The Long Pigs

06/08/19

Assembly Roxy, Central, Edinburgh

Welcome to the world of The Long Pigs – a dirty, degraded chamber where clowning has taken on a sinister and bizarre twist. The three pigs – Clare Bartholomew, Mozes and Nicci Wilks – have made a list and they’re checking it twice. They are working tirelessly to eradicate the world of all their competition, removing the noses of famous clowns and canning them, using a ramshackle device that would challenge the best inventions of Heath Robinson.

But their work is regularly interrupted when they are called upon to go through the motions of a ‘performance,’ shuffling grudgingly through over-rehearsed routines, scowling furiously at the audience as they do so, before breaking off and hurrying back to the task that clearly obsesses them. So many clowns out there; so much work to be done before they can rest.

The look of this piece is unremittingly squalid, but there is beauty here too in the soaring soundscape that accompanies the action and, while the full meaning of what we see is sometimes frustratingly opaque, it nevertheless generates plenty of after-show speculation. What is the meaning of that crucifixion scene? What does the gangling rag-doll on a rope signify? And as for that astonishing ending…

Well, I guess that’s the very essence of what this Australian physical comedy troupe is working to achieve. One thing’s for sure: this is a show the like of which I’ve never seen before and, if the Fringe has a raison d’être, then surely originality must count for a whole lot? So head down to the Assembly Roxy and take your thinking caps with you.

You’re going to need them.

4 stars

Philip Caveney

Shattered

06/08/19

Gilded Balloon Teviot (Balcony), Edinburgh

Shattered is an intense and bruising journey into Diana Varco’s psyche, as she details her struggle to piece herself together after facing several traumatic events. Her fragmentation is physicalised, the warring factions within her performed as distinct personae. Shame, for example, is a snivelling wretch, all malice and insinuation. Security means well, but is sometimes out of its depth, defensive when it lets her down. Truth is a nagging ‘actually…’and Denial a fixed fake grin. In all, some thirty-five traits are personified here; Varco’s performance is a real tour-de-force.

But it’s a difficult watch, and not just because of the disturbing subject matter. Maybe I’m just too British (or too old), but – if I’m honest – I find this level of self-analysis a little alienating. It’s a brave, soul-baring piece, but a bit too introspective for my taste.

Still, there’s no denying the quality of Varco’s acting, nor the strength of character required to emerge triumphant from such calamity.

4 stars

Susan Singfield

From Judy to Bette: The Stars of Old Hollywood

05/08/19

Gilded Balloon Patter House (Doonstairs), Edinburgh

We last encountered Rebecca Perry back in 2015, when we saw her Confessions of a Redheaded Coffeeshop Girl. We enjoyed that show, but this latest offering – a celebration of four Old Hollywood greats – is an altogether grander and more ambitious affair.

The greats in question are Bette Davies, Judy Garland, Betty Hutton and Lucille Ball. Perry clearly idolises her chosen subjects and, through anecdote and song, reminds us why they still matter. It’s a compelling performance: her voice is powerful and her depictions engaging. She doesn’t exactly give us impersonations; instead, we get a flavour of each character, with a dash of old-style glamour thrown in. Perry’s admiration for the women shines through each and every song.

The venue is ideally suited to the piece, the architecture and décor both evoking the feel of an old cinema. The acoustics are good too, which matters a lot in a piece like this, where one showstopper after another is belted out across the auditorium.

If I have a criticism, it’s a very minor one. Because Perry introduces the women chronologically, the climactic emotional moment (her stunning rendition of Over the Rainbow) occurs somewhere around the mid-point of the show. I understand why she’s chosen to present the stories this way, but it does seem a shame not to end on that poignant note.

No matter, From Judy to Bette is a mighty fine show, and well worth going to see.

4.3 stars

Susan Singfield

AJ Holmes: Yeah, but Not Right Now

05/08/19

Underbelly Cowgate (Belly Dancer), Edinburgh

There’s something charmingly anachronistic about AJ Holmes. Those lovely melodic flourishes on the keyboard are decidely old-school and the voice, as you might expect from the former star of The Book of Mormon, is a constant delight, soft and plaintive in the lower ranges and suprisingly powerful when he hits the high notes.

But the choice of subject matter is more unusual than you might expect. I mean, who else do I know, who’s happy to belt out a tender melody about the trials and tribulations of having a poo? Moreover, one who can effortlessly coax a roomful of people into singing the chorus along with him, resulting in me leaving the venue with the weirdest earworm EVER.

Holmes also displays an easy rapport with his audience, addressing a soulful ballad to a (clearly delighted) woman in the front row and kindling plenty of laughter with his observations about his mother and the overpowering loneliness of touring in a major production. He also experiments with a recording machine, overlaying riffs on various instruments and then multi-tracking his voice to create an angelic-sonding chorus. (Don’t worry, this is far more engaging than it sounds!)

The end result is thoroughly entertaining, and a rewarding way to spend an hour. Catch him down at the Underbelly before he packs up his keyboard and heads back to the USA.

4.4 stars

Philip Caveney

 

Post-Mortem

05/08/19

Assembly George Square (Studio Five), Edinburgh

Post-Mortem is the story of Nancy (Essie Barrow) and Alex (Iskandaar R Sharazuddin)’s teenage relationship, and the awkwardness of meeting as adults, ten years after splitting up. They have some serious unresolved issues, but is their best friends’ wedding really the appropriate place to finally confront these demons?

Both Barrow and Sharazuddin are deeply focused performers, with a physical intensity that suits this intimate play. Sharazuddin also wrote the piece, and he deploys some exquisite (and sometimes deliberately cringey) wordplay; the language is spare but poetic, the characters’ emotions deftly drawn. Nancy and Alex are not always likeable; they’re difficult and flawed – and that’s what makes this work.

The non-chronological structure is complex, but handled so well that we’re never in any doubt as to where and when we are. The show slips in time, and it slips in tone too: one moment laugh-out-loud funny, the next poignant and sad. These changing moods are as expertly choreographed as the dance sequences that punctuate the play.

Under Jessica Rose McVay’s assured direction, this is an impressive piece of work.

4.2 stars

Susan Singfield

 

 

Jon Long: Planet-Killing Machine

 

04/08/19

Underbelly Bristo Square (Clover), Edinburgh

We’re not sure what to expect from this: we’ve never seen Jon Long before. We’re heading into his comedy show because we like the poster, and because the environmental theme appeals to us. We’re glad we take the punt, because this young comedian is really very good.

I say ‘young’ because that’s how he seems. He tells us he’s thirty, but he exudes the charm of a diffident teenager; he has a gentle, appealing approach. It’s a pleasure to spend an hour in his company, being entertained by his songs and gags.

The show is loosely eco-focused – based on what he’s experienced working in a recycling centre, and his guilt at being the titular planet-eating machine – but there are lots of diversions and asides. It’s punctuated by witty, catchy songs, and we’re invited to join in. There are jibes at millennials, which might sound hack but work well here; there’s a self-deprecating tone to the mockery, which warms us to his ideas.

Long doesn’t look ravaged enough for his alcoholism material to be true, but I guess that angelic face masks what he’s been through. I’m just glad he’s in recovery, because this is one performer with a lot to say and a rather lovely way of saying it. Even when he’s singing about dildos.

4.2 stars

Susan Singfield

 

Chris Dugdale: Down To One

04/08/19

Assembly Rooms, (Drawing Room), Edinburgh

What is the mysterious hold that Chris Dugdale has over us? We first saw him back in 2015, where we awarded his show maximum stars and one of our first Edinburgh Bouquets. We’ve been back for more every year since. Are we simply suffering from an acute case of FOMO? Or did he somehow manage to hypnotise us?

Whatever the case, here we are again in the front row of Down To One, watching in slack-jawed amazement as he runs an enthusiastic crowd through his latest set of bewildering, bamboozling and downright heart-stopping magic. The evening is regularly punctuated with gasps of astonishment and bursts of applause.

This year is mostly about numbers and predictions. Seemingly impossible feats of mathematics and memory are thrown out with consummate ease. An audience member, chosen by a series of random events, suddenly appears to be able to speak foreign languages without breaking a sweat. There’s close up card trickery, the magician’s hands shown live on a giant screen behind him, so we’ve every opportunity to spot that cunnng sleight of hand… but, of course we don’t, because this is so faultlessly executed it’s little wonder that Chris is banned from playing in many casinos in America. His generous offer to meet members of the audience for a hand of poker afterwards go unanswered.

Look, when it comes to superlatives, we’ve pretty much used them all up when talking about Mr Dugdale. All I can say is, if you’re a lover of magic shows (and there are plenty of them on the Fringe this year), this is the one you really mustn’t miss. Get in early and watch his hands very carefully.

And I’m thinking, this year we might be slightly less generous with those stars… maybe we’ll just give him… ah, no. Can’t do it.

Looks like we really are under his spell.

5 stars

Philip Caveney

 

Leave a Message

04/08/19

Gilded Balloon (Patter Hoose), Edinburgh

Ed (Ed Coleman) arrives at the flat of his recently deceased father, Nicholas. He’s been saddled with the thankless task of clearing the place out. Luckily for him, he’s soon joined by his close friend, Sarah (Eleanor Fanyinka), who makes valiant attempts to jolly him through the process, but it’s no easy matter. Nicholas was a loner, who walked out on his marriage years ago, and has been estranged from his son ever since.

Poking through the paperwork, Ed discovers several references to Linda (Denise Stephenson) and begins to realise that there are things about his father he doesn’t know – and that the two of them might have more in common than he wants to accept. So he calls Linda and invites her over for a heart-to-heart.

Co-written by Coleman and James Mitchell,  Leave a Message positively crackles with taut, witty dialogue, coaxing plenty of laughs out of what could so easily be a maudlin tale of self-destruction. Indeed, the scene where Ed and Sarah cavort through the rubbish-strewn apartment to the strains of A-Ha’s Take On Me comes close to being downright joyful. The performances are uniformly engaging, the actors breathing real life into their respective characters. These feel suspiciously like real people.

If you’re looking for sharp insightful writing and assured acting, then this is a perfect place to look. Go, enjoy this and tell all your friends.

Leave a Message is a cracker.

4.5 stars

Philip Caveney

Detour: A Show About Changing Your Mind

03/08/19

Underbelly Bristo Square (Buttercup), Edinburgh

Detour is Diana Dinerman’s account of how her life has taken unexpected turns: from dancer to historian to stand-up comedian. In this solo show, she charts the twists and turns of the path she’s trodden, using modern dance as an illustrative technique.

Dance – and its allegorical associations – is the strength of this show. The standout moment for me is when Dinerman performs the key features of three leading practitioners, a precise and economical demonstration that even non-dancers like me can understand. These ideas – of taking up space, contracting, separating out the limbs – are then interwoven into her story, physical metaphors for emotional discoveries. It’s a neat concept.

The opening third is very funny, with some wry witticisms and keen observations. From thereon in, there are fewer jokes, as Dinerman details a period of emotional distress and subsequent self-discovery. She speaks well, and the tale flows easily, but this section is a bit too self-help-manual for me. I admit, I’m not generally good with publicly-voiced introspection (I’m a “roll-your-eyes-and-call-it-naval-gazing” cynical kind of gal), so I’m really not the ideal audience member for this show. Certainly, as we left, the people behind us were most appreciative, enthusing about how insightful and thought-provoking they’d found it.

So, if you enjoy soul-searching with a dash of comedy, this could just be the show for you.

3 stars

Susan Singfield

Sarah Kendall: Paper Planes

02/08/19

Assembly George Square (Studio 2), Edinburgh

The Fringe is a yearly delight for us, a great big box of chocolates with next to no labelling, so we never really know what to expect. We’re always on the lookout for fresh, exciting new acts, but there are also a few stalwarts we return to again and again, mostly I suppose, because they represent the nearest we’ll ever get to a guarantee of quality.

Sarah Kendall is one of those stalwarts. We first saw her in 2015 with the quietly devastating A Day in October and we’ve gone back to drink at the same well every year since. If Paper Planes doesn’t quite achieve the heights of her finest work, it nonetheless features her unique blend of ascerbic comedy and intriguing storytelling and I can think of few better ways to spend an hour than in her excellent company.

A story told in four chapters, topped and tailed by a prologue and an epilogue, the latest show is an apparently scattershot narrative that takes in a whole series of diverse experiences: Sarah telling bedtime stories to her daughter, telling lies to her agent and being generally appalled by the things her (weirdly voiced) mother says on the phone. She spends time in American hotels as she travels to LA touting for work, all the while trying to motivate herself to write the book for which she’s accepted a large advance. As she goes, she reflects on world events, commenting on the dangerous lurch to the right that seems to be happening in the Western world and worrying that she should be doing something to address the situation.

It’s a wide-ranging piece but – with unerring skill – she manages to find the funny in all of her subjects, nailing them one-by-one with her rapier wit. She even manages to tie all those supposedly loose threads together to achieve a satisfying and genuinely heartwarming conclusion.

If you haven’t experienced Sarah Kendall yet, then this is surely the perfect year to address that situation. Go and see her for yourself. You’ll be engaged, surprised and entertained, but the one thing you won’t be is disappointed.

4.6 stars 

Philip Caveney