Trump'd, C Venues, Edinburgh Fringe

It's 2030 and Donald Trump has been president for 14 years.  Elections are a distant memory, Arnie Schwarzenegger is the VP, and that Mexican border barrier is still being built.  Loosely based on The Wizard of Oz, our Dorothy (in a very Garland-like outfit) lives in a small border town due to be demolished to make way for the wall and wants to make her way to Washington to complain to the president, who she thinks is a decent man.  Flights have been cancelled as an anti terrorist measure, so she's going to have to go overland.

Along the way she picks up companions who have their own reasons for wanting to meet The Donald, including the Mexican Resistance Army and an embittered Hillary Clinton, and has to face up to Arnie.  Can they make Trump change his mind, does he have a heart?

Performed by a (mostly) young cast of 8, this is musical comedy at it's corniest.  Predictable jokes, less than clever lyrics, dancing that's never quite fully coordinated and hammy acting.  Looked at objectively it's nothing to get excited about.

Which reckons without the energy and enthusiasm and infectious sense of fun the group bring to the stage.  They know it's not the world's greatest material and they don't care.  They're having a good time, they have a good sense of the ridiculous,  and want us to join in that sense of joy.  It's funny, it's absurd and so bad it's good.

In the real world Trump, day after day, continues to exhibit behaviours so bizarre that he's putting himself beyond satire and parody. Perhaps the Trump'd approach, of simply turning the madness into fun, is the best way we have left to deal with him.

This was the final performance of Trump'd at Fringe 2018.

Where the Hell is Bernard?, Assembly George Square, Edinburgh Fringe

A city in the distant future.  Everyone owes allegiance to, everyone is cared for by, everyone has their role in maintaining The Vine.  Compulsory vapourisation at 50 keeps the population numbers in check, and their belongings recycled for further use. The three staff of Pod 17 take the items of the deceased and allocate them to the appropriate places.  Life is simple, predictable, regimented.

When one 50 year old, Bernard, escapes his fate and goes on the run his belongings exert a strange influence on the women of Pod 17, and they too take off, seeking Bernard, avoiding capture by The Vine.  Removed from their comfort zone they must deal with wholly alien experiences - like books, alcohol, dancing and babies.  Can they break free unconditionally, or will the pull of The Vine draw them back?

Using simple storage cubes and clever movements that suggest level upon level, room after room, the set feels like a cross between Fritz Lang's metropolis and Huxley's Brave new World.  Our protagonists are in identical jumpsuits and platinum blonde wigs, characters erased, now finding a way to emerge.  Although there is some dialogue much of the action is mimed or acted out wordlessly.  Despite the sinister nature of the pursuit the action is frequently very funny, especially in their encounters with the new, and all 3 show a talent for physical comedy.

At times baffling, frequently inspired, consistently watchable, it's an enjoyable journey through a scary world, well choreographed and with slick production and tech.  It's always a pleasure to watch something surprisingly different, and WTHIB fits into that category.  I loved it.

This was the final performance of Where the Hell is Bernard? in Fringe 2018.

Godley's Cream 20 Years and Counting, Counting House, Edinburgh Free Fringe

Celebrating her 20th straight year on the Fringe, Godley chats about her upbringing in Glasgow, marriage into a gangster family, running a pub, being married to a man with autism and outwitting the police.  And when I say 'chat' I mean relate caustically and hilariously.  Blunt observations with a twist, Godley commands the room and immediately feels like everyone's pal.  She'll insult the hypocrisy and cant of catholics and protestants with equal fervour, but reserves special venom for the current US president, with whom she has history.  We're treated to the 2 iconic photos of Janey holing anti-Trump placards which went globally viral after his visits to Turnberry in 2016 and this year.  And she doesn't spare her critics either.

Sharp, acerbic, yet almost intimately friendly in her delivery, Godley is still one of the best comedians Scotland has.  And one of the best, and most socially aware, on the Fringe.  Highly recommended (every year!).

This was Janey Godley's final show of the 2018 Fringe.

Ken Cheng : Best Dad Ever, Bedlam Theatre, Edinburgh Fringe

An impending move to London prompted Cheng to sit down with his mother and have their first real in depth talk, and he learned things about his family he'd never know, and might have preferred not to.  In revealing the past he takes us through tales of Toblerone, soft toys and his own, as it was once put to him, "Chinese-ish-ness".

The casual racism he's encountered features a lot, often with the other protagonist wholly unaware of their own prejudices.  He almost manages to regret living up to the stereotype of being good at maths, but can't resist sharing his love of a good spreadsheet.  And his own struggle with learning to accept that sometimes being 'different' can work to his advantage, both personally and professionally.  Even if 'Chinese' for some apparently encompasses Japanese, Vietnamese, Korean.....

His calm on stage presence is the basis for a stream of well worked jokes, and a circular construction that brings us back to a satisfying emotional conclusion.  It breaks no ground, but this is a strong set of observational comedy, with enough food for thought to please anyone hoping for something a bit more cerebral that simple joke telling.

This was Ken Cheng's final show of the 2018 Fringe.

Nicky Wilkinson : Happy, Espionage, Edinburgh Free Fringe

Lists, games, music, sweets, parties and sausage rolls are just a few of the things that make Wilkinson happy, and all of them appear in this show.  having decided there were already enough angst ridden comics on the fringe she set out to create an hour that was simply fun, and started with her own happy things.

She drags in lots of help from the audience who are split into 2 teams and get to play the music, keep the scores and join in the proceedings.  A pub quiz, pass the parcel, setting a world record, they're all in there, along with a tin of mackerel.

It's consistently fun, just a bit daft, and and she succeeds in her aim of sending everyone out with a smile on their face.  A happy hour.

This was Nicky Wilkinson's final show at the 2018 Fringe.

10 Films With You Pricks, Sweet Grassmarket, Edinburgh Fringe

This one-off night was supposed to be Goatley's exposé of the secrets behind his long running and very successful show, 10 Films With My Dad, as it finally dies after 8 years.  But.  Although he promises (yet again) it won't ever be returning to Edinburgh, he has been asked to take it to the Adelaide Comedy festival, so those secrets will have to wait.

Instead he used the hour to show us a different side to the usual Aidan, the one that attracts adjectives like warm and cuddly and lovely.  This was Goatley unleashed.  He started on his hatred of the so-called 'silent disco' that plagues the Old Town at this time of year and went on from there into various rants that were loud, sweary and very, very funny.

That was followed by memories of some of the worst gigs he's ever had in his career, dire situations he turned into hysterically funny material.  Nobody who was there will forget his tale of trying to perform 10 Films to an audience still weeping over the death of a teenager, and being told it's what he would have wanted.  Although my personal favourite story combined massage, masturbation and delicious toasties.

The show was being filmed and I hope it is made available some time, for it was one of my favourites of this month.  This was Goatley in the raw showing just what a naturally funny man he is, and that there's a lot more to him than "being nice".  Definitely not for the kids though....

Asian Network Comedy, BBC Tent, Edinburgh Fringe

Hosted by the enthusiastic Yasser from the Asian Network Drivetime show, who explained the format then kept his contributions brief, simply introducing the 5 comedians who'd provide the laughs.

Kai Samra was a good man to start with, smart comments on his recent move to London and the differences in life he'd found there, effective observational comedy.

Zahra Barri has a surprisingly squeaky voice, plenty knowing looks and an explanation that with a Muslim father and Catholic mother she was always going to be an atheist.  Or that she could understand wearing a burqa, especially on the days when you just couldn't be bothered to make an effort.  She's got great comic timing.

Ken Cheng told us why what he's been told is his 'Chinese-ish-ness' is both help and hindrance, and racism is both disgusting and something to be exploited.  And a good source of comedy.

Jen Wakefield brought something a bit different, comedy rapping, and talked of her mission to bring Grime to Cheltenham and Guildford.  Clever stuff.

Finally the headline act, the well established Paul Sinha on the perils of being an Asian gay man and his parents' disappointment that he gave up being a doctor to do comedy.  He's good at extracting humour from awkward situations and his personal misfortunes, but with no sense of making the audience uncomfortable.  Tales of his search for a partner were hilarious.

The show will be broadcast on the Asian network at 9pm next Monday (27th), and available to view on iPlayer from 3 September.

Christian Reilly : Gig Economy, Liquid Rooms, Edinburgh Free Fringe

Musical comedy can be a pretty hit and miss class of entertainment.  Fortunately Reilly falls strongly on the right side of that divide and proves immediately likeable.

In a straw cowboy hat and guitar in hand he launches into a series of mood chords, pastiches, mash ups and outright silliness.  It's fast paced, well thought out and shows him to be a more than competent guitarist with a decent singing voice.  He plays blues and country and pop and rock and pretty much anything, adapting his voice to the genre or the character being lampooned.  And saving us the trouble of paying to see superstars as he takes on the guises of Paul Simon, Bruce Springsteen, Ed Sheeran, Donald Trump and more.

Above all it's consistently funny, be it the song lyrics, the jokes in between or the facial expressions that accompany his music.  There are good digs at the likes of Trump, Bono, "Tommy Robinson" and others, so his politics are sound too.  Towards the end he was joined by a fiddler who added a bit of class to some Irish and country sounds.

It's a bit different, often clever, it made me laugh - a lot - and an hour whizzed by.  One of the gems of the Free Fringe.

Christian Reilly is on in the Liquid Rooms at 17.20 until 26 August.

Paul 'Silky' White : Ziuq, Stand 4, Edinburgh Fringe

The title gives away the premise of the show - the audience puts answers to White and he tries to come up with the answers.

He begins with the classic introduction of talking to various members of the audience, and the added characteristic of ensuring he gets the spelling of their names right - a small touch but a nice one.  The youngest member of the audience is given a title and a role in proceedings.  There's some communal singing to bring everyone together, and then we're split into teams.  White's banter is sharp, but never cruel, just the right side of acidic.

From a Trivial Pursuit set the teams give answers from their cards and White tried to nail the answer, or at least gives one that gets a laugh.  He's quick in improvising responses, and has an impressive store of knowledge to draw on.  There are various interludes in between, including more singing (he's a decent enough guitarist too), and at the end the winners are announced, and a surprise conclusion drawn.

It's an amiable show, frequently funny, but the repetitive nature of some aspects can become a bit tedious and I was glad when it drew to a close.  Possibly more suited to families, especially with teenagers, than a more mature audience.

Ziuq is on in Stand 4 at 13.15 until 26 August.

Sindhu Vee : Sandhog, Pleasance, Edinburgh Fringe

The three main ingredients of Vee's show, and life, are swiftly outlined - marriage to a (very logical) Dane, being a mother to three kids, and her own elderly mum back in India.  Which takes her into how to survive decades of marriage and keep winning; adapting to the use of European-style child rearing strategies because Indian ones would be frowned upon here; and dealing with old people logic over the phone.  There are a lot of smart observations about cultural differences and similarities, the games you can play on your spouse, and how to manipulate children to best advantage.  There's a loveable warmth to her cynicism that keeps the audience onside, even if there's the odd sharp intake of breath at some of her suggestions.  Like making your daughter feel guilty about bringing your own death that bit nearer....

There's also some touching moments, especially the reasons for the show's title.  It's a solid, professional set, always enjoyable, with some memorable gags sprinkled in.  No surprise that her shows are selling out.

Sindhu Vee : Sandhog is on at the Pleasance at 16.30 until 26 August, but all shows are now sold out.

Dylan Moran : Dr Cosmos, Rose Theatre, Edinburgh Fringe

Moran says he can sort us all out, without even knowing us, because we all have problems.  If by 'sort out' he means 'make laugh' then he has indeed found the cure.

There follows a random monologue that hits out at the big stupidities of the world, like Trump and brexit, and the small ones, like going back to live with your parents.  As ever with Moran it's not the nature of the observations themselves that hit home, but the bizarre juxtapositioning of words to create unlikely yet perfect images in the mind of the listener.  So it suddenly makes perfect sense that Mike Pence's strange smile is down to him strangling a mouse in his pocket, or that Jacob Piss-Dogg is like a long spoon.  And that in the pre internet, pre smartphones days we used to use 'building phones' to communicate.

This stream of surreal whimsy is chest-achingly funny and almost bewildering in it's ability to plant a memorable picture in your head yet seconds later throw in another that's wholly unrelated.  Full of exhilarating comic invention, Moran's stand up is touched by genius.

Dylan Moran : Dr Cosmos is in the Rose Theatre at 19.30 until 25 August - but, deservedly, has sold out every night.

Iain F M Smith Presents.... My Finest Hour!, Southsider, Edinburgh Free Fringe

Smith began by telling us he was more of a storyteller than a comedian, and sells himself short for this is a very funny show.  His grandfather was a WW2 hero, whose portrait now hangs in Edinburgh Castle, and this is partly his tale, but mostly about Smith's thoughts on how he himself measures up to the legacy.  His tale takes us through some of the more bizarre episodes from his childhood, a coming of age, and discovery of his own kind of fighting spirit.

It also contains practical jokes, embarrassment, goats, nettles and lot of puppies. Indeed it's not only entertaining but also informative, and you'll leave with some new knowledge in your brain.  It might not always be useful knowledge, but it is new... and you'll love the facts about goats.

Smith is a charming and engaging storyteller who's put together a lovely, warming show that reflects on our differences and similarities as human beings.  Well worth making the trip to this slightly off the beaten track Free Fringe venue.  Highly recommended.

Iain F M Smith presents... My Finest Hour! is in the Southsider at 14.05 until 25 August.

PS This show has a strong anti-fascist message, so is not advised for Daily Mail readers...

Aidan Goatley's 10 Films With? Podcast, Sweet Novotel, Edinburgh Fringe

A spin off from Goatley's long running hit show, 10 Films With My Dad, a podcast in which Aidan interviews a fellow comedian about their own 10 significant movies.  And, appropriately, he's recording 10 of these in front of a live Fringe audience.

Today (22 August) it was Simon Jay, who's one man show Trumpageddon has been playing to large audiences.  Coming, like Goatley, from a script writing background, his reasoning for his choices was interesting.  So top of the list came Mrs Doubtfire, partly from his love of Robin Williams and Sally Field, but mostly because he reckons it's such a perfectly structured and well written film.  His other selections were even more eclectic, with many in the "so bad it's good" category, like the horror film Island of Death.  Or Ed wood, a film about a man who made terrible movies.  You get the picture.  Jay was never predictable, and a lot of fun, with Goatley getting the best out of him.  A very entertaining hour.

Aidan Goatley's 10 Films With.... is on in Sweet Novotel at 12.00 until 24 August.

A Sockful of Custard, Pleasance Dome, Edinburgh Fringe

Part biography, part homage to one of the great postwar comic geniuses, a man to whom modern comedy owes so much.  In the year of the centenary of Spike Milligan's birth here's Jeremy Stockwell playing the man himself, with the show's writer Chris Larner joining his as narrator and co-conspirator on stage.  Informative and entertaining, it's as chaotic and zany and frequently inspired, just like Spike.

It begins with Stockwell sitting under a sheet, telling the audience what to shout back at him, and that's as good a way as any to introduce the daftness that follows.  They enact scenes from Milligan's childhood and war service, remind us he was a talented musician as well, and go into the world of The Goons, with the pressures that brought to bear on Spike and his subsequent mental health problems.  All interlaced with bizarre moments like the sight of 2 grown men jumping circles in dustbins - very Spike.

 The show's title comes from Milligan's reputation for making bizarre requests to the BBC sound effects department, one of them being the noise of a man being hit on the head with the eponymous dessert filled hose.  Stockwell is a convincing Spike, especially in old age, capturing the manic personality well, while Larner acts the 'sensible' role, trying to bring some order to the other's anarchy.  At the end the 2 performers leave their characters behind and reminisce on their own memories of the great man (both met him briefly) and the huge impact he had at the time and on those who followed.

It probably helps to know something of Milligan's life and work in getting the most out of this production (there were plenty of moments I recognised from my own knowledge of Spike), but it would still be hugely enjoyable to anyone who appreciates surreal humour and the delights of a fertile imagination.  Highly recommended.

A Sockful of Custard is on in Pleasance Dome at 20.00 until 27 August.

Start the Week, BBC Tent, Edinburgh Fringe

The weekly discussion programme, hosted by Andrew Marr, had four guests on the sofas, three novelists ans musician/storyteller.  Pat Barker has written a reimagining of The Iliad called The Silence of the Girls, looking at the story from the point of view of the women - voices which are never heard in Homer's original.  Icelandic author and songwriter Sjón has a new novel, Codex 1962, in which the narrator is created from clay.  James Robertson's comical story To Be Continued... features a talking toad.  And singer/songwriter Karine Polwart's latest album Laws of Motion mixes modern themes with those from traditional Scots ballads.

Which all led the conversation into the role of myth in modern literature, lessons from history, the power of the writer in giving voice to the silenced and never-heard, the writing traditions which are there to be used by writers today, and the importance of multiculturalism throughout human history in enriching cultures.  Interesting contrasts between the strength of the Icelandic language against the perceived withering of the Scots.

At the end of the show there was a short Q&A session with the audience, which will not be broadcast.

Definitely worth a listen when it's on Radio 4, with several interesting issues explored.  And see if you can spot the arch-unionist comment from Marr that drew raised eyebrows from independence supporters Polwart and Robertson (and yours truly...).

Loki, The Scottish Rapper : Poverty Safari Live, New Town Theatre, Edinburgh Fringe

A polemical hour of rap, poetry and narrative calculated to spark thought and discussion.  And legitimate discomfort.

Partly it's the fictional story of a young working class Glasgow man, conflicted over the affluence of his girlfriend's middle class world, where the dogs are on leads and people choose to cycle even though they have cars, and the Pollok estate he comes from, where there's knives and heroin and a far lower life expectancy.  This is told through song and rhyme, with explosive moments of anger and confusion.

The other part is metatextual narrative, of trigger warnings and explanations.  It's unclear if this is a defence against some misinterpretations he's suffered in the past, as he seeks to clearly delineate the boundary between fiction and reality, or an ironic commentary on his Fringe (i.e. largely middle class) audiences who can't share his experiences.  Either way this side of the show feels overblown, almost patronising, reducing the impact of the storyline.  More poetry, less talk would be an improvement.

That quibble aside this is a fascinating hour, and Loki has a commanding stage presence and mastery of his audience.  There's plenty of laughs, with some well crafted jokes, to balance out the tensions he raises and he doesn't push the discomfort levels as far as he clearly could.  You emerge thoughtful, rather than provoked.

Unafraid to voice unconventional views, this is a show that rewards careful listening.  Which is made easier by his impressive ability to enunciate clearly when delivering lines at such a high syllable rate!  He wants to abolish the term 'social mobility' in  a society where increasingly the rich get richer, the poor poorer, and presents a strong argument to support that.  Loki's well worth an hour of your time.

Loki, the Scottish Rapper is on in the New Town Theatre at 17.00 until 26 August.

I Want an Irish Passport, Stand 2, Edinburgh Fringe

Mary Bourke, conscious that in this brexity UK a lot of people want to become Irish citizens (and who'd want the embarrassment of travelling on a UK passport now?) , gives us her ideas on what they need to qualify for that elevated position.  Such as having an Auntie Mary and an Uncle John....

There's a lot more to this show than that though, as Bourke goes about dissolving, and sometimes rebuilding, national stereotypes, and tortures the audience with a bit of Ed Sheeran (briefly, accompanied Bourke's notes on his performance!).  There's touring inGermany and the less than modest Berlin comedy MC, her father's experiences of racism in London and her sister's love life.  Plus a chance for the audience to let it all out in an unconventional sing-song.

It's a well structured hour with some excellent jokes and a few nice throwaway lines so you need to be paying attention.  There's also the odd serious point.  If you weren't aware of the (entirely justified) hatred the Irish have for Oliver Cromwell Mary will give you some pointers (and explain why Aldi needed her advice).  Laughs and something to think about. Not a bad mix.  Recommended.

I Want an Irish Passport is on in Stand 2 at 13.20 until 26 August.

Bite-Size Plays Presents : Neverwant, Pleasance, Edinburgh Fringe

Set in possible future where technology and social mores have evolved to banish war, hunger, need, upset.  Where the goal of the giant corporation Neverwant is to exercise control over all our lives by providing us with everything we want.  Desires and close personal relationships are no longer appropriate, and the Protocol Compliance officers are there to make sure nobody breaches the order.

Guy wants more.  He wants love, he wants the freedom to make mistakes and to have to yearn for something.  Guy is dangerous to Neverwant.  Can he ever get to live the life he wants, not the one he's told to want?

A smart, funny script takes current concerns about the personal intrusiveness of the likes of Google and Facebook and extrapolates into a 1984-like world where personal choice is being eradicated.  While it's mostly played for laughs there's a sinister undertone that questions some of the directions our society is currently taking.  And look out for several throwaway references to present day culture, the writers were clearly having some fun in the process.

A cast of 5 plays multiple roles, with Thomas Willshire a suitably confused and passionate Guy, and Rosie Edwards excellent as different generation models of the androids being created to fulfill human needs.  Neverwant is a comedy that does manage to raise some serious questions about our future, but with a light touch that ensures that entertainment is it's priority.

Recommended.

Neverwant is on at The Pleasance at 14.15 until 27 August.

Lau-Land, Leith Theatre, Edinburgh International Festival

It was a clever move for the band to put themselves at the top of the schedule - their many fans turned up early and that guaranteed that subsequent acts would play to good sized crowds.  Of course the downside is having to follow one of the best bands in the world....

There was no shortage of variety on offer, as the following line up testifies :

Born to Explore Stage
LAU 7.30 pm  
Whitburn Brass Band 8.35 pm
Joan As Policewoman 9.15 pm
Nadah El Shazly 10.45 pm
James Holden & The Animal Spirits 11.45 pm
Some Chick Called Bob 12.45 am

Beasts of Trad Stage
Rona Lightfoot & Brighde Chaimbeul 9.00 pm
Alasdair Roberts 10.00 pm
RANT 11.00 pm
Landless 12.00 am

Open Trad Singing Session
with Siobhan Miller, Alasdair Roberts, Landless & friends 10.00 pm

Lau provided a predictably brilliant opening to the evening, starting with an acoustic rendition of the haunting Ghosts through to the full electronic experience including a couple of tracks from their forthcoming album.  I won't attempt to review the remaining acts as I flitted about and took in bits and pieces.  The Whitburn Band was a highlight, playing a modern orchestral piece with control and passion, and Rant were outstanding.  The Born to Explore stage lived up to the name with experimental music, and Joan as Policewoman a more conventional pop and soul presence.

It was a delight to see Leith Theatre being fully utilised, both stages occupied, both rooms packed.  Lau have created another triumph.

Lucy Frederick : Even More Naked, Underbelly Bristo Square, Edinburgh Fringe

Looking back at the time when she was a participant in TV reality show "How to Look Good Naked", Frederick is still taking life lessons from her short moment of nationwide fame.  She describes how the show worked, how it worked on her as someone who feels a powerful need to be liked, and what it now means to her - apart from giving her material for this show.

Using this platform Frederick, who says she's 'wonky' and 'broken' emotionally and mentally, explores the way society reacts to poor mental health and how hard it is to break those perceptions.  There's a smart analogy about wearing a suit of armour to the beach about her inability to reveal herself and enjoy life.  She might not be physically naked this time, but she's got the courage to reveal far more of herself inside.

If it does feel a bit like a self therapy session at times, but that might be no bad thing for it clearly resonated with several people in the audience.  She builds the tension towards the end, but lets the audience down gently.  This isn't the harrowing experience it could be, and there's plenty of laughter, with Frederick able to see the funny side of her own obsessions.  That need to be liked is strongly evident in her comedy.

It might not break any new ground, but Even More Naked could be a reassuring show for those who also feel 'wonky'.

Lucy Frederick : Even More Naked is on in Underbelly Bristo Square at 14.50 until 26 August.

Big Bite-Size Breakfast Show (Menu 2), Pleasance Dome, Edinburgh Fringe

Concluding my reviews of  the full set of Bite-Size Breakfast shows with Menu 2 and another 5 mini-dramas.

Battlelines is set at a Battle of Hastings re-enactment where things aren't going according to plan and some advocate a more modern approach.  Why shouldn't William the Conqueror be played by a woman?  Complete with an unusual use for a baguette.

Home is set on a NASA spaceship that's been lost in deep space for 3 years and the 3 crew members start to tell a few home truths before their rescuers reach them.  Living is close proximity has created more resentments and secrets than they'd realised, and changes the way they think about being taken home.

I've Tried It Once is narrated by 50-something woman reflecting on her loveless marriage on the death of her husband.  The story of a wasted life in 10 minutes is much funnier than you'd think.

Trapped Language of Love is the highlight of the show, as a couple meeting for the first time on a park bench say little to one another, but tell the audience their inner thoughts - expressed as sixteenth century love poetry.  It's a clever idea and the result is hilarious (the woman next to me was wiping tears from her eyes long before it ended).

Put Asunder closes proceedings with a slightly daft comedy about a bride, on the verge of the wedding ceremony, finding her colourful past coming back to disrupt her day.  A thin premise, but the actors have a lot of fun with it, especially Claira watson Parr as the bride, and Billy Knowelden as her sleazy Italian ex lover.

Another excellent quintet.  From the three menus my favourites are definitely today's Trapped Language of Love, and Fagbutt in the Fishbowl from menu 3. But there's no duds here.  Highly recommended.

The Big Bite-Size Breakfast Show is in the Pleasance Dome at 10.30 until 27 August.  Menu 2 is being performed on the 22nd and 25th.

Mark Thomas, Check Up : Our NHS at 70, Traverse, Edinburgh Fringe

Nye Bevan wanted the NHS to be there for us all "in place of fear".  Thomas has set out to look at the state of Bevan's creation 70 years on from it's genesis.  He's clearly spent a lot of time researching for this show, shadowing staff in hospitals, interviewing health experts and ex health ministers, accumulating the evidence that the fear may now be returning.

PFI debts, competitive tendering and the resulting privatisation of services, the massive loss of experienced staff in the face of the threat to leave the EU, the underfunding and cutting of other public health services, and a consistent pattern of government financial cuts has reduced the NHS to a state which is not allowing it to do the job it was designed for.  (Thomas does make the point that things are a bit better here in Scotland, but all his research was conducted on London services.)

This could easily be dry stuff, but Thomas is very much the entertainer and there are plenty of laughs throughout.  The show moves at a rapid pace, with Mark's traditional motormouth monologues mixed up with impressions of people he's interviewed (notably a GP who spent a long time telling him all the things he might die of....) and AV clips of others he's talked to.  Most memorably Frank Dobson, Blair's first Health Secretary, admitting that PFI was his greatest mistake.

Thomas is rightly fierce in his defence of the concept of universal health care system and in his criticism of those who have sought to weaken it, looking to monetise the care and treatments that should be ours by right.  This is an important show, a must-see show, brilliant in many respects, but also saddening to see what is being done to such an important institution.  Highly recommended.

Mark Thomas - Check Up : The NHS at 70 is in the Traverse at 22.00 until 26 August.

Catherine Bohart : Immaculate, Pleasance, Edinburgh Fringe

She's Irish, her dad's a Catholic deacon, she's bisexuual and has OCD.  Bohart tells us these things at the start for they are the essential elements of her show, a story of a changing Ireland where family life is evolving into the 21st century, where her atheism and sexuality don't lead to the social ostracism they would once have done, and attitudes to mental health issues are improving.

It's an optimistic hour, but with enough uncomfortable moments to add a bit of bite.
 Coming out as bi to her parents produces unexpected reactions.  Being hospitalised for a few months to be treated for her illness has her mother trying to be inventive rather than tell the neighbours the 'awful' truth.  Feeling hard done by that her country is rapidly liberalising, mostly after she had moved over the water.

There's a bit of audience interaction, but she isn't one to pick on people and put them on the spot.  It's a well structured set with a satisfying revelation at the end.  Above all it's consistently funny, and she ad libs effectively when external noises intervene.  Highly recommended.

With a small rider.  This is one of those Fringe venues that get VERY hot and humid, to the point where one audience member fainted.  Go and see Bohart, but maybe take along some water and a couple of flyers to fan yourself if you're prone to that kind of thing.

Catherine Bohart : Immaculate is on in The Pleasance at 16.15 until 26 August.

Barry Crimmins : A Celebration, New Town Theatre, Edinburgh Fringe

Barry Crimmins was a New York satirical comedian and political activist who was revered by many in his profession.  he died of cancer earlier this year and this one-off charity gig was held to raise funds for his widow to help pay for her own cancer treatment.

Playing to sold out house in the Grand Hall, Robin Ince MCed and talked about his own memories of the man, and introduced a succession of top comedians doing ten minute slots.  Mark Thomas, Angela Barnes, Chris Stokes, Sofie Hagen, Mark Watson, Scotland's Janey Godley, Alistair Barrie and, rounding it all off, Reginald D Hunter.

And if that wasn't quite enough there were a couple of even more special guests.  After Hagen Ince brought on Helen Crimmins, Barry's widow, the undoubted highlight of the show.  She gave a powerfully emotional speech about her husband, his work, his optimism and his message that we should never give up fighting the bad guys, before presenting very special gifts to Ince and Thomas.  She was followed by multi talented musician and entertainer Amanda Palmer who delivered a hilarious anthem to the ukulele whilst playing the ukulele.  Watson, well fuelled by rose, got a good five minutes of comedy out of the stress of having to follow 2 of the most powerful acts of the night!

An excellent show, an excellent cause, and a reminder that compassion, empathy and love remain powerful weapons in our society.

Front Row, BBC Tent, Edinburgh Fringe

A live broadcast of the Radio 4 arts programme, hosted by Kirsty Lang.

Lang came out shortly before the programme began to explain the timetable, and the audience's role in it.  Then she brought out Scots musician and singer Mairi Campbell who taught and rehearsed us in singing chorus of the original tune to Auld Lang Syne.  Then it was time to bring out the guests on to the line of sofas.

The big name was Brian May, the polymath best known for being Queen's guitarist, and with him Professor Roger Taylor.  There were three doctors - Adam Kay, Kwame Asante and Kevin Jones - who all have Fringe stand up shows based around their experiences in the profession. Plus comedian Rachel Parris, who's become more of a household name in recent times as a member of TV's Mash report team, and the aforementioned Campbell.

With that big a line up and less than 30 minutes broadcasting time nobody was ever going to get much time to get their points across, but Lang has superb timing and gave each a fair crack.  A comic song from Kay at the keyboard got things started. The doctors were there to plug their shows of course, and all got a chance to tell a funny story.  Parris is in a couple of shows, but mostly talked about her Mash report experiences.  And May and Taylor have produced a new book on a Victorian pioneer of 3D photography, a subject there was more to than most of us might have suspected.  We ended with Campbell leading the audience in song.

That bald description doesn't sound very exciting, but the reality was more entertaining, watching the interactions between the guests and Lang's confident control of proceedings.  Watching live radio is so often a much better experience than it sounds.

Claire Ford : Unboxed, The Caves, Edinburgh Fringe

Cardboard boxes featured heavily in a show that mixed stand up, sketches and AV material.  Her father ran a packaging company, and cardboard has literally been prominent in her life, but being boxed in by circumstances was the real underlying theme.  In her opening lines she told us this was a story of her life, but written as she wanted and not always true, and in retrospect this felt like a mistake.

Ford takes us through some of the major events in her life, sometimes acting out conversations with others, sometimes showing film footage from TV or taken herself, interspersed by narration.  The sketches work well, and her brilliant acting and physical comedy abilities shine through.  The stand up bits les so, where she seems far less sure of herself, and even managed to miss out a chunk of the show.  It feels under rehearsed, lacking belief, a work in progress.

Then there's the structure.  Two traumatic events - the suicide of her brother and the death of her father - are introduced to us almost incidentally, without the build up in tension they deserved.  I'm assuming these were real life happenings, but at the time it was hard to know how to react.

All of which makes this show sound like a flop.  But Ford has such an endearing stage persona that you find yourself willing her to do well, and there are plenty of laughs.  Yet there's sense that there is a very good show buried in here that needs to be dragged out.  Personal tragedy is a staple of good comedy, but needs to be handled in a way that brings the audience along on the journey, not leaving them confused about where they fit in.  Unboxed doesn't manage that feat.  Well, not yet.  I'd love to see a better written version back on the Fringe next year.

Claire Ford : Unboxed is in The Caves at 14.00 until 26 August.

In Conversation With... Mark Thomas, New Town Theatre, Edinburgh Fringe

Local comedian Susan Morrison introduced Thomas and posed the questions.  Or tried to... she did well to maintain some kind of structure to the hour because once Mark is in full flow he's a hard man to interrupt!

Stories from his London childhood and the earliest influences on his political views, the magician pastor who accidentally turned him to atheism at an early age, his time at drama school (when his working class dad's biggest concern was if he had to wear tights!) and gradual move from theatre to the comedy and activism he's become famed for.  Dave Allen was his first comedy hero, the subversive antithesis to the Bernard Manning's of the world.  While the latter punched down at the weak, at minorities and the already voiceless, Allen hit up at the establishment, at authority.  When Alexei Sayle appeared on the scene and turned that attitude up a few notches Thomas knew this was what he had to do.

There were plenty of tales of the power of the political campaigns he's been involved in, and of the dirty tricks employed by government against him and his colleagues.  The story of the masses of junk mail sent to Michael Heseltine's home when he was trying to privatise the Post Office is legendary, but always worth hearing again.

In a short audience Q&A session at the end he was asked if he was optimistic or pessimistic about the current state of UK politics.  He thought for a long time before replying - with no real certainty, such are the risks we now face from the rise of the far right, a gutter press that distorts and smears, and the impunity with which lies can be spread about the likes of Corbyn.

But he was positive that there are still some great investigative journalists, like Carole Cadwalladr who's done such a great job of exposing the dirty tricks and dirty money of the Leave and Trump campaigns.

An hour passed all too quickly.  Funny, passionate, committed and sharp witted, Thomas is always inspiring and able to look at the wider world with a satirical eye.  Long may he continue to do so.

The In Conversation With series is in the New Town Theatre at 12.00 until 26 August.

Gareth Waugh : Oh Boy...!, Gilded Balloon Teviot, Edinburgh Fringe

Waugh's recent house move promoted a delve into some old notebooks and, more than a decade on, a 'bucket list' compiled by his 17 year old self.  And it's that list that forms the basis for the show, and a story of teenage desires, missed opportunities and wishes fulfilled.

With the aid of a projector he takes us through a few of the items on his list.  Some are conventionally wishlisty - the swim with dolphins kind of thing - and others reflect his obsessions at that age - like singing a rap song live.  It's cringeworthy stuff and Waugh makes the most of the opportunities for self deprecation and stories of how things went right, or wrong, in the years since.  There's also memories of earlier years, including what sounds a lot like child abuse from his grandmother, and the games he played as a kid that would baffle people from other countries, and subsequent times travelling with an Irish psychopath and a bit of chicken murder.  A rap song he and a mate wrote when they were 14 gets a lot discussion, mainly about just how awful the lyrics were.

The good news is that Waugh narrates all these triumphs and disasters with a consistently high laugh factor.  It's a nicely constructed set, builds well to the finale, and never flags.  Few actual jokes, but situations and characters that have been turned into very funny stories, and his analysis of those rap lyrics is hilarious.

In a Fringe largely dominated by acts from other countries it's good to see a strong local talent showing how good observational comedy is done.  Recommended.

Gareth Waugh is in Gilded Balloon Teviot at 15.00 until 26 August.

Celtic Connections present Julie Fowlis + Le Vent du Nord, Leith Theatre, Edinburgh International Festival

Celtic Connections in August?  In Edinburgh?  In will still be back home in Glasgow come January, but for one night it was the backer for a double bill of two outstanding bands.

First up was Julie Fowlis and her band playing guitar, bouzouki, fiddles and Julie herself on whistles and harmonium (and joined for the final few numbers by 'Mr Celtic Connections', Donald Shaw, on accordion).  Renowned as one of the country's finest Gaelic singers, she also gave us songs in English and Galician, and reminders that she's a very talented musician too.  Traditional and modern numbers, slow airs and foot tapping reels, Scots and Irish tunes.  The arrangements don't break much ground, but deliver traditional music with flair and passion, strong solos and great ensemble playing.  And a beautiful rendition of The Beatles' Blackbird, translated into Gaelic.

Fowlis is a compelling front woman, amusing, interesting, one of our great national voices, and her puirt à beul singing offers a hard to believe rate of syllables per second!  A great set to open the night.

For all that Fowlis and co are a fully fledged headline act, in terms of stage presence they still fall short of the second act of the night.  I've reviewed Le Vent du Nord gigs before, in Glasgow and in London, and there's not a lot I can add to my previous descriptions of their musicianship, style of play and ability to bond with their audience.

They're now a 5 piece outfit, with the addition of the flamboyant Andre Brunet (brother of bass and accordion player Rejean) on fiddle, podorythmie, and vocals.  Both old and new tunes stick to the Quebecois tradition, meaning there's lot's of call and response songs, rich, sonourous, muscular harmony singing, and a storming beat to get the body moving.  All this delivered with a genuine passion and a clear sense of self.  This is music that defines who the musicians are, that is a natural part of their being.  There's plenty humour too, making both the audience and themselves laugh.  It's all infectious stuff.

Julie Fowlis joined them for a few numbers (adding French to her list of languages on the night....), on vocals and whistle, clearly swept up in the joy of the moment.  As were we.  I was still buzzing hours later.  A Le Vent du Nord gig is one of the world's great entertainments.

Big Bite-Size Breakfast Show (Menu 1), Pleasance Dome, Edinburgh Fringe

A second visit to the Bite Size morning shows, this time for Menu 1 and another 5 interesting and original playlets.

Desk Fort is a daft satire on the pressures of office life, when one member of staff decides he can hide away from his responsibilities by barricading himself in under his desk.  The sexual harassment puppets will strike a chord with anyone who's had to endure pointless training courses....

In Never Give Up the world's worst playwright turns manipulative in his desperate quest to get his work staged, and refuses to acknowledge any setbacks.  Green Dot Day features a couple trying to have a baby and concentrating so much on details of fertility that the bigger picture gets left behind, a reminder that too often we focus on the task and forget the reasons why.

The Retirement Position is the best of the quintet, fewer laughs than the others, but with an edge of sadness that engages our emotions.  Neil is struggling to come to terms with his enforced idleness, but help comes from an unexpected source.

Last up is Sad 2am Sex Fantasy.  A lonely man's internal 'film crew' are trying to give him the fantasy he needs to masturbate, but his sense of guilt and poor self worth keeps confounding their efforts at stimulation.

Overall this is a slightly weaker package than Menu 3 , but still a great start to a Fringe day.  Plenty of laughs, and the odd thought provoking moment.  And strawberries, coffee and croissants too...

The Big Bite-Size Breakfast Show is in the Pleasance Dome at 10.30 until 27 August.  Menu 1 is being performed on the 20th, 24th and 27th.

Sameena Zehra : Existerhood, Sweet Novotel, Edinburgh Fringe

In a world of 'arsebiscuits', Zehra tells us how we can be a bit more biscuit than arse.  She begins by explaining that this is still a Work In Progress which is why she sometimes refers to her notes, and why the show had an awkward genesis.  She uses stories from her own past, in particular a long term friendship from school, and events in the wider world to suggest ways for individuals and society, to show that we can never be perfect, but still try to live a life for good, in spite of all the bigotry that's around.

It isn't laugh out loud comedy.  There are a few funny moments, and plenty amusement, but this felt like listening to stories from a favourite aunt who was trying to give you some pointers on life for when you grew up.  If that sounds like a criticism I should add that the time never dragged.  Zehra is a compelling storyteller and gives the audience plenty of things to think about.  And I learned that Ubuntu isn't just a flavour of Linux!

If you want to spend an hour belly-laughing you'd best avoid this show.  But if you like the idea of something a bit more thoughtful, even challenging, this would be worth a try.

Sob Story, The Space on the Mile, Edinburgh Fringe

Six old school friends meet up in a remote barn, their aim to become the next singing sensation on Yorkshire's Got Talent.  They'll become the new Spice Girls, they'll break away from the boredom of life in the dullsville of Pickering.  Well, most of them want to.

Rosie's already at uni in Manchester, her future looks more assured.  Four of the others are steadily succumbing to hometown boredom, alcohol, dead end jobs.  And then there's Aimee (Lana Pheutan), who just looks pleased to be there.  They try out some of their song routines, get the moves going, but Aimee is always the odd one out, the one who'll ruin their chances.  It's as if she shouldn't be part of the group.  There are discussions about what everyone has been up to, hints at the lives they are leading, and then there's Aimee again, and nobody's sure if her story has any truth to it or not.  A llama?

Sophie reckons if they're to do well in the competition they need a USP, something to grab the judges' sympathies, a real sob story.  There are a few lame attempts at ideas, but this is Aimee's chance to excel.  And her sob story turns events along a much darker path than expected.

A simple story well told, and with a nice twist.  All six actors do a good job, with no real stand out performance (although Pheutan has the most difficult role during the song and dance routines, of being close but never quite right, and she does a good job of extracting the comedy potential), and have good singing voices too.  It's a fun watch, with some serious points to make on the nature of friendship and the cruelty groups can exhibit towards outsiders.  It might not be the best show on the Fringe, but you certainly won't feel you've wasted your time if you go and see it.  And you might be watching a future star in the early days of their career.

The Marilyn Monroe Story, Assembly Rooms, Edinburgh Fringe

A solo performance from Jojo Desmond as the fifties screen icon, taking the audience through her life from birth to early death.  As a show it's very much a case of good news/bad news.

The bad news first.  The script is dire.  It's 'in 1954 I did this' and 'in 1956 I did that', and not a lot else.  Like listening to narrated highlights of Monroe's Wikipedia entry.  There's a bit of speculation over the actor's death, but nothing you couldn't find easily elsewhere.  The play offers no insights, no real sense of Marilyn's character, just chronological monotony.

The better news is in Desmond's performance.  She's a convincing Monroe (if lacking in "jello on springs" factor so memorably uttered by Jack Lemmon!), in voice and movement and has clearly spent time studying the appropriate film clips.  Most of the show is given over to song and dance routines and she carries these well, and even has a better singing voice than the original.

None of which really compensates for the lack of oomph in the storytelling, and I found myself checking my watch well before the end.  It feels more like a personal fantasy/obsession being played out than a real effort to understand the subject.

Best avoided, unless you're a Marilyn obsessive.

The Kagools : Kula, The Caves, Edinburgh Fringe

Classic silent comedy.  Clad in their eponymous garments, Claire Ford and Nicky Wilkinson bring their own brand of family-friendly silliness.  There's a plot of sorts, involving their evil alter egos, but that's just a loose framework for a series of physical comedy gags, audience involvement and constant action.  Parts of the story are played out on film, with the interaction, and impressive timing, between screen and on stage antics being key elements in the farce and slapstick that pervades the show.  Plus there's a soundtrack that is also an important element in the entertainment.

You might end up slightly damp, you might end up on stage, or accused of murder, but you will laugh a lot, you will laugh so much it hurts.  If you like a bit of daftness and anarchy in your life this is as good as it gets, especially the Tina Turner dancing routine.

Highly recommended.

The Kagools are in The Caves at 16.30 until 26 August.

The Oxford Gargoyles, C Venues Adam House, Edinburgh Fringe

Thirteen young men and women performing a recognisable set of songs, but with their own a capella arrangements.  In black tie outfits they mostly sing crooning standards such as Cry Me a River and Sit Down, You're Rockin' the Boat, with the intriguing addition of the Paul Simon song America.  There are some excellent voices within the group, and most of their number had a turn at at solo or two.  The arrangements are effective, at times surprising.  Their America lacked the stark drama of the original, but instead offered a lushness of sound that highlighted the lyrics.

Unlike a lot of young groups of this nature they haven't been tempted to go overboard with the choreography.  Their moves complement the music rather than serve to distract.  Although the introductions to each number sound a bit forced, stilted, but they aren't there to be speakers.

The Gargoyles are billed as a jazz a capella group, and although that's got some truth to it, there isn't much here for a jazz aficionado.  But fans of a capella won't feel short changed, as this group is one of the best offerings the genre has at the Fringe.

The Oxford Gargoyles are in C Venues Adam House at 14.00 until 18 August.

Big Bite-Size Breakfast Show (Menu 3), Pleasance Dome, Edinburgh Fringe

The Bite Size team return with three different menus on offer throughout the Fringe, each providing five short new playlets within the hour.  And strawberries, coffee and croissant before the lights go down....

Sandbox explores the possibilities of adults playing like children, and the release that can bring.  Nathan Builds a Time machine is a smart look at relationships, and the impossibility of fixing things once they go wrong, all done with a touch of Groundhog Day.  Third up was The Meeting, an unlikely appeal to extremism, and with the funniest line of the day.  Fagbutt in the Fishbowl features two 'goldfish', challenging their bowl-bound circular lives and reflecting on an alternative existence.  Finally we had Foxing, in which a silent therapist tries out some very unusual techniques on a couple and forcing them to look into themselves for answers.

The first four are laugh out loud funny throughout, taking ridiculous situations and making the audience look differently at one aspect of life.  Foxing is a bit less amusing, a bit more disturbing, and a thoughtful piece to end on, despite the laughs to be had from the couple's physical exertions.   All five are very entertaining.

Highly recommended.

The Big Bite-Size Breakfast Show is in the Pleasance Dome at 10.30 until 27 August.  Menu 3 is being performed on the 12th, 16th, 19th, 23rd and 26th.

10 Films With My Dad, Sweet Grassmarket, Edinburgh Fringe

The show that refuses to die.  The same words I used to introduce my review of this show last year.   And, once again, I go back to my attendance at the final Fringe performance of this show in 2015, at the time supposedly it's final outing.  Since then he has performed the show in several locations across the globe, and been asked to bring it back to the Fringe.

And why not?  The audiences are still coming, and still enjoying it, even those of us who have seen it before.  Goatley is always a warm, fun and funny comedian to watch and this show matches all those adjectives, with doses of love and affection thrown into the mix.  You can read the two reviews linked to above if you want to know a bit of what the show is about.  Or just take my word for it that if you haven't seen it yet, you really should do.  Who knows, this might really be it's final year this time?

10 Films With My Dad is in Sweet Grassmarket at 20.00 until 25 August.

Infinita, Pleasance, Edinburgh Fringe

A story of life.

An ageing musician, confined to a wheelchair, is moved into an old people's home.  The action switches back and forth between life in the home and his memories of life as a small child.  Comparisons between the behaviour of toddlers seeking to understand the life before them, and the geriatrics fighting off the encroach of death, are clear.  And that, at both ends of life, and at all stages in between, there is always affection, fear, love, cruelty, boredom and hilarity.

A small troupe of actors (from the German Familie Floez team) portray a range of characters using masks, swift costume changes and their huge talent for expressing emotion and intent through body language.  Interspersed with silhouettes on film which advance the story and keep the narrative together, they play out scenes that highlight the absurdities of human behaviour and the essential need for friendship, music and love.

Often poignant, frequently hilarious, never dull or hectoring, this has to be one of the best shows on the Fringe.  A single red rose in a spotlight is heartbreaking, two toddlers with a ball perform one of the funniest scenes I have ever witnessed.  The characters are people we recognise, the emotions are those we've all experienced.  Essential viewing.

Infinita is on at the Pleasance at 13.30 until 27 August.

The Hot Seats, Marwick Spiegeltent, Fringe by the Sea

A Virginian country band providing great musicianship, decent vocals and a lot of fun.  Banjos, fiddle, mandolin, guitar, drums, washboard and a double bass that all 5 band members had a go on at some point or other.  Old early 20th century songs and tunes, from the country, bluegrass and ragtime traditions, self penned songs in the same idiom.

They're fronted by Josh Bearman whose singing might not be note perfect, might not have the greatest of ranges, but does have an authentic country tone and and real feel for the genre.  Ed Brogan also sings lead, a stronger voice technically, but lacking Bearman's plaintive sound.  There's far less to criticise in the music.  5 excellent musicians, strong arrangements with their own signature, plenty of virtuosity demonstrated in the solos.  An exciting bit of ragtime, a cover of a song by the great Jim Croce (why don't more people cover his material?), an anti-Trump number, slow songs and fast tunes, a real mixture and a well balanced set.  Add in a few laughs, a bit of banter between band members, and some informative introductions and you have a truly enjoyable gig that gets the feet tapping and the audience leaving with a smile on their faces.

Worth catching if they come your way.

Brexit, Pleasance, Edinburgh Fringe

Zugzwang : noun Chess - a situation in which a player is limited to moves that cost pieces or have a damaging positional effect.

Brexit is set 2 years and a bit on from the present.  The post-EU membership transitional arrangements have been in place for more than a year and a half and seemingly endless negotiations continue as to how to bring them to a close.  Yet another Tory leadership contest has produced a new UK Prime Minister, Adam Masters (Timothy Bentinck), who has to find a way through an increasing clogged minefield.  His close friend and political adviser Paul Connell (Mike McShane) tells him he has to make a clear decision - leave the EU completely, or remain in the EU enthusiastically.  But all that Masters can see is Zugzwang - a word that crops up a lot throughout the play.

So, in best Tory tradition, he tries to fudge a compromise by appointing committed Leaver Simon Cavendish (Hal Cruttenden) as Trade Secretary, committed Remainer Diana Purdy (Pippa Evans) as Brexit Secretary.  Both swiftly drop inches thick proposals on his desk, with diametrically opposed objectives.  That decision just won't go away....

The fifth player in the game is the one holding all the aces.  Helena Brandt (Jo Caulfield) is the chief EU negotiator, still trying to exercise patience with a UK that can never decide what it actually wants, frustrated by the 'frenetic inaction' that characterises everything the Tory government does.

Masters wants to listen to everybody, wants to have their advice, doesn't want to act upon any of it.  Because whatever he does will leave his reputation in shreds, whether it's by trashing the economy or overriding the mythical 'will of the people'.  While the only voice of sense, world weary as it is, comes from Brandt.  The dramatic tension is clear, the resolution as murky as ever.  But, as in real life, it's Caulfield's character that has the final words.

Good performances all round.   Bentinck plays it for laughs, because who would take him seriously anyway, and lets the action revolve around his hopelessness.  Cruttenden gets to play the smug, supercilious ideological fanatic with family connections to royalty and a fondness for classical Greek references (who could he possibly be thinking of?) and seems made for the role, if never becoming quite as irritating as his real life models.  Evans is bustling pragmatism, as blinkered as her cabinet colleague but a bit more likeable.  While Caulfield's calming presence, in a suitably Euro-vague accent, refuses to be drawn into the arguments.  My pick of the bunch though was McShane, ostensibly sensible but with the political machinator's deviousness and sense of survival.

All credit to the writers (Robert Khan and Tom Salinsky) for having a go, but how do you satirise something that is already beyond satire, that is already more confused, incompetent, indecisive, divisive and damaging than would seem credible in a piece of fiction?  So Brexit doesn't really tell us anything new, for there is nothing really knowable any more, but it's always enjoyable, manages a good sprinkling of laughs, and pokes fun at this incompetent government.  And well done for identifying zugzwang as the perfect descriptor for the poisoned chalice that the ill-advised referendum has left to Cameron's hapless successors.

Brexit is on at the Pleasance at 13.30 until 26 August.

The Full Irish, Whistlebinkies, Edinburgh Free Fringe

Need a pre-lunchtime show to kick off your Fringe day?  You could do a lot worse than try The Full Irish.  MC Chris O'Neill introduces four comedians showcasing something of their work.  Of course they'd like you to come and see their full length shows, so they want to impress.  O'Neill did a good job as warm up man from a slow start.

First act was Roger O'Sullivan.  He was initially thrown by the presence of a kid (about 12 years old) in the front row, as his material is very definitely adult.  What were the parents thinking?  But he adapted his material swiftly and became even funnier in doing so.  A nice relaxed style, standard observational comedy, well delivered, and a new meaning for Paw Patrol.

Andrew Nolan was a big smiley presence, concerned that approaching middle age had made him wear Birkenstocks.  Erin McGathy bounced on to stage and did 'impressions'.  Her short mimes each followed by wonderfully bizarre explanations of what we'd just been watching, like the woman who held up apples in supermarkets hoping someone would ask why (she'd been proposed to in an orchard).  Finally there was Colin Chadwick who explained about the devious tricks he'd played on his girlfriend and the outcome that backfired, a laid back way of talking contrasting with the quality of his jokes.

Four excellent acts, all of whom I'd be happy to see more of, McGathy my favourite for her more original build ups to her gags.  Who you get to see changes daily so I've no idea if this level of quality will be maintained, but it's certainly worth taking a chance on.

The Full Irish is on at Whistlebinkies at 11.00 until 26 August.

Choir of Man, Assembly Rooms, Edinburgh Fringe

I admit I'm the wrong person to be reviewing this.  I went in with no expectations, having no idea what the show was going to be about, and left little the wiser.  Clearly I'm not in their target audience.  But here goes anyway....

Nine guys, a pub-like set, free flowing pints from the bar.  Indeed free pints for some, as the cast invited members of the audience up to join before the show started - and as it went along.  The Irish lilter of the group provided a narration, folksy homilies about a fantasy pub life where all the world's problems get sorted out.  This provided the framework for the song and dance routines.

Several members of the group play an instrument at some point, but most of the music comes from backing tracks.  The songs were well known pop songs, arranged for a more choral delivery.  (I'm guessing they were well known, although I only recognised two of them personally, because much of the audience seemed to be able to join in.)  The dance routines were well choreographed, well executed and allowed individuals to demonstrate their flair.  But it was, as the name of the group suggests, the singing which was the highlight.  Strong voices, strong harmonies, some excellent solos (my main complaint being the underuse of my favourite singer, the guy in the waistcoat).  The interactions with audience members on stage were often funny too, and demonstrated something of the performers acting and improvisational abilities.

There was a lot there to like and enjoy and get enthusiastic about.  But not enough to stop me looking at my watch well before the end.  The narrator's script was naff and embarrassing, the faux bonhomie wearing.  They'd do well to drop the cutesy attempt at a storyline and concentrate on the things they do best - a bit of dancing, a bit of music (there was one excellent pianist amongst them), and a lot of singing.  Play to your strengths lads.

Many people would enjoy this performance, many people clearly did.  But if you prefer there to be some point to storytelling then best give it a miss.

Aidan Goatley is the Vicar's Husband

When his wife announced her intention to become a CoE vicar it left Goatley, a confirmed atheist, in a bit of a quandary.  But not for long.  Since she's long supported his efforts to build his comedy career it's only fair he does the same for her new path in life.

In the show he tells us how that's all working out and the affect it's had on his own lifeview.  More importantly, about the material it provides for a comedian who majors in real life storytelling.  What could possibly go wrong if an unbelieving comedian has a go at creating an audiobook of the bible?

All of which flows naturally into tales from other aspects of his comedy career, including the big break that wasn't quite what he expected, and his comedic nemesis who seems to be everywhere at once.

It's a well structured set, with a strong narrative flow and, more importantly, a lot of great jokes.  Goatley has a gentle style, enthusiastic and friendly and with no wish to offend, but still able to effectively shut down interruptions (on this occasion a loud Australian woman who seemed convinced what the show really needed was a lot more interjections from a loud Australian woman).  He's a natural raconteur whose embellishments bring stories to life and bring the audience into the situations he's describing, and shows the importance of stories in our lives.

One of the best comedians around, Goatley is always worth seeing and the Vicar's Husband is one of his best.  Highly recommended.

Aidan Goatley is the Vicar's Husband is on in Sweet Grassmarket at 14.40 until 25 August.

The Mars Patrol (Acoustic), Merchant's Hall, Edinburgh Fringe

Although Mars Patrol have achieved most success as a six piece band, this performance saw them return to their acoustic roots, and home town, for a stripped back set in an impressive New Town setting.  Vocals from Davina Divine, guitar from Ross Nelson and, aside from a little electronic trickery courtesy of Nelson's pedal board, nothing else.  Divine has a good voice, if a little sharp edged at times, and confident phrasing, easy to listen to.  Nelson isn't quite out of the top drawer, but he's a more than competent musician, and uses the layering possibilities of the box at his feet to good effect.  Together they are engaging performers, with an easy audience rapport.

Despite which I found myself looking at my watch long before the end of the gig.  The fringe blurb describes them as "acclaimed Scottish songwriters".  Which left me wondering - acclaimed by who?  There wasn't a single song which, either lyrically or melodically, stuck in my mind.  It was pop-bland, songwriting by numbers, and lacked any real character.  By half way through I was longing for them to cover something better written which would showcase their talents more fully.  Twas not to be though, and the result was an unsatisfactorily insipid 75 minutes.

BBC New Comedy Award Semi-Final 1, BBC Tent, Edinburgh Fringe

Hundreds of applicants had been whittled down to the final 10, and this show gave 5 contestants the chance to go through to the final on Sunday week.  Mark Watson performed MC duties and was a great warm up man.  Then each contestant had a short slot in which to convince the judges they should be one of the three to go forward.

First up was Matt Hutchinson, a man of slow but assured manner who talked about how, as a doctor, he was happy at people getting sick as it kept in a job, and that his Jamaican dad was so middle class he cooked jerk pheasant.  His delivery ensured that was a lot funnier than it sounds when I write it!  Helen Bauer came next, a contrastingly rapid fire style about the perils of being a large woman when it came to clothes buying, and the kind of tears that only three bottles of wine could produce.  She packed a lot into a few minutes.

Glaswegian Stephen Buchanan also had a laugh about his height, discoursing on the difficulties of being a short man on the internet, and what living with his mum and a refugee did for his image.  His confidence shone through and he appeared the most experienced of the group.  He was followed by Sarah Mann who looked much more nervous and suffered as result.  But several of her jokes about being asexual and proud hit the spot.  Last up was William Stone who had the most individual approach of the five.  A slow, slow build up developed into a hilarious series of one lines and non sequiturs, and an sharply oblique view of life.

Watson came back on to fill in time whilst the judges made their decisions, clearly difficult to do from the length of time they were away (Mark saw their return with some relief as he was struggling to find material!).  Bauer, Buchanan and Stone go through to the final, to be broadcast live on Radio 4 on 12 August.  Of the three my favourite to take the award would be Buchanan, who seemed a more finished product than the others, but all five clearly have a future in comedy and the audience got an excellent show to watch.

In Conversation With... Mhairi Black, New Town Theatre, Edinburgh Fringe

An interview/chat with the Paisley and Renfrewshire South MP who was elected to the UK parliament in 2015 aged just 20.  After a brilliant maiden speech she has gone on to become one of the SNP's best speakers and a personality who has wide appeal, especially to younger voters.  She's also attracted more than her fair share of vituperation, especially online where her politics, and even more so her gender and sexuality, are the target of irrational abuse from the political right.

Journalist Graham Spiers introduced her to an enthusiastic (and strongly pro-Indy) audience and undertook the questioning.  Her early life, earliest political memories, the environment that influenced her views, moving swiftly on to her selection as a candidate and subsequent election.  She loves the aspect of being an MP that involves helping constituents, but hates the "crap" of being in parliament.  And it's her experiences of life at Westminster that are the most illuminating, an insider's view confirming just how out of date and out of touch the House of Commons is, "a club masquerading as a parliament".  Her description of the voting procedures was hilarious, but highlighted what a waste of public money they involve and that this supposedly democratic institution is simply not fit for purpose.

She talked about other MPs.  Jacob Rees-Mogg was always civil, polite, honest, and easy to talk to, but a man of vile, bigoted views and very dangerous.  The only thing she feels in common with May is that neither of them knows how brexit will end, and Corbyn has been a huge disappointment in compromising his beliefs to bend to the perceived views of the English middle class.  Black sees no need for a second EU referendum, when there was such a clear result in the first - this country voted convincingly to remain in.   It's clear her belief that Scotland suffers from being in the union has only been strengthened from the evidence her job has given her.

Black remains, as yet, largely unaffected by her time in the artificial bubble of an archaic establishment, still as fresh and funny and sharp as she was 3 years ago, but with that added experience informing her views.  We need more like her.

Maureen Lipman is 'Up for It', George Square Theatre, Edinburgh Fringe

Lipman is one of those actors you recognise instantly, even if you can't quite remember why, and she's been a fixture on the theatrical landscape for many decades.  Over the years she's done a lot of comedy, and this show is a reminder of those talents.  It's a mix of comic song, jokes and mini dramas, with music provided by weel kent jazz couple Jacqui Dankworth singing and Charlie Wood on piano.  Plus the surprise inclusion of Lipman's pal, Harry Shearer (of Simpsons fame) on 5 string bass.

She might not be much of a singer, but she certainly knows how to deliver a line and her timing is ultra professional.  The jokes feel dated, as she herself admitted, but are punched out with enthusiasm.  Lipman's at her best performing comic character parts, sketches really, where she gives us one side of a dialogue.  The health technician undertaking a mammogram was especially memorable.  And her mimicry talents were sharply exhibited when a swift change of body position tuned her into the UK's hapless PM.

This is nostalgia entertainment, fun enough in it's way, but unchallenging, safe, a tad predictable.  Beautifully performed though, and Lipman can't help be engaging, so if you're a fan of hers in any way then you won't be disappointed.

Maureen Lipman is on in the George Square Theatre at 17.45 until 12 August.

Ken, Pleasance Dome, Edinburgh Fringe

Ken Campbell was an English actor, director, writer and comedian who died in 2008.  Whilst entirely accurate, that sentence doesn't begin to hint at the unique character of the man, constantly experimenting, outlandish, bizarre, an improvisational genius.  And someone who had a huge impact on the lives of those who got involved with him personally and professionally

Terry Johnson first met Campbell in 1978 and their lives intertwined several times in subsequent decades.  Ken is his tribute to his friend and mentor, who made him change his view of the world and how to interact with it.  It's a very personal tale of their times working together, from first encounter right through to Campbell's funeral, and Johnson's musings on how Ken's energy and imagination helped him shed some of his own suburban attitudes.

Johnson narrates the show as himself, and plays a few other characters, while Jeremy Stockwell (another long time Campbell collaborator) plays the man himself, complete with mobile eyebrows, and a host of other minor characters in the story (himself included).  While Johnson remains on stage, we find Stockwell here, there and everywhere, interacting with the audience, improvising when the unexpected happens, bursting with energy and bringing the eccentricity of his subject to life.

Seek out some video footage of Campbell and it's clear what a great job Stockwell does of bringing him to life - funny, philosophical, cantankerous, unpredictable, and a master clown.  Johnson seemed a little under rehearsed, but this was a preview show when you can expect some wrinkles, and no doubt this will improve as the run hits full speed.  His partner already has his performance nailed down and gives the show a bewildering sense of 'what happens next'?

It's a strength of the play that you don't really need to know anything about Ken the man to enjoy the show, as the reasons for his appeal are well put across and the various scenes clearly delineated.  (It does help to have a bit of knowledge of Hitch Hiker's Guide to the Galaxy, which Campbell ambitiously tried to stage in London in 1979, and where Johnson found himself sharing space in a costume with a Canadian....)  In fact Johnson's writing and wordplay provide not just clarity, but a sense of style, a lot of fun, some genuine poignancy and an idea of the impact Ken Campbell had on him.

Recommended.

Ken is on in the Pleasance Dome at 15.20 until 27th August.