Monthly Archives: August 2022
The Giant Killers
Gilded Balloon Teviot – Wine Bar
Aug 10-15, 17-29 (12:45)
Not many people know that if you draw a line 10 miles long over Lancashire, you would have passed through one quarter of the founder members of the Football League. The furthest east of these is my beloved Burnley – I bleed claret & blue – & I remember the day in Burnley library on the microfilm machine when I was looking at the newspapers of 1888 to read the reports of the boys’ first ever professional games. Travelling west from Burnley you soon reach Accrington Stanley, then Bl%$£”&*n Rovers (I can’t say or type the name without getting curiously agitated), from where one turns 90 degrees & draws another line 3 miles long, south to Darwen, the next of the East Lancashire contingent to join the Football League in 1891-92.
Darwen was the smallest of the four mill-towns, & is the chief setting of Long Lane Theatre’s highly engrossing ‘The Giant Killers,’ a story concerning the unfairness of life & the hope of football. At it’s core is the 1878-79 FA Cup run by Darwen to the quarter finals where they met Lord Kinnaird’s Old Etonians in a battle of class & culture – top hats versus flat caps & all that. En route we get hints of the debate about professionalism & the evolution of tactics, but there’s so much more to this play than the footy. ‘The Giant Killers’ chief remit is to highlight the plight of the northern working classes, still suffering in a semi-feudal state 60 years after Peterloo, with MacDonald’s first Labour government yet 45 years away. Football was about to change all that & it can be argued that trade unionism really began to take root on the terraces.
The tale is relayed by four strong performances, three lads & a lassie with proper northern accents, seamlessly combining to create the energy of entire teams, towns & even a hyper-realistic train ride to London for the quarter final. They really do bring across the love of football & how it helped people rise from the plague of poverty, & just made the world feel a better place, exactly as in the modern-day, seeing Vincent Kompany start off well at Turf Moor (4 points from 6) makes me also feel similarily content to be alive.
Despite the occasional mention of Bl%$£”&*n Rovers, the whole play is a class act, tho’ perhaps one replay too many. The story of the cup run does involve replays, & it’s necessary to relay the truth of the matter, but going over the same ground, same pitch actually, does drain a little of one’s attention. Still, by the end I was bubbling with emotion & gushing pride & best bitter for my fellow Lancastrians showing the world that working men can match gentle men & really helping to fuse the common folk of the country with the beautiful, & their national, game, the greatest ever leveler of men.
Damo
Aca-Pocalypse: Diamond in the Riff
theSpaceTriplex
Aug 8-13 (16:25)
The use of the microphone has given the art of A Capella a deeper ability to effect the listener, while the introduction of choreography has then turned this artform into a major spectacle. When done well its an absolute joy to behold, & so, to Aca-pocalypse, brought to Edinburgh by the fantastic University of Nottingham A Cappella Society. While most students are getting hammer’d & experimenting with mushrooms off the Dark Web, these guys have congregated into a juicy love-ball of smiles, movement & Gilbert & Sullivan light opera. Sopranos, Baritones, Mezzo-Sopranos, they were all there in an even mix of young man & woman.
They were completely excellent, a congruous whole of 17 individuals, each pinpoint tight as to their role & pitch, all of which were shepherded into the Elysian Fields by a bangin’ beatboxer called Jake. I also enjoyed the comedic interludes between each song, which served as introductions & entertainment at the same time. A lovely bunch of performers whose smiles seemed to have got stuck on their faces. Nobody can be that happy for an hour.
The song selection was eclectic – as were the singers to sing them – opening with Rome Wasn’t Built in A Day by Morcheeba was a wonderful start for me. A couple of years ago I remember singing along to it on my phone headphones wandering the hills over Burnley in the summer sunshine on my first visit to my family after lockdown restrictions had lifted. It was a euphoric moment then, which Aca-pocalypse immediately reconvoked.
Other tunes included Snow Patrol’s Chasing Cars, Gnarls Barkley’s Crazy & the celestial canticle Prayer of Saint Francis, or Make Me a Channel of Your Peace, which was like, wow! The future of A Capella is looking bright, & its present is proper slick. I enjoyed that big time!
Damo
Breathless
Pleasance Courtyard – Bunker Two
Aug 9, 11-16, 18-29 (15:00)
The cathartic qualities of art have been known for millennia. The act of creation makes people feel better about themselves. The creation of art allows feelings & pent-up pains to be channel’d out of the psyche & into various mediums. So, to Laura Horton, a former publicist at the Fringe who has cross’d over to the dark side & has brought an actual play to Edinburgh. Its clearly doing well, having been nominated for the Popcorn Awards already, & on watching the play I got the general gist why. It’s pretty good!
Breathless is part of the Theatre Royal Plymouth gang who have sent half a dozen pieces to Edinburgh, of which Horton’s is but one. She is the current Plymouth laureate of words so she’s definitely earning her keep. Her subject is one close her to own heart & existence – hoarding -, & already people are coming up to her after the play just really happy to be able to identify with what Breathless stands for. The true essence of the play trickles out in subtle bite-sized, hint-tinted portions, until the excellently emotional ending makes every member of the room so happy to watch the sea-change in our now-beloved hoarder of ‘amazing things’ such as Stella Mcartney screen-printed trousers.
The drama is pulled off single-handedly – it’s a solo piece – by the multi-talented Madelaine Macmahon, who in her career sings & acts & tells jokes with equal electric alacrity. The way she plucks her potential love-match, Joe, from thin air & makes them a very tangible presence in the room is astonishing. The only problem for me was, despite her excellent performance, & it was riveting, I never quite believed she was a hoarder. I don’t really know any hoarders per se, & I don’t expect them to have a nervous twitch or anything, but it just didn’t feel like she was perfect for the role. I can’t quite put my finger on it, but I think perhaps an actress with genuine OCD concerns herself might have pulled off the part better. I never quite felt those ‘waves of hatred from unworn outfits’ she was describing. I might be barking up the wrong tree completely, but this is what my instincts were saying. Or perhaps the fact that hoarders walk silently & anonymously among us was actually a part of the overall effect & it was the subtlety of Macmahon’s performance that went right over my head!
I enjoyed the simplicity of the set, with every scene marked out by an effortless replacing of a single wooden chair. For a play about hoarding it was seriously unclutter’d. What I can say about Breathless is that it holds your attention for an entire hour, however hot a day it is. I was topless inside & should have swooned into a snooze, but all credit to Madaleine Macmahon, she kept me watching with intensity. It was also a fascinating insight into the mind of a hoarder, & to hear the litany of excuses to stop people coming into the house, or to go to the sales instead of a wedding, was educational to say the least. A great play on many levels & a great asset to the burgeoning thespianic career of Laura Horton.
Damo
Blunderland
Underbelly’s Circus Hub on the Meadows
Aug 9-14, 16-21, 23-27 (21:55)
Hi Honey I’m home ❤
Wow that was a long day, Amazingly entertaining and on the whole fucking brilliant,
Hmm I thought, its lovely and warm. So i headed along The Innocent railway Path and up for a cuddle with Tracey Tree, It was so soft and welcoming, I layed down and gave myself healing. Grounding as deeply as I could do and let it all go.
I gave myself a good hour of self-healing and then headed for an afternoon and evening on The Meadows for a Masterclass of amazingness at The Circus Hub, First Up 2.15 Tulu, then at 9.55 Blunderland. That gave me a lot of time for self healing between performances, I met up with Damo to pick up my writers wages and Headed to the Pianodrome for a tinkle. It was great then had a coffee with Raah and then back to the Pianodrome to finish where I had left off. I played for a life drawing class and grounded the angels. I really hit on something when I played at Glastonbury this year.
It took a while but I slipped back into the flow, My audience where very appreciative. then headed back to the Meadows to sit under a tree, look at the Moon and sip a rather good-looking but expensive hot chocolate. Have walked some miles today so as you can guess I was knackered. The Meadows is a really nice place to chill under a tree, The Moon rising big and heavy as dusk wove its dark cloak round Aulde Reiki. The anticipation of something brilliant was making me excited, being a psychic and with the Calibur of acrobatic amazingness I experienced with Tulu. I knew Blunderland was going to be spectacular. And I wasnae wrong. Divine is so so happy tonight. So it been a very entertaining self-healing day. more in a bit am off to make a cuppa.
Blunderland The Cast
Adam Malone
Bede Nash
Emily Chilvers
Leo Petland
Eric Schmalenberger
Olivia Porter
Tara Boom
Themme Fatale.
The Beauty is a large Spiegel Tent, the 2nd of the brilliant venues within the Circus Hub which houses this brilliant example of Cabaret and risque burlesque, mind-bending, mind-expanding psychedelic trip of sexiness. Adam Malone our host of the evening explained that the show is designed for people that love psychedelics. OOOOoooo I thought “This is going to be good.”
As we took our seats in the round of The Beauty, I couldnae help thinking “The Adults Only Magic Show” Should have been housed here too, it was such a grand and noble venue, The ambience created by the lighting and sounds, created a dubstep rainy city street, just seedy enough on the side of naughty But very very nice to add weight to the theatrical brilliance that was about to be unleashed. To the right of me, Lee, from Machester was on to his 57th show of this years Fringe, Blimey I Thought Lee is an eager beaver. To the left of me a rather dashingly handsome young Frenchman called Rudi. I was in good company. Suitably Bohemian and ready for a Good Time. With the perfect balance of eye candy for both boys and girls to be mutually excited by. I think the psychedelic of choice was MDMA with a line of Ketamine for good measure. This dynamic work of burlesque performance art found its roots in Melbourne After Adam Malone from the art houses of New York flew there to find the gifted and ridiculously talented performers that would make his vision “Blundered” A performance art presentation of genius. Very Very Sexy Genius indeed.
Nothing is left to the imagination an alternative cabaret that drips with sensuality and all done in the best possible taste. Sassy, camp, funny Original, classy and very beautiful all set to a brilliant techno soundtrack. in pink sequined hot pants. Divine was in love Beautiful stage nudity seems to be an evolving thing with Australian Burlesque. The Trapeze act alone is worth the ticket price. A brilliantly and beautifully choreographed depiction of conception, the female reproductive system brought to life with feet and umbrellas, it was so so clever, surreal and wonderful. Oh yes I was loving being in Blunderland and that’s without any Acid. Surreal and Bohemian art house brilliance making its debut at the Edinburgh Fringe. Blunderland is performance art of legendary proportions, once seen never forgotten, for it is a production with staying power. Creative Viagra for all who take a ride into Blunderland. Blunderland’s Fans are growing.
Totally. A Well earned 5 Stars.
Mark ‘Divine’ Calvert
CIRCUS ABYSSINIA: TULU
Underbelly’s Circus Hub on the Meadows
Aug 6-27 (14:15)
Underbelly’s Circus Hub on The Meadows is perhaps the most conducive to healing and peace of mind. The venue comprises The Lafayette a huge big blue traditional circus big top planted in the Middle of our beloved Meadows, it was a beautiful warm day, perfect for taking it easy. Underbelly’s Circus Hub is beautifully attractive and very welcoming. Word had obviously got around that Circus Abyssinia were back in town, all the way from Ethiopia these guys have travelled a long way to bring this delightful human circus to the Edinburgh Fringe. So on the first Monday of the Fringe it was completely sold out. Circus Abyssinia had a sold-out run of performances in 2017 at the Edinburgh Fringe. Divine was about to discover why this troop of acrobats are so successful.
This new presentation of breath-taking circus skills. Celebrating the first African woman to win Olympic Gold. Inspired by the true tale of an Ethiopian icon Deratu Tulu. Circus Abyssinia fit a lot into the 75 minuets of showtime and all of it, edge-of-seat amazement. With death-defying feats of human agility and athletic acrobatic skill, The dance routines performed by two incredibly beautiful ladies took the entire Laffeyette Big Top and all of us in it back to an Ethiopian nature reserve, my mouth was wide open in awe a Yoga Master Class, that demonstrated just how bendy a human body can be, beautifully choreographed. This within itself was an Olympic Gold performance. Completely awesome.
Followed by a really fast-paced sequence of acrobatics performed by beautiful young athletes, flying through the air with the greatest of ease, Human catapults. trapeze, fire juggeling. It was awesome, Circus Abyssinia brought the packed house down, with a show of breathtaking spectacle. Circus Abyssinia’s audience were having a great time, Divine included ❤
By the time we reached the end of the performance, I completely understood why this show sells out every day. Indeed we were blessed to be part of the audience. For without a doubt a five star performance.
Good Time Divine.
An Interview With Abby Rose Morris
New York City’s Abby Rose Morris
Is bringing her feminist cabaret
about fatphobia to the Fringe
Where are you from & where do you live at the moment?
I’m from a tiny town near Burlington, Vermont, about an hour south of the Canadian border. I currently live in New York.
Can you tell us a little about your art?
I’m an actor, singer, voiceover artist, and writer! I’m trained in musical theatre but also have a deep love for new plays, adaptations, and Shakespeare. I love absurdism and meta snark, and that really shows up in the things I’ve written. I’m very passionate about plus size representation in the arts and More Than Tracy Turnblad, my solo show at Fringe, revolves around that.
Where did you train?
I got my BFA in Musical Theatre from The University of the Arts in 2019, and have also trained at Circle in the Square Theatre School and the Williamstown Theatre Festival.
Can you tell us about More Than Tracy Turnblad the podcast?
The podcast version of More Than Tracy Turnblad came about in the pandemic when I was unable to perform the show! On the podcast, I interview other plus size creatives about how fatphobia has showed up in their careers, the fat characters that have impacted them, and how the industry can evolve to become more inclusive. We also do episodes on specific fat characters or movies about size. We’ve had some amazing guests like Lauren Ash from Superstore, Jenny O’Leary who originated Martha in the West End production of Heathers, and bestselling author Jennifer Weiner! The podcast is my absolute pride and joy. I’ve made so many wonderful friends through it.
What do you like to do when you are not performing?
Being from Vermont, I’m a bit outdoorsy, so I love to camp and swim and generally be in nature when I can. I also enjoy cooking and thrifting.
You are coming to Edinburgh with a show this Fringe, can you tell us all about it?
More Than Tracy Turnblad is a fierce, funny, feminist cabaret that explores fat representation in entertainment. As a plus size performer, the roles I’m told I can play are either limited and stereotypical, or they’re, well, Tracy Turnblad, the singular young fat female lead in all of musical theatre. In the show, I detail my personal experiences with fatphobia in the industry while dissecting and dismantling cultural stereotypes about fat people. The show is both a takedown of and love letter to the entertainment industry, featuring music from popular shows like Mean Girls and Wicked.
What difficulties are there in transporting a podcast to the stage?
Well, the show actually came first, so none! When the pandemic hit, I couldn’t perform the show and adapted it into a podcast. The main similarity is just the topic and my sense of humor. But after spending so much time talking about these things from a more intellectual lens, it’s both a challenge and a relief to get back into my body and emotions in order to do the show onstage again!
What emotions & thoughts do you hope to invoke in your Edinburgh audience?
I want people to laugh, cringe, sing along, and reevaluate their own behaviors and attitudes around body image. My ultimate goal is to help people gain a deeper understanding of this issue, since it so often goes unspoken in the artistic community.
You’ll know a good show when you have done one, what are the magic ingredients?
I think you know a good show when you feel you HAVE to make it. I had an acting teacher who always said, “a work of art is great if it has sprung from necessity.” It’s a quote from Rilke’s Letters to a Young Poet. And I love that, because it gives me permission not to force creative output unless I really have something to say.
What will you be doing in Edinburgh when not promoting & performing your show?
My mom, sister, and boyfriend will all be visiting Edinburgh for the first time, so I’ll be dragging them to as many shows as possible and doing some historical touristy things as well! I love haunted things so I’ll definitely seek those out in particular – I used to be a ghost tour guide.
You have 20 seconds to sell your show on the streets of Edinburgh, what do you say?
Ever wonder why plus size girls always play the mom in school plays? Or why the average size of a women on TV is less than half what it is in the general population? If you want to find out, come see this hilarious cabaret about body positivity in the entertainment industry, featuring Broadway songs you know and love!
More Than Tracy Turnblad
theSpace @ Surgeons Hall
Aug 22-27 (12:45)
BUY TICKETS
Oedipus Electronica
Pleasance Courtyard
Aug 6-26 (15.30)
Deep in all our common histories lies the Sophoclean masterpiece, Oedipus Rex. ‘He took a face from the ancient gallery,’ sang Jim Morrison almost two millennia later during the 20th century Freudian resurrection of the main motifs of the Oedipus legend – kill your father, sleep with your mother, rip your own eyes out in disgust. I’m not quite sure modern society has ever recovered psychologically from beyond being told we all want to sleep with our parents, but anyway, theatrically, the mythomemes still pack a punch.
Pecho Mama are the natural inheritors of the tradition modernity, their Medea Electronica was sublime, & now their Oedipus Electra can also go down as a winner in the annals of transcreative theatre. The live musical accompaniment is brilliant – Don Bird on drums is well cool, like – while the three actors were quality-concise & confident, including, of course, Mella Fay as Jocasta, the company’s artistic director & beating heart. The play is big, bold, brazen, brash & in your face with violence & traumatic pregnancies. I don’t want to give too much away, of course, but Pecho Mama’s adaption needs a wee spoiler I’m afraid (alert here). The idea is that 2022’s Jocasta has created an Oedipus in her writing – there are a series of really powerful scenes when the action is happening quite furiously above & around her while she is typing like a gazelle escaping a lion.
I was extremely impressed by this neogothic production as a symbiotic organism – all parts fuse together extremely well to create a fluid creature from the depths of the psychic ocean, which crawls to shore waving its dark tentacles in your face before slipping away into the murk & leaving you doing a standing ovation. Proper buzzing theatre! Oedipus Electra is an esoteric & entertaining play, with a viscerality not the faint-hearted.
Damo
The Tragedy Of Macbeth
Assembly Roxy
Aug 4-29 (12.00)
90 minutes
Every Fringe I love to check out a Shakespeare play, because although the spirit of the Bard never changes, it is possible to gauge the theatrical zeitgeist thro’ an individual production. It’s the one arena of board-treading in which the directors enter unto a fierce gladiatorial combat. Thus off I ambl’d to the Assembly Roxy to witness Flabbergast Theatre’s trio of combatants, who have charged into battle like the Horatii triplet warriors in the age of Tullus Hostilius. Henry Maynard is the artistic director, Matej Majeka the Movement Consultant & Adam Clifford the Musicality/Percussion Consultant, & boy! have they produced a massive Macbeth. It looks beautiful, the cast create some stunning scenery using their angular bodies with a minimum of propwork, & all that drumming & Dantean wailing sounds more than amazing.
In the middle of all that, of course, is Shakespeare’s moody, mist-soaked masterpiece, Macbeth. Unfortunately, the production was galloping impatiently at too fast a pace to maintain the seminal tensions & graven terrors of the Scottish Play, which turn slowly in our psyches as if a tourniquet has been rammed down our eye sockets & linked to our brain’s fear nodules. It’s Shakespeare, but it’s not proper Shakespeare. I mean, I prefer a test match at the cricket, while others prefer T20 – it’s a very similar scenario here. Still, stepping out of my stick-in-the-mud comfort zone, aesthetically & energy-wise this Macbeth is a stunning production, & enough of the story does penetrate Flabbergast’s elegant veneer to satisfy the purist.
The cast were great, some moments of elite-level performance. The Wyrd Sisters were a class act, almost seizing the role’s immortality portentously, as if they were the three Chinese schoolgirls on the first night of the Mikado. I also enjoyed the spectacle of Dale Wylde’s ‘fool’ interlude, which made me feel as if I was watching Richard Tarleton himself. For me, Flabbergast’s Macbeth is a Scorpion’s worth of theatre, with a vicious sting in its tail. A pleasure to watch.
Damo
Jake Cornell and Marcia Belsky: Man and Woman
Assembly George Square Studios – Studio Four
Aug 8-16, 18-28 (18:15)
Tonight I went out for a double bill from Zach Zucker’s Stamptown empire, one of the most prodigious & highly thought-of comedy umbrellas, which sends its Kraken-tentacle acts all across the world. Looking at the Fringe guide I’m like I can do two in a row in the Assembly Quarter of Edinburgh. Man & Woman was first (BriTANick was second), brought to us across the ocean by Jack Cornell & Marcia Belsky,& oh my god it was proper funny, like! From Tik-Tok acorns do oaks of humungous funniness grow & it was from the aforementioned online video vignette medium that Jack suddenly found a girl he’d never met before, but living round the corner, bouncing comedy of his little sketch. BOOM ! Chemistry ! Action ! & a year or so later a buzzing masterpiece has vaulted into Scotland with broad American accents & an amazing dissection of the realities of romantic heterosexual cohabitation.
Stop being so curious, it isn’t good for you
Men & women is pure parody is about well, men & women, & their heterosexual intertanglings & bubbles with cutting edge socio-anthropological insights while at all times making us laugh out loud. Is it a sketch series? Is it theatre? I’d say a bit of both, that’s why its going in both Mumble Theatre & Mumble Comedy. Either way, when Marian met her Jom-Jom at nursery in Chipaquaqua County, after 3 years of life & loneliness, she knew he was the one for her. The show then flows through the rest of their lives together with great & innate detail surfing an ever-high level of hilarity. I loved the way kids keep popping up in a constant mission to get one that doesn’t ‘flop’ in life, while the comedy is spliced by commentaries on how ‘women influence life & society from the private sector of their homes.’
Can you stop reminiscing & treat my actual wound
Of our performers & their deliveries, Marcia is eminently watchable & Jack is emphatically suave – it really is top notch stuff, & includes the immortally dodgy exchange ‘ I told you I didn’t want to work with a paedophile — You are so closed minded it’s unbelievable.’ At the half way point we stepp’d away from the storyline into an actors’ workshop world & a Q&A intermission, which did halt my buzz a little bit & perhaps tainted my full appreciation for the rest of the tale – it was a funny interlude but definitely disturbed my trance in which I’d been more than happy to have been foster’d into. All the same, I swear down I actually shed a single tear of happiness at the end – a strange reaction – but I completely enjoy’d myself, which doesn’t happen all the time, in fact most of the time, when I’m out reviewing. Really brilliant stuff.
Damo
What Broke David Lynch?
Greenside @ Nicolson Square (Fern Studio)
Aug 5 – 7, 8 – 13, 15 – 20, 22 – 27, 21.00
Mr Twonkey, is a favourite of the Edinburgh fringe. His real name is Paul Vickers and in 2010 he brought his award winning cabaret to the stage at the Fringe all those years ago. His work stretches and bends the academy of theatre with a truthfulness that can’t be ignored.
In this work the 4 performers, actors of prominence, broke out in the highly anticipated ‘What Broke David Lynch’. For those who haven’t heard of David he is an American Film maker of prolific proportion since 1970’s. This play was based around him and examined how the inner workings of movie making for him came about, in the face of the 1980 film ‘The Elephant Man’.
So enter the play! For some reason the room at Greenside in Edinburgh felt absolutely magic, it could have been the lighting scaffolding, or that it was just so neatly presented. Out came a cigar smoking Mel Brookes in a brown overcoat with scribbled writing of his film titles all over it. The great quality of cast was evident from the start, with multifaceted opinions everywhere flying around at a fast pace.
Looking back I’m amazed that it all was done in only an hour. I saw Mr Twonkey’s work ‘Jennifer’s Robot’ back in 2015 where I recall a feeling of strangeness and abstract absurdness in his writing. But the amazing thing I found for ‘…David Lynch’ was its complete sense, and with it success.
This show was all made of the very best of everything; taste, class, poking fun at the movie-making business. A joy to see among the threats and failings of Paul’s ability to cope with things of tenderness it explored. The ‘Elephant man’ meets Anthony Hopkins (from the original film), meets the flamboyant janitor of the movie business, cigars, motor bikes, very weird papier-mache globes worn repeatedly, but for only moments.
The levels unveiled hit the heights of the talent and capability of the four who bounced the tale in resonance, having brought a recipe for success. All to make a comment on 80’s movies, using plenty of parables, placed in piercing moment of clarity or with the softest of scenes. Paul made the best of joking and of jokes that were self explanatory in their hilarity, making use of his mind in ways unexpected and forever sensitive.
The play proceeded in sensation, its story, props, timing blended with Paul himself who was so relaxed; his interaction went so well to keep everyone of the close knit cast under his tutelage. The female, Miranda Shrapnell had the role of loving him, the costumes told stories in themselves and jokes were firing out faster than I could take them in; fantastic.
In fact I think now I’ve had time to reflect, the joke lines helped shape the vision of proceedings, funny yet serious. Lynch in life had come across ‘The Elephant Man’ when his project’ Ronnie Rocket’ was dragging, so he prepared to take up a movie about Joseph Merrick, a man seriously deformed in the early twentieth century, ‘The Elephant man’ is a film that holds its art and craft at cult levels
But the world was on his back when his progress was slow, so he had to fend off things when it got too gluey to deal with.
An entourage of award-winning, tempting fun, with a remarkable clarity of vision and of years and years in preparation (wither knowingly or not); a perfect play where you forget time to intimately know the personality of music, laughter, writing and endearing reward of splendid proportions.
Daniel Donnelly
Mumble Theatre 