Joe McDaid (Kevin P Gilday) wants to know what we think. The UK has left the EU and, as a sweetener to keep us happy, new powers have been devolved to Scotland, including citizenship. McDaid is running a focus group on behalf of new agency Citizen Scotland, to determine what questions should be included in the new citizenship test. Audience members have been handed out cards to give an 'Aye' or a 'Naw' to each option. There's a lot of audience involvement which helps build a more intimate atmosphere.
McDaid takes us through half a dozen potential subject areas, like inventions, language and alcohol. To begin with the performance is wholly comic, jokey, light hearted, with a rap number and a daft song accompanied, badly, on ukulele. But takes on a more serious note as the show develops, looking at Scotland's lack of confidence in ourselves, our ambivalent and often self destructive relationship with drink, and whether we're always as good as we portray ourselves. He declares himself an Indy supporter, but raises questions about where the Yes movement is now, and if people have lost sight of what Indy was really about - that independence isn't an end in itself, but a means to a chance of having a better society in this country.
Quite what an international audience makes of this is hard to say, but it certainly resonates with the Scots in the room. What starts as a show of thin humour and dubious musicality improves greatly as it goes along and starts to raise questions that aren't being asked often enough. The poetry is particularly impressive in conveying ideas. Gilday isn't a natural comedian, but he is an excellent storyteller, poet and ideas man. An intriguing show to end the Fringe on.
This was the final performance of Suffering from Scottishness.
Tuesday 27 August 2019
Julius 'Call Me Caesar' Caesar, Gilded Balloon Patter Hoose, Edinburgh Festival Fringe
In his first ever acting role, comedian Andrew Maxwell takes on Shakespeare. Well, sort of. He might begin by declaiming lines from the bard, but most of the performance is in modern vernacular, reducing the play to its essential elements. Maxwell switches back and forth between narration and commentary, and acting out well over a dozen characters - Caesar, Brutus, Calpurnia, the soothsayer, members of the common herd, he does the lot. Not only giving the storyline of the play, but clearly alluding to some modern day comparisons.
It's high energy stuff, Maxwell whipping up the audience into participating, creating an atmosphere that is involving, celebratory, hysterical. Owen McCafferty has written a sharp script, leaving plenty of room for Maxwell's comic talents to shine, and space for him to improvise. You could watch this show several times and constantly find something new, something different - the real joy of live performance. And Maxwell proves he can do serious when it's needed, with a real sense of horror at times, despite the story being so well known.
In scenes showing how easily the public mob can be swayed by cheap rhetoric, and that political leaders and their promises have always been empty, there are clear parallels with the brexshit farago, and Maxwell winkingly makes the point clear for anyone in doubt. It might not meet with the approval of diehard traditionalists, but this is, perhaps, the perfect version of Shakespeare for our times. Accessible, relevant, compellingly entertaining whilst exposing human darkness. A tremendous achievement, and Andrew Maxwell is the perfect man to perform it.
This was the final Fringe performance of Julius 'Call Me Caesar' Caesar.
It's high energy stuff, Maxwell whipping up the audience into participating, creating an atmosphere that is involving, celebratory, hysterical. Owen McCafferty has written a sharp script, leaving plenty of room for Maxwell's comic talents to shine, and space for him to improvise. You could watch this show several times and constantly find something new, something different - the real joy of live performance. And Maxwell proves he can do serious when it's needed, with a real sense of horror at times, despite the story being so well known.
In scenes showing how easily the public mob can be swayed by cheap rhetoric, and that political leaders and their promises have always been empty, there are clear parallels with the brexshit farago, and Maxwell winkingly makes the point clear for anyone in doubt. It might not meet with the approval of diehard traditionalists, but this is, perhaps, the perfect version of Shakespeare for our times. Accessible, relevant, compellingly entertaining whilst exposing human darkness. A tremendous achievement, and Andrew Maxwell is the perfect man to perform it.
This was the final Fringe performance of Julius 'Call Me Caesar' Caesar.
Sunday 25 August 2019
Stuart Mitchell : Is It Just Me? (Work in Progress), Beehive, Scottish Comedy Festival, Edinburgh Festival Fringe
Quite what this performance could have been is hard to say. Mitchell worked hard (and with considerable tolerance) in the face of constant disruption from 3 drunken wifies from Coatbridge and a couple from Falkirk asking random questions ("when did you have your first Tunnocks Teacake?"...). Standard fare for a club comedian, but unusual from Fringe audiences.
When he could get on with his routine it was clear there was some good material in there, with nicely crafted punchlines and some wonderfully bad puns. He's got some good ideas, his topics very much coming from everyday life, and there was a good show lurking in there. It didn't stand much chance on this particular night thought. Coatbridge has a lot to answer for...
Stuart Mitchell : Is It Just Me? (Work in Progress) had it's final performance in the Beehive on 25 August.
When he could get on with his routine it was clear there was some good material in there, with nicely crafted punchlines and some wonderfully bad puns. He's got some good ideas, his topics very much coming from everyday life, and there was a good show lurking in there. It didn't stand much chance on this particular night thought. Coatbridge has a lot to answer for...
Stuart Mitchell : Is It Just Me? (Work in Progress) had it's final performance in the Beehive on 25 August.
Ashley Storrie : Hysterical, Counting House, Free Fringe
Starting with a definition of hysteria, and particularly as how it was once applied to women, Storrie ventures into the territory of her own mental health problems and how performing comedy works as therapy for her. Whether it's chatting with the audience before the show, or exploring her own problems, she's assured, energetic and always very funny (albeit with a tendency to giggle at her own jokes which can verge on the annoying at times). Autism, gangsters, her own development (or not) as a person and the success of her mother's career (big eye roll...) come together with a hilarious sex scene enhanced with some great sound effects. At times brave in confronting her own issues, it's a well rounded set that produces the laughs while also leaving you something to think about.
No surprise that the queue to get in is so long.
Ashley Storrie : Hysterical had it's final performance at the Counting House on 25 August.
No surprise that the queue to get in is so long.
Ashley Storrie : Hysterical had it's final performance at the Counting House on 25 August.
Iain FM Smith Presents... My Finest Hour!, Riddles Court, Edinburgh Festival Fringe
Storytelling with laughs and some interesting, oft obscure, facts. Smith combines the story of his larger than life, war-hero grandfather with his unusual upbringing, and a childhood wish to live up to his ancestor's reputation. Espionage, torture and incredible survival stories mix with puppies, goats and massed nettles. Something for all tastes, especially hairdressers (you'll have to see the show to understand that one...). Iain's style is warm, friendly, inclusive, and the warm tones of his voice keep the interest levels high. There's even a decently groan-inducing pun in there.
One of the Fringe's quiet pleasures.
Iain FM Smith Presents ... My Finest Hour! had it's final performance at Riddles Court on 25 August.
One of the Fringe's quiet pleasures.
Iain FM Smith Presents ... My Finest Hour! had it's final performance at Riddles Court on 25 August.
Christine Bovill : Tonight You Belong To Me, New Town Theatre, Edinburgh Festival Fringe
An evocation of 1920's America through the songs of the Jazz Age. Bovill, suitably costumed, tells tales of the period, from post war euphoria to Wall Street Crash, interspersed with classic songs that have retained their power in the decades since. She's an accomplished storyteller with a knack for summarising and decent comic timing. She took us through the best of the age - Charlie Chaplin, Dorothy Parker and the dance crazes - and the worst - Al Capone, the Ku Klux Klan and mass poverty - partly through the eyes of the great observer of the time, F Scott Fitzgerald. Surprisingly informative given the limited time available.
She's a better singer, with a strong smoky alto voice that adapts well to different styles. There was a great rendition of Alcoholic Blues, and a surprising Ol' Man River, so often a preserve of the deepest bass voices. Her accompanists on piano and fiddle were competent, injected some occasional sparkle into the arrangements, but it's Covill's voice and phrasing that dominate, and rightly so.
The format works well, Covill has the stage presence to carry it off, and the result was very enjoyable in a low key kinda way. Worth a look.
Christine Bovill : Tonight You Belong to Me had it's final performance in the New Town Theatre on 25 August.
She's a better singer, with a strong smoky alto voice that adapts well to different styles. There was a great rendition of Alcoholic Blues, and a surprising Ol' Man River, so often a preserve of the deepest bass voices. Her accompanists on piano and fiddle were competent, injected some occasional sparkle into the arrangements, but it's Covill's voice and phrasing that dominate, and rightly so.
The format works well, Covill has the stage presence to carry it off, and the result was very enjoyable in a low key kinda way. Worth a look.
Christine Bovill : Tonight You Belong to Me had it's final performance in the New Town Theatre on 25 August.
And Before I Forget I Love You, I Love You, New Town Theatre, Edinburgh festival Fringe
A solo performance from Fringe old-hand Pip Utton. Michael is giving his funeral speech for wife Chrissie, and telling stories of her descent into dementia to become someone he no longer recognised, the devastation brought by the illness to those who have to watch the sufferer change. Forward a few months and we see Michael having to face travelling the same path, and the emotions that brings in the light of his previous experience. Anger, frustration, guilt, fear. And some humour too.
The title comes from a line in a letter Chrissie wrote in the earlier stages of her decline, and encapsulates the pain of this disease. Utton's performance is remarkable for its ordinariness, the lack of melodrama, the sense that this can happen to anyone, even whilst being emotionally draining. It's a hard watch at times, but a rewarding one, and not without a sense of hope.
Recommended.
Before I Forget I Love You, I Love You, had it's final performance in the New Town Theatre on 25 August.
The title comes from a line in a letter Chrissie wrote in the earlier stages of her decline, and encapsulates the pain of this disease. Utton's performance is remarkable for its ordinariness, the lack of melodrama, the sense that this can happen to anyone, even whilst being emotionally draining. It's a hard watch at times, but a rewarding one, and not without a sense of hope.
Recommended.
Before I Forget I Love You, I Love You, had it's final performance in the New Town Theatre on 25 August.
Wednesday 21 August 2019
Tartuffe, Assembly Rooms, Edinburgh Festival Fringe
A revival of Liz Lochhead's 80s adaptation of the Moliere classic into Scots. Set in the strict presbyterian Scotland of the early 20th century, and chopped down to only four characters, it's fast and funny and still very relevant.
Orgon (Grant O'Rourke) has taken pity on the poverty stricken, devoutly pious and dog-collar wearing Tartuffe (Andy Clark) and charitably taken him into his household. It's the women of the home - Orgon's young wife Elmire (Nicola Roy) and housemaid Dorine (Joyce Falconer) who see the incomer for what he is, a hypocrite and a con man. Convincing Orgon of the peril he's placed himself in is another matter. Who, once they've convinced themselves to be in the right, will listen to others pointing out their mistake? What lengths will the women have to resort to make Orgon see the truth?
Clark's Tartuffe is a man of oiled hair and insincere smiles, whose lechery is never far beneath the surface, seeing Elmire as another easy conquest to be blackmailed into carrying out his desires. Orgon's complacency and cluelessness are both comical and exasperating, but his wife is elegant and smart and resistant to the manipulation of the supposed religious man. Falconer's sassy wifie provides the narration to fill in the gaps, and her own hard headed dose of realism to help bring down the gaslighting seducer.
If you've no understanding of Scots you may struggle with the language. But if you can attune your ear it's a joy to listen to, the rhyming couplets a mix of natural language and poetic sensibility, full of fun and verbal trickery. The cast do a great job of extracting the humour, turning up the melodrama at appropriate points, dialling it back as needed. And Moliere's moral lessons have never been more pertinent. If you've been conned once it's better to admit it than carry on digging a deeper hole. A perfect metaphor for brexshit.
Wonderful stuff.
Tartuffe is on in the Assembly Rooms until 25 August.
Orgon (Grant O'Rourke) has taken pity on the poverty stricken, devoutly pious and dog-collar wearing Tartuffe (Andy Clark) and charitably taken him into his household. It's the women of the home - Orgon's young wife Elmire (Nicola Roy) and housemaid Dorine (Joyce Falconer) who see the incomer for what he is, a hypocrite and a con man. Convincing Orgon of the peril he's placed himself in is another matter. Who, once they've convinced themselves to be in the right, will listen to others pointing out their mistake? What lengths will the women have to resort to make Orgon see the truth?
Clark's Tartuffe is a man of oiled hair and insincere smiles, whose lechery is never far beneath the surface, seeing Elmire as another easy conquest to be blackmailed into carrying out his desires. Orgon's complacency and cluelessness are both comical and exasperating, but his wife is elegant and smart and resistant to the manipulation of the supposed religious man. Falconer's sassy wifie provides the narration to fill in the gaps, and her own hard headed dose of realism to help bring down the gaslighting seducer.
If you've no understanding of Scots you may struggle with the language. But if you can attune your ear it's a joy to listen to, the rhyming couplets a mix of natural language and poetic sensibility, full of fun and verbal trickery. The cast do a great job of extracting the humour, turning up the melodrama at appropriate points, dialling it back as needed. And Moliere's moral lessons have never been more pertinent. If you've been conned once it's better to admit it than carry on digging a deeper hole. A perfect metaphor for brexshit.
Wonderful stuff.
Tartuffe is on in the Assembly Rooms until 25 August.
The Afternoon Show, BBC Blue Tent, Edinburgh Festival Fringe
A recording of Radio Scotland's daytime show featuring a wide range of acts from the festivals around the city. The interest in these events can come as much from observing the technicalities and procedures involved in the recording, and how much the audience is prepared (manipulated!) by those running it, as it does from the show itself. This recording was primarily for radio, but some of it will make it on to TV, so there plenty of cameras in evidence.
The show was hosted by both the regular presenters, Janice Forsyth and Grant Stott, both safe pairs of hands for this kind of thing. Today's line up certainly offered variety, and there was probably at least one or two items for everyone, with live music, drama and comedy, and a regular rotation of guests on the sofa for some chat. Rather than itemise every act, here's a flavour of the diversity of genres on offer. There was a DJ accompanied by orchestral musicians playing dance music; a weel kent Edinburgh crime writer talking about his band, book festival event and rediscovering one of his oldest works; a forensic 'mind reader' who was quickly able to determine the date of birth of an audience member through a simple routine; two actors giving a sample of a play they have on the Fringe; a singer of Kate Bush songs; an actor and writer whose show is about their relationship to a famous pop star; the composer and librettist of a new opera; a stand up comedian with a show about the worst year of her life; New York cabaret singing; two solo artists with shows about the dire effects of poverty on our society; and one of Ireland's finest and sharpest comedians. Like I said, something for everyone.
Personal highlights for me included ian Rankin (who else?) talking about a book he'd written decades go and now realised it wasn't as bad as he'd thought it was; Darren McGarvey and Scottee talking about their shows which talk about the social impacts of poverty and class; and, best of all, the few minutes we had to benefit from the wit of Andrew Maxwell.
Go into BBC shows like this with an open mind and there's always enjoyment to be found.
The show was hosted by both the regular presenters, Janice Forsyth and Grant Stott, both safe pairs of hands for this kind of thing. Today's line up certainly offered variety, and there was probably at least one or two items for everyone, with live music, drama and comedy, and a regular rotation of guests on the sofa for some chat. Rather than itemise every act, here's a flavour of the diversity of genres on offer. There was a DJ accompanied by orchestral musicians playing dance music; a weel kent Edinburgh crime writer talking about his band, book festival event and rediscovering one of his oldest works; a forensic 'mind reader' who was quickly able to determine the date of birth of an audience member through a simple routine; two actors giving a sample of a play they have on the Fringe; a singer of Kate Bush songs; an actor and writer whose show is about their relationship to a famous pop star; the composer and librettist of a new opera; a stand up comedian with a show about the worst year of her life; New York cabaret singing; two solo artists with shows about the dire effects of poverty on our society; and one of Ireland's finest and sharpest comedians. Like I said, something for everyone.
Personal highlights for me included ian Rankin (who else?) talking about a book he'd written decades go and now realised it wasn't as bad as he'd thought it was; Darren McGarvey and Scottee talking about their shows which talk about the social impacts of poverty and class; and, best of all, the few minutes we had to benefit from the wit of Andrew Maxwell.
Go into BBC shows like this with an open mind and there's always enjoyment to be found.
Tuesday 20 August 2019
Soundhouse Presents : Three Times Five, Piandrome at The Pitt, Edinburgh Festival Fringe
The Soundhouse organisation, a driving force in providing quality, accessible live music in the city, had three quintets playing gigs in the Pianodrome as part of the 2019 Fringe. So why not ask all three to do a short set each in one amazing all-star concert. I've written reviews on all three bands in the past, so I will simply link to one each as the music remains the same. It was the format that differed, with each band only having time for three or four numbers each.
First up were the Kinnaris Quintet who looked delighted to play to a round of pianos stacked with people, plus a few on any seat that was available, even what looked like a tennis umpire's chair! They got things off to an energetic start, keeping the chat to a minimum and the music to the max. Wonderful.
Kudos to the Pianodrome tech crew who effected such rapid turnarounds between each performance and had the next act, John Goldie and the High Plains on in five minutes. Goldie's an amusing raconteur, but he too kept the talk short and to the point. Another great set before the final band. Moishe's Bagel are a highlight in any context and did not disappoint. Fiddler Greg Lawson personified the intoxicating and international nature of their music, with a dazzling performance of virtuosity and passion. The Bagel is not to be missed.
There are shows, Fringe and otherwise, at the Piandrome every day until 25 August. Well worth making the trip out to Leith to have a look and take in the atmosphere.
First up were the Kinnaris Quintet who looked delighted to play to a round of pianos stacked with people, plus a few on any seat that was available, even what looked like a tennis umpire's chair! They got things off to an energetic start, keeping the chat to a minimum and the music to the max. Wonderful.
Kudos to the Pianodrome tech crew who effected such rapid turnarounds between each performance and had the next act, John Goldie and the High Plains on in five minutes. Goldie's an amusing raconteur, but he too kept the talk short and to the point. Another great set before the final band. Moishe's Bagel are a highlight in any context and did not disappoint. Fiddler Greg Lawson personified the intoxicating and international nature of their music, with a dazzling performance of virtuosity and passion. The Bagel is not to be missed.
There are shows, Fringe and otherwise, at the Piandrome every day until 25 August. Well worth making the trip out to Leith to have a look and take in the atmosphere.
Soundhouse Presents : Kinnaris Quintet, Pianodrome at The Pitt, Edinburgh Festival Fringe
Sparkling in their outfits, personalities and music, Kinnaris provided a stellar hour in the piano based amphitheatre. Their only album to date, Free One, gets a lot of play in the Crawford home, but there's nothing like the exhilaration of live performance. Three fiddles (one of them five-string), mandolin and guitar playing largely self penned tunes. The compositions reflect their Scottish folk roots, and the many other influences they've absorbed, constantly switching tempos, developing themes, moving the melodic lead from instrument to instrument, infected with the clear enjoyment the five derive from playing together. Sparse, lush, romantic and uplifting, the music is underpinned by the imaginative guitar accompaniment of Jenn Butterworth, and her jury-rigged shoe stomp amplification drives the beat in the rockier passages. Kinnaris won a lot of new fans tonight, deservedly.
There are shows, Fringe and otherwise, at the Piandrome every day until 25 August. Well worth making the trip out to Leith to have a look and take in the atmosphere.
There are shows, Fringe and otherwise, at the Piandrome every day until 25 August. Well worth making the trip out to Leith to have a look and take in the atmosphere.
Kirsty Law : Young Night Thought, Pianodrome at The Pitt, Edinburgh Festival Fringe
Named after Robert Louis Stevenson poem, Young Night Thought is Law's audio-visual project exploring the concept of "the inner child". The performance began with a ten minute film of images and music of childhood and keeping the magic of that time alive.Interesting, if a touch overlong. On came Law and her band, with Kirsty on keyboard and vocals, a drummer and bassist, and the wonderful Esther Swift on harp. The songs mixed traditional themes, both verbal and musical, with modern interpretations. Law has a good, expressive voice, pleasingly retaining her accent in song, and Swift's harp added some ethereal touches to the music. Excellent drummer too. A nicely balanced set, not inspiring, didn't get the blood flowing, but thought provoking and enjoyable. And the Pianodrome setting lends it's own special magic to proceedings.
There are shows, Fringe and otherwise, at the Piandrome every day until 25 August. Well worth making the trip out to Leith to have a look and take in the atmosphere.
There are shows, Fringe and otherwise, at the Piandrome every day until 25 August. Well worth making the trip out to Leith to have a look and take in the atmosphere.
Sunday 18 August 2019
Dome Nights : Planets 360, Dynamic Earth, Edinburgh Festival Fringe
The Dome in Dynamic Earth has seats ready reclined to view the show being projected overhead on the dome shaped ceiling. This performance matches an orchestral recording of Holst's Planets Suite to a visual display relating to each planet. Mars, Venus, Mercury, Jupiter, Saturn, Uranus and Neptune take their turns, with some real images (for the planets nearer to Earth) mixed with graphical depictions and imaginings. Mars whets the appetite, with an intriguing representation of an explorer vehicle digging for samples. It's a shame that that taster turns out to be misleading, as the following sections become more and more ethereal. Nonetheless it's a pleasant experience, the music and visuals well matched, but unexplained and not always clear in intent.
Warning - laid back seating, darkness, gentle music and spacey images may cause drowsiness - by which I mean I heard snoring behind me! So it's certainly relaxing.
This is one four different Dome Nights offerings. The Dome Nights series is on in Dynamic Earth until 25 August.
Warning - laid back seating, darkness, gentle music and spacey images may cause drowsiness - by which I mean I heard snoring behind me! So it's certainly relaxing.
This is one four different Dome Nights offerings. The Dome Nights series is on in Dynamic Earth until 25 August.
Stephen K Amos Talk Show, Gilded Balloon Teviot, Edinburgh Festival Fringe
Comedian Amos is a strong warm up man before moving into his role as chat show host. These events depend almost as much on the quality of the guests as the abilities of the interviewer and today's line up was a cracker. (There's no excuse for it not to be in Edinburgh in August, is there?) First up was the deep voice and humanity of Reginald D Hunter, talking about why he prefers British racism to the US variety he grew up with - less chance of getting shot being one element - and stories of how people frequently confuse him and Amos.
He was followed by Isma Almas who did a five minute set before settling into the comfy chair. She provided a different slant on racism as the daughter of Pakistani immigrants and mother of an adopted black son, each generation having very different experiences. Followed by Scotland's own Janey Godley on the dumb reactions she gets to being a woman who swears a lot, her fearlessness in the face of internet threats, and going viral with her magnificent "Trump is a Cunt" photo. Amos spent more time laughing than posing questions, not that janey needs anyone to get her talking...
Final guest was magician James Phelan, who has a magic show on radio. he tried to get this across by performing a trick of sorts with Stephen, but Amos' lack of internet savvy proved a bit of a hindrance! Funny guy though.
Amos is a genial host, promoting rather than probing, and keeping the mood light. Overall a very enjoyable hour, which made us feel a bit better about having to queue in the rain.
Stephen K Amos Talk Show is on in Gilded Balloon Teviot on 23 and 24 August.
He was followed by Isma Almas who did a five minute set before settling into the comfy chair. She provided a different slant on racism as the daughter of Pakistani immigrants and mother of an adopted black son, each generation having very different experiences. Followed by Scotland's own Janey Godley on the dumb reactions she gets to being a woman who swears a lot, her fearlessness in the face of internet threats, and going viral with her magnificent "Trump is a Cunt" photo. Amos spent more time laughing than posing questions, not that janey needs anyone to get her talking...
Final guest was magician James Phelan, who has a magic show on radio. he tried to get this across by performing a trick of sorts with Stephen, but Amos' lack of internet savvy proved a bit of a hindrance! Funny guy though.
Amos is a genial host, promoting rather than probing, and keeping the mood light. Overall a very enjoyable hour, which made us feel a bit better about having to queue in the rain.
Stephen K Amos Talk Show is on in Gilded Balloon Teviot on 23 and 24 August.
Saturday 17 August 2019
India Flamenco - A Gypsy Tale, Alba Flamenca, Edinburgh Festival Fringe
I am always aware that the reviews I write are painfully amateurish, but I give each one my best shot, and they're really just for my enjoyment. However sometimes I know when I'm way out of my depth, and trying to write about dance is one of those times...
The show opens to an empty stage and a lengthy piece from an unseen (and pre-recorded) narrator telling us of the origin story of the Romani people in northern India, and the start of their migration westwards. Cue an Indian dancer, Indian music, and a series of dances. I'm guessing her moves took the story forward, but I'm not clued up enough to be able to figure out how. She certainly had a very expressive face, and excellent timing.
the narration moves the story on to the Middle East, which saw a belly dancer take over on stage, and eventually to Spain, the cue for a Flamenco dancer, with two accompanying musicians. The finale featured all five in an ensemble piece, and brought the legend to a close.
The flamenco guitarist was impressive, the singer intriguing, the dancers seemed technically proficient and worked well together. But most sections felt overlong (I wasn't the only audience member confused as to whether a dance had ended or not) and the 'story' felt forced and long winded. I looked at my watch more times than I'd have liked to!
If you love watching dancers doing their thing you might love this. But for the rest of us it's best avoided.
The show opens to an empty stage and a lengthy piece from an unseen (and pre-recorded) narrator telling us of the origin story of the Romani people in northern India, and the start of their migration westwards. Cue an Indian dancer, Indian music, and a series of dances. I'm guessing her moves took the story forward, but I'm not clued up enough to be able to figure out how. She certainly had a very expressive face, and excellent timing.
the narration moves the story on to the Middle East, which saw a belly dancer take over on stage, and eventually to Spain, the cue for a Flamenco dancer, with two accompanying musicians. The finale featured all five in an ensemble piece, and brought the legend to a close.
The flamenco guitarist was impressive, the singer intriguing, the dancers seemed technically proficient and worked well together. But most sections felt overlong (I wasn't the only audience member confused as to whether a dance had ended or not) and the 'story' felt forced and long winded. I looked at my watch more times than I'd have liked to!
If you love watching dancers doing their thing you might love this. But for the rest of us it's best avoided.
Ex-Batts and Broilers, Assembly Rooms, Edinburgh Festival Fringe
Gail and Gemma are puzzled why only one of them has been invited to Jim's birthday party, but they're happy for their new friends, the audience, to decide which of them should go. Gail and Gemma are rescue chickens, the former having been a prolific egg layer, the latter once destined for the pot. And to help us decide who is going to the party they will tell us more about themselves, and their chequered pasts. Stories told in flashback, demonstrations of their varied talents (Gail writes poetry), a tragic love affair and a lot of corn, paint in the details of their lives and personalities.
Interesting contrasts abound. The chickens have very human experiences and emotions, but also real memories of the horrors of industrial farming. They, Gail in particular, think themselves sophisticated in the ways of the world, and remain totally naive throughout. They are locked into their cage and frequently break the fourth wall. And both speak in weird unplaceable accents that make them both cute and slightly alien. There's storytelling, drama, farming facts, dance, poetry (Gail's of course), live music and song, and an extensive (free?) range of chicken related puns. Both Jess Dupré (Gail) and Sophie Taylor (Gemma) are excellent, both individually and as an instinctive team, drawing the audience into their cage bound little world. High energy, very physical, full of laughs, imaginative, unexpected and with a surprising dose of pathos, this is Fringe entertainment at it's best, and the memory of seeing it will stay with me for a long time. And did I mention how funny it is?
Unmissable.
No, really - you should go and see this, it's wonderful, one of 2019's hidden gems. And take all your friends. They'll love you for it.
Interesting contrasts abound. The chickens have very human experiences and emotions, but also real memories of the horrors of industrial farming. They, Gail in particular, think themselves sophisticated in the ways of the world, and remain totally naive throughout. They are locked into their cage and frequently break the fourth wall. And both speak in weird unplaceable accents that make them both cute and slightly alien. There's storytelling, drama, farming facts, dance, poetry (Gail's of course), live music and song, and an extensive (free?) range of chicken related puns. Both Jess Dupré (Gail) and Sophie Taylor (Gemma) are excellent, both individually and as an instinctive team, drawing the audience into their cage bound little world. High energy, very physical, full of laughs, imaginative, unexpected and with a surprising dose of pathos, this is Fringe entertainment at it's best, and the memory of seeing it will stay with me for a long time. And did I mention how funny it is?
Unmissable.
No, really - you should go and see this, it's wonderful, one of 2019's hidden gems. And take all your friends. They'll love you for it.
Friday 16 August 2019
Tom Rosenthal : Manhood, Pleasance Courtyard, Edinburgh Festival Fringe
An hour of Rosenthal talking, occasionally ranting, about his penis. Or rather the bit of it that isn't there. Being circumcised when only 6 days old has left him with an obsession about the reasons and consequences of that action. He's done a lot of research into the subject and is happy to share his findings, however bizarre.
With film clips, diagrams and statistical charts Tom takes us through his OCD and the work he's done to better understand the meaning of that lost foreskin. As he says, even it isn't funny it is very well researched.
But it is funny. Very funny. Rosenthal's fast, bubbling delivery is accompanied by a tendency to laugh at his one jokes - it should be annoying but somehow becomes part of his hyperactive charm. His honesty and self awareness give his comedy an insightful edge, the observations and metaphors imaginative and some sequences border on bizarre. None more so than the closing routine, complete with callbacks and a reminder that the title of the show has multiple meanings.
Definitely worth a look.
Tom Rosenthal : Manhood is on at Pleasance Courtyard until 25 August.
With film clips, diagrams and statistical charts Tom takes us through his OCD and the work he's done to better understand the meaning of that lost foreskin. As he says, even it isn't funny it is very well researched.
But it is funny. Very funny. Rosenthal's fast, bubbling delivery is accompanied by a tendency to laugh at his one jokes - it should be annoying but somehow becomes part of his hyperactive charm. His honesty and self awareness give his comedy an insightful edge, the observations and metaphors imaginative and some sequences border on bizarre. None more so than the closing routine, complete with callbacks and a reminder that the title of the show has multiple meanings.
Definitely worth a look.
Tom Rosenthal : Manhood is on at Pleasance Courtyard until 25 August.
Exposing Edith, George Square Studios, Edinburgh Festival Fringe
Australian cabaret star Michaela Burger, backed by guitarist Greg Wain, tells and sings the life story of the legendary Edith Piaf. Key moments from the chanteuse's career and the characters she's involved with are told/acted out, interspersed with her most important songs.
The script avoids the trap, common to many of the genre, of becoming a Wikipedia entry with musical interludes, and the stories are interesting and relevant. Burger has an excellent voice and comes close to the Little Sparrow's delivery. Her acting skills don't shine quite as brightly (although her accents were very convincing), and the performance needs a bit more pace and humour to lift it. But overall this is an enjoyable and informative show, and Wain's skill on the strings contribute a lot towards creating the Piaf atmosphere. If you've got an interest in Piaf this is worth giving a go.
Exposing Edith is on in George Square Studios until 26 August.
The script avoids the trap, common to many of the genre, of becoming a Wikipedia entry with musical interludes, and the stories are interesting and relevant. Burger has an excellent voice and comes close to the Little Sparrow's delivery. Her acting skills don't shine quite as brightly (although her accents were very convincing), and the performance needs a bit more pace and humour to lift it. But overall this is an enjoyable and informative show, and Wain's skill on the strings contribute a lot towards creating the Piaf atmosphere. If you've got an interest in Piaf this is worth giving a go.
Exposing Edith is on in George Square Studios until 26 August.
Mark Watson : I Appreciate You Coming to This and Let's Hope for the Best (Work in Progress), Stand 1, Edinburgh Festival Fringe
You get a lot of value from a Mark Watson show. Not only did he 'begin' ten minutes early, but his angst-fueled hyper delivery style packs in laugh after laugh. Constantly explaining and accusing himself, he sets about showing up his failings in life, be it at parenting, marriage or his lack of practical skills. Mental health issues, his relationship with alcohol and self esteem are all in the mix.
He's great at bringing his audience in to his world, and the interactions with people are warm and friendly. It's life as we know it, but seen through sharper, more anxious eyes, taking us into interpretations we wouldn't reach on our own. The show is advertised as a work in progress, and no doubt it will be changed and refined over time, but the basis is already there. Consistently funny, easy to identify with, self deprecating and yet sure of his talent, you can only leave smiling.
Recommended.
Mark Watson : I Appreciate You Coming to This and Let's Hope for the Best is in Stand 1 until 25 August (with most shows already sold out).
He's great at bringing his audience in to his world, and the interactions with people are warm and friendly. It's life as we know it, but seen through sharper, more anxious eyes, taking us into interpretations we wouldn't reach on our own. The show is advertised as a work in progress, and no doubt it will be changed and refined over time, but the basis is already there. Consistently funny, easy to identify with, self deprecating and yet sure of his talent, you can only leave smiling.
Recommended.
Mark Watson : I Appreciate You Coming to This and Let's Hope for the Best is in Stand 1 until 25 August (with most shows already sold out).
Big Bite-Size Breakfast Show (Menu 3), Pleasance Courtyard, Edinburgh Festival Fringe
The same format as the other 'menus', with the same delicious croissants (which they get from un improbable source).
The opener was Some Assembly Required. A house buying couple have no fears of the DIY their purchse might need, but there are some things in life that even IKEA instructions can't sort out. All 5 of the cast take part in this one, with the unexpected following the bizarre.
Noir Man is a smart spoof of American film noir, and their confusing plots. A private eye and a broad exchange questions and answers and barbs to great effect. Clever and funny, this was my favourite of the quintet.
Two's Tales is a rapid fire vision of impending apocalypse, against which the imperfections of human relationships cannot cease. Interesting structure, with both actors providing narration and playing multiple parts. Not as confusing as it sounds!
Number 4 was Stag Do. How do you celebrate your impending nuptials when you have no sense of fun and your only friend has baled out? Mixed expectations, drinking games and scrabble add up to a bizarre experience for an out of place guest.
Ending the show was Hitwomen of Highbury, a quaint period piece of deadly politeness. And some interesting female characters. Daft and very funny, a good ending to the set.
Having seen all three menus now I'd rate number 2 as the strongest, but this wasn't far behind, and Noir Man is a little gem.
Big Bite-Size Breakfast Show is on in the Pleasance until 26 August. Menu 3 is performed on the 18th, 22nd and 25th.
The opener was Some Assembly Required. A house buying couple have no fears of the DIY their purchse might need, but there are some things in life that even IKEA instructions can't sort out. All 5 of the cast take part in this one, with the unexpected following the bizarre.
Noir Man is a smart spoof of American film noir, and their confusing plots. A private eye and a broad exchange questions and answers and barbs to great effect. Clever and funny, this was my favourite of the quintet.
Two's Tales is a rapid fire vision of impending apocalypse, against which the imperfections of human relationships cannot cease. Interesting structure, with both actors providing narration and playing multiple parts. Not as confusing as it sounds!
Number 4 was Stag Do. How do you celebrate your impending nuptials when you have no sense of fun and your only friend has baled out? Mixed expectations, drinking games and scrabble add up to a bizarre experience for an out of place guest.
Ending the show was Hitwomen of Highbury, a quaint period piece of deadly politeness. And some interesting female characters. Daft and very funny, a good ending to the set.
Having seen all three menus now I'd rate number 2 as the strongest, but this wasn't far behind, and Noir Man is a little gem.
Big Bite-Size Breakfast Show is on in the Pleasance until 26 August. Menu 3 is performed on the 18th, 22nd and 25th.
Janey Godley : Godley on the Fringe, Counting House, Free Fringe
Come in, come in, park your arses, stop fannying about. Janey gets the audience organised before the show's even started and will soon let you know if you're not doing it right.
This time she had American comic Matt Davis open, a short spot on his confusion of how we do things in Scotland. very funny.
Godley is a one-off, just playing herself and telling stories. Warm, human, unable to suffer fools and bitingly critical of the likes of Trump and the idiots behind brexshit. Stories from her home life, comedy work, travelling around. She feeds off her observations of life, relationships and encounters. All in a hard boiled Glasgow wifie persona that fires out dead pan gag after gag.
Janey took a seat with her back to the audience to perform some of her now famed voiceovers which have become a huge social media hit. Short clips of Trump, May, Johnson, Sturgeon, and many others are reduced to comic figures by the words she puts in their mouths. Soup pots, caravans and the Sandras feature highly in the repertoire.
There's nobody quite like Godley, and her shows are jam packed each night. It's a Free Fringe show so you have to queue to get in - be there early. About an hour early if you want a good seat. She's worth it.
Godley on the Fringe is on at the Counting House until 25 August.
This time she had American comic Matt Davis open, a short spot on his confusion of how we do things in Scotland. very funny.
Godley is a one-off, just playing herself and telling stories. Warm, human, unable to suffer fools and bitingly critical of the likes of Trump and the idiots behind brexshit. Stories from her home life, comedy work, travelling around. She feeds off her observations of life, relationships and encounters. All in a hard boiled Glasgow wifie persona that fires out dead pan gag after gag.
Janey took a seat with her back to the audience to perform some of her now famed voiceovers which have become a huge social media hit. Short clips of Trump, May, Johnson, Sturgeon, and many others are reduced to comic figures by the words she puts in their mouths. Soup pots, caravans and the Sandras feature highly in the repertoire.
There's nobody quite like Godley, and her shows are jam packed each night. It's a Free Fringe show so you have to queue to get in - be there early. About an hour early if you want a good seat. She's worth it.
Godley on the Fringe is on at the Counting House until 25 August.
Hayley Ellis : Nobody Puts Hayley in a Corner, Just The Tonic at The Charteris Centre, Edinburgh Festival Fringe
She wanted to have a big intro, but budget, and health and safety issues, intervened. So instead Ellis comes out and has a bit of a talk about herself. Her mental health issues, where her boyfriend gets it wrong and her failure to be vegan. There's a seemingly loose structure to her set, but the callbacks give the lie to that. Some good jokes, a couple of awful puns, and a bit of chatting with her audience.
Hayley had to contend with a poor sound system (several punchlines went adrift), and having a small audience in an out of the way venue. She battled well with those constrictions and provided an entertaining hour. And a big ending. But it is a stand up show much like so many others, and there's nothing much to make it stand out. Go and you'll have a nice time, miss it and you're not really missing much.
Hayley Ellis : Nobody Puts Hayley in a Corner is on at The Charteris Centre until 18 August.
Hayley had to contend with a poor sound system (several punchlines went adrift), and having a small audience in an out of the way venue. She battled well with those constrictions and provided an entertaining hour. And a big ending. But it is a stand up show much like so many others, and there's nothing much to make it stand out. Go and you'll have a nice time, miss it and you're not really missing much.
Hayley Ellis : Nobody Puts Hayley in a Corner is on at The Charteris Centre until 18 August.
Stewart Lee : Wok in Progress, New Town Theatre, Edinburgh Festival Fringe
Despite the missing 'r' this is very much a work in progress, the second half of a forthcoming show to be toured later this year. So Lee brings out cards of notes from time to time, and is clearly judging audience reactions to some elements of the routine. This doesn't detract from a show that's consistently hilarious, and already involves his trademark deconstruction of his own material.
Less political than we've come to expect (that will be the other half of the finished show, but the world is changing so fast at present that it's impossible to write anything that will still be relevant even a month from now) this set touched on aspects of Lee's own career, other performers he'd worked with, and the bizarre description Netflix saddled his TV series with. Repetitive, self referential, breaking off into weird side issues, it's thought provoking, challenging and chest-achingly funny. And who couldn't enjoy a shark attack in the style of Alan Bennett?
Genius.
Highly recommended.
Stewart Lee has completed his run of shows.
Less political than we've come to expect (that will be the other half of the finished show, but the world is changing so fast at present that it's impossible to write anything that will still be relevant even a month from now) this set touched on aspects of Lee's own career, other performers he'd worked with, and the bizarre description Netflix saddled his TV series with. Repetitive, self referential, breaking off into weird side issues, it's thought provoking, challenging and chest-achingly funny. And who couldn't enjoy a shark attack in the style of Alan Bennett?
Genius.
Highly recommended.
Stewart Lee has completed his run of shows.
Tuesday 13 August 2019
Lost Voice Guy : I'm Only in It for the Parking, Gilded Balloon at the Museum, Edinburgh Festival Fringe
Stand up, but not as we know it. Buoyed by his success on a TV talent show, Lee Ridley, aka Lost Voice Guy, is attracting big audiences to his new Fringe show, but is the hype justified? He's certainly different from most other stand ups at the Fringe. Cerebral palsy has meant he's unable to speak, and being up on his feet for long periods is difficult. So his 'voice' is electronic, which he drives from a controller, and he sits for most of the set.
Ridley's topics cover the most stupid questions he gets asked about his disability, the ways in which he can take advantage of it, and exposing the prejudices he and others still face. Through the 'voice' he can conjure up, a series of well thought out projections behind him, and some surprisingly effective physical comedy, he keeps up a constant stream of laughs, poking fun at himself, those he comes into contact with, and the wider world. His timing is excellent, although the big disadvantage of having preprogrammed sentences is being unable to stop when the laughs build, meaning too many punchlines get missed by the audience.
That's a minor quibble. Lost Voice Guy is unique in his style, but that's backed up by plenty of well crafted jokes and a set that provokes thought as well as laughter. Recommended.
Lost Voice Guy : I'm Only in It for the Parking is on in Gilded Balloon at the Museum until 25 August.
Ridley's topics cover the most stupid questions he gets asked about his disability, the ways in which he can take advantage of it, and exposing the prejudices he and others still face. Through the 'voice' he can conjure up, a series of well thought out projections behind him, and some surprisingly effective physical comedy, he keeps up a constant stream of laughs, poking fun at himself, those he comes into contact with, and the wider world. His timing is excellent, although the big disadvantage of having preprogrammed sentences is being unable to stop when the laughs build, meaning too many punchlines get missed by the audience.
That's a minor quibble. Lost Voice Guy is unique in his style, but that's backed up by plenty of well crafted jokes and a set that provokes thought as well as laughter. Recommended.
Lost Voice Guy : I'm Only in It for the Parking is on in Gilded Balloon at the Museum until 25 August.
Monday 12 August 2019
Guy Montgomery: I Was Part of the Problem Before We Were Talking About It, George Square Studios, Edinburgh Festival Fringe
Unlike so many others on the Fringe, this is a comedy show where the title really does give you some idea of the content. Kiwi Montgomery talks about the incidents and views from his past that he's now ashamed of. Or should be, because sometimes he realises that he really likes having the unearned privilege his background and straight, white male credentials bring him. Episodes from childhood that shaped him, being an adult trying hard to make friends in new cities, always assuming that other people must be doing better at life than he is, and developing a greater self awareness that might help him to change - with a bit of work.
Before the show he asked for audience contributions, writing down memories from their past they were ashamed off. During the hour he'd occasionally dip in and read one out (anonymously of course). So there's some interaction, a chance to show off reasonable improv skills. Add in a well structured set and some pretty decent jokes and this was a fun hour. Montgomery's delivery can be a bit hesitant, and some of his analogies really don't hit the mark, but he's so likeable these flaws can be forgiven. A privileged person talking about privilege does have the taste of echo chamber, but Guy has enough humility to make him worth seeing.
Guy Montgomery: I Was Part of the Problem Before We Were Talking About It is on in George Square Studios until 25 August.
Before the show he asked for audience contributions, writing down memories from their past they were ashamed off. During the hour he'd occasionally dip in and read one out (anonymously of course). So there's some interaction, a chance to show off reasonable improv skills. Add in a well structured set and some pretty decent jokes and this was a fun hour. Montgomery's delivery can be a bit hesitant, and some of his analogies really don't hit the mark, but he's so likeable these flaws can be forgiven. A privileged person talking about privilege does have the taste of echo chamber, but Guy has enough humility to make him worth seeing.
Sunday 11 August 2019
In Conversation with... David Hayman, New Town Theatre, Edinburgh Festival Fringe
Hosted by comedian Susan Morrison, a chance to listen to, and question, the veteran actor talk about his career, charity work, political views and plans for the future. Morrison began by asking how a Glasgow East End 'schemie' ever made it into acting. It wasn't the obvious choice from a working class boy whose father was suspicious of his son's career, until he became a 'name' on the telly. From drama college in his teens through the legendary Citizens Theatre Hayman emerged as a significant talent, a working class man in a middle class dominated profession. He's made his own choices (and does most of his own stunts), and established himself as actor, director and documentary maker. He's particularly proud of the latter, covering subjects like the decline of the Clyde shipyards and Scotland's role in the slave trade, with plans to look at toxic masculinity. Hayman is conscious he plies his craft in a privileged line of work and wants, needs, to give something back to society. The educational value of those documentaries is one thing, but his highly successful humanitarian charity Spirit Aid is a more practical expression of this desire to help neglected elements of societies, both here and in other countries. He's also a weel kent supporter of Scottish independence, and has toured one man shows in support of that aim.
What the above outline of the show fails to do is bring out just how funny Hayman is, how self-effacing about his creative achievements, how full of evangelical zeal for his charity work, and his strong passion for the need for Scotland to make our own way in the world. Add in the hilarious and curious Morrison (a self confessed fan from her teens) and some intriguing audience questions and this added up to the fastest hour I've spent at a Fringe show this year.
In Conversation With... is on in the New Town Theatre until 24 August, with a wide variety of guests - although I'd challenge any of them to be as funny, interesting and inspiring as Hayman.
What the above outline of the show fails to do is bring out just how funny Hayman is, how self-effacing about his creative achievements, how full of evangelical zeal for his charity work, and his strong passion for the need for Scotland to make our own way in the world. Add in the hilarious and curious Morrison (a self confessed fan from her teens) and some intriguing audience questions and this added up to the fastest hour I've spent at a Fringe show this year.
In Conversation With... is on in the New Town Theatre until 24 August, with a wide variety of guests - although I'd challenge any of them to be as funny, interesting and inspiring as Hayman.
Saturday 10 August 2019
The Piano Men, Pianodrome at The Pitt, Edinburgh Festival Fringe
Australian Emma Knights has grown up always knowing she would be a piano player. But the lack of women role models in the public eye meant she had to turn to men for inspiration. In this hour she takes us through some of those who shaped her musical thinking, and the women who should have had the recognition that history denied them.
There's a decent script to give the show structure, some of it very informative. There are songs from the likes of Billy Joel and Elton John and many others, and comparisons between the quality of work produced by male classical composers and the almost unknown works by their female contemporaries. Knights is a solid pianist and can turn her hands to a variety of styles, but is let down by her singing. It's a strong voice, with good phrasing at times, but there's too many off notes for her to described as a singer. Nonetheless her enthusiasm, knowledge and keyboard strengths carry the show through and it was an interesting hour, not least because of the fascinating Pianodrome surroundings.
There are shows at the Piandrome every day until 25 August. Well worth making the trip out to Leith to have a look and take in the atmosphere.
There's a decent script to give the show structure, some of it very informative. There are songs from the likes of Billy Joel and Elton John and many others, and comparisons between the quality of work produced by male classical composers and the almost unknown works by their female contemporaries. Knights is a solid pianist and can turn her hands to a variety of styles, but is let down by her singing. It's a strong voice, with good phrasing at times, but there's too many off notes for her to described as a singer. Nonetheless her enthusiasm, knowledge and keyboard strengths carry the show through and it was an interesting hour, not least because of the fascinating Pianodrome surroundings.
There are shows at the Piandrome every day until 25 August. Well worth making the trip out to Leith to have a look and take in the atmosphere.
Jen Brister : Under Privilege, Monkey Barrel, Edinburgh Festival Fringe
Brister is, in her words, a "lezzer mum". She and her partner have twin four year old boys, and she's determined they grow up to have every privilege possible (But definitely, definitely NOT private school) - but also be self aware enough to know they are privileged. That, as she's rapidly finding out, is not an easy circle to square.
The show explores privilege, bigotry and self awareness through Brister's experiences and world view. Nothing ground breaking, but the sort of reminders that never do any harm to hear over again. We live in a society engulfed in privilege, and now the UK is governed by Prime Minister who virtually defines the term. Brister doesn't want her sons to grow up to be like him (or Toby, but that's another story...).
There are passages of the show that come over as more earnest than funny, as she freely admits, but most of the set has laughs aplenty, and nobody, not even the straight white males (like me), is made to feel uncomfortable. She's angry, shouty, loving, soft and friendly, the mood regularly shifting, but never misses a punchline. It's a well crafted show, with a clear theme and message, and none the worse for it. Definitely worth a look - especially if you're the one withall the privilege.
The show explores privilege, bigotry and self awareness through Brister's experiences and world view. Nothing ground breaking, but the sort of reminders that never do any harm to hear over again. We live in a society engulfed in privilege, and now the UK is governed by Prime Minister who virtually defines the term. Brister doesn't want her sons to grow up to be like him (or Toby, but that's another story...).
There are passages of the show that come over as more earnest than funny, as she freely admits, but most of the set has laughs aplenty, and nobody, not even the straight white males (like me), is made to feel uncomfortable. She's angry, shouty, loving, soft and friendly, the mood regularly shifting, but never misses a punchline. It's a well crafted show, with a clear theme and message, and none the worse for it. Definitely worth a look - especially if you're the one withall the privilege.
Iain Dale : All Talk, Gilded Balloon at the Museum, Edinburgh Festival Fringe
Dale, an LBC talk show presenter, is hosting a series of conversations with a variety of guests during the first week and a bit of this year's Fringe. Today's guest was historian David Starkey. He's best known to the public as a TV presenter of (almost exclusively) English history, and for his controversial, views on politics shows like the BBC's Question Time.
He began on a note that certainly chimed with me, saying that whatever you were trying to put it across, be it university lecture, TV programme or whatever, one of the keys to getting your information across was to make sure it was also entertaining, because that's what keeps people's attention. And, true to that philosophy, Starkey was often very funny, sometimes erudite, and he tells a good story. Dale really had very little to do in prompting him to talk. Just light the blue touch paper...
He admits he likes being the centre of attention and is, in his own words, still a "naughty boy". Which, in part, might be why he seeks to be so controversialist at times. This can result in some peculiar dichotomies. An openly gay man who's critical of, even bigoted against, other gay men who, as he sees it, want to emulate a straight lifestyle. If you've been on the receiving end of bigotry, as he admitted he had, it would surely make you avoid doling out the same to others? He also sought to try and provoke a Scottish audience, initially by dismissing Burns, but then presenting a view of the union of parliaments in 1707 that missed out several salient facts. He says it was the Scots who sought the union. There's a truth in that, if you stick to the aristocracy, but it ignores the riots in the Edinburgh streets in protest against it. And if the union was so popular why were so many British army garrisons built across Scotland in the years that followed?
The mask really slipped near the end, when he described Henry VIII building England as "an island fortress". Woolly thinking? Sloppy language? Not something I'd expect from him. This was the Little Englander mentality laid bare.
Dale never really pushed his guest so the result was somewhat anodyne. Starkey emerged as surprisingly entertaining, even likeable at times, but there's definitely something nasty lurking underneath...
Iain Dale : All Talk is on in the Gilded Balloon Teviot (already sold out) and Gilded Balloon at the Museum until 11 August.
He began on a note that certainly chimed with me, saying that whatever you were trying to put it across, be it university lecture, TV programme or whatever, one of the keys to getting your information across was to make sure it was also entertaining, because that's what keeps people's attention. And, true to that philosophy, Starkey was often very funny, sometimes erudite, and he tells a good story. Dale really had very little to do in prompting him to talk. Just light the blue touch paper...
He admits he likes being the centre of attention and is, in his own words, still a "naughty boy". Which, in part, might be why he seeks to be so controversialist at times. This can result in some peculiar dichotomies. An openly gay man who's critical of, even bigoted against, other gay men who, as he sees it, want to emulate a straight lifestyle. If you've been on the receiving end of bigotry, as he admitted he had, it would surely make you avoid doling out the same to others? He also sought to try and provoke a Scottish audience, initially by dismissing Burns, but then presenting a view of the union of parliaments in 1707 that missed out several salient facts. He says it was the Scots who sought the union. There's a truth in that, if you stick to the aristocracy, but it ignores the riots in the Edinburgh streets in protest against it. And if the union was so popular why were so many British army garrisons built across Scotland in the years that followed?
The mask really slipped near the end, when he described Henry VIII building England as "an island fortress". Woolly thinking? Sloppy language? Not something I'd expect from him. This was the Little Englander mentality laid bare.
Dale never really pushed his guest so the result was somewhat anodyne. Starkey emerged as surprisingly entertaining, even likeable at times, but there's definitely something nasty lurking underneath...
Iain Dale : All Talk is on in the Gilded Balloon Teviot (already sold out) and Gilded Balloon at the Museum until 11 August.
Friday 9 August 2019
Cera Impala and the New Prohibition Band, Pianodrome at The Pitt
It's been almost two and a half years since I last had the privilege of seeing this outfit, and, musically at least, I have little to add to the review I wrote then. Still as enjoyable musically and as entertainers, the novelty lay more in the setting. The Pianodrome is an indoor amphitheatre built from old pianos, on which the audience sit and surround the performers. Acoustically it's not all that great, but it's an atmospheric place, albeit not a very comfortable one - cushions were provided and are much needed, at least by those of my generation. But it's somewhere you should try to experience if you enjoy seeing something different, and it's in use every day of the Fringe. Worth making the trek out to Leith for.
Breaking the News, BBC Blue Tent, Edinburgh Festival Fringe
A recording of the BBC Scotland comedy news programme as part of the Fringe. If you've not heard it before it follows a familiar format with a resident host asking four guest celebrities questions related to the news from the previous seven days. BtN chair is Des Clarke, and potential guests are generously plentiful in Edinburgh in August. For this recording there was series regular Stuart Mitchell, with comedians Jena Friedman and Ed Byrne, and novelist Val McDermid.
After Clarke reads out some joke headlines the rounds of questions begin. In the first two news stories are mashed up into one soundstream and panelists have to unpick them. Round two features voices to be identified and what the stories are about them, followed by some members of the public talking about a story which has to be identified. There's a quickfire round at the end.
Brexshit, inevitably, had to get it's ugly face in, along with Scottish exam results, Trump, non disclosure agreements, plastics clogging up the oceans, independence for Scotland and other subjects. Mitchell showed his experience of the format, with a series of smart one liners and impressive knowledge of what's in the news. Byrne was frequently very funny and had a good fund of stories. McDermid was very impressive, often as funny as the comics and the most erudite in her opinions and knowledge. It was hard not to feel a bit sorry for Friedman, and American not wholly familiar with the subtext of many of the stories and conscious that she wasn't firing on all cylinders. Mitchell, admirably, seemed almost protective in helping her out.
It was funny, the time passed quickly, and it was clear that, with a bit of editing, there was the makings of a good radio show in there. Always interesting to see the reality behind the final product.
After Clarke reads out some joke headlines the rounds of questions begin. In the first two news stories are mashed up into one soundstream and panelists have to unpick them. Round two features voices to be identified and what the stories are about them, followed by some members of the public talking about a story which has to be identified. There's a quickfire round at the end.
Brexshit, inevitably, had to get it's ugly face in, along with Scottish exam results, Trump, non disclosure agreements, plastics clogging up the oceans, independence for Scotland and other subjects. Mitchell showed his experience of the format, with a series of smart one liners and impressive knowledge of what's in the news. Byrne was frequently very funny and had a good fund of stories. McDermid was very impressive, often as funny as the comics and the most erudite in her opinions and knowledge. It was hard not to feel a bit sorry for Friedman, and American not wholly familiar with the subtext of many of the stories and conscious that she wasn't firing on all cylinders. Mitchell, admirably, seemed almost protective in helping her out.
It was funny, the time passed quickly, and it was clear that, with a bit of editing, there was the makings of a good radio show in there. Always interesting to see the reality behind the final product.
Thursday 8 August 2019
Mark Nelson : Brexit Wounds, Gilded Balloon Teviot, Edinburgh Festival Fringe
In a festival where novelty is all, where so many silly ideas are brought falteringly to life, and shows need props and effects and soundtracks, it's good to have a reminder of the simpler pleasures of pure observational comedy. One man, one microphone, and that's it. Nelson is one Scotland's finest exponents of the art. Swiftly takes the mood of his audience, quick with smart comebacks, analogies that illuminate with a sideways light, the confidence of the experienced professional.
The show wasn't wholly about brexshit, which is just as well - he's having to rewrite it daily as the process squirms and writhes toward it's death throes. So the set also delves into house buying and the perverse language of estate agents, becoming middle class, what it's like to be Scottish on a hot day, and an exploding car. He doesn't always take the safe course, has his own opinions and isn't afraid to engage in argument. An hour with Mark passes quickly.
Recommended.
Mark Nelson : Brexit Wounds is on in Gilded Balloon Teviot until 25 August.
The show wasn't wholly about brexshit, which is just as well - he's having to rewrite it daily as the process squirms and writhes toward it's death throes. So the set also delves into house buying and the perverse language of estate agents, becoming middle class, what it's like to be Scottish on a hot day, and an exploding car. He doesn't always take the safe course, has his own opinions and isn't afraid to engage in argument. An hour with Mark passes quickly.
Recommended.
Mark Nelson : Brexit Wounds is on in Gilded Balloon Teviot until 25 August.
Wednesday 7 August 2019
The Kagools : Cirque du Kagool, Gilded Balloon Patter Hoose, Edinburgh Festival Fringe
The rainproof silent funsters are back, this time with a circusy theme, but still sticking to the format of their previous Fringe shows. Which means lots of audience participation, lots of daft props, and the clever sequences using a projection screen. The circus gets a ringmaster, from the audience of course, and the only voices we hear are of those press ganged from the stalls and given cards to read aloud. Plenty of accompanying music too.
The 'acts' include the world's strongest woman, a cherating magician and a tale of love, marriage, birth and tragedy, played out in a slapstick couple of minutes. And who wouldn't want to see a trampolining Nicola Sturgeon and Doris Johnson? The Kagools are natural clowns, masters of physical comedy, and suitable for all ages.
I laughed, a lot, so mission accomplished on that score. But there was also a nagging sense of deja vu. If you've never seen the duo before you'll marvel at their inventiveness and natural talents, and it's an experience not to be missed. But if, like me, you've seen some of their previous shows you'll find a sense of familiarity that suggests a staleness, a lack of moving on.
The Kagools are great fun, and there's nobody quite like them, but they might want to think about developing the act into new directions if they're to regain that sense of freshness that was such a big selling point.
The Kagools : Cirque du Kagool is on in Gilded Balloon Patter Hoose until 26 August.
The 'acts' include the world's strongest woman, a cherating magician and a tale of love, marriage, birth and tragedy, played out in a slapstick couple of minutes. And who wouldn't want to see a trampolining Nicola Sturgeon and Doris Johnson? The Kagools are natural clowns, masters of physical comedy, and suitable for all ages.
I laughed, a lot, so mission accomplished on that score. But there was also a nagging sense of deja vu. If you've never seen the duo before you'll marvel at their inventiveness and natural talents, and it's an experience not to be missed. But if, like me, you've seen some of their previous shows you'll find a sense of familiarity that suggests a staleness, a lack of moving on.
The Kagools are great fun, and there's nobody quite like them, but they might want to think about developing the act into new directions if they're to regain that sense of freshness that was such a big selling point.
The Kagools : Cirque du Kagool is on in Gilded Balloon Patter Hoose until 26 August.
Tuesday 6 August 2019
Lucy Farrett : Lois, Underbelly Cowgate, Edinburgh Festival Fringe
Character comedy and low budget thrills. Lois is Farrett's alter ego, a superhero waging war against the evil Gill Melon, aided by Colin, her trusty crow. Crow? Yes, for this is silliness on steroids, but strictly feminist steroids. In slinky black costume and blonde curly wig Lois is a part of who Farrett could be, as she explains in asides. She plays all the parts, goodies, baddies and in between, using a series of daft and cheap props, audience participation (how else could you have all those catfish?) and helpful soundtrack.
Farrett's imagination, energy and infectious enthusiasm overcome all obstacles, in both fantasy and real life, and you are drawn into her absurd world. There aren't really enough laugh out loud moments, but there's a few chuckles, and I found myself unable to stop smiling. It's comedy Jim, but not as we know it, and it's good to see someone trying something different (even by Fringe standards). Certainly not the funniest show around, but with more than enough charming idiosyncrasies to make it worth a look.
Lucy Farrett : Lois is on in Underbelly Cowgate until 25 August.
Farrett's imagination, energy and infectious enthusiasm overcome all obstacles, in both fantasy and real life, and you are drawn into her absurd world. There aren't really enough laugh out loud moments, but there's a few chuckles, and I found myself unable to stop smiling. It's comedy Jim, but not as we know it, and it's good to see someone trying something different (even by Fringe standards). Certainly not the funniest show around, but with more than enough charming idiosyncrasies to make it worth a look.
Lucy Farrett : Lois is on in Underbelly Cowgate until 25 August.
Big Bite-Size Breakfast Show (Menu 1), Pleasance Courtyard, Edinburgh Festival Fringe
The same format I outlined in my review of Menu 2, with five unconnected mini-dramas played out in an hour.
Date with Death is a strong opener. Angela comes visiting with what looks to be an unusual package in hand, but it turns she's just found the perfect way to get out of awkward second dates off Tinder. Even the police want to know more.
In Someone Gets Shot there are two men, one gun, and no way out. Both find they have a lot in common, maybe too much to separate them and bring an end to a tense and difficult predicament.
The highlight of the package came next, Mrs Thrales lays on Tea. Dr Johnson comes to visit, but what sort of hospitality is he looking for? Maid Molly would prefer not to know. The dialogue might not be up to much, but this is a real test of acting skill, all down to inflection and non-verbal comms. All three of the cast do an excellent job in letting us know exactly what's going on.
I was less taken with number four, One of our Comedians is Missing. Reanimated zombie comedians flying into battle sounds like an intriguingly daft idea, but this had the feel of a premise stretched too far, even in only ten minutes.
But Just Desserts provided a strong ending. How do you stop the office thief from stealing your lunch from the fridge? When it's been going on for months drastic action is required, even if it leads to a bit of a moral dilemma. Nice bit of physical comedy in this one.
Overall this doesn't quite match up to the standards of Menu 2, so if you only have one chance to see these guys this is the one I'd pass over. But then you'd miss out on the wonderful Mistress Thrales, and that really would be your loss. So it's still a Recommended from me.
Big Bite-Size Breakfast Show is on in the Pleasance until 26 August. Menu 1 is performed on the 9th, 12th, 16th, 20th, 23rd and 26th.
Date with Death is a strong opener. Angela comes visiting with what looks to be an unusual package in hand, but it turns she's just found the perfect way to get out of awkward second dates off Tinder. Even the police want to know more.
In Someone Gets Shot there are two men, one gun, and no way out. Both find they have a lot in common, maybe too much to separate them and bring an end to a tense and difficult predicament.
The highlight of the package came next, Mrs Thrales lays on Tea. Dr Johnson comes to visit, but what sort of hospitality is he looking for? Maid Molly would prefer not to know. The dialogue might not be up to much, but this is a real test of acting skill, all down to inflection and non-verbal comms. All three of the cast do an excellent job in letting us know exactly what's going on.
I was less taken with number four, One of our Comedians is Missing. Reanimated zombie comedians flying into battle sounds like an intriguingly daft idea, but this had the feel of a premise stretched too far, even in only ten minutes.
But Just Desserts provided a strong ending. How do you stop the office thief from stealing your lunch from the fridge? When it's been going on for months drastic action is required, even if it leads to a bit of a moral dilemma. Nice bit of physical comedy in this one.
Overall this doesn't quite match up to the standards of Menu 2, so if you only have one chance to see these guys this is the one I'd pass over. But then you'd miss out on the wonderful Mistress Thrales, and that really would be your loss. So it's still a Recommended from me.
Big Bite-Size Breakfast Show is on in the Pleasance until 26 August. Menu 1 is performed on the 9th, 12th, 16th, 20th, 23rd and 26th.
Craig Campbell's Joyful Pain, New Town Theatre, Edinburgh Festival Fringe
Rock 'n roll comedy from the wild-maned Canadian. Conversing with the audience (he's a fan of weegies). Storytelling (more on that in a moment). A bit of singing (Biggie and Dylan both featured). Some physical comedy (skidooing off into the night). And great seagull impressions (at inappropriate moments).
All of it funny. Stories include a Scot holidaying in Canada who failed to receive the usual levels of Canuck hospitality, and why seabirds aren't always the natural suspects. He's a big fan of the Scottish way of looking at life, although a gig in Oban proved a step too far. And he's less of a fan of our customer service. His tales are ridiculous, embarrassing, angry, gregarious, name dropping, weather observing, lived on the road, manically delivered, well constructed, well acted and chest-achingly hilarious. And looking at Scotland, and Britain more widely, in a way we natives can't.
I'm a fan. Recommended.
Craig Campbell's Joyful Pain is on in the New Town Theatre until 25 August.
All of it funny. Stories include a Scot holidaying in Canada who failed to receive the usual levels of Canuck hospitality, and why seabirds aren't always the natural suspects. He's a big fan of the Scottish way of looking at life, although a gig in Oban proved a step too far. And he's less of a fan of our customer service. His tales are ridiculous, embarrassing, angry, gregarious, name dropping, weather observing, lived on the road, manically delivered, well constructed, well acted and chest-achingly hilarious. And looking at Scotland, and Britain more widely, in a way we natives can't.
I'm a fan. Recommended.
Craig Campbell's Joyful Pain is on in the New Town Theatre until 25 August.
Monday 5 August 2019
Alasdair Beckett-King : The Interdimensional ABK, Pleasance Dome, Edinburgh Festival Fringe
ABK comes visiting from an alternative timeline where everything is getting better, just as we descend into chaos. He's here to offer his observations on our world, and suggest how we can make it better. Complete with an inspirational cartoon rendition of his good self, and some nifty gestures we must all learn to copy if we aspire to be him. And maybe you should...
Beckett-King creates his own off-kilter take on the world, surreal and familiar, bizarre and still immediately recognisable. Why not shorten a Shakespeare play into the 150 most used words? (The result is both gibberish and deeply meaningful.) How would Poirot handle an embarrassing situation in a train toilet? Do goths have a choice? These are the big questions ABK wants to answer for us.
There's a bit of audience interaction, but he's far too charming for anyone to feel alienated. There's whimsy, silliness and the odd sharp social and political observation. Nothing too explicit, but the sub text is clear. ABK is one of the good guys.
And one of the funny guys. I laughed constantly at the inventiveness and otherworldly cohesion of his sideways view on our world.
If you've not discovered ABK yet, now is the time. One of the lesser known jewels of the Fringe.
Alasdair Beckett-King : The Interdimensional ABK is on in the Pleasance Dome until 26 August.
Beckett-King creates his own off-kilter take on the world, surreal and familiar, bizarre and still immediately recognisable. Why not shorten a Shakespeare play into the 150 most used words? (The result is both gibberish and deeply meaningful.) How would Poirot handle an embarrassing situation in a train toilet? Do goths have a choice? These are the big questions ABK wants to answer for us.
There's a bit of audience interaction, but he's far too charming for anyone to feel alienated. There's whimsy, silliness and the odd sharp social and political observation. Nothing too explicit, but the sub text is clear. ABK is one of the good guys.
And one of the funny guys. I laughed constantly at the inventiveness and otherworldly cohesion of his sideways view on our world.
If you've not discovered ABK yet, now is the time. One of the lesser known jewels of the Fringe.
Lou Sanders : Hello To Your New Step-Mummy, Monkey Barrel, Edinburgh Festival Fringe
There are problems associated with trying to review a show you've had difficulty hearing. It wasn't especially noisy, and my hearing problems haven't returned. It was Sanders herself I had difficulty making out. A combination of an accent (London?) I found too foreign to tune into, and talking so fast that the enunciation blurred, made it hard to keep up with what she was saying. So this might be a bit harsh...
...But I hardly laughed at all. Others did, well some others did, so clearly Sanders has some appeal, but you need to be able to understand her first. There was a Trump joke that was pretty decent, and some lines about relationships that raised a titter, but her main schtick was about making herself seem unlikeable, and she came a bit too close to succeeding. Not that the material is all that poor - the tales of the massage with a happy ending and dating much, much younger men both had seeds of humour - but the delivery is, to this reviewer at least, dull, flat, almost boring.
The merch, shopping bags with Vote Labia on the side, were good. But not good enough for me to be able to recommend this show. One to miss.
Lou Sanders : Hello To Your New Step-Mummy is on in Monkey Barrel until 25 August (several dates are already sold out).
...But I hardly laughed at all. Others did, well some others did, so clearly Sanders has some appeal, but you need to be able to understand her first. There was a Trump joke that was pretty decent, and some lines about relationships that raised a titter, but her main schtick was about making herself seem unlikeable, and she came a bit too close to succeeding. Not that the material is all that poor - the tales of the massage with a happy ending and dating much, much younger men both had seeds of humour - but the delivery is, to this reviewer at least, dull, flat, almost boring.
The merch, shopping bags with Vote Labia on the side, were good. But not good enough for me to be able to recommend this show. One to miss.
Sunday 4 August 2019
Aidan Goatley : Happy Britain Part 1, Sweet Grassmarket, Edinburgh Festival Fringe
In a chance encounter in a service station on the A303 Goatley discovered "the happiest man in Somerset" - and sparked off an idea. If he could go to every county in the UK and ask what made people happy he'd have the basis for a really good show. And so Happy Britain was born.
As the Somerset tale centres on vasectomy it's clear that happiness is a concept that might not always fit into a convenient box. Aidan relates the best answers he received on his travels, and the serial problems he hit in trying to achieve his goal. And he delights in introducing newcomers to the world of the far-from-great-but-incredibly-persistent William Topaz McGonagall, for which we should all give thanks.
Goatley's enthusiastic, friendly and self deprecating style draws in his audience and he has a rich well of funny stories to draw on. Happiness might come from disco music, a fictitious quiet pint or a dodgy sauna, or maybe from watching a quality comedian doing his stuff. He ends with the story of why he might not have fully realised his ambition this time around, but, like Deep Thought, this show lays the ground for the greater successor to follow. Expect part 2 in Fringe 2020, complete with Aidan's own mid life crisis.
This show might not define happiness, but you will defintiely leave with a smile on your face.
Highly recommended.
Aidan Goatley : Happy Britain Part 1 is on in Sweet Grassmarket until 25 August.
As the Somerset tale centres on vasectomy it's clear that happiness is a concept that might not always fit into a convenient box. Aidan relates the best answers he received on his travels, and the serial problems he hit in trying to achieve his goal. And he delights in introducing newcomers to the world of the far-from-great-but-incredibly-persistent William Topaz McGonagall, for which we should all give thanks.
Goatley's enthusiastic, friendly and self deprecating style draws in his audience and he has a rich well of funny stories to draw on. Happiness might come from disco music, a fictitious quiet pint or a dodgy sauna, or maybe from watching a quality comedian doing his stuff. He ends with the story of why he might not have fully realised his ambition this time around, but, like Deep Thought, this show lays the ground for the greater successor to follow. Expect part 2 in Fringe 2020, complete with Aidan's own mid life crisis.
This show might not define happiness, but you will defintiely leave with a smile on your face.
Highly recommended.
Aidan Goatley : Happy Britain Part 1 is on in Sweet Grassmarket until 25 August.
Watching Glory Die, Assembly Rooms, Edinburgh Festival Fringe
Glory was only 14 when they put her away, convicted of assault for throwing crab apples at the postman. She's 18 now, in the adult prison, in solitary, and her sentence is being endlessly extended for the minor offences she commits whilst in custody. Glory wants to go home, but can't stop herself from behaving the way she does. The loneliness is breeding despair...
Gail is a hard bitten Corrections Officer, an old pro who'll obey whatever orders come from above - her pension is a powerful incentive to talk herself into believing it's all for the good of the prisoners, no matter how brutal the reality becomes.
Glory's mother knows it isn't Glory at fault, it's the system. Her daughter might not be perfect, but she doesn't deserve this, and her mum fears what the consequences might be - and her fears are realised.
Judith Thompson's indictment of the Canadian justice system is based on a real story, showing a culture that's incapable of dealing with mental illness, and seems to do all it can to promote poor mental health. A system that doesn't listen, kills hope and damages the lives of all it touches. Although there's some interaction between Glory and Gail, and one phone call from daughter to mother, most of the drama is played out in soliloquies, each actor giving powerful testimony to the dehumanising aspects of their roles and giving each character a sense of depth.
This production by Windsor Feminist Theatre is certainly emotional, and there's a particularly strong performance from Kelli Fox as Glory's long suffering mother, but it doesn't always manage to generate the expected sense of frustration with the inflexible bureaucracy they are all part of. It's still a compelling 75 minutes and worth a look if you're interested in how patriarchal influences still treat women as second class citizens.
Watching Glory Die is on in the Assembly Rooms until 25 August.
Gail is a hard bitten Corrections Officer, an old pro who'll obey whatever orders come from above - her pension is a powerful incentive to talk herself into believing it's all for the good of the prisoners, no matter how brutal the reality becomes.
Glory's mother knows it isn't Glory at fault, it's the system. Her daughter might not be perfect, but she doesn't deserve this, and her mum fears what the consequences might be - and her fears are realised.
Judith Thompson's indictment of the Canadian justice system is based on a real story, showing a culture that's incapable of dealing with mental illness, and seems to do all it can to promote poor mental health. A system that doesn't listen, kills hope and damages the lives of all it touches. Although there's some interaction between Glory and Gail, and one phone call from daughter to mother, most of the drama is played out in soliloquies, each actor giving powerful testimony to the dehumanising aspects of their roles and giving each character a sense of depth.
This production by Windsor Feminist Theatre is certainly emotional, and there's a particularly strong performance from Kelli Fox as Glory's long suffering mother, but it doesn't always manage to generate the expected sense of frustration with the inflexible bureaucracy they are all part of. It's still a compelling 75 minutes and worth a look if you're interested in how patriarchal influences still treat women as second class citizens.
Watching Glory Die is on in the Assembly Rooms until 25 August.
Big Bite-Size Breakfast Show (Menu 2), Pleasance Courtyard, Edinburgh Festival Fringe
Five actors, five mini-plays in one hour, and three "menus" to choose from. Pick up a strawberry, a croissant and a hot drink on your way to your seat and you're set to enjoy the cast perform five very different scenarios in sixty minutes. Today's offering was Menu 2, and included two playlets written by members of the cast.
They began with the two hander Michael Caine's Azaleas. Stuart has beaten cancer so now he's chasing facing all his other fears and desires on a bucket list of daring. Starting with his vertigo by riding the roller coaster. When it gets stuck at the top of the climb his wife gets him to explore how the situation could lead on to further experiences to tick off. Including dropping in on the eponymous actor's garden. Pokes fun at the ridiculous notion of bucket lists.
Number two, Bottle for a Special Occasion, is a more serious piece, a moving scene in a wine shop where the customer has an unusual request. Why do we blame ourselves for the actions of others? And where do wine critics come up with such ludicrous descriptions?
Glamping has another duo, this time out in the forest about to pitch their tent. As we learn more about why they're there, and the couple keep trying to second guess one another, there are questions raised about their relationship, and how damaging jealousy of a person's past can be.
In Apocalypto 90% of humanity have been either killed or zombiefied by a virus. Two of the survivors are getting on with life as best they can, but their friend Joe wants to turn everything into a drama. Real life isn't a zombie movie though.
The full cast come together in the finale, Warriors UK. Dumped by the exercise-obsessed Toby, couch potato Michelle enters a physically challenging TV reality show and surprises herself. If the ending is predictable the laughs compensate, and Claira Watson Parr looks to be having way too much fun as the Warrior!
This Menu offers a few elements to ponder, especially in "Bottle", but it's the laughs you'll remember most. Hugely enjoyable throughout. Highly recommended.
Big Bite-Size Breakfast Show is on in the Pleasance until 26 August. Menu 2 is performed on the 7th, 10th, 14th, 17th, 21st and 24th.
They began with the two hander Michael Caine's Azaleas. Stuart has beaten cancer so now he's chasing facing all his other fears and desires on a bucket list of daring. Starting with his vertigo by riding the roller coaster. When it gets stuck at the top of the climb his wife gets him to explore how the situation could lead on to further experiences to tick off. Including dropping in on the eponymous actor's garden. Pokes fun at the ridiculous notion of bucket lists.
Number two, Bottle for a Special Occasion, is a more serious piece, a moving scene in a wine shop where the customer has an unusual request. Why do we blame ourselves for the actions of others? And where do wine critics come up with such ludicrous descriptions?
Glamping has another duo, this time out in the forest about to pitch their tent. As we learn more about why they're there, and the couple keep trying to second guess one another, there are questions raised about their relationship, and how damaging jealousy of a person's past can be.
In Apocalypto 90% of humanity have been either killed or zombiefied by a virus. Two of the survivors are getting on with life as best they can, but their friend Joe wants to turn everything into a drama. Real life isn't a zombie movie though.
The full cast come together in the finale, Warriors UK. Dumped by the exercise-obsessed Toby, couch potato Michelle enters a physically challenging TV reality show and surprises herself. If the ending is predictable the laughs compensate, and Claira Watson Parr looks to be having way too much fun as the Warrior!
This Menu offers a few elements to ponder, especially in "Bottle", but it's the laughs you'll remember most. Hugely enjoyable throughout. Highly recommended.
Big Bite-Size Breakfast Show is on in the Pleasance until 26 August. Menu 2 is performed on the 7th, 10th, 14th, 17th, 21st and 24th.
Saturday 3 August 2019
Stewart Francis : Into the Punset, Assembly Rooms, Edinburgh Festival Fringe
Pun after pun it might be, but this is a carefully crafted set, full of callbacks and with a clear structure to it. The jokes range from the disarmingly simple, the sort you feel you could have written yourself but in reality never could, to the low key smart ones, which slip in so that only those paying close attention will get them. There's a fair bit of visual comedy too, with Francis proving to be a master of the rubber face and illustrative gesture, and sound effects that build themselves into the overall development of the hour. He provides alternative punchlines, surreal contradictions and groan inducing audacity in his wording and choice of subject matter.
It's played for laughs, pure and simple. There's a great anti-Trump joke, my favourite of the night, which got a big round of applause (once people caught on to his drift...), but mostly it's plain daftness, jokes for the sake of the joke. There is a brief foray into storytelling, but he swiftly returns to his forte, the one liner. That's not to say that what Francis doesn't isn't clever - his mastery of the format is evident - but you won't leave pondering any of life's big questions. However if your measure of comedy success is laughs per minute then Stewart Francis is a front runner. I was aching by the end of the hour, in the best possible way.
Recommended.
Stewart Francis : Into the Punset is in the Assembly Rooms until 25 August
It's played for laughs, pure and simple. There's a great anti-Trump joke, my favourite of the night, which got a big round of applause (once people caught on to his drift...), but mostly it's plain daftness, jokes for the sake of the joke. There is a brief foray into storytelling, but he swiftly returns to his forte, the one liner. That's not to say that what Francis doesn't isn't clever - his mastery of the format is evident - but you won't leave pondering any of life's big questions. However if your measure of comedy success is laughs per minute then Stewart Francis is a front runner. I was aching by the end of the hour, in the best possible way.
Recommended.
Stewart Francis : Into the Punset is in the Assembly Rooms until 25 August
Friday 2 August 2019
George Egg : Movable Feast, George Square Piccolo, Edinburgh Festival Fringe
His last two Fringe shows told us how to cook a meal in a hotel room, and in the garden shed. Now Egg is, literally, moving on, as he demonstrates the opportunities for cooking on a train, in a car, and in the ever present roadworks on the motorway network. In an hour he creates three dishes, grilled aubergine for the vegetarians, charred mackerel for the pescatarians, and chicken caesar salad for the barbarians. 😄 With tahini dressing, rhubarb compote, and croutons. It's definitely a cut above egg and chips.
Egg's a very funny man, and the show features some well crafted gags and some truly awful puns, but the heart of the comedy isn't the food, but what he uses to cook it. I don't want to give any spoilers away, for part of the joy of watching this act is seeing the objects on stage being put to unexpected uses. And there are a couple of sizeable pieces of kit sat under covers which are put to good purpose in creating the final dish. Suffice to say he makes surprising use of items you'd find in the aforementioned scenarios, including some disguised to look like the sort of things that normal people take on trains with them!
While much of the advice is tongue in cheek the cooking is real enough, the recipes simple but imaginative, and the food delicious. After the show you can sample each dish and buy the recipes, the first often prompting the second. This might be a comedy show, but George is a very competent chef - you try telling jokes while finely chopping garlic...
If food and comedy are your two favourite subjects then George Egg is the man for you.
George Egg : Movable Feast is in George Square Piccolo until 25 August.
Thursday 1 August 2019
Mark Watson : How You Can Almost Win, George Square Studios, Edinburgh Festival Fringe
In 2017 Watson found himself taking part in the Channel 4 programme Celebrity Island With Bear Grylls, as part of a group of 'celebrities' left to survive on a remote island. Whilst I'm not disputing that Mark himself deserved the epithet, he gave us a few of the other names who were with him and only Sharron Davies met with much recognition. Mind you, not many of us had watched the programme either. Or heard of it.
It should really have been "Without Bear Grylls", because the eponymous survival expert was off after about half an hour, possibly to spend more time with his money. Watson gives away a few trade secrets, and something of the personalities of the people he was stranded with. And tells of the lessons the experience taught him.
He takes a while to get into this story, after a period of audience interaction, and explanations of why this is unlike any of his previous shows, and just how bad he is at Powerpoint (there's a presentation throughout the show that backs up his claim...). Watson has always been open about his own weaknesses, his mental health struggles and anxiety, and he carries that candour into describing his island travails. The strong phobia he had to deal with for nights in a row, his own physical state and lack of supposed leadership skills, the effects on his body and mind of going for days without food, water and sleep. It might sound grim, but he's able to raise a laugh from every situation, however unpromising, but still reveal something of what the group had to endure.
It changed his attitude to his own everyday existence, and gave him a strong revulsion for the "I'm winning at life" mentality we see so often nowadays. There's a moral to the story certainly, but delivered with Watson's usual diffidence preventing any hint of sententiousness.
A different kind of 'self help' perspective, and a very, very funny one. Highly recommended.
Mark Watson : How You Can Almost Win is on at the George Square Studios until 11 August (but appears to be fully sold out).
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