EDINBURGH FESTIVAL NEWS | REVIEWS | INTERVIEWS ThreeWeeks EDINBURGH ALL OUR LATEST REVIEWS INSIDE MARK WATSON IS HERE, DEFINITELY

JONNY & THE BAPTISTS | NJAMBI MCGRATH | ROBERT SHAW | MARTHA MCBRIER | YETI’S | AND MUCH MORE

WEEK ONE EDITION | THREEWEEKSEDINBURGH.COM

YOUR GUIDE TO THE EDINBURGH FESTIVAL For all the latest festival news as it breaks STARTSwww.ThreeWeeks.co.uk/news HERE… Speedy updates from the NEWS 03 Edinburgh Festival INTERVIEWS 04-12 Want to stay up to all that this year, well, it’s the BBC’s Editors’ Awards a couple of years Sam Michell, Channel 4’s Laura Riseam, back, which are very much anti-bland speed with all the ITV’s Saskia Schuster, The Scotsman’s we reckon. And they, by the way, will 04 04 Claire Smith, The Times’s Dominic return at the end of this year’s Festival goings on across the Maxwell, i’s Alice Jones, the Melbourne once again. We have no categories, no Edinburgh Festival? International Comedy Festival’s Susan precise remits, no particular agenda, Provan and comedy fans Niki Di Palma, other than celebrating shows and Look out for Jim Johnson and Sam Haslam. performers who we think are bloody regular speedy updates brilliant. Watch this space for more WILL FRANKEN’S ALTERNATIVE info. from the ThreeWeeks COMEDY AWARD TW:TALKS LIVE news team in the TW Talking of awards, character comedian 06 07 Will Franken has announced his Did we mention that this is our 21st Daily email. Sign up intention to launch his own award this year covering the Edinburgh Festival? for free at threeweeks year, the Defining The Norm Awards. In To celebrate we are staging five live a nod to the Fringe’s ‘defying the norm’ podcast recordings at theSpace edinburgh.com/signup. slogan this year, as well as contributing @ Symposium Hall next week, in to the customary debate about which we will interview five former Meanwhile, here’s a the over commercialisation of the ThreeWeeks cover stars: Mark Thomas, batch to get you going… comedy Fringe – and the role the big Susan Calman, Brendon Burns, Lucy awards have in that process – Franken Porter and (current cover star) Mark says his will be the one truly honest Watson. You can come along, listen awards programme, “celebrating the in and ask your own questions. 08 08 EDINBURGH COMEDY AWARDS safety, sameness and sycophancy so Book yourself some free tickets at thisweektalks.com A chunk of the comedy fraternity integral to the world’s largest and most amassed for Sunday lunch last expensive comedy festival”. Hmm, I weekend with the traditional Fringe wonder who he’ll pick to win. BOOK FESTIVAL INCOMING kick-off gathering organised by the Don’t forget that alongside all the Edinburgh Comedy Awards and THE THREEWEEKS EDITORS’ madness of the Fringe and the paid for, presumably, by its nice new AWARDS International Festival that is already sponsor Lastminute.com. And if you Talking of Will Franken and awards, occurring in this here festival city are wondering who, exactly, is judging we gave him one of our ThreeWeeks (and let’s not forget the Tattoo and Art Festival), the Edinburgh International 10 10 Book Festival kicks off next weekend. Says director Nick Barley of his programme this year: “You could say that the theme of this year’s festival is ‘Project No Fear’. It’s about encouraging and celebrating the sort of courageous, positive, creative thinking that we desperately need in order to make the world a better place for everyone, rather than just for a 12 All our interviewees privileged few”. answer even more questions online BOOK FESTIVAL TIPS Don’t forget Caro’s Three To See PLUS new interviews tips for the Book Festival: Leila go live everyday Al-Shami and Robin Yassin-Kassab, threeweeksedinburgh.com Aarathi Prasad and the ‘The Write To Read – Discussing Dyslexia’ event. Oh, and Malcolm Harvey (pictured) and Michael Keating discussing the renewed debate over the possibility of Scottish Independence. Even though that’s four tipped events. REVIEWS 13-16

THREES TO SEE Talking of the Threes To See – don’t forget we tip three shows to see everyday of the Festival in the VIEWS 17-18 TW Daily email. So get signed up. EDINBURGH LONDON TW ThreeWeeksEdinburgh.com TW ThisWeekLondon.com Your guide to Edinburgh’s Festival| since 1996 Your guide to culture in London | all year round

WEEK ONE EDITION | THREEWEEKSEDINBURGH.COM | PAGE 03 TW INTERVIEWS THREEWEEKS: 21 YEARS COVERING THE EDINBURGH FESTIVAL! Jonny & The Baptists: Robert Shaw: A bit of politics and ping pong Inside Rock solid new shows in that lot? intelligence Jonny: People always say to us, when ThreeWeeks awful things happen in the world, ‘Oh that must be great for you, you on the favourites Jonny & don’t even need to think of any new The Baptists return material’. The truth is, we’d much rather have no career and just be Fringe’s to the Fringe once playing table tennis, if we could swap again with a brand that for a fairer society. new play new show about CC: Do you think comedy can change the minds of an audience thriller inequality and the – or at least make an audience wealth gap. Which aware of certain issues? Inside Intelligence Paddy: Definitely. It’s not like one show is a company that might sound a little is going to suddenly turn someone’s views on their heads, but it’s important has been pushing serious, though this to keep talking about these things and musical comedy duo hope you’re part of a wider eco-system boundaries with new that encourages debate. And we theatre for over two have demonstrated definitely think that laughter makes people more receptive to engaging decades. This Fringe before that they can with different opinions. We tour the take on political shows across the UK and play to a lot it presents ‘Poena 5X1’, of people who maybe don’t agree with a new political thriller issues while keeping us, but are willing to listen so long as there are fun songs about swans. us well and truly from playwright CC: You’ve toured with Mark Abbie Spallen entertained. Which Photo by Thomas, another comedy Kat Gollock exploring “sex, is to say, there’ll be performer who has found interesting ways to bring politics politics and the power plenty of funny songs and the wealth gap, how we got here get paired up together via a ballot and where it’s taking our society. to fight injustice. Like in the 1980s, into his work. Although you are of love”. The play was while they subtly Jonny: Alongside presenting a load of with people like Alexei Sayle and the doing something quite different, research there’s a full, epic storyline alternative comedy movement. And if are you inspired by his output? commissioned by feed your brain with this year. It’s mostly set in the future, it weren’t for their tireless work, we’d And any other comedians with a facts and arguments. but it’s a true story. I betray Paddy; never have got rid of Thatcher after political agenda? Inside Intelligence’s betray him for money, fame and more several terms and a coup by her own Jonny: Mark is absolutely brilliant. He’s Robert Shaw, who We caught up with money. I even end up married to Jerry party. We feel we’ve achieved the same a huge inspiration and such a warm, both Jonny Donahoe Hall. Paddy has a terrible time, ends up strategy with David Cameron. kind, generous person. If we could also directs the show. homeless. be anything like him when we’re a bit We caught up with and Paddy Gervers to Paddy: I hate the future. The future’s CC: How do shows with a further along our careers, that would awful. narrative compare to more be amazing. There’s also a wealth of him to find out more. get the lowdown. conventional gigs? intelligent political comics from our CC: What motivated the show? Jonny: They’re really hard to promote. generation – Nish Kumar, Tiernan CC: Tell us about the premise of CC: Can we call you ‘Fringe Jonny: Inequality is like Everest for The shows now are part-theatre, Douieb, Josie Long, Ria Lina – who are us. It’s there and it’s massive, so we doing great things, and hopefully we ‘Poena 5X1’. veterans’ yet? You’ve done a lot part-comedy and part-music. So every thought we should explore it. We’ve can also inspire each other a bit. RS: It’s a dystopian, Scandi noir thriller of shows here – what’s draws journalist believes that we aren’t spent six months researching it. technically within their editorial remit. about sex, politics and the power of you back each time? We’ve spent a lot of time with the CC: You are back at Summerhall love. An idealistic government scientist Jonny: ‘Veteran’ sounds like too serious homelessness charity Crisis, we’ve CC: Do you come up with the again this year. It has an eclectic has developed a new drug – a ‘humane a word for a couple of guitarists from tried to learn a small amount of narrative and then write songs programme, but isn’t so known form of chemical punishment’ – as a Reading spending their summer economics, and we’ve played a huge solution to the global problem of prison to fit, or do you have some songs for its comedy. What attracts doing funny songs. This is our fifth amount of table tennis. Too much over-crowding. But what happens when you to the venue? Edinburgh show together, but you still table tennis. To be honest, it would be already done that you squeeze the decision is taken to exploit the new feel nervous every time, especially as a better show if there had been less in? Jonny: We love Summerhall. The drug for profit? it’s where we premiere new material. table tennis, but what can you do? Paddy: It’s a bit of both really. This people, the staff, the audiences are brilliant. We play at Paines Plough’s As long as people enjoy it we’ll keep story is one that we’ve wanted to CC: What themes are being Roundabout venue – it’s a pop-up coming back and hoping we’re still CC: You’ve played with political write for a long time so we’ve had lots explored? allowed a career. of ideas for songs and drafts of bits 160-seat theatre in the round which is themes a lot in recent shows. RS: I guess the main themes are love, Paddy: It’s hard to imagine doing of material that we knew we could the most beautiful, intimate space. Plus Was that always an ambition, or sex, politics, justice and retribution vs anything else. Edinburgh is the best work with. Then you hope it all comes Summerhall has it’s own gin distillery rehabilitation. At its heart, it’s about place in the world in August. Though did it kind of evolve that way in together just in time. And if not, the and there’s a pub round the corner the tension between love and justice I wouldn’t call us ‘veterans’ so much, response to world events? train from London to Edinburgh is with a table tennis table. and what happens when the process more like the problem locals at a very, Paddy: We got together not long after almost five hours, so you can get a lot Paddy: We won’t say which pub, don’t of exacting justice is subjected to free very large pop-up bar. the first Conservative-led government of panicked rewriting done then. ruin it for us. of 2010. Whenever a new Tory market forces.

CC: Tell us about ‘Eat The Poor’ – government gets in there’s a sort of CC: It’s been a busy few months Jonny And The Baptists perform ‘Eat The CC: You commissioned Abbie what’s the theme and storyline? Bat-Signal that goes out and all the in the world of politics. Is there, Poor’ at Roundabout @ Summerhall until lefty comedians, musicians and artists 28 Aug. Spallen to write the piece. How Paddy: The show’s about inequality like material for about twenty

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rehearsals. Edinburgh also presents to explore that interaction. Of all the its own challenges, with the slot being things we’ve done since 1995, ‘Poena a very defined length. That helps to 5X1’ is in many ways the show I’m concentrate the mind – “have we said most proud of. How lucky am I to be this already?”, “could we say this better able to say that after 21 years! I guess or more concisely?” – that sort of thing. the objective is to continue being We’re intent always on respecting and excited by the work and the process honouring the play and at least we can of developing it and presenting it, feel happy that this is what we’ve done. however hesitantly, to audiences.

CC: Tarik O’Regan has provided CC: The Edinburgh Fringe has an original score for the piece. a solid reputation as a place to How did that tie-up come about? premiere new theatre. Is it still RS: I was lucky enough to direct the a good place to present new European premiere of Tarik’s opera plays? ‘The Wanton Sublime’ last year. Tarik is RS: Yes, it is. It’s really scary. But that’s very open to new ways of working. He good. It means you’ve fully invested in mentioned that he was interested in the work; that you’re putting yourself getting involved with writing music for out there for everyone to see. It’s theatre. He’s also getting into electro- the risk that makes it worthwhile. acoustic music and this fitted really Edinburgh is still, I think, one of the well with the kind of soundscapes I best places in the world to take those was looking for to accompany the risks. The possibilities in Edinburgh Scandi noir feel of this production. always seems so much greater than All in all, this seemed like the perfect elsewhere. opportunity to ask him to get involved. did come to work with her? simply a new play? How does the subtitle – ‘Or How I Came To Agree With Right Wing Thinking’ – very And he said yes! CC: What are the future plans for RS: I’ve known her for a number of commission process work, both years and liked her work, especially interesting and provocative and it gave ‘Poena 5X1’? at the outset, and as the play is CC: Tell us more about Inside her plays ‘Pumpgirl’, which was a hit being written? me some thoughts for how the plot RS: Right now, getting to the end of the might develop, which we talked about Intelligence. at the Traverse in 2006, and ‘Lally The RS: It depends. Sometimes you have Fringe intact is all I can think about. and she incorporated them into the RS: I founded Inside Intelligence 21 Scut’, which is a scabrous, satirical play a very specific idea and then look Making plans can be dangerous. Hopes final draft. years ago. We started life as a confused about Northern Irish politics that was for a writer to develop it with. But in are always present. London would be child and then became an unruly a hit in Belfast in 2015. It was a natural this case, I asked Abbie what she was nice. We’re interested in touring. The teenager. It’s bit worrying to think step for me to ask to her write a play interested in writing about and she CC: Has the script evolved show’s future hangs in the balance – we’re starting to grow up! I may have for us and I’m delighted she agreed to came up with this story, which grabbed further as the show went into how will Edinburgh respond to what to do something about that. I’ve always my commission. me straightaway. She delivered a first production? we’ve done? been interested in the connection draft, which we talked about and I had RS: There’s an inevitable process of between theatre and music. This CC: Did you commission some notes for her. I also found the refining the text for performance ‘Poena 5X1’ is on at the Underbelly Med Quad production felt like the perfect way something very specific, or which takes place at the start of until 29 Aug. /theatre

WEEK ONE EDITION | THREEWEEKSEDINBURGH.COM | PAGE 05 TW INTERVIEWS THREEWEEKS: 21 YEARS COVERING THE EDINBURGH FESTIVAL! The Glorious Monster: Glorious wrong uns There’s a very high chance you’ve seen sketches from The Glorious Monster on YouTube, where their great comedy creations and high production values grabbed plenty of attention, not least from production company Hat Trick whose chief has dubbed the group “the next League Of Gentlemen”. As they perform their debut Edinburgh Photo by show ‘Wrong Uns’, we spoke to the group’s Martin Collins about the David P Scott characters, the show, the telly projects and making it on YouTube. CC: Let’s start at the start, how best of our ability. The production did you guys come together values of the sketches – along with to perform sketch comedy what we hope is strong writing and goodness? performance – has been the thing that gained us attention. After the first MC: Alex Finch and I met through a ones went live, a producer at Hat Trick sketch group called Broken Biscuits. messaged us on Facebook asking to We wanted to start writing ourselves, meet up and things moved on quickly to see the way we viewed the world from there. We made a taster for the really come to life. Daniel Hoffmann- BBC and now we’re here, doing our Gill and Adam Loxley were two brilliant Edinburgh debut! actors we really admired and we were chuffed when they liked the writing and came on board to form the troupe. CC: Ah yes, I heard about the So often sketch comedy can be Hat Trick tie up. The boss there, about the ‘live show’ – sketches that Jimmy Mulville, has called you are observational or based around “the next League Of Gentlemen”. ‘wouldn’t it be funny if...’ – which, That’s probably a lot to live up of course, is great. But we want to to! How do you think your work present a world of three dimensional compares to theirs? Do they characters that are alive, relatable and inspire your comedy? sometimes even weirdly loveable. MC: We love The League of Gentlemen – as so many do – and of course they’re CC: What can we expect from an influence. We love character and the ‘Wrong Uns’? idea of creating a real world for people MC: We’re a sketch show that delves to invest in. But we’re also careful to in to the dark side of humanity. We add a great deal of our own voice want to explore the nooks and the to our characters. We hope there’s a crannies of every day life. The Wrong sweetness and vulnerability to many Uns are the people you come across of them, beneath all the various layers that give us the stories that start with of wrong. “you’ll never guess who I met...” From a driving instructor who wants a go CC: An increasing number of on your ‘gear stick’ to the world’s most performers are launching their sadistic HR ladies – from a coma nurse careers with a YouTube channel. who uses her patients as a stand for Any tips for aspiring comedy her iPad to the dysfunctional family life of a ‘closet’ clown – it’s a deliciously types hoping to make content twisted world. for and build an audience on YouTube? CC: Many people may have MC: For us, it was and is always about previously seen your sketches making it as beautiful as possible. We on YouTube. How does the spend a great deal of time on planning the detail and how we might shoot live show compare? Do the things – sets, costumes, characters characters seen online appear? etc. We worked with a great director MC: Lots of those characters come up in Stephen Pipe, who helped us get in the show, alongside a load of new the best out of our limited resources. ones. With ‘Wrong Uns’ we’ve tried That said, the most important thing to add to this by giving some of our is to just keep making stuff! Never favourites a narrative arc. We love the wait for ‘THE’ idea. Make something, idea of a story slowly building, adding learn, then make something else. It’s meat to the characters and jokes over all about getting better, taking notes time – which people seem to love. from people you trust, and keeping the fun alive. Saying that, try not to make CC: Things seem to be moving your YouTube videos too long – three very fast for you guys. And it minutes is a good target! all seemed to begin with the YouTube channel? This Glorious Monster are on at Pleasance MC: Yes, we started with the idea of Courtyard until 29 Aug. ‘let’s just make it’ and make it to the /comedy

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CC: So, while you ARE here, tell Photo by us about ‘I’m Not Here’. What’s David P Scott Mark the premise for the show? MW: It begins with an incident that happened to me at an airport, to do Watson: with my passport being deemed invalid. Well, actually, it normally begins with some characteristic messing about, but eventually we get Who is, to the airport. From there I try to talk about the idea of identity in a digital in fact, age. But with jokes; lots of jokes. CC: Once you’ve picked a premise, how strict are you on here making sure the subsequent material sticks to it? MW: I suppose I’m strict about making Despite giving Mark it SEEM like the material sticks to it. I try to make sure that everything Watson one of our is woven together, at least loosely, because I think it’s important to feel Editors’ Awards in you’ve seen an actual show, rather 2005, we somehow than an extended set. I’ve seen an awful lot of Edinburgh shows in my forgot to ever put him time and the best ones were usually – not always, but usually – those which on the cover. This were cunningly structured as well as despite our love for his just funny. So there are a few jokes I’m really fond of which just wouldn’t fit numerous Edinburgh into this show and were dropped. It’s like picking a football team. You can shows, those 24 hour have maverick players but everyone plus marathon Fringe must fit the system. performances, ‘Mark CC: Were you tempted to sell Watson Makes The tickets, not show up, and then just point out you’ve fulfilled the World Substantially remit of the show’s title? sports day was drunk – as indeed, Better’ and all his other MW: We talked about it, yes. It would looking back, some of them may have have been the greatest stunt since that been. Radio 4 outings, the year Tim Vine got a massive billboard that said ‘TIM VINE IS NOT APPEARING CC: Who are you planning/ telly projects, the many AT THIS YEAR’S FESTIVAL’. In the end hoping/intending to involve this collaborations with the there was a group decision that, just year? possibly, some audience members MW: Among our combatants are would feel disappointed, despite equally marvellous James Acaster, Sam Simmons, Josie the literal accuracy. Also, I’d be a bit Long, Sofie Hagen, Nish Kumar and Tim Key and Alex annoyed not to be performing the Luisa Omielan. But loads more too; show after all this work! Horne, and whatever we’ve got some of our best ever line- ups. CC: You are doing a massive tour bit of his biog we just CC: Will you be doing anything of this show. What made you missed out. With Mark to give the whole thing a bit of a want to include a full Edinburgh Rio feel to it? run in the middle of that tour? somehow managing to MW: Nothing too spectacular, except fit an entire Fringe run MW: Partly masochism. I’m never we’re trucking in nine hundred happier than when I’m putting myself thousand tonnes of sand to recreate into the 84 date tour of through some sort of endurance effort. Copacabana, and stationing dozens And partly, Edinburgh will always be of armed police outside the Pleasance ThreeWeeks Editor his current show ‘I’m my home as a comedian. There have Beyond to put down any protestors. been years where I just did part of the Not Here’ – while also Festival, but it always feels like arriving Chris Cooke delivers a CC: I’ve always been a big fan at a party when most of the wine’s staging another stint of of your Radio 4 shows. Though free speech about already gone and people are asleep in his Olympics-themed the bath. did you actually make the world substantially better? free speech ‘Edinborolympics’ CC: Let’s talk about the other MW: If you look at a general review of – this seemed like show. For the uninitiated, what’s 2016, I think you’ll have to accept that book at the Edinborolympics? absolutely nothing has gone wrong chriscookesfreespeech.com the year to address in the world. Hang on. WHAT? JESUS MW: It’s a – very inaccurate and CHRIST. This is why these days the unwanted – homage to the real the never-had-Mark- series is just called ‘Mark Watson Talks Olympics, which began four years ago JUST FIVE PERFORMANCES A Bit About Life’. It’s a less daunting Watson-on-the cover because the Fringe overlapped with target. free shows at theSpace @ Symposium Hall the London Games. We’ve since done oversight. So we had Tue 23 - Sat 27 Aug | 10.30am - 11.30am one for the Commonwealth Games, so Mark Watson’s ‘Edinborolympics’ is on at a chat with the man this is the third. Essentially it’s a cross Pleasance Courtyard from 18-22 Aug. His between ‘It’s A Knockout’ and a school solo show, ‘I’m Not Here’, is on at Pleasance himself. sports day, but if everyone at a school Courtyard until 28 Aug.

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that can have the funniest moments. When I started my research I spent the Njambi first six months crying and once that Hui-Chen was out of the way I could then begin to laugh. McGrath: Tan: The CC: People have noted that you combine one-liner comedy with One-liners, some pretty serious topics, secret which is unusual. Was that big issues deliberate, or did that just come language naturally to you? NM: That was purely accidental. I Born and educated in worry if people don’t laugh for a while, of NuShu Kenya, before attending and I like the instant gratification of laughter. One-liners weren’t what I NuShu was a secret university in both the US aspired to do, rather, it was the doing language used for and UK, and now London- of my ego. It’s important for me to be the voice of so much unspoken Photo by centuries by the women based, Njambi McGrath horror but, at the same time, I want Kat Gollock of the Hunan province in has been garnering lots the audience to remain on my side. Nevertheless, I think my shows are China. Deprived a formal of attention in recent CC: For those who have not me and asked if I had ever considered thought provoking, and it is always education, the women years as she’s worked been paying any attention stand-up, which took me completely pleasant to receive a tweet or email whatsoever, let’s start at the by surprise. When I told my husband from people who read further on the devised the language the comedy circuit and start. How did you first get into about it he encouraged me to try, so topics I raised, be it the massacre of I went along to the Comedy Café in half of the population in Congo by – and then handed it new talent competitions. comedy? Shoreditch. I spoke to the owner who King Leopold ll of Belgium or domestic down from generation to Adept at writing very fine NM: I never considered myself a gave me a slot two weeks later, and abuse. comedian. I work as a childbirth generation – so that they one-liners, while also then I was bitten by the comedy bug. teacher and wanted to make my CC: Tell us about the comedy classes more exciting, especially could communicate with delving into some serious CC: You seem to have been in the nights you organise in London. for new fathers-to-be, since the and support each other. topics in her shows, mothers are usually already on board. finals of pretty much every new NM: I run a comedy club called comedian competition in the last Heavenly Comedy in Shepherd’s Intrigued by the story Njambi brings ‘1 Last So I wrote some jokes. And they laughed a lot and paid so much more couple of years, what’s that been Bush. It’s a new material night which of NuShu, Taiwanese Dance With My Father’ to attention on how to help their wives like? allows me to experiment with ideas and, when I’m sure they work, I can choreographer Tan this year’s Festival. or girlfriends during birth. Basically NM: Getting to the finals is exiting, I hoped to make a scary thing less to know that I have been selected then take them to other new material Hui-Chen of the Water We had a quick chat to frightening. After one session, a man – purely on merit and the quality of nights before the new jokes finally become part of my set. It’s also great Reflection Dance find out more. who was a film script writer – came to my writing, so it’s a very nice feeling of achievement. It’s also frustrating for previewing Edinburgh shows and I Ensemble visited because it feels like you’re so close but get a chance to know a lot of awesome yet so far! It feels like being at school comics. the region where the again and you are one mark off an A, language originated but you can’t keep telling people how CC: Does promoting comedy close you were to the prize without nights help you develop your to try and learn it for sounding weird. own comedy career? herself. From that NM: Yes and no. It’s a good CC: Tell us about ‘1 Last Dance experimental space, and I do have experience she devised With My Father’. fun trying different things out. her show ‘NuShu’, which NM: It’s a poignant comedy about my But promoting is also very time is being performed at journey to discover who my father consuming. It helps that the night has was. He was a violent tee-totaller who I a new material focus and is basically Dance Base this Fringe. hated but, having done lots of research an open mic set up. Anyone can do the We spoke to her about about his life, I went from being angry night, and the audiences who come to being desperately sad for my understand that – because the acts this fascinating project. father, to having sheer respect and are trying out new material – some appreciation of how awesome he was. elements will work better than others. That way it’s less pressure. CC: Tell us what NuShu was and People go through their whole lives why it existed. without asking their parents about HCT: NuShu is a secret language their childhood. You don’t know what CC: How important is it for you to between women used in the Hunan you will unearth. It’s ironic that I did so do being doing a full hour show province of China. It first came to wider much study about his life, because he at the Edinburgh Fringe? attention in the 1980s, but to this day was a great believer in education. NM: Very important, partly to no one has been able to confirm just

showcase my writing ability to people how long it has been in existence. It CC: It covers some pretty serious from all round the world, but also to originally existed because women events. Was it easy to find the push myself to write. Because now, if were not allowed to be formally comedy in the themes? HBO ever offered me a special, I would educated but they wanted to be able to NM: It’s always tricky making jokes have a huge repertoire of material! communicate with each other. about something that upset you for Doing a full hour also allows me space to talk at length about issues that most of your life, but it’s also quite CC: This special language was therapeutic. At first talking about it was are important to me. And, of course, it’s nice hanging out with comics almost lost. How much of it do painful, but I like taking the audience we still know and understand through the journey because, even and promoters who you would not today? with the darkest material, one can find necessarily see throughout the year. little gems to make fun of. It’s also a HCT: The women who used NuShu Njambi McGrath performs ‘1 More Dance on a daily basis have all passed away, thin line between tasteless jokes and With My Father’ at Laughing Horse at dark humour. It is the bleakness of life though there are still about ten or Espionage until 27 Aug. more descendents of NuShu speakers /comedy

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who make an extra effort to learn the men enjoyed watching how they Photo by language, even though nowadays, walked. But learning about the NuShu because they get to go to school, community, and how women created a Kat Gollock Mandarin is their main language. language, and formed a really spiritual There are now also some classes in bond and support network through Hunan where you can learn NuShu, it, definitely changed my view on but I don’t think they are particularly women being ‘soft’. And it made me well-attended think about my own memories, when I was young and living in countryside, CC: Tell us about your visit to the and I now understand more about my region where NuShu originated. mother’s stories and what she was HCT: I had only heard people talk about going through. NuShu, but didn’t know much about the language itself. I was intrigued, so CC: Tell us more about the show decided to investigate the possibility itself. of going to Hunan to learn it. I wanted HCT: The show is a way for me to use to create a dance work based on dance to share the spiritual side of NuShu, because I fear it will soon NuShu. The women in the community disappear, and hope that my use of find happiness and comfort despite body language can help to record it being in a helpless environment where for future generations. I felt that the women are viewed as nothing. The only way to work out how to portray women who studied the language the language through dance was to were under a lot of pressure, but live within the community it originated they felt lucky to have NuShu to from for a month or so; to learn why communicate with one another, and to the women didn’t get any traditional have the mental support from others. education and how they were nevertheless able to come up with CC: Do you have any specific CC: Tell us more about your especially women’s voices, from CC: You are performing at Dance this language; and to find out how the objectives with the piece? company. Why did you set it up around the world. Base this year – how did your current generation of NuShu women HCT: My journey and exploration and what kind of work do you alliance with the team there CC: You performed at the want to pass on this tradition. radically changed my view on women do? come about? from this part of the world, because HCT: I founded Water Reflection Dance Edinburgh Fringe before. What HCT: It’s so nice to perform in Dance CC: What did you learn from usually in Eastern culture we often Ensemble in 2001 with my husband brings you back? Base and work with their excellent your research into NuShu and think of women having to be obedient Choon-Lin Lee, the company manager. HCT: This is our first time being here team. Artistic Director Morag Deyes the women who used it? to men. So I would like the world to I usually create work that is inspired for the whole Fringe, and we very saw our work and wanted very much HCT: In ancient China, women were know about this group of strong and by what I see and what interests me much want to use this opportunity to to bring it here, and we could not often subservient to men; for example, knowledgeable women who were at any one time, though my ambition let people know about our work as refuse! women bound their feet and wore enterprising enough to create a is to use the arts to connect and well as Taiwan’s many forms of artistic three-inch golden lotus shoes because language all of their own. communicate different cultures, and expression. ‘NuShu’ is on at Dance Base until 28 Aug.

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WEEK ONE EDITION | THREEWEEKSEDINBURGH.COM | PAGE 09 TW INTERVIEWS THREEWEEKS: 21 YEARS COVERING THE EDINBURGH FESTIVAL! Goodbear: Sketching out your Fringe day Holly&Ted: Girl power pond style

Having met while Photo by In ‘Pond Wife’, both sketching with David P Scott theatrical duo the Leeds Tealights, Holly&Ted take the Joe Barnes and Little Mermaid and Henry Perryment transform her into arrived at the Fringe the kind of hero as sketch comedy who could save a duo Goodbear for pop star. The result the first time last is a traditional year. They return fairytale with this Festival at the plenty of pop tunes Bedlam Theatre and dance moves with a show full from the 1990s and of rather strange 2000s. We threw characters living CC: So let’s start at the very start. we wanted to make. So once we had hopefully those who come back will some questions How did you guys come to form graduated we grabbed each other and like it! their lives during Goodbear? decided to put together a double act. Henry: We didn’t try to change what over to both Holly And so Goodbear began! we were doing too much. Just do it Joe: We met about five years ago at one single day. We better. Coz we wanna get betta at doin Leeds University where we were both and Ted, and these stuff, innit. members of sketch group the Leeds CC: Tell us about the new show. spoke to both Joe were their answers… Tealights. Joe: It’s a character-led sketch comedy and Henry to find Henry: We had really similar tastes show about a selection of really quite CC: Between the two of you, you in comedy, theatre and film, and strange characters doing stuff all have also done theatre stuff, CM: Okay, let’s begin with the out more. similar ideas about the kind of things around the world on a single day. stand-up and performed in other basics – who are you guys? Henry: Oh God it’s a lot of fun. I’ve seen sketch groups. How does all that H&T: We’re a collaborative duo who it so many times. influence the writing and the work together to create theatre performing in Goodbear? that focuses on strong women. CC: So everything happens on a Henry: It hugely influences Goodbear. We work entirely collaboratively, single day. Which day? And why I like the idea that some people walk sharing devising, writing, directing that concept? out of the show not wanting to box us and performing duties, as well as Joe: Each show is set on the date the into the sketch comedy genre. We’re supporting each other both on and off audience actually sees it. We then look massively influenced by theatre, music stage. at what people get up to on that one – all the music we use is originally day, however significant or however composed by my brother Max – and CM: Without giving too much mundane. film. So all those things come into play away, tell us a bit about ‘Pond Henry: The concept was appealing when writing a new show. Wife’. because it seemed like a really simple Joe: To be honest, I’m influenced by H&T: ‘Pond Wife’ is loosely based on way to present a load of characters quite literally everything I see! ‘The Little Mermaid’, but we were also whilst giving the show some kind of inspired by seminal moments in pop through-line, and something for the CC: You were at Underbelly culture – such as Britney’s breakdown audience to hold onto. last year, but are taking to and Kesha’s trial against Dr Luke. We the Bedlam stage this year. wanted to take a fictional character, CC: Last year was your first year Improverts aside, Bedlam is like the Little Mermaid, who is typically at the Fringe as Goodbear. How probably better known for its weak and gives up her voice for a man she’s never met, and make her a hero did it go? theatre programme. What drew Joe: We had a lovely time last year. who could save a pop star. you to the venue? People came and laughed and we’re Henry: The Bedlam seems to be really still friends, so thank God for that! CM: So definite feminist themes? suiting our show so far. Though we Henry: It was really good fun! And it had such a great time at Underbelly H&T: We’ve tried to make the themes was massively useful in figuring out last year. I suppose with the way the of strength in sisterhood and following whether our style worked and how to show developed this year we felt that it your heart the strongest parts of ‘Pond hone it. It was a real learning curve. would suit the Bedlam stage best. Wife’. We want to encourage young And we had a laugh! Joe: Our show’s massively influenced women to help each other to achieve

by theatre so it made a lot of sense to their dreams, and not compete against CC: How does this year’s show perform there. That big stage and all one another. Feminism was always compare? Did you do anything the lighting mean you can create a real going to be a clear theme in our work differently? sense of atmosphere too. as it is something we are so passionate Joe: It’s a completely new show Henry: There’s comfy seats and cheap about, however we wanted to break so content wise it’s very different. beers as well, if anyone’s wondering... these down further. Tonally, though, we’ve tried to keep that ‘heartwarming’ pay-off at the Goodbear perform at Bedlam Theatre until CM: What inspired the project? end, which people seemed to like. So 28 Aug. H&T: Whilst researching the different versions of ‘The Little Mermaid’ we /comedy

TW PAGE 10 | THREEWEEKSEDINBURGH.COM | WEEK ONE EDITION INTERVIEWS GET MORE INTERVIEWS BY EMAIL: THREEWEEKSEDINBURGH.COM/SIGNUP Holly&Ted: Girl power pond style

were listening to pop music and forward by mainstream media. Women found so many concurrent themes, have a wider range of unexplored and such as waiting around for a man, or unexpected experiences to draw from not knowing what to say to a man, which is often going to be funnier than which fit perfectly with the original the privilege of being a cis man. I mean tale. Then when we juxtaposed these if you can’t find the humour in our against some incredible songs about attempts to lip sync to 90s pop music, independence we began to realise where can you? where our version of the story would take us. CM: Do you think it’s possible to change people’s attitudes via CM: What made you use Hans theatre? Do you think you could Christian Anderson as a jumping convert a non-feminist with your off point in the first place? Are approach? you fans of his work? H&T: Theatre is an incredibly powerful H&T: I think everyone is a fan of Hans medium, because it asks you to Anderson, aren’t they? Along with the empathise and identify with a human Brothers Grimm and Charles Perrault, being sharing the same immediate he basically reinvented storytelling, space as you. If you can put yourself and what was appropriate for a in their shoes, and believe their children’s story. The original ‘Little experiences, it can change the way Mermaid’ is a heartbreaking tale of you see the world once you’ve left the lost love, inspired by Anderson’s own theatre. Obviously its harder to get life. We chose ‘The Little Mermaid’ a ‘non-feminist’ – we prefer the term because we knew we wanted to work ‘misogynist’ – to come see a feminist with a fairy story, we knew we wanted show, but if you can get them through to reinvent it with a feminist twist, and the doors… anything can happen! we thought that she was possibly the weakest female character. CM: You’re newcomers to the Edinburgh Fringe. What are you CM: Where do you stand on the expecting? Disney version of ‘The Little H&T: We’ve been touring different Mermaid’? fringes with the show for a while, H&T: The Disney film is a very so we’re hoping Edinburgh will give sanitised version of the original story, us a boost in terms of audience with a happy ending and adorable engagement and company profile. It sea creature companions. But it’s would be amazing if in a few years time completely brilliant in its own way. people got excited about seeing ‘the It may no longer be a heartbreaking new Holly&Ted show’. story of lost love and loneliness, but it has some great tunes, and Ariel’s dad is CM: Is there ‘a new Holly&Ted super hot. show’ in the pipeline? And what next for ‘Pond Wife’? CM: The show is described as H&T: What’s next for ‘Pond Wife’ both funny and feminist, which kinda depends, because as a small some asses would regard as unfunded company we’ve potentially impossible! What would you reached the limits of what we’re able say to those who are put off by to achieve with this on our own. But feminist discourse and think that if a venue comes along and enjoys it, feminists are humourless? or a producer is looking for a tour… H&T: To put it simply – they’re wrong. who knows! Either way, we’ve already Ted used to hate stand-up comedy started researching our next show until he started working at Soho which is very different from ‘Pond Wife’, Theatre and started to see a wider but with a similar sensibility. range of comedians than the straight ‘Pond Wife’ is on at Underbelly Cowgate until white males that are so often pushed 28 Aug.

/theatre

WEEK ONE EDITION | THREEWEEKSEDINBURGH.COM | PAGE 11 TW INTERVIEWS THREEWEEKS: 21 YEARS COVERING THE EDINBURGH FESTIVAL! Martha McBrier: Back at the Fringe with stories to share

Martha McBrier enjoyed much acclaim for her stand-up shows at the Fringe over a decade ago, but then she stepped back from performing for a number of years. But she has reappeared on the Edinburgh stage more recently, initially with her self-penned children’s shows, and last year with ‘Pigeon Puncher’, in which her comedy was combined with the art of storytelling. She returns this month to the Free Festival with ‘Japanese Boy’, recalling the time she took a group of mental health patients to compete in a pool tournament. We caught up with Martha to discuss her comedy, her return and this year’s story and the themes it explores.

CC: We first saw you at the CC: Tell us about the story you’re stable they could talk to me about Fringe like a decade ago, but sharing in ‘Japanese Boy’. their symptoms and even laugh about then you took a break for a few MM: I worked in mental health for six it. Humour can work everywhere. years before returning with years in the 1980s and started a pool And I have to say, comedians are the craziest group of people I have ever the children’s shows, and then league with a group of schizophrenics. encountered. ‘Pigeon Puncher’. What made It’s definitely a tale of the triumph of the underdog. I’ve wanted to tell this you come back to the Fringe? story for a while – it’s funny and sad CC: You mentioned the banter MM: I stopped performing when my – though I originally thought it would in your old shows. You use to hearing worsened. I couldn’t banter be a play. I can still remember vividly be well known for riffing with because I couldn’t hear the responses. the patients, the hospital smells and the audience and sometimes You can’t be a good improviser if you the staff. I think it was the best job I have to keep asking the audience to improvising pretty much the ever had; I learned so much and had entire show. I assume the new repeat themselves. People thought I the most amazing interactions with shows are more tightly scripted. was playing for time, or just rubbish. people. It was a huge thing in my life to lose Do you still interact with the my hearing and I wasn’t prepared CC: It feels that recently people audience? for the impact. It pervaded every MM: The show is structured, yes; it has area of my life and very gradually, I have become slightly more open in discussing mental health. a beginning, a middle and an end. To Photo by lost confidence. I had other parts of be honest, I have been doing a wee Would you agree? Steve Ullathorne my condition to deal with as well. It’s smidgen of interacting and responding taken a long time to come to terms MM: There’s still far too much stigma. to things that happen. I can’t help it. It’s performers like Victoria Wood and with it all and I still get upset if I can’t So anytime anyone talks about any important to me to make a connection CC: You performed at various Caroline Aherne could make ordering hear. But I love the Edinburgh Fringe. health issue, particularly mental health, with people; that probably stems Edinburgh Fringe venues back soup and sitting on a sofa funny. How There’s nothing like it. And I have never it really makes a difference. And there from my work background. Though in the day. What drew you to the awful to have lost both of them. performed much out-with the Fringe; needs to be more emphasis on mental you can riff all you want to, but not all Free Festival? people have always assumed that I was well-being. I believe it should be a audiences want to be riffees. MM: It’s a brilliant idea and without more involved in the comedy industry priority and there needs to be more CC: I mentioned the children’s doubt, offers opportunities to than I actually was. services. Actually, really, everyone can CC: You’ve obviously had a shows you did. How does performers without them losing relate to mental ill-health, even if it’s very interesting life outside performing for children thousands of pounds. The public seem grief, or anxiety, or low self-esteem, CC: You said that ‘Pigeon of comedy and performing. compare to performing for older keen on it too. It has allowed someone Puncher’ was in part the and we all know what it’s like to audiences? like me with no agent and no PR to do lose the plot. But it’s important that Do you think that helps when result of discovering the art of MM: Doing children’s shows had a show. That was the original ethos people get away from the ‘Beautiful writing comedy? Should young storytelling. How are the new been a long-standing ambition. I of the Fringe. And with the calibre of Mind’ view of mental health. I look at comedians be trying to get some story-based shows different to have performed two of four shows performers doing free shows – the the West of Scotland, working class proper life experiences to make magnificent Brendon Burns, no less! the old stand-up shows? I’ve written in the ‘Very Scariesome’ reality. Because any health issue is them better comics? – audiences can see something that’s MM: I love a good narrative arc, me. series – ‘The Very Scariesome Lollipop easier when you have money. That’s a MM: Well, I think everybody’s life is every bit as good as they’ll see in a All of the comedians I admire are Lady’ and ‘The Very Scariesome Tooth sociological fact. You’re welcome. interesting. I am very deep today! paid-ticket venue. So there. great story tellers; Billy Connolly, Mike Fairy’ – which I am planning to turn I think if you have a talent for Birbiglia, Daniel Kitson, Matt Price, into books. I’m interested in what CC: Is it a challenge getting the comedic, you can make any CC: Are there any previously Sarah Kendall. You don’t need to makes children afraid. Children are the balance right when doing experience funny, however mundane, interact whilst telling stories. I’d never as varied as adults, but I think more untold stories from your life a comedy show about mental especially if you’re a keen observer done that before; I’d never written a honest. In one show I asked who has that you reckon could be the of human behaviour. So while most script, or even particularly written a health? a dog. One wee boy’s hand shot up. inspiration for future Edinburgh comedians do get better with age, set. So this was new, but I discovered MM: Yes, because you don’t want to He then told the crowd he had a dog, shows? there’s comedy to be found in the I really like it. People do love a good appear as though you’re making fun but it had to be kept at his grans till MM: That would (literally) be telling… smallest things. Because people are story. My partner – yarntastic, loveable of someone’s torment. As I say, I’ve his dad got out of jail. You seldom get wanted to tell this story for a while. ridiculous, especially when they’re freedom of expression like that from Cornish giant, Matt Price – has been a trying not to be. In the 1970s Billy adults! I said, “your gran sounds great”. huge inspiration and has encouraged I wanted to talk about the issues in Martha McBrier performs ‘Japanese Boy’ at Connolly had a hilarious routine about He was pleased. Kids believe their life me. He has always been a storyteller mental health that you hear less about, Laughing Horse at Finnegan’s Wake until 27 having an itchy bahookie, a beautiful and now it seems to be fashionable. particularly schizophrenia. It’s told with is perfectly okay until someone tells Aug. love and respect. When patients were Scottish word for bottom. And writer/ them different.

/comedy

TW PAGE 12 | THREEWEEKSEDINBURGH.COM | WEEK ONE EDITION REVIEWS 5/5 HIGHLY RECOMMENDED | 4/5 RECOMMENDED | 3/5 GOOD | 2/5 MEDIOCRE | 1/5 BAD

audience onside immediately with Bedlam Theatre, until 28 Aug | tw rating 4/5 | The latest reviews from the ThreeWeeks team Apollo-ready material. But as the show [Patricia-Ann Young] develops, it grows into anything but standard. Material that started off Le Bossu (withWings) – to get a daily helping of reviews by email nowhere near as “weird” as his own withWings certainly have quite the persona seems to grow, and soon reputation to uphold, having had a subscribe at threeweeksedinburgh.com/signup we’re watching a hilarious, unique sell-out run and a smattering of five show with a huge variety of styles of star reviews with previous show ‘The humour blended so seamlessly they Duck Pond’, and ‘Le Bossu’ certainly often all fit into one bit. Lampaert’s Ed Gamble: Stampede does not disappoint. When enchanting CABARET COMEDY character is complex too, a blend of Esmerelda comes to Paris, the entire Ed Gamble delivers a strong hour self-deprecation, ironic hubris and city is enthralled, even Archdeacon of stand-up, which is surprising occasional nutjobbery, with self- Claude Frollo who, driven mad by lust, Peter And Bambi Heaven – Chris Gethard: Career Suicide considering how much of it is about references sparse enough for each one loses his faith to temptation. As funny The Magic Inside (PBJ Management in association cauliflower. The routine mostly centres to be belly-laugh hilarious. as it is heartbreaking, this mesmerising (Sharon Burgess Productions) with AGI Entertainment and APA around Gamble’s attempts at, and Laughing Horse @ City Cafe, until 28 Aug | tw retelling of ‘The Hunchback of Notre frustration with, clean eating, a topic In ‘The Magic Inside’, Peter And Bambi Agency) rating 4/5 | [Nina Keen] Dame’ perfectly blends tragedy with so relatable it immediately gets the Heaven take care to play to your The flyer promises depression, humour. Whilst physical theatre can audience on board. But it’s not just expectations to the point of parody, alcoholism and attempted suicide. Goodbear (DugOut Theatre) be a risk, here it is beautifully staged, before subverting them almost And, as they say in Gethard’s native that the material is sound, as Gamble’s Hilarious duo Goodbear zip through working effortlessly to shed insight immediately. Asher Treleaven as Peter USA, he totally goes there. As such, commanding, energetic stage the some of the biggest moments in into the inner workings of the mind is Will Ferrell-esque with a hint of with grim scatological summaries of presence and on-the-spot funniness their characters’ lives in this highly of Quasimodo. The fantastic original Austin Powers, while Bambi (played the side effects of certain medications, carry him through even when a joke polished hour of comedy. It’s a series music will still be playing in your head by Gypsy Wood) is a doe-eyed ex-cage this won’t be for everyone. It is still a doesn’t easily land. The latter half of of sketches loosely tied together by days later. Seriously seductive, ‘Le dancer now “living the dream”. Their comedy show, however, and on that the show is where he really hits his the aforementioned theme – important Bossu’ is a must-see. energy is enormous, their physical level it’s a success, with Gethard’s stride though – his delivery becomes days in the life of a vast array of Bedlam Theatre, until 21 Aug | tw rating 4/5 | comedy hugely creative, and their easy stage manner leavening smoother and more confident as he colourful personalities – and the pair [Rosie Barrett] jokes increasingly surreal throughout the confessional moments, with comes into his strongest material. rely on tightly choreographed sound the show. Occasionally there were entertaining anecdotes about some ‘Stampede’ is a fun and funny show and lighting cues to hit comedic Robert Newman: The Brain Show misogynistic reactions on Peter’s part of his excessive behaviour and that starts slow but builds up to a full notes with a impressive professional (Phil McIntyre Entertainments) and, while of course they were playing his various attempts to address it. pelt. deftness. Their dynamic together is characters, the jokes themselves felt As Gethard reminds us, there are Gilded Balloon at the Counting House, until Robert Newman has a bee in his however the strongest part of the unnecessary and rooted in sexism those who still don’t understand 29 Aug | tw rating 4/5 | [Patricia-Ann Young] bonnet. And cephalopods on his stage, show, with Henry Perryment’s talent (did we really need another men-find- that depression is an illness rather but that’s another story (which also has for delivery beautifully complemented periods-disgusting joke?) But mostly, than a lifestyle choice, and many Eric Lampaert – Alien Of Jean Michel Jarre in it). His bugbear by Joe Barnes’ well timed physical ‘The Magic Inside’ is an immensely inconsistencies in how those affected Extraordinary Ability is brainless interpretations of brain comedy – he can have the audience in science, which he started reading up enjoyable and hugely inventive are treated in every sense of the The first part of Eric Lampaert’s new stitches with as little as a highly arched on after taking part in a brain imaging cabaret. word. So, thinking about it, maybe this show comprises well-observed and eyebrow. An excellent show that study and being cross at the result. He Assembly George Square Gardens, until 28 should be for everyone. fairly straightforward material on clearly demonstrates that good sketch skips through some modern popular Aug | tw rating 3/5 | [Nina Keen] Pleasance Dome, until 29 Aug | tw rating 4/5 | the well-trodden comedic ground comedy needs off-the-chart chemistry ‘science’, Freud, Sartre, Darwin, Newton [Bruce Blacklaw] of cultural differences, winning the to make it side splittingly funny.

TALKS LIVE AT THE FRINGE TWcelebrating 21 years of ThreeWeeks at the Festival join us as we interview five former cover stars live on stage for future editions of the all-new TW:TALKS podcast ThreeWeeks co-Editor Chris Cooke in conversation with MARK THOMAS, SUSAN CALMAN, BRENDON BURNS, LUCY PORTER AND MARK WATSON

Tue 16 - Sat 20 Aug | 10.30am - 11.30am | theSpace @ Symposium Hall | book your free tickets at THISWEEKTALKS.COM

WEEK ONE EDITION | THREEWEEKSEDINBURGH.COM | PAGE 13 TW REVIEWS THREEWEEKS: 21 YEARS COVERING THE EDINBURGH FESTIVAL!

and, er, Paul Weller, via a turn on the make it automatically funny. His comedy has taken a turn for the bleak ukulele, some character comedy and later joke about his daughter not as fuck. He begins with a rant about impressions. It sounds like a lot to being old enough for make-up was UKIP and how “everything is fucked,” 5/5 get through in an hour and actually it strangely reactionary as well as followed by a consciously simplistic probably is – not all of the gags or the deeply uncomfortable, and a lot explanation of why right-wingers are ideas have time to develop as they of the better jokes were also a few bad and left-wingers are good. He then might, but overall it’s good, brainy stuff. years old. ‘Standing Still’ did have subverts this simplicity by exploring And it’s funny. its moments; the final joke about the inner turmoil that comes with Summerhall, until 28 Aug | tw rating 4/5 | skiing enthusiasts on a first date being left wing, while weaving in smart [Bruce Blacklaw] served as an unfortunately pertinent political points. Coming to the show reminder of why Munnery is one of as a leftie, these jokes feel like ones Simon Munnery: Standing Still my all-time favourites. It’s a shame we’ve been waiting to hear, so they’re (Show And Tell) these reminders were so few and far seldom surprising, but they’re always between. well-written, likeable and, crucially, Although certain parts of ‘Standing sensitive. He handles heavy topics Still’ were really funny, most of it The Stand Comedy Club, until 29 Aug | tw with the care they require and shows was crushingly disappointing. Most rating 2/5 | [Nina Keen] comedy doesn’t need to harm people: of the first section was essentially indeed, it’s all the better for not doing a history lecture and a rant about 10 Things I Hate About UKIP so. capitalism, but unfortunately being (Joe Wells / PBH’s Free Fringe) right about something doesn’t This year, Joe Wells’ intelligent political T-Bar, until 27 Aug | tw rating 3/5 | [Nina Keen]

Pierre Novellie Is Cool Peter (CKP) I am almost embarrassed by the amount of involuntary noise that came out of my face during Pierre Novellie’s hysterically funny show. This old- before-his-time comedian’s style has hints of Tony Law’s joyful silliness, as he begins his set with a gleeful put-down of some persistent hecklers. He talks honestly about his depression, about his nerdy teenage pursuits, his continuing video game addiction and his South African heritage. His overriding theme is his attempt to be more laid back, whether it’s better to be “cool and sad, or happy and a nerd”, though his glorious phrasing suggests there’s nothing laid back about his incredibly precise script. A genuinely hilarious comedian, Novellie seems pretty cool to me. Pleasance Courtyard, until 28 Aug | tw rating 5/5 | [Gemma Scott]

Thrones! The Musical Parody mourning opened with Richard (Baby Wants Candy) Wagner in gentle mood, with ‘Game of Thrones’ is such a huge ‘Siegfried’s Idyll’, his tribute to his phenomenon that you could slap its wife and new son. There was only name on a roped-off turd and it would one of each instrument so everyone still attract avid fans for a look. So it’s was a soloist, and they were all refreshing to discover that this parody superb. Unusually there was no musical is so much better than it ever percussion, so double bass and cello had to be. ‘Thrones!’ is jam packed with were a vital partnership. Song cycle clever jokes, visual gags, catchy songs ‘Das Lied von der Erde (Song of the and a lot of heart, clearly coming Earth)’ was written a year after the from a place of love for the TV show death of composer Gustav Mahler’s and books. Every member of the cast child, and the spicy orchestration of is excellent and hilarious, but Chris this arrangement included celesta, Grace’s touching ode to a popular harmonium, mandolin and unusual bygone character is a complete stand- piano techniques. Mezzo-soprano Alice out. Its source material might often be Coote drew the audience in with her bleak, but this fan service musical is confiding singing – a telling of truths, anything but. whilst tenor Stewart Skelton blustered magnificently in drunken denial. Assembly George Square Studios, until 29 Aug | tw rating 5/5 | [Patricia-Ann Young] The Queen’s Hall, 6 Aug | tw rating 4/5 | [Louise Rodgers]

MUSIC The Opening Concert Sir Antonio Papano Conducts Australian Chamber Orchestra Italian Operatic and Choral Alice Coote and Stuart Skelton Masterpieces (Edinburgh Sing Mahler (Edinburgh International Festival) International Festival) Passion and excitement emanated This concert about rejoicing and from the Orchestra dell’Accademia

TW PAGE 14 | THREEWEEKSEDINBURGH.COM | WEEK ONE EDITION REVIEWS 5/5 HIGHLY RECOMMENDED | 4/5 RECOMMENDED | 3/5 GOOD | 2/5 MEDIOCRE | 1/5 BAD

Nationale di Santa Cecilia in the first in its humour and attitudes that it Tomorrow, Maybe deserving of the critical acclaim it has chronicle a relationship, and live it? half comprising of Shakespearean calls a gay character “hardly male” (ACJ Productions) already received. Faultless. – are wrapped up in more pressing, themed opera pieces. Gioachino and ‘liberates’ its main character by Set in a local coffee shop, ‘Tomorrow, C Nova, until 29 Aug | tw rating 5/5 | [Rosie more personal questions about Sophie Rossini’s ‘Otello, overture’ was having her punch her ex. The historical Maybe’ tells the stories – through a Barrett] and Isaac’s relationship: can he stop disconcertingly cheeky for a tragedy musical numbers were often brilliant, series of vignettes – of the familiar trying to shape her into his vision, can but such was the custom of the particularly the part about Masters faces we pass by each day: their loves, she stop worrying about how she is early eighteenth century! Later, the and Johnson, and the ending was losses, dreams and disillusionments. THEATRE perceived? Gripping and moving, this orchestra assumed a dark intensity for infectious in its joy. But just because it’s A thoroughly modern musical play walks the artistic tightrope well. Rossini’s choral masterpiece, ‘Stabat a show about history doesn’t excuse it exploring thoroughly modern themes, Captured (White Slate Theatre) Like a perfect photograph it offers Mater’. The Edinburgh Festival Chorus from outdated attitudes. something both beautifully composed the show is heart-warming, familiar, Sparse staging and projected gave everything to this performance; it and emotionally authentic. Greenside @ Infirmary Street, until 27 Aug | and laugh out loud funny, casting photographs enhance the impact was confident and assured, conveying tw rating 2/5 | [Nina Keen] an extraordinary light on ordinary of this taut two-hander. The story of Underbelly Cowgate, until 28 Aug | tw rating the majestically tragic beginning of lives. The production boasts an two ex-lovers reconnecting, one a 4/5 | [Andy Leask] one of the world’s great religions. The Holmes For Rent exceptionally talented cast, with photographer, the other his erstwhile soloists swooped and soared alone (Music Theatre Warwick) performances that would be more subject, is wonderfully rich; the Deal With The Dragon and together; they sang both as a Against the backdrop of Victorian at home on a Broadway stage than depth and texture to the characters (First Sprout Theatre) perfectly blended ensemble and shone melodrama, a battle of egos threatens a tiny room at the Edinburgh Fringe. is a testament both to the naturalistic If a gay German dragon offered to powerfully during their solos. Santa to break apart the most beloved of The musical numbers are exceptional, dialogue and the actors’ committed handle the difficult things in your life, Cecilia, patron saint of music for whom hero-sidekick partnerships. Dr Watson and the harmonies will send shivers performances. The big questions you’d say yes, right? Frustrated artist the orchestra was named, was present stages an impromptu play to convince down your spine. A delight more than about art – can a photographer both Hunter did, and in Kevin Rolston’s tonight. us that Holmes is merely a decoy and Usher Hall, 7 Aug | tw rating 4/5 | [Louise that he is the true mastermind... but Rodgers] Moriarty is waiting in the wings to disrupt the show. Whilst the play is MUSICALS light-hearted and enjoyable, it lacks real depth, and amid a culture gripped with Sherlock mania, ‘Holmes For Buzz: A New Musical Rent’ lacks the originality to compete (Fat Rascal Theatre) in a fringe scene overcrowded with Who knew a musical about female adaptations. The play boasts an masturbation was something we alternative ending each night, but needed so desperately? ‘Buzz’ pays this leaves the final scene chaotic homage to the history and science that and rushed, with many questions have enabled the sexual liberation for unanswered. Robert Madge deserves which main character Angie searches. praise, however, for his flamboyant, Attempting to make empowering art charismatic interpretation of Holmes. is risky though, and unfortunately C Venue 24, until 29 Aug | tw rating 3/5 | ‘Buzz’ just misses the mark. It’s hard [Rosie Barrett] to stomach a ‘feminist’ show so dated 5/5

Photo by Karla Gowett

Sofie Hagen: Shimmer Shatter (Sofie Hagen / PBH’s Free Fringe) “I hope you didn’t come wanting to be cheered up”, Sofie Hagen jokes near the end of her set, about love and rejection with a touch of mental illness, aka what Sofie Hagen does best. Hyper self-aware and enormously insightful, she weaves this year’s stories expertly in and out of each other with immense narrative talent, every arc and every joke crafted to perfection. Her masterful delivery often reflects her confident ownership of her own pain, and she’s brilliant at doing ‘creepy’ jokes without actually making people uncomfortable. No wonder she had to turn away about twice the room’s capacity at the door; word must be getting out that she’s one of the best comics you could hope to see. Liquid Room Annexe, until 28 Aug | tw rating 5/5 | [Nina Keen]

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poor structure makes the show its own range, but they do bring a childish worst frenemy. quality to a story that certainly isn’t 5/5 Greenside @ Infirmary Street, until 13 Aug | tw for children. The clash between the rating 2/5 | [Patricia-Ann Young] puppet gimmick and the narrative becomes increasingly grating, but Made Up (Fast Food Collective) there is still plenty here for lovers of Do I have something in my teeth? What Austen’s work, nailing her wry humour underwear am I wearing again? ‘Made whilst also being sweetly romantic. Up’ gives a hysterically unglamorous An interesting take on a classic, account of your average club night. ‘Northanger Abbey’ is ultimately as It’s an energetic, youthful piece that charming as it is jarring. tackles the common issues of nightlife Underbelly Cowgate, until 28 Aug | tw rating – heartbreak, seduction, drugs – as we 3/5 | [Patricia-Ann Young] follow four girls attempting to make the most of their evening. What follows Shakespeare In The Garden: is spot-on in its portrayal of teenage Twelfth Night, Or What You Will anxieties, such as Kate’s ‘FOMO’ (Fear (C Theatre) of Missing Out), or the emotions of Charming as ever, Shakespeare In The the heartbroken Ashley, who claims Garden returns to the Fringe to breathe she loves being single. ‘Made Up’ is folky new life into another of the Bard’s fun, insightful, unpretentious and classic comedies. Ukuleles, flower completely relatable, whether you still crowns, and functioning VW camper hit the dance-floor every weekend or vans could have made this adaptation Photo by if wild, endless nights of partying are of ‘Twelfth Night’ too twee to function, Ryan Jensen now but a hazy memory. but director Oliver Stephens strips Underbelly Cowgate, until 28 Aug | tw rating it back and allows the garden at Ghost Quartet (Ghost Quartet) 4/5 | [Pénélope Hervouet] St. Peter’s to create the desired whimsical, romantic feel. It’s also Dave Malloy’s ‘Ghost Quartet’ feels like a dream and a nightmare: overwhelmingly beautiful, complex, soulful and really, really funny due to solid comical gripping. I’m still not sure what it’s about though, as the narrative itself is kept purposefully vague. From song to Northanger Abbey performances from all the cast, the song unravel interwoven stories of death, loss and haunting, centred around two women, Rose and Pearl, and their (Box Tale Soup) stand-outs being Sydney Aldridge’s dry consecutive reincarnations. This emotional resonance is backed up by incredibly talented musical orchestration. The Jane Austen with puppets – how Maria and Jonathon Cobb’s scenery show brilliantly oscillates between musical genres, displaying an incredible variety of instruments and stunning vocal quintessentially Edinburgh Fringe. chewing Malvolio. Being so close to abilities. It has the soul-shaking quality of gospel, the purity of a capella and lyrical singing, the disturbance of Gothic This premise allows performers a main road does occasionally break novels, all wrapped up with a modern twist. Absolutely lost for words. Antonia Christophers and Noel Byrne the spell the production sets up for Roundabout@Summerhall, until 28 Aug | tw rating 5/5 | [Pénélope Hervouet] to pilfer Austen’s vast range of quirky characters with aplomb, only putting itself, but endearing surroundings and the puppets down to act as the charming performances make it a joy romantic leads Catherine and Henry. to watch. one-man show he has to live with Frankenstein (Canny Creatures timing from the energetic cast elevates C South, until 29 Aug | tw rating 4/5 | [Patricia- the consequences. Writer and actor the uneven script and lands some solid The puppets are a charming oddity and Fringe Management) that allow both actors to display their Ann Young] Rolston skilfully draws distinctive Like Frankenstein’s creature, this laughs, but disappointing writing and and memorable characters, and in adaptation of Shelley’s novel is crudely the standout scene, where Hunter’s stitched together and the seams art rival Gandy tells his rehab story, are bursting. Condensing the text Mairi Campbell: Pulse he is simply superb. His Gandy is to one hour was always going to be (Greengold Projects endearing but pitiful, funny but hard, but rather than compress the and Authentic Artist mannered – a mess of deeply human action, focusing on a few key scenes, Collective) contradictions whom I could have instead we embark on a breathless “Fall in love with Scotland. watched for an hour. The show itself is race through the plot, never alighting Take your time.” That’s the similar parts flawed and admirable: its anywhere long enough to catch advice Mairi Campbell’s story is delightfully weird, but overly our breath. Combined with often grandmother gave digressive and doesn’t quite fill its melodramatic performances, this robs her, and these words seventy minutes. Still, Rolston’s skill as the characters of all pathos. Worse still, also encapsulate the an actor should not be understated. the already overstuffed narrative is audience’s experience C Nova, until 29 Aug | tw rating 3/5 | [Jon further muddied by a romantic subplot in ‘Pulse’: a slow but Stapley] between Henry and Elizabeth, and by deep falling in love the creature’s attempts to wear the alongside Campbell as Erik Satie’s – Faction faces of Frankenstein’s family, like a she searches for her voice. (Avalon Promotions Ltd) bargain basement Hannibal Lecter. I Through music, theatre, What goes on inside a genius found myself, like Victor, lamenting the poetry and movement, composer’s mind? In this intimate and creation of this grotesque monstrosity. Campbell weaves a introspective piece, Alistair McGowan Gilded Balloon Teviot, until 29 Aug | tw rating carefully detailed story skilfully juggles music and speech 1/5 | [Andy Leask] of her relationship with as he brings to life the Nineteenth music and her culture. Century French composer Erik Satie. Frenemies (Sedos) From the first moment Somewhere between theatre, concert, Frenemies is a show that doesn’t of this journey, the spoken word and comedy, this unique seem to know who its real frenemies award-winning Scottish piece offers a heartfelt, face-to-face are. A collection of sketches each musician’s bare and insight into the man behind the written by a different writer explore unabashed honesty artist. Excerpts of letters, poems and a range of ‘frenemy’ scenarios, like captivates you, and every reflections from the composer are two shipwrecked men stuck on a time she plays the viola, crafted into an hour-long monologue, raft, or the horror of having a bitchy an unspoken sense of punctuated by stunning renditions sister-in-law, but because each sketch belonging inundates of some Satie’s most famous is no longer than ten minutes long, the room. Even if you’ve compositions such as ‘Gymnopédies’. none manage to capture a true, slow never heard her music McGowan’s portrayal was understated burning, death-by-a-thousand-cuts, before, or never listened at times, yet managed to convey the toxic friendship. Having so many to Scottish folklore, by the composer’s delicate, troubled and writers also means the show lacks end of ‘Pulse’ you’ll feel anxiety-ridden personality. Classical one coherent voice, which leaves the transformed. music lovers rejoice! show feeling disjointed, especially as Summerhall, until 28 Aug | tw Pleasance Courtyard, until 25 Aug | tw rating the quality of the writing varies from rating 5/5 | [Aida Rocci] 3/5 | [Pénélope Hervouet] sketch to sketch. Excellent comedic 5/5

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We also enjoy using the idea that the Some of our puppets live in our world and are aware of their status as puppets. We favourite often refer to the puppeteers and the virtuosic performances rather than Fringe trying to hide them, pretend they aren’t there or have the puppets live in a performers spate ‘puppet world.’ If you see Boris & Sergey out and about share be sure to introduce yourselves. I can guarantee you will have a good time, words, although you may come to regret it thoughts and later. ‘Boris & Sergey’s Preposterous Improvisation maybe Experiment’ is on at the Assembly George even some Square Theatre Omnitorium until 28 Aug. wisdom… /theatre Henry Maynard: Darkness and puppets

it is a characteristic of one of the I think it’s fair to say puppets. We deal with the gamut of that Flabbergast human experience, touching on pathos, whilst maintaining a healthy dose of Theatre have wowed hilarity. That said, we are sticklers when it comes to technique and are proud of Team ThreeWeeks our puppeteers’ dedication to detail. at recent festivals Puppetry is a magical art form with with their brilliant huge potential and punching power and we think that it’s a shame that the ‘Boris & Sergey’ overriding opinion – other than those in shows, in which the the know – is that it is only for children. titular puppets cause We aim to engage the 18-99 bracket and our flagship characters Boris & plenty of mayhem. Sergey have inspired a loyal following for their debaucheries and antics. The shows arguably When we improvise on stage with our push the boundaries puppets, we do not always do so in the typical way that requires structure and of what puppetry games to work. can be, which is In our latest installment of the Boris & very much the aim Sergey Saga, the Balkan Bad-Boys walk onto stage with absolutely nothing of the company, as planned and allow the strength of their characters, relationships and the skill Flabberghast’s Henry of the six puppeteers to carry them Maynard explains… through a hilarious hour of madcap shenanigans.

Puppetry performances can often be Because we do such a great deal of seen as purely children’s entertainment improvisation with Boris & Sergey and they sometimes stray onto the they have grown and developed over twee side of things, but at Flabbergast the past six years into very complex we have been interested in exploring characters that we feel express all the puppetry for adults since our inception. idiosyncrasies and contradictions of real people. That is not to say that there aren’t a great many family-orientated puppetry Puppets are also given a certain license shows that are indeed excellent – by people, certainly more so than a and some can also be quite dark. human being, which means that the However, we are interested in making characters can be more abhorrent, performances that are not hindered by violent or inappropriate yet still be the sensibilities of parents with regard loveable. You can go further and to what their children are exposed to. push more boundaries; often the person(s) operating the puppet are not We take an irreverent approach to our associated as being responsible for subject matters and try to dispense the puppet’s actions lending a unique with pretension (the other trap), unless dynamic to interaction.

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Recipe Corner: Cooking With Yeti’s – Scottish Edition

Psychedelic-clown- equal portions. Lightly sprinkle the shells. Fry the onion with a breadcrumbs on to a clean few drops of oil, add the tomato musical-sketch- surface, pat out each sausage purée and the shrimp shells, comedy duo Yeti’s portion to about .25cm (1/8 fill with water and cover. Boil in) thickness. Wrap portions and let simmer for about 10 (who you might completely around each of minutes. Strain and reduce the also recognise as the eyeballs/hard boiled eggs, liquid until approx 1 decilitre EastEnd Cabaret) pressing edges together to seal. is left. 3. Have another shot of tequila. 2. Fry the mushrooms in butter. are bringing their 4. Dip sausage-coated eye/ Savour that sweet trippy debut show to eggs in beaten egg, then roll in mushroom steam. When nicely breadcrumbs. Place on baking coloured, add the cream and the Pleasance tray and bake in preheated 190 the shrimp mix, boil until the Courtyard this C / gas mark 5 oven until lightly consistence is that of a light year, inviting you browned, about 25 minutes. stew. Season with salt and 5. Finish the tequila while you pepper. When served, add Bob Slayer: A Heroes perspective to spend an hour wait. You will be in a very good chives and shrimps. propping up the bar mood to start the party. 3. Hunt down an angler fish and at the strangest little Tip: To prevent the eyes/eggs catch it - you may need help on the evolving comedy Fringe from rolling around on the as them things are slippery! dive in town! baking tray, stick cocktail sticks Flavour the angler fish fillets through the eyes/eggs at an with salt and put it on a table Debate about the is wonderful to see but also to end up in the pockets of Promising a cast of ridiculous that over the past third parties, with most Fringe angle pointing downwards. This cloth to dry before frying. commercialisation five years the big venues have performers being lucky to characters to rival also makes them look a bit like 4. Fry the fish in a medium hot of the Edinburgh let a barely sober man slowly break even. the Addams Family sausages lollypops, which is pan with butter, make sure you ‘steal’ all the best acts... Why is amusing. get a golden colour on both Fringe is nothing this? Well it’s equal parts what Contrast this with the – from the overly- sides. new, though that we have done right and how independent scene which amorous yeti who Main: Yeti’s Angler Fish Serve with dill boiled potatoes. *Yeti likes to use her own discussion evolves, much they continue to get encourages creativity, owns the bar, to a Special wrong... cooperation, and A house favourite at the Demon special forest-grown supply of and in recent years, resourcefulness. As this grows sleazy severed head Dive Bar. Make sure to fillet that mushrooms for this recipe. Do the relationship The current comedy industry and more alternative networks and some cosmic angler fish before it fillets you – not listen to any psychedelic was created off the back of are established – including else it does some real damage funk music backwards after between the free the act-led revolution that was independent venues, clubs, rock stars called the to your kitchen! eating, for at least six hours. show strands and Alternative Comedy. As comedy promoters, fanzines and fans Psychedelic Nuns Please trip out responsibly. the paid-for venues became big business, so agents, – then there are better outlets – there’s sure to be Ingredients: producers, venues etc took for comedians to develop 800g angler fish, cut in eight Dessert: Gin Scotch has been a big over. But for a long time they confidence and connect with an plenty of dark and slices (Yeti’s favourite, although Pancakes talking point. haven’t been listening to what audience. delicious sketch any fish will do - Scottish A classic. Fast and easy to punters and performers have kippers are a tasty substitute!) prepare for Fringe-folk with In amongst all that been crying out for, particularly The new, exciting and boldly as well as some 200g fresh shrimps limited time on their hands. Bob Slayer has been at the Fringe... We know this different are all highly prized, relentlessly catchy 200g of whichever Good for breakfast, lunch, because they consistently tell and comedy legends that the songs. hallucinogenic mushrooms* dinner, dessert, elevenses, building his network us so. industry often seems to pass you can get your hands on, midnight feasts, whatever. of Heroes venues by are respected, and they can To celebrate their small and nicely peeled. Like any creative business, the find a place where they can Chantarelle mushrooms would Ingredients: which reinvented corporate comedy industry continue to grow and reinvent new show, the duo also work, but will not have the Flour, Milk, Sugar, Eggs, Gin ‘free’ as ‘pay what likes to encourage competition: themselves. Importantly, have put together same psychedelic side effects. you want’, while “Show us how much you the greater efficiency of some Fringe- Handful of finely cut chives Method: really want to Make It”. This independent comedy leads to 1 onion finely diced 1. Combine flour, milk, sugar also seeking new immediately puts the performer cheaper tickets and yet, with flavoured recipes 1 tbsp tomato paste and eggs in a bowl. ways to champion in a subservient position, fewer people taking a cut, there for their very own 1dl cream 2. Throw the bowl in the bin. perpetuating a self-serving is more chance for performers butter, oil, water 3. Drink the gin. the independent system that thrives on haves to actually make an income. three-course meal comedy community, and have-nots. Spendthrifts Independent comedy puts – with a very Yeti Method: ‘Yeti’s: Demon Dive Bar’ is at the and the innovative are rewarded. Artists’ money creativity and punters first. twist! 1. Peel the shrimps and save all Pleasance Courtyard until 29 Aug. is wasted. And the risk-averse and alternative industry is always looking So as more and more Photo by for near copies of previously comedians demand to be Starter: Tequila-Baked comedy acts – Steve Gregson veteran and new – successful acts, so that there treated like individuals and Scotch Eyeballs (Eggs) feels like a quota of anything alternative models like Pay The perfect Scottish entrée to who reside there. outside the perceived norm. What You Want are steadily kick things off with a bang. spreading across the Fringe, a As his 2016 season There is little motivation within subtle shake-up is happening. Ingredients: gets under way, Bob this environment to assist We live in interesting times. 1 bottle of tequila reviews the comedy developing performers to Support independent comedy. 400g (14 oz) sausage meat actually earn a living. In fact 6 hard-boiled cow eyeballs (or Fringe landscape as performers are routinely told: eggs, if there are no eyeballs “Don’t expect to make money he sees it… Bob Slayer is performing 24 different available) at the Fringe” and “You need shows at this years’ Fringe with ‘Bob 7 tablespoons fine dried to invest in your career...” Slayer: 24 Hours’ on the Heroes @ breadcrumbs As the Edinburgh Fringe got Everything is focused on Bob’s BlundaBus until 29 Aug. 1 egg, beaten under way this month, the aspiring to become a ‘star’. The He is also producing ‘Iraq Out & ‘ones to watch’ lists in various end result is that although more Loud: Reading The Chilcot Report Method: publications were again full money is generated through In Full’, which is set to be a Guinness 1. Have a shot of tequila. of acts who are performing punters being charged higher World Record for the longest 2. Divide sausage into six in the three Heroes venues. It ticket prices, this money tends continuous ‘show’ ever performed!

TW PAGE 18 | THREEWEEKSEDINBURGH.COM | WEEK ONE EDITION INFO THREEWEEKS: 21 YEARS COVERING THE EDINBURGH FESTIVAL!

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