YOURThreeWeeks GUIDE TO EDINBURGH’S FESTIVALS CelebrateEDINBURGH 70 years of the Edinburgh Festival with Richard Herring, Ed Gamble, Shôn Dale-Jones, Andrew Doyle, Michael Redmond and Joey Page

PLUS WE TALK TO

Angela Barnes | Yolanda Mercy Kally Lloyd-Jones | Marisa Carnesky Danyah Miller | Anya Anastasia AND LOTS AND LOTS OF REVIEWS!

it’s your free guide to Edinburgh Festival 2017

REVIEW EDITION | THREEWEEKSEDINBURGH.COM

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The Edinburgh MEET THESE PERFORMERS INSIDE THIS MAGAZINE Festival is BIG.

It’s a three week party of theatre, comedy, cabaret, music, musicals, dance, opera, wordplay and more. We navigate it all READ OUR INTERVIEWS FROM PAGES 5 – 12 so you don’t have to. READ LOTS AND LOTS OF THREEWEEKS REVIEWS EVERY ONE A RECOMMENDED SHOW 13 – 18 We have two decades experience covering MEET THESE PERFORMERS ONLINE Edinburgh’s festivals. We have a team of great reviewers on the ground. We’ll do the hard work and let you know what to see.

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some sort of theme? Or do show is very much built around you write individual songs in audience experience too – it’s a party. isolation? AA: Both. I write songs all the time. CC: You mentioned the Sometimes they just come to me, importance of audience or I write to understand personal interaction in your shows there. experiences, or the things I observe. Do audiences differ around the These then make their way to my world? secret catalogue of folk and pop AA: Absolutely, and to an extent I songs that no one ever really hears – adjust my performance accordingly to because I never really release them. make sure I’m bringing people on the But when I set out to write a show, journey with me. Audiences can differ I set out to write a show. I usually night to night too in any given city. write ten songs around a theme, then Collective mood and energy is a huge I hone the narrative and flow of the factor in a cabaret show. show, get a director to help me weed out the unnecessary bits and pieces CC: You also mentioned your – which I put onto the backburner band. Tell us more about them. for other projects – and then I write How did you all come to be two or three more songs to a specific brief. To fill the places in the show that working with together? need a certain tone or message, so to AA: I worked with my drummer Bec connect everything. I think writing to Matthews on the creation of ‘Torte E a brief in that way is actually where I Mort’ – her partner Sarah Ward was a create my best work. co-director. We have a great working relationship and some similar musical CC: What can we expect from influences. ‘Rogue Romantic’? Laurie Black on the keyboard is a piano playing legend who actually AA: It’s feisty, flirtatious and hilarious CHRIS MEETS | CABARET INTERVIEW reviewed ‘Torte E Mort’ last year. – I am exposing my trials and That’s how we first came across each tribulations in finding love. In this other. She became a fan of the work, show I’m questioning how romance and then I learned about her work, is presented in popular culture, and the feeling was mutual. She joined and how much is left over and still Anya Anastasia: the team for our Adelaide premiere haunting us from ‘traditional’ models earlier this year. or representations of relationships. Finally, Alana is a staple of Where does that leave women? And the Adelaide Cabaret scene and don’t you think tackling big issues Rogue Romantic has played bass for many great needs to start from a personal and international cabaret performers who local level? have travelled to the city. She’s very My belief as a feminist starts with Feisty cabaret star Anya Anastasia harks from that other fringe city, memorable and watchable in the power dynamics and respect within all show. All the performers who join me by which we mean the one down under, as in Adelaide. A regular at your most personal relationships, and on the stage bring more than just the I need to have it straight in my head that Fringe, last year she also wowed the Edinburgh crowd with her music to the show, they each have a what I deserve. It was a challenge to powerful presence. show ‘Torte E Mort’. recondition myself to believe that I deserved an equal standing in my CC: How did you find doing a Now she is back with a brand new musical cabaret extravaganza relationships. I challenged myself to be able to wake up to the awareness full run at the Edinburgh Fringe called ‘Rogue Romantic’, which seemed like a very good reason of how unhealthy some of my own last year? You clearly enjoyed it indeed to catch up with the lady herself, to find out more about her patterns have been. In writing this enough to come back! show I taught myself how to be on my AA: I loved it. It is one of the best career, her music, and what the new show is all about. own and be truly happy. And the alter- things you can do to develop ego that I created in order to do so is as a performer, to have nightly maniacally powerful! performances for an entire month. CC: So, let’s start at the start, CC: When did you decide where people were forced to listen You find all the nuanced moments in how and when did you start that a career in cabaret was to the lyrics and what I had to say. CC: People may have seen your the show and become the master of your own work and craft, learning to performing? beckoning? My flamboyant theatrical style and previous show ‘Torte E Mort’. fascination with theatre, visuals deal with every little thing that might AA: When mum brought me home AA: I didn’t choose cabaret, it chose me! How does this once compare? and performing with physicality, all change or come up in a live context. from the hospital after I was born, The satirical bent and socio-political AA: ‘Rogue Romantic’ has a fuller band combined to solidify my place in the I didn’t stop cackling to myself like commentary of my lyrical content – and I play one character the whole cabaret world. I’d pulled off the impossible – here I which just came from my personal way through, exposing much more was on Earth! I’M BACK! Soon after philosophy and need for expression – of myself, and having many more Anya Anastasia is performing ‘Rogue that I started singing. Then I started brought cabaret audiences to me, and CC: Do you write your songs personal moments and interactive Romantic’ at Assembly Checkpoint learning words. I deliberately sought out environments with a show in mind – ie around moments with the audience. This until 27 Aug.

REVIEW EDITION | THREEWEEKSEDINBURGH.COM | PAGE 05 TW INTERVIEWS WE CHAT TO OUR FAVOURITE PERFORMERS

to join on stage? fondly remember – and why? RH: Thanks to my podcasts I get to EG: All of them have a special place join nearly all my comedy heroes on in my heart, but I have a particular stage. I’d love to work with Michael fondness for Peacock & Gamble ‘Don’t Palin, but there isn’t much chance of Even Want To Be On Telly Anyway’ in that. I’d also like to work with Peter 2012, as well as my solo show Lawman Cook. There’s about an equal chance ‘2015’. The P&G show was when we of that happening. really nailed what we were doing. The written stuff was good and we still had TW: Other than performing plenty of room for horsing around, and seeing shows, what is which is when we were at our best. your favourite thing to do in Also, people came. ‘Lawman’ was a Edinburgh during August? lovely year as I was doing the Free Fringe for the first time and it was a RH: I like watching terrible old quiz revelation. No worrying about ticket shows on Challenge TV. It feels sales and people were excited to be positively wicked to be missing the there. Also, it was at 1.15pm so I could greatest arts festival in the world have a beer with lunch. cos you’re watching a marathon of ‘Bullseye’. TW: Name a Fringe performer – past or present – who you’d like Richard Herring performs ‘Oh Frig, I’m 50!’ at the Pleasance Courtyard until 26 Aug and to join on stage? RICHARD HERRING hosts ‘Richard Herring’s Edinburgh Fringe EG: The acapella group from the Royal Podcast’ at the New Town Theatre on 18 Aug. Mile who used to haunt my dreams. TW: What was your first ever They could come onstage and then I ThreeWeeks could knock them out one by one. experience of the Edinburgh Fringe? ED GAMBLE RH: I first came up in 1987 with the TW: Other than performing and seeing shows, what is Oxford Theatre Group doing a kids TW: What was your first ever Quick Quiz: show called ‘Old King Cole’ and a your favourite thing to do in experience of the Edinburgh lunchtime revue called ‘The Seven Edinburgh during August? Fringe? Raymonds Present KMnO4’. We were EG: Trying to replicate my home life as big fans of Potassium Permanganate. EG: I came up with a school play closely as possible so I don’t lose my Edinburgh Festival It was a rollercoaster of emotions, but in 2004 and was blown away by mind. And eating. A lot of eating. I met and worked with people who the place. It was like someone had designed the whole festival are still amongst my best friends 30 Ed Gamble performs ‘Mammoth’ at the specifically for me. It always feels nostalgia special years on. Lots of the experience hurt, Pleasance Courtyard until 27 Aug. but something keeps drawing me exciting coming here, but I don’t think back to be punched in the face again. I’ll ever recapture that initial feeling of discovering it all for the first time. Because the Fringe sometimes leans SHÔN DALE-JONES This August the Edinburgh over you and kisses the bruises that it The play was pretty good from my has made. recollection, but mainly because I was only playing a small part. TW: What was you first ever Festival celebrates its 70th TW: What’s the best thing you’ve experience of the Edinburgh TW: What’s the best thing you’ve ever seen performed at the Fringe? ever seen performed at the anniversary. Fringe? SDJ: I first went to the Edinburgh Fringe? Fringe as a 21 year old, acting in a RH: Arthur Smith is the true King Of student production of ‘The Nerd’ The Fringe and the show he did in EG: Jonny Sweet’s ‘Let’s Just Have at the Theatre West End on Princes the Botanical Gardens in 1998 was Some Fun (And Learn Something To mark the occasion, we Street in 1989. I used an American wondrous and sprawling with a cast of For Once)’, Andrew O’Neill’s ‘Winston accent which sounded more Welsh thousands and, within an hour, it had Churchill Was Jack The Ripper’ and We than my own Welsh accent. You know lifted my broken spirits and made me Are Klang’s ‘Klangbang’ are the three have asked a plethora what, I think it went OK! glad to be alive. shows that I have laughed most in over the years. Utterly joyous shows, TW: What’s the best thing you’ve of performers about TW: What’s the worst thing all of them. ever seen performed at the you’ve ever seen performed at Fringe? their personal Fringe the Fringe – so bad it was good? SDJ: ‘The World Of Les And Robert’. RH: I saw a student play about rape 1989. The line, “I bloody love chicken that really misjudged the subject experiences. I do,” has still stuck.’The World Of Les matter. Sometimes being serious And Robert’ was a very warm-hearted, about something can be more intimate comedy about two middle- offensive than joking about it. aged men who found themselves Leading the proceedings living together back in their home TW: Which of the Fringe shows town after years away. I watched it this time is Richard Herring, you performed in do you most in 1989, aged 21, in the Edinburgh fondly remember – and why? Suite at the Assembly Rooms – I left RH: ‘Christ On A Bike’ (the first time) knowing that I’d love to do what they who appeared on the first was a very important show for me, as did one day. TW: What’s the worst thing it was the first time I’d done anything here completely solo. I had not you’ve ever seen performed at ever cover of ThreeWeeks previously seen myself as a stand-up the Fringe – so bad it was good? comedian and thought I needed other EG: A sketch double act during a in 1996. Look out for more people to bounce off. To be getting mixed bill night at 2am pretending rolling laughs on my own – and to see to be puppets having sex to absolute people in pain with laughter, knowing pin drop silence. I had to squat down Quick Quiz answers at I hadn’t even got to the really funny bit in the back biting my fingers to stop threeweeksedinburgh.com yet – was a rare treat. myself yelping. TW: Name a Fringe performer – TW: Which of the Fringe shows past or present – who you’d like you performed in do you most

TW PAGE 06 | THREEWEEKSEDINBURGH.COM | REVIEW EDITION INTERVIEWS GET MORE AT THREEWEEKSEDINBURGH.COM

TW: What’s the worst thing was the first time I’d performed a solo AD: My first experience of the Fringe you’ve ever seen performed at show and it received quite a lot of was thanks to my then boyfriend, the Fringe – so bad it was good? great reviews. Most of the shows were who thought it would be a good idea sold out and I had a really great time. for us to spend a week at the festival. SDJ: I saw a man do a show on his We saw a range of shows, the best own because his dance partner had of which was an absurdist physical very recently put her foot in a hot TW: Name a Fringe performer – theatre piece about Hell. As a gay pan of oil. He was upset and angry past or present – who you’d like Catholic, I enjoyed seeing a glimpse about how difficult it was doing the to join on stage? of what will doubtless be my eventual show alone and so desperate for us to MR: I’m a big admirer of Seymour fate. know how good the show would have Mace, who was nominated for a been if she was with him. It was hard comedy award two years ago at the to know if what we were watching Fringe. He does a lovely piece at the TW: What’s the best thing AD: I have no fond memories of was the show or not. But it really end of his act sometimes, when he you’ve ever seen performed at performing stand-up. It’s just not wasn’t the show – the show really was TW: What’s the worst thing puts himself in place as one of the the Fringe? something I can feel ‘fondly’ about. supposed to be him and a dancer! you’ve ever seen performed at backing singers from Gladys Knight AD: In 2009, I met the writer, It’s a job that draws on all my worst the Fringe – so bad it was good? And The Pips to the tune of ‘Midnight singer and actor Marsha Hunt, qualities: an odd combination of MR: It was in 1992, when I was doing Train To Georgia’. It has to be seen to who performed a show called ‘Sex TW: Which of the Fringe shows self-hatred and narcissism, neither of my show ‘Live And Harmless ‘ at the be really appreciated! So, I’d like to With Jimi Hendrix’ at the Assembly you performed in do you most which ought to be encouraged. fondly remember – and why? Gilded Balloon. Someone convinced join him one day on stage as a second Rooms. It was an inspiring show, not me to see a theatre company from member of the Pips. least because of Marsha’s incredible SDJ: ‘Story Of A Rabbit’. It was a show the Netherlands perform a play. The passion for her subject matter. She TW: Name a Fringe performer – I made about my experience of losing thing was, the play may have been also invited a friend of mine to smash past or present – who you’d like my Dad. I had no idea how much the TW: Other than performing brilliant, but the problem was it was up an electric guitar on stage, which to join on stage? audience would care about the story. and seeing shows, what is performed in Dutch. Apparently the was a bonus. AD: The ones I’d most like to appear I was really moved by the audience’s your favourite thing to do in company involved had the idea that with are no longer alive, so it seems generosity. It made me very glad I’d Edinburgh during August? it would stand out because all the unlikely. I’m thinking of Robin decided to share such an intimate TW: What’s the worst thing dialogue was in Dutch. They didn’t MR: If I’m being really honest, taking Williams, Bert Jansch, Maria Callas… feeling. refuge in my flat and reserving as you’ve ever seen performed at seem to realise that nobody had the the Fringe – so bad it was good? I know that Callas was technically in faintest idea of what was happening, much energy as I can for my show! It’s the International Festival, but I’d like to AD: I don’t remember what it was TW: Name a Fringe performer – unless you happened to speak Dutch. a tough slog performing each day, but think that, if I were on board, it would called, but it was a devised student past or present – who you’d like There were only about ten people in usually worth it. have degraded the show sufficiently production about a psychotic florist to join on stage? the audience at the start. Judging by to qualify as “fringe”. who was trapped in a loveless SDJ: Daniel Kitson. Come on Daniel. the fact that eight people walked out Michael Redmond is performing ‘I Wrote A marriage. Eventually, she smashed up Come on. Please. Just once. halfway through, leaving just myself Joke In 1987’ at Gilded Balloon Teviot until all her crockery and used the shards TW: Other than performing and my friend, I’d say there were no 28 Aug. to stab her husband to death. The and seeing shows, what is TW: Other than performing Dutch speakers in that night. plot was incoherent, the acting was your favourite thing to do in and seeing shows, what is ANDREW DOYLE terrible, and I loved every minute of it. Edinburgh during August? your favourite thing to do in TW: Which of the Fringe shows AD: Casual sex with Scotsmen. Edinburgh during August? you performed in do you most TW: Which of the Fringe shows fondly remember – and why? TW: What was you first ever SDJ: Walking along the Water Of Leith you performed in do you most Andrew Doyle is performing ‘Thought experience of the Edinburgh Walkway to the National Galleries Of MR: It would have to be the previously fondly remember – and why? Crimes’ at The Stand until 27 Aug. Modern Art. mentioned ‘Live And Harmless’. It Fringe?

Shôn Dale-Jones is performing ‘Me And Robin Hood’ at Pleasance Dome and ‘The Duke’ at Pleasance Courtyard, both until JOEY PAGE 27 Aug. TW: What was you first ever experience of the Edinburgh Fringe? TW: Name a Fringe performer – past or present – who you’d like to JP: When I was sixteen I was in ‘Glengarry Glen Ross’ and I played Shelley join on stage? MICHAEL REDMOND Levine, which – if you have seen the film – is Jack Lemon’s part. It was a JP: I love so many comics. I would love to work with Phil Ellis, his show was so production with my sixth form and that gave me a taste of being funny on innovative last year. Also one of my heroes, Harry Hill, or… or… or… Lou Sanders, stage, because it is a really funny part and David Mamet is a great writer of that would be hilarious. There are loads though. TW: What was you first ever dialogue. Also me and three of my best mates snuck off to see Terry Alderton experience of the Edinburgh and that’s how I got dragged into this comedy lark. I would love to act in a play TW: Other than performing and seeing shows, what is your Fringe? again at some point too. MR: My first Fringe was in 1988. It favourite thing to do in Edinburgh during August? was a sort-of double act with the TW: What’s the best thing you’ve ever seen performed at the JP: I have a few traditions that I always keep. One is to invite a lot of my comedian friends over for the first ‘Match Of The Day’ of the season and have a comedian Bob Mills. I can’t remember Fringe? the venue but nobody turned up Chinese. Another is to go to Palmyra on Nicolson Street and have a pizza with JP: I think I would have to say Danny Ward’s show ‘Pressure Point’ in 2013. It the first night. However, later on, Matt Winning when we are drunk. We never plan it, it just happens. Like how was a free show and I just wandered in on a whim and it’s literally the only when we were in the bar at the old newly hatched turtles always head for the sea at some point. Matt will buy a show where I have laughed all the way through for a full 60 minutes. It was Gilded Balloon in Cowgate, we told huge round of baklava and give it to everyone we know who has turned up relentless, I was struggling to catch my breath. everyone there were twelve people drunkenly, by coincidence, to get food on their way home from their drunken there. The following night we had adventure. TW:What’s the worst thing you’ve ever seen performed at the three people in. This time, in the bar later, we told people we’d had just the Fringe – so bad it was good? Joey Page is performing ‘Pretty Boy’ at Laughing Horse @ The Counting House until 28 Aug. three audience members, but that JP: Just quite a lot of exuberant, really posh kids in weird costumes, rolling they’d been more responsive than the around the floor doing physical theatre on the Royal Mile while shouting “come previous night. Suffice to say, it was a to my show” – ie my show that my trust fund has paid for. I guess I am just humbling experience. jealous of how perfect these blue chip kids lives are and how that makes them unbearably confident in their show about a minotaur who has an iPhone 7 and TW: What’s the best thing trust issues. you’ve ever seen performed at the Fringe? TW: Which of the Fringe shows you performed in do you most fondly remember – and why? MR: I think it would have to be Bill Baileys’ show, in 1993 I think. I’d seen JP: My first one was always special to me, but that was back in 2007 and I have him perform a few times already on done so many and changed so much since then. It’s a tough question, but the circuit in London, but this show I would have to say my last show. Last year my show hit such a such stride, was really special. I wouldn’t call it a I really found my groove and it was the best reaction I have ever had from musical comedy show, but it had both audiences asking for photos and such. My aim, a bit like this year, was to just music and comedy… really unique and make the silliest show I could make, and I did that. hilarious.

REVIEW EDITION | THREEWEEKSEDINBURGH.COM | PAGE 07 TW INTERVIEWS WE CHAT TO OUR FAVOURITE PERFORMERS Angela Barnes: Fortitude

CM: How do those kind of element to this show…? appearances compare to the AB: Only in as much as however much process of creating your own you might think you don’t “do” politics, radio show, last year’s ‘You Can’t the past twelve months has made Take It With You’? them pretty impossible to ignore. AB: I loved doing ‘You Can’t take It I am fascinated by modern history With You’. It was based on my 2014 and politics, and what is happening Edinburgh show of the same name. in the world today is quite gripping To be able to create four episodes of for a news geek. This show is quite a something that I had creative control personal show, but it’s not completely over was so exciting. It was a show introspective. about living and dying really, but it was a tribute to my Dad. We were CM: What keeps you going back very close, he was my best mate, and to Edinburgh? What do you love definitely a “character”. Losing him was about it? Are there anything the hardest thing I’ve been through about it you don’t like? in my life, and doing stand up was AB: Edinburgh is like a comedy boot my reaction to that. He never got to camp, there are times when you feel see me perform comedy, that’s why you just can’t go on, but mostly, you it meant so much to me to have my feel fit and exhilarated by it. You can’t first show be about him. And he’d be do a run at the Edinburgh Fringe and chuffed to bits to know that he was the not come out of it a better performer subject of a radio comedy series, being when you are doing several shows a the massive radio comedy nerd that day. The audiences are usually great, he was. filled with comedy fans and people who just want to enjoy themselves, or, CM: Do you have any other at the very least, are happy to be out broadcast stuff in the pipeline? of the rain. I love so many things about CARO MEETS | COMEDY INTERVIEW AB: I will be hosting a new series of Edinburgh as a place too, not least ‘Newsjack’ in the autumn, so, y’know, that The Commie pool is my favourite let’s hope this slow old news cycle swimming pool in the UK, and to get You may be aware of her from her appearances on TV and radio, or picks up before then eh? to swim in that every day for a month from her live work in Edinburgh and elsewhere, but if you aren’t, is bliss. I also love that for a month I CM: Tell us about your new show don’t have to drive anywhere or get on then it’s high time you got to know Angela Barnes, who helpfully ‘Fortitude’ – what themes do you a train. cover in the show? Why did you returns to the Fringe this year with her new show ‘Fortitude’. CM: Which other acts will you want to talk about them? make a point of seeing whilst AB: 2016 was a pretty remarkable year I was keen to find out more about that, and about her career in for so many reasons, and for me it was you are there? general, so made time for a quick chat. the year I turned forty. The show isn’t AB: So many, and I can’t possibly list a mid-life crisis show, I promise, It’s a them all. I think Lou Conran’s show is show about being a forty year old who going to be something really special was sold the idea that she doesn’t have this year, so I am looking forward to CM: I’m inclined to think it social care weren’t there for the dollar. to like that element of it, so am hoping to grow up if she doesn’t want to. I love seeing that. I always make a point of would be best if we began at the There’s an element of gallows it won’t turn me into a bitter old being forty so far, but then I literally telling everyone to watch Mat Ewins’ beginning. What drew you to a humour too of course, you have to get misanthrope! have no more responsibilities than I did shows and Tom Neenan’s shows. Two career in comedy? What made through the day, sometimes in quite But please don’t think I’m moaning, when I was twenty, so why wouldn’t very different acts, but both doing bleak circumstances. I am not envious I’m the luckiest. I love my job and I you want to perform? I? It’s about being part of the Peter something very unique and bloody of people in that sector today, with rarely have to get out of bed before funny. I will also make sure I catch AB: I’m a late starter in comedy, was in Pan Generation, and what that really cuts making so many services barely 10am. I am literally in my bed right Evelyn Mok, Matt Richardson, Sara my 30s when I did my first open spot. means. And there are jokes. tenable, there are people working now. Pascoe, Charlie Baker, Mark Steel and I’ve been comedy obsessed as long as I miracles on a daily basis in the NHS, Hannah Gadsby. can remember, but mistakenly thought CM: Looking at my generation, social services, charity sector and CM: You’ve made appearances performing was for the cool kids. Well, I feel as though refusing to don across the public sector and I salute on quite a few TV and radio CM: What plans do you have for it often is, but not in comedy, it’s the the traditional mantle of age is them. panel shows. Do you have a after the Fringe? one place where being an outsider is becoming relatively common. favourite? Are there shows you’d AB: Straight back to gigging after the celebrated. It took the sudden death of Do you think “not getting CM: What did you expect from a like to appear on but haven’t Fringe, getting ready for a new series my comedy loving Dad to make me go middle-aged” is a trend that is “life’s too short, let’s give this a go” and life as an entertainer, and has it yet? of Newsjack and thinking about next here to stay? now I’m just enjoying the ride. all turned out as you would have AB: I guess ‘The News Quiz’ means a lot year’s show… AB: I think we all stopped being in a expected? to me. I grew up listening to it. I am a rush to grow up, and that is no bad CM: As you say, you weren’t AB: I’m not really sure what I expected huge fan of the late Linda Smith, and to CM: What plans do you have thing. It’s about what you want out of life as a jobbing comedian to be. It’s sit in a seat on that show that she once for the future? What unfulfilled always a comedian; until you your life. If settling down and having a quite a bi-polar existence, with pretty occupied is beyond my wildest dreams. ambitions would you like to dust were 33 you were working in family is what you want, that’s brilliant, extreme ups and downs. One minute I I would love to do ‘Just A Minute’ on health and social care. That must but it doesn’t mean it’s wrong to want off? am sitting on a panel show, appearing Radio 4, just to have Nicholas Parsons have been quite a transition. to hitch hike around the world for the AB: I try not to make too many plans, alongside my heroes, who are now talk to me in that sweet patronising Is there anything about your rest of your days either. Life is about I’m a strong believer in managed my friends, and I have to pinch myself. way he has, then I’d know I’d made former life that you miss? making choices, and not feeling guilty expectations! I already can’t believe Then the next day, I am driving six it as a comic on the radio. I do have my luck. I’d really love to do a little tour AB: I do miss the people I worked with, for making the ones that are right for hours to do a gig to uninterested drunk a passion for radio comedy, largely in the not too distant future. I would both staff and clients. Some of the you. I think living is about being as stags and hens who are enduring the because I don’t have to brush my hair. love to do more radio stuff and would funniest people I know work in some of happy as you can be while causing no comedy until the disco starts. I don’t I enjoy TV panel shows too, ‘Mock The love to try my hand at writing some the most difficult settings. I think that harm to anybody else. think I realised the sheer amount of Week’ is always fun. I’d really love to narrative comedy, I feel like I’ve got a it’s compassion that brings humour. solitude that the job entails, in cars, in do ‘QI’, I’m a huge fan of the show, and CM: I noticed that Trump is sitcom in me somewhere. You can’t be a compassionate person hotel rooms, locked in my spare room the ‘No Such thing As A Fish’ podcast. without wanting to make people smile, writing and trying to resist making mentioned in your press release, I love useless trivia, I lap that stuff up. Angela Barnes performs at Pleasance and most colleagues in health and another sandwich. But I am growing but is there actually a political Please let me be on ‘QI’… Courtyard until 27 Aug.

TW PAGE 08 | THREEWEEKSEDINBURGH.COM | REVIEW EDITION INTERVIEWS GET MORE AT THREEWEEKSEDINBURGH.COM Kally Lloyd-Jones: Lady Macbeth

in her head. Those who hear will important, if I was to explore the KLJ: Ah well, I think they must have CHRIS MEETS | DANCE INTERVIEW hear fragments of Lady Macbeth’s possibilities of BSL, to make sure that a style or resonance in common text and those who don’t will get the I was making a piece which is truly because I can’t help being me! And same information through British Sign accessibly to deaf audiences as well I suppose there is an overlapping We last checked in with dance company Language. as hearing audiences, and that I was theme, which is about vulnerability Company Chordelia in 2015 when they treating their language with respect. and the mental and emotional CC: How did you go about Solar Bear were very enthusiastic consequences of things, but they presented their show ‘Nijinsky’s Last Jump’. selecting the music for the about this project and came on are also very different shows. A main production? board as co-producers. They have strength of both shows is the fantastic This year they return with a fascinating been invaluable in providing support commitment and brilliance of the KLJ: That’s difficult to answer! I am and expertise in this field, and BSL cast, and the designer Janis Hart and piece exploring the character and story always listening to music and I just interpreter Yvonne Strain who worked lighting designer Laura Hawkins. feel intuitively what will create the of Lady Macbeth. Three men take on the with us on the project has been really right mood and sense for a scene. It brilliant. role in the show, which also incorporates provides an emotional landscape or CC: How important is it for backdrop for the action – often giving you to bring your work to the British Sign Language into the something which provides a tension CC: Do you think people Edinburgh Fringe? choreography, giving BSL practitioners or opposition to what the eye sees. who understand British Sign KLJ: Bringing my work to the Fringe Language will get something provides the opportunity for it to be an alternative perspective. CC: You mentioned the use of different or extra from the seen by a very broad and international British Sign Language in the production? audience, as well as promoters production. Tell us more about KLJ: Yes – and I think this is quite from around the world, and also – the tie-up with Solar Bear – unique because, as I said, the importantly – we can perform for a CC: What made you want to CC: And why a three-hander long run, which is a rare opportunity who regularly work with deaf language is integral and embedded construct a piece around the rather than a solo piece? for a small company. performers – and what the rather than being a “translation”. character of Lady Macbeth? KLJ: I decided on three performers BSL practitioners will see meaning integration of BSL brings to the KLJ: Ever since I read the play at to reference the three witches in the movement which will read CC: You are back at Dance Base school I have been fascinated by Lady and the power of that elemental piece. differently than the way non-BSL – are they a good partner for Macbeth. A few years ago I worked and supernatural world to which I KLJ: We are making dance theatre practitioners will interpret movement projects like this? with BSL as an embedded part of on a production of the Verdi opera think Lady Macbeth is connected. on an emotional level. Though some KLJ: Dance Base is brilliant. I love the choreography, so that meaning of the play and it tells the story by I also liked the idea of three very of the show is simply movement and it – it is a good size performing space through movement unites both a distilling the scenes into something different performers manifesting the visual theatre – which works more but also feels very intimate, which formal and an informal language which is more about the Macbeths role with different inflections and pictorially and emotionally and so will is a combination I like very much. which is not spoken. BSL is a and their relationship. This reignited interpretations. have a more universal impact – and, of They are a supportive, practised, movement language – very beautiful, my interest in her character because, course, a show is always interpreted knowledgeable and friendly venue descriptive, emotional – and this piece although she is so pivotal, she soon CC: You have Georgina Bell differently by every single audience who make performing at the Fringe explores making it an integral part of recedes into the background and Godolphin providing the voice member anyway. very pleasurable, so I am really the language of the piece as opposed disappears until we only hear of her of Lady Macbeth. How do those delighted that Company Chordelia has to using it as a “translation”. death second hand. I wanted to delve elements fit into the show? CC: Fringe-regulars may been invited back. into her psyche and think about One of the cast members, Jacob, KLJ: The voice of Lady Macbeth is remember your last show what motivates her, piecing together is profoundly deaf and he is fully embedded into the soundtrack. It ‘Nijinsky’s Last Jump’ – how Company Chordelia’s ’Lady Macbeth’ is on at information and imagining what integrated into the show. I felt it was creates a sense of hearing the voice does this production compare? Dance Base until 27 Aug. drives her story.

CC: What process did you go through in creating the piece? KLJ: I always spend quite a lot of time researching, thinking, drawing storyboards, choosing music and pieces of text, and I arrive in the studio with quite a clear sense of where it’s all going. And then the cast are the final pieces of the jigsaw and I work with them to create the piece.

CC: Is there a narrative? What themes do you explore? KLJ: The narrative tells the story of Lady Macbeth, but I would say it’s not linear, because it’s a bit like being inside her head and we explore the complexity and journey of her character. The piece explores themes of motherhood, power, guilt, conscience and madness.

CC: What made you decide to cast men to play the part of Lady Macbeth? KLJ: I wanted men to play Lady Macbeth as they would have done in Shakespeare’s time, and this creates an exploration of femininity and masculinity, within the character as well as the transformation of the three male actors immersing themselves in Photo by the role. Jane Hobson

REVIEW EDITION | THREEWEEKSEDINBURGH.COM | PAGE 09 TW INTERVIEWS WE CHAT TO OUR FAVOURITE PERFORMERS

bond with my own mother but I felt so raw. Some of the men have said instinctively that if I didn’t find a ‘this is our story too’. better connection with her, then it could adversely affect the relationship CM: How does this show with my daughter. I needed to heal compare to your previous, very backwards in order to move forwards. successful show ‘I Believe in As well as a performer I’m also a Unicorns’, which you brought to storytelling trainer and workshop the Fringe in 2013? leader, I often work with biographical storytelling. I have seen how powerful DM: I’m thrilled that it’s the same it is both for the teller and the listener artistic team who devised and created to share these personal stories. But I ‘Unicorns’, Dani, Kate, Martin (sound knew that the show had to be more designer) and me, so I’m sure there than ‘my story’, that it had to speak are our ‘trademark’ touches in both to other people’s story and be more – both are theatrical storytelling universal in its themes and inspiration. productions, with wonderful Dani Parr (director) Kate Bunce imaginative props for me to play with, (designer) and I worked together but PIW explores different themes to throw out the purely personal and is made for an older age group and bring it back together in a more (14+). One of the themes that does comprehensive way. I hope we’ve run through both shows, and is very achieved this. important to me personally, is the importance and power of ‘connection’, being linked to each other and CM: I feel as though it’s supporting one another as a family, potentially rather political community, tribe. theme, but that’s probably because I believe that society CM: That wasn’t your first trip and the media puts unfair to the Edinburgh Festival, was pressure on women. Is it it? How long have you been political to you? visiting for the Fringe, and what DM: I have been acutely aware in the have you been involved in? creating and ‘selling’ of this show that Danyah Miller: DM: Golly, I’ve been thinking about I have to make a point of saying that this a great deal this year – probably my show is ‘not just women’. I know because it’s the 70th birthday year of that, as a woman, I see shows and the Fringe. I first visited as a student Perfectly Imperfect Women films, read books, listen to discussions in 1984. I was part of the National that have men as the predominant Student Theatre Company in their lead figures, sometimes the only administration and marketing team. characters and I don’t question if this CARO MEETS | THEATRE INTERVIEW We had our own venue in Albany story will be of interest to me – as Street, with 10 shows running back women we have long seen the world to back from early morning to late through the male lens. However if If you’ve been coming to the festival throughout this decade we at night. I was part of NSTC for the show, film, book has a female three years and after that came up find ourselves in, you might have seen Danyah Miller’s 2013 protagonist, so often both men and whenever I could as a ‘punter’ or women’s first reaction is ‘this is a producer. In 2009 I performed for the family-orientated one-woman adaptation of Michael Morpurgo’s girl’s subject’. It makes me remember first time in a two-handed adaptation that my grandmother, one of the ‘I Believe In Unicorns’. of ‘It was a Dark & Stormy Night’ by characters in my story, didn’t get the Janet and Allen Ahlberg at Scottish vote until after she was 30….. Storytelling Centre. I have loved being And if you did, you’ll no doubt be eager to see her latest show, It’s shocking but a reality right involved in so many different ways now… I want this show to be part of which is aimed at an older audience and focuses on themes of and I still do. that gradual change which enables family connections and the desire to achieve perfection. I spoke to men and women to see a show with CM: What makes you want to ‘Woman’ in the title without rejecting Danyah to find out more about ‘Perfectly Imperfect Women’. it for all the wrong reasons. return to the Fringe? What do This production happens to be you like about it? about women because I’m a woman, DM: It’s great to be a part of this but at heart it’s a story about people incredible, intense and hugely creative CM: Can you start by telling CM: What is the story you are CM: What themes does the show and their interrelatedness, about what festival. I love the camaraderie and our readers what kind of telling in this show? explore? drives us to want to be better, to be the opportunities of the fringe. I really performance to expect? Your DM: The show examines why we have DM: The show explores our family perfect. It’s relevant to everyone who enjoy meeting so many talented show is listed in theatre, but it’s a need to be perfect and what’s so lineage, what we pass from generation has a mother, although of course like and interesting people from all over really storytelling, isn’t it? bad with imperfection anyway? It’s to generation and what we choose all art it will delight some and not the globe, seeing street theatre and shows, arts and artists of all kinds. DM: The way I describe the show is specifically about five generations of to change or ignore. In the show I appeal to others – that’s part of the I really feel expanded and filled by that it’s ‘theatrical storytelling with a women in my family, from my great- consider the journey of discovering creative process. the end of the month – I also feel splash of stand-up thrown in’. It’s a one grandmother through to my daughter. ourselves and how this is directly exhausted too! woman show. I would definitely say In the show I explore the complex influenced by those who came before CM: Is there an intention to A couple of times when I’ve been I’m a ‘storyteller’ rather than an ‘actor’ relationship between mothers and us. reach out to women struggling performing in London’s West End over but they are very close cousins, and I daughters and what it is to connect The show looks at themes of to deal with their own the summer months and I’ve looked bring my training in drama and dance, more deeply to my own matrilineal perfection and imperfection… what imperfections? at all the tweets, Facebook messages and later at Lecoq in Paris, into my line. are these, what would make us more DM: When we began to create the and Instrgram posts, it seems that performances. perfect and is this a good thing show I didn’t have any mighty ideas everyone’s heading northwards to I believe that we’re all storytellers, CM: To what extent is it anyway? Perfect comes from the latin about how my story could help Edinburgh and I get twinges of FOMO sharing stories with each other all autobiographical? meaning ‘to finish’, do we want to be others, I was invited to create a show (fear of missing out). It’s in these the time, whether it be describing DM: The story is essentially finished? which was about women, I eagerly moments that I promise myself “next our day over a pint in the pub, autobiographical but it’s also universal took up that challenge knowing that year I’m taking another show to ‘the’ delivering a marketing pitch, listening and archetypal. I’ve been told by CM: What made you want to I wanted it to have a personal feel to festival”. to a politician’s spin or our daughter audience members, men and women look at these themes? What was it. What I have been inspired to hear explaining why she didn’t catch the alike, that they thought I was telling the inspiration for the show? is how women in the audience have last bus home! their story, that it connected with DM: My daughter is the inspiration told me that they have felt liberated, ‘Perfectly Imperfect Women’ is on at their own biography and history. It for the show. Unfortunately I haven’t vindicated, relieved. People have Pleasance Courtyard until 28 Aug. definitely provides food for thought… always enjoyed a strong and positive thanked me for being so honest and

TW PAGE 10 | THREEWEEKSEDINBURGH.COM | REVIEW EDITION INTERVIEWS GET MORE AT THREEWEEKSEDINBURGH.COM Yolanda Mercy: Quarter Life Crisis

audience who managed to see the CARO MEETS | THEATRE INTERVIEW show seemed to really enjoy it, and I was inundated with such wonderful We first spoke to Yolanda Mercy about her responses from people who said the show was “funny, relatable and show ‘Quarter Life Crisis’ when it had a short really thought provoking”. It was the first time previewing Quarter Life run at London’s Ovalhouse earlier this year, Crisis in London and it was great to though I didn’t know when I first sought her see audiences who’ve attended our last show, who came again and even out for a chat that she’d be headed up to brought friends. my beloved Edinburgh Festival this summer. CM: Has the play changed or But now she’s in the festival city, so I developed in any way since organised a quick catch up, to find out more then? YM: Yes the play has gotten even about the development of the show and stronger. I have worked really hard with my wonderful dramaturg Jules why she’s chosen to take it to the Fringe. Haworth to make the narrative clearer and I’m even playing another character. CM: It’s possibly kinda self- first show ‘On The Edge Of Me’, but evident because of the title… this time around with more resources CM: How did you start out but what is ‘Quarter Life Crisis’ and a bigger team, we have taken our working in the arts? What made about? What story does it tell? production of ‘Quarter Life Crisis’ to you want this kind of career? another artistic level. YM: ‘Quarter Life Crisis’ takes you on YM: I went to the Brit school and then the journey of Alicia, a 25 year old studied at Laban. I originally entered CM: What do you like about Londoner who is trying to make her the arts thinking that I would be way through life… creating your own shows, as dancer… hoping to join the Matthew opposed to participation in Bourne Company. CM: What themes does the show other people’s? But it was during my second year explore? YM: What I love about creating my at Laban that I read Peter Brook’s YM: The show explores age angst, own work is getting the opportunity ‘The Empty Space’ which really made heritage and being a millennial. to tell stories that involve working me fall in love with theatre more. My with a team of people: producer training at Laban was very German CM: Is it based on your own Gemma Lloyd, director Jade Lewis, Expressionistic – so the lines between sound/visual designer Luay Eljamal, dance and theatre joined: dance experiences? company manager Lola Aladeshelu, theatre… or Tanztheatre… Coming YM: I would say this piece takes dramaturg Jules Haworth, set and from the Tanztheatre background inspiration from my life and the lives costume Designer Cecile Tremolieres, helped me think about theatre as an of people around me. I like it when the lighting designer Sarah Readman, all round thing from lights, sound, lines between real life and fiction are stage manager Matthew Gardner, body in space and words. From blurred. associate director Holly Gallagher, my second year at Laban I became online visual content creator Rachel obsessed and saw everything in CM: What made you want to Moore, poster designer OBDesignz theatre that I could. create a show with this subject? and PR Chloe Nelkin/Suzie Jacobs… I joined theatre quite ‘late’ – YM: I created this show as a response Plus so many more wonderful whatever that’s supposed to mean to friends having babies, getting people…. – but being ‘late’ made me sign up for married or buying a house… whereas As you can see, it takes more than 1 every outreach programme I could, I was more concerned with the person to make this 1 hour show ready and with every outreach programme problem of “how can I keep my young for an audience… the more I learned about theatre, and person’s railcard…?” I love seeing how they turn my myself as an artist. dream into a reality which then I was an “actor for hire” (essentially CM: I know that there’s music becomes our shared piece. I always auditioning for everyone else’s work) and audience participation say that everyone who works with for over 2 years until I realised that involved, so it doesn’t sound like me, owns the show just as much as I I was stuck and that I couldn’t quite it’s traditional, set piece theatre do because it takes a team to make a break through, which pushed me into vision happen. writing my first play ‘On The Edge Of – can you explain what it’s like, After weeks of working, it’s amazing Me’. Then I guess from there magic format-wise? Are all your shows when people believe in our dream started happening… I finally started to like this? and they buy a ticket then come away be seen in rooms which I struggled to YM: Without giving away too much, saying “I really enjoyed that show” be heard in before…HELLO WORLD! we wanted to create a new theatrical or “I really related to that”. Whenever experience. I am obsessed with music, we hear that, I’m always so in awe CM: What made you decide to and seeing how my idols Lady Gaga because it’s such an honour to have bring this show to the Festival? and Beyonce create an experience audiences who truly believe in the YM: I have always wanted to present a during their concerts really inspired work we make. show at Edinburgh fringe, but I didn’t me. I saw this done in theatre by Luisa have the right piece. When I wrote Omeilan and ‘Shopping and F***king’ CM: We first spoke to you about Quarter Life Crisis I had the fringe at the Lyric Hammersmith… the show when you performed in mind. I knew I wanted to share So I thought why can’t we see it in London in the spring. How this story with a huge international how to challenge our audiences did those shows go? audience, so what better place to do by creating an all round theatrical so than Edinburgh fringe. experience, that engages audiences YM: Our shows at OvalHouse theatre in a new-exciting and memorable way. went so well. It’s so crazy cause we sold out a week beforehand Yolanda Mercy performs ‘Quarter Life Crisis’ We (Jade Lewis) and I, started playing at Underbelly Cowgate until 27 Aug with this form of working during our and we even had a waiting list. The

REVIEW EDITION | THREEWEEKSEDINBURGH.COM | PAGE 11 TW INTERVIEWS WE CHAT TO OUR FAVOURITE PERFORMERS Marisa Carnesky: Dr Carnesky’s Incredible Bleeding Woman

favourite collaborators to make this as dramaturgs and outside eyes. The Photo by CM: The show explores the topic work with me. talented young Tom Cassani did a bit Sarah Ainslie of menstruation of course (I think we might have guessed of magical staging with me and there from the title…) but can you tell CM: Is there anything political have been some great producers working on it including Flora Herberich us a bit about how you go about about this..? Are you trying to make the topic less of a taboo? for this run and Lara Clifton through its it? What’s the angle? development. MC: The show is born from my PhD MC: The show is very political. I construct a case in my lecture to research project about reinventing CM: What made you decide to menstrual rituals. I wanted to create suggest that women can synchronise bring the show to the Edinburgh a characterised cabaret version of their cycles both physically and myself as a witchy academic doctor conceptually and that is the origin, Festival Fringe? that embodied a stylistic sensibility of from anthropological research, of MC: The show has grown over the last classic horror films. The work swings communal action and strike. We couple of years and we had a great run between a theatrical spectacle that reference the growing movement of at Soho theatre at Christmas and got has a hammer house of horror vibe Womens Marches around the world, great reviews and powerful responses to a live art ‘practice as research’ art and the notion of solidarity and direct from audiences. It’s a big show and not experiment, it is both serious and action for social change. your average independent production funny and I guess has a a variety of for Edinburgh. and the company are angles that come together in the CM: Do you think your approach taking a big risk. But I felt that this formation of a real activist movement could shock people? was the show I believed was right for that grew out of the show called ‘The MC: We are not making the work to Edinburgh and it comes from a strong, Menstronauts’. shock, it comes from a very genuine developed and genuine place and it and rigorous process, but what we do felt like an important time politically CM: What other themes do you and say by the nature of the taboos to be putting it out there in the festival and trying to reach a bigger audience. look at in the show? it tackles will be shocking for many MC: The show explores a variety people. But if you watch the whole CM: Are there any other shows of themes that emerge from piece we hope to answer questions menstruation. I’m not exploring the through the work and images we you have plans to see while you CARO MEETS | THEATRE INTERVIEW science or the medical implications create that give audiences a deeper are in Edinburgh? of menstruating. We are looking insight into the notion of menstruation MC: There are so many great shows at the cultural representation of as shocking or taboo. this year, I’ve already seen Hot Brown It’s always the case that you’ll find menstruation and the lost and Honey, Lucy Hopkins and Mikelanagelo interesting, mould-breaking and taboo forgotten matriarchal rituals and CM: Can you tell us about the and planning to get to Shit Theatre, menstrual symbols of human culture. other people performing with Katy Baird, Sweatshop, Betty Grumble, tackling stuff here at the Edinburgh Fringe, But we go beyond this to look at you? Who are they all and what Ruben Kaye, Peter and Bambi, Wild Bore and this show certainly falls into all those themes of trans identity, miscarriage, do they contribute? and Liz Aggiss… and lots more besides! women’s activism, childbirth and We have a big bold and wonderful categories. ‘Dr Carnesky’s Incredible transgressive circus performance. We team including cabaret legend and hair CM: What plans does your play with style and genre to shapeshift hanger Fancy Chance, Elle Columnist, company have for the future? Bleeding Woman’ offers an exploration of around a landscape that intersects the author and trans activist Rhyannon MC: I also run an alternative stage something that is rarely spoken of openly in academic with the nightclub and the Styles, circus showwoman and sword school called Carnesky’s Finishing spectacle. swallower MisSa Blue, visual performer School where artists get space, society, let alone on stage or in the media. and singer with the Japanese pop feedback and structured workshops CM: What made you want to legends The Frank Chickens, Nao from me and guest practitioners To find out more about the show and create a piece looking at this Nagai, ‘Duckie’ favourite live artist and to create their own new work in a subject? What inspired the choreographer H Plewis and a very supportive environment. We recently what to expect from it, I put some show? new very cute edition to the cast – did a pop up of it in Soho in the former questions to the creative force behind MC: In the 1990s I studied a lot of Sula Robin Plewis – who is only one Foyles building and next I’m planning feminist and cultural texts looking at year old. I asked them to join me in a to pop it up in Brighton. the project, Marisa Carnesky. the hidden meanings of fairytales in devising performance experiment and terms of life cycles and ritual change we made the work following a specific CM: What’s next for the show, from writers like Angela Carter and ritualistic process I evolved with them. after the run here? CM: Firstly, can you explain the story of an experiment we undertook Marina Warner. I went to The Radical They show the work they created as MC: We are touring the work to format of the show…? And what as a group of performers of meeting Anthropology Group – London’s part of this process and reveal the Croatia in October and we’ve got a outcomes of this as an experience in genre would you categorise it every new dark moon for three months oldest running evening class – and few juicy offers on the negotiating their lives. as? Does it have a narrative…? and creating performative rituals on was very moved by the work of table and are excited to see if any those days. I asked the performers to anthropologist Chris Knight and his more come along… I’m also planning MC: The show starts as a traditional if record information about changes in book ‘Menstruation and The Origins CM: Which other creatives are to programme a season of work and not a bit batty anthropology lecture their lives and their bodily cycles over of Culture’. I also read a great book involved with the show? a symposium around menstruation in and starts to mutate into a live art the three months and we reveal those called ‘The Wise Wound’. Over twenty MC: The costumes were created by 2018 so keep watching the Carnesky. cabaret show/ magic show and ends findings through spectacular and witty years later, in the process of exploring bespoke costumier Claire Ashley, and com website for developments! up as an all out witchy activist ritual. It performance vignettes. Some of the my own fertility journey and struggle there are films by Claire Lawrie and does have a form of narrative after an things we reveal are very personal, I came back to these books and ideas Nao Nagai. I had the wonderful Kira introductory lecture section. It is the ‘Dr Carnesky’s Incredible Bleeding Woman’ is emotive and challenging. and decided to approach some of my O’Reily and Florence Peake come in on at Pleasance Courtyard until 28 Aug. THIS WEEK EDINBURGH, NEXT WEEK LONDON? CARO CHATS TO OUR FAVOURITE PERFORMERS ALL YEAR ROUND IN LONDON – READ THE Q&As ONLINE AT THISWEEKLONDON.COM

TW PAGE 12 | THREEWEEKSEDINBURGH.COM | REVIEW EDITION THREEWEEKS REVIEWS

totally look into). Silliness, fun and a sink in, McGrath delivers spot on Baptiste shouting “when the fuck bad for a night’s work. ThreeWeeks wonderful setting – it’s literally hard to comic timing with lines that will make did he ‘step up’”?) it’s only fitting that Pleasance Courtyard, until 27 Aug | lose at Calvinball. you wish you’d left mum and dad at there’s a bit about his sexual relations tw rating 4/5 | [Bruce Blacklaw] publishes a Royal Botanic Gardens Edinburgh, until 27 home. with Her Majesty the Queen. There’s Aug | tw rating 4/5 | [Bruce Blacklaw] Just the Tonic at The Mash House, until 27 that and much else to thank Dane Micky P Kerr is Lay-Z new helping of Aug | tw rating 4/5 | [Stephanie Stapleton Baptiste for in this sharp, smart, yet (Micky P Kerr) at times pleasingly silly show about Children Are Stinky Micky P Kerr claims to be lazy, but he’s materialistic culture. Taking Gold, Oil reviews every (Circus Trick Tease) Dane Baptiste: clearly put a lot of effort into this well- and Drugs as his (sometimes pretty Everything in Assembly gardens G.O.D (Gold. Oil. Drugs) crafted show. He wins the audience loose) subject headers, whilst also day of the is pumping – the loud 90s dance (Bound and Gagged Comedy immediately with his opening low-key developing a hitherto pretty niche soundtrack, the energy of the in association with UTC Artist song about travelling around Europe, strand of acronym-based comedy, he festival in acrobatic Australian performers then builds through stand-up and Management) critiques both faith and science, or “Jason and Kylie” and, er, the subject songs to muse philosophically about In the summer in which the Duke of at least the human abuses of both. matter (in the passing wind sense). lost socks, dataism, the Bee Gees and the TW Daily Edinburgh steps down from public Lots of ideas, cracking lines and the From scatalogical beginnings, a list how technology isn’t improving our duties (even now I’m hearing Dane inception of a new world religion. Not email bulletin. of the shortcomings of children is crossed off one by one, thanks to the efforts of the young audience Here in the members. Their invitations to the stage punctuate a breathless 45 Review Edition minutes of genuinely impressive acrobatic stunts, hula-hooping (also impressive), slapstick and you can read silliness, which the audience and the performers both seem to enjoy about some hugely. Turns out (spoiler alert!) we’re all a bit stinky sometimes, which is of the shows probably about as profound a truth as anything else you’ll hear this Fringe. recommended So go on: embrace the stink. Assembly George Square Gardens, until 28 by our review Aug | tw rating 4/5 | [Bruce Blacklaw] team so far – every review COMEDY Me And Robin Hood has a 4/5 or (Hoipolloi & Royal Court in 5/5 rating. association with Theatre Royal) Shôn Dale-Jones becomes the radical figure that the modern age lacks in Check all our this thought-provoking performance in support of Street Child United. Weaving a cunning web of his own reviews online playful and, at times, emotionally raw stories with the well-known tale of and sign up Robin Hood, Dale-Jones proves to be a gifted storyteller with a palpably to the TW important story. The show blends fiction and reality to challenge the Daily for the most dangerous fictional creation of all: money, and all the inequalities it latest batch brings with it. This is not just another pretty Fringe tale however: Robin every day. Hood has arrived in Edinburgh, and he’s imploring us to get out of our comfy seats and rob the bank – who’s CHILDREN’S SHOWS in? Pleasance Dome, until 27 Aug | tw rating 4/5 | [Stephanie Stapleton] Calvinball (Ipdip Theatre) The young attendees are split into Annie McGrath: Ambivert rhubarb or custard teams, and are (Plosive Productions) given red or yellow ribbon wristbands Can Annie McGrath get a high five? accordingly. They then set off into No? Well that’s fine because she’s not the Botanic Gardens for a game of, a pervert or youth group leader. In her er, Calvinball. The only trouble is, the delightfully dark new show, McGrath rules are missing. And so our three explores what it means to be in the enthusiastic hosts – one referee and silent corridor between extrovert two team captains – are required to and introvert: an ambivert. Or, as you make it up as they go along, entirely might want to consider it, a lost, label- in the spirit of the Calvin and Hobbes obsessed, middle-class millennial. If original. What ensues is sort of a you didn’t know the term until now Mornington Crescent of ball games, don’t worry, as neither did she, but with toddling participation and yellow boy, is she glad to be part of the club. cards requiring offenders to sing the With satisfyingly awkward pauses to “sorry song” (which the FA should let those deadpan sexual jokes really

REVIEW EDITION | THREEWEEKSEDINBURGH.COM | PAGE 13 TW REVIEWS WE RECOMMEND SHOWS FOR YOU TO SEE

lives the way it should. None of these herself because she knows they’ll this show tickled me to the point I Photo by themes are new, but Kerr’s ability to make you laugh. An enigmatic and almost choked on my own laughter James Deacon get laughs out of them marks him out honest performer, she certainly won’t Underbelly Cowgate, until 27 Aug | as perfect Radio 4 material. This show disappoint those with a ticket to her tw rating 4/5 | [Daisy Malt] is what the Fringe is all about – it’s sold out Edinburgh run. not perfect, but you’ll leave feeling Pleasance Courtyard, until 27 Aug | Phil Wang: Kinabalu uplifted, having learnt something and tw rating 4/5 | [Daisy Malt] (Avalon Promotions Ltd) had a singalong. You won’t get ‘The Lazy Song’ out of your head for days. At 27, Phil Wang finally feels he’s Fin Taylor: Lefty Tighty Righty reached adulthood – much to his Just the Tonic at The Caves, until 26 Aug | Loosey (Fin Taylor) relief – with plenty of gags about sex tw rating 4/5 | [Richard Levinson] Following last year’s ‘Whitey and relationships, made all the more McWhiteface’, Fin Taylor announces amusing by his confidently dorky Rob Auton: The Hair Show he has given up being left-wing: he’s character. Raised in Malaysia to an Like it or not, you probably have hair, fed up with the left’s whinging and English mother and Malaysian father, but I doubt you’ve given it as much the guilt-based politics. Taking aim Wang isn’t afraid to quip about race, thought as Rob Auton. To embrace the at – among many others – Jeremy heritage and patriotism in a way that theme, he hasn’t cut his hair or shaved Corbyn, vegans, women who wouldn’t many other acts at the Fringe wouldn’t since September last year. It’s given vote for Hillary Clinton and white dare. It’s not offensive though – in him the opportunity to experience middle-class people in general, he fact it highlights some very astute all of the pros and cons hairiness has dissects why their ideologies aren’t observations about the difference to offer, resulting in some brilliantly focused on reality and in some cases between race jokes and racist jokes, daft observations on the social, are immoral, generating both laughter and how us Brits are terrified of them. cultural and physiological meanings and self-reflection from the audience. It’s all very tongue in cheek and the of hair. From a great opener on the Depending on your own politics, you whole hour is brilliantly silly, as Wang experience of visiting a hairdresser, to may disagree with or take offence pokes fun at himself and the world his new affinity with dogs, the hirsute at his observations. But when most around him. poet is a great advocate for embracing political comedians play to their Pleasance Courtyard, until 27 Aug | our furry selves. Amidst the wonderful audience, targeting obvious subjects tw rating 4/5 | [Daisy Malt] absurdity of his show, there’s also a on the right, it’s refreshing to see one great serenity to Auton’s performance who is prepared to challenge the Lost Voice Guy: Inspiration that makes his hairy experiment seem other side. Porn (Lost Voice Guy / utterly justified. Just the Tonic at The Tron, until 27 Aug | Just the Tonic at The Caves, until 26 Aug | tw rating 4/5 | [Richard Levinson] The Stand Comedy Club tw rating 4/5 | [Daisy Malt] Lost Voice Guy is Lee Ridley, who delivers the audio content of his Butt Kapinski (Kapinski show through a communication Giants: For An Hour Enterprises and The Pleasance) (Fight in The Dog Ltd in aid, as his Cerebral Palsy makes him Butt Kapinski, PI, and speech-impaired association with United Agents) unable to talk. Following on from alter-ego of Deanna Fleysher, is on a his ‘Disability For Dunces’ show, this After an opening song from mission. He’s going to tell a noir story, latest offering feels more personal Norwegian dance duo Fjord, we learn a proper Chandleresque potboiler of and focuses on a recent relationship. these are characters that Giants dark nights and rain-slicked streets, He weaves this around amusing but (Barney Fishwick and Will Hislop) and the audience is going to help. poignant observations, including created while still in school. Best Stalking the stage with a glaring being compared to the “super-human” friends for 24 years, they recreate lamp mounted to her head, Fleysher Paralympians and the government’s events from their friendship and weaves a genderflipped choose-your- approach to people with disabilities. imagine their futures through a series own-adventure tale that is grotesque, The highlight is a version of Bruce of sketches and songs. These highlight obscenely tasteless, and an absolute Forsyth’s ‘Play Your Cards Right’, how they have changed over the riot. Fleysher is a virtuoso at the art but throughout the show Ridley years – Barney wants to move on, but of rolling with whatever her audience demonstrates an ability to laugh at Will is clinging to the past – causing gives her, and the show feels as himself and allows the audience to rising tension during the show. Some though it could unfold in any number laugh with – and at – him. This makes of their political satire doesn’t quite of ways. One last thing: don’t think ‘Inspiration Porn’ an entertaining hit the mark, but the reference to a skulking at the back will spare you and thought-provoking hour on how Theresa May interview is inspired. Kapinski’s spotlight. On this kind of people with disabilities are seen by Possessing a great rapport and the night, nobody is safe. others. ability to riff easily with their audience, Pleasance Dome, until 27 Aug | this pair are nearing the level of The Stand Comedy Club, until 27 Aug | tw rating 4/5 | [Jon Stapley] tw rating 4/5 | [Richard Levinson] comedy duo The Pin. Pleasance Courtyard, until 27 Aug | Graham Dickson Tim Vine: Sunset Milk Idiot tw rating 4/5 | [Richard Levinson] Is The Narcissist (Bound & Gagged Comedy) (Berk’s Nest in association Sara Pascoe: LadsLadsLads Tim Vine is one of the most consistent with PBJ Entertainment) (Mick Perrin Worldwide performers at the Fringe, and I could Rehearsing with his director, Hamish, almost have written this review in association with Dawn Graham Dickson is bringing to life without even seeing his latest offering. Sedgwick Management) the works of Russian writer Grigoriy You know what you’re getting with his Rose Matafeo: Sassy Best Friend Having ended a serious relationship Alexeivich Dhukov in this riotously shows: a non-stop series of puns, with (Berk’s Nest with Avalon Management) in December 2016, Sara Pascoe is funny character comedy. Playing convoluted set-ups, home-made props now single for the first time in a long The female lead in a rom-com always has a sassy best friend. Rose on the pretentiousness of overly and silly songs that will either make time, and she’s clearly been finding it theatrical performers, Dickson’s you laugh or groan. As ever, the pace Matafeo has realised she is that character in her own life, and in both terrifying and exciting in equal this show she sets out to prove it. Musing on everything from showcase features increasingly daft never lets up from the moment Tim measure. Unapologetically female caricatures of both Dhukov’s creations walks on stage with a large ice cream being a child without a personality, a teen obsession with Michael (her own words), she tries to figure out and his own personality. The darker on his head. This won’t appeal to Jackson, to the difficulty of navigating womanhood, her anecdotes exactly what it is she wants, drawing sketches include a child suffering at everyone: if you don’t like puns then are easy to relate to, and her gags bring full belly laughs. It’s the on her experiences of the last eight the hands of his abusive father and a this could be a painful hour. Although dynamic way she expresses herself that makes her especially months while discussing a spiritual worryingly emotional country singer. this year’s show doesn’t quite reach engaging. She doesn’t miss a beat – in more ways than one – and it retreat, dogs, past relationships, family However, everything is not quite as the heights of some of his earlier ones, is impressive to see how she has developed from her Fringe debut and friends. A combination of new and it seems and the line between fiction he’s still one of the best quick-fire in 2016. A deeply funny, enchanting and exuberant comic, Matafeo some older material, ‘LadsLadsLads’ and reality becomes ever finer; whose comedians in the business. is a refreshingly candid take on is in a class of her own. arrogance is the spotlight really on? Pleasance Courtyard, until 27 Aug | the ongoing expectations of being Packed with plenty of self-mockery, tw rating 4/5 | [Richard Levinson] Pleasance Courtyard, until 27 Aug | tw rating 5/5 | [Daisy Malt] a woman, with Pascoe revealing brilliantly eccentric characters and even the strangest things about even a cameo from Dickson’s mother,

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a well-researched and presented theSpace @ Symposium Hall, until 26 Aug | and chamber musician so he plays documentary film, with live music tw rating 4/5 | [Louise Rodgers] incredibly well – if you have any interspersed with conversation musical curiosity at all then you have from singer/guitarist Dan Clews, a Violin Variations (Ian Peaston) to hear this man. wonderful talent in his own right. The fizzing excitement I felt during theSpace @ Surgeons Hall, until 19 Aug | tw Clews was a humble, sympathetic this interactive performance of rating 5/5 | [Louise Rodgers] interpreter of Taylor’s songs – he electric violin, laptop and iPad made sounded just like him. All the hits this concert feel far too short. At times Caleidocello and some lesser known numbers I was playing Peaston’s iPad myself, (Peter Hudler Cello) were played – we all sang with him to alter the violin’s sound as it was When I’m surprised in a happy way my for ‘You’ve Got A Friend’ and ‘Shower passed around the audience, which eyebrows shoot up to my hairline; they the People’. My own James Taylor pushed my musician’s soul over the haven’t reappeared yet! Peter Hudler favourite is ‘Fire and Rain’ and Clews’ edge. He started with Bach and echo slapped and strummed his cello like a performance was immaculate – lovely – nice enough – but then things got contemporary guitarist; his acoustic voice and great guitar. James Taylor’s wonderfully weird with Bjork and instrument had that rich, chocolatey life story is a difficult one, troubled looping. By the time he was adding in resonance essential for a traditional with addiction and mental illness, but more electronic manipulations and solo repertoire – no electronics or it’s not sensationalised and the show mashing up Mahler and Radiohead I gizmos required. His wonderful is ultimately about fulfilment and was beside myself! Peaston has had a playing blurred the boundaries redemption. distinguished career as an orchestral Prom Kween (Áine Flanagan Productions in association with Underbelly Untapped) Wow. I can’t imagine that a dark bunker in the depths of Cowgate has ever been quite so fabulous! As gender non-binary high school teen Matthew tries to figure out his place in the world, he’s got plenty of friends to help him on his way, via the medium of some very camp, very snappy show tunes. Full of pithy jokes, on- point pop culture references and superb surprises, ‘Prom Kween’ is a life-affirming musical that fuses all your favourite high school movies with ‘RuPaul’s Drag Race’. Go for the glitter, and leave with a warm, fuzzy feeling as you sashay away. I feel that’s already enough spoilers; just trust me and see it. Underbelly Cowgate, until 27 Aug | tw rating 5/5 | [Daisy Malt]

DANCE & against one another. The performers are completely alone on the empty PHYSICAL THEATRE stage, their bodies and movements the only thing to engage us in this Kin (Barely Methodical Troupe 45-minute performance, but they are in association with Underbelly) in themselves completely captivating. Circus is combined with theatre and Grounded within the constant comedy in this new piece from Barely changing of relationships, ‘Together Methodical Troupe. Set in a kind of Alone’ is a joy to behold. ‘Hunger Games’ meets ‘Britain’s Got Dance Base, until 27 Aug | tw rating 4/5 | Talent’ tournament, five contestants [Bethan Highgate-Betts] battle it out like their lives depend on it, all hoping for approval and recognition from the mysterious MUSIC judge. Demonstrating incredible feats of physical strength, the contestants The Blues Brothers – Live perform both solo and as a team in (Nicholas Abrams And Richard increasingly dynamic, striking displays you would be wise not to try at home. Williamson Present) Through lifts, spins, leaps, throws, a You gotta “shake your tail feathers” bit of dancing and a very tall woman, (the cast will show you how) to get the acrobats thrill the audience with the most out of this highly interactive, their astonishing feats. ‘Kin’ is an exhilaratingly effervescent Blues outstanding show that will leave you Brothers film tribute show, but if marvelling at how the human body you do the rewards will be immense can possibly be capable of such (though admittedly very sweaty!). breathtaking tricks. Prefer just clapping along? Well, watching the black suited, hatted Underbelly’s Circus Hub on The Meadows, until 26 Aug | tw rating 4/5 | [Daisy Malt] and shade wearing stars dance with a vigour that makes your eyes pop is Taiwan Season: Together Alone also very rewarding. This non-stop, jaw-achingly funny evening has a (Zoltán Vakulya, Chen-Wei great band playing all the rhythm and Lee x ART B&B) blues tunes this baby boomer can A dance of life and love, ‘Together take. Audience, band and cast kept Alone’ explores the intimacies of the frenzied dancing going all night, living with another person and how while my heart sang along with the our bodies react to ‘coupling’. As the harmonica and walking bass line. audience filters in two performers C, until 28 Aug | tw rating 4/5 | take to the stage, their naked bodies [Louise Rodgers] following each other around, slowly at first but building up pace until the The James Taylor Story audience is fully seated. Mesmerising (Night Owl Productions) elements of movement explore the ways in which we can help each Unmissable for James Taylor fans! other, as well as the ways we push This is not a tribute show; rather it’s

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Brexit The Musical feel a little lacking – not quite up to (Strong And Stable Productions) the same quality as the writing and In light of the last two years, you’d performances. A strange, but highly be forgiven for overlooking anything enjoyable take on everyday life. with the word ‘Brexit’ in the title Assembly George Square Studios, until 28 when perusing this year’s Fringe Aug | tw rating 4/5 | [Bethan Highgate-Betts] programme, but in this case at least, you’d be missing out! Written by Chris Eggs Collective Get A Round Bryant, this witty new musical has a (Eggs Collective) barrage of catchy songs delivered by Three glitzed up ladies and a lot of a joyously talented cast. Accompanied booze – they’re out on the lash, and on by a live band, the musical numbers a mission to have the ‘ultimate’ night propel the audience through the story out in Edinburgh. And we literally get of Brexit. All the familiar faces are to join in on their drunken antics, as there: Boris Johnson; Theresa May; they offer us shots of Caribbean Twist. Michael Gove and that woman Jeremy I say offer, but these women “don’t Corbyn didn’t quite high five. The set take no for an answer”. With comical leaves a little to be desired, but that anecdotes that are all too easy to doesn’t take away from the show’s relate to, the stages of a night out appeal. Overall, a hilarious experience are depicted with fearless honesty. you can get behind, no matter what Although the material is a little your political alliance. overwrought, the three actors are C, until 28 Aug | tw rating 4/5 | utterly compelling. Their philosophy [Bethan Highgate-Betts] is simple: all we need to fix us up and forget our troubles is a good night out – and I think they may be right. Dust (Milly Thomas) THEATRE Summerhall, until 25 Aug | tw rating 4/5 | [Amy Bonar] Alice is dead. She killed herself, yet she’s still here – narrating with grotesque detail the anatomical changes of her body, seemingly unaffected as she recounts the responses of loved ones, all funeral plans Mary Go Nowhere Brutal Cessation and muted grief. Comparisons to recent hit ‘Fleabag’ seem inevitable, with Alice’s emotional detachment (Black Rocking Chair (Michelle Barnette and sexual honesty. Milly Thomas’s performance is utterly compelling, as she plays several characters Productions) Productions Limited) Written by and starring Julie Shavers, all seen through Alice’s dispassionate eye. The lighting and sound are also used to superb effect here – A powerful piece of new writing, ‘Mary Go Nowhere’ is a black comedy throbbing, squealing beats and stark white beams, while the sparse set reminds us of a mortuary, and fits ‘Brutal Cessation’ explores how about a woman on the edge of a perfectly within the exposed arches of the venue. This is a brave, honest look at the ways suicide affects emotional games and rituals breakdown. From depicting the those left behind. can consume a relationship and vicious mothers of the PTA, to a war obscure people from reality, the Underbelly Cowgate, until 27 Aug | tw rating 5/5 | [Gemma Scott] with the neighbours about the state performance following a couple of the grass, this show puts a darkly and their conversations at home, comedic twist on the mundane. Blithe as their relationship becomes throughout, a lot of the comedy between genres and instruments. Cathedral Lunchtime Concerts – to the bridge – not a usual double increasing symbiotic. The set is comes from Mary’s three-year-old son He even played a hectic blue grass bass part at all but rather written for markedly minimal, established by Free (St Mary’s Cathedral) – played by the brilliantly funny (and piece – Svante Henryson’s ‘Black a virtuoso. These Russian musicians just a few domestic props, which A classical xylophone and piano completely fully-grown) Chris Grace. Run’ – while ‘Blues Chaconne’ took played with verve, style and attack, leaves the audience’s focus on the concert – how fortunate was I The abstract staging adds to the a Baroque compositional structure most notably in Brahms’ ‘Hungarian intricate exchanges between the to choose today to attend a free feeling of instability in Mary’s life and and used it to develop a blues line. In Dance No. 5’. This concert was an two characters. The script is elegant lunchtime concert, because it’s mental state, but it can sometimes more contemplative moments Hudler a different artist every time! Ian unashamed crowd pleaser! played Philip Glass’s space-inspired Munro (xylophone) and Gilmour theSpace @ Surgeon’s Hall, until 26 Aug | ‘Orbit’ and the ancient ‘Hurrian Macleod (piano) are a real treat to tw rating 5/5 | [Louise Rodgers] Hymn VI’. A welcoming performer, listen to. J S Bach’s ‘Invention in D Photo by he embraced his audience with his Minor BVM 775’ was delicate and Harry Duff Walker artistry and exciting repertoire. vulnerable – like a child tiptoeing – MUSICALS C too, until 28 Aug | tw rating 4/5 | and provided a dramatic contrast to [Louise Rodgers] the sinister urgency of David Glynn’s How to Win Against History modern piece ‘Toccata’. But, for me, (Áine Flanagan Productions and Arbikie Pipers Game Of Drones the solo xylophone is at its best Seiriol Davies present) (Arbikie Pipers) playing seaside variety-style light Henry Cyril Paget, fifth Marquis An upmarket, cabaret-style taster entertainment. That’s what the final of Anglesey and inveterate cross- menu of Scottish musical culture with two pieces in this concert were; so dresser, lived a rather disastrous life, no cheese! The historical Scottish when Simpson’s ‘On the Track’ began whose brevity was matched only by ‘Game of Thrones’ theme linking its cheerful entrance I was transported how desperately unsuited he was the traditional pipe melodies was to xylophone heaven. This really was for every aspect of it. Fortunately, described by a narrator and included a lucky dip! he lives again in Seiriol Davies’ guest spots from other artists – I St Mary’s Cathedral, until 31 Aug | delightful musical, which is both a enjoyed the musicianship and jokes tw rating 4/5 | [Louise Rodgers] dazzling technical achievement akin of accordionist Sandy Brechin. The That Moment (Blueleaf Theatre Company) to Gilbert and Sullivan, and one of sweetness of the Scottish small pipes Misha’s Gang Alicia Harding is looking for her big break, but every time she the most gleefully silly things you was moving but the highlight was thinks she’s about to get it something goes wrong. Whether it’s (Russian String Orchestra) could hope to see. The jokes are Pipe Major Cammie Ritchie’s Pibroch Professional chamber music of the fast, the rhymes faster, and it’s all getting stuck with a jam doughnut-eating smelly dog, or with a – a technically rigorous style seldom highest standard possible; this would bound up in a genuinely fascinating hopeless fling from drama school, life is just not going the way heard outside of piping competitions. not have disappointed even the history lesson (that winged helmet is she’d planned. Written by Dougie Blaxland and directed Drummer Andrew Johnston pickiest festival-goer. The repertoire more historically accurate than you by Marcus Marsh, this one woman show is an exciting piece of entertained with his tricky snare varies each time, consisting of popular might think). Davies, as the Marquis, solo ‘Drum Fanfare’; a Scot myself, new writing about the age-old problem of the struggling actor. works by famous composers, and is ably supported by Matthew Blake I loved the complex, well-defined Actor Madeleine Gray is captivating: her performance exudes today the program included Rossini, and Dylan Townley – the three syncopation of the snare drum but energy and hilarity from the moment the audience enters. Dvořák and Richard Strauss. What consummate performers tackle these wasn’t so sure about pipes with bongo The simple staging allows her to shine, whilst still keeping an really made the show for me was the tricky lyrics and harmonies with accompaniment. This is a good show air of intimacy. Hilariously funny and superbly acted, this is solo double bass and orchestra piece aplomb. for visitors – authentic and interesting. by Bottisini, ‘La Molinara’; the degree one not to be missed. Assembly George Square Gardens, until 27 Merchant’s Hall, until 23 Aug | tw rating 4/5 | of difficulty was extraordinary, with Aug | tw rating 4/5 | [Jon Stapley] C cubed, until 28 Aug | tw rating 5/5 | [Bethan Highgate-Betts] [Louise Rodgers] lots of harmonics and playing close

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yet expressive, conveying complex that prevent the show from becoming This is a work of serious importance. the regular laughs keep things from narrative unfolds – punctuated by self- characters through simple language farcical. While various allusions to the Pleasance Courtyard, until 27 Aug | getting too maudlin, without ever reflexive breaking of the fourth wall and the use of a youthful vernacular. philosophy of Ludwig Wittgenstein tw rating 5/5 | [James Napleton] undermining the emotional heft of the – it accrues call-backs and references, The script is complemented by two are made, they aren’t important. What performances. Eschewing clichés and themes begin to repeat and resonate, very accomplished performances is important is that this show is fun, Suspicious Minds (Tom Fowler obvious endings, ‘Suspicious Minds’ adding depth and meaning as it and high quality direction, though an very fun. and The Pleasance) delivers a resolution that is fittingly explores duality, imagination and the extravagant concluding sequence satisfying, but not overly convenient necessity of illusion. Single-performer C, until 28 Aug | tw rating 4/5 | At first I was confused: why is a simple breaks with the performance’s simple or unrealistic. shows always depend on the strength [James Napleton] relationship drama being presented elegance. Overall this is a dark, of the actor, and writer-performer in radio play format, complete with Pleasance Dome, until 28 Aug | tw rating 4/5 thrilling drama. Richard McElvain is superb here, Baba Brinkman’s Rap foley artists? But when Mark books | [Andy Leask] shifting tone and character rapidly, Assembly George Square Theatre, until 28 Guide To Consciousness a romantic time-travel holiday eyes twinkling with humour one Aug | tw rating 4/5 | [James Napleton] (Soho Playhouse Inc) (taking in Ancient Rome, Regency The Chess Player moment, staring hauntingly into What is consciousness? How do we England and the Titanic) to salvage (Theatre Omnibus – your soul the next. The play’s ending Hopeless (Leyla Josephine) know what we think we know, and his dying relationship with Fran, Massachusetts, USA) provides resolution, but leaves the We’re warned from the very how do we know we even exist? The things became clear. What follows is At first, ‘The Chess Player’s opening audience with a mental and emotional beginning: this is a poetry show, only peer-reviewed rapper you’re a wry blend of humour, pathos and seems wilfully obtuse: who are these hangover, one that hasn’t left me yet. containing poetry, and it’s titled likely to find at the festival, Baba emotional honesty, with a refreshing characters? Where are they? When? ‘Hopeless’. Are we absolutely sure Brinkman is here to try to explain via sci-fi twist. The characters are Why stage a dialogue heavy scene C Primo, until 28 Aug | tw rating 4/5 | [Andy Leask] we want to be here? Admittedly some witty and informative rapping. believably, recognisably flawed and with only one actor? But as the Leyla Josephine (former UK spoken Taking some pretty complex concepts, word slam champion) does create Brinkman breaks them down into some laughter during this show, but understandable chunks, to give a ultimately it is bleak and brutal. From flavour of the science behind what it the refugee crisis to climate change means to be conscious, with a little the world is, as she describes it, help from some diagrams. From “fucked”. Fucked by apathy, fucked Donald Trump to octopuses, dogs and by the boys in nice suits who are too his baby son Dylan, Brinkman explores rich to care. Is there really any reason the different ways we experience the to get out from under the safety of a world around us, offering up some duvet? Interspersed with stories about fascinating scientific findings. If you’re her family’s past, Josephine’s angry, looking for something a little different, biting lyricism will make you question Brinkman is well worth a visit. what’s worth fighting for, and whether Assembly George Square Studios, until 28 crowdfunding is really enough to fix it. Aug | tw rating 4/5 | [Daisy Malt] theSpace @ Jury’s Inn, until 26 Aug | tw rating 4/5 | [Gemma Scott] Mental (Kane Power Theatre) Kane Power’s mother Kim has bipolar Bacchae disorder. In ‘Mental’, he talks about (Flying Pig Theatre Company) her and her illness – symptoms, This is a carnal, sensual performance, treatments, possible causes – as well bringing the enchanting hedonism of as the effect this has on those around ‘The Bacchae’ to the stage through her. It’s certainly not easy viewing, but physical theatre and song. A retelling Power is an entertaining and eloquent of Euripides’ ancient Greek tragedy, performer. Feeling almost like a TED Flying Pig Theatre makes the narrative talk at times, the show’s real highlight accessible while still engaging with is the sound (huge credit to Peter R. the lustrous depth of the characters Reynolds as musical director). Power and preserving the play’s identity. uses keyboards, loop pedals and The story follows the vengeful god recordings to create mesmerising Dionysus’ exacting retribution on soundscapes, that replicate the the king of Thebes. These two roles feeling of being out of control of your are performed with particular force, own brain. We hear Kim’s medical and the contrast between these two history and her vitriolic, increasingly central figures seems to tap into a desperate voicemails. Power has modern dichotomy between sexual made a show about his mother’s conservatism and sensual freedom. illness that is respectful, dignified and Through hypnotic musicality and a enlightening. cohesive dynamism, Flying Pig makes Assembly Roxy, until 27 Aug | tw rating 5/5 | watching a classic not just enriching [Gemma Scott] but really enjoyable. theSpace @ Surgeons Hall, until 26 Aug | The Nature Of Forgetting tw rating 5/5 | [James Napleton] (Theatre Re) Rarely does a work of theatre explore Staging Wittgenstein the inner mental world with the level (Blair Simmons and Nathan of clarity and depth that can be found Sawaya Productions) in ‘The Nature of Forgetting’. The In this unfailingly enjoyable show, performance builds up to the 55th we follow two characters through a birthday of the central character, Tom. journey of transformation, rebirth While getting dressed he is assaulted and the childlike exploration of a by memories and succumbs to the new and unfamiliar world. Of the visual storm. Featuring no lines of three performers, one is the leader substantial dialogue, the performers – she fills two human-sized balloons conjure images of filmic majesty, and entreats the other two to climb coupled with live music to guide inside them. What follows is not the audience’s emotions. The use of too dissimilar from imagining baby live music here is essential, as it ties penguins being introduced to water together the intangibility of sound for the first time by their zookeeper. with that of memory, allowing the two In a bizarre and comical mixture of musicians to conduct this fantastical trial and error, the two characters give journey, while the physical routines convincing, fascinating performances are intricate and executed flawlessly.

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Amy Conway’s Super Awesome landscapes and huge satellites; the responses to real reviews of their feeling every triumph and tragedy phenomenal track record at the World (RiotBox Productions) movements poised and graceful, past work with a sequence of absurd with a true fan’s intensity. This play Fringe, so any new show comes with Video games get a bad rap. They’ll while the muted colours are almost events – many involving bottoms tells the story of the early days huge expectations. This solo show, waste your time, they’ll rot your brain, hallucinogenic at times. Though – for which words like “meta” and of association football, when the an adaptation of Homer’s ‘Odyssey’, they’ll even make you violent. In the narrative can feel a little lacking “self-referential” are inadequate. It’s “beautiful game” was dominated by certainly doesn’t disappoint. It’s an fact, as Amy Conway points out, the in substance, this is nevertheless a a joyous riposte to some dazzlingly upper-class former private school incredibly physical piece, telling the scientific truth is entirely the opposite, beautiful, technically outstanding inane criticism, interrogating the boys, until that was challenged by story of Odysseus’ journey home after and in an enchanting hour she show. relationship between artist and a group of mill workers from the the fall of Troy – actor and co-writer/ explores how games can hold up a Underbelly Med Quad, until 28 Aug | critic in the patriarchal framework of Lancashire town of Darwen. The adaptor George Mann gesticulates mirror to our own lives and struggles. tw rating 4/5 | [Gemma Scott] contemporary theatre. The show feels labour movement, social division and wildly, with a certain movement for Though this is very much Conway’s like it’s always three steps ahead of class tension all feature prominently, each character and location like a kind story, from practically the first minute All KIDding Aside you, predicting your every response but it’s the human heart and soul of of devised sign language. The words and puncturing your expectations the story that takes centre stage: the and movements are remarkably the audience are up and playing (Christel Bartelse / before they’re even fully formed. If everyday lives and loves of the real precise and controlled, and it can be games, solving problems or hitting DutchGirl Productions) targets against brutal time limits. ever you think it has no surprises left, I men and women of Darwen, who almost exhausting to watch, requiring Christel Bartelse sets the tone for her assure you it does. struggled against a system of wealth constant vigilance to keep up with It fosters a real camaraderie, and show by crawling out from under a as Conway’s story becomes darker Traverse Theatre, until 27 Aug | tw rating 5/5 and privilege that was rigged against the narrative-heavy story. This is a gynaecological examination bed as a | [Jon Stapley] them. perfect example of uncomplicated, and more personal, we’re right there hideous, giant foetus. You can almost Gilded Balloon at Rose Theatre, until 28 Aug compelling storytelling and definitely with her. In the final moments, I felt hear her biological clock ticking as a genuine connection with everyone The Giant Killers (The Long | tw rating 4/5 | [Andy Leask] recommended, but only if you’ve had she guides you through one of life’s enough sleep the night before! in the room. It was affecting, life- biggest decision-making processes: to Lane Theatre Company) Pleasance Dome, until 28 Aug | affirming and beautiful. I am not a fan of football, but for Odyssey (Theatre Ad Infinitum) breed or not to breed. From infertility, tw rating 4/5 | [Gemma Scott] Summerhall, until 27 Aug | tw rating 4/5 | to the possibility of having ungrateful 75 minutes I was part of the crowd, Theatre Ad Infinitum have a [Jon Stapley] snot-nosed brats, to environmental collapse, Bartelse humorously Hear Me Raw (Áine Flanagan explores all the anxieties that come Productions and Lipsink in with parenthood. Dynamic, dramatic association with United Agents) and thoughtfully observant, this is a Written and performed by Daniella show that will find more uses for an Isaacs, ‘Hear Me Raw’ is a one-woman umbilical cord than you could have whirlwind tour into the world of ever dreamed possible. Squeamish clean eating and control. At the people: watch out for some seriously beginning, Ella proudly displays her graphic descriptions of vaginal-related self-published “wellness” book, giving problems and examinations, which the audience a very brief background wouldn’t feel out of place in a Gothic into her life and her wellness journey, thriller. as well as exploring some of the more theSpace @ Surgeons Hall, until 26 Aug | popular clean eating ingredients. But tw rating 4/5 [Stephanie Stapleton] things are not entirely as they seem and soon begin to unravel. Superbly (FEAR) (Mr and Mrs Clark) written and fantastically acted, ‘Hear Gareth Clark is afraid. Very afraid. Me Raw’ tiptoes the line between He is afraid of everything: the aging laugh out loud funny and pure raw process, the threat of terrorism, the emotion, creating the perfect mix of existential question of what he has satire and honesty. Whether or not done with his life…there are bags and you know your matcha from your chia bags of big ideas crammed into this seeds, this is a show you won’t want intense one-man show. Clark explores to miss. the way we are conditioned by Underbelly George Square, until 27 Aug | discourse – by religion, school, family, tw rating 5/5 | [Bethan Highgate-Betts] the government – to be afraid, and to conform to that fear. Despite a couple Lula del Ray by Manual of overlong musical interludes, the Cinema (Underbelly performance is engaging, especially and Manual Cinema) when he ad-libs with the audience. It can be an overused phrase in Fringe Ultimately he does not – cannot? – reviews, but Manual Cinema really are offer any real solution, beyond not creating something unique. They use thinking about it. But I am very glad Box Clever (Nabokov and The Marlowe) live actors and musicians, along with that – for an hour at least – he did. The story of a woman’s experiences of abuse and life in a refuge was always going to be harrowing, but projections and shadow puppets, to Zoo, until 28 Aug | tw rating 4/5 | create the dreamy, otherworldly tale [Andy Leask] what was so surprising about this production was the unexpected moments of humour, wit and warmth. of a young woman whose obsession These are juxtaposed violently with the rage, the frustration, the impotence of a protagonist who is with space travel is matched only by Wild Bore (Soho Theatre and let down time and again by the very people and institutions who should be helping her. We watch her her obsession with a pair of musicians. Malthouse Theatre) struggle with the demons of her past, with her abusive ex-boyfriend, with the other damaged women We see both the final filmic images in the refuge and the faceless, uninterested bureaucrats. We don’t merely watch this tragedy unfold on Those responsible for this show, it’s projected onto a screen and the actual fair to say, do not give a shit what stage; thanks to the taut script and mesmerising performances, we feel it. process itself – a real peek behind I think about it. With scatological Roundabout @ Summerhall, until 27 Aug | tw rating 5/5 | [Andy Leask] the curtain. There are small, intimate glee, Zoe Coombs Marr, Ursula moments juxtaposed with sweeping Martinez and Adrienne Truscott blend THIS WEEK EDINBURGH, NEXT WEEK LONDON? WE RECOMMEND SHOWS TO SEE IN LONDON EVERY DAY OF THE YEAR SIGN UP TO GET OUR THREE TO SEE TIPS AT THISWEEKLONDON.COM/SIGNUP

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