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)

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

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 ****

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)

Review: Stitches ****

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)

Review: Tao - Samurai Magical Drumming ****

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 ****

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: Ranganika, Island of Dance ****

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 ****

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)

Review: The Lost World ****

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)

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

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)

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

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.

Review: Noir ****

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.

Clive James in the Evening ****

This enjoyable show featured Australian wit and raconteur Clive James speaking for 90 minutes. Not many could pull this off and still hold an audience's interest, but James' delivery and charismatic, gentle style is extremely listenable and entertaining, as are his tales of Australia, Edinburgh weather and Margita Pracitan.

Part comedy, part reminiscence, part book flogging, this was a fine way to spend an evening in the company of one of the wittiest, most self-deprecating and charming speakers in the business.

Henry Rollins ****

Spoken-word performances are something which Henry Rollins is now well renowned for, and on the strength of this show it's easy to see why.

Barely pausing for breath, Rollins takes us on a rollercoaster monologue about US politics, world travel and Eddie Van Halen, seemingly pouring out streams of his own consciousness in a polished and powerhouse performance.

Funny and powerful, the greying tattooed former Black Flag frontman is adept at holding a sell-out crowd in the palm of his hand and the hour-long set flies past due to his charisma, talent and viewpoints.

Circus Oz ****

Circus Oz is, as the name gives away, an acrobatic and comedy act from Australia. Now in its 30th year (the show is subtitled '30th Birthday Bash'), the performers are all energetic and enthusiastic, and capable of some impressive feats of skill.

The usual routines, such as juggling and rope climbing are all present and correct, and carried out flawlessly and with visual flair. Highlights include a woman juggling / bouncing ping-pong balls (more impressive than it sounds here) and another female performer spinning around the stage inside a giant hula-hoop.

Live music is played by a band at the back of the stage throughout, and this gives a vaudeville burlesque feel to proceedings, especially as accordion is one of the instruments featured. Nods to Antipodean roots are also given though, most notably in an amusing and impressive routine where the performers - dressed as kangaroos - catapult each other and somersault off a see-saw.

It's all family friendly stuff and easily recommendable, due to its high spirits, amazing feats and comedy charm.

Samurai Spirit ****

Samurai Spirit is a visually striking and superbly choreographed show of Japanese sword fighting skills.

The cast demonstrate their prowess with katana & bo via a series of set-pieces (the lone samurai against attacking bandits, one man defending a graceful female with parasol, etc) in which the moves and fighting is excellently portrayed.

There are a couple of moments of lighter relief, including one in which a female member of the audience is chosen to learn a few moves, but most are done with seriousness and grace. The cast were involved in the fight choreography for Kill Bill, and the last segment pays homage to this fact with the black-suited combatants attacking each other with flashing blades whilst the music from the movie pumps out in the background.

Sitting in the front row added to the experience, as did sitting beside a couple of Japanese girls in the audience who were loving every minute with infectious enthusiasm.

Drum Drama ****

Drum Drama is a joyous and exuberant percussion show performed by a troupe of young Chinese drummers.

Taking place in the rather incongrous setting of an Edinburgh nightclub, this show had enough dazzling costumery, synchronised percussion and cultural pride to be highly enjoyable.

From the pounding opening number, performed by the female members of the troupe dressed in striking Peking Opera costumes, to the closing routine, being a celebratory drum dance performed by the entire group, this was impressive and uplifting stuff.

There have been many Asian shows of interest this year, and although I've not seen them all, I've enjoyed all that I've managed to fit in. Drum Drama is no exception, and provides a fascinating glimpse into the culture, skill and elation of Chinese drumming done at its best.

Family ****

Family is a physical show featuring a troupe of South Korean taekwon & breakdance experts. Taking the concept that two families, one specialising in each discipline, are competing in a 'Best Family' competition, they backflip, kick, handstand and dance throughout the performance, injecting some typically Asian humour into proceedings as they do so.

The physical feats of the performers are impressive, be they standing backflips, high kicks or breakdance contortionism. The whole thing is done with such good humour and attitude, that it is hard not to enjoy and be caught up in the celebratory mood of the finale, where all of the performers are busting moves on stage at the same time.

Definitely one for all the Family.

Beyond Breaking Glass ****

Beyond Breaking Glass is an autobiographical show featuring post-punk star Hazel O'Connor, best remembered for her lead role in the film Breaking Glass.

Here, like Joan Rivers and Britt Ekland, she takes the stage to reflect upon her life, recalling events and episodes in punk Britain, America and Ireland, her current home. 

What makes this work is that her story is broken up by her performing some of her best-known songs, such as Eighth Day and Will You, accompanied by a talented young Irish harpist who also provides backing vocals.

I remember my parents not letting me go and see Hazel O'Connor live back in 82 because she was "too dangerous(!)" so it was a real treat to see her and hear some of the songs I remember so well from my misspent youth.

Part monologue and part gig, Beyond Breaking Glass doesn't contain much to make you think, but does feature some great songs, and O'Connor's folk-ish voice certainly hasn't diminished over the years.

The Elephant Man ****

The Elephant Man is a moving and accomplished one-man production of the story of John Merrick, most notably made famous by the David Lynch movie.

The actor does an excellent job in not only portraying the tortured prisoner of his own flesh Merrick, but some of the ancillary characters, such as the freakshow proprietor, and the surgeon who befriends and takes care of Merrick in the last phase of his life.

Using props such as tailors dummies, hospital screens and a trapeze to excellent effect, the performer takes us from moments of humour and vaudeville to episodes of deeply moving emotion and drama. None of this feels forced, and it is to his credit that he captivates throughout, even though the sound of the fan in the small, stuffy theatre threatened to drown him out at times.

A tragic tale, excellently told and with just the right balance of emotion and mood - this is an easy show to recommend.