edaily for Monday, 7-Aug-2006

ThreeWeeks eDaily - on the inside – 7th August 2006

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FESTIVAL RAMBLINGS

Hello again. I really must work on those openings. “Hello again” just doesn’t cut it. Tonight I will sit up all night coming up with crisp, original opening sentences, one for every day that I have to write these ramblings. No, okay, I won’t I’ll be too busy sitting up all night getting the Week 1 issue of ThreeWeeks to press. The night after, perhaps? After all, I do have to work extra hard, now that I have five fans. Yes, five. Read it and weep. Earlier today I was discussing with Chris how by the end of this festival, I might have around thirty fans, given that at present my fan-base is increasing at a rate of around 1 a day. Of course someone emailed me recently to tell me they felt sure I had more than just a few fans. And because they perpetrated this white lie in such a charming manner, I’m going to tell you who they are so that you can add their show to your list of things to see. The company is Brainstopping, the show is Haemorrhage, and it’s a sketch show on at Underbelly every day at 4:45pm from 13 Aug. So put it in your diaries. My fans only do good shows, by the way, so you’ve got nothing to lose.

So, what have I been up to the last few hours? Well, I’ve not been sleeping much, and that’s the truth. No sooner is one issue out than we have to get working on the next one, and that’s what I was doing last night. I received more than one phone-call from persons urging me out to drink, but, being the hero that I am, I stayed put, editing my little heart out, for a large portion of the night. The week one issue will be out pretty soon. And you will be able to read it, knowing that I turned down booze and the high life to bring it to you. Quite literally the high life, actually, as some of those persons urging me to join them were in the Loft Bar at Gilded Balloon (I mentioned it in a previous eDaily, I believe) which is high up on the top of the venue. Of course that whole last paragraph makes it sound as though I think I personally, and I alone, am responsible for creating ThreeWeeks. I am great, it’s true, and I do have five fans, but I should clarify that my co-editor Chris, my colleague Christabel, my lovely subeditors (in alphabetical order, Abi, Aimee, Betty, Charlie, Owen, Tom) all work almost as hard as I do. Almost. No, I’m kidding. They all work just as hard as me. But not harder.

Chris and I did our first ThreeWeeks radio show today. It was kind of a tech run, really, although it was going out live on air, of course. Chris had to get used to doing all the highly technical pushing of buttons on an unfamiliar desk, and I had to get re-used to trying to get a word in edgeways. Anyway, there were one or two mis-pressed button, but other than that, things went really quite well, we felt. One of our lovely reviewers, Jess Shankleman, came in to tell us about the good stuff she’s been seeing in the last few days (‘Maxwell’s Full Mooners’ at Underbelly, and Act Provocateur’s ‘Lolita’ at C Venues), then we were joined by Lucy Kirkwood, who’s doing the rather interesting ‘Umbilical Project’ at Pleasance and The Bedlam… it’s too complex to explain here and do it justice, but do look out for our feature on it in the forthcoming issue of ThreeWeeks. Finally we were joined by the boys from Continuum (I say boys, strictly, I should probably call them ‘Men’,) who are doing ‘Present – A One Act Black Comedy About Now’ at Underbelly. We first met them in Brighton, they’re lovely, and our reviewer just gave their show a five out of five tw rating. Which is nice for them. And was nice for us, given that we had to interview them.

Tomorrow on the ThreeWeeks Radio show we’ll be joined by another lovely reviewer, The Runaway Lovers (assuming they don’t run away), Sarah Louise Young from ‘Confessions Of A Paralysed Porn Star’ (she and her company are presently quite excited by the recent donation by Ann Summers of some vibrating cock rings, which is nice), and Edinburgh based band Amplifico, so that’s something to look forward to. Remember to tune in. For the quality guests, and to hear Chris and Caro struggling whilst the show turns to a shambles around us. Why, I hear you ask, will it be a shambles? Well, I’m continuing the theme I began at the start of the last paragraph – if today’s radio show was the tech run, tomorrow’s is the dress run. And as all you theatre people know, the worse the dress rehearsal, the better the first night. And we wouldn’t want to have a bad show on Wednesday, frankly.

Anyway, still lots of work on that Week 1 issue to go, so I’d better get on with it. Hopefully be seeing some of you out and about midweek, once that puppy’s gone to press.

caro@threeweeks.co.uk

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THREEWEEKS CLASSIFIEDS

Sink your fangs into my soul, only you can make me whole!
BAT BOY: THE MUSICAL
is the biggest, boldest and bloodiest musical on the Fringe!

Flapping into Edinburgh for the first time ever, this cult smash-hit tells a bloody tale of love, betrayal and tragedy in one of the most acclaimed alternative musicals in decades. C too (venue 4), 3rd-28th August, 10.20pm. http://www.BatBoy2006.co.uk

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TWO BY TWO
Two bills of Two new comedies by Two new US playwrights. A womb’s eye view of reproduction, American Indian ghosts of vengeance, sex-ed drama for children, and the Apocalypse are all part of the show. Buy tickets for Bill One, see Bill Two free. Demarco Roxy Art House through Aug. 18 @ 18:00 & 19:00.

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Avalon Promotions in association with PlayStation Portable presents
EDINBURGH'S BEST COMEDY AT THE PLEASANCE COURTYARD

-The Runaway Lovers - 4.45pm
-Penny Spubb's Prawn Free - 5.10pm
-Simon Brodkin: Everyone But Himself - 5.55pm
-Colin and Fergus: Rutherford Lodge - 6.20pm
-Mark Olver: Happy Accidentally - 8.25pm
-Russell Howard: Wandering - 8.35pm
-We Are Klang: KlangBang - 8.40pm
-The Comedy Zone - 10.45pm
-Ray Peacock: Out of Character - 11.00pm

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CULTURE STARTS WITH C
Culture starts with C. In our fifteenth year C venues presents over 180 productions. The acclaimed C4kids programme starts the day before segueing into productions to suit all tastes. Then we dim the lights for the decadent delights of The Establishment, Edinburgh's definitive late night arts collective. It's a festival all of its own.

http://www.CtheFestival.com - Box Office Hotline 0870 701 5105

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ADVERTISE YOUR SHOWS OR VENUES HERE FOR JUST £20 A DAY
Email your 60 words, dates you want it to run and a phone number to ads@unlimitedmedia.co.uk and you could be in tomorrow’s eDaily.

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THREEWEEKS QUICK QUIZ: Dan Thomas

tw: Why have you decided to come and perform at the Edinburgh Festival?
dt: I had a spare £10,000 knocking around and was trying to decide on the fastest and most personally frustrating way of losing it whilst kidding myself with dreams of fame and fortune.

tw: How are you preparing yourself for the Festival?
dt: Three deep fried pizzas a day plus a bit of hill walking.

tw: What are you most looking forward to about this year's Festival?
dt: September 1st.

tw: What are you most fearing about this year's Festival?
dt: Every night in August between 6.30 and 7.30pm.

tw: In 30 words (no more now) why should we come and see your show?
dt: You'll laugh, you'll cry and you'll help an up and coming comedian avoid probable bankruptcy. Plus you'll also get a free amusing badge. (Seven words left over! Not any more.)

Dan Thomas is performing Ben Elton – The Musical.
Gilded Balloon Teviot, 2 – 18 (not 15, 6:30pm (7:30pm), prices vary, fpp 21.


THREEWEEKS QUICK QUIZ: Andrew Lawrence

tw: Why have you decided to come and perform at the Edinburgh Festival?
al: I had a good idea for a comedy show and the Edinburgh festival seemed like the ideal place for it.

tw: How are you preparing yourself for the Festival?
al: I've been previewing my festival show quite a lot throughout June and July at venues across the UK.

tw: What are you most looking forward to about this year's Festival?
al: Just the opportunity to perform what I think will be a fun show for an audience of discerning comedy enthusiasts.

tw: What are you most fearing about this year's Festival?
al: Mmm…can't think of anything.

tw: In 30 words (no more now) why should we come and see your show?
al: It's great. Great great great great great great great great great great great great great great great great great great great great great great great great great great great. Great.

Andrew Lawrence is performing Andrew Lawrence – How to Butcher Your Loved Ones.
Pleasance Courtyard, 2 – 28 Aug (not 21), 9:45pm (10:40pm), prices vary, fpp 19.

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THREEWEEKS FESTIVAL NEWS ROUND UP
With ThreeWeeks having been in Edinburgh since the late parts of July, it’s been fascinating watching the Festival grow from just a few posters to the hullabaloo that hit the city yesterday. The 30th annual Cavalcade caused havoc throughout the centre as thousands of people took to the streets to watch the carnival-esque parade of marching bands, floats and, leading it all, the Edinburgh Military Tattoo. However, by far the best thing we saw was the Wyoming High School All State Marching Band, who were seemingly sponsored by Pepsi (the tacky red, blue and white uniforms of their leaders and the Pepsi logo on their banner implied something was amiss). This blatant surrender to the sponsorship of such a capitalist behemoth might be frowned upon in some circles, but when it tastes as good as it does, who cares?

While in more havoc-related news (isn’t it nice that we try and keep a theme every day?), a giant moose has gone missing at Heathrow airport. Now any old moose wouldn’t be granted the pleasure of a mention in the eDaily, but this moose happens to be the mascot of the ‘Moovers & Shakers’ show at the E4 Udderbelly. Friends and family of the moose (known only as ‘X’) are clearly deeply concerned at the disappearance of the 7ft mammal and are hoping that the publicity surrounding it will lead to some helpful information. The ThreeWeeks team send their thoughts and prayers and hope for a swift solution to the situation.

And proving that the Edinburgh Festival is still the most hip and happening event on the arts calendar are a number of productions based on the art of internet blogging. The phenomenon (clichéd , I know) was the basis for four at our last count, including ‘Bloggers-Real Internet Diaries’, ‘Blogging’, ‘Girl Blog from Iraq – Baghdad Burning’ and ‘Jane Godley’s Blog – Live!’. So should you feel out of touch with all this technology malarkey, then these should get you right up to date.

Promotion of the day meanwhile, goes to Small Fires Theatre Company who were due to hold a 'HobGobblin’ competition today. For those unfamiliar with the format of such competitions, essentially the idea is to challenge five members of the public to eat as many HobNobs as possible in sixty seconds. The only downside to this is the lame prize given to the winner; a packet of HobNobs and two tickets to the show. Irrespective of this, ThreeWeeks will still be attending this significant event.

news@threeweeks.co.uk

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THREEWEEKS REVIEWS

Shows seen so far: 350
Reviews published so far: 135

ratings

1/5: A really bad show - don't go and see it
2/5: A poor example of this show's genre
3/5: A good example of this show's genre
4/5: A very good example of this show's genre
5/5: A brilliant show - go and see it

CHILDREN’S SHOWS

The Lion, the Witch and the Wardrobe
Livewire Theatre Company
Wow, that was fast! 45 minutes is a pretty short time in which to tell this story. Those not familiar with the Narnia Chronicles might get confused because there is no time to explain things. Take Aslan, if he is a lion, why doesn’t he (she, actually) look like one? Masks would have helped, possibly. That said, it is an impressive performance, especially Aslan, whilst the Witch and her wolves are very convincing in conveying their power and scariness; perhaps almost too scary for the very wee ones. The four children are charming though, (even if Lucy cries 3 times in 45 minutes), and any lack of background is more than compensated for by the wonderful music.
C central, 4 – 12 Aug, 10:00am (10:45am), £7.50 (£6.50), fpp 11.
tw rating 3/5 [kvo]

COMEDY

A British Guide to World Religions
Toby Mitchell
Contrary to most advertisements, this is actually a two person production, as both Toby Mitchell and Sarah Thomas Lane give us a lesson in world religions. With a real chemistry between the two, this stand up is fast, quirky and innovative. Following the faith and religion theme apparent, and widely publicised, at this years Fringe, Mitchell and Lane poke fun at religious followings such as Hollywood’s fashionable Scientology cult and discover new faiths like The Church of the Flying Spaghetti Monster. With comical looks at Christianity and Islam, coupled with a longing to perform a satanic baptism, this show adds a whole new angle to the world’s religions. This is a funny and immensely enjoyable performance, and definitely worth a gander.
C Central, 4 - 9, 27 - 28 Aug, times vary, £7.50 (£6.50), fpp 25
tw rating 4/5 [ml]

Adrenaline
Kate Smurthwaite
Somewhere on her international travels, Smurthwaite might have met Catherine Tate. Split into two halves, her show begins by relaying a list of sports she has tried. As observational humour, this probably would have been funnier if more of the audience had tried the sports she jokes about. Smurthwaite then presents characters with varying degrees of adrenaline. At one point I wasn’t quite sure if this show was comedy or tragedy, when an over energetic super-mum was revealed to be friendless and cuckolded. Smurthwaite was clearly quite nervous because she constantly plays with her hair but she does offer an award for the best heckler of the run. So if you’ve got a mean streak this might be the one to watch.
Roman Eagle Lodge, 4 - 27 Aug (not 13), 9:55pm (10:55pm), prices vary, fpp 16
tw rating 2/5 [js]

Amazing Adventures of Her majesty at 80
Carole Shaw
Silly penis jokes, daft exercises and a serenade. Doesn’t sound quite like Her Majesty, does it? This show was clearly written with the intention of the audience imagining the actual Queen standing in front of them, and then hoping they find her ‘inappropriate’ material rather amusing. However, it doesn’t really work. Even the expected political and family jokes weren't thought through properly (all the home secretaries get sacked because they have short names - ha, ha). Her audience interaction either falls flat on its face or ends up being forced and embarrassing, especially the morning exercise routine. At least she stayed in tune for the closing serenade, otherwise that stuffed corgi of hers might be lying in the corner right now, shredded to pieces.
Sweet ECA, 2 - 28 Aug (Not 13, 21), 3.00pm (3.45pm), £8.00 (£7.00), fpp 18.
tw rating 1/5 [mdw]

Back To the Futon
Paul Kerensa
If you’re a back to the future fan this show is a definite must-see, but I can’t recommend it if you have never seen the film trilogy. Although there are enough unrelated jokes to carry it, you’ll miss a lot of the in-jokes which make the show so special. Computer-added visual aids and a bit of time travel thrown into the mix all help to make this an interesting experience indeed, complete with a cash collection for a Parkinson’s disease charity to ‘aid your guilt’ on the way out. The theme is certainly carried well throughout the show and is never repetitive or boring, as Kerensa adds his own brand of comedy to the already classic film trilogy.
Smirnoff Underbelly, 3 - 27 Aug (not 14), 8.00pm (9.00pm), prices vary, fpp 20.
tw rating 4/5 [kg]

Confessions of a Cultural Spy
Strings Attached
Did you know that with the invention of digital cameras we have relinquished the ability to capture lost emotions on film? This is a one-man piece of performance art/storytelling, themed around the cultural observations of an American man living in central Europe. Despite the storyteller’s animated style, the tale has no clear form to it, mixing references to lesser know Dadaist artists with realisations of apparently symbolic coincidences which eventually lead nowhere. At first, I uncomfortably straddled the barrier between boredom and intrigue before drifting, as one does into sleep, into an utter absorption of the piece. Once there, I found the world that this man created to be greatly surreal and inventive. Definitely not for everyone, but surprisingly, I left with a feeling of deep satisfaction.
Sweet Grassmarket, 5 – 27 Aug, 1:10pm (2:10pm), £6.50 (£5.50), fpp 157
tw rating 3/5 [sab]

Charred and Dangerous
In the murky depths of Smirnoff Underbelly there are treasures a plenty to be found, for this is a venue where the latest and strangest comedy acts come out to feed off their audience's energy. ‘Charred and Dangerous’ are a triple act that reek with talent and ideas but the public's noses have yet to smell their pungent odour, which has the potential to lift the trio into the upper echelons of stardom. As for their opening show, this reviewer had trouble, at times, deciding whether the performance deserved a damning label of one star or the exceptional honour of five. However, ‘Charred and Dangerous’ comes through, a comic treasure chest whose precious comic gems greatly outnumber its worthless fool's gold, and deserves to be hunted for and opened.
Smirnoff Underbelly, 3 - 27 Aug, 5:30pm (6:25pm), £8.50 (£7.50), fpp 26.
tw rating 4/5 [tl]

Die Clatterschenkenfietermaus vs Malcolm and Mirriam
Die Clatterschenkenfietermaus
‘Die Clatterschenkenfietermaus’ - “Europe’s Worst Pop band”, are very funny. The performers are especially adept at improvising with the audience, so revealing the extent of their comic gift. The pair know their characters, and have established their relationship so well that this is a delight to watch. Unfortunately, the second half of the show is given over to two new creations, Malcolm and Mirriam, played by the same performers, who proceed to give a lecture on marriage. The low energy, deadpan delivery works, and the characters’ boringness and understated bizarreness is amusing, but not for a full half hour. Although the ending is inventive and quirky, one is left missing ‘Die Clatterschenkenfietermaus’, wishing it had been given more stage time.
Café Royal Fringe Theatre, 4-27 Aug, 5:10pm (6:10pm), £5.00, fpp 30.
tw rating 3/5 [bp]

Dusty Limits is Heartless
Quick-naughty productions
Comparing Jesus to Satellite Navigation may not be a strictly orthodox subject for a Cabaret act. Dusty Limits does not let this deter him. His finely-tuned one-man Cabaret show skillfully blends anecdotal conversation, the usual queer quota of double-entendres and reworked Cole Porter numbers in a compelling performance which leaves you
feeling ever so slightly violated. In a good way. One song is awarded the title ‘homage to hedonism’ though this could probably be a fair description of the entire show. The tunes are catchy, the new lyrics funny and sophisticated and the act seamless. Dusty is a flawless performer who is consistently entertaining, and he most certainly knows it.
C central, Aug 4 - 21(not 14, 21) 9.50pm (10.45pm) £8.50 (£7.50) fpp 31
tw rating 4/5 [kk]

Everybody hates Chris (Neill)
Chris Neill
Confident, snazzy and camp - but in a good way. Chris Neill is full of charmingly brutal honesty as he carves his way cunningly through celebrities and the disturbing ways in which they flaunt their fame. After an excellent opening, the show descends into a prolonged barren spell as his comedy becomes sporadic and untidy. Fortunately, he has a gentle charm which allows him to mock audience members’ suggestions without causing too much offence. Along with this he luckily (if a little cheaply) manages to save his show from doom towards the end with a few excerpts from celebrity autobiographies and another healthy dose of mockery.
Smirnoff Underbelly, 3 - 27 Aug (not 14), 5.15pm (6.15pm), £8.50 (£7.00), fpp 33
tw rating 3/5 [mdw]

The Free Beer Show
The Late Night Comedy Club
I drank water, and I still laughed… a lot. Three main acts plus a cute, beanie-d compere, a pleasing DJ and Lawrence Diamond. Our first man Jeff, otherwise known as ‘Cockney Wanker’, appeared to be on the run from the men in uniform and suffered from Compassion Syndrome. Our second man Miles suffered from Marbles In The Mouth Syndrome and he made my teeth crack from cackling. Unfortunately, the headliner failed to be quite as punchy as the other two because his Alcohol Ingestion Syndrome had kicked in. (Anyone would think the beer was free.) It didn’t matter. It had been an anus of a day but this show wrapped it up like a pair of silk knickers.
Underbelly’s Cow Barn, 3 – 27 (not 7 – 9, 14 – 16, 21 – 23), 12:20am (2:35am), prices vary, fpp 36.
tw rating 4/5 [vj]

Gary Le Strange: Beef Scarecrow
Underbelly Productions
Does strange equal funny? True, good stand-up often contains moments of effortless oddity. But there also exists that contrived strangeness which is sometimes used a foil for lack of wit and natural charisma. The problem here is, it is hard to tell whether it is the legendary rock star persona ‘Gary Le Strange’ who lacks the wit, or the comic himself. Unlike some audience members, I just didn’t get the joke, and the oh-so-strange references to meat just reminded me of a Ross Noble joke which made me laugh more than I did in the entirety of this performance. That is to say, just the once. If you want to hear someone sing the word maggot over 30 times in repetition, then see this show. If you don’t, then see anything else.
Smirnoff Underbelly, 5 – 27 (not 15), 6:45pm (7:40pm), prices vary, fpp 36
tw rating 1/5 [sab]

Hello Dalai
Piggy Nero
This is a terribly silly comedy show, with a story so ridiculous it's not worth getting into. The set and props are terrible, and the actors know it. That's what makes it so funny - at the heart of the show is the actors' ability to laugh at themselves. The comedy trio ensure lots of laughs by staying on their toes, using hilarious improv to react to the unpredictable hiccups that occur in live theatre. Hello Dalai is basically a series of sketches weaved into a play, and you can't help but wonder if the actors would've been funnier if they'd been given more freedom with the script. Give it a go if you like silly comedy, and expect the unexpected.
Smirnoff Underbelly, 3 – 27 Aug (not 14, 21), 6.45pm (7.45pm), prices vary, fpp 40.
tw rating 3/5 [amc]

I Know What You Did Last Sunday
Sherwood
James Sherwood sullies the innocent status of choirboys everywhere with this infectious slice of religious fun-poking. As a lapsed Vicar’s son and a member of an Anglican choral collective, he recounts his adventures in the Church of England with energy and a sizeable stash of wit, showing us how an insider-looking-outward responds to the faith of those around him. However, this is a show of extremes, for just as we receive a cynical take on ‘God the Superhero’, Sherwood surprises even the most cynical of us by launching into song and quoting hymns at length that few, if any, can recollect. So if impressive wordplay or an amusing concoction of Anglican and agnostic ideologies butters your crumpet, Sherwood’s your man. Amen.
Holyrood Tavern, 4 – 27 Aug (not 15, 22), 3:00pm (3:50pm), £5.00, fpp 42
tw rating 3/5 [kla]

Jesus: The Guantanamo Years
Abie
Introducing yourself as Jesus Christ is always going to be controversial, but Abie Philbin Bowman seems such a nice man that I can’t imagine God minding too much. The Irish comedian/singer/songwriter has put together a wonderful show, based around the premise that Jesus – a stand-up staging a comeback tour – is inadvertently detained in Guantanamo Bay, a facility he describes as being “like a maximum-security prison designed and run by KFC.” This intelligent and engaging comedy hour pokes fun at difficult subjects, but is never offensive. Though Jesus (a.k.a Abie) has a tendency sometimes to speak a little too quickly to be understood, the jokes are well set-up and usually met with applause. Sure to be one of the most talked about shows in this year’s Fringe.
Smirnoff Underbelly, 3 – 27 Aug (not 7, 14, 21), 1:00pm (1:50pm), prices vary, fpp 45.
tw rating 4/5 [cw]

Jenny Lion: As seen on TV
The Jenny Lion Edinburgh Project
There are very few words that could describe quite how fantastically awful this show is. At first one wonders if the whole thing is actually a double bluff; the comedy of the show being in how truly terrible it is. Then you realise that there are no such levels to the performance and become angry for the loss of the hour of your life spent watching Jenny Lion. The ‘comedy’ is set in a pub and the show consists of audience members doing a pub quiz. This is all. On one level, this show is genius, if only because the comedienne herself appears oblivious to how deeply unfunny she is. One way or another, it will be unforgettable.
Sweet ECA, 3-27 Aug (not 13), 9:10pm (10:10pm), £7.50 (£6.50), fpp 45.
tw rating 1/5 [nc]

Keith Carter's The Fall of the House of Frazer
Maverick Comedy
This one-man comedy play centres around a department store and documents the experiences of several hapless characters; a cuckolded customer with a record-breaking carrot cake-making ability, a militaristic ‘shop-floor detective’ who suspects all children of being evil and all midgets of being benevolent, and the owner of the store with his multiple, murderous personalities. Carter’s sense of humour is both dark and silly. The jokes are hit and miss, and while the act is laugh-out-loud funny in places, the delivery of the majority of the material requires tighter timing to bring it up a notch. The small audience responded positively though, and the show seemed to entertain everyone.
Cafe Royal Fringe Theatre, 4 - 27 Aug (not 15, 22) 2.40pm (3.40pm) £7.00 (£5.00), fpp48
tw rating 3/5 [kk]

The Plan B Show
Silent Fox
‘The Plan B Show’ is classed as a comedy, but proves something quite impossible to categorise. There aren’t enough belly laughs for it to be a comedy, yet it is relatively funny. The occasional crude jokes mean it can’t be a children’s show, yet some of the jokes are childlike. The script doesn’t make enough sense for it to be a theatre show, yet there is still a basic storyline. The show occasionally seems to be breaking new boundaries and creating new genres, but finishes just wide of the mark. Though a very interesting show, it only hints at the originality that would have made it stand out from the crowd.
C Central, 6 - 28 Aug (not 13), 3:05pm (4:05pm), £7.50 (£6.50), fpp 63.
tw rating 3/5 [sw]

Rick Chester’s ‘Five Steps to Stardom’
Prime Time International
Come and see Rick Chester, 1940’s movie icon and general schmuck, show his lucky audience five simple steps to becoming a Hollywood star. Just what we all dream of, no? All the while trampling on his trusty steed and assistant Miss Peabody, Rick Chester is a perfect celebrity shit, so it’s ironic to be spending money listening to his ‘advice.’ The costumes and props create a good look for the show but clichéd characters and script make this good looking thing quite dull. The acting and gestures are pretty mannered and wooden too, though this might be a deliberate touch. Eight out of ten for style, and three out of ten for content, so definitely a case of style over content here.
Smirnoff Underbelly, 3 - 27 Aug (not 14), 11.50pm (12.50am), prices vary, fpp 26
tw rating 2/5 [lw]

Spank
Spank and Underbelly Promotions
If you find yourself at a loose end around midnight, there are many worse options than Spank. This variety showcase promises something for everyone, particularly those of the pissed persuasion. Hosts Leon and James provide the laughs between acts, with different listed comedians every night. Highlights from the show I saw included Reggie Watts, a beatbox-machine who apparently just happened to be standing around the venue at the start of the show, and the consistently hilarious Matt Kirshen (who implored “I’m not fifteen”), who ended the set with a top-class performance. The audience is pretty lairy, and the Spank atmosphere is somewhere between a rowdy working man’s club and an overly-trendy, cocaine infused London bar - that unique Festival mix.
Smirnoff Underbelly, 3 – 27 Aug (not 4), 12:00am (3:00am), prices vary, fpp 71
tw rating 3/5 [cw]

That Canadian Guy
Glen Foster
This Canadian guy called That Canadian Guy who’s actually called Glen Foster delivers well-crafted comedy. Well he should do - as it says on the flyer, the Guy’s been doing the comedy circuit for over twenty years. Which might be why this act feels outdated. It’s clean, good comedy like they used to do, but with loads of razor-tongued comedians doing the Fringe, That Canadian Guy is far from the hottest ticket in town - there is darker, sharper and better stand up to be found at the festival. The Guy does deliver a good laugh or two (often at the expense of his own people), but the show’s funny without ever being hysterical. Perhaps worth seeing if you either love, hate, or are yourself from Canada.
Sweet Grassmarket, 3 - 27 August, 8:15pm (9:05pm) £8.50 (£7.50), fpp 74
tw rating 3/5 [lw]

The Will Hodgson Holiday Special
Maverick Comedy
From Iron Maiden to Alvin And The Chipmunks, with discussions of topics as seemingly disparate as biker shorts and Mr. T’s musical offerings along the way, Hodgson draws these subjects together under the umbrella of popular culture in 1980’s England. This constant linking with the outside world proves very valuable indeed, as Hodgson has the potential to lose all but his friends in the audience. By his own concession he’s not a comedian. Instead he’s a strange, unique, and kind of brilliant performer who tells jokes and happens to sing a little. He’ll win your heart with his honesty, and re-capture a chunk of your memory with his unconventional appearance and outlook.
Holyrood Tavern, 4 – 27 August, 2:00pm (2:50pm) & 8:00pm (8:50pm), £6, fpp79.
tw rating 3/5 [brh]

Why The Long Faces?
The result of Sally Anne Hayward and Vicky Fargo’s double act is a show that trundles along at a gentle pace. Their sketch show presents a spectrum of quirky characters all designed to highlight the eccentricities of Middle England. However, it seemed to me the absurdity never went far enough and that there were too many characters who left the stage just as the audience were beginning to engage with them. Hayward and Fargo’s comic talent would be better showcased if they had focused on their main characters, such as ‘fun mum’. Hayward and Fargo are a great double act, but this show needs to be restructured so it can deliver the “brooding, dysfunctional eccentricity” their publicity promises.
Holyrood Tavern, Aug 6 -12: 12:00pm (12:50pm), £5.00 (£4.00), fpp78.
tw rating 3/5 [csh]

DANCE AND PHYSICAL THEATRE

The Bellydance Diaries
Daphne Pena
It should be made clear that this is primarily a play that features some belly dancing. And the play let the bellydancing down. Covering the lives of two belly dancers in Egypt - one American, one Russian - it gives insight into a culture it seems we know little about in the West. One actress performed both roles with continual costume and accent changes, but the recurrent swearing detracted from the show and seemed to annoy parents with children. The combination of the two was a good concept; the mixture of the mysterious art of belly dancing and the sordid life behind, however it would have just been better to enjoy an hour of dance.
Zoo Southside, 4 - 28 Aug, 6:00pm (7:00pm), £6.00 (£5.00), fpp 80.
tw rating 2/5 [fc]

Ketzal
Derevo
Stunning physical theatre is a hallmark of the Aurora Nova venue, and they do not disappoint with the latest offering from fringe veterans Derevo. Loosely based on the myths surrounding ancient Mexican god Quetzalcoatl, this performance is a tremendous treat for the eye. The striking imagery begins with the arresting appearance of the company members, who have shaved their heads, whitened their faces, and often appear wearing only loincloths. The scenarios move from despair and power plays to playfulness and joy. Fabric, props, and elegant use of lighting, sound and even water help turn the dancers into something post-human, perhaps messengers from a tribal future. The show’s conclusion left the all audience sated and happy, even those splashed in the first few rows!
Aurora Nova @ St. Stephens, 4-28 Aug (not 8, 15, 22), 3:00pm (4:20pm), prices vary, fpp 84.
tw rating 4/5 [sk]

Knots
Coisceim Dance
This is exactly the kind of show that gives the Fringe Festival its magic. Dynamic, daring and provocative, the astoundingly talented cast delivers a spectacular display of visual and verbal gymnastics. At times devastatingly funny, heart-wrenchingly poignant or just pure exhilarating, the piece explores the infinite possibilities of expression in physical theatre through word-play combined with stunning choreography. A lethal combination: don’t exhale. Strikingly insightful, this intimate observation on the dynamics of love captivates the imagination, striking a chord with all lovers of performance and performers of love. Powerful, evocative and truthful, this is a top-notch performance with breathtaking visuals- don’t even think about missing it!
Aurora Nova @ St Stephen’s, 4-28 Aug (not 8, 15, 22), 9:40pm (11:00pm) prices vary, fpp 84.
tw rating 5/5 [tt]

Kyogen – Raw and Uncooked
Tanroh Ishida (Japan)
Sushi tastes good precisely because of its simplicity. The centuries-old Japanese art of Kyogen theatre works along the same lines, which is why this show is entitled ‘Raw and Uncooked’ - not because its actor is under prepared (somewhat miraculously he’s been practicing Kyogen since the age of three) but because, as he explains, Kyogen ‘strips away everything bar the essence’. This comic introduction to the techniques of a very formal tradition of Japanese theatre is a small treat, mainly because of the winsome charm of its only actor, the energetic Ishida, whose enthusiasm for his craft is infectious. Jumping, shuffling and howling his way across a tiny stage, his performance may not be polished, but it’s quite a lot of fun.
C central, 4 – 28 Aug, 11:05am (11:55am), £7.50/£6.50 (£5.50), fpp 84.
tw rating 3/5 [ecmb]

Thatha
Siyaya Arts
This has to have been the most vibrant and energetic show I’ve had the pleasure of seeing. Thatha – pronounced tata – is a packed hour of hearty African song, dance and soul. It’s loud and fast and surprises with every step. The narration gives some insight into the significance of the dances, creating not just an hour of dance after dance, but a well linked cultural journey into African life. Each dance deals with elements affecting them, from the reality of working life to even a dance about a car! Audience participation is a must – they request lots of clapping, although one of the rhythms they tried to start was just too hard for our audience to keep up. An hour of fun.
Underbelly’s Cow Barn, 3 – 28 Aug (not 15), 2:00pm (3:00pm), prices vary, fpp 87.
tw rating 4/5
[fc]

MUSIC

Heads We’re Dancing
Described as Western Australia’s premier ‘electronic global groove’ dance band, I think these guys may have been first in on the electronic scene simply because they were making music so many years back. These tunes may have been rocking twenty years ago but with some seriously dodgy eighties synth and piano, the whole act now just sounds dated. Some of the tunes are really quite danceable but the lyrics are cliched and the music’s definitely not genius. ‘Heads We’re Dancing’ is good crack, possibly, if you’re an Aussie and upwards of thirty, but otherwise I suggest you look elsewhere to get your music kicks at 10pm on a festival night. Heads We’re Dancing, tails were going somewhere else.
Sweet ECA, 6 - 20 Aug (not 5, 12, 19), 10:00pm (11:00pm), £8.50 (£7.50), fpp 117
tw rating 2/5 [lw]

Jonathan Prag Classical Guitar
Jonathan Prag
Jonathan Prag moves from some Bach ("For Guitar?!" I hear you gasp - apparently so!) through pieces from Spanish, Russian and Irish composers to a couple of songs by Cole Porter. Whilst in places the haunting beauty of the music was able to shine through, I got the feeling that Mr. Prag wasn't 100% confident in his playing of the pieces; they were interspersed with the briefest of hesitations, and his plucking wasn't always the sharpest. There were no major flaws, but it was just enough to keep a pleasant reverie at arm's length. He was, however, very personable, and told some great anecdotes about the composers and their music in between pieces. Which was nice.
Café Royal Fringe Theatre, 4– 28 Aug (not 16), 1.35pm (2.35pm), £7.00 (£5.00), fpp 120
tw rating 3/5 [jc]

New Young Pony Club
T on the Fringe
They really got me. The New Young Pony Club have been described as possessing strip club vocals as well as having influences such as The Stooges, Grace Jones and Talking Heads, but NYPC are a truly unique blend of sex-rock, Deborah Harry antics and all-out, floor bashing rhythms. Young and energetic, this 5 piece from London are not for the sweat-band-toting, new-age fringe renegades. Their music is abundantly confidence, and had the crowd moving by the second piece due to the fact that they so clearly enjoy doing what they do. Even the keyboard managed to integrate, instead of hanging in the air playing space invaders. Totally non-prescriptive, very original, and very British rock. This band is one to watch out for.
Cabaret Voltaire, 4 Aug, 9:30pm (11.00pm), £6.50, fpp n/a
tw rating 4/5 [kr]

MUSICALS AND OPERA

Infinite Variety
Davidson College
The small hall of the Roxy Arts Centre has been turned into a tube train carriage and platform - a scene of stereotypical American bustle and cynicism, and it is here that Davidson College students diffuse the emotional richness of Shakespearean lyrics set to musical arrangements by the likes of Brahms. But with Davidson it’s not about the thick and heavy high drama, and this threw me. Their dramatic interpretation is so subtle that it took me most of the performance to tune into it, which makes me want to recommend their complementary show ‘For Every Passion Something’, where the drama is the focus, because whether you’re a fan of Shakespeare or just good drama in any form, they are not to be missed.
Rocket @ Demarco Roxy Art House, 3 – 16 Aug (not 14) 5:00pm (5.30pm), £5.00 (£4.00), fpp 139.
tw rating 4/5 [jc]

Iphigenia
Lisa Turner
Intended as a compact, character study of Iphigenia, Gluck’s opera, ‘Iphigenia en Tauride’, has been whittled down to a bare minimum to create a series of pieces that give insight into the character and situation of the protagonist. However, the whittling leaves the production feeling somewhat naked and thin. A passionate and heartfelt effort from Lisa Turner was often not enough to provide the flair or grace which this production was crying out for. Dance is incorporated into the opera in the hope of enhancing the dramatic progression of the rather cumbersome plot, but the effect is just to detract from it by being repetitive, and by neither focusing on nor excelling in either discipline. A lack of diversity in sound and movement makes this opera somewhat lackluster, both in its conception and execution.
The Zoo, 4 – 28 Aug (not 10, 17, 24), 11:00am (11:40am), £6:00 (£5:00), fpp 139.
tw rating 2/5 [jl]

THEATRE

Andy’s Promise
NUTS
The Newcastle University Theatre Society (NUTS) has sent a production, which was voted ‘Best Show’ by its very own members, to this year’s festival. However, this particular performance was far from the thought-provoking comedy-drama it promised to be. With a fragile story and a weak script, the actors were left to make the best of a lacklustre production, which ended before it seemed to get going. As the narrative – about a teenager who witnesses the fatal consequences of failing to keep a promise – struggles to develop, the only convincing performance comes from Helena Zara, who plays the autistic older sister of the title character. Perhaps next year NUTS can serve up an out-of-the-blue cracker but, for now, it’s back to the drawing board.
C Central, 4 – 28 Aug (not 15), 1:30pm (2:20pm), £7.50 (£6.50), fpp 146.
tw rating 2/5 [tl]

A Boat’s Yer Whole World
Kate Saffin
A moving and enlightening monologue performed by a gifted storyteller. Kate Saffin breathes life into tales from the ‘cut’ and charts the decline of Britain’s boat people after the Second World War. Her animated performance is enhanced by modest special effects and draws the audience into the world of Rose Skinner, whose real-life experiences inspired this stage production. Through Rose, details about this lost way of life are illuminated; she touches on the problems of childbirth in a canal boat, surviving doodlebugs, and the frequent accidental deaths during the day-to-day running of the boats. Skinner’s memories make for a fascinating retrospective on a lost way of life. A poignant tale delivered by a woman with remarkable stamina.
C Central, 4 - 19 August, 11:15am (12:05pm), £7.50 (£6.50), fpp 150
tw rating 3/5 [gds]

The Bald Prima Donna
Scene 24
A surreal theatre classic which leaves open many more questions than it answers, the absurdity of ‘The Bald Prima Donna’ defies analysis, and it was the deadpan performance of such bizarre comedy dialogue by the Scene 24 cast which made this performance work so brilliantly. Remarks which could have sunk into obscurity were really brought to life by the actors’ delivery. Their use of the available stage space was amazing, at one point dragging the performance into the audience whilst never losing focus or intensity, whilst the interesting and imaginative set and lighting make a visual delight which you might not notice, if you’re not careful, due to the cast’s power to enthrall. Even the repeated lines didn’t lose their zing, as the acting kept attention throughout.
Roman Eagle Lodge, 4 - 27 Aug (not 15), 4:55pm (5:55pm), prices vary, fpp 147.
tw rating 4/5 [kg]

Bouncers – 1990s Remix
Abingdon 750
Are you wearing nice shoes? The bouncers at the door to the venue are sure to ask you, because these actors are also their own security. Once they've allowed you in, you're treated to a funny and insightful view of a typical night out, featuring all the nasty bits you've usually forgotten by the morning after. The four bouncers play twenty different people, slipping seamlessly from one character to another. Between laughs the play dips into social commentary, confronting the true shallowness that is the great British night out. But this commentary never gets too heavy, allowing for some fantastic comedic breaks including what must be the funniest dance sequence ever to accompany Michael Jackson's Thriller.
C central, 4 – 19 Aug, 2.00pm (3:15pm), £8.50 (£7.50), fpp 150.
tw rating 4/5 [amc]

Bouncy Castle Hamlet
Strolling Theatricals
The title of this show is not a mere Fringe gimmick. It is indeed an actual two hour production of ‘Hamlet’, set in a giant purple air-filled castle. This sounds promising, but unfortunately it only provides a wildly unusual setting for a slow, poorly acted and ill-rehearsed ‘Hamlet’. If only the set was used to its full potential, it would be an amazing conceit. One can easily imagine the bar discussion which led to this production: “We do the play in a carnival castle, but we take it seriously!” However the set is generally misused, creating more obstacles than possibilities for the young cast. In the end, the castle idea is one which should have remained in the pub, along with other late-night drunken hypotheticals.
Rocket @ Demarco Roxy Art House, 3-19 Aug (not 6-8, 13), 11:00am (1:00pm), prices vary, fpp151.
tw rating 2/5 [sk]

Brick Walls
Dancing Brick Productions
Possibly one of the most wonderful descents into madness in a confined space ever, two dippy friends set out to build a secret house in the middle of nowhere, walling themselves in. Suddenly their imagination is all they have, and it soon fills their cell with a quirky world of their own. Compelling bouts of silence and slapstick paranoia lead the two into their own stories, and before long the tiny space is jam packed with fictitious characters. Beautifully inspiring the audience’s imagination, the duo’s madness escalates until their delusions become as real to the watchers as they are to the trapped comrades. Both clever and engrossing, it makes incarceration look like a whole world of fun.
Smirnoff Underbelly, 3 – 27 Aug (not 16), 12:30pm (1:30pm), prices vary, fpp 152.
tw rating 4/5 [rp]

Cast Aside
Ankle Productions
Luvvies, luvvies everywhere and not a gun in sight. If watching pretentious thespos prancing round the stage chanting ‘My body is my tool’ or some such nonsense makes you cringe and maybe die a little inside, then ‘Cast Aside’ is a definite must-see. Plugged as a ‘satirical antidote to everything waffling, affected or ostentatious about the Stage’ it will have you grinning from ear to ear from start to finish. Set during the rehearsals of a particularly wanky version of The Merchant of Venice (or the ‘M of V’) it satirises theatre’s stereotypes without resorting to clichés. The script is hilarious and is executed brilliantly with perfect comic timing by a dynamic and talented group of actors. Simply marvellous, darling.
The Zoo, 5 - 28 Aug, 8:50pm (10:00pm), £6.00 (£4.00), fpp 153.
tw rating 4/5 [ah]

Confessions of a Cultural Spy
Strings Attached
Did you know that with the invention of digital cameras we have relinquished the ability to capture lost emotions on film? This is a one-man piece of performance art/storytelling, themed around the cultural observations of an American man living in central Europe. Despite the storyteller’s animated style, the tale has no clear form to it, mixing references to lesser know Dadaist artists with realisations of apparently symbolic coincidences which eventually lead nowhere. At first, I uncomfortably straddled the barrier between boredom and intrigue before drifting, as one does into sleep, into an utter absorption of the piece. Once there, I found the world that this man created to be greatly surreal and inventive. Definitely not for everyone, but surprisingly, I left with a feeling of deep satisfaction.
Sweet Grassmarket, 5 – 27 Aug, 1:10pm (2:10pm), £6.50 (£5.50), fpp 157
tw rating 3/5 [sab]

Doctors
Sarah Ruff
It is hard to fathom if ‘Doctors’ is Dadaist comedy or just plain bizarre. Rudd is on a solo mission to take us through a surrealist playground where worms reign supreme, where God is a three-year-old and blocks of wood become Hitler. She flails around her makeshift bedroom like a woman enraged, before switching disconcertingly into a normal girl who just happens to become ‘Worm-Woman’ from time to time. She supplies the audience with myriad visual prompts to keep us involved, but this device merely serves to sugarcoat the utter randomness of Rudd’s performance. Being encouraged to draw a sketch for her wall kept me tuned in, even though Rudd herself seemed a tad tuned out. Her vision is wholly random and truly terrifying.
Sweet Grassmarket, 3 – 27 Aug, 9:35pm (10:35pm), £7.00 (£6.00), fpp 161
tw rating 1/5 [kla]

Girl in Box
Future Memory
Bubbles and incest. Used without due care and attention, these two things could easily spoil a play. Luckily, the cast of ‘Girl in Box’ use them both very wisely. Bubbles work nicely as an image to sum up the play; fragile, enclosed and innocent worlds which burst long-ago. Like the bubbles, the incest was light and short-lived. Exploring themes of memory and power, the Future Memory group have created strong piece of mixed drama, using touches of physical theatre and interaction with the audience to keep it exciting. Though the stand-out performances came from the two female roles, one ridiculous and one natural, the whole group had great belief in what they were portraying. ‘Girl in Box’ is bubbly, but not frothy.
C central, 4 - 24 Aug, 10:00pm (10:50pm), £8.50 (£7.50), fpp 170.
tw rating 4/5 [im]

The Girl Who Cried ‘Nam
Bristol Spotlights
At thirty minutes long this feels distinctly more like a pilot episode for a comedy than a play, but, having said that, it could make a pretty good show. The kind of work which is possibly the result of a generation raised on ‘Friends’, we get the standard boys and girls sitcom revolving around a sofa, except with a boozy student edge. In tonight’s episode it’s 2am on the night before a big exam and Eve has spent revision week doing everything but. What will she do? Dubiously, faking mental illness seems to be the answer. To these grubby students’ credit there’s a lot of fun to be had here. Perfect for anyone seeking a quick blast of irresponsible comedy, here’s hoping they get the series.
Sweet Grassmarket, 4 - 13 Aug, 2:30pm (3:00pm), £7.00 (£6.00), fpp 170.
tw rating 3/5 [rp]

Hyenas
Stages Theatre Center
A one man show, the audience witnesses the unravelling of 22 year old Theodore-Frederique Benoit’s mind as his faces his impending execution. The play is set in 1832 during the cholera epidemic and the French republican riots, and the production seems to assume of its audience a prior knowledge of the context of this time, and for me, this is the show’s main fault. Whilst it is entertaining and the acting compelling, the narrative is disorientating and it is therefore difficult to ever fully engage with the protagonist. Technically and directorially, ‘Hyenas’ is a strong piece of theatre. Indeed, anyone with an interest in this particular period of French history is likely to find this show highly entertaining.
Hill Street Theatre, 4 - 15 Aug, 1:55pm (2:10pm), £8.50 (£6.50), fpp 174.
tw rating 3/5 [nc]

Klepto
Renaissance One
Aptly dressed in a jumper bearing the word ‘Criminal’ across its centre and with a shopping trolley as prop, Yorkshire man Steve Tasane begins his one-man show on shop-lifting by asking the audience “So … who here has nicked something?” Only one hand goes up – not mine, I might add. But after witnessing Steve’s frank and open description of his former life as a “klepto psycho yobbo”, skilfully expressed through verse and narrative, I feel ashamed of my reluctance to open up. The injustice of fate, the shackles of poverty and vegan militant anarchists all have their place in this moving and amusing show – which sees Steve Tasane, in his own words, “Step out of the shadows and start claiming the limelight.” Certainly worth seeing.
C Central, 4 – 28 Aug (not 13), 2:05pm (3:05pm), £8.50 (£7.50), fpp 180.
tw rating 3/5 [jl]

Krapp’s Last Tape and Rockaby
Arches Theatre Company
The Arches Theatre Company is treating festival goers to a Samuel Beckett double-bill, in celebration of the late writer’s 100th birthday. And what a treat it is. The first of these short plays, ‘Rockaby’, features an old lady interminably rocking in her chair, seemingly put into an addictive trance by a chilling poetic voice. In turn, the experience for the viewer is alarmingly hypnotic, with the dilapidated walls of the venue adding to the disturbing atmosphere. The second, ‘Krapp's Last Tape’, has the compelled audience watching cantankerous old Krapp slowly stomp around the stage eating bananas and listening to sound recordings of his voice’s past. This is masterful theatre at its most raw and very best. Rest In Peace Mr. Beckett.
Smirnoff Baby Belly, 3 – 27 Aug (not 8, 15, 22), 3:25pm (4:25pm), prices vary, fpp 181.
tw rating 5/5 [tl]

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