REVIEW - Confessions Of A Justified Sinner ****

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...?

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 **

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...?

Interesting...

All over...?

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

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

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

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

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

Edinburgh Festival Insider - Music Award 2009

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

Review - Creole Choir of Cuba *****

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

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

One half of the wonderful Frisky & Mannish

Edinburgh Festival Insider - Theatre Award 2009

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

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

So good I saw them twice.

Review: Shut Up, Play! ****

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

Ariel from the very funny Princess Cabaret.

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

Review: Reality Chokes ***

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)