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)

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

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)

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

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: The Shadow Orchestra *****

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)

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

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)

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

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)

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

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

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)

Tiger Lillies - Seven Deadly Sins *****

The Tiger Lillies are an acquired taste. A punk vaudeville burlesque freakshow. Right up my street, then.

In this show, the Lillies perform songs based on the seven deadly sins, the three musicians aided and abetted by the voluptuous Ophelia Bitz, burlesque star extraordinaire. Martyn Jacques falsettos his way through sick & twisted odes and ditties, including the classic "Kicking A Baby Down The Stairs", as Ms Bitz twists and cavorts, eating fire, stuffing her face or toying with a dildo...

You're either going to love this kind of thing, or hate it. The Tiger Lillies are that kind of 'all or nothing' group - indeed, after one of their slower piano-led pieces, Jacques berates one of the noisier sections of the audience: "if you're going to talk through my songs, just fucking leave". I'm right with him on that - these are songs that deserve to be heard, and the whole chaotic spectacle is an experience that demands attention.

The gay Punch & Jud(y)e sideshow that peppers the performance is a bit unnecessary, but it certainly adds to the whole freakish circus nature of the show, which, like La Clique, is perfectly suited for the burlesque interior of the Spiegeltent in which it is performed.

Mong Yeong (Love in Dream) *****

Mong Yeong is an original piece of theatre performed by an accomplished South Korean company.

A moving and thought-provoking piece examining love, loss and reincarnation, this is performed mostly in Korean, with some English interjections to help explain the story (and also for dramatic effect, in some instances).

It deals with a recently-widowed woman and her grief-stricken descent into madness and desperation. The simple set and strong lighting evokes the mood excellently, with a sheet being used to denote the barrier between this life and the next. Beautiful imagery, such as white-clad hooded souls crossing the boundary into the afterlife, is used evocatively throughout and the live music accompaniment is also first class.

As the tale unfolds, the talented cast spin a touching and contemplative tale that is at times intensely moving and beautifully portrayed. With its themes of loss, religion and - ultimately - hope, this is one of the finest pieces of theatre I've seen at the Fringe, and would not be out of place in the Edinburgh International Festival itself.

The Factory *****

Set in the dark, dusty and claustrophobic caverns underneath the Pleasance, The Factory attempts to give a taste of the experience of Jewish concentration camp victims during the Holocaust.

Given the seriousness of the subject matter, this was important to get right - any patronising trivialisation of the topic would have been unforgivable. Fortunately, this powerhouse production delivers an experience that is unlike any other and pays due respect to its subject.

From the outset, we are disoriented. Herded into a low-ceilinged cavern, we are shouted at, sworn at, threatened and immediately split into two single column rows, commanded to keep quiet and face straight ahead. Even when one audience member mutters something to his companion, one of the five-strong cast runs up to him and screams "no fucking noise" inches from his face.

The cast - one female and four male, all dressed in the striped and tattered 'uniform' of the internees - then proceed to spend 5 minutes banging metal plates hanging on the walls. The noise is deafening and by the end we are pummelled into submission.

We are then led through a series of rooms, ordered into our places by a screaming guard. The experience of the inmates is brought to life by two of the performers, one of whom is being forced to work for the guards; the other determined not to accept her fate without a struggle.

It is obvious as we continue that struggle is useless and this defiance turns into appalling acceptance and tragic inevitability. In the penultimate room, orders are given to strip, and the performers stand amongst us naked, shivering and crying. Then, with increasing fear and desperation, we are commanded one by one into a tiny room, crammed next to each other and the naked cast. The three victims in our midst speak desperately and ultimately end up singing a Jewish hymn of devotion and defiance before, suddenly, the lights go out. When they go back on, they are lying, dead in our midst. They are carried out and a lone performer appears at the door, desperately repeating the phrase 'remember us' over and over again.

We are then led out into the harsh daylight, the cast nowhere to be seen. Impossible to forget and equally impossible not to remember those that didn't get the luxury of ever seeing daylight again.

A stunning accomplishment.

The Aluminum Show *****

At last year's Fringe, a show called Fuertzabruta appeared out of nowhere and created a huge buzz through its use of artistic, striking imagery, dance music and sheer originality. The Aluminum Show isn't quite up there with Fuertzabruta's standard, but it's not far off it.

A cast of Israeli dancers and performance artists spend an hour bringing various forms of aluminum (tubing, foil sheets, balloons, etc) to life in ever-more original and visually arresting ways. 

At first, the stage is covered with giant aluminum tubes. These suddenly inflate and vanish off up to the ceiling, leaving several person-sized tubes alone under the spotlights. Of course, the performers are inside and move and dance, breathing surreal life into the worm-like pieces.

In another striking piece, Warhol-like silver balloons of varying sizes are filled with air and then used to assemble a giant metal mannequin, which looms over the audience before marching off stage.

All the while, techno / rave music pumps out and at times gigantic tubes or sheets of foil are passed out into the audience, turning the whole space into a writhing silver mass.

There is nothing particularly physically impressive about the show, but that's not what it's about - it's all about the imagery and the different interpretations and bizarre uses for normally lifeless bits of foil, strands and fragments of which are blasted into the crowd at the end.

Shows like this take on the feeling of being at a party rather than a performance, and the group pull this off well, meaning everyone's pumped up and elated as we file out into the by comparison grey and dull Edinburgh evening.

Charlie Victor Romeo *****

Charlie Victor Romeo is the code for the Cockpit Voice Recorder, better known as the 'black box' carried on board every aircraft, which records all radio and spoken voice for the duration of the flight.

It is also the name of a show by this group of American actors, who dramatise real-life black-box recordings from air disasters from the 80s and 90s.

The set is impressive, consisting of a large nose cone behind which an aircraft's cockpit is set up, complete with security door leading to the rest of the plane. The cockpit is empty as we take our seats, and ambient music and radio chatter plays over the PA, creating an atmosphere of expectation and drama.

Two of the female cast members then give us a safety briefing, and the first vignette begins. A slide projection gives us information on the flight number, date and location, together with some indication of what impending disaster is about to unfold, such as 'incorrect altimeter setting'. Then, two actors in civilian pilot uniform sit in the cockpit and then begin to repeat one of the black box recordings verbatim. 

There are several things which impress and affect about this production. First, of course, is the fact you are listening to a dramatisation of something which actually happened, and are listening to the actual words spoken by the cockpit crew and air-traffic control staff at the time.

After the first, tense episode is over, the slide returns and indicates 'no casualties', but this is an atypical example of what is yet to come.

Each subsequent dramatisation, in which the eight-strong cast switch places and roles, is of a real disaster. What moves most here is the fact you are hearing people's final words - that, and the utmost professionalism and determination of the pilots and crew to avoid catastrophe. Each vignette ends with brutal abruptness and darkness, before the slide returns to, more often than not, inform us that there were 'no survivors'. This is relentlessly powerful stuff, and it comes as something of a relief when the show is over.

Special mention must go to the sound production here, as it is superb. Engine noise, instrument warning signals, explosions - all of these create a cacophony of noise, adding to the confusion and panic of each episode's last few moments. Acting is equally impressive throughout, and the straight, verbatim telling of the recordings is a concept that works well as a testament to those who lost lives, without being exploitative.

Ultimately, although shaken and beaten by the production, you leave it with a lasting impression not only of the frailty of life, but of also of its compassion, determination and bravery.

Vincent *****

Vincent, a play penned by Leonard Nimmoy, is a one-man production in which Theo Van Gogh, devoted brother and benefactor of Vincent, ponders and reflects on his famous sibling's life one week after his death.

Based on the real-life letters Vincent wrote to his brother throughout his life, the play is moving, emotional and given impact due to its personal viewpoint. The acting is impressive, with the performer adopting a Dutch accent throughout (although, and I'm nit-picking here, this does sometimes seem to stray into Spanish...). Paintings and sketches by Van Gogh are projected onto a screen at the back of the stage during the performance, and these are used to illustrate points of his life, such as the period he spent as a preacher in a Belgian mining community.

Van Gogh's story is a tragic one, and this is brought home via the writing and the performance, which very quickly convinces you that it is actually Theo Van Gogh you are listening to, such is the power of the actor portraying the part. You feel you are being given a very personal and candid view of real events by a loving and grieving brother, and by the end, you share these feelings and are left pondering the nature of family love and of artistic madness.

The Return of the Scottish Falsetto Sock Puppet Theatre ***** (and a half)

For the uninitiated, The Scottish Falsetto Sock Puppet Theatre is, as the name would imply, a one-man comedy show with the performer hidden behind a Punch & Judy style booth whilst he acts out a routine using socks with googly eyes stuck on them with both his hands. In a falsetto voice.

I saw this last year and loved it, although I thought part of that may be the novelty. I can happily confirm that this stands well to a repeat viewing, especially as all the material is new. Taking the conceit that they are trying to impress TV execs in the audience, the socks spend an intentionally shambolic and hilarious hour ripping through sketches and routines both scripted and improvised.

It opens with the theme tune ("I'm a sock, I'm a sock, you wear me on your feet not on your cock") and finishes with an extremely funny version of King Lear (featuring the three daughters, Gonorrhea, Ronald Regan and Cordelia Smith...). In between, we are treated to everything from their Christmas special ("and an iPhone not in a pear tree") to a special guest appearance from Kraftwerk...

Inspired lunacy, then, and what is impressive is that after a couple of minutes, you are totally bought into the idea that these socks have a life of their own - and it's only when the performer gets up from behind the stage at the end of the show that you remember this fast-paced and hilarious mayhem is all the work of one man - a man who has spent the last hour performing a double-act with himself in a high-pitched voice.

They were the Scottish Falsetto Sock Puppets. And so was him. And so was he.

The Terrible Infants *****

I've never seen a show quite like The Terrible Infants before. Five performers - three male and two female - dressed like vaudeville circus performers, use music, puppetry and props to tell several original Roald Dahl-like morality tales. 

The story of Tilly, the girl who tells so many tall tales she grows a tail, runs through the performance and is interwoven with other, self-contained stories, such as Thingamiboy, the boy who wasn't there; and Tom, the lad that ate his mum - you kind of get the gist of where they're coming from here.

The whole is performed in a completely charming manner with a childlike glee and delight expressed by the players and some effective and at times haunting music played throughout. Even some problems with one of the microphones being used didn't dampen proceedings, and the Terrible Infants succeeded in transporting us all back to our childhood.

Given the subject matter and the family-friendly nature of the production, I was surprised not to see many children in the audience - though I suppose that goes to show we all still nurture that child within us, and delight in a stylish and bewitching show like this to bring it to the fore again, even for a short while.

Footsbarn's A Midsummer Night's Dream *****

Travelling theatre company Footsbarn's performance of A Midsummer Night's Dream takes place on a big top erected on Edinburgh's Calton Hill.

Featuring an international cast of players, the stylish production takes place on and around an apron stage, with a quartet of musicians providing live medieval style music off to the side. 

Costumes and set are all visually pleasing, and are used to good effect to evoke the ethereal atmosphere of the forest at night. The actors are all wonderful in terms of timing and comedy, and you can tell this is one of the plays that the company have spent their 35 years of existence honing to perfection.

Special mention should go to the actor who plays Bottom (and Lysander - most of the troupe take on dual roles during the performance), whose facial expressions and comedy timing suit the performance perfectly. Also to the Japanese actress who plays Titania, flitting between English and Japanese to memorably portray the faerie mysticism of her character.

Part bawdy and burlesque, part stylised and physical, you can imagine this is how Shakespeare was performed back in Elizabethan times. As the performers circle the stage, dancing slowly whilst the musicians play a madrigal, the true spirit of Shakespearean theatre is conjured up before us and casts us all under its spell.

Children of the Khmer *****(*)

Another show which deserves more than five stars, Children of the Khmer is one of the most stunning, uplifting and moving shows I've seen this year.

Incense fills the air as you file in to the church hall in which this takes place, immediately setting the atmosphere and mood. Then, each holding candles, the young troupe of male and female performers come on stage whilst live traditional music and singing play behind them. Then, after a simple yet beautiful temple ceremony, the show proper begins.

Elegant and evocative temple dances, joyous and uplifting drumming, masked dance routines between monkeys and birds, traditional folk dances - each segment of the show is as stunning as the last. Wearing gorgeously colourful traditional costumes, the young performer look energetic, happy and - most notably during the temple dance - beautiful.

Towards the end of the show, two of the performers hold a large white sheet onto which a video is projected, explaining the background of the youths we have just spent a memorable 50 minutes enthralled by. Most with parents and family killed in past conflicts and living in poverty-stricken condition, they are all members of a school which tries to teach youngsters the tradition and culture of their country, to ensure it is not forgotten. Based on the performance, they have been taught well, as the dancing, music, singing and attitude of the troupe is faultless.

At the end, the entire company line up at the exit and create an uplifting cacophony of drum and cymbals, each one bowing and saying thank you to us as we file past them. Impossible to leave without a smile, then - and equally hard to not be immensely touched and uplifted by the whole performance.

Chess *****

Chess is an ancient Chinese legend performed in a stylised and physical manner by a Taiwanese theatre group new to the Edinburgh Festival.

Telling the tale of two warring generals sparring for the love of a beautiful queen, the cast adopt costume and movement reminiscent of Peking Opera performance, moving gracefully and in exaggerated fashion around the stage.

Costumes are stunning, and the onstage choreography is fluid and visually striking. Performed mostly without dialogue, there is however some English narration provided by an attendant maidservant and the traditional Chinese percussionists who sit at the side of the stage, providing live accompaniment to the unfolding action.

Performances like this are special in that they give a glimpse into another culture and style of theatre that is otherwise hard to find. And when done with such grace, beauty and style as this production, the sense of wonder and magic is complete. Based on this show, I hope the company return again next year, and once again open a door into another time and place for us fortunate enough to step through.

Gamarjobat *****

Gamarjobat are a pair of distinctive and expressive Japanese comedy mime artists, specialising in humourous magic routines and mime theatre. 

After the first twenty minutes of hilarious mime and magic, the audience is left in no doubt as to how to pronounce their name, as they have divided us into three sections ('Ga', 'Mar' and 'Jobat' respectively) and then use us to conduct a gigantic remix by getting us to shout out our allocated parts. Very funny, especially as they berate and scold us throughout for getting timing wrong or not being loud enough.

Then we're into the second half of the show, and definitely my favourite. This is The Western, during which the duo use expressive and clever mime to act out a typical tale from the Wild West, featuring gun showdowns, lynchings and romance. 

Yep, romance. By two Japanese blokes with mohicans. Although the tale is shot through with some excellent comedic moments, the story centres on one man's struggle for revenge, aided by a beautiful Spanish senorita...they pull this off excellently, and there's some true emotion and pathos in there that is actually very moving in parts.

Gamarjobat are firm festival favourites, and seem to appear all over Edinburgh during the Festival (at their shows, doing their magic routine on the High Street, Fringe Sunday etc). They have an appeal to young and old alike (although some of the younger kids were a bit lost by some of the nuances in The Western) and, although I've seen a lot of their act before, I never get tired of them.