Assembly Roxy
Aug 24-27 (21:20 )

Dies Irae

The gods are angry and they’ve chosen the Mythological Theatre Co. to deliver a stunning smackdown at the Edinburgh Fringe – cue the smoke and heavy metal! A low drone of doom emanates from the deep, as through the enveloping plume a cavalcade of characters emerge from another realm to kick our asses. This is ‘Mythos: Ragnarok’ edition.

Classic Norse mythology with all the heroes and villains, legends and lore, this time being played by professional wrestlers. The scale is epic and the biceps are bulging. It’s quite a thing to behold, Odin, Loki et al in full flight and executing top-level combat choreography to gasps and guffaws from an enthralled audience. The directing from Ed Gamester (who plays Odin) is first rate, with the entrances of new characters perfectly placed throughout to keep us maintained at peak bloodlust. The design, costumes and atmospherics from Melanie Watson, are transportative and wonderfully visceral.

Staged in the grand Underbelly church, with its stone columns and rich history, the atmosphere is thick with anticipation. Gamester leads a truly stellar cast each with their own tremendous presence and personality. Richard Summers Calvert, playing Loki, shines, generating the most laughs and establishing strong rapport as the impish half-brother. Thor makes an appearance, except his IQ is struggling to get above his body fat percentage – a novel take on the famous character.

The audience lap up the rivalries and boasting, accepting that the final judgment must ultimately be determined in the ring. The athleticism is fantastic, and the moves made me think there was real injuring happening – but I guess I have scant experience with performance wrestling. The point is – it works – they’re amazing – go see it or you’re missing out.

In the second half the script unfortunately squanders the glorious levity and absurdism earned in the first half, presumedly to serve the tragic meta-narratives around death and sacrifice. I thought the playful tone would have been better sustained for longer but nonetheless, the fight scenes kept everyone in awe till the end.

Gamester informs us that pound for pound this is the most expensive show at the Fringe, which judging by the pounds of muscle on them, must cost a hefty amount to stage. Their dedication is immense and straight after they’ve finished the most physical show I’ve ever seen at the Fringe, they jump back in to pack down the set and clear the stage. Wow.

The only downside was the long seating array, which meant the back half got a markedly less spectacular experience than the front so I recommend getting there early to cue. This show should pretty much have mandated in-the-round seating or thrust, and I’d even lobby for it to get its own purpose built Thunderdome, Mad Max style. But maybe that’s the power of their creation – they have me pumping my dreams to a mythical scale.

It’s good to know that no matter how civilised we get, our blood still pumps for the brutal sport of hand to hand combat of gladiatorial ages past. This troupe captures this primal essence so well. This is how the gods taunt us puny humans with our love for bearing witness, as they smackdown, crash through and break each other apart in a live liturgy of immortal muscularity. See it.

Stuart Bruce

Surgeon’s Hall
Aug 22-26 (15:00)

In Tempore Opportuno

Moving, inspiring, memorable. Keith Alessi performs a powerful one-person show at the Edinburgh Fringe, unpacking his life’s journey to discover a deeper meaning. This is an uplifting piece about recovery and hope. “Every word of this is true” he intones, setting the stage for an hour of honesty and integrity.

The minimalism and directness achieved, in collaboration with director and producer, Erika Conway, has taken him to stages all over the globe and created an overall effect like a fireside chat – receiving wisdom from an elder. A refreshing change of pace and style to many of the shock-and-awe offerings that colour the Fringe, Alessi facilitates a profoundly contemplative journey, drawing on the power of simple truths to nourish you long after you’ve left the theatre. It’s not about getting a laugh from your belly, but rather a smile in your soul.

The initial mystery of how “tomatoes” factor in relates to his Italian heritage and he uses them as a potent symbol for the default programming drilled into him during childhood, which in his case caused him to live a less than fulfilling life. After a great wake-up call, the high levels of acid in tomatoes literally nearly killed him, which then metaphorically represents the high cost to living a switched-off life. The juxtaposition to what banjos offered him as a dual Canadian-US citizen, is manifestly dramatic and presents a compelling throughline as the spine of the show.

The audience were of the older demographic but this message is essential for younger or early-middle-aged folks and I wholeheartedly recommend everyone of any age should see it. “Why on earth didn’t I get my banjos out of the closet forty years ago?!” exclaims Alessi – a clarion call for young and old to start living as richly as you can. He gives us the taste of the sweetness on offer via the various interludes of banjo playing that punctuate the show. His love for the instrument positively lights the room, connecting you to feelings of nostalgia, tradition and humility. Confucious said that you live two lives, and the second one begins when you realise you only have one. This show bottles the grand arc of life and distills it down to the essence using words and music.

Alessi, an accountant by trade, shares that in common with my late father and I can’t help but think that this is the kind of show my Dad might have made had he made a turn to the arts and discovered a deeper passion to life. The Beatles lyric reads “and in the end, the love you take, is equal to the love you make” and Alessi’s ledger must be heavily in credit now. He enriches audiences all over the planet with a story built on simple truths, the same as good folk music. He’s an artist genuinely in the service of helping people find their best life and what a moving and inspiring project that is.

Stuart Bruce

Underbelly Circus Hub
Aug 22-26 (19:20)

Of all The Fringe Shows, La Clique has a warm place in my heart, and with this year being the 20th Anniverssary of “La Clique”. Curated and conceived by The Spiegel Maestro, Pianist and Big Band Leader, David Bates. The show was first premiered at the Adelaide Fringe in 2004, (Divine was there) La Clique has grown to become internationally acclaimed as a symbol of quality within performance art. La Clique has launched the careers of many young performers and set a benchmark for how Vaudavilesque Cabaret should be performed and seen. Always slightly naughty and tantalizingly sexy. La Clique has always been a jolly Good Time. And with this being “La Clique’s 20th Birthday. Divine Just had to be there.

This was the first time that I had taken to show my lovely lady, and for reasons stated above, tonight’s performance of La Clique was important to me. It was a win, win for Divine. I knew I would love it and I also knew how much Christine would love it, but I wasnae repaired for just how much. We were first in queue, I wanted to make sure that we had front row seats as I didnae want to miss a moment of the action. Am so glad I made the effort as what I had anticipated was absolutely spot on as this circus of human performance art, mesmerized and thrilled from start to finish. With death-defying acrobatics, extreme pole dancing, trapeze with magic tricks that left everyone guessing. “How did they do that”?. The Daredevil Chickens had both Christine and myself in hysterics with their magical costume change they really are the funniest clowns around.

La Clique is packed with eye-candy, excitingly stimulating a mesmerising and spellbinding 70 minute creative whirlwind that has everyone on the edge of their seats.

If One Fancies A Good Night Out.
Then This is the one ❤

Mark ‘Divine’ Calvert

Underbelly, Bristo Square
Aug 20th – 27th (13:15)

Summa Sedes Non Capit Duos

A comedy/play called ‘Ringer’ for me conjures up images of risqué jokes, so I made my way to this show ready for what may come. Performed at Underbelly’s Bristo Square you go down stairs to tiled corridors. The square is a must see for getting in the swing of what the Edinburgh Fringe has to offer; this outstanding play is one such thing. ‘Ringer’ is a brainchild of Hughie Shepherd-Cross, it is his 5th at the Fringe that has been written respectively, and the term of its name wasn’t as bleak as I thought.

The triangle shaped room buzzed in full capacity as the play began. Fabian Bevan and Hughie have got together for a great performance, and as they gandered onto the stage the suit’s they wore were soon to undress to the sight of a man in a white vest. Fabians stuntman character looked like something in the 50’s when film was a big force in the world, Enter Hughie as a manic PR.

The joke was that Hughie’s manicness seemed to be caused by the fact that he was manic. And having absolutely no idea what was to come Fabian’s character was one without a clue. And to a stage rampant with action a hilarious direction exhumed into the play.

With the gusto of this very fast paced performance the plot exploded with the death of a prevalent actor. This lead to problems for the PR who was perplexed at the size of the predicament he was left with. He met with Fabians character and was struck by the idea that he looked a lot like the star and thought could you please play the part because you look exactly like him.

Only after great anxious consideration Fabian finally agrees. The story starts and reflections began in an all out theatre so consuming to watch. Catching us in a world of intrigue it was impossible to put down, Hughie makes for experimental writing a fresh and invigorating story for the love of acting.

With ounces of show stopping, meaning full and endearing intensity the story lit up the great little sized stage. Was there Shakespearian wit, coming out in some of its more ironic moments, moments of pivotal plot making? A man for whom so much happened, a man who we saw whipped into shape by a Hughie Shepherd-Cross willing to try anything to save face. Making the most of this play was easy and I felt an audience truly engaged.

A very jovial and light performance commenting on the life of theatre with a formidably honest sense of humour and jokes from a place of sincerity; two actors in their prime and writing that makes you feel cool.

Daniel Donnelly

Gilded Balloon Patter Hoose
Aug 20-27 (16:30)

Fata Viam Invieniente

A mind-bending, paradigm-shifting, face-melting, fabric-space-time-tearing, all-singing, all-dancing, string-quarteting farce… set in space… with vampires… and inside jokes about music-making and the vagaries of show business. There are so many appealing elements in this production that you’re bound to find something that blows your mind and the combination of all of them – just wow.

Fringe favourites, UK stalwarts and darlings of string theatre (is that a thing? It should be), BOWJANGLES, are back with their latest show, ‘Dracula in Space’! They simply rock, as you might not expect a string quartet to rock, but rock they do. The ingenuity knobs go all the way up to eleven – with a decade of top level experience for this troupe, their latest show is a truly awe-inspiring enslaught of skill, wit, design and dedication. It’s a comedy romp that has to be seen to be believed.

On maybe at least ten occasions throughout the show, I had my mind blown witnessing the synchronicity of subtle devices, timed with movement, clever composition and musicianship to an extraordinary level – remembering they are theatricalising responsively at the same time as they sing and play – so impressive. We have the seamless interweaving of bodies, words and music – physical, oral and aural, all soaring together in one mad dance of divine chaos.

The directing was playful, inventive and emminently accessible. In this, the overall effect of the stage craft, replete with special effects and lighting, was illuminating and immersive. This is a fantastic show for singles, couples, friends or families, in the late afternoon slot to condition your mirth muscles for a raucous night. The joy was infectious and the crowd response was, like their lead violin, electric. Each character had an individual narrative to tickle forth the unbridled celebration of satire and sarcasm – delicious.

They afford themselves immense freedom to revel in the farce and fully gorge on self-references and double entendres, satirising fringe performing, the creative process, music composition and more. References to famous classical pieces and popular culture adorn every scene. Yes, go for the incredible live music, but stay for the cleverness, the inside humour and audience interplay.

It’s a DIY theatre-maker’s, grant-writer’s, review-chaser’s, composing nerd’s wet dream and I would sleep in the damp spot any day. Nothing was sacred, everything was celebrated. A take no prisoners approach where no one gets off Scot-free, especially themselves. This troupe are fearless, steering into every skid and it was an utter joy to ride the rollercoaster of every cavernous corner with them. Witty string-playing vampires in space? Set blasters to pun.

Stuart Bruce

C aurora, Church of Sacred Heart
Aug 20th – 21st, 23rd – 27th (15:15)

Dum Vita Est Spes Est

I have never been moved by theatre as much as by this August’s Fringe performance of ‘the Kids with Nae Hame’. The venue was up through grass market and it was called C araura; a venue in Church of Sacred Heart, it turned out to act as a kind of shelter for the in-depth play to come. The room had three sides of seats framing the stage, and was only thinly lined with two rows, this turned out to be absolutely perfect for the dark story to unfold with its deep roots in reality.

A sincerity was prevalent that I wasn’t expecting, with a story set out to involve us in the upside down world of Social care, with a story told by three young girls who were seated and were a surprise to see jump into action. The scene felt familiar, like something seen on T.V. or in a news report, and began with the very admirable ability of these young girls who seem able to cope with their abhorrent situations in the heart of this social care.

The venue in my head quickly became a haven and a thankfully safe spot to portray its very vivid and detailed description of what is a reality for these kids who have ‘…Nae Hame.’ Coming from a writer who had come up with this play from directly personal experience, giving proceedings a reality sharpened for theatrical usage. She intends to take it on tour.

More and more characters seemed to pour onto the stage, which was a pleasure in its kind of freedom though mostly everyone had very dark comments to make. Scenarios were told with accomplished acridity, with the start showing girls as a team holding themselves together in the throes of something that caused deep compassion, but these girls seemed to have a hold on their predicament, was this because it’s a story that has been long in its making and has given this world plenty, or too much, to be prepared for.

The conciseness had a very remarkable effect in a precision of character, rolling a story showing how far down in this world you can tumble. Portraying attitudes, sorry scenes and offering a vision of what felt like a helpless world, giving the resoundingly responsible 3 girls their loss of chances in this life.

Two characters came on after the first scene who were also so concisely dressed with wigs that put the growing play into place, their iconic Glaswegian appearance making in no mistake a reference to a helpless reality, drank vodka and cursed the kids. Who were denied access to the world by an incentive attitude from their staff of their hopeless predicament, even throwing them to chance and fate with uncaring coldness.

And then hope reprieved! One of the kids took to a lectern as Prime minister, and with the unmistakable hero (for these wizened yet vulnerable girls) in the shape of the head of social work, a character whose name they sang, a man who could over rule any decision made by the tired and uncaring staff that then had no power to berate this situation that we don’t often bother with.

With striding hope the outstanding new PM instructs this world with a stripping of sanctions against its all but innocent citizens. This scene gave up meaningful consolations to at least half of the problems that needlessly purvey in a system of ignorance and simple arrogance of a staff who themselves don’t seem to know better, and were only too happy to berate the lives in the stem of using it for control.

This immaculate play’s time was an hour brimming with a story whose tale was told, whose circumstance was heralded and whose solutions were in evidence with a bravado momentum of movement and beauty, tragedy and suggestions of the possibility of easy solutions that seem to be instead forever held in chains, with a theatre in the power of suggestion, confident and skilful writing and making a point of delivery to love and to hold. It had a great uniqueness to it and came up with ideas that I hadn’t come across in theatre before, thanks to them I think I get the point

Daniel Donnelly

Roman Eagle Lodge at 11.00am
Aug 2-27 (11:00)

Magis Mutus Quam Piscis

Japan, and Japanese culture, has fascinated and intrigued me since I was a young boy. Japan’s wildlife, customs, fauna, costumes, and not forgetting the trade-market Cherry Blossum, has found a special place in my heart, so hearing about In/Outside: Visible Things, it grabbed my attention like a puppy dog being given his first treat. Excitement was an understatement! It felt like I was wearing a blindfold as I really didn’t know what to expect from the piece’s creator and performer, Chiharu Kuronuma.

Calligraphy, which in its own right is beautiful was a highlight of her show, and this aroused a deep curiosity within me. Chiharu is from Yokohama, 20 miles outside the world’s largest city, Tokyo, and has travelled 1,000s of miles to The Edinburgh Fringe for the first time to entertain and give us a taste of Japan’s past and present. C – ARTS venue in Johnston Terrace, a stone,s throw away from Edinburgh Castle seemed like the perfect location for bringing two ancient cultures together, under the gaze of Edinburgh’s most iconic tourist attraction. Japan and Scotland united in the love of the Arts was my immediate thought.

The hustle and bustle of Edinburgh’s Royal Mile soon disappeared on entering the quiet haven of the Roman Eagle Lodge. A tranquility descended over the room as the door closed and darkness filled the small, but quaint, auditorium. At the flick of a light switch, one solo light appeared and the silent Chiharu eloquently glided onto the stage like a silk-worm weaving its magic. The room was silent and all present gazed at Chiharu with anticipation. This is visual art with a deep meaning and message.

Silence is the power of silent words and I felt Chiharu captured that from the outset. Theatrical Dance creates an inner connection and evokes a calmness of a near meditative state, and I felt this in abundance as the ambient music score, soft and embodied, swept over me with the fingers of peacefulness.

Beautifully choreographed, Chiharu’s journey through physical movement explores the In/Outside of the human soul. An artist, a moving frame, paint brushes, ink and paper are the staple of this show, which feeds the audiences imagination with mysterious thoughts. Stunning, enchanting, moving, thought-provoking and with a sprinkle of mystery, this is an Oriental masterpiece. With every brush-stroke, wrist, and hand movement, it seemed like ink was walking on water. The power of Calligraphy needs no voice and was visible to see through the projection of stillness. Silence is a gift in times of chaotic noise and Chiharu has embodied this in dance & art. Expression without words! What can I say ? Heart-warming and endearing, I left in a better place than when I arrived.

Raymond Speedie

Eagles Lounge, C Aquila
Aug 12th, 2023

Castigat Ridendo Mores

Yesterday’s comedic play quirkily called ‘2nd Picture of Dorian Gray’ was hosted at Eagle Lodge, C Aquila in a production to take on Oscar Wilde’s work. It was a nonstop pace of tantalising funniness.

The room up the stairs was big enough to host the 9 performers. I had chosen it to revel in an hour of good quality theatre and was given comedy of side splitting effect. The ‘Macready Theatre Young Actors’ presentation was a charmingly portrayed farce that had the presence of fun in spades.

The audience (seated in a few rows) were up for it and I noticed joyful smiles of appreciation for all the genuine humour curtailed. The effects were of a stage of confidence in the short spectacular showcase as they jumped around an empty picture frame and discussed art and its processes in portraiture.

Then came the search for Dori! A search that offered an array of material that buzzed around the stage and its advantageously lined presence. The youthful cast; had this funny sense of good humour that successfully looked effortless. And the undeniable physicality immersed itself well in a performance where free rein was given merit and much went on between the Wilde like dialogues.

In a piece like this where the cast were in numbers, the experience takes on a whole other style and fit. And as they busily went about communicating together, gathering an appearance that ruminated from every individual. The timing was in a flow and rhythm that in comedy took advantage of very favourable theatre flittering through all its characters and their quirks. Playing around with ease and a formidable grasp on the air of equanimity as it took a most exciting hold to the quality of the play.

As each made their contributions with everything coming up the greatest of visual triumph was often achieved. Putting comedy into place and celebrating the calamity to its fullest richness. In the movement that poured through lines of true, fully charged and delighting punch lines to hit the right spot, resounding with the pleasure of a multi skilled theatrical situation.

For laughs and jokes the action showed precision with a greatly bonded set of personalities. In an offering of high energy and simple extravagance and a story now set in time. More than happy to be absurd and get it on with our full attention and admiration, we sat back and were transposed into hilarity. A wonderfully sensational story of light hearted exuberance and total comedy.

Daniel Donnelly

We all need more soul in our lives and there’s been no greater purveyor and innovator than the Queen of Soul, Aretha Franklin. She began as a gospel singer and from a very young age, seemed to have a voice well beyond her years. We’re very lucky, therefore, to be able to hear a similarly powerful and transcendent voice from renowned pop singer, Cleopatra Higgins fronting Night Owls Shows’ The Aretha Franklin Story. This isn’t toe-tapping covers – this is a full on booty-shaking, hollering at the heavens, sweaty, sassy good time. Just as Aretha would have wanted it.

The band rocked through her biggest hits, easily putting the audience on their feet and then brought things down with some tender sweet moments. Documentary clips projected onto the back wall positioned the audience to appreciate the historical context of Aretha’s climb to superstardom and her incredible numbers of awards and chart-topping hits.

But in the end, it’s all about the voice and Higgins has it, no doubt about that – bringing more than a few punters to tears. She has big charisma and a voice that is both soulfully simple and spectacularly acrobatic. It’s everything I hoped for from an Aretha Franklin tribute, but I also hazard a guess that one day there might be a Cleopatra Higgins Story tribute show – let’s wait and see.

The rest of the band are similarly excellent with a tight rhythm section and backing singers with strong enough voices to lead a show of their own. The whole scene at the Symposium is impressive and Night Owl Shows, as one of the major companies there, have built a wonderful community of artists honouring the legacies of some legendary artists.

I recommend people check out their entire suite of shows as there is bound to be some celebrating your favourite musos and you can trust the bands will be superb. Higgins also fronts Night Owl Shows’ The Whitney Houston Story which I will have to catch as well. If she captures Houston to the degree she did Aretha, it will be another unmissable show. Get on it.

Stuart Bruce

Riddles Court
August 12th, 2023

Laudator Temporis Acti

The world renowned classic tale, Alice in Wonderland, by Lewis Carroll, was brought to Edinburgh Fringe Festival by Tim Nelson and the California Musical Ensemble, to the very heart of Edinburgh’s Old Town in the historical court yard that is Riddles Court. In the intimate Thistle Theatre this family friendly show was sure to be a hit with the younger audience as well as the adults, who seemed just as eager as the children.

The diversity of characters in Alice in Wonderland has entertained audiences around the world for generations and this musical was no different. Casted perfectly in their roles Alice (Charity Bielicki) was sweet and believable, which brought warmth and personality to Carroll’s most famous creation. The cheeky Cheshire Cat, played by Emily Crabb, encouraged much laughter from a now transfixed audience. Aesthetics & physicality are the keys to stage characters, but combining that with a voice that defines ones ability to connect all three elements is no easy task. Tim Nelson, however, nailed it. White Rabbit, Caterpillar, Doormouse, the Mad Hatter, the Queen of Hearts and all the other cast members carried themselves beautifully through voice and physical movement.

A musical would not be a musical without the music, and with an array of feet tapping singalong songs like ‘Let’s All Go To The Fair’, ‘In My Mind’, and ‘Everyone is Mad’, a feel-good atmosphere was made present and received with open arms. The stage production was crisp and precise. Nothing was left to chance, with every angle being approached with professionalism and fine detail. The perfection, creation and design of the costumes was applaudable and deserving of praise. Colourful, bright and enchanting they had the desired affect bringing the musical to another level.

Daphine Moyes (Narrator) is a natural storyteller. An informing dialogue allowed the delivery of the tale to be easily understood by even the youngest of attendees, and made for a more personal experience. Alice in Wonderland is a light-hearted piece of musical theatre to be enjoyed by the whole family; and with an abundance of colour, fun, wit, cheekiness and joyous moments its sure to keep the children entertained. This musical shone like the sun on its hottest day, and if rainbows could dance then I am sure Alice in Wonderland is where the dancing starts. A beautifully written piece of musical theatre, executed with love and affection that was endeared by all in attendance. With sell-out shows each day the demand was phenomenon, so lets hope Alice will return from the rabbit hole next year and do it all over again.

Raymond Speedie