Edinburgh 2017

Margarita Dreams

05/08/17

Underbelly Med Quad, Edinburgh

Margarita Dreams is essentially a series of comedy sketches, tied together with a loose narrative. The conceit is simple: Dave (Jason Brasier) is on holiday in Mexico. On the beach, he drinks a few too many margaritas and falls asleep. What ensues is the product of a tequila-and-sun-soaked brain, all fevered imaginings and absurd nonsense.

There are a few standout moments: Jack Baxter’s song about string theory is enjoyably silly, and Bella Speaight’s ill-fated assignation with Brad Pitt is also nicely played.

But, in all honesty, the piece doesn’t really work as a whole. The dreams are curiously flat and it all feels a bit one-note. The jokes, by themselves, are rather weak, and I suspect they need much bigger, more exaggerated performances to make them fly. The actors are clearly giving it their best shot, but there isn’t much of substance for them to work with here. As it stands, there’s a whiff of the end-of-term show about it – and disco dancing isn’t funny in and of itself. There’s clearly some promise in this piece, and maybe it’ll grow with the run, but right now it’s landing somewhat wide of its mark.

2.5 stars

Susan Singfield

John Robertson – Dominant

04/08/17

The Stand 5, Edinburgh

John Robertson is, as ever, in no mood to take any prisoners. After a noisy rock-star intro, the antipodean raconteur bounds onto the stage and starts to lay into us, his beloved audience, tearing us to pieces with a string of savage observations. He tells us he has ‘too much confidence’ and even predicts exactly how the show is going to end. If we think he’s exaggerating for comic effect, we’re wrong. It happens exactly as he describes it and I have to say, it’s probably one of the most bizarre conclusions to any show I’ve seen in Edinburgh. And trust me, I’ve seen a lot.

Robertson is a regular fixture on the Fringe, both with his stand up routines and his interactive Dark Room role-playing game. (This year, he’s even doing a kids’ version of the latter, but don’t be fooled into thinking that means he’s generally appropriate for children – he’s most definitely not!) Tonight’s scattershot barrage of stories touches on all manner of subjects: his sexuality; the shortcomings of the room in which he’s performing (he describes it as a partially-filled broom closet); the strange mannerisms of the people who’ve turned out to see him; the fact that the woman from whom he’s just stolen a drink might have given him herpes; the news that the pet dog, whose death provided the inspiration for last year’s routine, isn’t actually dead because… well, you’ll have to see the show to find out about that.

It’s all (apparently) improvised – he proudly claims to never do the same routine twice – and, unless you’re very prudish, you will laugh yourself silly. You’ll also marvel at the man’s chutzpah, his invention, his intelligence and yes, his courage, because this is genuinely challenging stuff, much more so than what generally passes for ‘edgy’ material – mostly, I believe, because all of his excesses are anchored in some kind of reality.

In many ways, I think Robertson exemplifies the true spirit of the Fringe. When they come to hand out this year’s award, somebody should give him proper consideration, though I suspect he’s thought of as way too dangerous for that to ever happen.

Nevertheless, this show represents Robertson at the top of his game and, if you decide to pass him up for a bigger, safer bet, well, you’ll only have yourself to blame. You’ll be missing one of the best shows at the Fringe.

5 stars

Philip Caveney

Butt Kapinski

 

03/08/17

Pleasance Dome, Edinburgh

Butt Kapinski is a strange man. Called upon to investigate a series of murders, he embodies every  cliché of film noir: he stands beneath his portable streetlamp, pulls his trenchcoat around him, mimes an obligatory cigar – before regaling us with tales of life as an NY PI. The brainchild and alter-ego of American performer Deanna Fleysher, he is an oddly engaging creation, and the audience joins in willingly with this funny, interactive show.

Okay, so maybe it doesn’t dig as deeply as it could – several thought-provoking ideas are introduced and then left hanging – and the narrative, such as it is, could do with a more convincing pay-off. But it’s gutsy and it’s fun, and Fleysher works wonders with what the audience gives her. The character-exaggeration is pushed to extremes (those vocal contortions!) and has us laughing all the time. I can’t say more here without giving too much away, but this is a fascinating and unusual performance, well worth catching if you can. And don’t worry about being ‘picked on’ – the audience participation here is entirely voluntary, and Fleysher has perfected the skill of homing in on those who want to get involved.

4 stars

Susan Singfield

 

The Toxic Avenger: The Musical

03/08/17

Pleasance One, Edinburgh

Lloyd Kaufman’s 1984 movie, The Toxic Avenger has long been held in high esteem by cult movie fans – one of those ‘so bad it’s good’ guilty pleasures, it spawned several sequels and made the transition to musical in 2008. Prior to a new London run, it’s arrived at the Edinburgh Festival, where its riotous blend of rock music, camp silliness and hilarious bad taste make it a perfect fit for fun-seeking audiences.

The town of Tromaville is being overrun by pollution and its citizens are crying out for a hero to come and save them. The nerdy Melvin Ferd (Mark Anderson), longs to be that hero, if only to impress the love of his life, Sarah (Emma Salvo), a blind librarian. But when he gets tossed into a vat of nuclear waste by a couple of thugs, he emerges transformed into the world’s first toxic superhero, taking on the town’s corrupt mayor (Natalie Hope) and her two  evil henchmen, Oscar Conlon-Morrey and Che Francis. OK, so he’s prone to tearing the odd innocent person apart limb-from-limb, but hey, nobody’s perfect, right?

A musical in the same vein that made Little Shop of Horrors such a pleasure, The Toxic Avenger is an unqualified delight, romping happily along powered by its own exuberance and the efforts of a stellar cast, who give this everything they’ve got and then some. Salvo is possessed of a voice so powerful that it occasionally threatens to blow the roof off the Pleasance, while Hope performs an exhausting sequence where two characters do battle with other (she’s playing both roles), that must set some kind of record for lightning-fast costume changes.

You don’t need to be familiar with the original film to enjoy what’s on offer here. Indeed, if you’re looking for a night of galumphing, undemanding entertainment this is definitely worth seeking out.

4.6 stars

Philip Caveney

Loudons Cafe & Bakery

 

03/08/17

Fountainbridge, Edinburgh

Loudons has an enviable reputation around Edinburgh and it’s very easy to see why. From the spacious, scrupulously clean interior to the charming, affable staff and the prompt and efficient service, this place quite simply ticks all the boxes – so when we and our guests decide to step out for a late breakfast, it seems the obvious place to head for. After all, it’s just a quick stroll away. The only slightly strange thing is that we haven’t got around to trying it before now.

We start by ordering coffee and we’re asked would we care to try Ruli Masasa, a new Rwandan blend they’re trialling? Yes, as it happens, we would – and very tasty it proves to be. As we sip, contentedly, we peruse the menu and it quickly becomes clear, that the only major problem is going to be which of the many delights on offer we’re actually going to choose. After some deliberation, Susan orders the American style pancakes, which arrive promptly and prove to be thick and satisfying, layered with bacon and baked banana (shouldn’t work, but trust me, it does!).  The impressive stack of pancakes is topped with maple syrup, icing sugar and cocoa powder. If you have a sweet tooth, this is definitely the one for you.

I’m in the mood for something more savoury so I choose an offering called the ‘Hoots Mon’, which, despite that awful name, is just wonderful. It comprises an English muffin, halved and liberally layered with haggis, black pudding and bacon, then topped with two poached eggs and a tangy tomato ketchup chutney. It is quite simply delightful, the bacon thick and crispy, the eggs poached to perfection, so that when you prod them with a knife, a gloopy yellow yoke gushes over the lower layers. Oh, yes please! Needless to say, I make very short work of eating it.

One of our companions orders French toast, which is served with bacon and maple syrup and looks very nice indeed. The fourth, a person of more modest appetite, plumps for a traditional fresh scone served with butter and jam, and pronounces it excellent. Pretty soon, all four plates are clean and we’re very happy punters.

OK, so maybe Loudons isn’t  the cheapest cafe you’ll find around the city (most dishes are around the £10 mark) but, for a pleasant brunch, you’d be hard put to better it and, since I can’t find a single thing to fault in the order, it must surely receive the maximum number of stars. What about that name, ‘Hoots Mon’? Should I deduct points for that? No, because you could call it ‘desiccated wombat’ and it would still taste incredible. Full marks it is, then.

For those of you contemplating an exhausting day of touring around the many festival venues, this is the logical place to refuel. And for those of you who’ve slept in, I hear they do excellent lunches too.

5 stars

Philip Caveney

Cathy

02/08/17

Pleasance Dome, Venue 23

Ken Loach’s influential Wednesday Play, Cathy Come Home, first saw the light of day in November 1966 and made a powerful impact on the public consciousness. In 2016, his searing film, I, Daniel Blake demonstrated that over the intervening fifty years, very little has changed when it comes to society’s callous treatment of the dispossessed. This production by Cardboard Citizen is very much a homage to Loach and his worldview (at one point it even features a recording of the director speaking about his concerns). It’s a  new play by Ali Taylor, based upon real-life testimonies, showing all too clearly how people’s lives can so easily be affected by the spectre of homelessness – how they can slip through the cracks in the care system to find themselves abandoned and in desperate straits.

Cathy (Cathy Owen) is one such person, a single parent struggling to care for her fifteen-year-old daughter, Danielle (Hayley Wareham). Cathy holds down several zero-hours-contract cleaning jobs and tries her best to look after her dementia-afflicted father, who now lives in a care home. When she falls behind on her rent payments, she finds herself unceremoniously shunted into ‘temporary’ accommodation in Luton, far from the area where she’s lived all her life. Danielle, currently studying for her impending exams, finds it hard to deal with the ensuing rootlessness and, when the possibility of a permanent home appears tantalisingly on the horizon, mother and daughter are momentarily cheered – until they find it will involve a move to Gateshead.

This is a bleak and affecting drama, featuring superb performances from a four-strong cast. While Owen and Wareham stay within their roles throughout, all others parts are taken on by Amy Loughton and Alex Jones, who slip so effortlessly from character to character, I sometimes have the impression that there are actually more than four actors involved in this. The set is minimal, built mostly around a stack of wooden blocks onto which images are projected during the scene changes. If I have a minor criticism, it’s that there may be a little too much time spent dragging the blocks around to create beds, tables and the like – better, I think to trust the audience to know where events are taking place – though the scene where a frustrated Danielle sends the blocks tumbling is undoubtedly a powerful moment. While it may not be the show you’ll seek out to lift your spirits, it’s nonetheless a powerful polemic that tells a really important story – one that occasionally has me on the verge of tears. We don’t usually review previews but this has already been touring solidly for three months before Edinburgh and, after checking with director, Adrian Jackson, I’m happy to make an exception for this.

After the performance, Jackson leads a brief discussion about the problems of homelessness in our society. The overall feeling from the audience is one of helplessness. What can we do to improve this terrible situation? Well, a good way to start would be to go and see this heartrending production. Though it may not claim to have any answers, it certainly asks all the right questions.

4.6 stars

Philip Caveney