I am definitely the only person on the planet trying to take down Shakespeare. Everyone thinks he’s the best, but I know for a fact my bass-lines are better. To determine who wins will be easy, place the First Folio by my Conchordia Folio & let people decide themselves. That means I have to compose 39 plays – Shakespeare did 37 for sure, but there’s a couple of plays that have his pensmanship incorporated, & 39 is a nicer number 3×13. Whatever happens, however, between the Bard & I we will have recorded a great deal of history in the dramatic form. Shakespeare would have buzzed off being able to write about Napoleon, but unfortunately died two centuries earlier. That’s where I step in…

I am currently in the city of Koblenz, a beautiful spot where the Moselle meets the Rhine, over which corner there is a huge stature of Kaiser Wilhelm I looking towards Berlin I expect. I’ve been availing myself of the 9 euro all-month, train-bus ticket, in order to explore the area.

Bad Ems is the playground of Tsars & Kaisers, a gorgeous spot, over which towers Concordia Hill, which I felt rather appropriate as I watched the sun go down over the spa town. I even wrote a little sonnet;

Tis four & twenty years since I took seat
Oer Portovenere, one long sunset
Where I became a poet, quite a feat,
So much promise slips the Muses’ net,
But I was just so happy then, alive,
A man, a pen, an empty leaf of book,
Those simplet joys that to these hours survive
Atop the steep Concordia, just look!
Bad Ems slithers so beautiful, both sides
Of dreaming Lahn that elegantly glides
Between unbroken woodland hanging oer
This sylvan scene which Tsars & Kaisers saw
& Wagner too, Parsifal composing,
I’ll soon be back, this valley’ll hear me sing!

Not my greatest sonnet. I do sense my poetry needs Conchordia now. Minor sonneteering feels a tad trivial when I have over 20 conchords to write. Hopefully by the time I’m fifty, by the way, which works out one of every couple of months. Very doable if I’m very dedicated.

Returning to Germany, on the day of the great heatwave (unless you live in India), from Koblenz towards the west winds the Moselle – so stunning a gorge of greenery & curves & cute little towns – to Trier, another spectacular city, possibly the oldest in Europe & the de facto operational Roman HQ for NW Europe. It was there that I’ve found my 38th subject for a conchord, the witch trials of the late 1580s ran by Jesuits. The devil was clearly work in those days & the whole story should make a gripping watch. Its going to be called DIETRICH or DIETRICH FLADE, after one of the Witch-hunters whose story is the most interesting. After returning to Koblenz I lunched, siestaed, then caught a train to Mainz & back gushing over the Rhine gorge, drinking rose wine, which I finished off sipping as I wandered the very beautiful old town of Koblenz.

The last time I was abroad I was in Malta, December 2020, completing the 13th conchord of the Conchordia Folio, The Siege of Gozo. So what’s happen’d since? Well, I’m still on Arran, where I did write an update in February setting out my plans. I did manage to complete the first part of the Madchester trilogy, which I’ve made available to buy in ‘quarto’ form so to speak, as will the rest over the coming months.

There’s been some evolutions since then, including the setting of the final 39 concords (bar one). These neatly fit into 3 blocks of 7 separate conchords follow’d by a sexology block of connected concords. Three acts if you will, which in chronological order appear as (completed conchords in bold type)

Viriathus
The King & The Spider
Atahuallpa
The Siege of Gozo
Deitrich Flade
Charlie!
The Siege of Vellore

XANADU

Wordsworth/Coleridge
Byron
The Flight of the White Eagles
900 Days
Malmaison
Paradise of Exiles

Stars & Stripes
The Savoyards
In a Man’s Garden
Exes & Axes
Black Watch Brodick
The Day of the Gryphon
Gaston Dominici

GODS OF THE RING

Float Like A Butterfly
Sting Like A Bee
Fight of the Century
Sunshine Showdown
Rumble in the Jungle
Thriller in Manilla

Madchester: The Gathering
Madchester: Ascension
Madchester: The Come Down
The Rock & Roll Apocalypse
Fairy Wonderland
Little Black Book
?????

LEITHOLOGY

Alibi
Tinky Disco
Gangstaland
Timewarpin’
No Nay Never
Cold Turkey

I am currently composing Atahuallpa, the story of the last Incan King & his defeat by Don Pizarro. Cool constumes will abound with this one, & the story’s guest. I’ll also be working on the Savoyards at the same time, the story of Gilbert & Sullivan’s creation of the Mikada. It’ll be something of a G&S light opera about Gilbert & Sullivan themselves. I’m also converting Black Watch Brodick, my epic ballad cycle, into an actual conchordia, one which I’ll be presenting this armistice day.

The Edinburgh Fringe is on the horizon, which I’ll be reviewing & running the Mumble, but at the same time working on several conchords at once, including the finalisations of Rock & Roll Apocalypse – which might be a dream by Bez – & Exes & Axes. The latter I’ll be sitting in Navarenx, southern France, where I’ll be visiting on a drive to Portugal after the Fringe… watch this space.

Damian Beeson Bullen

www.theconchordiafolio.net

Two of Edinburgh’s most talented siblings

Are combining for the Fringe 2022…

The Mumble got ’em round for a cuppa

Hello Paul, for this year’s Fringe you are premiering a new play called What Broke David Lynch ? On at 9pm, Greenside @ Nicolson Square, Fern Studio. You have also enlisted some familial support for the project – who is this gentleman with you?
PAUL: Well, he’s my brother isn’t he. He was good in The Caucasian Chalk Circle when he was at school and he appears to still have it. He can certainly remember his lines – he already has them down or so he tells me.

Is that right Steve? You have experience treading the boards, or at least remembering your lines – can you tell us about your acting career thus far?
STEVE: Well, acting was many of my artistic ambitions in my youth. I appeared in many school productions and even got an award for my contribution. I was generally cast as the comic lead. I was in the local youth theatre for a while too. I did Theatre Studies at A level with the ambition of getting in to RADA but then I got into rock and roll and that kind of put a spanner in the works. I did get a small part in a reconstruction on 999 emergency but that was as far as my professional acting career went. I’ve occasionally dabbled since. I was in a Leeds amateur dramatics society and I even appeared in a few productions by a certain Damian Bullen but music has largely been my priority in my later life. Although I have often starred in my own slightly crude home made music videos.

Paul, what about your own acting career?
PAUL: Well I’ve only appeared as actor in my own productions really, I enjoy a challenge of something new, my one man Twonkey shows can only take you so far, I’m trying to push myself. Jennifer’s Robot Arm was my first theatre show and this is the follow up, pleased to have Miranda onboard she was magical as Jennifer and I’m sure she will shine again in this show.

Can you tell us about the show?
PAUL: Never you mind about that lad.

Oh go on!
PAUL: Well, if you insist! The play focues on a period in David Lynch’s life where he was trying to develop a suit for the Elephant Man. He’d moved to London & he was in a flat in Wembley & he’d been given a certain amount of development time. They believed that because he’d made the baby in Eraserhead it would be possible for him to construct a costume for the Elephant Man. But this proved to be a step too far for him, and he was unable to complete the task. Its kind of about how that affeceted him psychologically & how eventually he was able to see a way thro’ the problem & find some kind of resolution. But it’s also about the pressure of a young American director coming to London to make Victorian costume drama with Shakespearean actors.

That is interesting – where & when was the catalytic moment where you decided you just HAD to turn this into a play.
PAUL: I could just hear the dialogue – I could see the situations & also the idea of the moment where the terible costume is put on John Hurt & they realsied that the experiment has essentially been a disaster. I think that’s a manic moment & there was a also a dramtic point where David Lynch realised that he could direct the Elephant Man – apparently it was when he was at the Frederic Treves hospital & as he was looking down one of the corridors at all the gaslight fittings he could suddenly imagine the whole film – he could see how it would be, the atmosphere, he could see the mix of the hard industrial stuff & how he could tell the story. Its kind of about the fall he had before getting ultimate clarity, which enabled him to make the film. Because it was not as crazy as his last film, it was a more mainstream film in a way, it made him a global star, because people thought he had dexterity & that he was able to do different kinds of work, & that was really when he became a hot-shot director.

So, Steve, how are you finding working with your brother, have you collaborated with him before & is he a hard taskmaster?
STEVE: I’ve worked with Paul many times before. Largely on music but this will be the first time in theatre. I tend to be a very bricks and mortar kind of guy where as Paul is a lot more trippy. He’ll tell me he wants it to sound sparkley and I’ll ask what key that’s in. I’m also much more of a disciplinarian than Paul so it’s me who’s the task master if anyone. Paul’s great to work with though as he will always come up with leftfield ideas that I wouldn’t think of. He’s a sucker for an extended freak sequence. He’s very good at making straight acts weirder and giving weird acts a pop sensibility. We fall out obviously cus we’re brothers but it rarely comes to fisty cuffs and we always get there in the end. I would liken our working relationship as akin to David Bowie and Mick Ronson.

Who else is working with you guys on the play & how do you all get on?
STEVE: It’s just the very talented Rob Atler and Miranda Shrapnell. Miranda seems lovely and very professional. She puts a lot of energy in the role. Although I’ve only met her once on Zoom and once in the flesh. I’ve only met Rob once over Zoom but I was very impressed by his John Hurt.

So Paul, what has a possible punter of your Fringe show 2022 got to look forward to if they book a ticket?
PAUL: Suspense, & the element of surprise – I think people will be moved as well because the final moments are very touching – & says something about the Human condition. So its not a complete laughter raft, there are moments of contemplation – & also its really a story of love & I think all the best stories are

Final question is for Steve, you are flyering in the streets of Edinburgh & you want to convince someone to come to see your show – what do you say?
STEVE: If you’ve ever been curious about cinema or the artistic process then look no further. A great insight into David Lynch, one of the most creative and influential cinematic minds of the 20th century brought to you by Mr Twonkey. No stranger to surrealist flights of fancy himself with countless stand up shows and avant garde rock albums behind him. Featuring a cast of well seasoned entertainers you will be sure to be entertained, moved and tripped out in equal measure. If you’ve got a thirst for the alternative and aren’t afraid of a giggle or two, as well as shedding the occasional tear – this is the play for you!

PAUL: Yeah I might pop that about as a press release. You don’t mind if I credit it to Lyn Gardner from the Guardian ?

STEVE: Nae worries so long as I get the royalties.

PAUL: Don’t think you get royalties for journalism.

STEVE: I intend to change all that.

Etc., Etc.

WHAT BROKE DAVID LYNCH?

Greenside @ Nicolson Square (21.00)
Aug 5-13, 15-20, 22-27

BUY TICKETS

May 6th – June 5th, 2022
Brighton Fringe, Streaming

Being part of a Fringe feels very different when only attending digitally because the personas are all very different. The 2022 Brighton Fringe, digital experience, includes a performance of a new play called intriguingly ‘Satan vs. God’. When the film/play began the levels were set by red images of a chapel with what looked like a priest or monk praying. It excitedly came into focus that Deaon Griffin-Presley would take the part of Satan, a character and play that he made his own

Going into this play written and performed by the young talent of Deaon he was unafraid of conversing in a way that pushed along with an extended arm, foot and head. No need for boundaries; its existential constructions ran so well as to show quite another side of our usual reality. The original sense of red left us in a state of something somewhat disturbing in its revelation also being the colour of rage and anger.

And this talk with God had Satan upset and there was a kind of howling, he spoke in hisses ad defiant whispers, his movement and act had in it a powerful sheerness that he managed to accomplish; all in turmoil. It had its deep set to mark an exuding excellence of darkness and colossal moments but God answered little of Satan’s questions until his fallen angel quietened and withdrew.

Abounding in simplicity sounds and visions were used as though as a vehicle for the thought of a plot as open as is possible. The first angel Lucifer had corrupted Gods creations and his seething tongue cursed the Father of Heaven. And the rights of passage where Satan self destructed; knowing that redemption was impossible. Can we imagine a state where no one is to retrieve anything from, Satan’s position was never to improve, ever.

To its credit the concepts at work moved along with no little certainty that didn’t fall short of something sublime, yet had a completeness for abusing liken to a serious domestic scene that will never be cleaned up. Satan’s pain’s and anguish’s were impossible to ignore with writing for a one man act.

Divinity, evil, humanity were immersed into a pressing need at times harsh to be aware of; hissing undertones of discomfort. Whatever it’s genuine graces the greater message hit home as an epic drama. In the styles at play we were allowed all the way into the guts of a performance something like a documentary chiselling its forceful concepts that roved around the conversation historical and accurate depiction; an epic to shake the Earth and bring low creation. God never forgave Satan, nor is to do so, a hard place for feelings.

In repetition he gladly loved God in their special relationship. Expressed where insights and demands made to set aflame the desires of both. His anger flew into a rage, his tones of vocals had in them predicament’s and unsettling presence’s; asking us for only one act of praise that could recreate God’s work in partnership and coming glory.

The greatest and somehow truest of calamity that rose shone with a likeliness of a part as to touch the heart of us and link us to something of the way beyond; the finality. Opening; an unlimited unlocking of creative and subjective freedom rising in importance. The theatre contained at its best and most serenely with a huge crunching tale giving a voice of clarity, holiness and tragic heart break.

Satan, so hurt by his father’s actions cries to his lord and only asks for forgiveness but of course God is found to be less than courteous with behaviour as to condemn his offspring. He sees it all as a wanton desire to create punishment for his angel. Totally believable, examines Satan’s plight to the greatest of detail, a success of skill, thought, revival and ruling. Satan tears were as a howling child with great pain and heart rending participation in a calling of masterful prowess.

Daniel Donnelly

May 6th – June 5th, 2022
Brighton Fringe, Streaming

Things came into sharp focus for the Brighton Fringe play ‘Practice of Zen’ the story of the magic of yin yang was set to be an epic play by The Hong Kong theatre group who are called ‘Ronin Limited’. Alex Tam Hung Man’s writing and directing tells this tale of woe and heart ache as though he was guided through by super human hands.

The universality of themes were strewn across the screen as in its narration on all things of creation being quickly listed from top to bottom, sun to earth to sea to water. So in the natural elements we bathed as the story began.

The set was fluttering with riches of such quality yet was without anything grotesque or indulged. Very old theatre grabbed its audience with a sense of everything being new and even unexplored. Character’s came out of the dust some wearing costumes of large proportions making the performer into something other than human entirely.

The story plumed forth with pace, gusto, benevolence and brilliance. But the tragedy seeped its way into our hero’s tale, who seemed to be selected by the gods. Time was set aside for every feeling and thought and there was nothing that was missed or overlooked.

To wake up after centuries of sleep had the Cantonese character perplexed and followed by centuries of journey’s all taken for love. The all inclusive dialogue had so much of fate to deal with and had a hand in every facet taken for serene dispensation, in colours and musical voices.

A war hero, a crow, magical beings all brought about to aid in the journey for finality and bided time through acceptance and lack of fight (if not to protect oneself). Each act was called out in Mercy or other protractions… and the black crow cawed, swooped and nurtured the head of her whose tale it was to enact her long searching and profound realisation.

But after all her encounters, and having been brought to Satan’s mercy, her friend dies and was to come to life no more. The physical presence of characters was greatly perceived as was each intonation from the narrative dialogue. Mountains, rivers all looked real in my mind, I was there listening to the trickling water or simply adhering to the words that dript from these sultry voices.

For everyone’s wisdom became doubt, there was unfamiliarity and escapism. For all I am what will I be it seemed to ask. Incisive passions and patterns that rose as clearly as the changing and wonderful sets, passions that were well rehearsed, well laid down and taken care of. A classical play in a tale that transports well across the globe giving the universal meaning that affects us all; the great journey into the beyond.

Also beholden of such vibes of traditional yet complex play, sore yet untouched and charming; offering up the soul itself for contemplation in a sense as easily partaken as breathing. The world of Zen was a martial world and the play was to overtake that and continually put things into place if they could be.

Full of Grace, forbearance, wit, charm, and ultimately a love for those to whom the hero speaks, in finality to take her walk into the unknown of death, she skipped off the stage and disappeared.

Daniel Donnelly

May 6th – June 5th, 2022
Brighton Fringe, Streaming

For this play ‘Petrol and Neurons’ by Vince Licata, at the Brighton Fringe 2022 my laptop felt very much like a tiny theatre screen with luscious red curtains and all, tuning in to something very entertaining. The play was a mock Zoom chat, all business and nothing personal. Andy (whose name was onscreen) sat waiting to be joined until Danny Gauche turned up just off screen.

The business was about a transaction, monetarily, on a big scale that only someone rich could afford. They talked back and forth about chips, well and oil rigs, Danny was very excited. They kept mentioning a woman by the name of Annie (who would turn out to be Danny wife), agreeing that she would be kept out of it.

The simple transaction once made would have immediate effect. Once signed for they parted their Zoom correspondence with pleasure, but Andy forgot to do something important. Laughing loudly had he just got away with something big? Enter Annie onscreen, the plan had gone well, and the fee had been transferred.

This was a satirical play commenting on the larger world being made by the smallest of inter actions. With a good old fashioned villain versus the naivety of the rest. Petrol is at the heart of the modern world, and then enters Neurons to complete the look.

From the corruption of Annie and Andy, framed in the set of a zoom call, the game was given up when Andy forgot to turn off the meeting and Danny heard everything. Youthful scientists were called for in the shape of two colleagues Alex and Chris.

Alex’s head phones sat on his head as he waited to be joined for an organised Zoom meeting between colleagues who share a scientific life. As he waits Chris shows up but only started to flirt with him, and the meeting took to chit chat rather than science. They didn’t know it but the meeting would be cancelled because of illness.

Chris’s thoughts were only on the idea of her and him having been together the previous night, but Andy doesn’t want it. Chris, with the broadest of smiles, offer’s herself up for another night of love. But Andy found himself perplexed having been weeks in preparation for this zoom event, having been experimenting at his lab.

So they compose a little as he relay’s to her his present brain cell experimentation in which he had found something he called distraction that stopped the cells from certain behaviours. And in a philosophic state of mind he referred to himself as having behaviour that followed in the same ways as these cells, an idea that he liked with the insight offering links to how the brain actually works.

But when they then find out about the cancellation they both simply laughed at its absurdity and warm up to each other again. It was a 2 half glimpse into life behind and beyond science and business filling the programme in the used of parable’s. To offer an insight, that brought a sense of thinking in the sparks of mental activity.

And oh may I mention that the whole thing was done in German (with English subtitles) that added a healthy dose of culture to an absorbing encounter.

Daniel Donnelly

May 6th – June 5th, 2022
Brighton Fringe, Streaming

Being online for the 2022 Brighton Fringe is proving to be an avant garde experience and I’m only into my third show. ‘Disenchanted: a cabaret of Twisted Fairy tales’ is the cabaret written and performed by the outspoken Eliane Morel, it was an hour of Fairy Tales extravagance’s and gave dedication to one Madame d’ Aulnoy who it was said to have coined the term ‘fairy tale’ back in the 17th Century.

The story began in Paris in 1699 with a little black and white footage and a voice introducing us to the time. The play included a high kicking feeling in its Cabaret direction. And its visual accomplishments were tenfold for getting a across its themes with a very plush looking Eliane wearing black feathers and a mask. And for the first sweet rendering of said Fairy Tales it referred to Snow White with a spit screen conversation with the magical mirror.

Her prowess carried through the acts with reverence, completion and beauty. The scene changes offered up some very illuminating character’s whose ideas were in the forms of mural paintings and photographic wonderment; pictures from mansion halls to bedroom’s concise with walls and backdrops. She grabbed us with swift tempo and in the elaborate presentation with which each tale was told we began to wonder what (apart from its enthusiasm) kind of angle it might take. Mostly following the originals there was in it the said completion; a world where we could forget ourselves. In its brevity we found everything that a play can possibly adhere to. Taking us where magical things occurred from Eliane’s artistry.

The characters seemed to be participating in a larger journey that took its (metaphorical) curtain calls and prophetic poetry from the enhancement of placing operatic vocals and titillating narration. And at every turn of character the songs became a fusion of genres from Eastern folk dance music to capable operatic overflowing. Every media was used in the representation that stood out in its finery. And the wonderful visuals that were so many they cut the coupling plots and the old stories were told afresh and reverently, with excitement and veering.

We were hers, as she became one step closer to familiarity; she clawed at us, and became our friend, holding us in suspension with a spreading of details that she made inclusive. Speaking English with a French accent or doing a London cockney, with traceable movement’s made by such fusion in writing, like following bread crumbs.

Eliane’s professional talents include: singer/actor/writer, and with great fluency on screen she used all three bringing all of it to the table. Fun, dark (sexy), garb changes, and a use of Fairy Tales to make a cabaret of things. I found it very enthrallingly entertaining, at a pace where there was no time to switch off, you wouldn’t want to, intelligent and funny, artistry oozing from every corner, and a story worth telling.

From Snow White to Red Riding hood it compelled with written and acted benevolence. She was it all and she climbed through every story she could think of. Mixing with enthusiasm she gave a voice to the interplay of realities to bring theatre out of itself and to fit large expectations out of the very walls and backdrops in its far reaching semblance on the fun of these Tales that is at their heart.

Daniel Donnelly

May 6th, 2022
Brighton Fringe (Digital)

For my first show of this year’s 2022 Brighton Fringe Festival I tuned into a performance by Cheryl Ho called Lou Ye Gui Gen “Getting home”. It was about a woman who finds herself far from her home in Singapore after leaving for Melbourne Australia. It was an online show from her many points of view of looking at travelling and realities of living in 2022.

In her many faceted act, where screen changes were aplenty we were taken to another side of the world and in the highs and lows that were involved when creating a big uprooting in life. She introduced us with feeling of personal potential with compassion using examples of indigenous folk who make up a large percentage of population.

Looking back on the show her varying personalities have come together with the feelings being iterated, from great striding confidence to soft, lonely, whispers. It was very conclusive and very vague in her attitudes of what she ‘had to do’ like leaving home.

She was an actor with potential employment in the field also working in the arts. The vain she hit had such a commonplace, community based yearning for success as she took important phone calls, messages and corresponding letters.

She despaired, she succeeded and was able to compose herself for every turn of event. And as she taught she changed; making a template for other future projections. She took on a few characters who were necessary in one way or another, always looking at the spiritual sacredness of love and life.

Calling on the sacrifice of ancestors as the main theme for the play she directed good and gracious gratitude to life through her family and friends. She particularly enjoyed her relationship with Aunt Ah Ma, it was saying goodbye to her Aunt that pulled her heart chords the most when she left Singapore for the chances of an enriching future.

She was dramatic, personal, calm, serious and to each of these gave her greatest forbearance; showing us that links are made in the mind so as to see everything through until reasons behind it all can be revealed. And as it went by with the scene changes it would return with feelings that also partook in the plot whose unravelling was written with great compunction also by Cheryl.

She knew that the world was for her but from her increased sense of the unknown she dove into crippling doubts that fed her animated philosophy into something for kindness and love. Her professional intentions are rich as she portrays to an exact level what she wants to be heard in her plights for the real world.

There are earthquakes to deal with offering a towering height to things, scene changes that become real and structurally important. Taking closeness and distance to things. She was shown in bed or at a desk or in front of a wall written with notes for life. But finally in her magnanimity she finds out what really matters with ‘when are you coming home’.

Daniel Donnelly

Brighton Fringe
16th April, 2022

I would like to thanks this year’s 2022 Brighton Fringe team who had the foresight of sending me this link for the special performance of the already outspoken ‘Django in Pain’. The unfolding story of Django has been, as you will see, a work of many good facets. We are met with its writer and director in the figure of Antonio Vega who came on screen to speak about of the reasons for this work of how it had all come to be. So then he opened it all up to us, all in the name of a period of debilitating depression during the last few years and of its way of having a permanent downward spiral.

This special puppet and shadow performance had to immediately shed the skin from our character Django. His name was inspired and used to act as the protagonist, and as hero, so accompanying his puppet were a dog, a strange looking vulture and other gentle things. The mentioned pace was from another time looking straight at a puppet world of animation.

From what we were told in the playwrights short introduction this time of suffering happened to him through the realities of having to be very tough in a world of big difficulty for this man’s head and even heart to bare. And so the sparkling intimacy of grace was unconditional in the great, grave and the varied compositional and elemental processes served in great detail with a gratitude from all of those who in one way or another took part. And in its promise the whole team included spaces for writing, directing, editing, photography, all founded by the two; Antonio and his fellow creativist Ana Graham.

It was formal, informal, and expressive in so many ways, from dark black and white cut outs to cheer full coloured ones that were in his unravelling standardisation in the understanding that made for a wonderfully well equipped theatrical accomplishment.

We can know what it is to even try to make scene’s that were into a self preferably inner, potent conversation that skilfully and artfully stood its ground of the personal and the impersonal that is in life and death as we know it.

It would take journeys and adventures for our man Django to overcome his dark desire to take his own life (hence was born the prolific noose that was constant companion for Django). In its art of which there was plenty its very nerve had persuasive, inductive, smart and even wisely contrasted models all coming together for this story to be told as he unveiled his laptop into the scene. And in truth I didn’t know what was to happen next.

The smart collaboration had a miniature world in play and it strode to cover every clause and facet, with shapely time changing in its support of life and into everything from truthful form to breaking long silences. We could tell that his heart was truly pouring out of his succinct imagination after the pain, inner and other which was the name of the play anyway. But being down to the point of extremes highs or lows it came together as timely and worldly as puppet on the end of a string? But the show would have worked very differently if these experiences had not been lived to his expense.

This was an hour of magic, and was a filled out with some properly animating of thoughts from the first to the last, mixing certain innocence while being also bent on destruction. The voice of the vulture often whispered its way’s into poor Django’s ear and also seemed to be bent on pushing Django into his desire as he took to the stool to actually do it, several times.

The story makes its bidding as a tale of woe and yore, from the great and sharp insight of puppets and shadow theatre but the light of delightful art and cunning, extreme composition held the account both at bay and self sufficiently in turn the revelry for an end in sight. After all sincerity and tearful truthfulness that had come to pass for Antonio, were the attacks that inspired the show. The suffering Django went through was called and he continuously insisting on acting out an act of arbitration as his final plan.

Shown from out of some shady alley way the call to the jungle led to one final embrace for a full life. A deeply seeded and set yet open doors and windows are suggested for this act that has now come to be, a commanding insight into a sense of everything taken by the throat and offered to the living.

Written and presented by Antonio its surprises are understanding’s that the play’s life had come from the real one.

Daniel Donnelly

Edinburgh Playhouse
02.03.22

The anticipation for tonight’s show was huge, after being postponed twice because of lockdowns, Dita Von Teese finally brought her Burlesque review to Auld Reekie, Not surprisingly the Playhouse was packed to the rafters with glamorous freaks that had been waiting a long time for this spectacle, It had a lot to live up to.

All of the acts that performed were excellent and was quite possibly the best looking strip show I have experienced from the opening male pole dancer, lythe athletic body with lovely lace panties working that pole very sexily indeed.The gorgeous blond lady working the hoop And of course Dita’s various strip routines with her totally fit male support dancers assisting with Von Teases sublime uncladding of cumbersome clothes, Dita does have a really nice bum.

There were very strict rules in place mobile phones were barred and anyone attempting to take photos or film any of the performance were jumped on by a very nimble security. So one had to be totally in the moment. I do wish more performance artists had this policy. I didn’t have a programme either so have no idea of the names and at £18 a pop I didn’t think that that was value for money.

The compere of the night I didn’t gell with either and probably hogged the stage for longer than was wise. He wasn’t that entertaining while every supporting performance was top notch with enough eyecandy to please everyone of every sexual persuasion. Gay, Bi, Lesbian and straight. The last supporting act, before Dita in the legendry cocktail glass. Was a large lady working miracles with her nipple tassels before more bearded bloke on the stage attempting a Freddie Mercury audience participation, I dinnae ken why he didn’t work for me.

As the stage curtains opened to reveal the Cocktail Glass and the routine that I had been waiting for. Dita stripped sensually and got in the glass and splashed around a lot. It was fun, the thing that made me think that Dita was wearing a wig, the splashing water didn’t spoil her hair. She was giving it yaldi and the water soaked the stage.

Divine has seen a lot of Burlesque Reviews in his time and tonight had a lot to live up to and it wasn’t as good as La Clique.

5 Stars for each of the supporting Acts.
5 Stars For Dita.
2 Stars for the Compere.

Thankyou to Louise Galloway for gifting me with tonight’s ticket and brilliant seats and for being such splendid Theater Company.

Good Time Divine. ❤