Reviews by Heather Doughty

There are many things about Flamenco for Kids which I had to consider; firstly the question of what was it, exactly? This program is a weird amalgamation of a performance and a workshop, run by excellent musicians and performers who are not necessarily teachers or educators. But Flamenco for Kids must make an impact as I was sat among 30 or so little girls, most of whom showed up already in costume, many of whom were returning from gracing the stage at last year’s Fringe. The event/workshop/performance didn’t start with a bang but a strange, tepid introduction explaining that there were dresses for the girls and hats for the boys, and that Flamenco comes from Spain. This was followed by a brief but masterful performance of Flamenco guitar and Cajon drum box, during which the percussionist was revealed to also be our dancer and instructor for the day. The next 45 minutes were a strange combination of teaching and kid wrangling, with almost no involvement at all for the many parents who were there, admittedly snapping photos at random intervals to capture the moment. We learned about Tango hands and rhythmic marching, clapping loud and soft, but there was not much real meat to the history, drama or meaning of Flamenco. This show has everything - drama, laughter, tears, heartbreak - but mostly that was the result of having 35 kids, ranging in age from two to twelve, attempting to follow our steadfast dancer and our Flamenco guitarist, whose passion for music and enthusiasm for teaching carry through the chaos of the program. Though there isn’t a listed age restriction, I would recommend this for children ages five and above as participants really must be able to follow directions and mimic without much guidance. At last, having built the skills into a cohesive piece, the performance began, with lights, music, bright costumes, a bit of wandering from the wee tiny ones and a lot of tears from a sudden onset of stage fright. LCD screens lit up the room and, despite myself, I could not help but laugh and enjoy this awesome adorableness which I’m sure would be far more satisfying were one of the performers on the stage was my own. Flamenco for Kids is not a perfect show; it is not a great educational experience; but it is a good time, a first opportunity to take the stage and, I’m sure, in about ten to fifteen years, some really rockin’ Mommy blackmail material for a meet-the-parents first date.

Patch of Blue Theatre Company are one of most professional youth groups I have ever had the pleasure of watching and their performance of The 25th Annual Putnam County Spelling Bee, a charming one-act American musical comedy, was executed with skill, passion and overwhelming amounts of talent.The story follows six young competitors taking part in a spelling bee final in Putnam County, accompanied by a female moderator and male judge. We are welcomed into the auditorium with a delightful pre-show where all the actors mingled within the audience, interacting with individuals, all completely improvised. From the snippets of what I heard, some of these young actors are also budding comedians as most of the audience was giggling before the show had even begun.The whole production oozed professionalism and slickness. The band was on-point and consistent throughout and the constantly changing lighting and sound was faultless. It is rare to find a small cast such as this one, where everyone performs outstandingly. It is of course a blessing to work with such a clever and witty script and catchy songs, but Patch of Blue certainly did it justice. Each actor was totally immersed in their character; I assume the result of many hours of rehearsals and workshops has paid off, as everyone looked entirely comfortable and natural in the bizarre, caricatured parts. Special mention must go Tom Mackley playing William Barfée – a geeky young boy with a severe mucus problem and many allergies. The young actor carried off this part with complete commitment to facial expression, a throat full of phlegm, yet still managing to sustain some very impressive notes during songs. The joy of this show is that there was no weak link. I was felt totally at ease watching the production, the company made the audience feel completely secure even in the midst of harmonies and complicated choreography.The sleek comic timing of every actor and the exciting element of selective audience interaction had everyone in hysterics for the majority of the show. However, these funny moments were beautifully contrasted with the odd poignant and sentimental parts, executed skillfully by the vulnerability of Ellie Mason who played Olive Ostrovsky, a shy girl whose best friend is her faithful dictionary.This is a show not to be missed, filled with young raw talent, superb acting and topped off with the warm fuzzy feeling you want to have when leaving a musical. An un-BEE-lieavble triumph for Patch of Blue, they are a group to watch out for!

Entering the cathedral, it is impossible not to be in awe of the scenery. The setting is so beautiful and conducive to a little meditative respite with its flying buttresses and softly illuminating halogen lamps. There is a combination of synthetic and live candlelight gleaming gently from marble and gilded statuary. Each programme is individual, a night of music and contemplation, guided by little but our own thoughts. A brief but effective introduction to the evening informed us that the candlelight would be extinguished and returned throughout the concert, symbolizing the crucifixion and resurrection; the returning of the light. We were plunged into a semi-darkness, illuminated only by a few candles, a few exit signs and the lights illuminating the altar and awe-inspiring marble depiction of the Passion. As the performance progressed with a vocal concert by renowned vocalists Susan Hamilton and Emma Versteeg, audience members were left to their thoughts and imaginations, with nothing to fill the void but the heavenly tones of these two beautifully blended angelic voices combined with violin and organ. Frustratingly, the symbolic meaning of the liturgy was a bit lost as was the true joy of live performance as we were unable to see either the candelabra or the musicians having, been corralled into the choir loft and there was an awkward moment when one of the vocalists lost her place and started over. That said, though this wasn’t the most polished and slick of performances, it was far from disappointing. This programme was a stand-out event in its simplicity; a magnificent, awe-inspiring yet humbling setting, sublime, ethereal music and a little peaceful respite in the maelstrom of the Fringe. It is truly a challenge to review a performance which is so clearly dictated by one’s personal filter. In such a setting, one person will find that they achieve a zen-like calm while others such as myself may find that in the darkness, left to their own devices, they begin ticking off the long list of to dos wanting to flee the scene at first light to make a dent. And yet, when the fireworks from the Tattoo began, strangely in rhythm with the music, I found myself drifting in time, seeing myself in the Blitz, hiding away in this magnificent fortress huddled together, a light against the darkness. Cathedral Meditations is a sweet, endearing event, perhaps not quite equal to the majesty of the setting but definitely a salve to the stress of our everyday lives.

A line of wiggly worms wait impatiently to enter the magical night-time world where anything is possible. Entering into the venue at Paterson’s Land was a joy for the senses, an innovative landscape of light and colour, pillows and pram parking and a surprisingly sophisticated soundscape as parents were invited to sit on cushions with their little ones, all of whom got lion’s tales to wag and tickle as they take their seats. One note to parents, as the space is limited, during sell out shows, only one parent can sit with a child in the play space but there are chairs set up around the room to watch so you’ll want to pick a parent before entering.The immediate engagement of the young audience, each of whom experienced one-on-one interaction with a member of the cast was remarkable but what was most impressive about this charming production was the very clear understanding of child development. The actors struck a wonderful balance of engagement without pushing the bounds of comfort. There were an amazing array of sensory experiences, from tactile pages in a storybook to glowing orbs which children see and touch seemingly plucked right from the sky. The music, a combination of pre-recorded tracks and live vocals and percussion was an array of awe-inspiring complex chords, syncopation and repetition. Through classic children’s games such as sock puppets and parachutes, the children were transported to the land of make believe exposing them to simple concepts such as rhyme and mimicry as well as very complex rhythms and music. This show really gets it right, with spot on audience interaction, wonderful timing and, of course, truly beautiful voices. Parents will also appreciate the creative use of everyday objects such as socks and bath sponges which allow them to continue the play at home. My favorite moment was when all the children were given socks, in an attempt to help one of the actors find the matching one so he could cover his bare feet, and I wanted to cheer one little tike who, after a moment of trepidation, proudly produced his sock for all to see.First introduced as a bedtime story, the actors brought to life the tale of a friendly, musical, sleepy lion. There was no sense of urgency, no overstimulation but each child had a chance to engage in play. This is not an in-your-face, big eyes, dumbed down children’s show but a smart, savvy, brilliant and beautiful event. As an added bonus, children were invited to experience the tactile set in a five minute post show play date. Words truly cannot describe this delightful, charming, mesmerising show. I can only say, I longed to be a kid again, if this could be my playground.

Down a long, winding staircase, far beneath the bustling streets of Edinburgh stands a city frozen in time. Often referred to as the most haunted place in the world, Mary King’s Close stands as a fascinating historical site. But when the lights go down, it also serves as the stage for one of Edinburgh’s newest and coolest macabre attractions: The Dark Truth Tour. Plunged into near-darkness, led only by lantern and candlelight, our twenty-strong group was led through the narrow streets and buildings of the now-dilapidated Close as actors eerily emerged from the shadows, portraying the figures of the past and recounting tales of murder, mayhem and death in the plague-infested streets of Edinburgh. This is not so much a ghost walk as a chilling, heart-stopping history lesson about the everyday lives and deaths of Edinburgh’s past. A combination of fun facts, comedy, improvisation and good old-fashioned storytelling, The Dark Truth Tour delivers a gentler, fairly family-friendly take on the old-fashioned fright-fest.Decidedly audience-interactive, this small but impressive cast of only five actors - playing multiple phantoms each - challenges audience members to step forward, condemning them to the fates of those who came before. Nervous laughter fills the small spaces as we each wonder at every turn who will be next on the chopping block. There’s no chance to hide in the shadows and the cast easily (and quite comically) responds to any protest or capitulation. I don’t know whether it was nerves, or simply the approach of the witching hour, but towards the end of our tour it seemed that the stories started to unravel, leaving me wishing for a little more content and a little less goofiness. However, as this was a preview, I suspect that will be hashed out as the actors find their footing in the darkened streets of this intriguing city underground. If you are looking for a terrifying show of spooks and scares, this is not quite the place to go. However, if you crave your history with a side of pulse-racing storytelling and the tricks of your own mind in the dark, then the Dark Truth Tour really delivers. A word of caution; wear comfortable shoes as the walks are steep, and if you are claustrophobic, this tour may be a bit much. If you can fit it in, make a date with Mary King’s Close. And bring a date. You don’t really want to go down there alone!

This modern adaptation of Buchner’s 1895 play by the Lincoln Company was an interesting re-working of the satiric comedy. The script was bought up to date by setting the show in Las Vegas where two families lose a bet, meaning they force their children into marriage. Leonce and Lena are the two children in question; who then flee their tyrannical parents to try and escape said marriage. By chance meeting, they realise that maybe there is such thing as ‘love at first sight.’The Lincoln Company pulled off this show with energy and passion. At points, the script was highly entertaining, with topical witty one-liners keeping the audience laughing. I did feel however that a lot of acting was over-the-top. I do appreciate that this could have very easily been the point of the piece; being satire it should not be taken too seriously. Despite this, ear piercing screaming and moaning from the character of Rosetta (Leonce’s crazy ex-girlfriend) often got a little too much for me.Nonetheless, the show is undeniably good fun and has all the plot twists and ridiculous characters you could ever want in a comedy. Undercover Mexicans, outrageous parents, even more outrageous ex-lovers, love-sick best friends, cougars and cowboys, this show is sure to give you laugh after laugh. A touching performance from the character of Val, Leonce’s childhood best friend who has eternally loved him really added true sentiment to the piece. Additionally, the subtle chemistry between Leonce and Lena was a great contrast to the hyperbolic nature of the parents, who can only be described as caricatures.I would recommend the show for an hour of hit and miss gags but parts of the adaptation, like the constant references to Twitter, did not always work. The traditional love story between the two leads seemed quite old fashioned compared to the more up-to-date references in other parts of the script. Despite this, the Lincoln Company put on a great show and knows how to keep their audiences entertained.

Joan Shepard. Haven’t heard of her? Then you’re not alone – neither had I. Shepard is an ex-child actress now approaching eighty years old who has a host of interesting stories to share from her time on Broadway and television. Born in ‘deepest darkest Kensington,’ her family moved out to America when she was very young in the hope she would become a concert pianist. Instead she became a Broadway star from the age of seven, alongside names like Vivian Leigh and Tallulah Bankhead and working with the likes of Laurence Olivier. In this one-hour piece, she shares her gossip and tales from her life, interspersed with humorous songs about her adventures as a child star on the Hollywood scene.Shepard is such a likeable character and addresses the audience with warmth and heartfelt sincerity throughout her show. Her delivery is confident as she fondly re-tells some great anecdotes from her star-studded past. The thing that is most endearing about is that Shepard never pretends to be anything she isn’t. She knows she isn’t a big time superstar and we can see real excitement as she talks about how she recently landed her first ever movie role as ‘Old Lady #2’ in Disney’s ‘College Road Trip,’ a part which delighted her so much that she named her musical memoir after it.However I did feel that the show could have done without some of the songs. Most of them were charming and added a little variety to the performance, but I much preferred her as a raconteur than a singer. The songs were fun and some of them were well selected, but others didn’t add a lot to the show and seemed an excuse to put on a top hat and use a cane.Overall, this show is a little gem. It’s not going to wow you but it will certainly make you smile. It’s definitely more suitable for the older generation, despite how much I enjoyed some of the stories; I feel the over 50’s would have got more of kick out of the name-dropping. Shepard is a delightful host to this show and I would recommend it to anyone interested in a life on the stage and some priceless showbiz stories.

From a bare stage sirens blare, search dogs bark and police rally as three men make a daring prison break. This is the opening sequence of The System, a tremendous powerhouse of physical theatre and new writing so fresh and vital it defies description. Five actors from Soweto, South Africa create a non-stop, mesmerising thrill ride, exploring not only the escape but the issues surrounding imprisonment; the impact on the families and friends left behind, the abuse of the incarcerated and the incidence of false imprisonment.Already a compelling story, what sets this production so far above the rest is the use of physical theatre and vocal landscape. The striking image of the stark, bare stage is quickly replaced with a montage of physical sculptures, created by these immensely creative and highly energized actors. Even the soundscape, sirens, dogs, microphones, ambient sounds and hauntingly beautiful music are created live and on stage by the actors. However far from a gratuitous theatrical device, the movement and sound is so finely integrated into the storytelling as to make each moment of creation an exciting subplot in itself. It is wonderful to witness international, innovative, exciting work which otherwise might not have a voice outside of South Africa.The plot twists and turns with every new revelation: affairs, false arrests, the political impact of the death penalty. Yet it never gets bogged down with angst and though the stakes are incredibly high the seriousness of the subject is handled with humour and humanity, breaking the tension for the audience and setting up the heartbreak of the final revelation.The high energy, incredibly physical and immensely committed performance offered by every member of this impressive ensemble left me breathless at the end and I really couldn’t imagine how they were able to sustain this level of intensity for a full hour. Poignant, powerful, hilarious and revolutionary, this is the show everyone must see. For information, for inspiration, for understanding, go to this production. One could easily overlook this show in the melee of the Fringe with its early morning 10:30am timeslot. Don’t! Set your alarm and start your day with the System.

As I approach Waverly Bridge, I catch sight of a black vintage Routemaster bus, casting a gloomy shadow against the darkness. This is the place. The guests are starting to arrive, greeted by the reassuring yet somewhat jittery funeral director who sends us to the second level with the assurance that services will begin briefly. Little fringed lamps and red velvet curtains set the tone for a classic Agatha Christie as sombre music plays quietly in the background. Welcome to the funeral service of Roger Cocksweet. The bus pulls away and this ludicrous, hot-mess celebration of the dead really comes alive. We are introduced to Roger, our dearly departed former bus driver and his uproarious cavalcade of oddball family members. Though the guest of honour is already dead, the script is classic farcical murder mystery faire, like a motorized mobile version of Clue, admittedly a bit predictable but thoroughly hilarious. Of course, as with any good farce, everything that can go wrong does, and there are some truly clever, laugh-out-loud moments of misstep, including one of the funniest renditions of ‘Guide Me O Thou Great Redeemer’ imaginable. As a theatre piece, this would be a fun, amusing yet somewhat forgettable night but what really kicks this performance up a level is the impressive use of technology and the dedicated space. The show incorporates a rather mind-boggling array of technologies including live feed cameras, video screens, pre-recorded audio, video and live audio. The action comes fast, furious, and surprisingly fluid for a show on a moving bus that actually bleeds out into the street. The audience is immersed in all things funereal, as guests at this off-kilter, everything-goes-wrong ride through the streets of Edinburgh. At times the humour can be a bit base and grating but just seeing the complete derailment of our steadfast funeral director is worth the price of admission. There simply isn’t a way to take this ride and not have a great time. As we were leaving I overheard one of the other ‘funeral guests’ say to his companion, ‘I want my funeral to be like this.’ I admit, I felt the same way. For a ghoulishly good time, hop on board the Necrobus.

I hardly know where to begin with this fascinating and relentlessly passionate show. It is exciting, challenging and in the end delivers exactly what it promises; a stark, honest and unapologetic peek behind the curtain at seven women, some famous, some infamous, others nearly entirely overlooked by history but each one, obsessed. Based on the writing by renowned Canadian Poet Carolyn Smith, Hooked is not so much a theatre piece as a master class in minimalist performance art featuring a tour de force turn by award winning actor Nicky Guadagni, whose every phrase and facial gesture is perfectly calculated to captivate even the most stalwart of audience members. This is not an easy show to watch. It is an hour of mesmerizing heartbreak, each new character so fully realised that you cannot help but be drawn in, only to experience anew another fall from grace, another descent into depravity, alcoholism, misery and death, so completely that at the end of the night you may very well need a drink or a puppy to offset the despair. It is also a somewhat arduous production with little levity or warmth which is accented by the harsh, persistent front lighting and the 10:30 pm timeslot both accentuating the uncompromising nature of the piece. The language of these monologues is unimaginably beautiful, each one so individual and illustrative, a small window into the depths of these multi-faceted women, incredibly detailed without a trace of insincerity. I found myself craving some element of levity, some moment of warmth, beauty or hope but that is not what is promised and that is not what is offered. This show is not for everyone, but for anyone who enjoys the inner workings of the female psyche, pristine, glorious prose, exemplary acting and a little view into the fascinating history of seven powerful, superhuman and infinitely flawed women, you too will become obsessed so head to Sweet venue at the International Hotel, but leave time for a coffee first and a cocktail after.

I was dubious about an open-air production in Edinburgh. Nobody wants to be cold and disgruntled watching a full length production of a naturalistic play in the rain. There was, however, something quite comforting about The Cherry Orchard. I don’t know if it was the fact the audience were all snuggled up in blankets, swigging from smuggled bottles of wine, or if it was the tea and biscuits at the interval. Or, possibly, the fact it didn’t rain. Whatever it was, the atmosphere was welcoming and reassuring on what threatened to be a gloomy night.This summarises the production itself. A new adaption yes, but the old world of theatre. It has a taunting ‘this is how Chekhov should be staged’ quality about it. Very serious characters always addressing the audience with their cares rather than people on stage, with oh-so-perfect diction. This was frustrating, as the performances became very presentational, and a little old hat. But having said that, there was conviction in the performances of the veteran actors, which compensated for the poor staging. Corrine Harris’ portrayal of Madame Ranevskaya is very gestural and more reminiscent of a heroine in a Greek tragedy, rather than Chekhov’s naturalism. But the tears in her eyes are genuine and you feel her passion. John McColl’s portrayal of Lopahin is touching, and you feel he fully comprehends the struggle of his character. The younger members of the cast, in comparison, do seem to struggle. It may be that they too felt the production belonged to another world, before their time.The venue of Duddingston Kirk Manse Gardens is a fine choice for this production. Real lakes and trees, complete with swans, are a perfect backdrop for the production. Being surrounded by nature somewhat anchored the importance of The Cherry Orchard. It also succeeds in blowing off some cobwebs from the old fashioned staging.

A little spitfire of a songstress has entered the forum of the Fringe, bound for greatness – or so she hopes. It’s the night of her big break, and while vamping waiting for a call from her producer, good-girl-gone-bad rocker Tamar Broadbent gives us a view into her rise to fame. Fresh, exciting and absolutely unique, Tamar’s hilarious blend of clever, sharp-witted lyrics, at times nearly groan-worthy puns and painfully awkward accounts of her family and first loves create a concert worthy of Spinal Tap. An absolutely adorable pixie of a girl, Tamar has the whole package, with lightning fast comedic strokes, side-splitting timing, and an impressive set of pipes. Ms. Broadbent, her own one-man band on vocals and keyboard, regales us with her love of all things maths and music, her years as a hard core rapper and her unfortunate first romance with Rick, whose name has a surprising number of rhyming options. Yet this is a show in large part devoid of smut, utilising the shocking moments of comic filth to wring out every bit of irony, juxtaposed against this angel-faced dynamo. This journey is a freight train of hilarity, with little time to stop and take it in. Just jump aboard and hang on tight. The musical puns come in rapid succession from her love of the cosine rule to her turn as a pint sized, bleach blonde punk badass from Surrey. In the hands of this gifted comic, every nerd rock cliché is manipulated with mastery. Like so many of us, her journey includes many a pitfall; even falling in love with a drummer.Every element of the show is spot on to support this tour-de-force performance, from truly innovative and surprisingly musically complex songs to truly awful dance moves, anecdotes about her unique and inspirational family of eccentrics, years of ‘paying her dues’ and even a nice helping of audience interaction. By the end, you too will find yourself on your feet cheering for this tiny hopeful pop princess to make it big.

I’ll admit it, I was curious. I mean, what was this show? Every description went undefined, every interview, preview and teaser was a mishmash of misdirection. What was this show? However, I’ll say it: I get it, I am a convert, I am schooled in the way of the Red Bastard.A grotesque, riotous circus of the intellectual macabre, Red Bastard takes us on a challenging journey of trust, risk and reward that truly does defy explanation. What you think you are there to experience - where the show begins, even what you think you are seeing - it is all revealed to be a lie. I don’t want to give too much away as this really is an interactive experience one must have first-hand. If I were to return, (even knowing what I know now), it would be a vastly different event. Each performance is truly unique; it is highly dependent on the audience - their experiences and their level of trust and participation. The Bosco tent serves as a perfect platform for this otherworldly comic genius, whose probing gaze no-one can escape.Eric Davis is a tour-de-force of brilliant wit and precision as the sadistic clown here to educate the world on the immense power of an articulated moment of truth. Through a series of strange, hilarious and disturbing ‘exercises’, this twisted little man, filth spilling from his lips like Shakespeare, sets the stage for the real show to begin. The audience is united in this strange collective consciousness as he aggressively, yet strangely effortlessly, takes us all on a convoluted journey through our own self doubts and lost dreams. This is shock theatre at its finest. There is one criticism that I must make to the show - which I write fearfully knowing that his acid stare will find me - is that this is so very smart and provocative that the initial sexually suggestive, potty mouth jokes feel a little crass and gratuitous, leveled by this sharp-tongued buffoon whose every other word is so clearly calculated.This show is offensive, off-putting, uncomfortable and fantastic, a terrifying combination of the improvisational, the improbable and the impossible. Some may feel inclined to leave early on. Don’t! Take a leap of faith and listen to the Bastard. He has a few things to teach you about yourself.

Alfred Hitchcock once said of Grace Kelly, she is a ‘volcano covered in snow.’ It is a brave and challenging undertaking to write a show about such an iconic figure, particularly one so well loved and admired as Princess Grace; an even greater challenge to then embody that figure on stage. The expectations of an audience to see their hero brought to life is immensely high but Grace Kiley, the author and actress of Longing for Grace strikes a delicate balance between acting and impersonation, an embodiment of the spirit rather than a carbon copy of the original. From the moment you enter the theatre, it is apparent you are stepping back in time with a set and soundscape which immediately transports the audience to a world of high heels and high balls. The hour that follows reveals a tale far less storybook than the headlines, not so much a fairytale princess of a faraway land and queen of Hollywood as a small town girl whose tender heart leads her away from the life she loves into a dreary world of draconian servitude. The true strength of this beautifully scripted work is the writing which floats as effortlessly and fluidly across the stage as the great Grace Kelly across the silver screen. Nuanced and beautifully paced, the language is a rich tapestry of delicious secrets, whispers and angry back door bargaining which would be the envy of any Hollywood rag. Energized and earnest, Grace Kiley presents a solid though far too self-conscious portrayal, adopting a style which is at times strained and awkward, lacking the finesse and poise one has come to expect from such an iconic figure. Ms. Kiley would do well to forgo the clunky wardrobe changes which seem to mar her otherwise graceful transitions and enjoy a little more the riveting story which so clearly resonates in her writing. It would have been better to see a bit more of the volcano or even the snow but unfortunately, for a few too many moments of the show, what we are left with is slush. However, Kiley’s commitment to the piece and the tremendous strength of the writing had me captivated by every new revelation. Although flawed, for anyone who loves a good story and wants a peek behind the Hollywood veil at one of the most fascinating and ultimately heartbreaking of real-life fairytales, this production will not disappoint. Longing for Grace exemplifies the adage that love does not conquer all and that in giving up our dreams, we lose ourselves.

Much like Arthur’s Seat is the bedrock of Edinburgh, comedy is the bedrock of the Edinburgh Fringe. There are brilliant headliners, up and coming club talent and fresh, raw and sometimes not quite ready rookies and it is often a challenge to filter who, what, where and why when it comes to choosing. ‘The Best of the Edinburgh Showcase Show’ is a phenomenal grab-bag; a side-splitting buffet of talent, a revolving door of hand-picked comics from multiple styles of comedy including stand-up, improv and sketch. This is a uniquely Fringe experience, a night of club talent, the feel of an HBO special but with a midday timeslot. Of course, every performance is different, with guest hosts and guest talent, but the performance I saw featured the amazing, quick-witted and brilliant compere Stuart Goldsmith who set the tone for laugh-out-loud stand-up and audience interaction with a warm, disarming presence and a razor wit that beautifully showcased the talent he introduced.The four comic talents featured were Chris Martin, Gravity Boots, Gary Delaney and Dave Gallan, each of whom brought something unique and fun to the show including a solid fifteen minutes where I couldn’t even catch my breath from laughing and one of the most bizarrely alluring Beyonce impressions I’ve ever seen, which left me both perplexed and strangely aroused. Not every moment was belly-achingly riotous, perhaps a bit ‘out there’ for a few audience members, but as a platform for up and coming talent this is of incredible value and a sure-fire hit and as the hour is still early, this show is pretty family-friendly.Every day is different so you won’t know what you are going to get, but if you have just one hour and the desire for a quick sampling of some of the tremendous comic artists available at the Fringe, head on over for a lunch time nibble at the showcase. Then book your evening accordingly.

This show had so much promise, derring-do, an epic journey, sword, mime and a lot of comedy. However, there is a sometimes a cost to promising too much; the temptation to put every skill one has in a blender, mix them up and serve in an unpolished glass. Frenchman Bruce Fauveau is clearly a gifted mime artist, an exemplary physical impressionist (he trained at the Lecoq theatre chool in paris) and an impressive dialectician, but he is not a writer and he is certainly not a comic. His idea was smart: put together a comedy show framed by physical montages, tracing the evolution of his epic journey and the cost of fame. One of the teaching avenues of the Lecoq school is called ‘via negativa’, or never telling students what was right. This is to encourage the sense of play and an ever expanding repertoire of creative expression, and I think this encapsulates the overriding problem of this show. Within a brief hour we are treated to several montages of decadent, masterful and surprisingly amusing mime. However, these are interspersed with ever more sophomoric and, at times, rather offensive attempts at comedy, including an exploration of the sexual attributes of an Adam’s apple and a world tour of every stereotype throughout the globe.This sad, slap dash joke fest is made doubly frustrating by the moments of true talent. For instance there are some rather ingenious impressions, including an Andean Street musician, but the bizarre polar shift from great to base material throughout leaves one scratching one’s head in confusion as to why the lesser material was even included. It appeared at times as though Mr. Fauveau has written three quarters of a show and was trying to fill for time with material seen and rehashed from a bad, straight to DVD, comedy special. To add to the confusion, the show suddenly takes an abrupt about face with a very aggressive message about pollution and global warming and a strange post script which seems to have no connection to anything which came before. It is difficult to know the right barometer by which to measure a show which is clearly such a labor of love. Unfortunately, no matter what the price tag, you cannot gloss over bad with a smile, a couple of good accents and precious few moments of brilliance, no matter how well intentioned or passionate the artist. He would benefit from a little self-editing, a little more self-reflection, an element of polish and a focus on what he does best.

Edinburgh is a city of beauty, history and incredible inspiration. A city, as our tour guide Peter explained, ‘founded on books, lochs and lots of hills.’ Fear not, weary traveler, if you’re worrying that this all sounds a little too trying; with the gifted guides of ‘Edinburgh: A Tale of Two Towns’ at hand, this dramatic landscape is unfolded like a fairy tale. I have undertaken many walking tours in my time; some were brilliant, many relentless, but this was one of the most charming, downright fun and surprisingly interactive I’ve encountered. Such brilliance is due in no small part to the talent of our leader. Peter, a seasoned professional and Edinburgh native, is clearly passionate about this city; his love and pride for Edinburgh is communicated in every aspect of his tone, his smile and his delightful brogue. As the title suggests, the tour encompasses the city in two parts: those of Oldtown and Newtown. Peter takes us on a travelling history lesson through from Edinburgh’s volcanic rock foundations to the surmounting modern day metropolis, complemented with drawings and illustrations from Edinburgh’s past. Of particular interest are Peter’s passionate appraisal of the Writer’s Museum (you won’t believe Peter’s ability to name so many of the writers that Edinburgh has raised, sheltered and inspired), as well as the comparisons he draws between the grand gothic architecture of the old city and the modern Georgian buildings of the new. Such geographical observations are also titillatingly interspersed with a little gossip about the famous folk who’ve visited Edinburgh.Don’t let the two hour plus time frame scare you. Far from a relentless trek through the township, our tour took a moderate pace with plenty of time for photos and stories, and even a bit of audience interaction; at one point I even took on the role of Half Hangit Molly, outside Molly Dickson’s pub acting out the life, death and miracle resurrection of the now famous fish hawker and I was not the only one on the tour to take the stage. Edinburgh: A Tale of Two Tours’ is a fantastic introduction to this marvelous place. Peter said, ‘The magic of Edinburgh is it is a town that lives in harmony with itself,’ and this tour encapsulates the spirit, humor and majesty of this stirring, magical realm not to mention just a few fish tales to keep you guessing.

I have a confession to make. I love this movie; I grew up on this movie. So I was cautiously excited to see my icon on stage in a music review. My fears were immediately and resolutely assuaged from the moment the band hit the stage and the announcer began the famous welcome speech. A few mics, a couple of spotlights, a small bar and an energy as strong as 1000 watts transforms the theatre at C venues into a heart-pounding, foot stomping, non-stop thrill ride through the ‘I’ve got a woman, I need a woman, I lost a woman’ soulful streets of the blues. I challenge anyone to stay rooted in their seat for more than a chorus or two. The excitement is infectious. After five seasons, this show is as fresh as Jake Blues straight out of prison. Jake and Elwood are spot on with incredible energy and that cool, camp, irresistible trademark style. Strutting and dancing about the stage, this rock and roll jam packed party just keeps building in intensity to an explosive finale that will have you up all night, rushing to the VCR for a revisit.I would be remiss to forget a shout out for the ladies, whose vocal strains are as sexy, tight and impressive as their hot pants. They also show off very precise choreography, giving even the backing vocalists moments of the polish and panache which marked the era of big band blues. Then there is the bartender, whose enthusiasm and raw talent made me want to jump up and shake a tail feather.No Blues Brothers show would be complete without ‘The Band’, a collection of cool, quirky, and extraordinarily talented very young men, hovering in the back behind shades, some looking even too young to smoke a pipe or drink a beer. It made this reviewer smile to think this show is bringing classic rock and roll and the soul of the blues to a new generation. You do not have to be a fan of the Blues Brothers movie to love this show. You just have to have ears, heart and a pulse. Years ago, I went to one of the last concerts of the last remaining members of the Drifters. He came down the aisle and it was like Rock and Roll church! Last night, I happily returned to pray at the pearly gates of the blues. If there is a heaven on earth, I think it might just be at C.

Lea McGowan (pronounced Lee, as in, Now Leasing), is a beautiful dancer. Her grace, elegance and commitment are a dynamic display of physical stamina and unimaginable beauty and this show is an hour long marathon of human endurance. So I was quite eager to see what this former prima ballerina would bring to the Fringe. Enter an oddly engaging though clearly unconvincing old woman, interacting with the audience, talking about movement while distributing water to the crowd. I was intrigued. As she transforms before our eyes from old woman to playful young child, a metaphor begins to emerge. What also begins to crystallise is the fact that Lea, as in leadership, a quote from her father, is not a great actress, but she is a charismatic and engaging entertainer, whose odd mix of somewhat cliché spoken word, gorgeous costumes, quirky and somewhat disjointed storytelling, breath-taking dance and kooky characters swirl into a strangely fascinating, almost obsessive showcase. There are moments which are so charming you can’t but fall in love with this wacky, living-on-the-edge, cockeyed optimist. There are also several moments when I thought, ‘Why is this even here other than to showcase Ms. McGowan’s immense talents as a costumer?’ as they seem to add little to the admittedly surreptitious story she is attempting to tell. And yet, just as I feared the show had really gone off the rails with a strange piece about unicorn mating, she won me back with her final pièce de résistance, a raw, gripping physical recount of her years of training and real life struggle with body image, pain and new beginnings. Now Leasing harkens back to the days of beatnik clubs and cool, kitsch performance art. Ms. McGowan is a modern day Audrey Hepburn, with a fire in her belly and a strangely off-putting, yet still magnetic charisma. There are some pretty out-there moments but the stunning ones far outweigh the clunkers. If you want an hour of superb, mesmerizing feats of strength and splendour on the ground and in the air head over to Now Leasing. You might not be transformed, you might well be confused. Don’t overthink it and just enjoy the view and the playful charm of this beautiful dancer.

It is easy to forget how bleak and ominous the stories of the Brothers Grimm really are until we are presented with them in later life. I had honestly forgotten the details of melancholic tale of Hansel and Gretel, but C theatre made sure I learnt my lesson and I certainly won’t be talking to strangers anytime soon.Karina Wilson’s adaptation of the well-loved classic tale ticks many of the boxes of a good children’s show. Passionate performances, connection with the audience and a strong moral lesson are all there. However, parts of the show lacked the pace and energy required to keep an audience of restless children interested.A minimal set, barely any props and dull coloured costumes meant the group had to work doubly hard to hold the focus of the young audience as they retold the story of the two greedy children lured into a witch’s confectionery cottage to satisfy their rumbly tummies. The cast of four are extremely strong and were totally committed to their roles, with perfect diction, meaning no moment of the story got lost or went unheard. The two young members of the cast, Laura Beth Mortemore (Hansel) and Emma Ralph (Gretel) carried their roles superbly, conveying the pain and sadness of constant hunger and the absolute ecstasy of finally being fed.The downfall of the piece came with the large gaps of no dialogue and only music as the children tentatively made their way through the dark forest. The physical effect worked well but the prolonged amount of time left the audience bored and waiting for something more exciting to happen.The portrayal of the witch was particularly interesting. Played by Noah Young, he slithered around the stage in a way that echoed Voldemort’s pet snake, Nagini. Gone was the stereotypical imagery of an old fat woman, covered in boils, wearing a black hat and stirring her cauldron. Young was a pretty terrifying witch; his shaved head, heavy breathing and low scurrying had many of the little ones climbing on the laps of mothers’ and fathers’ for comfort. Though this characterisation was certainly an original one, I wasn’t sure it entirely worked against the old fashioned style in which the children spoke and whether Young’s over the top movements and pained grunts were maybe just a little too much in a show aimed at kids.Despite this, I must commend the group on their use of physical theatre, opening and closing the piece with the same group commentary and a well-choreographed piece of movement, making this old classic a little edgier and more up-to-date. An excellent lesson in stranger-danger that is definitely worth a watch for a charming piece of storytelling, but not one if you have children who are prone to fidget.

Ladies and gentlemen, boys and girls, welcome to the madness that is the I Hate Children, Children’s Show. From the moment you enter the theatre, accompanied by cool rock riffs from guitarist John Anaya, it is clear that this is no ordinary kids’ show. The set looks as though a magic shop had exploded, with bits and pieces strewn about in chaotic disarray like a mad-capped circus at a rock concert. Enter bad boy magician Paul Nathan who welcomes the families, cracks the whip - literally - and lays down the ground rules, and, at this moment, Mr. Nathan’s genius is revealed. This is not simply a big, shiny, spectacular magic show: this is a platform for making children the stars; a well-choreographed yet highly improvisation comedic romp through what kids do best, which is just about anything. Nathan is edgy and rude, hilarious and spontaneous, even controversial. Yet he keeps all the humour family-friendly and never at the expense of the children. He clearly has an unparalleled kid gauge for just where that line rests and the interplay between Nathan and Anaya is a bit of musical mayhem not often seen outside of an improv club. The show is a non-stop laugh fest, a fantastical celebration of the kingdom of kid. Every child who wants to participate gets the chance, if time allows. The magic is impressive though somewhat predictable, but of course the magic itself is not the innovation of this show. Its innovation is the comedy, improv and thrill for the kids, many of whom join that stage for the first time fearlessly. The true magic is in the delight of these children, rewarded with candy, balloons, fun and memories. I can’t quite say this show is perfect - they are still working out the kinks, adding jokes, removing jokes, finding their footing as this is an all-new version of the incredibly popular production - but I can say this show is perfect for the whole family. If you have children (even if you don’t) run to the Pleasance Theatre, pay your money, bring a drink and a camera. You won’t regret the investment. Seriously though, bring a camera!

In the world of children’s programming, there is a spectrum from well-executed to well intentioned through to absolutely insulting. The Steadfast Tin Soldier falls neatly into the second category. There is a lot to this love story and even to the multi-media, live action adventure musical show which makes it an excellent hour of diversion for any young audience. However, the Paper Finch Theatre production unfortunately is a show of lost opportunities. The entire opening sequence which recounts at lightning pace the capture of the Tin Soldier, setting up neatly the story as he retells it to his rodent captors. This is followed by the introduction of the rest of the infantry which is immensely hard to follow, with dialogue fired off faster than the little tin rifles which they are so fond of singing about. Accompanied by live music, they began a rhyming song, much of which was distressingly lost to the high intensity dancing, lax articulation and unfortunate lack of vocal strength. It is particularly disappointing as the delight at each new rhyme scheme beams from their pink cheeked faces and I wanted to know what all the fun was about. As an ensemble, the singing was quite pleasant, with some very complex harmonies, but a few sour notes from the solos take a toll on the ear. By the time we make it to the playroom, meeting all the other toys, much of the magic of the show has gone, however, steadfast, the actors continue on admirably. The plight of the tin soldier, whose one leg is incomplete from a lack of tin in the firing, appears at first to set up an underdog story of overcoming adversity when he is cast aside by his little boy and the other officers. Yet this plotline is quickly forgotten with the introduction of the paper ballerina, an impressive bit of puppetry controlled beautifully by three puppeteers accompanied by the most haunting recurring melody in the show. The shadow puppetry is put to good use throughout, creating seamlessly fluid scene shifts. There are also a few truly imaginative moments, including a very funny pea fight and some creatively timed paper airplanes. The overriding issue with the show is simply that, with few exceptions, these are not likeable characters; much of the acting is superficial or so over the top as to scare some of the children into wanting to leave. However, there is a saying in musical theatre, “Always focus on the final note. That’s all the audience remembers anyway.” It appears Steadfast Tin Soldier has taken a page from the book, as the end of this show, which takes an about left turn, is so beautiful, poignant and well-realized as to make this reviewer slightly angry at the lack of this intensity and artistry throughout. Much like the character himself, The Steadfast Tin Soldier lacks a heart until the end, when it might be just a little too late. But I did spend the next two days singing “I was born a man of tin”, so I suppose they won me over in the end. Overall then, the story is compelling, executed with enthusiasm if not artistry.

Is there a more delightful way to start the 2013 Fringe than with Edinburgh’s own Puppet State Theatre Company? This nearly pitch perfect production of The Man Who Planted Trees, which has been enchanting audiences since 2007, has weathered the test of time. So has its central figure Elzéard Bouffier, the kindly shepherd who plants a forest of hope and renewal in a desolate, windswept valley in the French Alps. Based on the classic story by Jean Giono, the Puppet State Theatre Company has created a tender, delightful and very amusing adaptation which will appeal to audiences of every age. With two actors, simple but beautiful scenery, a gorgeously realised soundscape, and a few sensory surprises this reviewer won’t give away, Rick Conte and Richard Medrington keep the audience laughing and engaged while telling an incredibly inspiring story of loss, war, generosity and renewal. Richard Medrington as the narrator is one of the most engaging and earnest storytellers I have encountered. His gentle and intimate style is beautifully complemented by the high energy enthusiasm of Rick Conte, as Dog, the faithful sheepdog and comic sidekick. Breaking with tradition, the actors introduce the show as themselves and comment throughout on the fact that these are puppets, with no expectation that the audience will forget the actors behind the strings. There is an air of improvisation about this continual observation of the hand controlling the puppet that at times I found frustrating, until I realised the genius of it. By breaking the suspension of disbelief on occasion, this show adeptly keeps the youngest audience members engaged without resorting to altering or ‘dumbing down’ the story. Though adults may find these moments a little long and disruptive to the story, children find them hilarious. The jokes and little asides resulted at one moment in a completely spontaneous and jubilant cry of ‘Dog, Dog, Dog’ from the audience. It became clear what a gift this was as children as young as two were exposed to a multi-lingual, multi-generational tale told honestly, artfully and beautifully. Anyone with children will appreciate how difficult it is to maintain the attention of a four year old for an hour but these two actors, with the help of the ever faithful Dog, do it seamlessly. If you, like so many in the story of The Man Who Planted Trees, do not know the name Elzéard Bouffier, you have only two weeks to get to know him before this beautiful treasure leaves the Fringe. Do not wait for the forest; for these two magical weeks, the forest has come to you, accompanied by a button-eyed optimist called Dog. Go and take it in.

As I walked into the Scottish Storytelling Centre I was greeted by a delightfully impish man in a wizard’s robe assigning fairy names to all the children (and adults if you want) from a giant book. I was already a bit enchanted. The set was modest, just a few piles of hay strewn about the stage, but my curiosity was peaked. The children whispered excitedly as the lights dimmed and the man, storyteller and puppet-maker Andy Lawrence, read the roll-call. But as the show began, the wheel of fortune started to come away from its track.It is clear that Lawrence loves what he does and he is a wonderful puppet-maker but unfortunately, at least in the case of Rumpelstiltskin, he is not a master storyteller. The sets are interesting miniature scenes which would be spellbinding were they to appear as if by magic, but instead they are assembled during a few clunky transitional periods requiring the storyteller to unlatch, unhook, untie and repin each new scene. There are moments of delight throughout the show and of course, as with every Theatre of Widdershins production, gorgeously rendered puppets. The biggest misstep to the show is simply the lack of a second puppeteer or even just a second pair of hands. Transitioning back and forth from puppet to puppet is strange; hearing the limp hanging doll speak before the storyteller can give it life took much of the magic from the show. But truth to tell, all of this would be forgivable, owing to the fact that it is a solo show, but for the overriding issue is that Widdershins has created a cast of really unlikeable characters, including Polly Buckwheat, who comes across as a narcissistic brat from the moment we meet her, leaving the audience to wonder why they should even care. This is a story of transformation, not just from hay into gold, but where goodness overcomes evil. In the end, the children, who were somewhat engaged but far from transfixed, enjoyed the show. I hope given a couple more performances in the space the show will settle in and the magic will return. One note of caution, the puppet Rumpelstiltskin is a bit of a shock so if your wee one is easily frightened, you might want to sit near the back for a little distance and a rapid exit. Overall, if you have children and you like the story of Rumpelstiltskin, this is a fine show, not spellbinding, but a pleasant enough distraction in a lovely theatre with air conditioning.

Purge is the debut play from Finish author Sofi Oksanen, and is adapted from her third critically acclaimed novel. Encompassing the political conflict in Estonia over 40 years it tells the story of two women, Aliida and Zara, both of whom have been affected by the repercussions over their generations.Despite being originally conceived as a play, the production does not live up to the reception of the novel. The main downfall in the adaption is how the narrative is constructed and executed for the stage, which fails to unite the worlds of Aliide and Zara. The narrative, which is divided over two time lines, no longer has dual authorship. Instead flashbacks from Aliide’s viewpoint is the main device employed. Aliide witnesses her own history, not as an outsider but interacts with her former self. I cannot help but question this, as it seemingly neither challenges or contributes to the flashbacks which are sufficient in capturing the audience. The transitions into the flashback seem overly dramatic and clumsy. They are triggered by contrived dialogue, signalled by an ominous sound that seems out of place, while Zara exits the stage leaving the present Aliide to watch. The whole scenario detracted from the scene, and brought a sense of focus on Aliide alone, by physically isolating Zara from memories that will come to shape her existence.The channeling of Aliide is present in the stage design which solely manifests the the house of Aliide. A dissected rural dwelling consumes the stage. The audience is overshadowed with branches hung from the lighting rig. The space is Aliide’s home in Estonia. In one respect it succeeds in creating claustrophobia. It compliments the shifting time lines; the house that never changes, or ages as Aliide does, perfectly captures how she is haunted in a living memory. But its success is also its weakness. The only scene which provides insight into Zara’s history, is forced to play on the very outskirts of this physical environment, defined by the addition of a stool and television. The scenes very isolation in the playing space exemplifies its own isolation from the narrative.Purge as a piece of new writing seems lost in a very old world of theatre. More than this there is a constant feeling that something is missing, as important information planted in dialogue is  easily missed, and compelling scenes from the novel are omitted altogether. It fails to reach the potential and scope of the novel. The consequence is a production which feels as much in the past as the characters.

To suggest that this Dickens classic suffered a stage death is a slight exaggeration of the Space’s production of The Life and Adventures of Nicholas Nickleby, but I must confess it didn’t come to life either. It is clear that it is a well meant production, by a dedicated company, but unfortunately the artistic choices adopted - which in theory should have worked - failed in practice. The task at hand is simply beyond them, and I suspect most theatre companies.The performance, from its minimalistic set to episodic nature, had a highly presentational quality, and should have successfully translated the novel on the stage. The overall style, however failed to captivate. The orchestration of scenes seemed the direct result of someone taking a hatchet to the novel. Brutal, but a necessary evil. The problem wasn’t the brutality of this - it was the execution and construction of the scene themselves which seemed clumsy and abrupt. The choice of a minimalistic set consisting of four large black boxes, should have liberated the performers, giving building blocks to create scenes. Ironically, they were more of a hindrance. As an audience member I felt aware of frequently being plunged into darkness, while the blocks were awkwardly arranged into ‘new’ configurations. These transitions contributed little and articulated nothing more than varied seating arrangements rather than new environments.Boasting a cast of 24 performers to cater for 73 speaking parts, the acting style naturally followed suit with performers playing for the most part caricatures rather than characters. All actions/gestures from twitching eyes to dragging feet were premeditated, and grossly over exaggerated purely to indicate the identity of a character rather than to provide insight or depth. The result was something of the melodramatic, or of laboured comic relief. This is not a criticism of the acting company; Andrew Broadhurst in particular gives a great rendition of Squeers. The consequence is that many scenes border on parody, which in turn undermine moments of a serious - dare I say? - naturalistic nature.Overall the heart of the production is in the right place. Such a seemingly impossible task of staging Nicholas Nickleby could only be a labour of love. It is just a shame the production will not fill your life with adventure.

What is it about nuns behaving badly that people find so amusing? It is absolute nunsense... See what I did there? Unfortunately, that is the level of humour the show has to offer.Nunsense tells the story of the nineteen surviving nuns from the Little Sisters of Hoboken (the other 52 were tragically poisoned by the cook) who now must raise money to pay for the remaining burials. It would seem that a Wii Fit was not the best financial investment for the nunnery, when you have four nuns in the freezer.If you are one of the aforementioned people who find nuns intrinsically amusing and the synopsis sounds great then you will be delighted to find out that there are three productions of Nunsense at this year’s fringe! Otherwise, you may prefer to sit at home with a cup of tea and a book.The young cast from Norfolk Youth Music Theatre do their best with this production – unfortunately you get the sense that some performers are more talented than their roles give them credit for, whereas others are pushed to breaking point by their vocal lines. It is best to bear in mind that this is an amateur production. It feels it. The staging is archaic, the punch-lines are predictable and the accents were all over the place - all in all it just feels very old-fashioned.It is an inoffensive, polite, comfy type of show, and is reminiscent of your favourite pair of slippers. You know the ones. Tatty. Well-loved. You should have thrown them out years ago, but you can’t bring yourself to do it. This is a show to take your parents and grandparents to, who will mindlessly clap along to the songs. The show is fun in parts, but most of the humour is exhausted.

Eight friends, a love triangle, sibling rivalry, jealously, betrayal, love and a little evil thrown in...?For a small town of everyday folk – there’s certainly a lot going on isn’t there? Shhh..., a modern day musical centred around Evan’s failing bookshop, promises to have the audience ‘shhh-ing from beginning to end’. And it does – but I fear for the wrong reasons.The main storyline is predictable, with stock characters; Gay Best Friend, Bad Man in Business Suit, Downtrodden Nice Guy - and is ultimately frustrating in parts. The main plotline is a love story which develops too quickly, with the audience being told the back story very unsubtly instead of being allowed to see it in the performances. There is a subplot involving a ragged toy bunny which left me bemused. I didn’t understand the relevance and feel it needs to be developed further.The young cast tried their best with the demands of the script, but they are at a disadvantage. The material presented is simply beyond them in years. I found it difficult to place them within the world created because I was constantly aware they are not mature enough to match their characters in age. I think in places this was felt by the actors themselves as they stumbled over dialogue, seemingly distanced from the meaning of the words they were saying.The staging is the main obstacle in the production, as the director fails to overcome the challenges of the space. Having the audience on three sides meant that the cast, in an attempt to open the acting arena, spent more time looking at the audience rather than their acting partners. This was not only distracting but unfortunately left the acting flat in parts because they couldn’t work off each other effectively. The director also over-compensated for the small staging area, by having actors run unnecessarily around the whole stage before exiting directly behind where they originally stood. This did a disservice to the cast as it made scenes look clumsy and unprofessional, and if anything emphasised the size of the stage.There are moments when the writing of Dan Greavey and Alison Telfar does work. In particular there is enjoyment to be found in the group scenes, when performers deliver quick-fire lines at one another, finding a natural comic rhythm that delivers. The music, while not particularly memorable, is accessible to an audience new to musical theatre due to its pop-culture feel.

The Adventures of Alvin Sputnik is a visually stunning production which mixes multimedia and puppetry in a unique and touching solo show by Tim Watts. In a post-apocalyptic world, where the seas have risen and all are banished to rooftops, Alvin must journey to the bottom of the ocean to retrieve his wife’s soul and save humanity.Alvin’s adventure is documented through music, animation and puppetry, although the latter two contributed more to the production. The live songs played on the ukulele don’t detract from the production, but do seem somewhat out of place in the show as the aesthetics of the projections and puppetry were so visually harmonious. In contrast, the recorded musical score for the production is breathtaking, and use of recognisable pop songs provides a light hearted touch.The visual space is mostly defined by animation, and there are moments where you feel you spend a long time watching a screen. The addition of set pieces to the deep-sea landscape is therefore a most welcome addition, as they open up the playing space, allowing the puppetry to excel.The way in which Watts executes his puppetry is original and engrossing. Consisting of one gloved hand as the body and a separate head held and directed by his other hand, it is astonishing how Watts can articulate such compelling body language. There is such humanity and life in Alvin that you will be rooting for him all the way in his aquatic journey.The narrative is of this production is touching and poignant. It nods at the global warming crisis and environmental issues without sensationalising it or alienating the audience. But in essence it is a love story, which will stay with audiences for a long time.

The Girl with the Iron Claws is a wonderful retelling of the Nordic myth of the White Bear King. Sharing its roots with Beauty and The Beast it tells the love story of a cursed King and Girl, from the perspective of the Blacksmith who made the famed Iron Claws.The production has a wonderful, childlike enthusiasm which drives it. As an audience member you see through a child’s eye, and feel you are taken by the hand through the child’s imagination as they configure and direct their bedtime story. Arran Glass is instrumental in the success of this device as Blacksmith and the narrator of the piece. He gives a touching performance; let him guide you with his beautiful and caring voice on an epic journey through the forest.Rachael Canning’s design and direction of the puppets in this production is simply breathtaking. The bear Valemon has such humanity and gentleness in his features that you will fall in love with him. He is also animated in such a way by Chris Macdonald as to make him majestic and powerful but not intimidating to a child. My only criticism is that having such definition to the bear made me question the position of puppets portraying children within the world created on stage. There was a stark contrast in aesthetic and mechanics of the two sets of puppets, as the children were less defined and simpler. I would love to see this company explore further what they can achieve with their talent. The set-design and use of space is extremely imaginative. Simple alterations, such as extending a curtain of the Blacksmith’s workshop, provide a new performance space for shadow puppetry; a pleasant surprise and welcome addition to the story. These scenes were perfectly executed, as actors hand-controlled the lamp behind, altering the focus to manipulate the silhouettes of actor and puppet. Accompanied by narration, these moments acquired a hauntingly dream-like quality to them, enabling the company to tackle what can be difficult subject matter.One of the best things about this production is its warmth. Too many shows suitable for children have the tendency to condescend. There is a passion in the company that transcends into their performance, and makes the puppets come alive.

“I just hope you’re having a really nice day.” This is Angus’ philosophy. And I can assure you, if you see Angus, you certainly will. Never have I been so wonderfully entertained with utter nonsensical genius! The prospect of a one person show can be very daunting, but Vachel Spirason is a truly gifted individual who effortlessly entertains with such energy, perfectly capturing the essence of risk and play integral to clowning. Utilising the format of a read-along bedtime story as the framework for The Hermitude of Angus, Ecstatic was a brilliant decision by Stephanie Brotchie and Spirason. It not only gave ample opportunity and freedom for Spirason to improvise off the energy of the audience, but cleverly anchored each moment into wonderful journey, which ranged from the bizarre to the beautiful.Don’t let the fact that it is clowning put you off, if you are unfamiliar to the art form. Don’t expect a disgruntled children’s entertainer trying to make balloon animals. Expect purely to be entertained – this is physical comedy at its best. It is clear that the music was influential in the devising process, and when Angus dances it’s really infectious. At the end of the show you are told that:You have two options:1. You can leave2. You can dance.I chose to dance. And I hope you do too.

This show is certainly not for the faint hearted. I would estimate that I spent ten per cent of the performance curled up in a ball, face buried in my hands as I feared my soul might die from embarrassment. But believe it or not, this is a compliment to Dr Brown’s ability as a comedian and performer. Dr Brown Becaves is a bizarre cocktail of physical, surreal and absurdist humour that will leave you with the biggest mental hangover of your life.At times there seems to be no contingency plan for Dr Brown Becaves. It is more of an ensemble of moments, thoughts and scenarios. This adds to the novelty of the production, which keeps you on your toes and catches you off guard. Dr Brown is a natural at dumbshow. The physical comedy is not only original but shows a deep understanding of how to utilise the power of silence and absence. He is at his best when feeding off the audience, and there were a few infectious moments when he broke form and a small laugh escaped him.It is difficult to articulate how he turns utter nonsense into utter genius. This show is truly bonkers and will probably leave you feeling slightly soiled, but in a good way. Dr Brown certainly isn’t afraid to push boundaries. Even the slightly perverse moments, when you feel a little sick - and you will feel a little sick - are cleverly done.It is also worth noting that returning to Edinburgh after a sell out tour of Hong Kong has had a cultural affect on Dr Brown. He may need your help with translation. You have been warned.

I am sat looking at a white plastic cup. Fifty minutes ago this cup was one of many littering the stage of Our Oceans Are Drowning, but now it is sat proudly on my coffee table. As the piece opens a discourse about climate change, I fancied that the landscape of plastic cups on stage were there to represent the polar ice caps. Perhaps I am reading too much into this, but Rosalind Masson’s interaction with them in the space seemed to create an emotional resonance that anchored her choreography.At first the movement is predominantly floor based, as Masson explores the space through isolation of her body. She combines disciplined choreography with moments of permissiveness as she allows the forces of gravity to dictate the completion of the movement. The contact with the floor, and the slow pace it is executed with, creates a wonderful soundtrack which defines the choreography with a melancholic mood. The scale of movement increases to a point where Masson’s choreography creates chaos and destroys the regulated stacks of cups. Eventually, there comes a shift in the piece and the mood lifts. She takes her time to pick each cup up and reposition it stood on its head, bestowing one of the cups to an audience member during a repetitive dance sequence. This action of restoring and rebuilding the physical space, whether they are just cups or something more, is touching. Perhaps I am being romantic about Masson’s interaction with the cups, but I found it easier to connect with those moments rather than other sections of choreography. There is a moment when media sound clips discussing climate change are introduced, accompanying choreography that combines fragmented movements and identifiable gestures, such as strumming a guitar or opening a book. I found it hard to unify the literal and the poetic.This is Not a Dance follows Our Oceans are Drowning, and is introduced by its title being chalked onto the floor by stage hands. It is billed as trying to open a discourse and challenge the stereotypical representation of a dancer. I have to say it failed miserably. Instead of challenging the stereotype, Ultimate Dancer (self titled) merely manifested it on stage, in a bizarre and aggressive performance. The humour was lost on me and I fear that having it in a double bill with a serious new piece of choreography seems to undermine it. The whole piece appears to be a joke at the dancer’s expense, rather than a parody. One moment that struck me was the way Ultimate Dancer changed the title on the floor to read ‘This is Dance’ - she spat on the floor. Again, I appreciate this is done to generate humour, but I found the action really disrespectful.Although a misjudged double bill, it is an engaging show to see, even if you feel lost along the way. After all, I kept the cup. That must mean something.

I really wanted to love this production. The show displayed great promise and I was fully prepared to book in at the Hotel De L’Avenir, but it failed to reach expectations.The concept of creating a ‘caberet of vignetttes’ and integrating all the characters by having them stay at the same hotel is a clever concept. It provides a wonderful framework to really explore character work. But a showcase like this only works if you can execute everything to the same high standard – whether it is mime, singing or dancing. I fear that Alexis MacNab tried to do too much and it did her a disservice.Her character work is where her strength truly lies, and where she seems most at ease in her performance. In particular Josephine, a café performer, was my favourite. There was vulnerability when she sang in her Alanis Morissette-esque portrayal, and her storyline was heartfelt. In another character MacNab explores a silent character with mime, but she does not succeed in the art form. Mime is a very difficult area of performance and requires great expertise, and really should not be attempted unless it is anything but perfect.The shadow puppetry, which I hope was a projected live feed and not something pre-recorded, complimented the French romantic aesthetic of the production. Although, at times, some of the imagery is confused when scale is deliberately distorted, and the execution is clumsy. The French maids, who were obviously there to provide comic relief, at first, seem a clever device for the production. They would introduce the audience to the different rooms by changing the door signs, dusting and presetting the minimalistic staging. The climactic tête-à-tête between the two maids, which focused solely on the position of a chair, was funny but seemed oddly shoe-horned in. It broke the theatrical form, as it didn’t result in the presetting of the following scene, for which the chair had to be removed.Hotel De L’Avenir has moments of beauty, but its main failing is the fact it fails to reach its potential. And it really does have potential.

Louis Pearl – aka The Amazing Bubble Man - truly deserves his title. Most of the show is accompanied by gasps and awes... and that’s just the adults. Kids (and me) can be heard giggling with excitement.The genre of the performance is hard to describe. Pearl takes on almost a clown-esque persona when interacting with the children, but it is warm, inviting, and - most importantly - very silly! The whole show is interactive, and I have never seen so many hands thrown in the air waiting to be picked! The level of science explained in the performance is just right. Mainly it is key terminology, such as ‘aerodynamic’, thrown in and briefly explained. It is just enough to intrigue and stimulate curiosity without overwhelming a younger audience member.Pearl is a veteran to the stage. Twenty-six years he has been performing his self-claimed bubble-ology, and it shows that he cares about children and encouraging them to play and learn. At one point in the show Pearl challenges the audience to provide him with something to make bubbles with. In the show I saw he succeeded in making bubble magic with a bracelet and paper coffee cup. Pearl does this to highlight the fact you can make bubbles from anything, as long as it has a hole in it. The moral behind this? Parents don’t need to buy toys, even the merchandise from his own website, in order to have fun with bubbles! All you need is soapy water and random objects from the home.This is a wonderful show that will amaze anyone of any age. One word of warning though: if you hope to escape the rain whilst seeing this production, you might want to think again. There is the possibility of light showers.

Les Misérables fans will be disappointed to discover that this show not in fact a musical revue of the West End hit. Instead a compilation of musical numbers from various shows is unnecessarily shoe-horned into a storyline, in an unsuccessful attempt to mask what is basically a talent showcase. The scenario presented in this show by Dysart Productions is that the young hopefuls on stage are all competing for a part in the musical, and must take it in turns to sing to the unseen casting director.It is ironic that the programme should state "the tension steadily mounts through reality-style auditions". One of the main obstacles this production faces is the fact it is so heavily staged, and far removed from the reality of the theatre. The show itself opens with the company sat uniformly on chairs looking out to the audience as they 'warm up'. The opening sequence is not their actual rituals as performers, but exaggerated gestures. The performers are not being themselves, but stereotypical characters; the desperate actor who never gets to finish their audition, the method actor who comes in full costume etc. The result is something unoriginal - an exhausted cliché which failed to raise a laugh with the audience.Another major disadvantage of the production is the lack of preparation, which left the show looking amateurish. The quality of the sound recordings is a disappointment and undermined the performance given by the company, who had to sing along to synthesised backing tracks. It also detracted from the delivery of the songs. The lack of real instruments disjoints the emotional connection, resulting in the communication of the music being lost. The company as a whole are technically accomplished, although at times different songs could have been chosen to showcase their voices which strained with such demanding material. A standout performance came from Brad Clapson with his turn as Thénardier with 'Master of the House'. He gave an accomplished performance displaying natural talent, strong vocal ability and great comic timing. He has the potential to be a great character actor. Other performances of note came from Matt Ronchetti and Sam Nunn who both confidently showcased the beautiful voices, and executed the emotional connection and storytelling of the songs.Despite some good performers, the company is let down by the concept of the production, which hinders the enjoyment of the show. The production advertised would have provided greater entertainment than the one presented.

I love looking at photographs. One of my favourite images is not even my own memory but an old photograph I found in a book from a charity shop. It shows a group of British soldiers from World War Two posing under a tree. I do not know their names. But I know their faces. I often imagine who they are, how they fought, and how they lived. It was this kind of emotional connection, of curiosity that I hoped the production would create. I was wrong. Frozen Stills is a fabricated yarn about a man called Walter, and not a good one at that.The main obstacle is the way it which it has been staged. The performers presented clichéd caricatures, which lacked conviction. Not only that but the Frozen Stills doesn’t just focus on Walter, it serves as a wiki-lecture on photography, with actors breaking from the character to address the audience about what photography is to them. There was no emotional connection in what they say, as they stumble over overwrought dialogue, so ironically, it came across as insincere. This insincerity continued as they staged taking pictures of the audience. The objective is to create an emotional memory, a ‘frozen still’ of the cast with the audience. These moments lose all emotional impact as it was quite obvious that no such picture is taken. There is no flash. No click. The camera is merely a prop.There are moments in the staging that show creative flair, but they are not enough to save the production. Scenes when the actors animate Walter’s memories by becoming the people in his photographs show promise but can be developed further.Unfortunately Frozen Stills is not one for the photo album.

There is a reason why Potted Potter is celebrating its fifth anniversary at this year’s Fringe. It is one of the most amazing shows you will ever see. Even as I write this review I am giggling away as I remember little snippets of the show. Although the charm of the production is watching Dan and Jeff perform all seven Harry Potter books in seventy minutes, I would happily watch these performers for seven hours. The show is the true definition of family entertainment as the humour has the ability to tickle and unite people of all ages. Jokes and parodies don’t just focus on the world of Harry Potter, as cultural references from Taggart to theatre in jokes are incorporated. My personal favourite is when Dan and Jeff prepare the audience to be plunged into total darkness when they unleash the magic of the ‘putouter’. Well, almost total darkness, as Dan highlights, there is a necessity for the emergency exits lights to remain lit. In these cases the content of the jokes are most definitely aimed at the adults but the execution of them is wonderfully silly so the children can find the fun with mum and dad. And then there are moments of the bizarre which are guaranteed to amuse even the coldest of audience members. Think Dame Judi Dench. In a beard.Reminiscent of a young Morecambe and Wise, the chemistry, timing and energy of this duo is faultless. Moments of pure joy can be found when Dan and Jeff leave the script behind and improvise off each other and the audience, ensuring the show is still fresh and exciting after five years. It is a magical show for everyone to enjoy, whether you are fan of Harry Potter or not, you won’t be able to stop yourself from laughing.

Sitting with an audience of six, I wasn’t exactly hopeful about the one-man meltdown I was about to witness. I was right not to be overly excited about this show, which was indeed ‘intriguing’, as advertised, but not in an entirely positive way. To be honest, I felt far more ‘poked’ than ‘provoked.’Despite how uncomfortable I felt for the entirety of this show, credit has to be given to performer and creator Behsat Ahmet for his passion and energy as well as an extremely innovative idea depicting the mental breakdown within a singer. He sweeps into the tiny space wearing an unnecessarily long, black Dracula-esque cloak, with his torso covered in black leather belts. The initial image was slightly terrifying but, as he took to the stage, his scary demeanour broke down song by song as he guided us through the emotional journey of a failing singer.I was actually a big fan of the concept of the piece but became increasingly frustrated with this performance. The emotional breakdown of stage performers is a fascinating subject and one with huge mileage, especially at the Fringe however, the way that Ahmet chose to execute it left my senses continually harassed and desperately looking for the nearest exit. It was hard to tell whether he was trying to be artistically ironic with the music selection or whether his song choices were just ill-chosen and bordering on cringe-worthy. From sampling R.E.M’s ‘Losing My Religion’ in an awkward piano-bashing rendition to more classical well-known pieces by Purcell, some could say he showed great variety, whereas for me, it was a bizarre mixture of badly fitting puzzle pieces.Despite this, there really were moments of beautiful vulnerability demonstrated by Ahmet and even the odd moment of comedy where I let out a hesitant snicker. He started to grow on me and make me smile but these moments were quickly lost by odd artistic choices, like blinding the whole audience with an overly powerful strobe light to the point I felt physically sick. Sadly, one of the only joys I found in this performance were the similarities between Ahmet’s character, Ferdi, and the flamboyant teacher Mr G. from the spoof series ‘Summer Heights High.’ My comparison was confirmed when, during the painful strobe light show, Ahmet performed an impressively active movement routine completely immersed in his black cloak, for what seemed like an eternity.This show is worth a watch just for the sheer ‘what the hell is going on’ factor but I wouldn’t recommend it if you want a comfortable evening’s viewing. The concept is strong and, at times, is demonstrated beautifully with real pain and anguish but by the end of the mere forty minutes, I found myself looking at my shoes and struggling for air.

The Jekyll and Hyde bar is a fantastically atmospheric location for any show and gave the perfect cosy yet still spooky setting to this stand up comedy gig. Squashed into a tiny room at the back of the bar, two comedians, Sean McLoughlin and Adam Hess, gave us half an hour of stand up each.McLoughlin compered the show and quickly built up a steady rapport with the audience. This particular crowd were a little lively, which only worked for the better as it cemented a fun, easy going feel for the show. Hess did his set first and seemed rather nervous, to be honest. A likeable comedian, he speaks very quickly and sometimes his jokes can get lost. He seemed to have a lot of solid material with really amusing content, but his delivery didn’t grip the audience. Unfortunately he left himself open to the occasional heckle which he didn’t seem comfortable handling. The result was that the pace of the show began to slow. However, he picked up his set well, by staying focused on his material and getting the audience giggling with the standard ‘I’ve been dumped – feel sorry for me’ routine, which is starting to get a little old after hearing so many comedians moan about the same thing.Fortunately, McLoughlin picked the energy of the show straight back up for his half of the gig. He delivers confidently and his timing is spot on. His anecdotes on how it feels to be broke (really really broke) had the audience in stitches as he comments that he has to make the daily decision of being hungry enough to eat an item of clothing just to get through the day. The hecklers continued to throw curveballs at McLoughlin, but he handled them like a true professional, making the show brilliantly spontaneous and much funnier. He developed bonds between certain crowd members and cleverly revisited previous jokes or links he had made, and soon even had a group of very hard to please financial advisors bellowing with laughter.All in all, it was a very enjoyable hour, but my one piece of advice for these comedians would be to split up. Hess has a lot of potential, his material is edgy and witty, but he lacks the gumption to deliver it convincingly. McLoughlin is a real treat and left the audience wanting more.

Intrigued by a piece of theatre exploring the ins and outs of the great British phenomenon of queuing, I was disappointed by West Horizons’ original scripted performance, which consisted of different scenes, sketches, and monologues, some loosely linked and mostly rather awkward to watch.Credit has to be given to the three-strong cast, two female and one male, for their passionate performances as they all played at least five different characters. However, I felt the show was often indulgent to each actor’s particular strong skills, which seemed irrelevant to the plot of the performance. For example, Rebecca Jayne Hulse took on the role of a character who sang her name in an operatic style whenever someone asked her what she was called. This was not relevant to the piece itself and came across as a device to show off her trained singing voice. Similarly, another performer, Collene Webb - also the writer - enjoys showing off her tap dancing skills as, at the end of the show, the cast perform a strange musical number where Webb is the only one wearing tap shoes. There’s no denying the two women are talented, but I was somewhat baffled as to why these skills were featured in a play about queuing.Parts of the script were clever and witty, and the set up of the different scenarios - being in a phone queue, queuing in a café or for a cash machine - were cleverly devised and original. A touching performance was given from Hulse in a monologue where she explains why she had to jump a queue to get money for her son’s ransom. Credibly acted, this was a highlight of the piece. Sadly, moments like this were ruined by awkward caricatures of elderly women or jittery tour guides who left the audience cringing and gave the entire performance a very amateur look.Though the idea was solid, the execution wasn’t. The company could have done far more with the concept and spent less time on scenes and sketches that were childish or not funny. Don’t form a queue to see this one.

The Wonderful Sisters are a singing trio cabaret act from Australia who welcome us to their show with a charming three part harmony song, ‘Down in Louisiana.’ With witty and sometimes crude lyrics, these three singers are all very talented and perform classic wartime style ditties with style and finesse.Echoing the Andrews Sisters in fashion and performance style, I was hopeful for a pleasant hour’s entertainment. However, the downfall of this show came with the clumsily written, un-funny script that linked the numbers together. With the act comes a mini plot and back-story surrounding the life of the Wonderful Sisters, which the show could have really done without. The Sisters explain how they make their living by motivating the troops who are fighting for America in the Second World War. Their career is then threatened by the potential of peace, so the sisters make it their mission to continue the war in any way they can. This bizarre plot left most of the audience cold and some the jokes could only be classed as offensive, not ‘smart satire,’ as it is described.The clunky script and awkward silences massively frustrated me, because every time the girls prepared themselves for the next musical number, the audience breathed a sigh of relief as we enjoyed the soothing tones of three very capable singers. The confusion for me lies in the discrepancy of the weak script compared with the dark and satirical lyrics of the songs, which were much funnier than the dialogue. ‘Now Baby’s an Amputee’ is just one example of a deliciously dark, yet very amusing number delivered with coy gusto by the girls. The lyrics were witty, well put together and executed with perfect grace.This show could benefit from having all the gags removed and just sticking to the songs. As the political jokes dropped like stink bombs and the projected image of an actor playing Churchill (very unconvincingly) bellowed across the room, I sat squirming in my seat with awkwardness. There is no doubt these girls are talented and good at what they do, but this is singing alone as they are certainly not comediennes and it doesn’t help that they are working with such an poorly written script. Stick to the songs girls, otherwise your audience will be desperately searching for the closest evacuation point!

As I followed the sound of salsa music into the grand ballroom at The Assembly Rooms, I have to admit I felt a little underdressed in jeans and trainers. What I was about to be part of was not just a show, but a full two hours of drinking, singing, dancing and a non stop party for both audience and performers alike.The Assembly Room group deliver a night of relentless music in this fantastic cabaret show. With a mini bar at the side of the stage and the freedom to wander out to the main bar during the show, the atmosphere is relaxed and happy - this performance is a real night out. The show features a variety of styles from samba to mambo to reggae. Supported by an enthusiastic male band, there are three main singers who perform in very different but equally passionate varieties.A highlight was the stunning singer Paloma Gomez, whose gorgeous vocals had the whole audience instantly on their feet. Her rendition of the well-known classic ‘Mas Que Nada’ was the perfect way to get everyone in the party mood. The energetic vocals were accompanied by some equally energetic female dancers, who got the audience going and even invited some particularly enthusiastic dancers up onto the stage to shake their stuff. They were joined by a male dancer who also turned out to be a very talented singer, teaching the whole auditorium the ‘Playa Playa, Piscina Piscina’ song, along with actions (that’s beach beach, pool pool to me and you...) We were also taught the four steps of how to drink a shot in Cuba. The cha-cha dance number between the male and female dancer was particularly captivating and brought out the true style of the evening. The two dancers moved seamlessly as one, falling elegantly and sexily into each other’s movements. Both the male and female dancers aren’t wearing very much clothing, so there is something to please everyone!This show offers so much fun and is the perfect way to end or even start a night out. Parts of the night do echo cruise-ship entertainment and if you’re not one for joining in with the crowd, maybe you should avoid this commercial production and go for something a little more intimate. Despite this, the group are so very talented and passionate about what they do, you can’t help but get carried away by their infectious energy and you’ll soon be dancing in the aisles. Probably best to have a pint before you go though and put on your best dress and dancing shoes! Olé!

Billy the Mime is no stereotypical French man trying to climb out of an invisible box. He is the alter ego of Stephen Banks, an American actor and comedian. His one hour show is scandalous and extremely clever as he presents different stories and scenarios from current affairs, most of them being particularly taboo or outrageous.In the slightly creepy underground setting of The Caves, Billy introduces us to each scenario with a caption on a white piece of card. Accompanied by fitting pieces of music these scenes range from stories like ‘Whitney Houston’s Last Bath’ and ‘The Priest and the Altar Boy.’ As you might imagine, both of these performances leaves the audience doing that sickened, muffled laugh, not sure whether it’s appropriate to let out a full on giggle or just shake their heads disapprovingly.There is no denying that Banks is an extremely talented performer. He displays fantastic devotion to each scenario and complete conviction, down to every last eyebrow raise or eye roll. Without any vocals it is hard to hold the attention of an audience for an hour but he managed to have us eating of the palm of his hand instantly. However, there are some inconsistencies in the show. It is not always clear what he is doing and only if you’re an obsessed Jacko fan will you able to follow the events that Billy acts out from Michael’s life. This meant that the Thomas Jefferson sketch was a little lost on me. Make sure you’re clued up on famous taboo celebs before you go.The show is unlike anything else. It’s risqué, it’s gross, it’s funny and at points it is heartfelt. His Whitney sketch can be seen as a tribute, the same as his death of Diana scene. The mime of a paedophile priest interfering with a young boy is however, pretty disturbing and I let out a genuine ‘urghhh’ at one point. Despite the low points, the show is well worth the money and well worth a watch, just to see how far he will go to shock and amuse. Twisted, wicked and indulgent to your darker side.

Sitting cross-legged on a little blue section of carpet, with clumps of other children around me, I felt transported back to my days at primary school, excited to see what was in store for me. The charming, tiny venue of the Scottish Book Trust creates a lovely atmosphere for an hour of delightful storytelling fun from the very talented Andy Manley. The audience are ushered in and encouraged to sit closely together on the carpet, and as it was a full house, I really did feel like I was in the tiniest of ponds.Catherine Wheels Theatre Company completely understand what it takes to keep a child interested, without the use of props, set, big sounds or even more than one performer, which I think is extremely impressive. One man, Andy Manley, who has an extraordinary ability to capture the attention of both adults and children alike, performs the entire show. Relying only on his storytelling ability, his physicality and his skill with accents, he draws the audience in and starts the tale of two men, who are staring at each other across an airport departure lounge. He then reminisces back to how these two men got there and tells the tale of two boys at primary school, Martin and Simon, and the growth and development of their close friendship.The beauty of this performance is that I am sure that it summoned old memories from everybody’s school days, because it certainly did for me. From the two girls who bullied everyone to ‘claim the back of the bus’ on the school trip or that one child who always got coach sick and made the journey length double in time, this show is a little piece of personal childhood for everyone. Essentially an hour monologue, with the occasional physical section, performed with such commitment and passion; you couldn’t help but grin with fond recollection of your own days in the playground. The text is superbly written by Rob Evans, such intense, vivid descriptions make everything seem so much more real and it is delivered with absolute conviction and energy by Manley, who’s audience interaction had the children giggling and squirming in their seats. Cleverly, well-placed interludes of music set the tone for the piece and sound effects were used efficiently and not unnecessarily. ELO’s ‘Mr Blue Sky’ played an essential part in the climax of the show, as Manley convincingly acted out the fun and adventures of school summer holidays. This show is a masterpiece for children and adults alike. You’ll smile, laugh, sigh and fondly think back to your school days all on the comfort of soft carpet. Beautiful stuff from the big fish, Manley will leave you in awe of his talent.

Part of the Laughing Horse Free Festival, comedian and photographer Ian Fox delivers an hour of very amusing entertainment through a selection of photos. The show was charming, witty and most importantly, really quite original. Fox talked the audience through a series of photos that were projected around the room on plasma screens. The photos were of a wide range of things, from spotting his friend dressed as Where’s Wally in a crowd to pictures taken from underneath animal’s noses or people caught on the toilet.Fox started off the show by telling the audience all the perfect ingredients to make the best photograph and then guided us step by step through some of his funniest photos: photos of people snapped unaware; photos taken from the top of people’s heads; or his speciality, photos of absolute nutters. I loved this aspect of the show; Fox guided us through a tour of cities around the UK with photographs of various sights and bizarre street performers. Another quaint aspect of the show was what makes a photo typically British: an old couple sitting on a dreary beach eating ice creams and wearing socks and sandals. Fox’s delivery style is engaging and witty and makes him an extremely likeable narrator. His timing is perfect and doesn’t seem forced or over-rehearsed, though he still delivers witty one-liners. He makes the audience feel comfortable and builds up a great rapport with them throughout the show.This show is delightful and definitely worth a watch, especially for free. It’s a great experience and Fox has tapped into a really brilliant, worthwhile idea.

A lone man and his guitar sit on a small stage of a lecture theatre as I waited to see what Garcia’s Flamenco Flow had in store for me. I did not know quite what to expect from the modest arrangement. Fortunately, I was absolutely delighted with the performance, which is stunning, simple and modest. It is so refreshing to watch a stripped back show, free of pretensions and artifice, and just witness three talented people who are all superb at their art.The show is a mix of flamenco music played beautifully on the guitar by Richardo Garcia and inspirational choreography from two of the most skilled and passionate dancers I have ever seen. Garcia takes the audience on an emotional journey and he plays with such ease and natural ability that it as if the guitar is merely a continuation of his body. I have never witnessed such connection with a musical instrument from its player and seen such enjoyment whilst playing. He conveyed a spectrum of emotions – from deep despair contrasted with pure ecstasy – and his infectious energy put a huge grin on the audience’s faces within moments.This splendid display was echoed perfectly by his two dancers, one male, and one female. From a huge selection of gorgeous costume changes, these two dancers made flamenco look natural and almost easy, despite how hard I could see their feet working and the beads of sweat dripping from their faces; their expressions showed only grace and elegance. The dancers worked so well together, at many points they appeared to move as one being, melting into each other’s movements, perfectly synchronized, without a foot out of line.The show went from strength to strength as the dancers portrayed stories of love, loss, anguish and happiness. Every dance was new and exciting, constantly leaving the audience wanting more. The show ends with a spectacular finale of castanets and traditional Spanish dress, with the momentum of the music and dance building and the audience eagerly clapping along.I could have asked of nothing more from this show. It’s simple. It’s brilliant. Three people so in tune with each other leave the audience delighted and in awe. Not to be missed.

It’s always easy to be sceptical about a one-man or one-woman show, as holding the attention of an audience on your own is no easy task. However, Sonya Kelly’s engaging and exciting delivery of her memoir about growing up with poor eyesight is delivered with perfect clarity. The Wheelchair on my Face is an autobiographical piece narrated by Kelly, a comedian and actor. She leads us through the problems and embarrassment of growing up with not one teacher or her parents realising that she was severely short sighted and the absolute horror of being fitted with her first, thick, bottle end pair of glasses. All she wanted was to have sunglasses - that’s what popstars wore anyway.Set against a wonderful array of Abba songs - her favourite band as a child, and sight-related numbers (I Can See Clearly Now) this show is a brilliant mix of touching stories and amusing anecdotes, which are mostly used to soften the blow of the moving retelling of some upsetting moments in Kelly’s life. As a child, she was known as ‘very affectionate,’ simply because she would have to hug everything just to get close enough to see what it really looked like. Isolated from schoolmates and obsessed with Abba, she entered her own imaginary world where she and the band lived happily together in the comfort of her wardrobe. The audience are swept along by Kelly’s humorous and captivating storytelling. Each anecdote had us drawn in, eager to know how little Sonya faired in a world that seemed to be totally against her, a world where she’d bump into lampposts and say ‘oh excuse me.’The story works so well because it is balanced beautifully between light-heartedness and real pain and confusion. The subject matter is quite distressing; I found myself saddened and appalled that it took a school medical examination for someone to realise that Kelly wasn’t just an awkward girl who was a bit slow and found it hard to concentrate, but rather had severe myopia. Kelly never directly blames her parents or her school for this, which keeps the story endearing and never feels like an attempt to tug on your heartstrings. It is what it is - how little Sonya saw, or didn’t quite see the world aged seven. It is told very convincingly from a child’s perspective, which felt refreshing and original.At odd points the show lacked pace, some of the stories holding our attention more than others. However, Kelly soon picked up the energy, and by the end of the show I was dabbing tears of sadness and laughter from my eyes. Kelly embodies a little girl so perfectly you forget you’re watching a fully grown woman. This show is a must-see and a real gem. Touching, uplifting, and wonderfully told.

Holding the attention of an audience for an hour of dance, especially with a mish-mash of different styles, can be a challenge. Granted, this performance is a ‘showcase,’ highlighting work from multiple ‘distinguished choreographers,’ so I was expecting to see variety. However, the end result is a show lacking identity, splattered with some shining performances which were few and far between and I found my mind drifting off during certain solos.The show presents five unrelated, and uneven, pieces of choreography. We are welcomed in by a solo performance by Emma Draves who performed her mix of ballet, contemporary and classical Indian dance with polish and beautiful control. However, the accompanying chimes of music left me rather cold, reminding me of sounds one might hear in a spa whilst receiving a stress relief massage. For me, the highlight of the show was a section titled ‘Come Change,’ performed and choreographed by Vincent E. Thomas. The only piece in the concert using text, Thomas completely drew the audience in with his frank address and honest discussion of quotidian stereotypes and labels. This thought-provoking monologue linked seamlessly to his movement, an exciting fusion of street and contemporary dance. Recognizing his passionate performance, the audience whooped and cheered as his section came to an end - far too early for my liking. I would recommend this show if only to see his inspiring piece of choreography.The other pieces were interesting and diverse, but didn’t strike the same emotion for me as Thomas’ solo. There were flashes of fluidity and grace from energetic partner work when dancers effortlessly rolled into each other’s movements, building up a stimulating momentum. These moments were deeply satisfying, and I was a disappointed when the energy dropped. Overall, the concert is an enjoyable experience, full of passion and talent, yet nothing presented was remarkably innovative. I feel Danceforms could have pushed the boundaries further to really live up to their ‘award-winning’ hype.

The People Show 121 delivers an hour of captivating truly British murder mystery fun in this charming three-person show. We are welcomed to the auditorium by the narrator of the piece, Gareth Brierly, who leads us through the performance where he and the other two actors (Mark Long and Fiona Creese) multi-role as various characters with skill and wit.We are informed of all the main features of the plot by Brierly; he tells us of a murder of a young tour guide which needs to be solved. The charm of this show is the breaking of the fourth wall. Brierly slips with ease in and out the storyline both to take on the narrative role and that of the main suspect in the mystery. The cast take on a multitude of roles using different coats and hats to symbolise their characters. In true Agatha Christie style, the murder mystery takes on a series of new twists and turns and the clues build up, keeping the audience guessing throughout.The irony of the piece made it particularly quaint. Brierly began by telling us there would be no pastiche, no mime and none of the tack of typical British murder mystery which we would usually be expecting. However, as the show unfolds, the performance becomes full of little touches that remind us of the mysteries that made Poirot, Christie and even Taggart famous.The show is an enjoyable evening’s viewing - the actors perform which passion and charisma - but at points it lacks pace and I found myself losing interest. The intelligence and wit of the comedy varied tremendously; in parts it sometimes seemed amateurish. In the end the show just becomes a send up of plot twists instead of the adequate mystery that the audience want. Charming and British, this show may excite the older generation more than the younger.

Sharply clad in a waistcoat and red trousers, or as he describes himself dressing like ‘a gay snooker player,’ Max Dickens certainly looks the part. His free show on at Cabaret Voltaire does not disappoint. In his one-hour stand up gig influenced by advice from his wise grandmother and a break up from a two-year relationship, Dickens guides us through anecdotes from his life.Dickens is a charming and personable comedian. From the start of the show, the audience were ready for fun and laughs; he quickly established a great relationship with the crowd. One audience member was enjoying the show so much he popped out halfway through to purchase Dickens a pint from the bar mid-performance, to which Dickens responded, ‘That is genuinely the nicest thing anyone has ever done for me.’A highlight of the show was Dickens taking note of everyday occurrences that we can never quite get our head around, like why we wander into the kitchen and stare aimlessly into the fridge even when we’re not hungry and the decision that key cutters and cobblers would come under the same category and be placed under one roof. These basic questions had the audience in fits due to Dickens’ slick and dry delivery. His discussion of how we handle our alcohol was another delightful part of the show.The show is interactive, original and fun. Some of his material isn’t as strong as the rest, but overall he delivers his lines with confidence and ease, making the audience feel completely relaxed. Whether or not his anecdotes were true, we sympathised with him, giggled at his misfortune but urged him to pick himself back up again. Despite starting the show with pretty tame material, it gets a little more racy as the show goes on and then ends on a rather uplifting note.

Part of PBH’s Free Fringe, Bowling and Todd + 1 is a comedy show in the underground space of the Cabaret Voltaire that is well worth a watch. Two comedians, Bekka Bowling and Shane Todd lead us through forty minutes of stand up and then finish up with a different headliner act. I was lucky to be part of the show where legend Tim Vine popped by the show to perform some stand up, the only open spot in Edinburgh that he was doing.The show is a perfect lunchtime treat. Todd’s infectious anecdotes and delivery make him a very likeable comedian and his Titanic sketch, claiming there was definitely room for Jack on that piece of wood had the audience nodding and laughing in agreement. Todd’s style is quite understated and chilled, which was a pleasant comparison to the punchier, more overt style of Bowling.Bowling brings fresh, exciting energy to the venue. Her slightly risqué style added a touch of edge to Todd’s cleaner set. She had great audience interaction and her dry humour about living on your own was beautifully ironic but also at points very close to the truth. The duo work well on stage together and their differing styles bounce off each other seamlessly.Tim Vine’s comedy was traditional one-liner material that most people had probably heard before but despite this his quick witty responses to the audience’s suggestions were delivered with ease and excellent timing.This is definitely a free show worth seeing. The two main comedians have mostly strong material and demonstrate promise for exciting new things. I would definitely pop back again during my lunch break to see which other star headliners they will pull out of the bag.

The sultry tones of Billie Holliday’s I’ll Be Seeing You welcome us into the auditorium of Pleasance Courtyard. A man stands in full makeup and a wig cap and slowly goes through the motions of a routine. His stare is fixed and haunting. The performance that then unfolded in front of us was enchanting, engaging, and highly original. A witty and touching script from Joel Horwood taps into some really deep emotions, and Milo Twomey and Jay Taylor delivered the lines with raw heartfelt feeling.Lovesick Michael/Lulu played with brilliance and grace by Twomey is a transvestite from the town of Peterborough, a place that revolves around conformity, who becomes the only guardian of his son, Hew, a boy that he has never met. Both Hew and Lulu refuse to be fenced in by society and, as a cabaret duo, they embark on a journey to find themselves. The journey takes us through the struggle of coming to terms with your sexuality, family problems, and unrequited love.The show is practically non-stop dialogue, with huge sections of monologue from Twomey who commanded the audience’s attention and hearts with the earnest storytelling of his unrequited love interest, Mark. The beautiful description of the painful nature of love really was highly effective. Joel Horwood taps into the wonderful yet painful realities of love - describing it as ‘doing somersaults in the shallow end’ captured the audience instantly. Twoney also takes on his female and male role superbly. He easily switches from high to low pitch and is so convincing as Lulu that at points you completely forget you’re watching a man. Equally, Taylor provides a touching performance as Hew and contributes much of the show’s soundtrack on his piano and show-stealing vocals. With the addition of some well-known eighties dance classics, the music was a shrewdly chosen backdrop to the cheesy bars of Peterborough.This is a show that requires concentration. It is easy to get lost in the storyline if you are not giving it your full attention, which can be quite demanding. However, it is definitely worth keeping up with the pace of the piece and, once you’re used to the style of narration, it’s much easier to follow. Apart from sometimes being a little hard to follow, it is an exciting, innovative piece of theatre. The two actors complement each other brilliantly and they are working with a magnificent script and direction. Horwood has a great skill in being able to create a mental image of a place or time just through cleverly written dialogue. This show is a definite must-see, but even more so it’s a must-see-again.

Whilst queuing to get into the quaint venue at C Too, a grubby looking pirate gave me a poke and asked me if I was the one producing that ‘vile stench.’ The two children behind me promptly burst out in fits of giggles. I tried not to look too embarrassed and just smiled along. This charming pre-show set the tone for what was to be an absolutely enchanting journey with the Lincoln Company.This vibrant and energetic company had the kids eating out of the palm of their hand within the first five minutes of this musical comedy. The parrot puppet narrator introduced us to the nautical setting and explained the current predicament of the coveted medallion - to be found in the ‘Chest of Jules’- and the race between two pirates, Codless and Blackbeard, to find it. The well-known plot device of a disgruntled girl disguising herself as a boy to be part of crew was performed with such conviction that I quickly forgot how hackneyed the idea could have been.The cast quickly established their quirky characters with very noticeable gestures, accents and facial expressions, capturing both adults and children alike. The company did well in exciting both generations at the same time. They blended modern day topical references like the Olympics and calling the ship’s navigator TomTom with tried and tested pantomime traditions of ‘he’s behind you’ and ‘oh no he isn’t!’This balance between old and new continued throughout the show with the use of multimedia which captured the children, keeping them guessing constantly. The character of Blackbeard is bought into the show at various intervals on a projector screen and the interaction between the pre-recorded footage and the live actors on stage was very impressive.The energy from each member of the company was what made this production so special. A simple plot full of jokes, audience interaction, bright costumes and musical numbers, this show is a fun-filled hours viewing. The group were generally stronger actors than singers as I felt the songs were the only points where the full force of energy dropped somewhat. Despite this, the performers’ enthusiasm and their amazing relationship with the audience completely won me over.There is something for everyone is this exciting show; jokes for the adults, swashbuckling sword fights and sloppy kissing for the kids, ‘Eww that’s GROSS!’ - a young audience member announced -and good old fashioned water pistols and bubbles to keep the fathers who have been dragged along by the family on alert. It is so refreshing to see children sit still on the edge of their seats, eyes wide at a group of adults bopping around on stage. Jump aboard for an hour of interactive fun. Definitely worth your pieces of eight!

Slice is Mel Giedroyc’s debut play, a story based around cake, three sisters and their dying mother. These three women are extremely different and are only suddenly bought together in the house of Victoria, the middle sister, as their mother’s death becomes imminent. It is soon obvious why it has been so long since the sisters all convened. As a voiceover guides us through step by step how to make the perfect Victoria Sponge; tales of regrets, secrets, lies and buried memories all come to the surface and we learn why each sister has turned out the way they have – an obsessive compulsive who’s been the mother’s sole carer for nine years, a carb-free zone who moved to LA years ago and a family fanatic who has her children still ‘attached to her mammaries.’The play is a delightful mix of laugh out loud comedic moments, flashes of particularly dark humour and also underlying feelings of sorrow and pain. Victoria, played by Lesley Hart with pure conviction and strength. Hart demonstrates built up anger from many years of having to look after her mother, down to every last frantic stir of the mixing bowl, we feel like we are looking into her heart. A poignant re-telling of memories from a tenth birthday is a high point of the show. Hart monologues in an enchanting and extremely engaging way, conveying childhood innocence and upset at having a birthday ruined.The two other actresses work so well with Hart, building up a convincing sisterly dynamic as we found out the only thing the oldest and youngest sister have in common is the youngest sister’s husband. The subtleties in the character work are so well done, but these are lost in parts where I feel they sometimes could turn into caricatures. These moments are rare however and could easily be ironed out.All in all, the piece is charming, witty and extremely engaging. Down to every last detail in the set of the fully functioning kitchen, the audience are pulled into the stories of these women’s life. Definitely worth a watch, a sterling first effort from Gieroyc, executed by three fine actresses with passion and touching sentiment.

Part of the American High School Theatre Festival, Scarlett High School from Canada present Platus’ 200 B.C.E play ‘Mostellaria.’ Going to a play called ‘The Haunted House’ I was expecting it to be a spooky ride of ghosts and ghouls. However, the haunted house motif actually plays a very small part in the plot, which concerns Young Philolaches , who has been living his life to the full while his family are away on business. He has partied so hard he has needed to borrow a lot of money as he purchased the freedom of a slave girl he fell in love with. His mother unexpectedly returns from business and panic ensues. The cover up story of the family home becoming haunted stops his mother from entering her beloved house. The play is a typical Roman comedy farce and revolves around fast pace delivery and over the top characters.The cast certainly delivered this style very well. All the characters were exaggerated and the got the comic timing spot on. Special mention has to go to the actress playing the elderly neighbour, who totally committed to the character. A shuffling walk, scrunching up of the face and a permanent hunch meant she pulled off the character with ease and perfect energy. Similarly the actor playing the moneylender worked the audience really well and had everyone laughing as he came and took a seat in the crowd and wrapped his arm around a female audience member. The rest of the cast did equally well, but sometimes their diction was lost due to the exaggerated voices or shouting. It was a shame because the lines were very witty and mostly delivered very well.The cast worked well as a group and fed off each other’s energy brilliantly. There were points where I did forget it was a cast of high school children because some of lead’s acting was so good. Unfortunately a few slips out of character and a few uncertain moves reminded me that it was a group of youngsters performing to me. However, the group did extremely well working with a wordy play and put on a good show. Lots of farcical running about and falling over makes this show a right treat!

Alexis Dubus opened his show by telling us that what we were going to watch was a stand up comedy act that is built around a storytelling structure. He then leant in and whispers, ‘That means it doesn’t all have to be funny.’ He was right about that. Despite this, Dubus’ infectious energy, gentle humour and engaging storytelling makes for an entertaining hour of personal anecdotes from his life based around two things he claims he still knows little about: cars and girls. He likes them red but isn’t always successful in his escapades.The show consists of an interesting tour through Dubus’ years of travelling around the world in his twenties, getting into sticky situations with unreliable automobiles and equally unreliable females. The show is a heart warmer as well as a good laugh and everyone in the audience can relate to parts of it.Dubus has a very sincere and likeable style for delivering his stories. His vivid descriptions of the bizarre characters he has come across are thoroughly amusing and hold the attention of the audience throughout. The the balance between stories and comedy was just right.There were moments of the show, however, where Dubus stumbled or slowed with his stories, meaning the show lost pace and sometimes direction. At points he aimed straight for a punchline, making them far too obvious. This was a shame as it made some of the show come across as quite rehearsed when most of his delivery seemed very natural.Minus these slips, the show was thoroughly enjoyable and I left with a smile on my face. From darker themes of London muggings and stabbings to tales of finding love on your doorstep, the show offers something for everybody.

Cheepiyak Theatre Company present their adaptation of Rudyard Kipling’s well loved classic ‘The Jungle Book.’ At the charming venue of the Church Hill Theatre, the audience was nicely full of energetic babies and children and I waited to see what Monica Flory’s version would offer to this timeless tale.I knew it would be a challenge for the group to hold the little ones’ attention for an hour, especially in a large theatre space where interaction isn’t particularly easy. However the young cast carried off the show with dedication and professionalism. Clearly they are very well rehearsed and spoke their lines perfectly and with real commitment. The story sticks to the same plot as the original but takes more influences from colonial India and the Hindu god Vishnu. This was communicated through the use of fantastic costumes, makeup and the physicality every cast member used to convey their animals. We follow little Mowgli, a man cub raised by wolves, as he grows up and realises he will one day need to face Shere Khan, the tiger who once hunted him as a baby.Maggie Chafe played the part of Mowgli particularly well, her movements were light and animal like and she demonstrated real anguish at having to come to terms with the truth about Mowgli’s real family in the human realm of the village. Another mention must go to the narrators in the form of kites (eagle like birds) who were a presence through the majority of the show. They never once dropped out of character and their clear diction made it easier to understand what was happening in the action of the story.However as a children’s show it needed to be a little more engaging at points. The script is clever but extremely detailed and large paragraphs of speech are often lost on tiny ears. It could do with being condensed and simplified in parts. I enjoyed the use of Indian music in parts of the show and I feel this could have been used even more at times. I’m sure many of the parents and children were hoping for some recognisable songs or even some original music to excite the audience but this wasn’t the case.A great effort from this young theatre company who show extreme promise and dedication to their art. A charming show, but not for particularly fidgety children or very young ones.