, and the weakest script of the group.
Overall there's a lot of laughs, impressive performances and a wide variety of subject matter. A Bite-Size breakfast remains one of the best possible starts to a Fringing day you can choose.
I Don't Know raises questions about the impact of gender fluidity on the US military and provides a hilarious starter, Billy Knowelden excellent as the officer struggling to keep up. In Scripted a young couple wake to find their whole day laid out in a script, raising questions about how much control we have over our lives and the impact of breaking from routine. Mama's Eggnog has another American setting, a trio of siblings taking in a drink with an unusual additive. In Stuck two strangers find themselves forced together in unusual proximity, and a chance to demonstrate their physical comedy skills, while Attack of the Killer Banana Spider is an arachnophobe's nightmare, even if the there's some appeal in what they produce for four hours. Finally, Ten Ton Truck features the smug couple everyone loves to hate, and the weakest script of the group.
Overall there's a lot of laughs, impressive performances and a wide variety of subject matter. A Bite-Size breakfast remains one of the best possible starts to a Fringing day you can choose.
Saturday 5 August 2017
Father Frank's Hallelujah Chorus, Black Market, Edinburgh Free Fringe
In PBH's Wee Blue |Book you'll find this show listed as "Frank Edginton : Northern Powerhouse". But the lord (and litigious gits with too much money) moves in mysterious ways. Now Frank has found his god and, such is the power of the internet, been ordained overnight. Halleluah brothers and sisters, for he is here to spread the word.
Father Frank has a few tales to tell about how he found his calling, and his earlier life as a revolutionary anarchist and roadie to the gods of rock and roll. Fortunately Frank's alter ego, Aidan Goatley is a well established comedy presence on the Fringe, so there are laughs aplenty, and some audience interaction.
The Father is generous enough to give others their chance to preach, so there will be two or three different guest comics joining him each day. On this first appearance he was joined by the laconic Christian Talbot and feisty Sameena Zehra. Both delivered excellent sets, with Zehra really connecting with a packed out audience.
Definitely one of the stronger Free Fringe standup shows on offer, with the added bonus of being in a venue with it's own chippie!
Father Frank's Hallelujah Chorus is in Black Market at 16.00 until 10 August.
Christian Talbot is appearing in Holt and Talbot Can't Stand the Sight of Each Other in Sweet Grassmarket at 20.10 until 27 August.
Sameena Zehra does not have a Fringe show this year.
Father Frank has a few tales to tell about how he found his calling, and his earlier life as a revolutionary anarchist and roadie to the gods of rock and roll. Fortunately Frank's alter ego, Aidan Goatley is a well established comedy presence on the Fringe, so there are laughs aplenty, and some audience interaction.
The Father is generous enough to give others their chance to preach, so there will be two or three different guest comics joining him each day. On this first appearance he was joined by the laconic Christian Talbot and feisty Sameena Zehra. Both delivered excellent sets, with Zehra really connecting with a packed out audience.
Definitely one of the stronger Free Fringe standup shows on offer, with the added bonus of being in a venue with it's own chippie!
Father Frank's Hallelujah Chorus is in Black Market at 16.00 until 10 August.
Christian Talbot is appearing in Holt and Talbot Can't Stand the Sight of Each Other in Sweet Grassmarket at 20.10 until 27 August.
Sameena Zehra does not have a Fringe show this year.
10 Films With My Dad, Sweet Grassmarket, Edinburgh Fringe
The show that refuses to die. Five years on the Fringe, performed in a dozen countries, 10 Films had been officially retired, until Sweet Venues asked comedian Aidan Goatley to resuscitate it. And here it is again, back for a short final (probably) run.
Where previous incarnations have featured film clips, the current version is pure stand up, and none the worse for it. Goatley and his father didn't communicate much when he was growing up, except through their shared love of film, and he takes us through ten that were of particular significance in his relationship (and provided the best material for a comedian....). Dad is an engineer and loved understanding and explaining the workings of all things technical - even in the middle of a cinema, so the stories feature bonding and embarrassment in equal measure.
Aidan's style is open, friendly and involving, chatting with his audience, but never making anyone feel uncomfortable. The delivery has energy and there are plenty of well crafted jokes, still funny even when you've heard them before. It's a very human story about family relationships and affection, with an unashamedly feelgood ending that, even though I knew what was coming, still brings a tear to the eye.
Highly recommended.
10 Films With My Dad is in Sweet Grassmarket at 20.00 until 11 August.
Where previous incarnations have featured film clips, the current version is pure stand up, and none the worse for it. Goatley and his father didn't communicate much when he was growing up, except through their shared love of film, and he takes us through ten that were of particular significance in his relationship (and provided the best material for a comedian....). Dad is an engineer and loved understanding and explaining the workings of all things technical - even in the middle of a cinema, so the stories feature bonding and embarrassment in equal measure.
Aidan's style is open, friendly and involving, chatting with his audience, but never making anyone feel uncomfortable. The delivery has energy and there are plenty of well crafted jokes, still funny even when you've heard them before. It's a very human story about family relationships and affection, with an unashamedly feelgood ending that, even though I knew what was coming, still brings a tear to the eye.
Highly recommended.
10 Films With My Dad is in Sweet Grassmarket at 20.00 until 11 August.
Thursday 3 August 2017
Alexei Sayle, Underbelly Med Quad, Edinburgh Fringe
No longer the angry young man, but Sayle can still bite. There's no overall theme to the show, just a flowing parade of subject matter and the occasional link back. Abusive prostitutes, the threat posed by Santa lookalikes, the history of alternative comedy and the joys of the seniors bus pass all get a look in. And the description of Gove as Pinocchio-faced cunt says his disdain for the Tories is as strong and as valid as it was in the eighties.
Sayle as clearly enjoying himself, and experimenting with a form he has neglected of late. He's still a sharp observer of life, with the odd surreal twist and the ability to mock his own place in history. Comedy legends too often show feet of clay by relying on their past reputations. Sayle did more than enough to demonstrate he's still a force to be reckoned with.
Alexei Sayle in Underbelly Med Quad at 18.45 until 11 August.
Sayle as clearly enjoying himself, and experimenting with a form he has neglected of late. He's still a sharp observer of life, with the odd surreal twist and the ability to mock his own place in history. Comedy legends too often show feet of clay by relying on their past reputations. Sayle did more than enough to demonstrate he's still a force to be reckoned with.
Alexei Sayle in Underbelly Med Quad at 18.45 until 11 August.
The Red Turtle
A simple tale, portrayed in simple animation, wordless yet totally engaging.
A man is washed ashore on an isolated island after a storm. Overcoming his sense of despair, he explores, finds food and fresh water, and establishes that no other people are to be found. He sets about constructing a raft, launches it, only for it to broken apart a short distance from shore. Repeating the exercise gives the same result. On the third occasion he sees the culprit, a giant red turtle, which comes from the depths below to smash up his creation. later, when he sees the turtle on the sands, in fury he goes over and tips it on to it's back, leaving it to die.
What follows combines dream, myth and magic with the human spirit and imagination. The culprit turns saviour, and the man's life on the island becomes one of contentment, companionship, love, and the friendship of the turtles. Not perfect, not without challenges, but worth living.
Nothing is explained, and the film is all the better for that, leaving the viewer to fill out the story for themselves, to follow the million possibilities it offers. It's beautiful, universal and soothing. An antidote to a world gone mad.
A man is washed ashore on an isolated island after a storm. Overcoming his sense of despair, he explores, finds food and fresh water, and establishes that no other people are to be found. He sets about constructing a raft, launches it, only for it to broken apart a short distance from shore. Repeating the exercise gives the same result. On the third occasion he sees the culprit, a giant red turtle, which comes from the depths below to smash up his creation. later, when he sees the turtle on the sands, in fury he goes over and tips it on to it's back, leaving it to die.
What follows combines dream, myth and magic with the human spirit and imagination. The culprit turns saviour, and the man's life on the island becomes one of contentment, companionship, love, and the friendship of the turtles. Not perfect, not without challenges, but worth living.
Nothing is explained, and the film is all the better for that, leaving the viewer to fill out the story for themselves, to follow the million possibilities it offers. It's beautiful, universal and soothing. An antidote to a world gone mad.
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