THE FESTIVAL SORTED | WEEK ONE ISSUE | WWW.THREEWEEKS.CO.UK ThreeWeeks EDINBURGH

The Awesome Fringe: Meet the musical Axis JESSICA SHERR FIGS IN WIGS

PLUS Marcel Lucont | Yacine Belhousse | Tamsin Clarke | The Nualas | Celia Pacquola | Jessica Sherr | Paul Nathan KlangHaus | Rob Winlow | David Bolger | David Lee Morgan | Maddy Carrick | plus Festival news and lots of reviews

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Renkow takes first gong of the Fringe Contents

We may only be a few All three will now appear at an ThreeWeeks 2014 wk1 Amused Moose Comedy Awards days into the Festival, but Showcase later this year at London’s START POINT we have a Fringe winner Soho Theatre, alongside the winner 04 for you already. The of the other Amused Moose comedy Caro writes… competition that reaches its climax 04 finals of Amused Moose’s during the Festival, for slightly more Letter & Poem annual new talent established new talent. The winner of that one will be INTERVIEWS competition took place at announced on 17 Aug, meanwhile theSpace @ Symposium Renkow, who follows the likes of Sarah Marcel & Yacine Q&A 06 Hall on Sunday, with Tim Millican and in winning the Amused Moose newbies prize, Tamsin Clarke Q&A 06 Renkow declared the takes away a nice £1500 and his shiny Figs In Wigs Q&A 06 overall winner. moose trophy. The other finalists this year were Kiri Pritchard McLean, Penella Mellor, Rob COMEDY Auton and Brennan Reece. Holly Walsh hosted the show, which 08 went ahead despite two of the finalists Axis Of Awesome Q&A being temporarily trapped in a lift just Amused Moose Comedy Awards Gangshow Comedy Reviews 08 before it was due to start. Those two is on at theSpace @ Symposium Hall on 19 aspiring comics, Archie Maddocks and Aug. The Nualas Column 10 Don Tran, nevertheless performed well Amused Moose Comedy’s Laughter Awards Celia Pacquola Q&A 11 before a packed audience and industry Final is on at theSpace @ Symposium Hall panel, coming second and third in the on 17 Aug. BEASTS Question 11 final. More at www.amusedmoose.com THEATRE “Let’s talk” about the Edinburgh Book Festival Jessica Sherr Q&A 12 Theatre Reviews 13 this year as the big independence vote edition of his latest work ‘Colorless looms, though so will the two world Tsukuru Tazaki’. Also on hand will wars, the Commonwealth, economic be George R R Martin, the American migration, society, identity, culture and novelist best known for the ‘A Song CABARET media. “All aspects of communication” Of Ice And Fire’ series, aka the books Paul Nathan Column 16 in fact. behind TV phenomenon ‘A Game Of Says Barley: “The Book Festival Thrones’. provides a crucial forum for dialogue, Plenty of familiar faces will also be MUSIC where we can listen to and learn from returning to Charlotte Square Gardens one another, particularly in this year for another Book Festival appearance KlangHaus Q&A 17 of momentous events in Scotland. this August, including Will Self, Richard Ladies and gentlemen, Our thought-provoking conversations Dawkins, Simon Armitage, Carol favourite and occasional ThreeWeeks with both authors and audiences will Ann Duffy and Julia Donaldson, the poem-writer Luke Wright, which will MUSICALS let’s talk. Though only permeate through Charlotte Square latter as part of the always top form celebrate the British spoken word Rob Winlow Q&A 18 when it’s time for Gardens as we welcome world- children’s programme that takes place scene with appearances from the likes renowned writers and thinkers from during Edinburgh’s literary fest. of Elvis McGonagall, Hollie McNish questions from the floor, many countries and cultures”. Meanwhile, those bored of being and Hannah Silva, and in we don’t want any unruly Amongst those authors being “unbored” at the Fringe, and who feel Porky The Poet mode. PHYSICAL disruptions during the welcomed will be Martin Amis, making the urge to pop along to the book The Book Festival has also partnered David Bolger Q&A 19 his EIBF debut to launch his new novel zone during Edinburgh’s festival with Fringe theatre veterans Grid Iron always civil Edinburgh ‘The Zone Of Interest’, and Haruki month, will also find some familiar to stage a promenade production International Book Murakami, who makes his first trip faces, most notably in the Babble of four newly commissioned pieces to Edinburgh to launch an English On strand, put together by Fringe SPOKEN WORD Festival which kicks off of short fiction, for which Kei Miller, Chimamanda Ngozi Adichie, Kamila David Lee Morgan Q&A 20 this weekend, even if Shamsie and Christos Tsiolkas have all ‘let’s talk’ is the headline been invited to reflect on the themes of identity and home in the form CHILDREN’S SHOWS of this year’s programme of letters. Those works have been adapted into ‘Letters Home’, which Children’s Reviews 20 will be performed in Charlotte Square Maddy Carrick column 21 Announcing his line-up earlier this Gardens throughout August. summer, Book Festival Director Nick So, plenty to be getting on with Barley confirmed that the future of then. This year’s Book Festival runs FESTIVAL PEOPLE Scotland will be back on the agenda from 9-25 Aug. Fringe ventures 22 TW EDINBURGH LONDON TW www.ThreeWeeks.co.uk TW www.ThisWeekLondon.com25 The Edinburgh Festival sorted | since 1996 Culture in London sorted | all year round

WEEK ONE | WWW.THREEWEEKS.CO.UK | PAGE 03 TW START POINT NEWS & UPDATES VIA TWITTER @ThreeWeeks REVIEW ALERTS VIA TWITTER @TWittique Letter To Edinburgh: from Doug Segal

I know what you’re all thinking, took me from a room above a pub to The an excuse. I’ll be back with you from August where the hell is that Doug Segal, and even to a sold out EICC. 18 until the end. freaking people out with his But how could I hope to keep up with you Let’s never part again. mentalist skills? Well, he’s not indefinitely? And you could be cruel. I know I love you. at the Festival with a brand new we made up and it was business as usual, Doug x with you showering me with stars and praise show this year people. He’s not by the end, but you made my life hell for the Doug Segal is making a really bad job of taking even in Scotland. Yet. But he did first ten days of August last year. I hated you. a year off the Edinburgh Fringe by flying in to send Edinburgh this letter… I loved you too. perform at the The Five Thirty Cabaret at The CARO WRITES> Famous (18, 19, 20, 22, 23, 24 Aug), So, it’s now in full swing. Nothing can stop it now. You’ve never taken me to the cleaners the Musical CID at Gilded Balloon (19 Aug), The Lock-In Cabaret at Voodoo Rooms (19 Aug) and Fest On The Festival is well and truly under way. Hi. How are you? way you do so many people, I know that and Forth (Floor) at Harvey Nichols (24 Aug). More at I’m grateful, but one of the other things you It’s hard to believe, isn’t it? Well, I suspect it’s especially hard www.dougsegal.co.uk. to believe for those who are very much involved in it. They I know I said I wouldn’t contact you but... gifted me was a tour which only finished a mostly decided around this time last year that they were well... I miss you and I hear you’re even few weeks ago, and there was no time to going to bring a show to the Fringe this summer, but for many thinking about leaving the UK. And I know write something new. How could I dare turn it will seem like only a few months have passed since then, a the break was my decision but I just can’t up on your door without a new offering? mere few weeks since Christmas, maybe ten days since they get you out of my head. Like I said when wrote their blurb for the Fringe Programme, a week since they I decided we needed to have a break this I’ve filled my days since writing that new began thinking about what their show would actually consist year, it’s not you it’s me. show and I tell myself it’s for another tour of, and about half a day since they started rehearsing. Actually, but we both know it’s really for you, don’t it might only be half a day since they started rehearsing, but Our romance was so sudden, so we? the point is that it all comes around very quickly. For those overwhelming. I met you almost by accident who come back year in, year out, July is a very ephemeral rather than by design and it was electric. It But... All my friends are with you now and it thing that passes by in the blink of an eye. felt like we’d been made for each other; we hurts, it hurts to see how excited and happy fell in love instantly. And what an incredible you are making them. Is this your revenge It certainly was for me. The fact that it very recently turned three years we had. on me for the time I spent with the Brighton into August caught me utterly by surprise, so caught up was Fringe, and the Leicester and Glasgow I in looking through press releases, trawling the programmes You showered me with praise, sell out shows Comedy Festivals? for information on interesting shows, and preparing prose for and awards, but you also exhausted me. publication. I thought I had ages to go, and then suddenly, it Physically. And mentally. They meant nothing to me, it was just was the first day of shows, and my reviewers were out there shows. You know my heart belongs to you. creating work for me to edit, and the print deadline for our I explored every inch of your undulating Didn’t I fly all the way from down South to Week One issue was looming. body as I wound my way up you, down you spend my birthday with you this year? It was a good thing I did look through all those press packs and even inside you, as I accepted every and trawl all the programmes though, because it’s meant I’ve additional chance offered me to perform So I guess what I’m building to is this – take been able to commission some very interesting articles from for you. me back? a broad variety of Festival-makers, and this magazine bears the fruit of that. This week we have loads of interviews for you In addition to my show I’d do anything up to I know I said I wouldn’t even visit, but the to peruse: we’ve spoken to, in no particular order (actually, three extra performances a day in you. You fact is people have offered me money to it is in order, the order in which they come in this edition): always left me exhilarated but spent. You come, though the truth is the money is just Tamsin Clarke, Figs In Wigs, cover stars Axis Of Awesome, Celia Pacquola, Jessica Sherr, The Neutrinos, Rob Winlow, David Bolger and David Lee Morgan. We’ve also chatted to the people behind Freestival and Forest Fringe, whilst on the interviews page, the Fringe’s favourite ‘French Man’ Marcel A poem from Justice Radiator Lucont interviews ‘fellow’ French Man Yacine Belhousse. We also have a few columns for your delectation. The Nualas, We are Jeremy Steam-Irons and If our poems can change the world, it ThreeWeeks have been kind enough to returning to the Festival after a significant absence, reminisce Clarence Pennywether. Together would be wrong not to share them. That let us share some of our work. Although about Fringes of old, Paul Nathan offers you his guide to street we are Justice Radiator. Poetry on is why at considerable emotional cost to our ideas our are usually communicated theatre, and Maddy Carrick gives tips on how to fill a small ourselves (as well as a sizeable financial through spoken word - Jeremy wishes person’s day at the Festival. And as if all that weren’t enough, patrol. Taking down injustice with cost to Clarence’s father), we have brought to be connected to the oral tradition, we’ve got a poem from Robin And Partridge and some bite word bullets. Open your minds - ourselves to the Fringe. Some say it’s self and Clarence is scared of pens - we’ve size bits featuring BEASTS and Fascinating Aida. we are coming in. promotion. We say it’s selfless promotion. decided to embrace this opportunity with the written word. Watch out people’s Aside from all the features, of course, we have a batch of eyes! Hope you are wearing goggles, reviews for you, penned by this year’s roving team of skilled because these words are about to get and experienced writers. Though what you read here is just dangerous. the start of it reviews wise, do sign up for our ThreeWeeks Daily email for a helping of new reviews every morning in FRINGE ENVIRONMENTALIST (Every time your inbox. they shop, they buy a bag for life) You can, of course, trust our team to steer you towards I care about the world and would give all what’s good, but I would urge you (as I did previously, in my cash, the ThreeWeeks Preview Edition) not just to listen to our If it would save the Arctic and clear the sea reviewers, or the next publication’s reviewers. Listen to your of trash, gut, and go and see at least one show this week that doesn’t With a bigger wallet, I’d recycle all the litter, have a photocopied review stapled to its flyer, a show that Alas, I have no money, not a dime to fritter, doesn’t yet have a star count. There is a huge number of Only my ideas are big, shows at this Festival, and it would be ludicrous, frankly, to The stage can barely hold them, only take advice on your viewing choices from people like us. They fill up all the seats, Take a risk on a show with no publicity budget, and it might That’s why I haven’t sold them, just pay off. Even when, to waste away the climate change deniers, I hope you are all enjoying Week One. See you next week for I spent £600 to pave the streets with flyers. more. Photo: Jesse Olu

Caro @ ThreeWeeks Justice Radiator and other characters appear in ‘Robin And Partridge: Robin Dies At The End Of The Show’ at Courtyard until 24 Aug.

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You may not be familiar with Act To Act: Marcel Lucont chats to Yacine Belhousse the story of Manuela Saenz but you possibly should ML: I do enjoy ML: May I recommend ‘Late N mass inequality, overpopulation, be. A revolutionary in the ‘pamplemousse’. I Live’ to improve your English and religious intolerance, chronic global Latin American wars of imagine to the deaf Scottish colloquialisms? Perhaps solipsism and rapid erosion of civil independence, the history it may seem like a bring a recording device, you may liberties, is laughter truly the best books often mainly refer to come-on. Certainly not fully take them in at the time. medicine? her as the mistress of ‘The it is better than When dumbing down your show for the English effort the British audience, what was the YB: Yep. Sure. But no. I didn’t Liberator’ Simon Bolivar, but of ‘grapefruit’. We part of it you regretted jettisoning understand the question. that wildly underplays her life know it is a fruit, the most? ML: No? OK, what is your favourite and her role in the revolution. we know it is not a soup? grape. Why name a YB: I have a sketch about people from Setting to put that right is thing by something French Quebec and I can’t talk about YB: I thought you’d never ask… My Popelei Theatre’s Tamsin it is, and something that because it is a language thing. favourite kind of soup is slightly You know, Quebec-French and France- Clarke, who has written and it is not? Anyway, lukewarm. What is your favourite kind directed ‘Manuelita’, exploring will you be playing French expressions. of rain? I’m starting to get used to Saenz’s life through stories, shows elsewhere drizzle. ML: You must be truly disappointed comedy, physical theatre and in Britain after the that our show times clash, you Edinburgh Fringe? I ML: Of course, drizzle. A weather live music from award winning 9.30pm and me 10pm. Will you be condition so commonplace in can gladly give you a cutting one of yours short by 30 Colombian guitarist Camilo list of towns to avoid. Britain they even put it in cakes. Menjura. We spoke to Clark minutes to see mine, or will you I am surprised it is not a kind of YB: Thank you very simply catch it on the UK tour, soup. But now you are accustomed, about the subject of her play much! Which city is September to December 2014? Edinburgh is the city for you. They and how she’s transformed the the English equivalent YB: I have a better idea. I will follow have more words for it here than revolutionary’s story into a of Maubeuge? you in every town where you go Eskimos for snow. While sheltering piece of theatre. from it a man once attempted to ML: Ah, Maubeuge... and I will perform a show, 30 mins before your show time in memory of tell me all of its names. After about Well, for another city TW: For the uninitiated, tell us a bit Edinburgh. We’ll be MAV - Meilleur 7 minutes of this I chose the drizzle whose architectural about Simon Bolivar and Manuela Amis à Vie. instead. Anyway, that is that. May I reshaping seems be the first to say to you “merde”. Saenz. Why are they so important in considerably worse ML: Your style is that of surrealism, Latin American history? Paris-based stand-up Yacine than the Nazis’ of the myriad bizarre things British YB: Thank you! That is the French TC: Bolivar and Saenz were own efforts, may I recommend equivalent of ‘break a leg’ to wish you Belhousse, who supported ‘culture’ has to offer. What is the revolutionaries during the Latin Coventry? luck and success. Saying “shit” is an Eddie Izzard on a recent strangest you have seen so far? American wars of independence in Old French tradition! In the Moliere the 19th century. Bolivar is known French tour, is in Edinburgh YB: I am already very happy to YB: The dragon statues in London. period, when they were performing this month to perform an all- perform at the Fringe and would be This is a little bit frightening, because a theatrical play, the more successful English show for the very first really proud to tour Britain too. But a most of the sculptures that I have seen the show the more horses in front of question for you. I think that you have “You’re so vain you probably time. in Paris are statues of naked people the venue, and so the more shit also. succeeded in the UK because you are carrying fruits. So “merde” my friend! And to do it think this show is about you” very humble. But the French public Though, of course, he’s not the right way you have to answer “je say Figs In Wigs, the self- campaign for your return each year; ML: Edinburgh is a notoriously prends” - “ I take it”. declared “lowbrow answer the only French comedian to petitions go around. How about you tough festival, and you have no to avant-garde”. The popular make Edinburgh his summer answer their prayers and return to doubt heard tales of newcomers ‘Yacine Belhousse: Made In France’ is on at honour us with a show? Fringe troupe are back home, oh no. A certain Marcel having to deal with the dilemma of Pleasance Courtyard until 25 Aug. just one audience member showing exploring the “new form of Lucont has been long flying ‘Marcel Lucont Is’ is on at Pleasance Dome ML: Sure, I shall return in time. I go up to a show one night. In this narcissism” that’s fuelled by the flag for La France in these until 25 Aug. where I feel I am required, often instance, do you: social media, and the short parts for quite some time. So where the culture is woefully we asked Lucont to interview lacking. Perhaps I will have time a) Continue the attention spans caused by his fellow countryman as he after my trip to Australia next year. show with aplomb? an internet overflowing with But now another question for you. people and content, with a fast- headed towards the Festival b) Continue the City. What is your opinion of deep-fried paced variety show starring, food? show begrudgingly, well, the Figs. Who’d want the muttering YB: I strongly defend all the local occasionally that share the limelight? ML: Bienvenue Yacine. It must be food producers. Many small brands this friendless cretin as disappointing for you as it is struggle in the market and I would should technically Over the hour the group turn for me that this interview must be like to see the European government be paying far more their hands to a number of conducted in a lesser language. make strong decisions to help the money for what is new genres, many for the first What are your least favourite small companies of this variety of essentially a private English words? For me, ‘hierarchical’ time, including comedy, dance, food. Or not. show? is up there. An old French word music, circus and even visual made even more difficult to ML: Perhaps I will ask you this c) Suggest an art. We donned our best wigs pronounce in order for them to feel again in three weeks time. Have alternative French and cornered the Figs to find superior, appropriately enough. you prepared methods - verbal show at 10pm out more. or physical - for dealing with the which, although YB: My least favourite English word is often uncouth heckles of the British undoubtedly sold ‘papier mâché’, because when I say crowds? out, may have one TW: So, I have a feeling your show it properly with the French accent spare seat left due to this year might be all about me. Tell no-one understands . In French YB: Heckling is based on a short illness and/or death us more about the concept behind we say “PAAH- Pye-mash-ey”, but sentence shouted loudly at the ‘Show Off’. you already know that because comedian in order to confuse or YB: I think I will invite Figs: Actually you’re wrong, it’s all you’re a compatriot. I love saying destabilise him. Right? My secret this person to dinner about us. ‘Show Off’ is looking at the ‘thistle’ because it is hard for me to weapon is that I don’t understand and do my show modern day fixation with social media say it properly with my accent and English. So I am not destabilised. around a good meal. and the self-obsession it breeds. We I love challenges. My favourite is Though most of the English speaking felt, what better way to explore this “flabbergasted”. I learned that from ML: In a world audiences I have performed in front of new form of narcissism than to make ‘Downtown Abbey’. What is your increasingly have been so patient and so kind with a show entirely about ourselves? As favourite French word? troubled by civil war, me I feel very lucky and grateful. well as this, Figs In Wigs have always

TW

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Tamsin Clarke as ‘The Liberator’ and was head of a married woman who embarks on an London. Having graduated from TW: And maybe audience members the liberating forces. Although now illicit affair with the Liberator is going Lecoq in 2008, I wanted to start a will wonder why they aren’t already revered, when he died in 1830 he to be very unpopular! company that explored physically more familiar with Saenz’s story; was rejected by his peers and sent expressive work that was also and perhaps how many other into exile. Saenz’s story is less easy TW: What drew you to Saenz’s accessible to audiences new to inspirational women have been to trace, because she was written out story? physical theatre. edited out of the history books? of the history books of the time, not TC: I read an article which called her TC: There were plenty of female least for being an ardent supporter of the ‘harlot of the Americas’. I thought TW: Although you have written and participants in the Wars Of Bolivar and his revolution. She was a that was a pretty huge title to give perform the piece, you seem to Independence. There is a great strong, progressive woman and a true someone, but when I read on I realised really value the collaborations with book called ‘Notable Latin believer in the fight for freedom. it all seemed a little out of context. your team. How did you select your American Women’ by Jerome And that made me want to explore it creative team? Adams. If I could I would TW: Until very recently Saenz was more, to find the truth. TC: Most of the team I had worked write a show about each and very often remembered primarily as with before and already had strong everyone of them! Bolivar’s mistress. But that greatly TW: What research did you do creative bonds with. Camilo was a gift underplays her role doesn’t it? before turning that story into from the gods. I had never expected TW: Finally, does the TC: Yes it does. Initially Manuela theatre? to work with the UK Latin American Edinburgh Fringe provide worked as a spy for the independence TC: I travelled to Colombia, Ecuador Musician Of The Year! It has been a an important platform cause, even before she met Bolivar. and Peru in search of the real Manuela wonderful experience. for showcasing this kind later she joined the Colombian army, Saenz. It took me over six weeks. I of theatre? making it to the rank of colonel, a visited her house in Bogota, I travelled TW: Do you hope that the piece will TC: Absolutely. The Fringe huge achievement for a woman at the on horseback across the Andes inspire your audience to go home is all about discovering new time. mountains as she once did, and had and read more about Saenz’s life? If stories and new perspectives. jugo in the little shack where she so, any tips on where to start? Everything is possible and TW: Why do you think the history ended her days in Peru. TC: Yes. I realised very early on that should be welcomed. books have tended to play down it would be impossible to fit an entire Saenz’s role in the revolutionary TW: Tell us a little more about your person’s life into one show. So I do ‘Manuelita’ is on at Underbelly until 24 world in which she lived? Is it company Popelei – why did you set hope that people are inspired enough Aug. another example of mainstream it up, and what approach do you to go away and read more. It is hard history focusing on the men in the take? for English speakers as the best books story? TC: I set up Popelei Theatre with I found were in Spanish. But there are TC: Basically, yes. You see it all over Scarlett Plouviez Comnas in 2012 for short snippets about her online - you the world, throughout history. But in our debut performance of ‘Knowledge will have to decide whether they all Latin America, as a catholic continent, Of Angels’ at Shoreditch Church in sound true or not! TW

Figs In Wigs enjoyed having their fingers in as different than it did ten years ago. We you enjoyed the most? many pies as possible. This makes us a make friends and follow each other Figs: Wow. That’s like us asking you little bit difficult to categorise. Are we everywhere from the comfort of our who is your favourite Fig! We love dance, theatre, live art? We decided own homepage. It’s not necessarily them all equally of course… (so, to play with this ambiguity and use it good or bad – it’s just reality. dance). to our (dis)advantage; hence a variety show starring only us. TW: You’re going to reinvent TW: Will you be back next year with yourselves as comedians, dancers, separate shows in the comedy, TW: Why did you decide to explore musicians, circus performers and dance, music, circus and art this “new form of narcissism”, and even visual artists during the show. programmes? Maybe take a genre why with a variety show? How have you prepared for each of each? Figs: Our generation – so that’s Gen these? Figs: That would be great, but we Y – have been labelled the “most Figs: We’ve had intensive workshops don’t think our finances and mental narcissistic to date”. The Figs are with experts in each discipline. Most health would survive five shows at the quite suspicious of labels and we of them think we’re insane. Apart from Fringe. A genre each is a good idea, were interested in whether we were the incredible Tom Parkinson who but I think we’d miss each other too more narcissistic than our parents, transformed us into a band. I think much. whether this could be do with our he’s more into our music than we are. digital existence, and also whether TW: We’ve enjoyed your past Fringe it’s even possible to categorise an TW: And how does the visual art bit shows, how does this one compare? entire generation. We felt the variety work? Figs: It’s the same length but different show format actually spoke a lot to Figs: We don’t want to give too much things happen within in it. We also the digital generation’s restlessness. away, but it does feature some of our have blue liquid which harks back to Nowadays we’re always searching original artworks. It’s fair to say it will the WKD in ‘We, Object’ last year. And – usually in a tool bar – for the next probably make you question your the cake trolley is back again. best thing. Much like the variety own existence. Photo: David P Scott show audience, we need continual TW: If you take the show beyond entertainment and stimulation, and TW: Which has been the most Edinburgh, you’ll probably want our dwindling attention spans can’t Figs: This is the exact question that led they interact with others. Speed of challenging of the reinventions? to extend the running time a little. cope with anything longer than five us to make ‘Show Off’. Like all complex communication means that we never Figs: Circus, without a doubt. Turns What other genres might you like to minutes. questions, it’s most likely a mix of slow down; we build relationships out everyone can juggle except us, show off in? both. There have always been show and lose touch at an accelerating and hula hooping is a lot harder than it Figs: Horror and rom-com. What we TW: Do you think we are really offs and the concept of the ‘fifteen rate. And the concept of memory is looks. This section of the show is more call in the industry hor-rom-com. bigger ‘show offs’ today than in the minutes of fame’ is not a new one. completely altered, because pictures of an exercise in our anxieties than an But perhaps what is most fascinating and messages remember our past past, or is it just that social media exercise in skill. ‘Show Off – Figs In Wigs’ is on at Pleasance platforms are providing a new is that social media not only affects better than we ever can. Our secret Courtyard until 25 Aug. forum for the inner show off that this narcissism but also alters the teenage diaries are public blogs, TW: Which of the genres that you has always been in all of us? way people see themselves and how and ‘community’ means something are playing with in ‘Show Off’ have TW

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The axis most awesome returns TW REVIEWS Cambridge Footlights don’t worry, we also feature some classics from the internets that people International Tour Show 2014: wanna hear in the flesh. Oh, and we Real Feelings (Cambridge have lots of flesh. Footlight) They’re a famous university comedy TW: When you put together a new group with an impressive list of alumni, show, how much is new material, and Cambridge Footlights’ 2014 and how much brings together offering shows real promise, but the songs you’ve been playing out and troupe still have a lot to learn. Like the about for a while? floorboards of the theatre they came Benny: We had a very busy schedule from, their act consists of well-trodden leading up to the writing of this show; material, and sadly, this group of five a regional tour of Australia, we filmed young men wear their generation’s a documentary for Earth Hour at the cultural references too clearly upon Great Barrier Reef, we’ve filmed two their sleeves. Will Ferrell’s ludicrous comedy series for the internet.com. grandiosity and ’s Hitcher Check our YouTube channel for those character often speak louder than by the way, the second one is starting those on stage, overshadowing their soon and it’s over 30 different videos. real talent. These guys are obviously Jordan: So we wrote the show just skilful and funny, they just need to before the Melbourne International find their own voices to express that. Comedy Festival in April, and have Until then, they’ll struggle to appeal to been polishing it up there and in anyone who’s never said, “oh my god, Sydney before bringing it over here. that’s soooo random”. Photo: David P Scott The new songs in this show are all Pleasance Dome, until 25 Aug. super-new, but many of them are tw rating 3/5 [George Robb] TW: So, welcome back to the Fringe. Spectacular’ here in Edinburgh sort ideas we’ve had kicking around for a TW INTERVIEWS Presumably Lee and Jordan have of kicked things off for you guys. Is while. And we have a whole section Laurence Owen: Lullabies Of letters from their mums to explain that right? of the show about Lee’s Nintendo-Wii Pervland their absences last year? Jordan: Yeah, maybe that’s it. We Fit related injury that he’d rather we Laurence Owen is very good at Axis Of Awesome are Fringe didn’t mention. legends, though only one Benny: Jordan was busy dealing with were in the Sportmans Room in the trying to be funny. He’s confident, he an infant child last year. Lee has no bottom of the Gilded Balloon. We’ve writes songs about sex and Disney third of the Fringe’s own rock excuses... his mother has shunned got so many great memories from TW: I was talking about you guys (sometimes together!), and is very band was at the Edinburgh him. that year. We were kind enough to on Twitter, and one of our readers competent at both playing the guitar Festival last year, with Jordan give up-and-coming young comedian said they really enjoyed your show. and programming music. He knows and Lee sitting it out. But TW: Given that we’ve somehow Stephen K Amos a leg-up by being So I suggested they ask you a about timing, and is a virtuoso of they’re back with a brand new never interviewed you guys before, the houseband for his ‘Late Night Talk question, and here it is: ‘If you could syllables, lyrics and melodies. He’s let’s start at the start. How did the Show’. And John Bishop rescued us be a colourful animal, what combo even formulated a complicated Star show called ‘Viva La Vida Loca would you be’? Las Vegas’. Though if you ask Axis first come together? from a crazy drunk punter before our Wars conspiracy theory and can Jordan: We all auditioned separately first ever ‘Late N Live’. We had a lot Benny: A green giraffe. Taller and recite it like a master rhetorician. He them nicely they may also for ‘The X-Factor’ but Simon Cowell more hair back then too. camouflaged. can handle the technical apparatus perform some of the comedy said we weren’t good enough Jordan: A bat mixed with a wolf, of musical comedy like he should hits that have garnered them individually. So he suggested we TW: I think it was around about then mixed with a scorpion. The colour of be very good. But sadly there’s no over 60 million YouTube form a band, and now three number- that ‘Four Chords’ went crazy viral nightmares. Grade 8 in Comedic Theory. Humour Lee: A wet couch. views, including the crowd- one albums, seven world tours and on the net. Presumably people still is organic, and Owen’s show is just pleasing ‘Four Chords’. We millions of pounds later, here we are! always ask you to do that one? Do too full of formulas and intricate you mind? TW: I think that question was locked all three of the Axis in mechanical workings. Go along to TW: Hmm, I think that might Lee: It was somewhere between our designed to force me to plug their be impressed but, aside from a few Gilded Balloon’s Loft Bar and be someone else’s biog. As I first and second Fringes that ‘Four Assembly Roxy show ‘Red Tap/ moments of wit, don’t expect to laugh fired some questions at them. remember it, your 2008 ‘Comeback Chords’ caught on via the electric Blue Tiger’ in your interview. I too much. feel bad about that. Is there any internet, so late 2008 I think. We Fingers Piano Bar, until 24 Aug. other interview we might be doing still perform it live, but it’s very very tw rating 3/5 [George Robb] different to the first recording of this Festival that you’d like me to gatecrash with a plug for your it. We’re at peace with the fact that Richard Herring: Lord Of The show? people want to hear it live. It’s still Dance Settee a lot of fun to perform and it solves Lee: Yes, please gatecrash an Richard Herring wants the critics to the tricky problem of how to end our interview with Steen Raskopoulos know that he doesn’t have a theme show. for his show ‘I’m Wearing Two Suits Because I Mean Business’ at the this year. He’s earned the right to make his own rules after twenty- TW: Has Planet Pop provided any Underbelly. Preferably with a plug for three years at the Fringe, and here new songs to be added to the ‘Four Steen Raskopoulos for his show ‘I’m he offers up a delightful collection Chords’ hall of fame? Wearing Two Suits Because I Mean of miscellany: from the shame of Benny: Absolutely, they’ve been very Business’ at the Underbelly. picking fights with small children, to accommodating. Without giving too a feel-good finale that neatly works much away, a certain Oscar-winning TW: And finally, my personal guitar the eponymous settee into a self- chilly Disney musical number fits the skills never really progressed past referential bit of slapstick. Herring’s progression, as does some Imagine two chords - G and E minor. Have observations occasionally descend Dragons, Adele and the charming you got any songs I can play with into ranting and the audience are Miley Cyrus. just those? Lee: Absolutely, with those two chords left wondering where it’s all going; the answer is generally nowhere, but TW: What can we expect from ‘Viva you’ll be able to master Queen’s that’s ok, because he’s so zealously La Vida Loca Las Vegas’? ‘Bohemian Rhapsody’, Van Halen’s entertaining that I leave with one of Lee: We have a big banner that ‘Hot for Teacher’ and the entire those warm, fuzzy feelings, chuckling features fire and lightning. We have a Rachmaninov catalogue. at the baffling but hilarious concept of keyboard, two guitars, a jug, a couple a viscous Alsatian. of cool hats, some radical dancing, a ‘The Axis of Awesome: Viva La Vida Loca Las Benny, a fake beard, lots of awesome Vegas’ is on at Gilded Balloon until 24 Aug. Assembly George Square Theatre, until 24 Aug. tw rating 4/5 | [Laura Gavin] lights and a bunch of new songs. But TW

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Tom Rhodes: Colossus (Brett Zombie Science: Brain of the Vincent for Get Comedy) Dead (Zombie Institute for There are so many shows to choose from … let the Tom Rhodes boldly, brashly and Theoretical Studies) bolshily bombards us during his hotly Taking the form of a mock-lecture, ThreeWeeks review team help you navigate it all anticipated debut, and boy, does this turned to be a little less hardcore it feel good. Of course this is to be than I was expecting; in truth, it 1/5 Bad 2/5 Mediocre 3/5 Good 4/5 Recommended 5/5 Highly Recommended expected from the hoarse, coarse doesn’t matter if you don’t know Floridian; with a plethora of awards your Walking Deads from your Days, under his belt and a range of flattering Dawns or Diaries of the Dead. Much nicknames (“The David Letterman of of the humour arises from our gawky Holland”, “The Bad-Boy of Comedy”), lecturer’s failed attempts to relate to it may be Rhodes’ Edinburgh debut, student life, and the entire script is but by no means is he a debutant. peppered with funny little jokes, puns Cancer, marijuana, homosexuality and references. At times it was eerily and, most importantly, penises, are reminiscent of genuine university the topics of the day, and his are the lectures, where no-one was willing to jokes every frat-boy wishes they contribute or volunteer. Ultimately, the could make successfully but instead gimmick wore a little thin, and didn’t are left looking like homophobic quite do justice to the quality of the morons. Yet beneath his cynicism and writing. Maybe next year an actual crudeness lies elevating enthusiasm; zombie, for demonstration purposes, Rhodes is the kind of guy who would would liven things up. Or undeaden overshadow and insult you at a party, them, at least. making it your best night ever. C, until 25 Aug. tw rating 3/5 [Andrew Leask] Gilded Balloon, until 25 Aug. tw rating 4/5 [George Robb] Alfie Moore: The Naked Stun (Mick Perrin Worldwide) Maff Brown: Born Again Ex-policeman and R4 funnyman Comedian (Bound and Gagged Alfie Moore regales a sold-out studio Comedy) with sleazy tales of Scunthorpe and Maff Brown’s opening quip, about Skegness. His punchlines are hit-and- where he gets his corkscrew curls, miss, yet his kind face and beaming is unfortunately one of the only smile complement his plodding convincing jokes in this show. At times, delivery, somehow turning his sordid it has the uncomfortable air of an 80s anecdotes into something warm and working men’s club routine, complete cosy. Appreciative of the absurdity with a couple of un-PC references that around him, his fact based wit and sound dated. Brown’s comedy is of rational humour works in parts, the cheeky Cockney chappy ilk, but and also makes him come across as his delivery can feel rushed, meaning the ideal policeman, reserved and some of the set-up-and-punchline restrained; this may work well when jokes (that probably work when he’s dealing with ruffians and drunkards, writing for Mock The Week) go wide but it is less effective on hecklers of the mark. Some of his PowerPoint- and punters. The police use callous style visuals work well, playing on our humour to deal with the hardships collective nostalgia for the Bud-Weis-Er of the job, he says; sadly, this doesn’t frogs, but overall, his rather knowing translate well into to the civilian on-stage persona suggests that Brown world of stand-up, preventing him thinks he’s funnier than he actually is. from arresting anything more than a Gilded Balloon, until 24 Aug. lukewarm reception. tw rating 2/5 | [Laura Gavin] Assembly George Square Studios, until 25 Aug. tw rating 2/5 [George Robb]

Massive Dad (The Pleasance) The young masterminds behind this buzzing selection of side-splitting sketches are the whole package. They can act, dance, write and sing, bouncing off each other and radiating fun as they do so. But what are they offering? Yugoslavian meta-drama? And by that I mean self-referential vignettes performed by Durham graduates acting as Eastern Europeans, who in turn act as the Coen brothers’ nans, a sex denier, and kidnapped Scottish folk musicians. And by that… I don’t really know what I mean. This is the bewildered state Massive Dad leave you in. Bewildered, but also in awe, for this performance is outstanding. Their deconstructionist sketches are a creative tour-de-force, as thread-bare and yet as elegantly and elaborately crafted as the Bayeux Tapestry. Pleasance Courtyard, until 25 Aug. tw rating 5/5 [George Robb]

5/5 SHOW

TW

WEEK ONE | WWW.THREEWEEKS.CO.UK | PAGE 09 TW COMEDY NEWS & UPDATES VIA TWITTER @ThreeWeeks REVIEW ALERTS VIA TWITTER @TWittique Thanks for the (Fringe) memories: The Nualas

Undeniably Fringe favourites back in the day, The Nualas are back at the went ape-shit and impaled me. He said later, quote unquote, “I’m so so sorry, Festival for the first time in over a decade. Yes, it’s been that long. “The I was aiming for Malcom St John- Fringe was better back then” old people will tell you, forgetting Smythe and missed”. the older people who told them ten years ago how the Festival THREE: The year I had a romantic was so much better ten years before that. But accurately assignation with an Scottish remembering anything from Festivals so long ago is a bit of aristocratic punter who treated challenge. That said, The Nualas are me to a top of the range sporran, a weekend of shooting rare geese and always up for a challenge. And a stay in a freezing cold authentically so, to mark their marvellous damp, historic castle. In Glasgow. I return, we asked each Nuala still treasure his recipe for rare goose kedgeree. to dig deep into their memory banks to recall FOUR: The same year, when I some favourite Edinburgh somehow got swept into the Tattoo, the top of the range sporran given to Festival moments from me by the aristocrat being mistaken years gone by. Things as a license to lead some huge that may or may not have contingent of military instrumentalist types who were marching around happened like this… loudly in a sort of, as they call it, ‘finale’. One word, ‘disaster’. Suffice it to say nine thousand people asked for their Blonde Nuala money back that night.

ONE: The first Festival flat we stayed in, there was a ferris wheel in the Brunette Nuala living room, four dwarfs making toffee apples in the kitchen, and an electricity ONE: My first year at the Festival, meter that worked by you throwing when my perception of the boundaries whatever loose change you had at it, of performance, and the profundity whilst shouting, “bravo, bravo, hurray, of the performer in the naked space amazing, more please”. that is the stage, and my sense of the meaning of live performance in an era TWO: The time we were taken to the of exponentially escalating pervasive famous The Witchery restaurant by digital infotainment, was completely the BBC and experienced food we’ll exploded by witnessing the Lithuanian never forget, such as Smoked Pigeon Monkey Wranglers in The Wee Room. Head Shot By An English Aristocrat, Haggis Parfait With Shavings Of TWO: The night during the Festival Battered Mars Bar, and chips. Sublime. when I decided to just sit in our Unfortunately the BBC sat at a different Festival flat and watch telly rather table and didn’t pay the bill. than head out, and John Logie Baird materialised to me, in front of the THREE: When I discovered Steve screen, and said “Och aye the noo Coogan shared my love of flyer- whatye doin, sittin in when there be collecting and he ended up in our a thousand theatres offering real Festival flat at 4am gasping in absolute offerings yonder nearby?”. Which awe at my vast piles of printed inspired me to turn off the Festival flat matter promoting performances, telly and go to bed instead. most particularly my rare signed A5 of the 1950s Cambridge Footlights THREE: The year we organised a show ‘Come Away With Me Bobo To ‘photo call’ to advertise our show of us Eastbourne’ featuring Malcom St abseiling nude down Arthur’s Seat. The John-Smythe who went on to become only photographer who showed up completely unknown. was an amateur stringer for the Troon Advertiser who got hit by the rockfall caused by Nuala’s bottom bashing off the cliff face, leaving him concussed. Red-Head Nuala Plus Nuala got a chill in her kidneys, as well as a hurt bottom. Turns out there ONE: When I got hypnotised and was a better photo call on The Royal started acting like a dog during a Mile, Neil Delamere setting fire to his Festival show and ended up on stage own head. hunkering down on all fours, barking the theme tune of ‘Hawaii Five O’ FOUR: The special time I spent in before weeing on a man’s leg. And Edinburgh prior to Scotland finally the most humiliating thing was it being set free by referendum… Oh happened during a production of sorry, my spirit guide was just cutting ‘Macbeth’. I still blush to this day when in there, ignore ignore, that’s not a I see pictures of Ian McKellan. memory yet.

TWO: The day I took part in the big ‘The Nualas in Hello Again, We’re The Nualas’ celebrity Joust-Off on the is on at Assembly George Square until 25 Aug. and for some reason Mervyn Stutter TW

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Photo: Mark Dawson Celia Pacquola: Seeing how it all works out

they say “are you alright?”. That’s what love the festival there very much. The you say to someone who’s been in a main difference I think is the scale. fight. At MICF everyone has every Monday off and shows don’t really start until TW: You’ve done some acting as 6pm. Edinburgh feels like a 24/7 well, in two Aussie TV shows in festival bubble that you disappear into particular I think, how does acting completely for a month. and comedy compare? CP: Acting is always really fun for a TW: Yes, doing the full three week change from stand-up. It’s fun having run at the Fringe can be tiring. I someone else write what you say. Plus think everyone hits that middle- if you make a mistake you get to have of-August wall at some point. Any another go at it. tips for new stand-ups on getting through the run in one piece? TW: Quite a few comedians have CP: Try and pace yourself. used their Edinburgh Fringe time to do a bit of stage acting on the side. TW: And what about punters, any Are you ever tempted to do some tips for getting the most out of the theatre here at the Festival? Fringe as an audience member? CP: I would love to. CP Take a chance on some shows you’ve never heard of. TW: How does it compare to your outsider enough that you can still TW: You’ve performed a few times previous Fringe outings? appreciate the differences. Just TW INTERVIEW now at both the Edinburgh Fringe CP: I think this is my favourite show of last week I realised why I’ve always and the Melbourne Comedy Celia Pacquola: Let Me Know How It All the four I’ve brought to the Edinburgh thought that the UK was a bit rougher Originally from Melbourne, Festival, how do the two compare? Works Out is on at Gilded Balloon until 24 Fringe. It’s very silly and high energy, and tougher; it’s how everyone greets Celia Pacquola has become CP: Melbourne is my home town and I Aug. and is about a topic that really interests each other here. They don’t say “hello”, a favourite at both her home me, and with a story – basically I got city’s annual comedy festival into a fight with a palm reader – that I and the Edinburgh Fringe. really love telling. A Question For Three: BEASTS And the new show she is performing at the Gilded TW: The show blurb says you’ve What one thing is guaranteed to split up a sketch group? Balloon this month was “always been obsessed with the nominated for the prestigious future, but planned for none of it”. What about the future are you Barry Award at the Melbourne particularly obsessed about? TW Comedy Festival earlier this CP: Everything. I’ve always wanted to year. ‘Let Me Know How It All know what’s going to happen. To me. Works Out’ sees Pacquola To us. To the world. Because you never obsessing with the future, and know. And I love it when things that the ways people try to work you would never expect to happen do. For example, who knew that fax out what to expect from it. machines, at a time when transporting Trying to work out what we the simplest of data through space can expect from Pacquola’s was huge, would only last a few years, latest Fringe show, we threw but those little metallic clicky balls that business people keep on their desks some questions in her general CIARAN: I bring the biscuits. That’s would still be a booming business to JAMES: You know what they say: direction. my job. Within the group we each this day. I am so impatient to find out love destroys all. The same is true have our roles - someone is in charge what happens next. of sketch groups. No matter of the of tech, someone is the venue’s point heart can be allowed to come before TW: You debuted ‘Let Me Know How of contact, someone deals with press, TW: But despite that obsession, no the sacred bond of sketch. We don’t It All Works Out’ at the Melbourne with the industry, with our agent. plans at all? want some Yoko Ono coming in and International Comedy Festival It’s someone’s job to type the script, CP: Not really, no. I’ve never imagined killing John Lennon again. In order to earlier this year. How did it all work one person makes the props, one myself in the future. I pretty much preserve our comedic priorities, we out? sews the costumes. It’s someone’s wake up surprised every day. Even have all taken sacrosanct vows of CP: Fantastic actually. It was nominated job to book the transport and comedy was something that happened abstinence. Rather than trifling for the Barry Award which – whilst accommodation and someone by accident and I’ve just kept saying OWEN: In any artistic partnership over fleeting infatuations, we have being the most Australian sounding books our gigs. All of these people ‘yes’. Who knows, in five years I could there’s always the danger that one agreed to only fight about award there is – is also the Australian are James. But I’m the biscuit man, be a window washer, or a French member of the group becomes more important things, like whether or version of the Fosters Edinburgh and if one more person complains teacher. Well, probably not that one. I famous than the others. Like Michael not it’s funnier to say “penguin” or Comedy Award. Actually, that sounds that it’s fig rolls for the third day in was always crap at French. Jackson in The Jackson 5, Robbie “puffin”. pretty Australian too… Anyway, it went a row then we’re done! really well. Williams in Take That, and even Snarf TW: You’re based over here in the UK from ‘Thundercats’ had that spin-off TW: What’s the theme of the new now. What motivated the move, and where he moves to LA and opens a show? how have you found living in Britain? coffee shop. Sketch groups are no CP: It’s about psychics and fate and CP: I love how many places here different. Unfortunately, it is only my secret shame that, for the last ten sell sandwiches. Post offices, banks, a matter of time before Scorsese years, I’ve been dabbling in that world. sandwich shops. It’s brilliant. Oh, and comes looking for me. When that I find this area both hilarious and there are more gigs than in Australia. fateful day arrives, it will be the end interesting; everything from dream Well, that’s what I usually tell people, of our time together. But until then I catchers – which I imagine you have to but honestly it’s about the sandwiches. will continue to let the others shelter under the bulging umbrella of my BEASTS is on at Pleasance clean out like a tumble dryer filter each Courtyard until 25 Aug. massive genius. day – to tarot readers and crystals, and TW: Is it easier playing to British Photo: Ben Carpenter why exactly a rational minded person audiences now you live here? might get involved in it all. CP: I think so. But I like being an

WEEK ONE | WWW.THREEWEEKS.CO.UK | PAGE 11 TW THEATRE NEWS & UPDATES VIA TWITTER @ThreeWeeks REVIEW ALERTS VIA TWITTER @TWittique Jessica Sherr: Playing with Bette Davis

was taking a class in New York on character development, and I was going to do Lucille Ball, as a she is a funny red head, but instead I thought Bette Davis would be more of a challenge. After all, she was a redhead when she played Jezebel, so that was fitting. And here I am five years later with a one-person show all about her!

TW: Where did the idea for that stand alone show come from? JS: I didn’t originally set out to write a one-person show. I was just going to develop the character of Bette Davis for a class. But we were given exercises to complete as the character and I ended up creating a 28-minute piece of Miss Davis, which was the beginnings of this show. Bette is one lady who just sticks with you.

TW: How much research did you do when writing the piece? JS: A ton. I didn’t know a lot about her when I set out on the project. I researched for two years reading books and watching films before I began writing. As the project has unfolded I have gone deeper into my research. Just last year I flew out to California to the USC archives and spent a week with her personal file from Warner Brothers. That was surreal. I touched her handwriting and read her memos to Jack Warner. That Photo: Mark Dawson was as close as I have gotten to her and it was powerful.

INTERVIEW TW: You sense the young and older TW Davis were quite different people. Would you agree? Why do you think Jessica Sherr was once told this is? she had Bette Davis eyes. A JS: Yes. The young Bette was bright- simple remark that led to her eyed and bushy tailed and ready to researching the entire life take on Hollywood in her best Yankee story of the Hollywood great, manner. Being a theatre actress, she and subsequently the creation thought the Hollywood system would of her one-woman play be interested in her talent. Sadly it didn’t take Bette long to realise that ‘Bette Davis Ain’t For Sissies’. the Hollywood movie mogul wasn’t Returning to the Fringe at The anything like the people back at Assembly Rooms this year, the her hometown theatre. The movie story tracks Davis’s defining mogul cared less about talent, he only moments as she fought her cared about money. Money wasn’t a way through the Hollywood driving force for Miss Davis. She was system. We spoke to Sherr interested in good parts and doing good work. about her play, and the woman that inspired it. TW: Did researching the piece change the way your view Davis? Do you see her movies in a new light? TW: Tell us about the premise of JS: Indeed. After researching I can see ‘Bette Davis Ain’t For Sissies’. how her personal life paralleled and JS: It’s the night of the 1939 Oscars influenced her work. There are certain and the LA Times leaked the winners directors, William Wyler being one, early. Knowing she is going to lose that really shaped her acting career. out to ‘Gone With The Wind’, Bette You can tell in her earlier films that she Davis leaves the ceremony. We then had so much spunk. As she got older journey with young Bette through her that spunk shifted into a darker Bette memories, and her fight for good parts Davis. and respect in Hollywood. TW: As you say, the Hollywood TW: How did you first come to machine wasn’t especially kind to play Bette Davis? its earlier stars like Davis. Is it any JS: Someone said I had Bette Davis better today do you think? eyes. So I looked her up and it was JS: Hollywood is a mess. They have true, there is indeed a similarity. I one idea in mind: sell tickets, no

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matter what they have to do to their execution. Less a play than a post- media hoax, but the whole thing is shot quite live up to its excellent potential. stars. It’s always been that way. Davis TW REVIEWS apocalyptic role-playing game, it has through with rich seams of allegory, All four actors give compelling was definitely a victim of that. Many its audience slowly file into quarantine: symbolism and some wonderfully performances, and there are moments people don’t know that she went to According To His Need immediately the problems become simple but effective staging. Moving - including one shockingly visceral London and Warner Brothers sued (Reds Theatre Company) apparent. You’d expect a real life queue and honest: a lovely piece of act of violence - that really stand out. her for breach of contract, which for a medical checkpoint to take time contemporary theatre. The problem lies in the adherence to One guy, one girl and a whiteboard: ultimately was the first time a star but, as an audience member, ten Shakespeare’s words. Though the plot those are all that Reds Theatre C, until 9 Aug. tw rating 4/5 [Andrew Leask] spoke out against the virtual slavery of minutes of tedious queuing was a bad has been tweaked slightly, the dialogue Company need to show you the Hollywood. start. Once inside, as the interactive hails from the bard and while Goneril, complex relationship between politics Hamlet (Secret Theatre) plot unfolds, there are moments of Regan and Cordelia are intriguing and sex. The quirky romance is played Adapting Shakespeare’s most TW: Do you try to impersonate Davis panic and hysteria, presumably just characters, they remain just that: out by Michael-David McKernan acclaimed tragedy must be a daunting for the piece, in voice, the way you what the creators were aiming for. intriguing. This adaptation would have and Hannah Tucker Mamalis, both prospect: too faithful, you risk look, mannerisms and so on? Unfortunately it was all a bit toothless, benefited from giving the sisters a little performing with real energy and stagnation; too radical, you’ll offend JS: I don’t impersonate, I play Bette and the conclusion was anticlimactic. more depth, a little more character. charisma, though it would have been the purists. Secret Theatre’s powerful Davis. I have worked a lot on her voice Presented with a choice, we picked one interesting to see them interact even production gets it almost entirely right. C nova, until 16 Aug. though, and the way she looks, and of door, walked down a corridor... only to tw rating 3/5 [Andrew Leask] more with their audience. Oliver The 1960s setting isn’t too intrusive, course her mannerisms, but ultimately be told it was game over, and that they Eagleton’s intelligent script makes this and the decision to re-imagine I am playing a character from the inside hoped we’d made the right decision. A Lavender Junction out. piece an intellectual challenge as well Rosencrantz and Guildenstern as real let down. (Peppermint Muse) as a very charming story, but there are women - swinging sixties sex-bombs some moments when the dialogue C nova, until 25 Aug. at that - is inspired, complicating their Though set in colonial India, ‘Lavender TW: Is it ever strange being an actress tw rating 2/5 [Andrew Leask] pretending to be another real-life is so quick-fire that it can be hard to relationship with Hamlet. The tweaks to Junction’ isn’t really about colonial actress? understand. If you can keep up with the Ophelia’s arc are also welcome, as is the India. Indeed, that’s its biggest fault: characters’ agendas, you will find this company’s ability to seize on the brief it’s not really about anything. Rather, JS: It is strange? My personality and Forget Fire (Pepperdine Davis’s are very different, and that’s an unusual, smart and touching story. moments of levity in the otherwise this one-woman show, written and University (Malibu)) good. That way I know when I am C nova, until 25 Aug. angst-ridden play. My only minor performed by Lisa White, is inspired playing a character and when I am tw rating 4/5 | [Vicki Baron] As the cast individually welcomed complaint is regarding the omission by White’s grandmother’s life. What being myself! The hardest part is every audience member, I realised of Fortinbras, which makes Hamlet’s emerges, then, is a lovely portrait of playing someone who is well known, The Capone Trilogy: Loki this wasn’t going to be some Luddite transformation feel rather sudden. All her experiences in India in the latter as everyone has their own ‘idea’ as to (Jethro Compton Productions) rant. When the blurb referred to of the cast do an excellent job, with days of the Raj and the Second World technological barriers, it seemed the actor playing Hamlet delivering a War. There’s no doubt that White’s what Bette Davis should be like. And It’s fitting that a play inspired by an anti-technology, anti-progress mesmerising performance. emotional connection to the material at times I think people identify Bette the Norse trickster god would be agenda was certain, but this engaging, lends her performance a poignancy by her characters, but she was very so playfully subversive; it flits from C too, until 25 Aug. engaged troupe have devised tw rating 4/5 [Andrew Leask] and tenderness that is affecting. We different in her real life. fourth-wall-breaking comedy to sudden something special here. It’s an honest hear of her distant parents, harsh threats of violence - and back - in a reflection of the tolls - emotional, nuns at boarding school, a multitude TW: Have any people who knew heartbeat. In the intimate setting of a Lear’s Daughters psychological, interpersonal - exerted of servants... but all devoid of any Davis seen the piece? What did they shabby 1920s hotel room (complete (The Footfall Theatre Company) on the smartphone generation, never commentary, any subtext. It’s a nice think of it? with peeling wallpaper) we are fully There’s much to be said for a retelling forgetting that “you can’t go back”: show, but unfortunately, I’m left wanting JS: Yes. They are impressed by the immersed in the action, sharing of Shakespeare’s ‘King Lear’ from the the internet is here to stay. There is more: more drama, more meaning. similarities and how much we are alike. the room with a motley parade of perspectives of his daughters, and the a loose central narrative following a I have had people say that there are gangsters, busboys and policemen. presentation here is certainly engaging C nova, until 25 Aug. young woman’s reaction to a social tw rating 3/5 [Andrew Leask] moments that are ‘so her’. Their lives revolve around the and entertaining. Despite this, it doesn’t protagonist, Lola Keen: a glamorous TW TW: You’ve been performing ‘Bette nightclub singer with a dark secret. Davis Ain’t For Sissies’ for a few years The script elevates what could have now, has the piece developed over been simply stock characters, through time? a goodly dose of vaudevillian humour JS: Definitely. In two ways. First, and farce, yet it never loses the artistically the show has evolved. I am constant sense of impending, inevitable working with a new director, Antony tragedy, as Lola’s story unravels before Raymond, and each time we get in our eyes. the room we discover something new. C nova, until 25 Aug. Second, I have had some incredible tw rating 4/5 [Andrew Leask] meetings. Last year I met Kathryn Sermak, Bette’s last assistant, and she The Duchess Of Malfi was very complimentary. She gave me (UCLU Runaground) a pair of Miss Davis’s gloves, which I Webster’s classic play about love, death now wear in the show, and which still and betrayal takes a lot of energy to have her make-up on the edge. perform, and UCLU Runaground’s

talented and enthusiastic cast rose TW: Are you looking forward to to the challenge. The production performing for the Edinburgh Fringe accurately represented the intense audience again? themes of the Jacobean tragedy and, JS: I do love a great crowd and though long for a Fringe show, skilfully Edinburgh Fringe audiences are so got to the heart of the complex story appreciative. I can feel everyone really in a mere hour and twenty minutes. listening and really coming along for The tale is a dramatic one with several the ride. I love talking to people after twists and turns, but unfortunately the the show as well, so I can get a sense of pitch of volume, energy and emotion what people enjoyed. I learn a lot from seemed to plateau somewhat about my audience. I just don’t understand halfway through the performance, why everyone is so quiet and polite! and so ultimately, it lacked climax, Laugh out loud — we need it as actors! which prevented the audience from

remaining entirely immersed. It’s a TW: And finally, are there any other committed and engaging production, iconic women you fancy playing in a for the most part, but would benefit one-woman show? from further development. JS: Hmm, I’d say Madonna. C Nova, until 16 Aug. tw rating 3/5 | [Vicki Baron] ‘Bette Davis Ain’t For Sissies’ is on at The Assembly Rooms until 24 Aug. Eden Gate (Produced Moon) This is a great concept, flawed in TW

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a slow start, the fleeting glimpses TW REVIEWS 5/5 SHOW of stoners, freaks and Hell’s Angels become increasingly tense. Though at Unsung (Red Mane Productions) times it feels like the volume has been set a little low, this develops into an This is very much a play of two halves. interesting look at a dark moment in The first half is a sharply observed music history. comedy about two British-Asian brothers, living in England with C nova, until 25 Aug. their wives. The patriarchal values tw rating 3/5 | [Dave Fargnoli] of older brother Rana are, initially, played for laughs, and it is the women Dead Letters (PropUp Theatre) - carefree Joy and more traditional Following a pleasantly neurotic Megh - who are strong. All four actors postman on a quest to get every are excellent, their performances lost letter to its destination, Dead subtle and nuanced. When things Letters is a simple story told in an suddenly take a dark turn half-way appealingly rough around the edges through, once the initial panache of style. The five-strong ensemble the dramatic twist wore off, I began to make good use of a few props, silly question the actions of the characters, sight gags and strong, clear images especially Joy and her husband throughout. Flurries of envelopes Ash. The play’s climax seeks to offer and a downpour of torn paper leave resolution, but doesn’t, making the the audience smiling and the space whole thing gripping, engaging but gloriously messy. The script may be a ultimately a little hollow. little sketchy, with characters tending C nova, until 25 Aug. to ramble, but there are touching tw rating 3/5 [Andrew Leask] moments as long lost messages begin to change people’s lives. There’s a Altamont (Peppermint Muse) sense that the words matter less here than the sentiment, as this charming, The Rolling Stones’ 1969 Altamont undeniably talented company delivers gig is notorious for the killing of a fan a gentle, good-natured show. by a security guard. This grim end Woyzeck (Splendid Productions) to a decade of free love serves as C cubed, until 25 Aug. Buchner’s fragmented tragedy of jealousy and madness is rightly regarded as an existentialist masterpiece. It’s tw rating 3/5 | [Dave Fargnoli] a background to John Stenhouse’s just not usually this funny. Splendid Productions confidently break down the bleak text, twisting it into a dark, surprisingly sedate solo performance. anarchic music hall act that’s equal parts Brecht and Monty Python. Seamlessly splicing physicality, wicked The script follows generic hippie Joe, a Grimm asides and warm audience interaction, these three superb performers inject the show with wit, pathos and bewildered narrator lost in the crowd. (Hypnotist Theatre Company) Though his limited viewpoint fails to tremendous energy. It’s hilarious and horrific, erotic and brutal, and the hairpin emotional shifts could easily feel Identity, innocence and memory provide a sense of perspective to the forced in less confident hands. Here though it’s never less than enthralling, held together with perfect timing, are all expertly played with in a unfolding events, it allows Stenhouse self assured ad-libs and a spot-on chimpanzee impression. This is a powerful, unsettling experience and a Kickstarter-funded show from this to concentrate on building the mood, frankly brilliant performance. Oxford student ensemble. Aoife is with plenty of evocative details. After Gilded Balloon, until 25 Aug. tw rating 5/5 | [Dave Fargnoli] desperately trying to remember who

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she is, her memories resurfacing If that sounds odd, it is, and that’s man is truly captivating, and director Forced to make their own sense of candid piece of solo theatre lays bare under the guise of familiar fairytales. just a toe-dip into the giant lake of Gareth Armstrong maximises the matters way beyond their years, the not only Gerideau’s struggles with Black humour, a conversational weird that Smith serves up. Much of show’s potential for humour as well children’s exchanges are particularly her condition, but also puts a stark script and some brilliantly visceral it is funny, though often the audience as poignancy. ‘Clown In The Moon’ intense and upsetting. A show more spotlight on how all of us judge at skin props bring a modern chill to these was more bemused than amused manages to be at once touching, than worthy of your time. level. As she tells her story through old morality stories - and any group and there were times when the educational and genuinely uplifting. @ The Phoenix, until 12 Aug. years of family distance, relationships- who casts the witch from Hansel character’s facade cracked. This won’t Assembly Hall, until 25 Aug. tw rating 4/5 | [Laura Gavin] gone-rotten and some rather frank and Gretel as a forceful, manic-eyed be to everyone’s taste, but it’s exactly tw rating 4/5 | [Vicki Baron] arguments with God, the material maitre d’ wins a vote from me. The the kind of off-kilter production for Hyde & Seek (Elsewhere and occasionally feels repetitive, but truth gradually unfolds in a series of which the Fringe is famed, and rightly builds towards a powerful ending. The So It Goes (On the Run) Otherwise in association with fragmented, darkly absurd vignettes praised. title is not a sarcastic retort to those I simply adored ‘So It Goes’. It’s a Peppermint Muse) that effectively mimic a damaged , until 24 Aug. who point in the street, nor is it a mere wonderfully inventive and moving This is a thoroughly engrossing mind trying to put itself back together. tw rating 3/5 [Andrew Leask] show about grief, and how hard it is to pun. Gerideau means it in the most And once all the pieces are in place, it show that’s a little hard to categorise. genuine way possible, thanking each talk about a loved one who has died. Actor and writer Michael Daviot becomes clear why some things are Chatroom It’s not maudlin or depressing though: one of us for looking and listening, on truly so grim, you might choose to presents a fascinating mix of drama her own terms this time. (No Prophet Theatre Company) it’s uplifting. Created and performed and storytelling, all connected to forget them completely. Sweet Grassmarket, until 10 Aug. Much like the internet itself, by Hannah Moss and David Ralfe, Robert Louis Stevenson’s most C too, until 16 Aug, tw rating 4/5 | [Laura Gavin] ‘Chatroom’ gently draws you in with the show was inspired by the loss of famous creation, ‘The Strange Case tw rating 4/5 | [Laura Gavin] some innocuous, amusing banter Moss’s father, and the difficulty she of Dr Jekyll and Mr Hyde’. Daviot What Do You Mean (Ego Actus) about Roald Dahl and Britney Spears, had speaking about it. The brilliant recounts stories from Stevenson’s Antiquithon before revealing the dark, nasty stuff. device used to realise this difficulty is life - his inspirations, quirks and Everyone knows it’s hard to make (Cie des Femmes à Barbe) This powerful play depicts a series that neither performer speaks during characteristics, as well as his own great theatre. Ego Actus get You should definitely seek out this of conversations between teenagers the performance; rather, they use anecdotes. These were often around the problem by staging this quirky slice of fun Fringe freakery; it’s in an anonymous online chatroom, signs and write on whiteboards. No astoundingly frank, as he delved into intentionally terrible show about a little off the beaten track, but well focusing on ‘Jim’, who is teetering on mere gimmick, this is an integral part the darker aspects of his own psyche making a terrible show. Following an worth the walk, even though it’s only the brink of suicide, and the malicious of the performance; the anticipatory that have parallels with Hyde’s: drugs, egomaniac writer and a company 30 minutes long. You are ushered into ‘William’ and ‘Eva’, who do their silences were often pregnant with violence and mental health. A number of bickering actors, this is a play the macabre “cabinet of curiosities”, damnedest to push him over. All of tension, or expectation, or sorrow. A of excerpts from the novel complete without a plot and without a point. inspired by carnival sideshows, the performers were great, especially profoundly affecting experience: just the play, and the interplay between It’s energetically and earnestly by your hosts Ourelia and Vodek James Lewis as Jim: his breakdown lovely. these three strands - biography, performed, but interminable shrill Cazaniescu. Exiled from Romania with on stage was harrowing and intense. Underbelly, until 24 Aug. autobiography and fiction - is scenes stuffed with cheap gags, only their creepy uncle’s assorted The only real problem with the play tw rating 5/5 [Andrew Leask] endlessly rewarding. A fine reflection slapstick and technical descriptions of ephemera - a mummified crocodile, a is that despite being ably performed, on a fine bogey tale! theatrical tropes quickly start to grate. the antagonists lacked depth or Continually telling the audience that tiny mermaid, the dread spiderabbit - The Sonneteer (Sebastian C nova, until 25 Aug. what they’re watching is meaningless they make a living by charging people motivation, a surprising oversight Michael and Tom Medcalf with tw rating 4/5 [Andrew Leask] to hear the grim mythological back- given the otherwise authentic Optimistic Creations) isn’t funny, it’s insulting, and though exploration of the adolescent psyche. this is clearly done with the best story of some of these antiquities. If you have bad memories of high Thank You For Staring intentions, it’s frustrating to watch. Things take a dark turn, however, as C nova, until 25 Aug. school English lessons, it’s probably (Patrice Gerideau) Ultimately, the question isn’t so much the occult curios reveal their secrets. tw rating 4/5 [Andrew Leask] because your introduction to A glorious mix of the comic and the Patrice Gerideau has vitiligo, a skin “what do you mean?” as “why did you Shakespeare’s poetry was as dry disorder which she once feared creepy, with a shocking climax. Domestic Labour: do this?” as this intelligent but flawed play. would take her African-American Institut Français d’Ecosse, until 23 Aug. A Study in Love (30 Bird / Writer Sebastian Michael clearly Spotlites @ The Merchants’ Hall, until 25 Aug. identity, as well as her pigment. This tw rating 1/5 | [Dave Fargnoli] tw rating 4/5 [Andrew Leask] Escalator East To Edinburgh) loves the material, convincingly Asthmatics beware: ‘Domestic Labour’ weaving Shakespeare’s sonnets into Awkward Conversations stirs up quite a bit of dust. Literally. a backdrop for two imagined love with Animals I’ve F*cked At one point a cloud of dust fills affairs, one between a professor and 5/5 SHOW (Ten Dead Men) the air - while undoubtedly visually his student, the other between the First, the good: actor Jack Holden is arresting, this initiated a chorus of Bard and his patron. It’s a worthy outstanding, delivering a compelling coughs and had me reaching for my attempt to approach these timeless performance, rich in pathos and inhaler. Nevertheless, there’s much texts from a new angle, but it suffers humour. The problem with the play to like in this entertaining blend of from unclear direction and indistinct itself, though, is that it wants to have drama and physical theatre; the characterisation. Abstract movements its cake and eat it. Or have its dog and, movement in particular was excellent, muddy things further, making it well... The central concept - awkward, as was the creative use of household difficult to know which storyline you’re morning-after conversations between appliances as props. It’s not simply watching at any given time. You’ll be a man and the animals he’s slept a string of vignettes, though, and it’s reminded why Shakespeare’s writing with - is amusing. It would work as the overarching narrative that lets was so good, but this production ends a recurring sketch, but just doesn’t the play down: there is a story here, up wandering in his shadow. work as a play. So there’s some heavy but it’s fragmented and incoherent. Greenside @ Nicolson Square, until 23 Aug. handed allusions to the sex-trade As such, it doesn’t lend the whole tw rating 2/5 | [Dave Fargnoli] and gender politics, as well as a thing the structural cohesion it needs, last minute bid to give the animal leaving this an engaging but ironically Tea for Tabitha (Blanket Theatre f*cker Bobby some depth, a tragic messy production. / Free Festival) back-story. Yet these attempts at Summerhall, until 23 Aug. Fresh from the Brighton Fringe, gravitas undermine the humour, while tw rating 3/5 [Andrew Leask] New Zealand company Blanket the humour makes the drama feel Theatre bring this intimate drama to unearned. Dylan Thomas: Clown In The Edinburgh, exposing the trauma of Beowulf: The Blockbuster Underbelly, until 24 Aug. Moon (Miles Productions) family break-ups from the inside out. (Pat Moylan Presents a Show in a Bag Production) tw rating 2/5 [Andrew Leask] This is a show about the life and Playing both parents and children, A story about a single father in 1980s Ireland. A story about teaching mischief of Welsh poet Dylan Thomas, James Stephen and Jodie Ellis (also your son to live well. And most of all, a story about stories: how we Birdwatchers’ Wives the writer) embody their characters who died at the age of thirty-nine find meaning in them; how we use them to find meaning in our lives. (Caroline Smith / after a short but incredibly full life. physically and mentally, alternately The central narrative - a dying father telling the story of Beowulf to his Escalator East To Edinburgh) Played by the superb Rhodri Miles, capturing the petulant mannerisms son - is crammed with references to Star Wars, Bruce Lee and James Something of an odd duck - an odd Thomas takes us through some of of childhood and the repressed Bond, but this isn’t mere nostalgia. Rather, writer/performer Bryan Great Crested Grebe to be accurate the most outlandish and outstanding emotions of adulthood. The switches - this is a pleasantly quirky blend of moments of his life, interspersed with are startlingly smooth, happening Burroughs perfectly captures the way we use the stories we learn to filter theatre, comedy and performance art. readings of his poetry in a BBC studio. mid-scene, as comic-tragic tantrums experience, as lenses through which we view the world. There’s humour, The main focus of the show, devised The audience is treated to some sad between brother and sister about sorrow, wit, warmth...through it all Burroughs is in complete control of and performed by Caroline Smith, stories, a few unbelievable anecdotes dead pet spiders transform into the our emotions. A masterful performance. is Rita Grebe, an avian diva who is and many moments of pure joy. Miles’ bitter rows of two people watching Pleasance Courtyard, until 24 Aug. tw rating 5/5 [Andrew Leask] preparing for a birdsong competition. depiction of the troubled but talented their once-joyful relationship crumble. TW

WEEK ONE | WWW.THREEWEEKS.CO.UK | PAGE 15 TW CABARET NEWS & UPDATES VIA TWITTER @ThreeWeeks REVIEW ALERTS VIA TWITTER @TWittique Paul Nathan: Taking to the Fringe streets

When you think of the cabaret Fringe you normally picture the late night gatherings that occur in vaults and lofts and dark TW COLUMN corners all over the city. But don’t forget the streets of Edinburgh are one big cabaret during daylight hours too. The Royal Mile is Busking is intimate and immediate. There is a lot going on. It is also pure. the hub of this street theatre cabaret, with some awe-inspiring No lights, no trapdoors, just the artist acts on show alongside the flyering frenzy and show-clip preview and the audience and sometimes stages. those lines blur. Here are five tips and tricks to enjoy the show more. One guy who knows this most exciting element of the Festival better than most is ThreeWeeks Editors’ Award winning Paul 1. It really is dangerous. The fire is real, Nathan. He stars in ‘The I Hate Children Children’s Show’ in the the knives are sharp, and yes that is a mornings and the ‘Best Of Burlesque’ at night, but in the middle real whip. So when the performer says he busks on the Mile. We asked Nathan for his tips for how Fringe- “don’t try this at home” keep in mind that there is a reason every act on the goers can get the most out of the street theatre Fringe. Royal Mile is required to have insurance.

2. Don’t watch the fun, be part of it. never see again, you want to see it The father of modern psychology, from as close as possible. William James, said “we don’t laugh because we’re happy, we’re happy Bonus tip… Street festival organizer because we laugh”. Nowhere is this Andy Meldrum recommends that folks more true than in street theatre. bring a towel or a hoodie to sit on for There’s no fourth wall. The audience comfort. If you have a tip of your own, is a character in the play and anything tweet it to @ThreeWeeks and we will can happen. You travelled all the way add it to our list of tips for watching to Edinburgh to be part of something shows. special (or all the way into town if you’re local!)… don’t hold back now. The I Hate Children Children’s Show is on at the Pleasance Courtyard until 25 Aug. 3. You never know who you’ll see. Best Of Burlesque is on at Assembly George Many of the artists in this year’s street Square until 24 Aug. programme have very successful Plus you’ll find Paul performing on the Mile. indoor shows. You may even catch Do say hello to him! some future stars. Pierce Brosnan started his career as a fire-eater. And Eddie Izzard did street shows here until Robin Williams - who himself started as a street mime in New York - produced Eddie’s Emmy Award winning TV Special. Couldn’t get tickets to see The Boy With Tape On His Face last year? This year you can see The Boy’s alter ego, Sam Wills, on the Mile. The take away here is to cherish whichever act you are watching.

4. We are on the clock. Just like you, we have to be at work on time. At 10am each morning all the artists meet on the Mile and draw names out of a hat to see who will perform where and when. It’s different each day. Buskers have 30 minutes to gather a crowd and do their show. Bigger circle acts have 45 minutes. If we go over time we are thrown in the Edinburgh Dungeon and made to watch ghost tours until 10am the next morning. Schedules are posted online daily on the Fringe website.

5. Get in early and get in close. When you see an artist starting up a street show, that is the best time join the audience. Don’t get stuck in the back of the crowd. If you see a few street Top picture, Todd Various performs on the shows you will likely see something Mile. Photo: Andrew Brown. you have never seen before and will Above: Paul and his cards

TW PAGE 16 | WWW.THREEWEEKS.CO.UK | WEEK ONE MUSIC GET THE LATEST NEWS, REVIEWS AND INTERVIEWS IN YOUR INBOX DAILY sign up for the free ThreeWeeks Daily email now at ThreeWeeks.co.uk/signup KlangHaus: Photo: David P Scott Site responsive sounds TW: How does it work creating a TW INTERVIEW show like this? Jon: We like to call this work ‘site- There are plenty of great gigs responsive’ if that doesn’t sound too pretentious. We try to imagine at the Fringe, but few will the soundworld from our first site feel quite so perfectly placed visit: listening to the acoustics of within this genre-bending the various rooms - in this case festival as ‘KlangHaus’. It we’ve got twelve and they’re all has many of the elements markedly different - trying to feel of a gig – a great band for the architecture and the geometry starters – but which ramps of the building. Collaborating with the building is essentially a playful things up several notches, process and one of cooperative creating a unique audio-visual exploration, discovery and honing experience. around a shared aesthetic or vision. a room that is tall ceilinged and with for this show, so yes the sound and sound and song to life in a particular The core musicians and team involved reflective surfaces, we play quietly, vision plot is pretty exciting. Most space is a vital part of that experience The band is the experimental in this project are long time associates no amplification, to create magic. Or of the performers are controlling and of the process of creating new art-rock outfit The Neutrinos, and very experienced, responsive and blast the room with sonic terrorism remote sounds in other rooms using material. Live is where the songs really collaborating here with artist passionate about the work so create a mass noise… we use the various means and we have had some start to breathe and grow. Putting and designer Sal Pittman and, architecture and respect the sound superb technical assistance from those ideas into fresh environments TW: That building is Summerhall’s to an extent, with the very waves because they are fact. both our own crew and the people at forces them to; adapt, mutate and Small Animal Hospital. How Summerhall. develop resonance. For this Fringe walls of Summerhall itself, important is that space for realising TW: Is the technical set up ‘KlangHaus’, for example, we have to create a “360° visceral, your ambitions? complicated? TW: Do you have to experience this developed an unreleased song that enveloping experience Mark: Originally we were planning Jon: It’s not always complicated for music in the live environment, or goes way back but, somehow, is just challenging conventions of to come to Edinburgh and make a KlangHaus. We can (and have) made will you release it as an album too? right for this show. the live gig”. We caught up show in a house where the audience entirely acoustic shows and we’ve got Or maybe as a video project? with three of the band - Karen would come to visit, stay as long as a few moments in this one. Having Karen: We are always aiming to create ‘KlangHaus – The Neutrinos and Sal Pittman’ they wanted, and get to hang out with Reilly (vocals), Jon Baker said that, we were up until 4am a genuine, visceral and meaningful is on at Summerhall until 24 Aug. us; we may even get to play some making the sound and vision work musical experience - to bring music, (bass, keys, effects) and Mark music. We’ve done that version of TW Travis (guitars, effects) – to KlangHaus before, doing four shows a find out more. day. But as soon as we saw the Small Animal Hospital we knew that we TW: So part gig, part art installation wanted to adapt the show, because - what can an audience member the rooms reflect so much of where expect from the ‘KlangHaus’ we’re at sonically and visually. And experience? How does it work? this seemed like a natural progression Jon: You might feel like you’re walking after our residency at London’s Horse through a Spike Jonze film. Or it’s like Hospital. Animals feature strongly in experiencing a gig from the inside. the work we’ve been making, as do We’re all onstage together with the the recurring themes of mortality, audience. We move about together, consciousness, anesthetic... The silent we sing up close, you can see our screams of small souls. breath. TW: How does performing a show TW: Where did the original idea like this compare to performing a come from for this production? standard gig? Mark: We made our album ‘The Karen: It’s wider, unpredictable, Butcher Of Common Sense’ in the bloody weird, sonically exciting, you unexplored parts of a defunct GDR don’t know where the sound is gonna radio station in Berlin. We became so come from next. We get to travel with fascinated with the state and sound the audience through the space, we’re of the spaces, the corridors, lobbies right up close to them, surrounding and rooms full of listening equipment, them or right in the middle of them, that we started to record the building: and that feels really special. In fact sight and sound. We harvested our approach here, in many ways, the songs from the rooms. We find was born out of a frustration with the ourselves drawn to bleak spaces, we conventional gig format - drive, set are often the only colour for each up, play, pack up, drive home - and other. the desire to challenge and grow up as artists. The most significant TW: How did the collaboration with and obvious difference, of course, is Sal Pittman begin? the use of the space and where we Karen: We’ve been working together perform within it to create intimacy, since 2005 when Sal put together power and mood. The next is use of a crazy collage website. Then we the acoustic. You know that terrible worked on videos and she’s been our scenario of battling with a huge ‘Stanley Donwood’ ever since. Only windy acoustically difficult room, she’s got a bit more hair and she’s like a function band in a massive slightly prettier. We share a similar off- barn or church hall. Well, if we have kilter macabre sense of humour.

WEEK ONE | WWW.THREEWEEKS.CO.UK | PAGE 17 TW MUSICALS NEWS & UPDATES VIA TWITTER @ThreeWeeks REVIEW ALERTS VIA TWITTER @TWittique Rob Winlow: Austen’s life on the musical stage

no massive choral numbers this time, TW MUSICALS but more intimate solos and duets. We won’t be able to boss The Mile with Having previously penned the big songs this year, so hopefully the Fringe musical show ‘Armada’, costumes will help us with our flyering! ‘Austen’ is a much tighter show with actor, director and writer Rob some high moments of levity as well as Winlow returns to the Festival some desperately sad moments too. with new show ‘Austen’, as in Jane, whose life the show is TW: Did writing and producing based on. ‘Armada’ provide lessons for when you set out on ‘Austen’? Ahead of its arrival at theSpace RW: Most definitely yes. One friendly we caught up with Rob about critique pointed out the show was song driven rather than narrative driven. the motivation for the show, That has been turned on its head for his work researching the life Austen. of the popular author, and the challenges of bringing new TW: You also acted in ‘Armada’, but musical theatre to the stage. not in this show. What’s it like writing a show, and then completely handing it over to a director? TW: Where did the idea come from to RW: Quite frankly it is wonderful to create a new musical around the real hand over the reins and let people life of Jane Austen? develop it further. Matthew Gould has RW: Having been a long time Jane done a terrific job of drawing out the Austen fan, I knew there was an awful humour and the emotion. I was puzzled lot of interest in her and her work. as to how Matthew would handle the Whilst there are musicals with her ending, because it would have been TW: Given information is sparse, how great majority of them after Jane’s novels as the basis there are none, to so easy to create unintended laughter. did you research the piece? premature death. There are two well my knowledge, about her life. That Instead he has performed a stroke of RW: I read as many biographies as know romantic connections, but there is not surprising, as documented genius that I know is going to move me possible, though, as I say, whilst there was a third mystery man who formed information about her is sparse. Whilst every time I see it. is a wealth of background information the most serious relationship with Jane she is famous for her romantic novels - on the people around Jane, it is difficult before his sudden death. And we cover even if some would argue they are not TW: As an actor and director, what to find much on the author herself. this liaison in the show. purely romantic, but also comment on drew you to the idea of writing your She was a prolific letter writer but only the foibles and follies of the day - little own musicals? one hundred or so letters survived. TW: You worked with writer and is known of her own love life. RW: Having always dabbled with Her sister, Cassandra, destroyed the dramaturge Bernie C Byrnes on the songwriting, that side of it feels more show, how did that tie-up come about natural than book writing and certainly and how did it work? easier than directing. I love theatre RW: I had a rehearsed read through and performing so it seemed the and realised the format wasn’t working. most natural thing to combine these I teamed up with Bernie, and she passions. I envy writers for whom knocked it into shape, giving it a much this process comes so easily...it takes better framework. Bernie not only gave me forever to write a single page of the piece structure but edited it to the dialogue. one hour/one act time restriction we needed for the Fringe. TW: Tell us a bit more about Old Hall Theatre. Why did you set it up? TW: What’s your process, what RW: Old Hall Theatre was set up as a comes first, the story or the music vehicle to perform my own shows. We and songs? needed to form a company for being a RW: The story came first and the songs part of the York New Musical Festival then emerged at points of high drama, when I helped to found it in 2012. YNMF or where we needed to drive the is now an annual event and plans are narrative along. The underscore came already in place for 2015. Both ‘Armada’ last to add atmosphere and link the and ‘Austen’ have appeared here and scenes. I would recommend it to all writers to showcase or develop not only TW: What kind of musical is ‘Austen’ completed shows but also Works In in terms of the music itself? Do you Progress which we warmly welcome at draw any inspiration from other the event. musical theatre makers? RW: Because there is a modern time TW: And what are your future plans zone as well as the regency period for ‘Austen’? in the show we are not limited to any RW: We are at Etcetera Theatre on particular style. The score is fairly 24 August, and have been chosen to simple, however, as we have gone for perform at the prestigious Jane Austen piano accompaniment this time rather Festival in Bath. We’re then hoping to than the big production backing tracks tour ‘Austen’ in the UK a little. And we we used in the ‘Armada’. would love to hear from promoters in the US where Jane Austen is extremely TW: Ah yes, your previous Fringe popular. production. For people who saw that, how does ‘Austen’ compare? RW: Austen is a four-hander compared ‘Austen’ is on at theSpace On The Mile from 10 to Armada’s cast of seven. There are Aug until 16 Aug.

TW

TW PAGE 18 | WWW.THREEWEEKS.CO.UK | WEEK ONE PHYSICAL The creators of TAYLOR’S DUMMIES, THE RACE, THE ARAB ANDGET THE THE LATEST JEW NEWS,and REVIEWSTHE OVERCOAT AND INTERVIEWS present IN YOUR INBOX DAILY sign up for the free ThreeWeeks Daily email now at ThreeWeeks.co.uk/signup David Bolger: Issues through dance

those left behind. Where do those on our feelings. Even the colour of encouraging for us because we had TW INTERVIEW come from? Did you have to do the costumes I chose for Emma and been tucked away in the dance studio much research? Tom are very much connected to working and wondering whether CoisCéim Dance Theatre’s DB: I began researching ‘Missing’ three emotional colour impact. Likewise anyone would want to come and see ‘Missing’ is a very impactful years ago. We worked with a lot of with the music that I chose to use a show with missing people as its organisations which deal with missing in the performance. I wanted to find central theme. piece, exploring the high person cases, and which support music that would not tell the audience number of people who go families of the missing. It was difficult how to feel, but imply just how big TW: Are you pleased to be able to missing each year, in the to find exact numbers of how many the subject matter is and the huge bring the show to the Fringe? company’s home country of people are reported missing in Ireland numbers of missing people, not just in DB: Yes, definitely. Edinburgh Ireland in particular, but in each year, as there is no central Ireland, but the entire world. audiences are so well informed in general worldwide as well. bank of information. The figures we theatre, dance and the arts in general. use in the show where taken for an TW: The show was very well This makes audiences here very in The focus of choreographer official report presented in the Irish received at the Dublin Dance tune with difficult subject matters. parliament in 2011. This was to lobby Festival last year I hear. There is huge responsibility with of missing people. And respecting David Bolger’s work is the the Irish government to support a DB: Yes, the work premiered there. taking on this subject matter. Being the memories of the missing, and the impact a missing person national day for the missing, which It completely sold out its entire run careful not to be sensational, which families left behind. has on the people they was successful and now takes place before we even opened. This was very is all too common in media reporting Missing is on at until 24 Aug leave behind, who are left each December. searching and hoping. We spoke to Bolger about what TW: How did those real life elements inspired him to turn this issue impact on the choreography? DB: With the choreography, I was into ‘Missing’, and about the looking at the theme of searching. process he went through to Searching with the entire body. bring the work to the stage. Searching for knowledge and understanding. I was also looking for hope in the work. Because there TW: Tell us about the premise of is always hope that someone will ‘Missing’. turn up again. Interestingly, just a DB: ‘Missing’ is a duet danced by few weeks into rehearsals for the Emma O’Kane and Tom Pritchard. original production, the news story In the work they are both searching broke of those three women who had for answers about missing people in been kidnapped in Cleveland, Ohio Ireland, because the piece is really emerging from their capture, Amanda about the people who are left behind Berry, Gina DeJesus and Michelle searching for a lost loved one. Knight. Although theirs was an horrific story, Berry’s voice at the end of the TW: Where did the idea come from telephone allowed thousands of other to build a piece around this theme? families have hope that their loved DB: The idea first began when I ones too could be found years after noticed a missing person’s poster disappearing. image on a lamppost. The poster was fading; time and the weather were TW: The design and lighting seems starting to make the image disappear. particularly important in this piece. It got me thinking about the Tell us about the other elements to importance of remembering missing the production. people. That here was this poster with DB: In designing for the piece, I knew a plea for help in locating someone, that I wanted to use empty chairs on yet her image was fading. But stage, as a constant reminder and memories of her for her family, friends symbol of the missing. I worked very and loved ones can never fade. They carefully with our lighting designer have no closure; always wondering Eamon Fox, who also brought a lot what might have happened. of ideas to the table. The colour of the lighting became important, TW: We see lists in the show, reasons as I believe that we view colour people go missing, the responses of emotionally, and it has a huge impact

WEEK ONE | WWW.THREEWEEKS.CO.UK | PAGE 19 TW SPOKEN WORD NEWS & UPDATES VIA TWITTER @ThreeWeeks REVIEW ALERTS VIA TWITTER @TWittique David Lee Morgan: Honest words TW REVIEWS 5/5 SHOW and violence, and about my complicity TW: When you put together a full- TW: You sense the spoken word TW INTERVIEW with what I am writing about. hour show like this for the Festival, genre has really grown at the do you bring together work you’ve Edinburgh Festival in recent years, In amongst a particularly TW: Is there a specific message in it? already written that fits a theme, would you agree? Why do you think DLM: A powerful work of art usually or do you write an hour of new that is? strong spoken word selection has conflicting messages – if any material? DLM: The spoken word scene has in the this year, – and often not those the artist DLM: I mostly write new material, but grown tremendously all over the UK. David Lee Morgan’s show intended. But I think one theme in I’ve been writing a long time, so often In addition, at the Fringe, there were stands out, as he follows on my play is this: pornography is sexual there are a few older things that might the two big game changers: adding The Big Bite-Size Plays Factory last year’s excellent ‘Science, fantasy, packaged and sold by the fit in, or that serve as a launch pad for ‘Spoken Word’ as a Fringe category pornography industry. And its violence the new writing. and the PBH Free Fringe. It means you Goes Down The Toilet (White Love And Revolution’ Room Theatre) with ‘Pornography And and misogyny are a symptom of just don’t have to pretend your show is how much our society hates women. TW: Your passionate performance theatre or comedy when it isn’t either If you’re looking for a show that Heartbreak’. But pornography is not identical with style is often noted by reviewers. – and you don’t have to rob and pillage teaches as it titillates, this one is for sexual fantasy. Whatever happens to When you write a poem, are you to get enough money to put on a show. you. Teaching children about sewers We caught up with the the pornography industry, you cannot imagining how you will perform it, or and what exactly can/cannot go Slam Poetry champion and stop sexual fantasy itself, nor its do you write it for the page and then TW: That said, I suppose different down the toilet doesn’t sound very acclaimed spoken word expression in words and pictures. transform it for the stage? people might define ‘spoken word’ entertaining, but this company knows performer to find out more DLM: I might think about theatrical in different ways. What does the how to have fun with a challenging about his new show, its subject TW: What motivated exploring this elements that could be fused with genre term mean to you? Any tips topic. Audience members of all ages matter, and how he goes theme at the Fringe this year? the writing. For example, in this for navigating spoken word at the are welcomed warmly by the cast, DLM: The biggest motivator was the show, I knew from the start that I Festival? and the performers are excellent at about creating his Fringe response to last year’s show, ‘Science, would be switching between ‘lights DLM: It means poetry that thinks firstly interacting directly with the children productions. Love And Revolution’. The show was on’ and ‘blackout’ as I did the more about the music of words and only throughout the performance. Bringing from my heart, but it was from the best confessional pieces. But I don’t think secondly about how they will look a genuinely important issue to our TW: Tell us about ‘Pornography And most idealistic part of my heart. People at all about my personal performance on the page. My tip: Go to everything notice, this piece is a great way to Heartbreak’, what’s the premise for responded to the idealism so strongly when I’m writing. If the piece is (and check out other one-person introduce kids to theatre. Energy, the show? that I felt I had to show the darker parts well-written, the performance writes performances in comedy and theatre education and references to poo – DLM: It’s a gut-wrenchingly honest of me, or else I would be a hypocrite itself. I think my biggest weakness that might have something useful to exactly what children really want out show about sexuality, sexual fantasy forever. as a performer is a tendency to steal). of theatre. over-project, to over- Pleasance Courtyard, until 25 Aug. perform. When I think TW: You’ve written novels and for tw rating 5/5 | [Vicki Baron] consciously about musical theatre as well as poetry and performance, it’s your spoken word shows, how do the Brush (Haddangse (Korea)) usually about reining different disciplines compare? Do A Korean folk tale (performed mostly that in. you have a favourite? in Korean) about a boy’s quest with DLM: I love writing for musical theatre. his grandmother to make his mother TW: You’ve performed Just as in Elizabethan plays, it has give him a baby brother doesn’t in a number of poetry everything: you can have true-to-life necessarily sound like a great basis slam competitions. For dialogue and soaring poetry in the for a kid’s show, but somehow it the uninitiated, what soliloquy/song lyrics. The problem for works. Fusing calligraphic drawing, does that involve? me was this: a play isn’t truly written dance, physical comedy and a dash of DLM: Slam poetry is a until it’s been put up on stage. I got Korean innuendo (I think), ‘Brush’ had very specialised form of tired of writing for my desk drawer. the audience giggling, gasping and poetry. In fact, it might cowering in just the right amounts. The be more accurate to call TW: What plans have you got for cast are emotive and acrobatic actors it a form of speech- ‘Pornography And Heartbreak’ but, while they are undoubtedly also making. You have three beyond this year’s Festival? skilled at painting, some of the drawing minutes – usually - to DLM: I will perform it anywhere I can sections are a little too long. Overall win your audience over find two or more people to sit down though, ‘Brush’ was engaging, amusing to your point of view and listen to it. At the same time, I will and visually interesting. Despite the and make them cheer be working on a show for next year, language barrier, it was clear enough for it. Doesn’t matter and the year after, and the year after… that my four year old son understood how good your poetry what was going on. is, if the judges don’t TW: Can you do us a show plug in the C, until 24 Aug. tw rating 4/5 | [Andrew Bell] agree with what you’re form of a short poem? saying, you won’t win. How about this… Celeste’s Circus (Faux Theatre) No TW: How does See the show ‘Celeste’s Circus’ is a straightforward, your performance charming show, ideal for introducing style differ in No? Well, how about this… younger children to the theatre. the competition He said, is it good? Taking us on a trip to a paper doll environment, And she said circus, Celeste captures the audience’s compared to when G-o-o-o-o-o-o-d attention with ease and gentle humour. you are doing a full I was pinned there, helpless The dolls, puppets and sets are very show like at the But afterwards it turned me on to simple, but remarkably effective Fringe? remember when combined with the whizzes DLM: I’m more relaxed Outside the window and pops from Celeste’s collection of in a show. You can I could hear him fucking her noise-makers. The surprise cascade screw up and say, “oops, Driving a nail into my stomach of bubbles lends an air of magic to the I screwed up”, and performance, though the final high often that just helps David also wrote a longer alternative wire act is a bit underwhelming and the you connect better poem for you, which you can check whole show feels a little short for the with the audience. In out online via www.ThreeWeeks.co.uk/ price. Despite this, ‘Celeste’s Circus’ is a a competition, you spokenword delightful little show for the little Fringe need to be intense and fan, and not too bad for the grown-ups, ‘Pornography And Heartbreak’ is on at either. perfect. Banshee Labyrinth until 24 Aug. Scottish Storytelling Centre, until 17 Aug.

TW PAGE 20 | WWW.THREEWEEKS.CO.UK | WEEK ONE CHILDREN’S SHOWS GET THE LATEST NEWS, REVIEWS AND INTERVIEWS IN YOUR INBOX DAILY sign up for the free ThreeWeeks Daily email now at ThreeWeeks.co.uk/signup How to survive a day at the Fringe with the kids

spot for a sit down, with plenty You can catch Maddie in her own TW COLUMN of space for the kids to have a shows: run around. The World’s Worst Birthday Party, If you are planning to spend a day at the Fringe Laughing Horse @ The Free Sisters, In the afternoon, you could until 24 Aug with your little ones, you might be feeling a little bit send the older kids and Maddy Carrick in Maddy’s daunted – after all, it’s a massive festival, and there’s teenagers to watch plays at Carrickters, Laughing Horse @ The so much to choose from. Comedian and children’s Spaces or C Venues, while for Counting House, until 24 Aug entertainer Maddy Carrick offers a few suggestions; younger kids, the children’s and while you may not quite be able to manage all of comedy compilation shows are this in one day, you can definitely try. They’ll certainly quite good fun. Try ‘Huggers’ sleep well after all this. at the Three Sisters, or ‘Comedy All Sorts’ at Assembly George Square Gardens. If You’ve managed to finally performers. Elsewhere, one you can get a babysitter or bundle your brood onto of my personal favourites is have someone to watch the the bus / train / tram / car / ‘CelidhKids’ at Laughing Horse kids - a friendly circus act plane, or perhaps for you it’s @ The Counting House, which perhaps? - do make time for just a gentle stroll across the offers two daily workshops at my solo comedy show, Maddy Meadows; regardless, you have 10.00am and 11.00am. Scottish Carrick in Maddy’s Carrickters finally arrived at the Fringe dancing! A must for locals and at 3.40pm. with pint-sized theatregoers visitors alike! in tow. But where to start? The Next, something that sounds kids are most likely collecting After dancing or drama very exciting - an actual magic every flyer given to them for classes, you’ll be in need of a mystery tour! A trip on a their own bulging personal sit-down and your first show. bus around Edinburgh with collections, but how do you My tip would be ‘The Snow dancers propelling themselves wade through the show Dog’ at the Pleasance, which down the aisle and from the posters, postcards, stickers, features puppetry, music and a roof! ‘Back of the Bus’ is on at badges, balloons and work out real-life Siberian husky! While 4.30pm. Finally, finish your day TW what you want to see? And you are in the area, you might with a slow wander along the why is everything on at the want to take advantage of Royal Mile - hopefully at this same time? the venue’s Kidzone, where point your little ones will be so children can get busy with weighed down with flyers they This is my second Fringe a range of arts and crafts. will be less inclined to take performing a solo comedy Then it’s on to the highlight everything they are offered... a show for kids and I think I have of your day - big giggles and final flavour of the Fringe. a pretty good gauge of what’s crazy dancing at my show, on offer for little ones - mostly ‘The World’s Worst Birthday from sneakily exit flyering Party’, on at 12.45pm in the Maddy recommends: other shows and judging the Yurt Locker in the Three Sisters Drama Workshops for 5-12s, audience reaction. Courtyard. Suitable for 4-10 Spotlites @ The Merchants’ year olds, it’s a silly adventure Hall, until 24 Aug I always think a good place to featuring pranks, fortune CeilidhKids At The Fringe, begin is with a good brekkie. tellers and Harry Styles. Laughing Horse @ The Peter’s Yard is a lovely spot, Counting House, until 24 Aug and great for kids, with long After all that fun, it’s time for The Snow Dog, Pleasance tables and plenty of room for lunch, and where better to Courtyard, until 23 Aug buggies. They have tables re-fill than Mum’s on Forrest Huggers – Family Friendly outside with plenty of running Road? Hungry tummies will Comedy and and Cabaret, around space. Next, if your appreciate the big helpings of Laughing Horse @ The Free child is a Keira Knightley or sausages and mash. Sisters and Laughing Horse @ Orlando Bloom in the making, Gorgie City Farm until 23 Aug why not make your way up Once your little ones are Comedy All Sorts: Variety For to Hanover Street and drop completely stuffed, head over Kids, Assembly George Square them at one of the drama to Underbelly at Bristo Square Gardens, until 24 Aug workshops at the Merchants’ to gaze at the giant cow, Back Of The Bus, Assembly Hall? They start at 9.30am, and be sure to stop in at the George Square Gardens, until and they are run by Fringe Assembly Gardens, a lovely 21 Aug PODCAST TW ThreeWeeks.co.uk/podcasts Get online for the audio guide to the Fringe Already featured on the podcast this Festival: Baba Brinkman, Mock Tudor, Jay Foreman, Blues, Party For Two, Jonny & The Baptists

WEEK ONE | WWW.THREEWEEKS.CO.UK | PAGE 21 TW FESTIVAL PEOPLE NEWS & UPDATES VIA TWITTER @ThreeWeeks REVIEW ALERTS VIA TWITTER @TWittique A Fringe full Freestival It’s because of this process that the acts and audience alike. One thing venues to showcase its acts and draw Fringe now boasts not one, not two, lead to another and we approached traffic, and they do it very well”. but three free show strands. It’s no Peter Buckley Hill with some ideas He adds: “Both of these have of ventures secret that there have been some for changes to the Free Fringe model. grown very large and this is where tensions between the Free Fringe This seemed logical as most of us Freestival comes in. Our belief is that Chris Cooke considers the cultural and the Free Festival over the years, had worked with PBH Free Fringe for unfettered growth inevitably dilutes since the latter spun off from the years, some of us very closely and the quality of shows on offer. We think entrepreneurs behind the Fringe, and speaks former, after free show pioneer very hard. Peter saw it differently and that by remaining small and carefully to the people behind one of the Festival’s Peter Buckley Hill parted company told us we should start our own free curating our programme we can come with the Laughing Horse team, who organisation. So we did”. as close as possible on the Fringe to newest strands, and one of its institutions collaborated on the Free Fringe for Though, Marion is keen to add, guaranteeing quality shows for the a while. “there has never been, and never will audience”. Whilst widely regarded as the happen here. Though it’s also why The latest free show strand, the be, any animosity towards PBH on Though, he does note, the Freestival biggest cultural festival of them the festival can be so confusing. And Freestival, has also spun out of the our part. We wish the Free Fringe well, is not totally alone in presenting a all, the Edinburgh Fringe is also why the Fringe sometimes feels like a Free Fringe, creating some new and all its performers are welcome to tighter programme of free shows, a significant forum for cultural festival of festivals (within the wider tensions earlier this year. Though perform on our stages”. And Marion pointing out that ’s Heroes entrepreneurialism. Edinburgh Festival, which is already a ultimately – whatever frustrations reckons that, whatever may have strand – which has emerged out of the festival of festivals). Plus sometimes may occur, whatever allegations been said in the past, one crucial thing Free Festival in recent years – is doing Behind the scenes, alongside these new ventures officially ally with may emerge – ambitious and links all three of the free show strands something very similar. “And Bob has the hundreds of producers and the Fringe Society, other times they entrepreneurial creative people together. “We all believe passionately found a middle way by offering free production teams making the shows sit on the edge, on the fringe of the launching their own business that access to the arts for public and shows where seats can be guaranteed you all see happen, are a community Fringe if you like. ventures, and providing new performers should not be limited to in advance with a payment” he adds. of culturally-minded business people Also, because there is no such thing competition, is as much part of those who can afford to spend a small Despite being brand new, and pursing their own Fringe ventures, as a completely original idea, most the Fringe as flyering on the Mile, fortune” he says. smaller than its competitors, the all whether those be venues, mini- new Fringe business ventures are discovering the next big stand-up, On where the three free groupings new Freestival has arrived with quite festivals, show strands, awards, media, similar to and compete with existing premiering a new play and moaning differ, though, he tells us: “The a fanfare thanks to sponsorship from apps and so on. In much the same Fringe business ventures. Sometimes about the weather. differences are small but crucial. pizza sellers La Favorita, helping to way the Fringe encourages anyone to the annoyance of the existing The Freestival’s Alex Marion The Free Fringe is run according to fund venue costs and a big marketing with a show to perform, it likewise players, though the Fringe is all about (pictured right) is very open about the Peter’s ethos and depends on the campaign. “We met La Favorita welcomes anyone with a Fringe competition, and most new initiatives circumstances that led to the launch of collaborative efforts of all concerned and they liked our model”, Marion business initiative to pursue. Some have some distinguishing features the Fringe’s newest free show strand. in terms of running the venues, explains. “They felt it mirrored their fail. Some succeed. Some become from what went before, serving the “After years of collective experience fund-raising and donations. Laughing own commitment to quality and to Fringe institutions. needs of a different kind of performer at the free end of the Fringe, a group Horse’s Free Festival is more business- supporting the arts and Edinburgh This is another reason why the or a different kind of punter, or just of us started thinking about how we like in the sense that it takes all the through the Fringe”. Fringe is so exciting, and why so taking things down a slightly different could do things a little differently” he organisational load off the acts’ On the inaugural Freestival many innovative and inspiring things route. says, “to enhance the experience for shoulders and focuses on key hub programme itself Marion says of the Forest Fringe

Of course, we say there are three free can make happen. We have a ‘studio’, show strands at the Fringe, meaning where all our daytime shows take the Free Fringe, Free Festival place, and then we use the main Drill and the Freestival, though that Hall space for our evening programme maths ignores another important once the sun goes down; because of programme within the wider the stunning glass ceiling we can’t festival with a pay-what-you-want make it dark in there artificially”. philosophy. And that is the Forest “This year the evening programme Fringe. Though it operates in a very is slightly different” she adds. “Rather different way, and while the other than the same show every night we free show collectives are best known have programmed different pieces and for their comedy (though their events for one or two nights each, so programmes do go beyond that), the there’s always something new on. We Forest Fringe is usually associated also have installations, residencies and with other art forms. one-off events happening around the “Forest Fringe is an artist-led building or out in Leith”. organisation” the group’s Ira Brand In both its original and new home, (pictured left) tells ThreeWeeks, the Forest Fringe programme has “meaning we all have our own artistic always been very eclectic, in terms practice as well as the curatorial and of the genres it covers, and the facilitating roles we take on when it performers it involves. “Gruelling” is comes to running a venue in Edinburgh. how Brand describes the process of That’s really important to me, that we picking who to present. “When we come at everything as artists as well as are programming I al ways think a lot programmers or managers”. about balance – we want a programme The Forest Fringe, of course, began that is ‘balanced’ in terms of artists life at the Forest Café on Bristo Place. we’ve worked with before and new Though since that building has been relationships, of more established or reborn as Assembly Checkpoint, the younger artists, and, really importantly, Forest Fringe team have found a new an exciting mix of types of experience home at the Out Of The Blue Drill Hall, on offer for an audience”. a big space with lots of potential. Once the programme has been “We’re learning all the time about selected, of course, all shows are then how to best make use of the Drill Hall” presented on a pay-what-you-want Brand tells us. “It’s such a beautiful basis. “It’s vital for us that our shows and unique space, full of possibilities, are by donation. There are enough but also of course limitations, so we barriers to audiences engaging with have to think creatively about what we theatre and performance, especially at

TW PAGE 22 | WWW.THREEWEEKS.CO.UK | WEEK ONE INFORMATION GET THE LATEST NEWS, REVIEWS AND INTERVIEWS IN YOUR INBOX DAILY sign up for the free ThreeWeeks Daily email now at ThreeWeeks.co.uk/signup All about ThreeWeeks LONGEST ESTABLISHED: ThreeWeeks columns, and reporting on key events THREEWEEKS DAILY EDITION: is the longest established magazine in the Festival City. The ThreeWeeks Daily Edition at the Edinburgh Festival, the world’s lands in the inbox of thousands and biggest cultural event, and has been VIBRANT REVIEW TEAM: This thousands of Fringe fans every day, in discovering and championing new experience is complemented each the run up to and during the Festival. and exciting comedy, cabaret, dance, year by a vibrant young review team It provides all the latest news, musical, theatre and spoken word who take in hundreds of shows interviews, columns and reviews in talent every summer since 1996. first hand, sharing their opinions in one place. 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This year we welcome back a media to ThreeWeeks, providing pick-up points in bars, cafes and box number of alumni from media-skills year round coverage of cultural offices at all the key festival venues. programmes past to review the events in London, including shows that feature, “we watched every mistake, enjoy working This preview edition is also delivered Festival. daily recommendations from the every video, read every CV, with amazing performers in the direct to homes all over central ThisWeek team, and the Caro Meets and made collective decisions beautiful city of Edinburgh, and Edinburgh. THREEWEEKS WEEKLY EDITION: interviews with some of our favourite and built a programme filled keep doing what we set out to with acts that we believe in do, keeping small, getting better The ThreeWeeks Weekly Edition is performers, producers and directors. 100%”. And as for the future he at all the time”. 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ThisWeekLondon.com/signup. a vast amount of work on, so beyond Scotland, with the and producers, commissioning guest it’s really important as a way of team working in Lisbon, Austin, encouraging people to take a Bangkok, San Francisco, chance on seeing something Yokohama and Hong Kong. CREDITS & INFO> they are not familiar with”. Meanwhile, back in Edinburgh, Though that ambition creates the whole endeavour has grown Editors & Publishers: Louise Rogers, Patricia Ann Young, Published by TW Publishing, challenges, Brand admits. “I and matured, but hopefully Chris Cooke and Caro Moses Stephanie Gray, Tim Bano, Vicki Baron. a division of UnLimited Media think the commercial side of the without losing its adventurous www.unlimitedmedia.co.uk Fringe as a whole is tricky, it’s spirit. Commissioning Editor: Caro Moses Commercial Manager: Sam Taylor a huge financial commitment Brand first performed at the Tel: 0131 516 8842 for artists to present their Forest Fringe in 2008, becoming Production & News Editor: Chris Cooke Accounts & Admin Manager: Jason Rust ThreeWeeks is a member of work here. Almost nobody a volunteer manager in 2011 and Picture Editor: Kat Gollock Design Support: Edward Stone expects to make money. And now a co-director. She says of the Festival Media Network as an audience member it can the venture’s development over Podcast Editor: Tom Bragg Founders: Chris Cooke, Geraint Preston, www.festivalmedianetwork.com be prohibitively expensive to the years: “I think we’ve just got Alex Thomson see a lot of work. Of course better, if that’s not too flippant or Sub Editor: Gemma Scott GET IN TOUCH! it’s commercially tricky for arrogant a thing to say! I mean Editorial contact: [email protected] Review Team: Andrew Leask, Andrew us. 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