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.

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: 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: 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)

Review: Rich Hall's Campfire Stories ***

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 *****

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)

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)

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: Janis ***

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)

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: 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 Fall of Man ***

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)

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 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: Capercaillie ***

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.

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

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)