King Dome – Pleasance Dome

6th Aug 2015 – 30th Aug 2015

15:30

*****

*****

Passionate and powerful. Potent but tender. Poignant and bewitching. Mesmerizing and responsive to the extremes of imagination. Electric is not substantial enough to describe fully what a gift this festival oblation is. The ebb and flow between Selma Roth, Guillaume Pige and Alex Judd enthrall as they render our emotions speechless like their act. This third production from Theatre Re will not fail to impress you because everything has been pushed to perfection. First rate lighting and musical score become our language here as the cast journey us through the eyes of a musician who has never seen but responds to ‘the supernatural,the magical and the emotional sparks that seep into us when the eyes are closed.’

*****

*****

This is a rare breed of theater/mime that will etch itself to memory making it impossible to forget which you will be grateful for. Exemplary choreography makes this exceptional meditative magic a massage for you brain.This is a Fringe highlight worth its weight seized.Stop reading – just go before it sells out! FIVE STARS

*****

Reviewer : Clare Crines

Venue 13,

8-29 August (except 17 August) 

10:00

£6-£8

 ****

****

Tackling child abuse is a dark troublesome area of theatrical exploration.Sara Heart, Lawrence Schrader, Daniel Sean and Sarah Beth are theatre company Laughing on the Edge Theatre who have surprisingly early theatrical performances just off The Royal Mile at the wonderfully intimate Venue 13. Actress, writer and Great British Bake Off fan Sara Heart makes her directing debut at Venue 13 which is proving lucky enough for her.That may be partly due to the innovative set design, it is amazing what you can do with a bit of latex, or it may be due to her first class degree in acting from Trinity Saint David University of Wales this year. She plays the part of a failed psychology student by drawing on her first degree in Cologne four years ago. Performed on a balcony she believes ‘’Balconies are interesting places: you can escape the oppressive inside, but you’re never actually free. In fact, you’re more cornered than ever. So what are a group of mid-twenty year olds doing on a balcony? ‘

****

They are plotting the murder of their former abuser. Sean plays neurotically over anxious Wills magnificently who is continually wound up by the more chilled out Schrader. Beth becomes the manipulative control freak Liz who wants revenge.Unbeknown to them the old man’s daughter Katy performed by Hart has let them believe that she knows nothing of his crimes.The well edited and structured plot has well crafted humour weaved into its sordid story making it a difficult but powerful piece to watch.Twists and turns throughout keep us engaged and connected with the characters whom we feel for with their very different personalities but drastically connected secrets.The murder scene is a shock to cast and audience.The odd dichotomy of roller coater emotions experienced will have you smirking then seething.

****

****

Heart’s web presence tackles tough questions head on from an abused individual who asks her to explain herself and points out a few truths about her reasons for choosing such a subject matter, ‘you’re right: I’ve re-read my explanation of old man’s Gift back and it does sound like I’m glossing over the theme of child abuse as if it’s just a plot device. I’ve been trying to write about abuse for a few years and never found a genre that felt safe enough. Now finally in this black comedy I did because I can detach myself from its consequences that way.’ Very much worth getting up for but expect to come away feeling like you need a stiff drink or at least a great piece of uplifting dance to restore you to festival mood. FOUR STARS

****

Reviewer : Clare Crines

The Lyceum

14th-16th August

****

****

Back in 2010, Jamie Harrison & Candice Edmunds of Vox Motus (Glasgow) approached Oliver Emanuel with a novel idea – could he please write them a play with no words. ‘There are obviously very valid production reasons,’ says Oliver, ‘its easier to tour abroad, for one thing.It’s accessible… the play is in fact quite normal when you read it. There is only one stage direction on the front page: The play is written to be performed without words. That is, the characters in the world are able to speak to one another but the actors on stage do not. Neither do they mime. Each spoke line must be replaced by a physical gesture that stands in the place of verbal expression.’ Five years later Vox Motus has teamed up with the National Theatre of Scotland & Tianjin People’s Arts Theatre to bring Dragon into the heart of the Edinburgh Festival season.

****

****

The story concerns a young lad, Tommy, whose grief since the death of his mother manifests itself as a a hallucinative Dragon, who pops up from time-to-to time throughout the play. Starting out as the street-lamp that comes to life outside his house, the puppetry of the Dragon is a visual feast – a surreal objet d’art among the colourful but hum-drum scenes of inner city Glasgow. Splendid throughout, Dragon is a kind of anti-poem, for where our noble art uses words to paint pictures in the mind, this creation of Vox Motus uses images to paint words in the mind. With marvellous music & a canny wee cast, to witness Dragon lends a certain poignancy to one’s existence, whose cleverly done scenes should remain firmly entrenched in one’s memories for years to come. Of these, a simple scene in which Tommy is brushing his teeth, bathed in golden light, was strikingly simple & yet aesthetically glorious, outdoing even the brilliant scene in the swimming pool. FOUR STARS

****

Reviewer : Damo Bullen

The Pleasance Courtyard

16th-30th

17,00

£7.50-£12.00

***

***

Watching Citizen Puppet is an interesting experience. In essence it is a radio play placed upon the stage, for the ‘actors’ – a series of well-stitched, gothical puppets remain fixed onto their chairs throughout. We are introduced to them all at the start of the play in a hilarious few minutes which sets the scene : the aftermath of Jack cutting down the beanstalk, with the beanstalk having landed on the small, rural village of Massiville with devastating consequences. From here, the story is then flash-backed by the puppets, which are operated & given voices by blacked-out humans.

***

***

After such a smashing start, I was looking forward to a cracking play – but within a few minutes I realised this was not to be the case. The ‘action,’ so-to-speak, became difficult to follow at times, & the ‘jokes’ spread out far too thinly. There were some bright moments, of course, but I found the entire spectacle was a visual treat, yes, but weakened by an underwhelming story-arc. THREE STARS

***

Reviewer : Damo Bullen 

B’est Restaurant

16-23 (not 17)

Times vary – check link

£39

Being a fan of the Faulty Towers Dining Experience, I bobbed along to B’est restaurant in a jolly good mood, brimming with expectation of a fun-filled afternoon. As soon as I arrived my instinct was proved right… with the sun streaming down we were greeted outside the restaurant by several of the show’ characters; Ricky, the cockney best man… Marvyn,. the wedding planner… Lyn, the Lancashire accented mother of the bride whose garish costume was donned in order to prove that orange and pink DO go together. She soon filled us in on the back story, that her daughter, Kate, had eloped with Ricky’s best mate Will, & that she had tracked them down to Edinburgh in order to throw them a celebratory party.

Once inside the restaurant – where our starters were awaiting – the day’s adventuring began, a series of comedy scenes played out by the four members of the cast. Into the mix were thrown  the father of the bride, the mother of the groom & the auntie of the groom, while various audience members were allotted roles, such as Sharon & Shanice, the bridesmaids, & Gino the hairdresser which was given to yours truly. From the best man’s speech, where the difficult art of making comedy bad was performed with aplomb, through the opening of the well-naff presents, to the absolute hysterical antics of the Kat-Slater-like groom’s mother, the show is just pitched perfectly.  Comparing it to Faulty Towers, I could sense the newness of the thing & the actors still growing into their roles. I think when they have mastered the delivery of this wild & wonderful new show, it will become a classic in its own right. FIVE STARS

*

Reviewer : Damo Bullen

Venue:The Boards at The Edinburgh Playhouse

Dates:Aug5-8,10-13th,17th-22nd,24-29th

Ticket:£10/£8 concession

*

*

Jumping off the precipice and into the Fringe festival from Australia is a long shot if you have never been there before.Not so for this cabaret act fronted by Robert Hofmann whose inspiration is diverse but cites Barry Humphries’ Dame Edna Everage as a firm favourite. Edinburgh Fringe Festival has recently taken cabaret under its wing and although it is still early days in the longevity of its history Hoffman has found fertile ground to cross-pollinate his comedy and cabaret for years to come.His four personas are self referential depicting to hysterical excess his own upbringing. Prepare for meeting creator of the Worldwide Artistic Nations Conference Of Narcissistic Bitter Retired and/or Emerging Artists who Sometimes Teach Singing.

*

Being half German gives him permission to psychoanalyze his audience in the character of Helmut Wunderlicker, a German psychologist who is also a singing coach. Wunderlicker plucks Peter, St.Peter from now on, from the audience to dance with him in a bizarre goat herd type dance which is followed up with ‘Here I am waiting like a lover’ routine which could have come from The Rocky Horror Show.Fair play to Peter who thrust his thrusts as agile like as a bloke from Blackpool could ever hope to achieve, giving it as much as Wunderlicker himself.

*

Keeping up with Hoffman is easy as his classically trained baritone voice slips effortlessly to the soft spoken do good condescending ‘but only if you want to’ guitar playing Christian Liturgical singer Susan Higgins.This redhead takes no prisoners in her ‘every breath is a bonus’ which like her ‘do not be afraid Do not fear’ is so stereotypically Scottish social worker on a Sunday you’d be forgiven (with three hail mary’s and a glory be from Sister Maureen Virgillious) for thinking Hoffman had visited these shores before!

*

*

When he goes behind the screen to change I couldn’t help thinking of the famous wedding night scene portrayed with such perfect comedy timing by Ricky Fulton many moons ago when the bride de- legs as well as de-robes behind the prop.Although soprano sniping singing teacher Dr.Kay Overitt emerges body intact she struts her stuff in sequence swishing sexually desperate style to much audience delight.I won’t give you a run down of her raucousness because she and her ‘practice based study on penile erectile dysfunction’ alone is worth far more than the ticket price. So also is the free cd chucked in to dance round the living room with your chums.

*

One of three songs penned by Hoffman for this event ‘You are the Subject of my next sexual fantasy’ is reminiscent of kids movie title song’Help Im a fish’ (Terry Jones of Monty Python fame) It is one of such a diverse range of singing styles in this eclectic brand of cabaret that is sprinkled with hymns and miaow peppered opera- yes really!- making it uniquely Hofmann’s own.With audience members aged 8 to 80 this works, like Shrek, on several levels.His pianist partner Tommaso Pollio deserves a mention for being the brunt of fair whack of sexual innuendo.Director Stuart Maunder keeps Hoffman in check but is flexible enough to allow a bit of creative meandering so watch out Fringe Divas for your succinct hand mannerisms being copied with such perfection that you could recognize yourself if you come to see this spectacle. Set designer Cherie Hewson has an eye for a wig and knows where to place them for one of the funniest finales you will witness if you choose to see this highly recommended post modern and possibly post ironic pastiche. FOUR STARS

*

Reviewer : Clare Crines

Underbelly – Cowgate

Aug 14-17, 19-30

13:20

****

****

This is a supremely-well acted play, its two young protagonists surfing the cute script of Bristol Old Vic’s writer-in-attachment Tabitha Mortiboy, with a certainty & confidence which belies their years. The scene is some kind of twitchers hut, to which the recently-grown-ill Billy is taken to by his best friend, Joe. Coming from a children’s care home, they have become inseparable, & the fact that Billy needs his medicine has become a wedge into their friendship.

****

From the innocent, fun-filled beginnings the play grows progressively darker, & brings out the burgeoning talents of our two fresh-faced actors. They manage to invoke the childish qualities of their pre-pubescent characters with a giddying flourish, that reminded me of a more serious Kevin & Perry.  A fascinating addition to Bellow Theatre’s well-respected repertoire, this is a play that connects with those primal bonds of friendship forged in youth & one to which every watcher must relate. FOUR STARS

****

Reviewer : Damo Bullen

Venue 13
8th-29th(not Mondays)
21:30
£6-£8

****

IamI is an intriguing, minimalistic show that will touch the deepest of your senses. A multi-media dreamscape from From the entrancing beginning until the beautiful end, the show hooks the psyche as we flow along the impressive playlets of each of the actors. mortal being with a mirror for a face, Iam. It follows Iam and an eclectic grouping of people: Aila, a woman who has drowned herself; Deos, a man who has been ritualistically sacrificed; Feriluc Maydie and Wellesley Kelvin, a clairvoyant and an explorer who’ve accidentally died as a result of contracting cholera. Of these, a special mention must be made of the main character Aila -a powerful talent with sublime acting abilities.

As we progress through the play, we hear delicate and very clear speeches drifting from subject to subject; from life to death, from love to loneliness, & at times I could barely keep my emotions inside. I could hardly keep my eyes off the stage, whose atmospheric action was perfectly enhanced by the marvelous sound effects & the use of simple colors, of blacks & whites… once again reflecting the theme of life & of death. The ethereal world they create is an amazing alternative to the bustling world pf Scotland’s capital city, only a few steps away from my seat. But as I sat in wonder, for a brief few minutes that world had completely disappeared as I found myself immersed in this wonderful play. FOUR STARS.

****

Reviewer : Patti Bloom