John Smith: What Could Possibly Go Wrong?, 3 Old Monks, PBH Free Fringe, Edinburgh Festival Fringe

Smith is a likeable Geordie, who tells us immediately that his show has no overriding storyline, but is simply an hour of jokes and anecdotes, with the emphasis on dark humour.  Nevertheless he did mange to fit in a call back as part of his routine.  It's a slightly shambolic hour, but none the worse for that, although it gets a bit too slow paced at times.  His audience interaction is deent enough, and there are some pretty good jokes in there.  Dark?  Yes, quite often, sometimes to the point of feeling old fashioned,  but there's enough laughs in there to feel like this was time well spent.

He also has a guest making a brief appearance with her own routine - Very someone?  I didn't catch the name.  Very rushed, almost embarrassed by her own performance, and a bit weird...

In Loyal Company, Pleasance, Edinburgh Festival Fringe

 Actor and stand up David  William Bryan plays his great-uncle, Arthur 'Joe' Robinson, in a (mostly) true story.  Joe is a young man in Birkenhead in 1939.  He has a job.  And there's a girl in his life (almost).  But experiencing a Luftwaffe bomb attack on the Liverpool area dirves him to join the army.  He's trained, shipped about, and ends up heading for the Fra East, only for his ship to be sunk by Japanese bombers.  Rescued, and taken on to Singapore... just as the island is foreced to surrender.  Robinson has to endure 4 years as a POW, working as lave labour, seriously ill, his fellow prisoners dying.  But he survives, just, and finally makes it home.  What kind of life can he expect?

Bryan portrays this in dramatic and energetyiuc fashion, with several on stage costume changes, and giving voice to host of peoplein Joe's life.  He does a good job of bringing across the horrors of war, has his characters well deliniated, and there's a clear narrative arc.  He even manages to work a few laughs into a very sad subject.  The performance deserved the standing ovation he received in the end, if only for the physical toll each perfomance must take on his body.  

It's good to see a war story that is not about sucess of glory, but simply celebrates survival.

Mark Watson: Sometimes People Are Being Over-Cautious When They Say Work-In-Progress, But This Truly Is Rough, Stand 3, Edinburgh Festival Fringe

It might be a WIP, but the structure was clear and the show hilarious.  It centres on a tale of Mark's inability to stand up to a debt collector, despite a mistaken identity being involved.  Along the way are featured taking Nelson Mandela to Brighton, a non-appearance on Question Time, the politics of Kashmir, a donkey, and numerous other digressions.  

Watson is likeable, open, self-deprecating, and persistently funny.  He can smoothly riff off a bit of audience interaction, but keeps it minimal, concentrating on his material.  A very enjoyable hour.

Susan Morrison: Swearing, Shit and Shagging - Scotland's Filthy History, Stand 4, Edinburgh Festival Fringe

 Morrison is well known on the Edinburgh, and Scotland, comedy scene, but also as writer and broadcaster. More importantly for this show, she's also an enthusiastic historian, often focusing on the seedier aspects of society. So this is a show that's not only entertaining, but informative.

She takes us through Scotland's massive contribution, real and apocryphal, to the worlds of swearing sex and bodily functions, complete with on-screen illustrations, at a rapid pace. And she answers the big questions like how did women manage to have a shit whilst wearing a crinoline, and what sort of activities did Edinburgh's 'gentlemen' get up to when left to their own devices? There's even a bit of audience participation to illustrate the former...

Fast, filthy and funny. And excellent.

Tomatoes Tried to Kill Me, but Banjos Saved My Life, Summerhall, Edinburgh Festival Fringe

Can a show ever live up to such an eye-catching title? Keith Alessi is from an Italian American family,so tomatoes played a bit part in his family life. He was also, from a young age, a fan of bluegrass music, especially the sound of the banjo. But an early attempt to play the instrument soon ended in failure. He want on to have a successful career in business, which came to a halt with a sudden illness (in part doe to all those tomatoes...) that would change his life completely, and revive that banjo playing desire.

It's an interesting story, which he tells well, interspersed by his now-competent banjo playing and a hilarious moment of puppetry. And there's a moral to the tale too, as he discovered the concept of 'enough', an important step in life. But. There's a self-satisfied air about his delivery that can grate at times. It's enjoyable, interesting, and there's some great music playing a times, but there was always that 'but'...

The Kingmaker, Pleasance, Edinburgh Festival Fringe

Advertised as a Work in Progress, and the unfinished nature of the piece was strongly emphasised by the performer ('Mouse') before she began. This will end up being a much longer performance when completed, so this was only the first half. Despite which...

This is a fascinating hour and only left me wanting more. Mouse is a charismatic performer and is sure to be engaging once the show has some polish applied. It's her tale of joining, belonging to, and eventually leaving, a religious cult in the US. That fascination comes from her explanation of how ordinary people can be attracted into these movements, and then persuaded to stay. She went willingly, stayed willingly, and... well, sadly, it's how she left that is the big missing element. And one of several reasons why I sincerely hope that The Kingmaker, in it's completed form, is back for Fringe '27.  

Churchill's Urinal, EICC, Edinburgh Festival Fringe

Rosie Holt has built up a huge online following in recent years with her sharp parody videos of a Tory MP character.  Good satire walks hands in hand wirth reality and perhaps her biggest tribute is from the huge number of people fooled into thinking she was the real thing.

This play takes that original format, and twists the character into a Labour MP who becomes the first female Chancellor of the Exchequer (with apologies to Rachel Reeves!), and picks up on a real life fact and plays with the idea that it could turn into a viral incident.  In the Chancellor's en suite is urinal, a symbol of the patriarchy she'd prefer to do without.  But there's a problem. Churchill used to piss there so would it be an insult to national hero if it were to be removed?

The story is leaked, an interview ends badly, and immediately the media turns on her, along with the full propaganda force of the far right's social media, whipping up a frenzy of fake 'patriotism'. A Chancellor under siege. And a talking urinal, as the old war leader speaks from both grave and porcelain, along with a few other voices. Is there a strategy to turn things around?

The basic premise is sound enough, but this isn't sharp satire I had hoped for. Although sprinkled with contemporary references, there's an old fashioned feel to the script, descending into farce at times. Some of the humour seems laboured (pun intended), it's rarely hilarious.

It's certainly not all bad though. There's an effective attack on the hagiographical mythologising of WC, who truly was a racist alcoholic, and an effective demonstration of the power of social media to blow everything out of perspective. Plus a few decent jokes, especially the one about Fabricant. Holt's performance is energetic, and engages with her audience, but tends towards the chaotic at times. There's excellent support from Michael Lambourne as the vocal urinal and other voices.

Maybe it was the expectation of something akin to her viral hits that left me feeling disappointed, but I was left with the impression that a solid ten to fifteen minute sketch had been stretched a bit too far...                                                                                                                                                                                                                                                                                                                                                                     

Le Vent du Nord, Queens Hall, Edinburgh Festival Fringe

More of the same, thank you very much! We saw LVdN in January (yes we love them that much!) and this was, I'm happy to report, more of the same. The same energy, musicianship, high quality vocal harmonies, and pleasure in each other's company. While most of the numbers are foot tapping and spirit rousing, they can also provide moments of musical beauty, times to pause and take stock. And their intros combine information with humour.

A distillation of the sights and sounds of pure joy.

Cathy, Traverse, Edinburgh Festival Fringe

Tommy is dead. He was husband, father and grandfather. But he was also the family peacemaker, and with his influence gone they are free to fracture apart, driven by grief. Cathy misses her man and takes it out on those around her. The daughter she's never really liked. The granddaughter heading for single motherhood. And her well meaning but ineffectual son in law. She's no time for vague concepts like 'trauma', or sharing . She's too busy correcting people.

It takes happenstance, and connection from an unexpected place, to change direction, to begin healing. Realising that sharing grief is beneficial, and the empathy to see how other people suffer as much as oneself. In this sense Cathy has a fairly predictable redemptive story arc, with a cosy ending. But it's a bittersweet ride to get there. And very, very funny. There are sharp lines, digs at sectarianism, generation gaps and a suitably traumatic event to bring people together.

At the centre of it all is Elaine C Smith's Cathy, sharp edged and brittle, with a soft centre, and a wonderful comic performance, backed up by a strong cast. If you don't expect anything revelatory this is a laugh out loud hour with some uplifting emotional moments. You come out feeling better about yourself, and that's always nice, isn't it?

Big Bite-Size Breakfast Menu One, Pleasance Two, Edinburgh Festival Fringe

DYING STARS

Two people in a field in the dark.  He's trying to find a supernova in the telescope.  She's brought the hobnobs.  Two friends interested in astonomy.  Or is one of them for another reason?  Some men can be a bit slow to catch on.  Vary funny.

BORE

A girl sits reading in a pub.  She sees a couple come in and sit near her, and it seems that not all is well between them.  But their conversation is interrupted by an unwanted visitor.  Can Greg get rid of him and save the situation?  Or is he too boring?  A laugh out loud look at social awkwardness.  And the bookreader gets the punchline...  

HERE SHE COMES

It's almost time for the bride to go down the aisle, so it's natural that she's nervous.  Her brother and stepfather both help and hinder, and the wedding adviser keeps butting in.  There are laughs, but sadness too.  A bittersweet little drama.

STARDUST

 A woman calling roadside asssistance finds the AI chatbot to be a bit oversensitive, and unwilling to provide the help she needs.  A humourous comment on the way AI is taking over so many aspects of life. 

NARRATIVELY SPEAKING

What would we sound like if we spoke like caharcters in a novel, complete with thoughts and asides and descriptions?   Could we handle that level of honesty?  Three women find their speech conventions challenged when one of them decides to revolt.  A comedy that plays on the boudaries between life and fiction.

And that's another look at the Bite-SizeBreakfasts for another Fringe.  Some new faces in the cast, and plenty of exceelent writing.  Lots of laughs, and some subjects to ponder.  It remains a must see for us, and one of the most reliably entertaining shows.  If you only have time to see one of thier shows this year, I'd recommend Menu 1.

See you next year guys!

Daniel Petrie and Valeria Vulpe, The Caves, Edinburgh Festival Fringe

Petrie is a likeable Glaswegian, if a little nervous on this occasion. Some good observational comedy derived from his own life, and generally enjoyable, but no big laughs in there.

Moldovan Vulpe is a class act. Her slow dead pan delivery belies excellent timing, and her punchlines often come out left field. Or she'll leave the audience to fill them in for themselves, which is often funnier. I found myself wishing for a lot longer than her allocated half hour.

I wouldn't normally blame an audience for a flat atmosphere, as it's up to the performer to adapt. But in this case I did feel Vulpe deserved better. You get the best rewards from her humour if you're prepared to put in a bit of effort yourself, which most seemed unable to do. If you love comedians who make you think different, and bring in a dose of the unexpected, then Vulpe is waiting for you.

Richard Herring RHLSTP, The Stand at W Edinburgh, Edinburgh Festival Fringe

 A recording of Richard Herring's regular podcast, with stand up and actor Amy Matthews as guest.  Herring is a perpetually amusng, self deprecating host, relaxed and confident in his craft.  He asked questions about her life and career, and delved into his 'emergency questions' list, such as had she seen a ghost (sort of but not really!).  It's not an uproarius hour, but always entertaining and a pleasant way to pass the time (other than the shock of the bar prices...!).

In Conversation With... John Davidson, Stand 3, Edinburgh Festival Fringe

 In conversation with? The host provided the odd lead in, but mostly this was John in full flow. And none the worse for that, as he’s a good speaker.

For those unaware, Davidson has tourette syndrome. He already had some fame in Scotland through a series of documentaries, dating back to his teenage years, about living with the condition. But achieved international recognition last year when a biographical film (and book) about his life was launched I Swear became a major hit, the lead man got best actor at the BAFTAs, and John (unfortunately) ticking during the ceremony ended up bringing even greater public attention to the difficulties he and others face in society.

So the conversation (cum monologue!) began with the film, his involvement (near constant), the aftermath and what it has meant to him (he gets recognised everywhere). And how the impact has been far greater than he or the film makers had ever anticipated. He talked about his activism, improving life for people (especially children) with tourettes on both a societal and individual level. Meeting Queenie to receive his honour. Meeting a childhood hero, Warwick Davies. Places he’s been, resistance met. There was a short audience Q&A session at the end, mostly reflecting how much he is admired and the breadth of his impact, even beyond he tourettes world. Also allowing him to explain why he didn’t tic at all during his talking, or not until someone mentioned it. Focus on a task prevents it happening.

The hour flew by. Entertaining, enlightening, inspiring.

Big Bite-Size Breakfast Menu One, Pleasance One, Edinburgh Festival Fringe

 VOWEL MOVEMENTS

A couple moving in together and very much in love.  She's from Surrey, he's from Leeds, and there's some north/south banter between them.  Then his sister turns up unexpectedly and brings the unexpected with her.  An amusing look at the power of accents and concepts of social class..

COUCH TO NO WAY

A jogger turns up, still looking fresh.  Shortly followed by her friend, who doesn't.  There's some tension between them and it's not just because of their differing speeds.  When a man joins them, looking like he's totally exhausetd, things get even tenser.  A complex love triangle where someone is going to get hurt.  Jealousy, challenges and laughs.

LOVE (TERMS AND CONDITIONS APPLY)

A dystopian view of the future dating scene.  Two potential mates have ten minutes to make up their minds, guided by the algorithm.  He wants to analyse, she wants feeling, can they find any common ground in such a short time?  Played for laughs, but there's a chilling edge to this one.

IN TWO MINDS

A cosy night in on the couch, films, maybe a takeaway, but a text message threatens to derail the evening, and maybe more.  What makes this one so funny is that we see 4 actors on stage - the couple and, stood behind them, their inner thoughts.  While the sitting duo say the things they think they should say, the voices behind tell us eactly what they are thinking.  A little slice of domestic disagreement made hilarious by this clever device.  One of the funniest Bite-Size offerings I've seen.

THE MALTESE WAITER

A man asking a psychiatrist for help.  His problem?  He's a superhero... of sorts.  His superpower is be able to turn any situation into a piece of film noir, and it's ruining his realtionship.  Can she help him resolve his issue and make the right choice?  Lighting changes help enhance the switches in mood, the American accents set the scene, and deliver a weird and funny story with a twist.  Great fun to end on.

Another enjoyable quintet of playlets, with In Two Minds standing out as one of the best I've seen over the years I've been going to watch this group.

Big Bite-Size Breakfast Menu Three, Pleasance One, Edinburgh Festival Fringe

Here we are again.  Another Festival Fringe, and another three shows from the Bite-Size breakfast team to enjoy.  The usual format, of strawberries in the queue, coffee and croissants indie, and five mini-plays ro entertain.  Five actors, three of them familair faces from past shows.  This was a preview show, but, apart from one brief stumble over a line, you wouldn't be able to teel that they weren't already half way through the run.  I remain a fan.  Today's quintet were...

RUNAWAY DRESS

A woman in a wedding dress, seeing how she looks.  A panic when she hears a knock at the door.  All is not what it should be, as two old friends end up sitting down and making a decision.  Some good laughs, certainly an enjoyable watch, but perhaps a tad predictable. 

THE COMMUNITY GROUP

Four members of a neighbourhood chat group relate their posts and interactions.  One is selling a wardrobe, one looking to connect with an old flame, another is seeking attention, and the last is happy to give his views on what's wrong woth the world.  While there's a bit of stereotyping going on I find that forgiveable in a ten minute play where character needs to be dlearly defined very quickly.  And the characters are very recognisable to anyone who has experienced these groups.  Very funny, very familiar, and a sharp comment on the low quality of socail media intercourse.

A PERFECT TWO.

Such a happy couple, they seem to have been made for one another.  But when she suggests they each give the other a mark out of ten it's a clear invitation for things to go wrong, and it will take a lot of numerical working out to try and get back to where they were.  Beautifully played two hander that shows up the dangers of ego within a relationship.

CAFFEINE

A couple sit to have coffee after their meal, looking uncomfortable.  Why are they there?  To meet up with frinds who are late, or is there something else going on here?  As they explore the possibilities there is something happening between them, but will it become more than just chat?  An enjoyably awkward mini-tragedy.  

ON MUTE

It's Greg's big moment, a conference call that could lead to a promotion. But things quickly start to go wrong in a most unexpected manner, and he finds his chances of success dependent on more than just his own talents.  A good one to end the set on, pure farce with a lot of laughs as the unexpected unfolds.

Bite-Size is as worthy of your attention as ever.

Trouble, Struggle, Bubble and Squeak, Pleasance Above, Edinburgh Festival Fringe

 A solo show written by, and starring, Victoria Melody.  She enters wearing, as she explains, an accurate recreation of a woolen musketeer's outfit from the 17th century.  On a hot summer day.  Suffering for her art!

Melody started off script, and seemed genuinely surprised, and very grateful, that so many people had turned up to see her final Fringe performance this year.  But she soon got going into a fascinating tale.  

Her response to life crises is to immerse herself into a new activity.  In the past this has led her into pigeon fancying and beauty pageants.  When divorce entered her life she became fascinated by the Diggers, the grass roots radical action group that sprang up in England in the mid 1600s.  With no active Diggers society to join, she did what flet like the next best thing - English Civil War re-enactment groups.  An activity she is totally unsuited to, but still gets herself involved.

The story switches to a deprived council estate in Brighton, where she gets involved in projects to improve the life of the community.  They provide meals, a space to meet, advice and help in dealing with the autorities, and space where groups can get together.  With some amazing personal stories lying behind these achievements.

The culminaion of the tale is the bringing together of these two worlds, and the surprising success that it brings.  

Melody brings all this to life with her impressions of various important characters (some of them represeted on stick portraits), some imaginative props, and audience interaction through key jangling.  It's lovely, funny, inofrmative and inspiring, and creates a seamless link btween the revolutionaries of more than four centuries ago, and modern community action groups.  

Simply wonderful.

Margolyes & Dickens: More Best Bits, EICC, Edinburgh Festival Fringe

Outspoken, hilarious, talented and with her heart in the right place, Margolyes is always good valuie to watch.  This show mixed stories from her life, with short performances of Dickens characters, bring them fully to life within a few seconds.  Her ability to swap around during dialogue, to introduce the right levels of pomposity, or avarice, or innocence, the swiftly changing body language, is a mini master class.  And the intonation and expressiveness of her voice shows just why she is in such demand to record audio books.

As an added bonus there was a short Q&A session, with her tour manager reading out a few queries from the audience.  As unfiltered as ever Miriam was swift to give her opinions.  It was good to hear a prminent Jewish voice condemning outright the current criminal and genocidal actions of the Israeli government, and saying what needs to be said about the likes of Trump and Farage - she is very defintely not a fan of either of these manipulative liars.  

Wonderful entertainment, a standing ovation, and it all felt far too short a time...

LOLA: A Flamenco Love Story, EICC, Edinburgh Festival Fringe

A Spanish widow leaves Franco's Spain for London, seeking a job which will allow her to send money back to her poor parents and children.  She gets a job as a cleaner, is miserable, desperate, and then finds love.  That's about it for a plot, simply conveyed with screen subtitles over the Spanish narration.

But this isn't really about the story, less so than an opera might be.  This is the vehicle for dance and music, prinairly flamenco style, but with modern touches.  The dancing is impressive, especially the male lead.  The music is good, and the use of flute for solos was a nice touch.  The singing is traditional flamenco style, well done, but an acquired taste.

It did get repetitive at times, and I'm not sure diehard flamenco fans would be impressed by the 'flamenco lite' approach.  But overall it was entertaining enough to avoid boredom, and had several highlights in the dance..

The Poetical Life of Philomena McGuinness, Surgeon's Hall, Edinburgh Festival Fringe

Starring Jasmin Gleason as the eponymous Philomena, this is the story of Irish nurse, reluctantly so, in Britain during the second world war.  She has drifted into the profession, largely because her mother had been one before her, but McGuinness is a different character to her mum.  She's a bit more of a dreamer, like her dad.  She describes herslef as a poet (despite haven written no verse), others are always calling her 'flighty'.

But she's faced with the harsh realities of nursing in wartime, of trying to fit in, of making friends, and of trying to remain who she sees herself as.  If she feels a bit of a phoney at first there is more than enough opportunity for that feeling to pass.  Her experience grows, but can that poetical soul, that flightiness, survive?

This is a story about who we are, how we, and others, see ourselves.  About women in wartime, and wider society, having to be so many things to different people.  Gleason is superb in making us feel we know this young Irish woman, and in portraying several other characters along the way.  She even finds time for a bit of audience interaction.  

A tremendous acheivement, an hour of laughs and sadness and a sesne of questioning.  Highly recommended.

Iona Fyfe, Ukrainian Community Centre, Edinburgh Festival Fringe

 

A solo perfromance from Scots balladeer Fyfe, piano and voice.  A good mix of material - tradional ballads, self penned compositions, a bit of Dylan and Nick Cave (in Scots), an Appalachian song.  A few unaccompanied, with just the purity of her vocals to enjoy.  Her introductions can be amusing and informative, she tried to get the audience singing along (response was muted...), and kept things flowing.  Low key but enjoyable, and I'm glad I made the effort to go.