Edinburgh Festival Insider

REVIEW - Confessions Of A Justified Sinner ****

2009-10-21T07:54:00.009+01:00

Artistic director and producer Mark Thomson holds a mirror to the face of Robert Wringhim, the protagonist of his excellent adaptation of James Hogg's 19th century novel, and reveals a disturbing reflection of madness and fanaticism that shines through the past to hold unsettling relevance today. What follows is a dark, oppressive and mesmerising slab of Scottish theatre which grips throughout in a chilling portrayal of one man's relentless descent into a spiral of 'justifiable sin'.

Hogg's critically-acclaimed work is an examination of religious extremism and moral disintegration under the guise of perceived righteousness. Thomson's adaptation is powerful and current, yet faithful to the original text and without any clumsy signposting of points, leaving it to the audience to draw their own conclusions and sub-texts from the work.

Ryan Fletcher is excellent as Robert, portraying him as a social outcast with a meek, detached conviction in his adopted clergyman father's insistence that he is one of the Lord's 'elect', put on Earth to carry out God's work, with his place in heaven assured. The scenes in which he stands, facing the audience as he sings a hymn in small, reedy voice, whilst the consequences of his actions play out behind him are truly unsettling and excellently staged.

The rest of the cast also impress, with Kern Falconer in the role of Reverend Wringhim in particular standing out with a performance crackling with Calvinistic wrath as he imparts his dangerous wisdom into Robert's naive and receptive mind.

This confused state and indoctrinated upbringing soon set unstoppable events in motion, with Robert's belief that he is the 'sword of God' unwavering as he exacts vengeance on those perceived deserving of his divine justice. He is encouraged on this path by Gil-Martin, a charismatic and mysterious figure that appears only to him and who goads Robert into terrible action to the extent where his confusion as to who is his real 'lord and master' is evident.

Thomson directs Gil-Martin's character, portrayed by a conniving and snake-tongued Iain Robertson, with delicious ambiguity: is he the Devil - Robert's oft-mentioned Prince - or a manifestation of Wringhim's increasingly delirious mind? Thomson refuses to answer, a directorial decision which ensures the tale is allowed to twist in satisfyingly opaque and unanswered ways.

The stark, monolithic set is well used; evoking moonlit graveyards, portentous cliff edges, seedy Edinburgh brothels and - in those scenes with Robert and Gil-Martin - places more metaphysical. A revolving section allows for some original and effective staging, particularly in those scenes in which Gil-Martin takes on the appearance of other characters, allowing the cast to switch places without impacting the pacing of the piece. Lighting is understated but well-used, whilst a quietly discordant soundtrack pervades the production like a guilty conscience, increasing in volume and density only towards the play's satisfying climax.

With Confessions Of A Justified Sinner, Thomson successfully breathes new and surprisingly relevant life into a 19th century classic and the cast - particularly Fletcher and Falconer - inject the tale with enough power and nuance to make it a disturbingly dark and thoroughly enjoyable piece.

Edinburgh FESTIVAL Insider...?

2009-09-23T11:22:00.003+01:00

Yep, I know my last review was nothing to do with the Edinburgh Festival.

However, I had such a good time viewing and reviewing shows during August, I've decided to keep going.

This site's probably not the best place for that, though. Fortunately, I have a cunning plan...

REVIEW - The Beggar's Opera at the Lyceum Theatre **

2009-09-23T10:28:00.004+01:00

Whilst Vanishing Point's production of The Beggar's Opera at the Lyceum Theatre is certainly original, it's not nearly as daring as it would like to think it is.

There is some clever stuff going on here, with the stark and well-designed set literally presenting an underworld where the tale of Macheath - the dashing gentleman criminal of John Gay's 18th-century ballad opera - unfolds. From a staging perspective, Vanishing Point also successfully transport the orginal into a post-apocalyptic near-future setting, allowing them to indulge in some striking cyberpunk wardrobe choices and effective dramatic devices, such as the digitally-rotoscoped animations projected onto a screen at the back of the stage.

However, the direction is a little less successful. Although Gay's original was by its nature a populist satire, here The Beggar's Opera becomes a camp cross-dressing cross between the Rocky Horror Show and a steampunk pantomime. There are times during the piece's relatively short running length when I expected us to be encouraged to shout "he's behind you" during Macheath's prison incarceration; or to sing along to words appearing on a sheet dropped down from the gantry.

Fortunately, neither of these panto staples actually happened, but if they had they would have been completely in keeping with the piece's mood and pace. Any opportunities for emotion and pathos were removed with a blunt instrument and replaced with frantic mugging and over-laboured attempts to shock. The actors did the best they could with the script, but characterisation was sacrificed to cariacature, leaving them with little to do. Perhaps most puzzling of all, the satirical opportunities were seldom taken, with only a few sideswipes at consumerism and the media being harvested from a fertile ground that could have offered so much more.

I also feel the choice of having a live band not only providing the soundtrack but integrated into the action was a mistake. This is not a criticism of A Band Called Quinn's competent Moloko-ish style and sound, but more due to the fact that their presence seemed to encourage the rest of the cast into the belief they could sing, providing at least two unnecessarily toe-curling moments.

Visually, The Beggar's Opera was wonderfully staged and executed and its dark futuristic dystopia was well-realised and portrayed. It was however a shame that this original and unique stage was then used as a backdrop for something so ill-fittingly camp.

The Beggar's Opera runs at The Lyceum Theatre until 3rd October.

A faint glimmer of light on the horizon...?

2009-09-18T20:37:00.000+01:00

Interesting...

All over...?

2009-08-31T16:24:00.003+01:00

It's been a crazy, hectic, tiring, chaotic and fantastic month.

I've seen shows which have left me moved, astonished, fascinated and inspired.

I've met performers, singers, magicians, actors and princesses.

I've taken some of my best ever photographs and I'm eternally grateful to the companies and press offices involved who let me do so.

I've had nights I can barely remember and mornings when it was an effort to drag myself out of bed and do it all over again.

And I've loved every minute of it.

I hope you've enjoyed sharing some of it with me via this blog, which has been - largely through the power of Twitter - more successful this year than I'd dreamed possible.

The daily updates will now cease, but I'll likely add to it now and again with a photo or an article - as much to remind myself of the wonders of 2009's season as for anything else.

Also, stay tuned for a rather exciting announcement, coming to these pages soon...

So long folks, you've been amazing.

Keith

Edinburgh Festival Insider - Pick of the Fringe 2009

2009-08-31T15:52:00.005+01:00

Although I'd seen Zen Zen Zo's showreel and read about Zeitgeist's bold, cutting-edge take on contemporary physical theatre and dance, nothing prepared me for actually seeing this live.

The only point I didn't sit and marvel open-mouthed as their startlingly original and visually outstanding show progressed was when they threw eggs into the audience. Even with that, I was spellbound from start to finish.

A wonderfully physical group of talented dancers and artists, Zen Zen Zo have had much praise heaped upon them from many established sources this year as well as from me and - after much deliberation - the vision, integrity and style of Zeitgeist have resulted in it being given the highest accolade I have to offer.

Edinburgh Festival Insider - Venue of the year 2009

2009-08-31T15:02:00.005+01:00

With 100s of venues across the city - from the 'big three' of the Assembly, Pleasance and Gilded Balloon to the likes of private residences and restaurants - there's almost as wide a choice of places to see shows as there are performances to enjoy.

The nominations for the Edinburgh Festival Insider Venue of the Year Award 2009 are:

C Venues. Particularly the multi-levelled labyrinth in Chambers Street, culminating in the wonderful Urban Garden. A great place to hang out and mingle with performers who keep the spirit of the Fringe alive.
Venue 150 at the EICC. With its air-conditioning, ample legroom and modern decor, this feels far removed from many of the hot, cramped and crumbling venues elsewhere.
St George's West. Few things can compare to witnessing some world-class music being performed in front of St George's beautiful stained-glass rose window.
Spaces venues. Played host to some small first-time groups on a budget and therefore brought some interesting - and in the case of productions like Stitches, exceptional - new talent to the Fringe
New Town Theatre / Universal Arts. A wonderfully diverse programme in the grand and only slightly spooky Masonic Hall on George Street.

And the winner is...

Venue 150 at the EICC

Although the EICC has been used as a Fringe venue in the past, this year it featured a far wider and more adventurous programme than ever. With close ties to Universal Arts and The World Festival, it saw two amazing world music shows, the wonderful Sambor Dudzinksi and his Time(less) Machine, Fred MacAulay's daily breakfast show, Fringe Select, a great cafe and more.
Besides its aforementioned comfort, its willingness to take a little bit of a risk results in it being my favourite venue this year - especially as its success during the Fringe could see more and more shows of a similar ilk being featured there outwith the Festival season.

For a resident like me, the chance of that is enough for me to give Venue 150 the:

Edinburgh Festival Insider - Dance / Physical Award 2009

2009-08-31T09:47:00.003+01:00

Perhaps my favourite category of the Fringe programme, the dance / physical section always contains shows which challenge, delight and impress with feats of skill, fluid movements and some of the most original works to grace Edinburgh's stage during August.

The nominations for the Edinburgh Festival Insider Dance / Physical Award 2009 are:

The Chair by C-12 Dance Theatre. A striking and well-choreographed piece from a young UK company that show significant promise.
C!rca. A beautifully staged and skillful set full of acrobatic movements made to look effortless by a talented group.
Zeitgeist by Zen Zen Zo. An astonishing, challenging, brave and uncompromising piece which pushed its unique artistic vision straight into your face.
The Kosh in The Storeroom. An accomplished one-woman performance that contained sequences of beautifully-realised movement and dance.
Tales of the Apocalypse by Airealism. Wonderful rope, silk and trapeze skills from a group that presented an at-times surreal yet always captivating performance.

And the winner is...

Zeitgeist by Zen Zen Zo

A performance which you could not tear your eyes away from, Zeitgeist contained moments of beauty, startling originality, black humour and excellent choreography, courtesy of the acclaimed and uncompromising Zen Zen Zo physical theatre and dance group from Australia. Like some vision from Dante's Inferno, the dancers cavorted, squealed and ultimately dazzled with a show that fast became one of the tickets to secure at the Fringe.

For that, they more than deserve the:

Princess of the Day - Snow White

2009-08-31T09:32:00.001+01:00

Now I have the full set, I can get to work on my Princess Cabaret Top Trumps set...

Edinburgh Festival Insider - Music Award 2009

2009-08-31T09:06:00.005+01:00

Each year, the Fringe and the offshoot Edge Festival provide a wide range of musical offerings to cater for every taste. From world music to avant garde; classical to techno - there's something there for everyone.

The nominations for the Edinburgh Festival Insider Music Award 2009 are:

Camille O'Sullivan with The Dark Angel. A mesmerising show and an electrifying performer, capable of hypnotising a crowd with the raw power of emotion.
Patti Plinko and Her Boy. A bewitching set from Patti and The Boy, backed this year by a new addition on violin. Songs of love, death and suicide have never been so glamourous.
Amanda Palmer. During her visit, the Edinburgh Festival seemed to turn into the Amanda Palmer Festival - her many and varied sets and appearances were always hugely entertaining.
Creole Choir of Cuba. A wonderfully uplifting and accomplished performance that was the highlight of this year's World Festival at St George's West
Brocante Sonare. Music and percussion created from machinery, chairs and other household objects by a talented troupe of French artists.

And the winner is...

Camille O'Sullivan with The Dark Angel

With a uniquely beguiling and emotional voice, Camille blows away audiences whenever she plays. An inspired choice of songs backed by a tight group of talented musicians allows her to fully exploit the power, passion and pathos of songs she cradles like children. A consummate performer, her line in between-song banter amuses and delights, creating little moments of relief before a song like 'Hurt' or 'Look Mummy No Hands' slowly draws your heart from your chest and into your mouth.

Music that can change you, and for that, Camille O'Sullivan is awarded the:

Photo of the day - Brazilian Fever

2009-08-30T11:44:00.000+01:00

Review - Creole Choir of Cuba *****

2009-08-30T11:12:00.003+01:00

Once again, Toby Gough has curated a superb programme at St George's West under the banner of The World Festival. Bringing together acts from Africa, South & Central America and Sri Lanka, he has given us a rare and treasured opportunity to see some of the best performers on the world music scene today.

Having seen all the shows on offer this year, the absolute highlight for me was the Creole Choir of Cuba. A 10-strong group of Haitian immigrants settled in Cuba, the choir are capable of producing some spine-tingling vocal harmonies which are perfectly suited to the wonderful acoustics of the venue.

Symbolically representing the journey of Haitians to Cuba, the set contains songs of spiritual devotion to ancient gods, proud laments for a departed homeland and some beautifully uplifting and moving songs of celebration and joy.

The choir possess some of the best voices I have ever heard, with the main female vocalist having a marvellously rich and impressive range, backed by harmonies which surround her voice like velvet. Special mention must also go to the two acapella bass singers, who underpin each number with vocal rhythms and deep, rich tones which complement the rest of the voices perfectly.

The Creole Choir of Cuba was a joy from start to finish and they and Toby Gough should be proud of a show which shines like the Caribbean sunshine from the doors of St George's West.

Creole Choir of Cuba runs until 31st August at St George's West. £15 (£12 concession, £5 child)

Edinburgh Festival Insider - Best Newcomer 2009

2009-08-29T11:52:00.003+01:00

The Fringe always draws hopeful and enthusiastic performers and groups from around the world to its gigantic stage. Helping to keep it fresh and constantly-evolving, these first-timers often provide some unexpected delights amongst the more established acts that return year after year.

The nominations for the Edinburgh Festival Insider Best Newcomer Award 2009 are:

Sambor Dudzinski's The Time(less) Machine. Polish 'art-warrior' and multi-talented performance artist Dudzinski unveiled his marvellously original and captivating vision at Edinburgh for the first time this year.
TBA Collaborative with The Grind Show. A young and enthusiastic group of students and alumni from Washington, TBA Collaborative brought their dark and alluring Grind Show for its Fringe debut.
Princess Cabaret. Some of the princesses had never left Oz before, let alone brought an original and buzz-creating sketch show to the biggest stage in the world.
Xavier Mortimer's The Shadow Orchestra. A true hidden gem amongst Universal Arts' excellent programme, Mortimer's Fringe debut was spellbinding, magical and hugely enjoyable.
The Paper Cinema with The Lost World. A beautiful and charming visit from The Paper Cinema with their unique and lovingly-recreated interpretation of Conan Doyle's classic.

And the winner is...

TBA Collaborative with The Grind Show

For their infectious enthusiasm, for their dark and cleverly-realised vision, for their patronage of fellow performers throughout their visit, for their encapsulation of the spirit of the Fringe - and most of all for the fact they deserve all the encouragement they need to return here again next year with another show which will no doubt surpass the already wonderful Grind Show: TBA Collaborative, here's your:

Photo of the day - Frisky

2009-08-29T11:50:00.002+01:00

One half of the wonderful Frisky & Mannish

Edinburgh Festival Insider - Theatre Award 2009

2009-08-29T11:08:00.005+01:00

As ever, the Fringe has been a fertile showcase for new and established drama groups to present some quite stunning shows. Theatre is the genre that is perhaps closest to the roots of the Fringe's beginnings, so it is heartening to see so many companies keeping that spirit alive.

This year, the nominations for the Edinburgh Festival Insider Theatre Award 2009 are:

The Grind Show by TBA Collaborative. A unique vision and excellent performances from a young and talented group of performers, The Grind Show was captivating and beautifully staged.
Ernest and The Pale Moon by Les Enfants Terribles / Pins & Needles Productions. A deliciously dark tale of gothic horror performed with panache and style by a multi-talented cast.
The Overcoat by Gecko Theatre. A nigh-on perfectly realised interpretation of Gogol's short story, staged with wonderful imagination and delivered through extremely accomplished performances and stagecraft.
Stitches by Claire Urwin. Splendid student theatre with an excellent script and some stunning performances from its young and talented cast.
Private Peaceful by Scamp Theatre. A poignant and beautifully acted study of brotherly love and the horror of war.

And the winner is...

The Overcoat by Gecko Theatre

Even after having let this sink in and compared to the other productions in the shortlist, Gecko Theatre's production still dazzles. Beautiful sets, stunning lighting, original direction and performances that were absolutely marvellous: The Overcoat was greater than the sum of its already splendid parts and delivered a production that I would comfortably and confidently call a triumph.

Gecko Theatre, here is your well-deserved:

Edinburgh Festival Insider - Comedy Award 2009

2009-08-28T14:44:00.004+01:00

Although comedy is not my favourite genre, I've seen a smattering of shows that fall into that camp. And whilst an award from someone that doesn't claim to be an expert in the field may not amount to a hill of beans, there are some shows which certainly deserve special mention.

So, here is the inaugural Edinburgh Festival Insider Comedy Award 2009 - and the nominees are, in no particular order:

Frisky & Mannish's School of Pop. This show has caused a sensation in its first ever visit to the Fringe. Hilarious spoof pop songs which had me laughing so hard I was grateful for the image stabilisation on my camera and a pair of stars in the making.
Princess Cabaret. Everyone's favourite tweeting Disney Princesses treated us to a show which lived up to the hype and provided some cleverly-written sketch-based comedy that saw Snow White and the rest descending into some pretty risque territory.
The Scottish Falsetto Sock Puppet Theatre Goes To Hollywood. Intentionally shambolic, utterly chaotic and more laughs in 60 minutes than two socks have the right to generate.
Shut Up, Play! For its uniquely Japanese lunacy and inspired nonsense, Original Tempo was a delight from beginning to end and had moments of absolute hilarity.
Chris Cox: Mind Over Patter Mind-reading mentalism with a large dose of funny lines and self-effacing asides, Cox - like the Princesses - predicted how useful Twitter would be in generating interest in his great and mind-boggling show.

And the winner is....

The Scottish Falsetto Sock Puppet Theatre Goes To Hollywood!

For consistent laughs and boundless energy, Kev F Sutherland and his socks are this year's winners for speeding through a fast-paced hour of sketches, spoofs, ad-libs and songs that had me laughing from the moment the socks appeared until Sutherland emerged in his kilt at the very end. Both hilarious and extremely clever, his excellent show deserves not only this award but sell-out audiences for every run to come.

So, socks, take a bow:

Photo of the day - Patti Plinko and Her Boy

2009-08-28T10:10:00.001+01:00

So good I saw them twice.

Review: Shut Up, Play! ****

2009-08-28T09:49:00.005+01:00

As a Far East-ophile (sic), I was slightly disappointed 2008's InvAsian splinter festival wasn't back at this year's Fringe. Whilst Universal Arts and Venue 150 have provided a few Singaporean shows, there's been very little in the way of oriental delights on offer in Edinburgh in 2009.

Original Tempo go a long way towards addressing this with the madcap mayhem which is Shut Up, Play! - an hour of bonkers physical comedy and music which contains moments of pure genius and channels the spirit of perennial festival faves Gamarjobat with its lunacy and charm.

A loose conceit of a 'girl in the book' underpins the show, but this is largely irrelevant as the talented troupe dash around stage, making music from anything they can find - such as bowls of water, television sets or pots of noodles. As in Xavier Mortimer's Shadow Orchestra, there are some clever moments of projected images; and as with Sambor Dudzinksi's Time(less) Machine, Original Tempo also create a unique composition using sampled loops and audience participation.

It's always fascinating to observe such cultural threads and themes emerge at the Fringe, whether by accident or design, but it is to Original Tempo's credit that their show shines through on its own merit, being an utterly charming and chaotic slice of Japanese comedy that is very hard to resist.

Shut Up, Play! runs until August 31st at Sweet ECA. £8.50 (£7.50 concession)

Princess of the Day - Ariel

2009-08-27T11:22:00.001+01:00

Ariel from the very funny Princess Cabaret.

Only Snow White to try and capture now, then my set is complete...

Review: Reality Chokes ***

2009-08-27T10:51:00.004+01:00

The best theatrical works hold a mirror up to the audience and make them challenge and question their own lives and issues. As such, the fact I enjoyed this tale of four failed punk musicians going through a mid-life crisis probably tells you as much about me as it does about Reality Chokes.

Punk band Sonic Generation almost made it in the 70s. The classic irresistible cocktail of sex, drugs and rock & roll saw them fail however, and now - 30 years later - they are reunited for talk of a possible reunion. They turn up in a dingy rehearsal room, bringing with them their instruments, their wives and girlfriends and - most of all - their hang-ups, unresolved issues and neuroses.

The cast of Reality Chokes all put in accomplished performances, Lloyd Morris as Plod and Al Gregg as Dan in particular convincing as veterans of the great Punk Wars of the 70s. Cathy McMannon as Dan's wife Chrissie is also excellent, her world-weariness dropping away as soon as she hears the Sonic Generation 'classics' of her youth being played once more.

Although as far removed from a musical as it is possible to be, Reality Chokes does feature loud, raw and live (and actually pretty good) punk numbers, both originals and plot-relevant covers such as The Buzzcocks' "Ever Fallen In Love", proving the cast are as handy with a guitar as they are with a script. There is also moments of performance poetry and rasta toasting which serve to punctuate the majority of the straight-played scenes and these work well as an original and often humourous narrative device.

Reality Chokes successfully holds your attention for its length and it is something of a mystery to me why it was so poorly-attended last night (14 in the audience including myself). Perhaps it only really appeals to those who see a pretty accurate reflection of themselves in the mirror it presents.

Reality Chokes runs until Aug 30th at the New Town Theatre. £11 (£10 concession)

Review: Rich Hall's Campfire Stories ***

2009-08-27T10:42:00.003+01:00

As you will probably have gathered by now, comedy is not really my genre of choice, but I do enjoy Rich Hall's line in dry and laconic delivery (it's the grumpy old man thing that appeals to me...)

Whilst he's also doing a one-man show this Fringe, Rich Hall's Campfire Stories was a lot more up my street. In this hour of clever and mostly gentle comedy, Hall and two other performers - Mike Wilmot and Tim Williams - spin yarns and lines around a campfire in the woods, with the tales veering off on enjoyable and sometimes quite bizarre tangents that share themes and moods with some of Hall's short stories and other writings.

As is often the case, the biggest laughs come from the corpsing, ad-libbing and fourth wall-breaking moments, but it is testament to the performers' abilities as comedians and storytellers that this slice of male mid-life Americana is enjoyable and amusing throughout.

Rich Hall's Campfire Stories runs until 31 August at the Assembly Rooms. £12 (£11 concession)

Review: Brocante Sonore: The Mechanicians *****

2009-08-27T10:00:00.003+01:00

The stage resembles Leonardo Da Vinci's workshop, with an assembly of pipes, gears, clocks, tubes and cluttered desks filling the space in what appears to be a chaotic and haphazard fashion.

Then, the nine 'rude mechanicals' of Brocante Sonore emerge, clad in blue overalls, and take positions amongst the clutter. And then? Well, then an hour of complete magic happens, as the talented French troupe use everything they can get their hands on to create music and percussion, filling the auditorium with sounds and melodies that you wouldn't normally think pots, pans, saws and drills were capable of producing.

There is a rough plot holding things together, as the mechanicians struggle to repair a broken clock at the back of the stage. In the course of doing so, they work and play, such as in a highlight routine of a game of musical chairs, where each successive loser takes his seat and transforms it into a wind or percussive instrument. By the end of their game, their is a small orchestra of chairs being played before you and the effect is both humourous and musically excellent.

The visual style is first class, with the steampunk mood and eccentric nature of the performers shining through to create something quite unique. As the finale is reached in a crescendo of noise, sparks and explosions, you realise the mechanicians have not only repaired their clock, but also managed to make their hour long set speed by in what seemed like 5 minutes.

Brocante Sonore: The Mechanicals runs until 31st August at C. £11.50 (£10.50 concession)

Photo of the day - Bending over backwards

2009-08-27T09:41:00.001+01:00

Review: Capoeira Knights: The Boys from Brazil ****

2009-08-26T11:43:00.004+01:00

After last year's sell-out run, The Boys are back in town and are once more packing them in at St George's West, with a repeat performance of their Capoeira Knights music and dance spectacular.

The 70-minute show tells the story of Capoeira itself, from its roots in slavery to its modern day incarnation as a martial art practiced on the streets of Brazil. Pumping samba and rumba music fills the almost-bursting church as the boys dazzle with their expert moves and acrobatics, with the biggest applause going to their standout routines in which they leap, flip, kick and spin in a stunning display of physical prowess.

This year, they certainly know their audience and the venue is packed with young eager females appreciating the boys' sweaty bodies and toned six-packs. Indeed, as they return for an encore bare-chested and wearing kilts (sorry ladies, they're not true Scotsmen...) it is almost as if you are seeing the Brazilian Chippendales before you, and the high-pitched screams from the female contingent almost drown out the samba drums pounding in the background.

All great fun though, and it doesn't detract from a show that is uplifting, cracking to watch and listen to and probably one of the best nights out at the Fringe.

Capoeira Knights: The Boys from Brazil runs until Aug 31st at St George's West. £15 (£12 concession, £5 child)

Review: The Kosh in The Storeroom ****

2009-08-26T11:13:00.004+01:00

The Storeroom is the latest production from groundbreaking physical dance company The Kosh, and features the phenomenal Siân Williams in a one-woman show telling the noirish tale of Zoe the showgirl as she reminisces over the glittering highs and seedy lows of her career.

Williams puts in an amazing turn, single-handedly moving the scenery - comprised of packing crates and ladders set in the storeroom of a theatre - whilst dancing, singing, performing ventriloquism and carrying out some quick costume changes. Of those, a particular standout is her split male / female costume, where she portrays both Zoe and Artie, her predatory playboy suitor in a routine which she carries off brilliantly.

As she opens each box of memories, Williams reveals more and more about her dark past, leading up to a finale which is well-executed and perfectly fitting to the stylised mood of the overall piece.

Perhaps what impresses most, as you watch Williams perform a beautiful and graceful routine whilst suspended from a ladder, is the fact this striking and talented performer has been in the industry for 27 years, and possesses looks and movements that would put some half her age to shame.

The Kosh in The Storeroom runs until August 31st at Gilded Balloon. £9.50 (£8.50 concession)

Photo of the day - Masked

2009-08-26T11:05:00.000+01:00

Review: Stitches ****

2009-08-26T10:44:00.005+01:00

Set in a post-apocalyptic future where survivors are trying to piece together memories of things now lost, Stitches is a well-written and intriguing new work from award-winning playwright Claire Urwin.

In the Department of Flora & Fauna, four conscripts labour on creating quilts depicting the connections and links between barely-remembered creatures wiped out by the 'firestorm'. They bicker and argue throughout, the snappy dialogue containing some cleverly-written comments on the class system and modern-day materialism.

Into the mix arrives a new girl, Amy, excellently portrayed by young actress Elizabeth Hopper. A member of the lowest caste of survivors, her performance is filled with facial tics and expressions, and wild gazes and movements from eyes that have seen too much too young. As the play unfolds, with good pacing by director Rajiv Nathwani, dark secrets are unearthed and relationships already thin are stretched to breaking point.

The young female cast are all accomplished actresses, with Hopper and Vanessa Fogarty as the aloof and snobbish Bel being given the best roles and lines. With a larger stage and better lighting than the confined space of the Radisson is able to provide, Stitches would be hard to fault, and it is to the cast & crew's credit that their production shines through these small limitations to provide an hour of excellent student drama that is superior to many productions from much more experienced companies.

Stitches runs until August 29th at Spaces at the Radisson. £7 (£5 concession)

RT @Review: #Princess Cabaret *****

2009-08-25T10:23:00.004+01:00

If Twitter has a royal family, the girls from Princess Cabaret are certainly first in line for the throne (perhaps that makes Chris Cox Prince Charming...)

After a clever and blanket marketing storm using everyone's favourite new social medium, this talented troupe of Australian comediennes have created an unmissable buzz this year, even featuring in the national press as doyennes of tweeting, hashtags and followfridays.

A newly-awoken Sleeping Beauty is trying to come to terms with the modern world. Jasmine is increasingly tired of Aladdin's laddish ways. Belle kind of misses the Beast, now he's back in human form. Cinderella's having identity issues, whilst Snow White has developed some rather disturbing psychotic tendencies. Ariel's just a fish out of water, whilst Tinkerbell is distraught at the fact she's only a fairy...

Princess Cabaret has a brilliant conceit - dragging the Disney heroines out of their happy-ever-afters and into the real world - and the girls execute it well. The put-upon Tinkerbell in particular shines as a narrator of sorts, providing musical interludes on her keyboard as the other princesses rush from one sketch to the next.

Some of this is genuinely laugh-out-loud funny and the humour gets more risque as the show progresses (some of Aurora's political incorrectness is the sort of thing Jerry Sadowitz might even blush about...) and the girls carry it off with style and energy in a mixture of sketches, song and dance routines.

The climax (word intentionally chosen) is absolutely hilarious and the whole show lives up to the buzz surrounding it, meaning you'll not be disappointed by it if your curiosity's been pricked by the Princesses.

I would perhaps have given the show four stars as it stood, but as an example of how acts like this can rise to the top through their own promotional savvy, Princess Cabaret deserves an extra star - perhaps one retweeted by the legions of followers they have now accumulated.

Princess Cabaret runs until Aug 31st at the Gilded Balloon. £7 (£6 concession)

Review: Janis ***

2009-08-25T09:21:00.002+01:00

Janis is an accomplished one-woman performance, recounting the life & career highs and lows of Janis Joplin.

Nicola Haydn turns in an extremely well-observed and characterised performance, evoking the speech and mannerisms of the iconic singer so accurately that the suspension of disbelief takes only a few minutes to happen, and you are convinced it is Joplin herself recounting her thoughts and fears to you from an intimate and sparse set, centered around her bed.

Joplin's life story is told in mostly linear fashion, and this works best when her personal thoughts and neuroses are centered on rather than her well-publicised exploits on and off stage. That said, it doesn't drag and the performance carries the piece along through its strength of character and pacing.

The play is practically all monologue, and perhaps surprisingly it is only in the last few minutes of the performance that Haydn takes up the acoustic guitar - previously left untouched at the side of the set - and proves that she is equally capable of channelling the spirit of Joplin's music as she is her character.

Janis runs until Aug 31st at The Gilded Balloon. £12 (£10 concession)

Photo of the day - Will Self

2009-08-25T09:05:00.001+01:00

I want to be Will Self when I grow up, but I fear I'm running out of time. When I told him this at the Book Festival, he said to keep doing what I was doing, as the position would probably be vacant soon...

Review: Tao - Samurai Magical Drumming ****

2009-08-25T08:49:00.004+01:00

In Japan, the art of Tao drumming is considered so highly it has religious significance, with initiates into the domain taking years to perfect their craft. In Tao - Samurai Magical Drumming, the talented and athletic troupe share some of this awe and wonder, albeit with a show tailored to the sensibilities of a more western audience.

For 70 minutes, a series of routines demonstrate the power of the drum to move: both emotionally and physically, particularly as the beats from the gigantic instruments reverberate around the Assembly Hall and into your bones.

One or two routines are fabulously choreographed humourous routines, demonstrating the drummers' amazing coordination and timing as they 'throw' beats back and forth and play each others' instruments in a blur of motion and skill.

The standout routines are when the entire troupe take the stage, with live Japanese flute music dodging in and out of the cracks of the percussive storm being brewed up onstage by a hugely talented and extremely entertaining group of spellbinding performers.

Tao - Samurai Magical Drumming runs until Aug 31st at the Assembly Hall. £15 (£14 concession)

Review: Ernest and the Pale Moon ****

2009-08-25T08:34:00.004+01:00

One of the highlights of the Fringe last year were The Terrible Infants, who performed a beguilingly dark and charming collection of Dahl-like cautionary tales at the Udderbelly to critical acclaim.

This year, the company are back - in conjunction with Pins & Needles Productions - with Ernest and the Pale Moon, a deliciously macabre and grotesquely gothic tale of black obsession and murder.

The cast have a similar look and style to last year, with white-painted faces and Edwardian dress. The story here is much darker however, centering on a voyeuristic loner who is infatuated with the albino girl who lives in the apartment block opposite his, and who only appears when the light of the moon allows her eyes to tolerate the dim, pale light.

Using excellently-realised simple sets and staging and accompanied by live cello and accordion music, the tale unfolds, punctuated by some startling, eerie and horrific moments. This, whilst maintaining the same storybook style as The Terrible Infants' previous work, is most definitely not a show for children.

As effectively-created sound effects and moody site-specific lighting help usher the story towards its climax, Ernest and the Pale Moon successfully creates a unique and captivating atmosphere in which to play out its twisted, terrifying tale, and represents another success for the company to add to their growing list of achievements.

Ernest and the Pale Moon runs until 31st August at Pleasance Above.

Review: The Shadow Orchestra *****

2009-08-24T09:23:00.002+01:00

The Shadow Orchestra is Xavier Mortimer's charming and creative mix of mime, sleight-of-hand, visual trickery and uniquely Gallic flair.

In a spellbinding and utterly beguiling show, Mortimer delights throughout, whether performing some expertly-honed magic skills or interacting with shadow versions of himself projected onto a screen behind him. The inventiveness and flow of the performance is particularly appealing, with each routine running seamlessly into the next, carried forward by some wonderfully surreal and amusing projected routines of instruments sprouting legs and walking offstage or chairs rearing like horses and galloping after the performer.

Mortimer is a multi-talented artiste, playing several instruments (sometimes at the same time), performing mime routines which make up for Gamarjobat's absence this year; and displaying excellent timing and choreography as in several moments when the screen drops and he appears, in exactly the same place & pose as an animated projected version of himself.

The Shadow Orchestra was an unexpected delight and had little - if anything - to fault. If you're looking for something clever, unique and family-friendly in the run up to the close of the Fringe, this comes highly recommended.

The Shadow Orchestra runs until Aug 30th at Universal Arts. £12 (£10 concession)

Photo of the day - Princess Cabaret

2009-08-23T10:21:00.003+01:00

Snow White, Ariel and Sleeping Beauty from the inspired Princess Cabaret (click image to view full size)

Review to follow when I get a bit of spare time...(!)

Review: The Fall of Man ***

2009-08-22T11:17:00.002+01:00

The Fall of Man is an uncompromising and unflinching new production from Red Shift Theatre Company.

Using passages and themes from Milton's Paradise Lost interspersed with scenes of raw drama from the two actors, The Fall of Man explores themes of guilt, lust, betrayal and passion in a site-sensitive performance in the confined space of Pleasance Beside.

The two characters, a successful businessman and the young Croatian nanny he and his wife employ, end up physically and emotionally entangled in a bitter tale which evokes Milton's Adam and Eve: either explicitly through direct out-of-character recited passages; or more successfully and subtly, such as when the actors cover their nakedness with a duvet patterned with leaves and foliage.

Featuring full nudity and depictions of sexual acts, as well as a performance which sees the male lead sitting next to audience members whilst delivering his lines, The Fall of Man is a brave and powerful short piece which hits its mark with accuracy, but may be too intense for some.

The Fall of Man runs until 30th August at the Pleasance Beside. £9.50 (£8 concession)

Photo of the Day - Piper

2009-08-22T11:02:00.001+01:00

Review: Ranganika, Island of Dance ****

2009-08-22T10:48:00.004+01:00

Ranganika, Island of Dance is a joyous, colourful and uplifting show by a talented and exuberant young troupe of Sri Lankan dancers and drummers.

Part of the World Festival at the beautiful St George's West, Ranganika is made up of a number of traditional & contemporary pieces, featuring beautiful dancing and costumes, striking masks, pounding drums and - in the finale - a vivid and exciting portrayal of traditional village life in Sri Lanka.

The obvious enthusiasm and talent of the youthful cast are hard to resist, and Ranganika is a great example of the kind of performance The World Festival specialises in: one which gives you a rare and privileged glimpse into another culture's music, tradition and heritage.

Ranganika, Island of Dance runs until 30th August at St George's West (not Mondays). £10 (£8 concession, £5 child)

Review: Private Peaceful ****

2009-08-22T08:21:00.002+01:00

Scamp Theatre's production of Private Peaceful is a moving, poignant and extremely-well acted one-man piece, examining the appalling injustices and desperate futility of those in the front lines of the First World War.

In an excellent performance, young actor Finn Hanlon brings Private Peaceful to life, in a well-paced and realistic script by Michael Morpurgo. Through Hanlon's reminisces and excellent portrayal of a young man swept away by patriotism and idolism of his older brother, we follow Peaceful through the memories of his short life and the atrocities he witnesses and is forced to commit in name of king & country.

A simple set with effective lighting allows Hanlon the full use of the stage, and his boyish mannerisms and speech are spot on, reminding us how young and naively brave so many of the enlisted and fallen in the Great War actually were.

As the piece ticks relentlessly towards its final scene, Private Peaceful is a journey down well-trodden territory, but one which - through the personal perspective of its protagonist - is one of the most moving yet.

Private Peaceful runs until August 31st at the Udderbelly. £11 (£9 concession)

Princess of the Day - Tinkerbell

2009-08-21T22:37:00.002+01:00

They seek her here, they seek her there, that damned elusive Tinkerbell (from the Princess Cabaret) - click image to view full size

Review: The Overcoat by Gecko Theatre *****

2009-08-21T11:17:00.004+01:00

It is extremely rare when you see a show in the Fringe that you can find no fault with. Gecko Theatre's The Overcoat is one such masterpiece, and their performance is an exceptional and spellbinding work of art.

Everything here gels completely. The set is perfectly realised, with industrial tones, metal and machinery creating an atmosphere that is bleak yet beautiful at the same time. The lighting does a fabulous job of highlighting the performers and scenes, creating some moments of magical imagery and visual allure. The script & direction is inspired, with each character speaking in a different language: at once creating a feeling of bewilderment that echoes the main character's state of mind, but also working cohesively as a whole to bring the piece a unique tone and voice.

Performances are outstanding, with all the cast delivering perfect turns, in a combination of dance, physical expression and theatrical prowess. The costumes and makeup evoke silent movies, mime and commedia del'Artte, creating a unique and mesmerising vision and interpretation of the world Gogol's characters inhabit. And the music, a combination of soundtrack and live percussion, creates an auditory mood which suits the piece to perfection.

Shows like this challenge and delight, and it is to Gecko Theatre's credit that The Overcoat does this for every moment of its 80-minute performance. It is filled with standout scenes, such as the main character Akakki's dream sequence; or his seduction by his lustful landlady in his wonderfully staged garret. Single standouts such as this are hard to pinpoint, however, as the performance is such a completely-realised marvel that it must be seen and taken in its entirety.

When the time comes for Fringe awards and plaudits, The Overcoat must surely be in the front running. For me, it was perfect, and I struggle to think of a theatrical performance this year that will top it.

The Overcoat runs until Aug 29th (not 25th) at the Pleasance Grand. £14.00 (£11.50 concession)

Photo of the day - Dancing in the Rain

2009-08-21T11:02:00.001+01:00

Great to see performers on the Royal Mile adapting to the Edinburgh weather...

Review: Capercaillie ***

2009-08-20T10:25:00.006+01:00

I don't go to a lot of live music gigs during the Festival, as I'm of the opinion you can see most bands at other times of the year, and there's so much unique and unmissable going on elsewhere.

However, I picked Capercaillie almost as a brief respite from the rest of the Festival mayhem, and on the strength of last night's show, I'm glad I did.

The 8-piece band play a tight and well-blended mix of traditional Scottish Celtic music, world influences and contemporary sounds, all topped off with the beautiful and at times haunting voice of Karen Matheson. I've been a fan of their uniquely Scottish sound for over 20 years now, and it was great to see them play to a mix of fans and first-timers, drawn to the Queen's Hall by their official Fringe appearance.

Because of that, Capercaillie's set was slightly curtailed due to timing and the audience reaction was a little muted, given many people's unfamiliarity with the band. However, the music shone through, and the collection of uplifting and melodic reels, waltzes - as well as some beautifully moving laments and ballads - gave us all a welcome opportunity to hear one of the best Scottish folk acts in the business.

Capercaillie play the Queen's Hall again this evening.

Photo of the day - Festival Fatigue

2009-08-20T10:18:00.003+01:00

Mate, I know exactly how you feel... Click image to view full size

Review: The Devoured ***

2009-08-20T09:50:00.002+01:00

Last year, Badac Theatre caused a stir with The Factory, an uncompromising and immersive experience attempting to recreate the terror and despair of Jewish concentration camp internees, performed promenade style in a vaulted area of the Pleasance. It was a triumph of unflinching raw emotion and powerful drama.

This year, Badac return with The Devoured, a one-man show by the group founder Steve Lambert. Exploring the same territory, Lambert's self-written performance is equally unflinching in the way it deals with the despair, hopelessness and hatred experienced by a Jewish father as he and his family are first moved to the ghetto, then to an internment camp and finally to their place of annihilation.

Using strong language and extreme physical performance, Lambert successfully evokes some of the futile hopelessness and fear of the situation, with a script that approaches performance poetry, filled as it is with repeated phrases and themes: "lies, lies, fucking lies", "noise, noise, fucking noise" etc.

During a relentless scene in which he depicts the brutal torture and execution of some of the internees, some audience members depart, no doubt shocked and perhaps disgusted by the language and stylised portrayal of horrific scenes. But those that stay to the end of The Devoured will experience the full power and range of Lambert's piece, which successfully meets its goal: that of exploring and exposing appalling acts of inhumanity and hate-driven crimes which still echo to this day.

The Devoured runs until Aug 31st (not 24th) at The Pleasance. £8.50 (£6.50 concession)

Review: The Time(less) Machine ****

2009-08-19T10:07:00.004+01:00

A light casts strange shadows onto the curtain at the back of the performance space, heralding the arrival of Sambor Dudzinski and his Time(less) Machine. As his marvellous contraption comes into view, we see it in its full glory: a wonderfully eccentric giant tricycle affair, festooned with instruments and electronic equipment, the sort of thing Tim Burton would dream up after a night on the town with David Byrne.

Dudzinski is a true artist with a childlike gleefulness in his uncompromising vision. A Polish self-styled 'art warrior', he uses his Machine and a succession of original and unique instruments - including his versatile and beautifully mellow voice - to perform a series of interpretations of classical numbers and original (and I mean really original) compositions.

With a style that is uniquely eastern European, Dudzinski at times feels as though he has stepped from the pages of a story book, resplendent in his white fur hat and playful glinting eyes. By the end of the show, when he creates an amazingly quirky and truly unique composition with contributions from the audience, the glimpse he has given into his artistic vision and integrity is a privilege and one that resonates with you long afterwards.

Dudzinski deserves much larger audiences than his show most certainly deserves, and I encourage anyone with a taste for things a little different to make their way along to the splendid Venue150 at the EICC to catch him before he and his wonderful Machine clank, hum and whistle off to delight another audience elsewhere.

The Time(less) Machine runs from 25th to 30th August at Venue150. £9 (£7 concession)

Princess of the Day - Sleeping Beauty

2009-08-19T10:01:00.003+01:00

Another member of The Princess Cabaret - now where is that elusive Tinkerbell...?

Review: The Scottish Falsetto Sock Puppet Theatre Goes To Hollywood *****

2009-08-19T09:38:00.002+01:00

Kev F Sutherland's left and right hands are an Edinburgh Fringe institution. Using them, a couple of grey socks and some deliberately amateurish props and costumes, he breathes manic life into The Scottish Falsetto Sock Puppet Theatre as only he knows how.

Behind a tartan-draped Punch & Judy style booth, Sutherland crouches, thrusting his comic creations into the limelight with frenetic and hilarious results. The amount of ad-libbing, corpsing and lightning-quick in-jokes make this show a rapid hour of very funny entertainment, making you marvel at his delivery and the speed of his mind as he reacts to unintentional mistakes and audience reaction.

This year, TSFSPT bring us a show subtitled "Goes To Hollywood" and the socks re-enact the entire history of cinema before our eyes, going off on mad tangents at times, such as the hilarious guest appearance of Jeremy Paxman (or at least a laminated cardboard cutout representation thereof...)

It's inspired stuff and last night's show played to a packed house who definitely got where Sutherland's sense of humour was coming from (somewhere between The Beano, for which Sutherland writes & draws comic strips; and the mad falsetto ramblings of a deranged Scottish lunatic).

Very little fails to amuse and delight in this show, and a Festival without the Scottish Falsetto Sock Puppet Theatre just wouldn't feel the same: they are fast becoming a national treasure.

The Scottish Falsetto Sock Puppet Theatre Goes To Hollywood runs until Aug 30th at the Gilded Balloon. £9 (£8 concession)

Review: The Lost World ****

2009-08-18T10:45:00.007+01:00

The Childrens Shows section of the Fringe programme often contains some hidden gems of magical experiences that are hard to find elsewhere.

Lost World, by The Paper Cinema, is one such diamond. An interpretation of the classic Conan Doyle tale, Lost World is mesmerising and unique. A trio of performers bring the story to life via the use of beautifully illustrated drawings, employed in a modern-day version of shadow puppetry, with their atmospheric puppets and props captured live on video and projected onto a large screen at the back of the stage.

Hundreds of meticulously drawn scenes unfold before our eyes as The Paper Cinema use all their skill and artistry to portray pterodactyl attacks, races through the jungle, camp fire-lit night scenes and more; all the time exploiting the shallow depth of field of the video camera focused on the cardboard cutouts to create scenes that do indeed resemble those from a movie.

Special mention must also go to the live score created during the 45-minute performance. One musician - using layered effects and a computer with guitar, violin and percussion, conjures up a beautiful and haunting soundtrack which complements the action perfectly.

In short, Lost World is a masterpiece of unique and beautiful vision, one I have never seen the like of before, and one I will do my utmost to seek out again.

Lost World runs until August 30th at the Scottish Storytelling Theatre (not Tuesdays). £7.50 (£5 concession)

Photo of the day - Iain Banks

2009-08-18T09:01:00.000+01:00

Iain Banks signing at the Edinburgh Book Festival.

Review: One Man Lord of the Rings **

2009-08-17T10:46:00.002+01:00

For the last two years, Charlie Ross has delighted Edinburgh audiences with his fast, frantic and inspired one-man blast through the Star Wars trilogy.

This year, he's back with his other show - One Man Lord of the Rings. Filled with the same ingenious impersonations, physical comedy, sound effects and asides which break the fourth wall, this show suffers only from its choice of subject matter.

Whilst nearly everyone in Ross' target audience group knows the Star Wars movies backwards, there are an ever-decreasing number who are as intimately familiar with each of the three LotR movies. So, whilst his Gollum is spot-on and his re-enactment of massive battle scenes is great fun to watch, most of the references are lost on an audience who maybe have only seen the first film in the trilogy.

It works best when he's spoofing the material - such as the references to Orlando Bloom's hair or the self-aware "insert the next DVD now" lines, but all too often you find yourself agreeing with the audience member who shouted out "do Star Wars!" half-way through.

One Man Lord of the Rings' run is now over.

Published...kind of

2009-08-17T10:38:00.002+01:00

Nice to see one of my reviews plastered up in front of the Gilded Balloon - the one for Tales of the Apocalypse was up there too.

Princess of the Day - Belle

2009-08-17T10:14:00.001+01:00

Another member of the Princess Cabaret (Beast not pictured).

Review: Paul Merton's Impro Chums ***

2009-08-17T09:46:00.002+01:00

Paul Merton's Impro Chums is one of those shows that does exactly what it says on the tin. Merton, together with a troupe of comedy friends (including US comedian Mike McShane), spend an hour riffing off audience suggestions for props, locations, occupations etc, creating some very funny and clever off-the-cuff sketches as a result.

Playing to a packed house at the Pleasance, Merton and crew entertain throughout, with some genuinely funny moments of ad-libbing and corpsing caused by ever-more bizarre suggestions from the crowd ("be the man who puts wooden pips in raspberry jam using a bicycle"...?!).

It's obvious - and forgivable - that some of the longer routines are pre-scripted and rehearsed, with some of the suggestions slotted in to intentionally left blank points in the routine, but ultimately this is an hour of good - and mostly clean - fun.

Paul Merton's Impro Chums runs at The Pleasance until 29th August (not 18th). Many shows sold out. Various from £11.50

Photo of the day - Death of a Samurai

2009-08-16T10:05:00.004+01:00

Review: Love Machines by Kataklo **

2009-08-16T09:52:00.002+01:00

Italian-based athletic dance company Kataklo brought a stunning sport-themed show to the Fringe 2 years ago, with the troupe performing a series of vignettes that were stunningly beautiful and visually awe-inspiring.

I therefore had high hopes for their return this year with Love Machines, a show inspired by the drawings and inventions of Leonardo Da Vinci. Indeed, their show, running at the Assembly Music Hall, is once again full of wonderful imagery, magnificent lighting and expertly-thrown shapes and poses, performed by a finely-honed and attractive cast.

However, where the previous show benefited from a series of short, varied pieces, Love Machines is hampered by a single abstract tale, told with pacing that is at times tortously slow. Two humans are visited by mysterious beings who inspire and release them from their toil and drudgery. Far too much time is spent where very little actually happens, with the characters playing the humans on stage alone for lengthy periods, striking poses and moving gracefully but never exploiting the full potential of the beautiful set, lighting and costumes.

Some moments are wonderful in terms of visuals and spectactle, but it's unfortunate that these machines seem to be set to a speed which is far too slow.

Love Machines runs until August 31st (not Mondays) at the Assembly Rooms. £13 (£12 concession)

Review: Frisky & Mannish's School of Pop *****

2009-08-14T12:00:00.006+01:00

As you may have gathered, I'm not really a big fan of comedy acts. I'm much more drawn to the world music, dark cabaret, neo-burlesque and experimental theatre stuff. Perhaps that means I'm a miserable ponce, but there you have it.

However, there are notable exceptions. Frisky & Mannish's School of Pop is most definitely one. Frisky (that is her name) and Mannish strut, preen and pose on stage like Lou Reed and Hazel O'Connnor's illegitimate offspring, performing one hilarious spoof pop song after another that has a delighted audience hollering and cheering from the start.

In a fabulous conceit, Headmistress Frisky leads the class / audience through a typical school day, whilst Mannish accompanies her on keyboard. We're first all encouraged to join in with the school song and then treated to such delights as Lily Allen singing Noel Coward, scarily-obsessed love songs dedicated to audience members and more clever throwaway lines than you could ever hope to pick up in one viewing.

Frisky & Mannish were born to perform, not only having obviously studied hard in music class, but having some wonderful facial expressions and perfectly-timed deadpan delivery. In fact, their School of Pop may actually have re-educated me a little...

(Actually, after last night's show, Frisky & Mannish were off, resplendent in their silver-basqued and shiny trousered finery, to perform at Ministry Of Burlesque's High Tease, so they still slot neatly into my genres of choice.)

Frisky & Mannish's School of Pop runs until August 30th (not 18th) at the Underbelly. £10.50 (£9.50 concession)

Photo of the Day - Noir by Airealism

2009-08-14T10:25:00.005+01:00

A tender moment during Airealism's visually beautiful show Noir. Click image to view full size.

Review: The Grind Show ****

2009-08-14T09:46:00.008+01:00

As a photographer, I have a leaning towards shows with a strong visual presence and style. There are times during The Grind Show - when the sharply-defined lighting freezes the action - that the tableaux presented by TBA Collaborative resemble panels from a graphic novel. Further parallels exist, particularly with some of the visual metaphors used - such as the show's eerily damaged ringmaster being a crippled Uncle Sam figure; or the knife-throwing twin sisters being depersonalised via the use of carnival masks.

Indeed, the plot and theme of The Grind Show could be lifted from a tale by Neil Gaiman or the like, with its use of strong, dark themes and metaphors to examine and comment on the nature of individuality, fear and obsession. The carnival sideshow performers, well portrayed by a gifted young cast, are trapped: externally, doomed to repeat their own particular acts every day; and equally by their own idiosyncracies and internal demons.

A child is thrown into this grotesque troupe, forced to discover their own act and thus become as absorbed and ensnared as the rest. Through their journey, we see each of the turns, presented in surreal fashion with some imaginative stagecraft and direction. Thanks to its lighting and wardrobe choices, the show also has a washed-out, monochromatic feel, which adds to its nightmarish atmosphere and sinister mood.

I had the advantage of reading the show's synopsis on TBA Collaborative's website but I'm not sure if the show came with a programme detailing the same. Without that, some of the plotting and themes may have been a touch oblique, though that is in part due to the show's one-hour length and a common issue with many Fringe theatre productions.

That aside, The Grind Show was a darkly beautiful and disturbingly eerie piece that successfully seared some of its unique style and vision into a deep, hidden place within my mind. TBA Collaborative should be commended for bringing such an atmospheric and unique show to the Fringe - give them your support and they should hopefully become regulars here.

The Grind Show runs until August 31st (not 17th) at C Venues. £8.50 (£7.50 concession)

Review: Zeitgeist *****

2009-08-14T07:59:00.009+01:00

Judging by the group of besuited and well-dressed people who left Zen Zen Zo's provocative show mid-way through, Zeitgeist is probably not best suited for a civilised evening of corporate entertainment. For anyone who has in interest in cutting-edge contemporary & experimental phsyical theatre, however, it's pretty much a must.

Eight near-naked creatures are magically brought to life before our eyes and then, for the next 65 minutes, experience the full gamut of emotion and feelings with childlike wonder, glee and fear. A series of marvellously choreographed and executed pieces seem to each represent one of the deadly sins, with the energetic troupe losing themselves in the throes of lust, parading around like parodies of proud supermodels, or - in the scene which merits the "caution...flying food" warning on the show's publicity - consumed by gluttonous obsession.

Zeitgeist is performed by the Australian-based Zen Zen Zo Physical Theatre company, whose members have performed previously with The Dresden Dolls and Amanda Palmer. Unafraid to compromise any aspect of their artistic vision, Zen Zen Zo challenge, startle and astonish with Zeitgeist, with scenes of sheer beauty coupled with those of meticulously-planned and spellbinding chaos.

Zeitgeist runs until Aug 31st (not 17th) at C Venues. £11.50 (£10.50 concession)

Photo of the day - Metamorphosis

2009-08-13T12:12:00.004+01:00

Performer from Metamorphosis promoting the show on the Royal Mile (click image to view full-size).

Want to feature here? Drop me a line.

Review: Chris Cox: Mind Over Patter *****

2009-08-13T11:04:00.005+01:00

Five. Chris Cox, "the mind reader who doesn't read minds", brings his Mind Over Patter show to Edinburgh for a five - sorry - four-week run at the Fringe. BBC Radio 1's resident magician, 25-year old Cox attempts to demonstrate all you need to be able to make people think you can read minds are some magic skills, a bit of psychology, a liberal sprinkling of subliminal 5 messages and an engaging and affable stage presence.

Using all of the above, Chris performs a series of ever-more baffling and impressive routines (five in total, I think) that to describe in any detail here would spoil the impact of. Suffice to say, by the end of the show (which last night started 5 minutes late), you'll be convinced that, despite his claims to the contrary, Cox really can see inside your head.

Shows like this sometimes live and die by the degree and willingness of audience participation - if you're lucky enough to catch his show whilst its packed and full of up-for-it punters, then Cox's banter and interaction with his "volunteers" is extremely amusing and good fun (although I did count at least five mentions of mild rude words, so it's maybe not suitable for young children).

I feel compelled to award Chris Cox my highest accolade - I just don't know how he does it (and trust me, neither will you).

Chris Cox: Mind Over Patter runs until August 31st (not 17th) at the Pleasance Dome. £9.50 (£8.50 concession).

Review: Patti Plinko and Her Boy ****

2009-08-13T09:55:00.002+01:00

If Patti Plinko's voice was a cocktail, it would be one part champagne, two parts absinthe, definitely shaken not stirred, then poured over the rocks and served drop-dead cool. And you'd have to drink it whilst smoking French cigarettes and wearing sunglasses.

Patti Plinko and Her Boy created quite a stir at last year's Fringe, virtual unknowns who unleased their blistering brand of dark cabaret-style sound in a shady basement bar in Edinburgh. Although that venue suited them well, this year they have been treated to a residency at the Assembly Rooms, where they unravel a new set of twisted and original music noir.

At the centre is Patti Plinko, a small figure with an arresting line in 50s-style glamour and a ukelele. As her voice moves from seductive purr to husky yelp, she is accompanied on guitar by The Boy, wild-haired and at her command, whilst the new member - a classically-trained female violinist - sways behind her, the trio creating a superbly surreal and intriguing presence. A simple but effective set of fairy lights, bamboo screens and old, faded photographs completes the scene, reminiscent of a David Lynch dream sequence.

Fortunately now recovering from an illness that forced her to cancel a couple of preceding shows, Patti Plinko is on the mend and on fire once again. The music bubbles and boils in a darkly delicious fashion as Patti, gazing adoringly at Her Boy, orders you up another Plinko on the Rocks and you succumb to its powerful, mind-bending effect.

Patti Plinko and Her Boy runs until 31st August (not 17th) at the Assembly Rooms. £11 (£7 concession)

Review: Yathra (Journey) ****

2009-08-13T08:12:00.004+01:00

Appearing as part of the Festival of Spirituality & Peace, Yathra (Journey) is an original piece by Ragamala Dance. The company specialise in a modernisation of Bharatanatyam, a classical form of Indian dance, without compromising its rich and spiritual heritage. Artistic director Ranee Ramaswamy and her talented co-dancers infuses this blend of old and new with unique grace and energetic fluidity, resulting in something quite beautiful to behold.

The show is made up of three stylish and enjoyable pieces, culminating in the undisputed highlight, which is Yathra (Journey) itself. Accompanied live by the expert playing of sitarist Shubhendra Rao and the modified cello of Saskia Rao de Haas, the company present a piece expressing life's journey through their compelling style of dance, with all the stages - from birth through death to rebirth - expressed with precise and well-choreographed abstract movement and emotion.

The layered strings of the accompaniment are hypnotic and - when combined with the visual feast offered by Ragamala Dance and the awe-inspiring setting of the beautiful St John's church - there are times when you are absolutely transfixed by the sensory allure and spiritual elegance of what is happening before you.

Yathra (Journey) runs until August 23rd (not 20th) at St John's church. £12 (£10 concession).

Photo of the day - Patti Plinko and Her Boy

2009-08-12T10:51:00.003+01:00

Reviews to follow tomorrow, as I'm running out the door - so here's a photo of the marvellous Patti Plinko and Her Boy, a 4-star show at the Assembly Rooms.

Photo of the Day - The Dark Angel

2009-08-11T12:47:00.005+01:00

Camille O'Sullivan during her stand-out performance The Dark Angel at the Assembly Hall (click image to view full-size).

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Review: A Town Called Addis ****

2009-08-11T10:24:00.004+01:00

Unless you're an afficionado of world music (something The World Festival @ St George's West increasingly makes me want to strive to be), the sounds of modern Ethiopea may have passed you by.

Try not to let Dub Colossus do the same whilst they are in Edinburgh, performing the show based on their album A Town Called Addis, a European World Music Chart-topper. This nine-piece band are astonishingly good, treating you to the full range of styles of music from their part of the world, from Ethiojazz to dub reggae and Afropop, transporting you effortlessly to the sultry and pounding clubs and dancehalls of Addis Ababa.

Vocalists Sintayehu 'Mimi' Zenebe and Tsedenia Gebre-Markos guide you through an excellent set of numbers, each one pulsing with the rhythms, piano and brass of the tight musicians that make up the rest of Dub Colossus, including producer and guitarist Dubulah, ex Transglobal Underground / Temple of Sound. Indeed, the CVs of the band read like a who's who of modern dub & funk, with ex-members of Asian Dub Foundation, Jamiroquai and the Brand New Heavies all now contributing to Dub Colossus' mighty slab of sound. Special mention must also go to Teremage Woretaw, who plays the massinko, a traditional Ethiopean one-stringed instrument throughout.

The venue shines as ever, with the stained-glass window of St George's West providing a mesmerising backdrop to some equally well-staged lighting. As the sounds of Ethiopea fill the hall and Dub Colossus get the whole audience up dancing, the atmosphere is electrifying and you'll carry the Ethiopean mood and vibe with you for some time to come afterwards.

A Town Called Addis runs until Aug 26th at St George's West. Price £12.

Review: Tales of the Apocalypse by Airealism *****

2009-08-10T12:58:00.008+01:00

Tales of the Apocalypse is Airealism's sister show to Noir, both appearing at the Gilded Balloon until Sunday.

As with Noir, this show is a series of impeccably choreographed aerial acts of rope skills and physical theatre, performed by an expert troupe at the top of their game.

Tales of the Apocalypse has less in the way of plot than its companion, being more of a series of vignettes loosely tied together by a nightmarish post-apocalyptic future vision. Performers wearing gasmasks, confused survivors, mutants, robots - imagine Mad Max reinterpreted by David Lynch and you're maybe something close to half-way there.

As previously mentioned, I was particularly impressed by Noir's large-scale ensemble pieces; Tales of the Apocalypse didn't have these, with most sequences featuring only one or two performers at a time. It didn't suffer from this however, due to some dazzling lighting and costumes, married with a well-matched soundtrack which this time fitted the stylised visuals perfectly.

And what visuals they were: some were breathtaking in their beauty and style whilst others amused or fascinated, such as the divertingly original take on war in Heaven, which saw Gabriel and the Devil locked in a struggle for supremacy, constantly clambering over each other on a trapeze until one emerged triumphant.

Both of Airealism's shows have been stunning, but if I'm forced to pick a favourite, it's this one. Its unique vision, acts of skillful acrobatics and its direction add up to a show that is hard to fault and deserves full houses for the rest of its all too short run.

Tales of the Apocalypse runs until Aug 16th at the Gilded Balloon. Price £10 (£9 concession)

Princess of the day - Cinderella

2009-08-10T12:15:00.001+01:00

Another one for the set - Cinderella from the Princess Cabaret, with some adoring friends.

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Review: Havana Rumba - The Hottest Cuban Salsa Party in Town! ****

2009-08-10T07:54:00.006+01:00

With its roots in slavery and evolved via the self-made entertainment of its poverty-stricken population, Cuban dance is sensual, rhythmic, provocative and joyous. In Havana Rumba, we are treated to it in all its booty-shaking glory, courtesy of an energetic and athletic cast of dancers and a fantastic live band.

In quasi-musical fashion, a story underpins the fantastic set-pieces, telling the tale of Ramon, the "king of rumba", and his son Papito, who wishes to escape his surroundings and take his music to the world. This allows the cast & band to create some wonderfully uplifting and at times amusing numbers, such as the superbly choreographed mating dances, or a standout acapella song about pizza (trust me, this works perfectly in context).

The dances' sensual nature is underlined by the attractive and lithe cast, who seem to wear a succession of ever-smaller outfits as the action moves from Cuba's townships, dancehalls and beaches and then on to Miami. And although hotpant-clad booties are shaken at every opportunity with gleeful abandon, this is a family friendly show - there's nothing here the kids won't have seen before on any Beyonce or Kylie video.

The music deserves at least equal mention to the dance, performed by a talented nine-piece band with an infectious style and enthusiasm. Particular mention has to go to 70-year old Jose Castro, a fantastic singer who also possesses moves that woud put those half / third / quarter his age to shame. During the well-deserved rests and wardrobe changes of the dancers, he appears and immediately transports us to cigar smoke-filled nightclubs and backstreets with writhing rhythms and hip-shaking tunes.

An uplifting and hugely enjoyable show, Havana Rumba deserves packed houses at the EICC and is guaranteed to send you out into the evening with your heart still beating to the rhythm of the rumba.

Havana Rumba runs until August 30th at the EICC. £15 (£12 concession)

It didn't rain on our parade

2009-08-09T20:05:00.006+01:00

Ever since I was a nipper, the Edinburgh Festival Cavalcade has proudly paraded along Princes Street, Edinburgh's main thoroughfare.

This year, thanks to the controversial tram-works ripping up the city centre, it took place for the first time in the slightly less central but equally impressive Holyrood Park.

As well as the change of venue, a couple of other things were threatening to dampen this event: one, literally, as the sky was black and it poured for 10 minutes shortly before the cavalcade was due to start. Also, it was reported that this year's parade was going to be shorter, with less floats and acts as in previous years.

We needn't have worried. This year's cavalcade seemed to be as big and bold as ever, and was such a well-attended success that I wouldn't be surprised if it ends up permanently based here in years to come. The sun even came out (and not just the one on legs pictured above).

It was led off by the traditional ride-past of over 150 motorbikes, filling the air with fumes and engine noise, before the entire cast of the Edinburgh Military Tattoo marched past. Then, a mixture of Fringe performers and local community groups followed, each trying to outdo each other in terms of decoration, colour and music. The Ladyboys of Bangkok, another Edinburgh Festival fixture, as ever proved hard to beat on that score, but some of the community floats were also excellent.

Local pipe and marching bands from the Lothians then paraded along the road towards Meadowbank stadium where the parade ended this year, Holyrood Park and Arthur's Seat providing an impressive backdrop to proceedings whichever side of the road you watched it from.

Another predicted blow to the Fringe was the lack of Fringe Sunday this year, due to lack of sponsorship. To somewhat make up for that, a kind of mini Fringe Sunday took place during and after the cavalcade in the park and car park outside Holyrood Palace. Fringe performers such as the Tao Drummers turned up, and street entertainers welcomed the chance to pitch up somewhere different from the Royal Mile for a change.

Overall, a great success in a well-suited new venue. In fact, it may actually be preferable to Princes Street: for once, I'm possibly even grateful for the tram-works.

Photo of the day - Dr Faustus

2009-08-09T10:35:00.003+01:00

Three of the Sins from Dr Faustus by Zig-Zag Creations.

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Review: Camille O'Sullivan: The Dark Angel *****

2009-08-08T16:18:00.006+01:00

Camille O'Sullivan has magic powers.

How else can you explain the fact that she is so totally possessed by the spirit of each song she performs? Whether it's the damaged and regretful daughter of "Look Mummy, No Hands", the destructive self-hate boiling inside of the protagonist of "Hurt" or even the no-holds-barred good-time girl asking, incredulously, "In These Shoes?" - Camille doesn't sing these songs, she inhabits them.

However she does it, she does it like no other. Bursting on stage and almost out of her dress, she has the audience transfixed from the start. By the middle, she's everyone's new favourite singer; and by the end, people leave the venue practically speechless, moved so much are they by the range of emotions they've witnessed for the last 75 minutes.

Returning to Edinburgh for her fifth year, Camille brings her set of perfectly-picked covers to the Assembly Hall, a grand and spacious venue fitting for her to fill to the ceiling with her unique and unmissable voice. Backed by a superb band of musicians, she treats each song as if it's a lover, sometimes appearing to completely lose herself in the passion of the music's embrace as she spins and gyrates around the stage.

The quieter numbers are treated with more tenderness, her voice piercing the silence with emotion which feels so genuine it is immediately shared by everyone listening. The venue's stage is also excellently lit, candles dotted around its circumference adding to the intimate, cabaret style atmosphere so well suited to the songs.

No review of a Camille show is complete without mention of her self-effacingly cheeky line in audience rapport and banter. At the Assembly Hall, it is no different, although you can tell she's still getting used to the height of the stage as she gingerly leaves it to mingle with unsuspecting lucky audience members.

You really must go to this this. If you've never seen her before, I envy you. Even if you have, each performance is so unique it's well worth a repeat visit.

After all that, only one word really remains to be said.

Miaow.

Camille O'Sullivan: The Dark Angel runs until August 31st (not Tuesdays). Very likely to sell out. £16.

Photo of the Day - Princess Jasmine

2009-08-08T14:37:00.004+01:00

Princess Jasmine from the Twitter-storming Princess Cabaret. I plan to capture them all over the Festival season and make my own Princess Top Trumps set...

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Review: The Chair by C-12 Dance Theatre ****

2009-08-08T13:00:00.007+01:00

This is young UK-based C-12 Dance Theatre's first year at the Fringe. On the strength of the emotionally-charged style and grace of The Chair, they should definitely be back.

Performed without dialogue, The Chair relates the plight of an imprisoned man, haunted by nightmarish visions of his past as he struggles for redemption and forgiveness from those he has wronged.

Superbly choreographed by Annie-Lunette Deakin-Foster, scenes from this tale of inner struggle are depicted with some quite beautiful dance and physical theatre, complemented by effective lighting and a perfectly-matched soundtrack. Deakin-Foster, who also appears as the prisoner's mother, deserves a great deal of credit here, but the performance of Nas Evanson as the lead is outstanding.

Possessing a strength of both body and gaze, Evanson is completely convincing as a man struggling with his demons as he relives past moments of joy, frustration and anger whilst coming to terms with the enormity of his present. His movements are perfectly timed and stated and he brings a power and emotion to the piece that transforms it into something special.

The two other cast members are also accomplished and talented, but the stars of The Chair are undoubtedly Deakin-Foster's original & compelling choreography and Evanson's powerhouse performance.

The Chair runs from August 8th to 31st at Pleasance Zoo. £10 (£7 concession), some shows sold out.

Photo of the day - Edinburgh's Prettiest Barmaid?

2009-08-06T17:11:00.002+01:00

A Ladyboy of Bangkok serving drinks at The Three Sisters at a press photocall. (Apologies to Edinburgh barmaids everywhere, you're all lovely)

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Review ratings rationale

2009-08-06T10:51:00.003+01:00

My Festival reviews have started.

I'm using the time-honoured 5-star rating system, with the following rationale. Remember, this will be my personal opinion. Feel free to disagree.

* - something about the show was severely lacking, whether misguided direction, poor stagecraft, etc. I'll never give a 1-star to a show just because I didn't personally like it.
** - perhaps a good idea poorly executed; or some circumstance working against the show itself. Not necessarily the mark of a bad show.
*** - a very good show which did exactly what it claimed to do on the tin. Probably a show worth catching if it appeals to your tastes.
**** - a great show, containing something unique, whether stagecraft, direction, performance or emotion. One to seek out.
***** - a stunning show, a highlight of the Festival. Something unique. Not many shows will get 5 stars this year, as I really want to use that rating for the things that are truly special.

Ready? Get set.

Go.

The World Festival at St George's West

2009-08-06T10:31:00.007+01:00

Last year, The World Festival at St George’s West was an absolute highlight of the Fringe. The brainchild of Toby Gough, it brought an eclectic fusion of top-quality world music to Edinburgh in an explosion of colour, energy and sheer unbridled joie de vivre.

Winning last year’s Scotsman’s Spirit of the Fringe award, The World Festival is back with an equally varied and entertaining cocktail of voices, rhythms and atmosphere rarely seen in Edinburgh – even during Festival time.

Last night’s press preview treated us to short excerpts from all the acts' shows, giving a tantalising taster of the full programme set to run at the beautiful and atmospheric St George’s West venue throughout August.

First up were the the beguiling rhythms and sounds of A Town Called Addis, an Ethiopian ensemble that bring the pumping sounds of Addis Ababa music halls and nightclubs to Edinburgh’s rather more austeure and hallowed halls. Some great sounds from this charismatic nine-piece band definintely made me look forward to seeing the full show next week.

Based on last night’s snippet, Mercy Madonna of Malawi looks set to be the funniest thing at the Fringe this year, bar none. A “black musical comedy” (sic), this is based on Madonna’s much-publicised adoption of Malawian orphans, and not only explores that episode but also the ethical and moral dilemmas and issues behind it. Already stirring up controversy in the national press, this is definitely one to catch.

So what’s funny about it? Well, the loose lyrical interpretations of songs such as “Like A Prayer”, the adult cast dressed in nappies and ‘adopt me’ t-shirts, and Madonna being played by a six-foot tall Malawian male in a blonde wig – and that’s just for starters. Apparently, The World Festival have offered Madonna free tickets to this show, but it has yet to be confirmed if she will attend…

The Creole Choir of Cuba are a 14-strong troupe of Haitian immigrants living in Cuba, who bring their colourful costumes and spellbinding harmonies to Edinburgh after making a big impression at this year’s WOMAD and Big Tent festivals. Drawing on Haitian customs, rituals, religion and culture, the Creole Choir of Cuba must have been working their magic on the hairs on the back of my neck at one point. Stunning stuff.

The young Sri Lankan dancers of Ranganika – Island of Dance stormed the stage next in a riot of colour, percussion and movement. In fact, I don’t think they stood still for one second of their set, faces rapt with joy as they treated us to their cultural music and dance in a display of colour and happiness.

It was left to last year’s hit act, Capoeira Knights: Boys From Brazil to end proceedings. The blend of martial-arts, dancing and uplifting pumping live music creates a show that is unmissable and breathtaking in its feats of stunning acrobatics and muscular energy. Deserving and more than capable of taking their show on a world tour or similar, Capoeria Knights are the jewel in The World Festival’s already studded crown.

As a finale, all the acts got up on stage together, in a routine that summed up and demonstrated that The World Festival is aptly-named. Seeing dancers from Sri Lanka gleefully moving to music from Brazil as Malawian artistes danced together with colourfully-attired Cuban singers was an emotionally uplifting sight that brought shivers to my spine, even more so when the entire troupe spilled out of the venue to startle, bemuse and ultimately entertain unwitting passers by on Shandwick Place.

I love the World Festival: it encapsulates everything that is wonderful about the Fringe – and the world itself, given freedom to express itself and its many and varied cultures.

My advice? Go to all the shows. Go to some of them twice. Just make sure you go.

Review: Noir ****

2009-08-06T10:22:00.005+01:00

Down-at-heel hardboiled hero? Check. Glamourous love interest? Check. Seductive femme fatale? Check. Shady criminal villains with evil intent? Yes, all the classic film noir archetypes are here, fear not.

But you will never have seen them portrayed like this. Airealism, an international troupe of aerial circus performance artistes, bring these characters to life in a unique and rather spellbinding way. Ropes, nets, curtains and trapezes hang from the set, and the cast make full use of them, whether swinging from the high-wire or spinning seductively in suspended hoops. Or, in one particular scene, playing a hand of poker whilst suspended upside down on a vertical-hanging net.

Noir is full of superb imagery and some wonderfully choreographed vignettes. One stand out was the hero’s chloroform-induced dream sequence, with the entire cast - dressed in white - spinning, climbing and swinging as he hung suspended and motionless from the trapeze. This, like many parts of the show, was one of those rare stage scenes where there is so much going on you struggle to take it all in.

The soundtrack is filled with music from the 40s and 50s, although at some points more modern dance / techno tracks accompany the action, which I found a little anachronistic to the overall mood of the piece.

Performed with no dialogue, Noir relies on the cast’s skill and grace alone to tell the tale, ably helped by good lighting and stylishly simple costumes.

Airealism are only here for a short while (their runs finish on the 16th), so I’d encourage you to catch this – or their other show, Tales of The Apocalypse, which I’ll review soon – before they coil up their ropes and rigging and depart, off to spin their aerial magic elsewhere.

Review: Malaje ***

2009-08-06T09:52:00.009+01:00

Malaje is the world premiere of a show by Spanish troupe Cia Albadulake, appearing at the New Town Theatre as part of the eclectic and exciting Universal Arts Festival.

Billing itself as a ‘flamenco circus’, Malaje features seven talented performers and musicians in a joyful hour of dance, acrobatics and humour.

Lit seductively in shades of red throughout the hour’s performance, Cia Albadulake entertain with flamboyant flamenco routines, impressive feats of juggling and some interesting acrobatic acts. Never quite managing to make your jaw drop in the same way some of the acts in La Clique and its ilk do, it's still hard not to be won over by the performers’ infectious enthusiasm and charm; and the unique flamenco take that is prevalent throughout.

Music is excellent, with accomplished vocals, guitar and rhythms that have your hands involuntarily clapping along in time before you know what you’re doing. As a fan of the cosmopolitan nature of the Fringe, Malaje was not only a great show but also a fine start to the 2009 season.

Malaje runs from August 6th to 30th (not 17th) at the New Town Theatre. Priced various from £8.75

Highlight #15 - Camille O'Sullivan: The Dark Angel

2009-08-06T09:25:00.005+01:00

Arguably, I’ve saved the best til last. Over the past 2 years, Camille O’Sullivan has seductively slipped her way into the upper reaches of the Edinburgh Fringe hierarchy, first appearing at the Spiegeltent in 2007, then with a sell-out run at the Queen’s Hall in 2008.

This year, Camille brings her Dark Angel show back to the larger and even higher profile venue of the Assembly Hall, where she will once again bewitch, beguile and bemuse with her heady and addictive blend of talent and charm.

Although perfectly able to pick up the mantle of Piaf, Dietrich and other stellar cabaret chanteuses, Irish-French Camille has a style all of her own and a voice capable of whispering gently in your ear one minute, then ripping your heart out through your ribcage the next.

Her set consists of classics of the genre, with a heavy leaning towards the canon of Jacques Brel, Nick Cave and Tom Waits. Recently, she has also begun to introduce her take on more modern and mainstream gems by Bowie and Radiohead, meaning a Camille show moves gracefully through a set studded with some gems from the last 40 years.

Backed by an excellent live band and with a fantastic line in between-song banter and audience rapport, by the end of the evening Camille will have you in the palm of her hand (or beneath her sparkly red stilettos). It will also be an evening in which you will have been moved, entertained, and left stunned by the range and talent of one of the Fringe’s absolute and well-deserved stars.

Camille O’Sullivan: The Dark Angel runs from 6th to 31st August (not Tuesdays) at the Assembly Hall. Price £15.

Photo of the day - Adopt Me

2009-08-06T05:51:00.003+01:00

One of the performers from Mercy Madonna of Malawi at the The World Festival press launch at St George's West.

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Highlight #14 - Picaresque

2009-08-05T08:46:00.005+01:00

One of the beauties of the Fringe is that it allows companies who may not otherwise have had the chance to treat a captive and eager audience to their own particular vision.

Eyes Open theatre company, a young and ambitious group of recent graduates, have grabbed that chance with both hands and premiere their madcap globespanning comic adventure Picaresque in Edinburgh this season.

Written by Jack Sanderson-Thwaite, Picaresque sees Elijah and Nathaniel, two roguish rakes, attempting to cross continents from opposite sides of the globe to attend their annual reunion. Needless to say, obstacles both varied and bizarre fight against them every step of the way. Will they make it in time? Will the world's slowest train ever get to its destination? And how on earth are Eyes Open going to portray the moose-wrestling bit?

All these burning questions and more will be answered this year during the course of Picaresque, the kind of show the Fringe embraces to its heart.

Picaresque runs at the Sweet Heart (2 India Buildings) from 6th - 30th August (not 17th). Various from £5.

Highlight #13 - Stitches

2009-08-05T08:07:00.006+01:00

Stitches is an original piece of theatre from the pen of young and critically-acclaimed writer Claire Urwin. Urwin, a graduate from Manchester University currently undertaking a Masters in Martin Amis' Creative Writing course, specialises in dark works blending fantasy and reality, her previous work No Wonder having made an impact at the National Student Drama Festival.

Stitches spins an Orwellian take on a mysterious post-apocalyptic future, its characters forced into working for the Department of Flora & Fauna, researching lost wildlife for the State. Into the midst of a group of conscripts, a new girl arrives, setting the events of the play in motion.

Urwin's words are brought to life by the University of Manchester Drama Society and the Scratch That theatre company, and Stitches is directed by the award-winning Rajiv Nathwani.

With such a mix of emerging, young and acclaimed talent behind it, the production looks to be one for anyone who appreciates new and original works of theatre to add to their Fringe diaries.

Stitches runs from 17th-29th August (not 23rd) at The Spaces @ The Radisson. £7 (£5 concession).

Photo of the day - Space Cowboy

2009-08-04T16:23:00.005+01:00

Another street performer keeps the crowds entertained on the Royal Mile before the bulk of the Fringe companies descend upon it. (click on image to view full-size)

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Edinburgh takes a deep breath...

2009-08-04T11:44:00.003+01:00

It's almost upon us. The wonderul, colourful craziness that is the Edinburgh Festival Fringe and all it associated frantic magic really kicks off tomorrow, with many shows doing preview runs on Wednesday and Thursday before it all officially starts on Friday.

Since the vibrant razzmatazz of the Jazz & Blues Festival events at the weekend, the city is taking a brief pause to itself before rushing headlong into the thick of things.

But don't be fooled into thinking nothing's afoot. Performers have been steadily arriving using any means of transport available to them; tech checks have been going on long into the early hours; venues are being hastily assembled out of MDF, glitter and blu-tac - there's a mountain of activity going on in preparation for hundreds of curtains about to rise.

But for now, relax. Take a deep breath, count to 10, visualise your special place. For, from tomorrow, there's no rest til September...

Highlight #12 - Rendition Monologues

2009-08-04T08:30:00.004+01:00

One of the finest things about the various Edinburgh-based festivals happening at this time of year is that there's space and opportunity for shows that cater to every taste and form of expression.

The Edinburgh Festival of Spirituality & Peace is a particularly commendable example of that diversity, featuring a programme of drama, music, dance and events which celebrate the human spirit - or highlight crimes against it.

One such example is Rendition Monologues, a four-man piece of verbatim theatre which retells real-life, first-hand accounts of victims of the CIA's 'rendition' program. That practice, yet to be rescinded, allows the agency to transport known or suspected terrorists for imprisonment in countries where torture is still a recognised form of interrogation.

Rendition Monologues interweaves the actual words of four victims of this program -including Binyam Mohamed, a former UK resident - in what promises to be an hour of moving, hard-hitting and intensely personal theatre.

The show is a co-production between iceandfire theatre, a group who specialise in exploring and publicising human rights issues through performance; and Reprieve UK, a legal charity organisation who provided the transcripts which make up Rendition Monologues' script. A representative from Reprieve UK will be conducting a 30-minute Q&A session after each performance of this show, allowing you to delve deeper into some of the issues and facts behind what you will have just witnessed.

Whatever your political viewpoint and stance on the "War on Terror", Rendition Monologues provides a platform for voices that would otherwise perhaps never have been heard. For that alone, it deserves attention.

Rendition Monologues runs from the 17th - 23rd August at St John's Church as part of the Edinburgh Festival of Spirituality & Peace. £8 full, £5 concesssion.

Photo of the day #1 - The Heat is On

2009-08-03T19:37:00.007+01:00

Street performers have started "warming up" the crowds on the Royal Mile prior to the official start of the Edinburgh Fringe (click on image to view full-size)

Want to appear here in a photo of the day? Email me.

Highlight #11 - Time Out Of Joint

2009-08-03T09:51:00.007+01:00

Whilst we're (loosely) on the topic of Shakespeare, Not/Applicable & Heart Productions' Time Out Of Joint looks an interesting one.

A play set whilst Shakespeare is penning Hamlet, it aims to explore his inner mind and outer turmoil, focusing not only on his motivation and inspiration for the themes underlying the Prince of Denmark's struggle, but also the external influences of his twin muses and lovers. The Dark Lady from his sonnets, a mysterious svengali's machinations and Ophelia herself weave an intricate tapestry around Shakespeare as he puts quill to parchment and unfolds one of the world's greatest dramas.

Equally, the team behind Time Out Critics Choice award-winner Shooting Clouds - writer Frank Bramwell and director Arnaud Mugglestone - toy with the notions of what is real and what is imagined in a play that looks set to collide in an exploration of love, drama and intrigue.

Time Out Of Joint is also central to an interesting promotional initiative running at this year's Fringe. Shakespeare At The Fringe aims to collate and publicise all 39 shows this year which feature The Bard in one shape or form, and are arranging several events as a result (the Where's Willy? competition sounds particularly interesting...) Check out the site for more details and updated news.

Time Out Of Joint runs from 5th to 31st August at C Soco. Prices various from £8.50.

Highlight #10 - The Scottish Falsetto Sock Puppet Theatre Goes To Hollywood

2009-08-03T08:07:00.009+01:00

Altogether now: "I'm a sock, I'm a sock, you wear me on your feet not on your co..."

Ahem. Now, where were we?

The Scottish Falsetto Sock Puppet Theatre are an Edinburgh Fringe (and UK comedy circuit) institution. At first glance, the amateurish-looking puppet booth and mangy-looking socks with google eyes and lolling tongues may lead you to believe this show would be best suited for the under-fives. Give it five seconds however, and you'll quickly realise that this one-man / two-sock outfit actually offers some of the funniest, fastest-paced and smartest comedy appearing at the Fringe.

TSFSPT is the brainchild of Kev Sutherland, who quickly realised the comedy potential of sock puppets. With Scottish accents. Speaking and singing in falsetto voices. What's not to like?

Especially when the comedy is equal parts ad-lib, improv, rude, corny and (in what may be the biggest surprise to the uninitiated) extremely clever. TSFSPT's shows always contain at least one longish parody of a famous movie or a Shakespeare play, and here the literary in-jokes and puns fly fast, proving that Sutherland is a smart writer as well as an energetic and accomplished performer. With this year's show title being The Scottish Falsetto Sock Puppet Theatre Goes To Hollywood, expect some razor-sharp spoofing of some celluloid classic or other (although secretly, I'm hoping for another Shakespeare rip-off...)

Appearing again in the sweatbox that is the Gilded Balloon Teviot, expect to be fooled by the conceit that you are watching two daft socks quipping and snipping at each other; until the very end, when a drenched and scarlet Sutherland will likely emerge, deserving of the applause you'll surely give him.

The Scottish Falsetto Sock Puppet Theatre Goes To Hollywood runs from 5th to 30th August at Gilded Balloon Teviot. Prices from £9.

Highlight #9 - The Overcoat by Gecko Theatre

2009-08-02T18:54:00.004+01:00

An award-winning and accomplished young theatre group from the UK, Gecko return to the Edinburgh Fringe with The Overcoat, a piece inspired by a short story by Russian novelist Gogol.

With what promises to be visually compelling staging and a style reminiscent of a silent movie, The Overcoat tells the tale of young office worker Akakki as he persues his twin desires - a female colleague he is infatuated with and a brown overcoat that seems to possess almost magical qualities...

With little in the way of coherent dialogue (the cast speak in a variety of languages), The Overcoat is not so much a straightforward storytelling piece, but instead looks to be a tour de force of imagery and movement, with comic interludes and a beguiling style. Imaginative use of sets and lighting, coupled with a cast that have backgrounds in dance as well as acting, look set to ensure The Overcoat lives up to expectations as a powerful piece of physical theatre.

The Overcoat runs from the 13th to 29th (not 18th or 25th) August in the Pleasance Courtyard. Prices various from £7.

Review to follow on 21st August,

All That Jazz

2009-08-02T09:57:00.003+01:00

For many, the Edinburgh Jazz & Blues Festival Mardi Gras is the first event of the Festival season.

A free event in Edinburgh's Grassmarket, the Mardi Gras brings a slice of carnival atmosphere to one of the city's oldest and most historic places, filling it with a riot of colour, sounds and people entering into the jazz (and alcohol) fuelled spirit of the day.

The weather was kind, and the sun put in an appearance for most of the event, shining down on the likes of the Criterion Parade Band and the infectious rhythms and showgirl glamour of the Edinburgh Samba School, whilst other artists, bands and singers entertained the packed crowd from temporary stages dotted along the cobbled street.

The atmosphere was relaxed and happy, as tourists on passing open-top buses stared down in envy at the buzz below and fortunate pub and restaurant owners reaped the rewards of having a captive hungry & thirsty crowd on their doorstep.

A great start to proceedings, the Mardi Gras ushered in the Festival with a splash of carnival atmosphere that hinted at the frantic and unmissable weeks to come.

Highlight #8 - Socially Retarded by Tomfoolery

2009-07-31T08:29:00.006+01:00

We humans can be a cruel bunch. Often, we love nothing more than revelling in people's misfortunes, whilst at other times we seem fascinated by the ineptitudes and embarassing failures of others. As long as it's not happening to us, it's funny, right?

Thomas and Thomas of Tomfoolery understand this, and selflessly exploit it for our entertainment and enjoyment with Socially Retarded - The Fringe Cringe Comedy, in which they parade a series of increasingly desperate and toecurling characters in a fast-paced sketch show that's already becoming one to look out for.

Morris dancers, men in y-fronts, gangsta wannabes and builders struggling with their feminine sides - all these and more are here for your voyeuristic amusement, portrayed with some cutting observational comedy and (intentionally) cringeworthy moments which you may have to watch from behind your fingers.

With their infectious enthusiasm (at least one Thomas has been known to yelp like a girl) and affable personalities, Tomfoolery will be hard to miss this year: whether they're flyering on the Royal Mile, tweeting incessantly about their show (but hey, we're all guilty of that...) or just genuinely enjoying the fact they're here in Edinburgh with everything it has to offer at this time of year.

Hopefully they remember to actually turn up and perform their show...

Socially Retarded runs from 7th - 22nd August (not Sundays) at the Spaces @ Royal College of Surgeons, price £7

Highlight #7 - The Grind Show

2009-07-30T08:32:00.009+01:00

In a way, The Grind Show was born here. Founder members of the TBA Collaborative, filled with a desire to create original, compelling drama, visited the Edinburgh Fringe in 2007. They left, inspired by what they had seen and went home to work on creating The Grind Show, a startling and innovative piece of contemporary physical theatre which receives its world premiere at this year's Edinburgh Fringe.

Featuring a driven and motivated ensemble of current and postgraduate students from the University of Washington, The Grind Show takes place on the peripherary of a strange, freakish circus, amongst its constantly 'grinding' sideshow acts. An innocent child adrift finds himself in the midst of this surreal, nightmarish troupe and is forced to make a decision that will impact the rest of his life.

Physical and visually arresting, The Grind Show takes its cues from a variety of commendable inpirational sources, with the spirits of Tim Burton, David Lynch and Neil Gaiman watching from the ringside. However, it is to TBA Collaborative's credit that their show looks unmistakably their own and promises to be a uniquely memorable experience that encapsulates the true feeling of Fringe theatre.

In a programme that's increasingly becoming full of big-name comedy acts and easy crowd-pullers, it's reassuring to know that there are groups like TBA Collaborative with a vision and passion that is driven by artistic expression. For that alone, they deserve your attention - the fact they are bringing a work as original and interesting as The Grind Show is almost a bonus.

So - what circus act would you perform for eternity?

The Grind Show runs from 5th to 31st August (not 17th) at the C Venues, Chambers Street, various prices from £7.50.

Review to follow on 14th August.

Highlight #6 - Venus and Mars and Other Myths of Mr and Ms

2009-07-29T08:17:00.003+01:00

From ancient times to the present, the differences between man and woman have long fascinated and inspired poets and playwrights, who have employed their artistry to weave timeless, emotion-drenched portrayals of the human condition.

To my knowledge, none of them have so far done so using the medium of comedy aprons.

Fortunately, that gap is admirably addressed by Venus and Mars and Other Myths of Mr and Ms, a 50-minute whirlwind tour of some of history and literature's greatest couples, wardrobe changes being limited to one swift swapping of aprons after another.

Swoon as Romeo and Juliet express their emotions for each other wearing novelty aprons with pictures of boobs & willies on them. Gasp as Anthony & Cleopatra spiral towards their fates with only plastic household apparel for protection. And shudder as Lord and Lady Macbeth (pictured - although which one is Lord and which one is Lady is up for some debate here) try to extricate themselves from their self-spun web of greed, deceit and pvc prints of sexy underwear.

Featuring two young actors with obvious energy and chemistry and some pithy writing & direction, Venus and Mars and Other Myths of Mr and Ms has been generating some great preview run feedback and looks set to be a fast-paced and funny romp through familiar territory everyone can relate to. And it must've been a blast buying the costumes.

Venus and Mars and Other Myths of Mr and Ms runs from 7th-29th August (not Sundays) at The Spaces on The Mile, various prices from £6.

There's a kind of buzz all over the town

2009-07-28T17:32:00.003+01:00

Although it doesn't all really kick off until next week (apart from the Jazz Festival, which starts on Friday), there is a tangible sense of expectancy and industrious preparation about central Edinburgh at the moment.

The legendary purple upside-down cow of the Udderbelly (pictured) has its torso in place, and lighting and banners are being hoisted up on the surrounding venues of The Gilded Balloon and the Pleasance Dome. Not long before this area is jam-packed with punters, performers and princesses (see previous post) and transformed into one of the places to be during the Festival.

Elsewhere, the much anticipated Hullaballoo is being erected in George Street Gardens, the C Urban Socco is again making use of the derelict burnt-out area in the Cowgate and the grass of Charlotte Square Gardens is freshly mown in readiness for the Book Festival tents.

1001 other preparations will be going on behind the closed doors of other venues as well, all working hard to ensure Edinburgh is dressed in its finest Festival best. And it's looking damn good already...

Highlight #5 - Princess Cabaret

2009-07-27T10:05:00.004+01:00

Many successful shows are built around a "what if...?" premise.

Princess Cabaret is one such act, asking the question "what if...those demure, graceful and stereotyped Disney Princesses were actually brazen, post-modern feminists with a wicked line in biting satire, song & dance routines and potty mouths?".

Seven comediennes from Sydney University's Women's Revue take the likes of Belle, Cinderella, Tinkerbell, Jasmine and the rest and drag them screaming and kicking (or flapping like a mackerel, in the case of Ariel) into a wonderful world far removed from anything Uncle Walt dreamed up for them.

Promising a show full of musical parodies and wicked, stereotype-busting humour, Princess Cabaret looks set to parade its own particular style of sassy glamour around Edinburgh this August, giving us a glimpse of a world where The Beast is shackled to the kitchen sink, Aladdin is a sympathetic listener and Prince Charming really knows how to please a woman...

Princess Cabaret runs from 5th-31st August at the Gilded Balloon Teviot, various prices from £5.

Plans for the Festival

2009-07-26T12:05:00.004+01:00

Not long now.

Once it all begins, this blog will feature the following on a daily basis:

A photo of the day - either from a performance shoot; or from my daily photographic expedition to the Royal Mile (other shots will be on my Flickr site or my photography website)
Breaking news / gossip / word-of-mouth tips etc
And from the 8th to the 31st inclusive, reviews of the shows I'll be seeing

Bookmark or subscribe now and join me in another wild, unpredicatble and fantastic Festival experience.

Bring an umbrella.

Doing the Edinburgh Festival for free (or cheaply, at least)

2009-07-24T08:06:00.007+01:00

Edinburgh during the Festival can be an expensive affair. Pubs & restuarants bump up their prices, accomodation rates tend to get hiked up through the hotel roof and the cost of show tickets seems to rise every year.

I'm lucky, I live here (and no, I don't have a spare room, sorry) - but it still costs me something approaching a return first-class air fare to Sydney every year, and that's just for the bloody taxis.

However, it is possible to do things on a budget and still sample just about everything Edinburgh has to offer during the Festival.

Here's how:

The Shows

The Free Festival. Organised by Laughing Horse, this splinter event has grown from small beginnings to a substantial and well-respected part of the overall Fringe. With a heavy comedy bias, this year's programme has over 200 shows taking place in 14 venues across the city centre. As it has grown in size, it has also grown in quality, proving the old adage of 'you get what you pay for' isn't always true. Shows are run on a first-come first-served non-ticketed basis, and the performers will pass round a bucket for voluntary donations after each show, but the Free Festival does do what it claims to - provide a varied and cheap alternative to the costlier ticketed shows of its official Fringe big brother.
2-for-1 weekend / preview shows / Half-Price Hut. If you do want to see some 'official' shows, you still have some options available to do this without incurring massive cost. Every year, on the first weekend of the Fringe (9 and 10 August this year), many shows offer two tickets for the price of one - although understandably this proves extremely popular and participating shows do sell out quickly. Similarly, many performers run preview shows before the Fringe officially starts (previews are on 5 and 6 August) - these tend to be substantially lower in cost and sometimes even free (especially if you pitch up at the venue and ask). Also, after some doubt as to its return this year, the Half-Price Hut is back. This is a temporary box-office at the foot of The Mound which offers half-price tickets for many shows if bought on the same day of performance. So, if you don't have a rigid schedule, it's worth pitching up here on a daily basis to see what's on offer.
Friends of the Fringe. This one's only worth it if you're interested in seeing 2-3 or more participating shows. For a one-off fee of £18, you are entitled to 2-for-1 tickets for 100s of shows in this scheme, meaning you can save substantial amounts. It's worth checking the shows you're interested in are taking part first though.
Fringe on the Royal Mile. Mentioned elsewhere in this blog, the Royal Mile is a fantastic outdoor space in which to experience free snippets of shows (performed to a schedule on three small stages) and to witness some top-quality street entertainment. As with the Free Festival, the street performers will pass round a hat after their show (some are well worth a couple of quid), but the performances on the stages are free, and as well as giving you a glimpse of a show that might be worth catching, are a good way of seeing half-a-dozen acts for nothing. Due to the noise and bustle going on, the acts taking part are nearly always musical or dance troupes, but you're still bound to see something you like.

Accomodation

Many hotels, serviced apartments and bed & breakfasts are fully-booked weeks in advance of the Festival beginning, though a few may still have rooms available (though likely at premium rates).

Many residents let out rooms or entire flats during August (it's a well-known local moneyspinner) - the official Fringe website's message board is a good place to look here, as is Gumtree. Do make use of Google Maps or similar to check out the location of any accomodation you're interested in, as there is little point paying good money for a room only to find it's a (expensive) taxi journey into central Edinburgh where the majority of things are going on.

Perhaps your best bet for budget accomodation is the selection of stylish, funky and artsy backpackers' hostels based in the city centre. Hostelbookers have a great selection here, and whilst they may not offer the most peaceful place to rest your head if you're after an early night, they will provide extremely cheap accomodation without sacrificing comfort or quality. Additionally, your fellow guests will all be there for the same reason, and the ad-hoc parties, jams and late-night soirees that spring up in these venues can be almost as entertaining as going to some shows themselves. If you're cool, hip and up for a laugh (or even just like to think you are), these places are for you.

Food & drink

As well as being Festival City, Edinburgh is also Scotland's capital and a financial & political centre to boot. Due to this, the cost of living is comparable to London and other major European capitals. However, it also has the advantage of meaning Edinburgh is well-served by the usual chains providing decent food (Pizza Express, Pret A Manger, etc) whose prices remain the same all year round.

Additionally, Edinburgh is chock-full of bars and restuarants competing for your business. Although some do raise prices during the Festival, you'll find others will have special deals and offers running to entice you through their doors, particularly if you choose to dine early.

You also have temporary food vendors springing up around the main venues such as the Pleasance and the Udderbelly. A particular favourite of mine is the Wannaburger stand that has been in Bristo Square for the last few Festivals, offering high quality grub for only a few quid (I always go for the beanburgers in a vague attempt to convince myself they're healthy). It's to their credit that, despite often having a captive market, Wannaburger and others are competitively priced and do provide a good option for cheap food on the go.

Drink is another matter however. Apart from buying a carry-out from the supermarket and sitting in Princes Street Gardens, there are few options for cheap alcohol in the city. Some bars will run happy hours, and the likes of The Standing Order on George Street and the Rose Street Brewery provide cheap drinks, but most bars and venues know they're onto a cash cow during the Festival and prices are set accordingly.

No such thing as a 'free' Festival

Unless you're a tee-totaller that doesn't mind sleeping in a bus shelter, you will have to spend some money whilst you're here. But, contrary to some doubters and naysayers, neither will you have to sell an organ to finance your trip - follow some of the pointers above and you can still have a blast without breaking the bank.

Highlight #4 - The Man Who Planted Trees

2009-07-22T11:20:00.006+01:00

The Man Who Planted Trees is based on the environmental parable of the same name by French author Jean Giono, describing the life's journey of a simple farmer (and his dog) as he embarks upon a personal quest to transform the war-torn countryside in which he lives.

What makes the Puppet State Theatre Company's telling of this tale unique is its execution, bringing it to life with some charmingly believable hand-operated puppets and stagecraft which is utterly spellbinding for children and adults alike.

Two talented and personable puppeteers - Richard Medrington and Rick Conte - weave the tale of Elezard and his canine companion, injecting it with humour, pathos and non-cloying sentiment. Exploiting all five senses of the audience during the course of their polished performance, The Puppet State Theatre Company quickly suspend disbelief with their handmade cloth mannequins and beautiful props & scenery, creating an experience that lingers in the memory and heart long after it is over.

Catch them at the Edinburgh Festival Fringe before they deservedly take their charming and much-loved show to New York later this year.

Other sites to visit

2009-07-16T11:23:00.003+01:00

Believe it or not, there are other sites covering the Edinburgh Festival and the Fringe...

The Official Fringe Website - search for shows, buy tickets, read news, browse the forums. As an added bonus, the ticketing system is working this year...
The Fringe Guru - an independent site covering all things Fringey. Fringe Guru is what this site wants to be when it grows up.
The Fringe Thing - visit Prof Ed Hegg and read about his ovological experiments (and even suggest new ones for him to try).
Fringe Review - covering fringe theatre across the UK, its Edinburgh coverage has just begun.
I Love Edinburgh - a blog covering all things Edinburgh - expect many Festival-related entries soon.
Project Capture - a unique Festival photo crowdsourcing initiative

Any others you would recommend?