Gilded Balloon at the Museum

Vagabond Skies: the Van Gogh Musical

13/08/25

Gilded Balloon at the Museum, Edinburgh

Far removed from the rough-hewn scramble of so many Fringe Productions, Vagabond Skies has all the precision and style of a West End musical. The brainchild of creative team Tony Norman and Mark Edwards, the show comes to the Fringe in a stripped-down version, designed to slot into a shorter running time. But on the evidence of viewing this, I’ll be one of the first in the queue for the full-length version.

Vagabond Skies skilfully avoids many of the pitfalls of the true life biography and in its telling, it’s both informative – I actually learn things about the great artist I didn’t previously know – and genuinely affecting. There are some superb vocal performances throughout, and not just from the leads. The ten-strong cast offer fabulous ensemble work, moving effortlessly from scene to scene, each character given the opportunity to make their mark.

We first encounter Vincent (Alex Bloomer) in 1879 when he is working as a missionary, struggling to spread the word of God to the dirt-poor mining communities of Borinage, Belgium, who clearly have bigger things to consider – such as where their next meal is coming from. After that, we follow Vincent’s early years as an artist in Nuenen and Antwerp, and we share his correspondence with his supportive brother, Theo (Richard Dawes). Next, we are plunged headlong into Vincent’s tumultuous time in Paris, his difficult relationship with the bullish and self-centred, Paul Gauguin (Patrick Jennings), and we see him suffer at the hands of bullies and art critics alike.

Some of the most memorable solo performances here are from the female members of the cast. Jordan Frazier is fabulous in the role of Agostina, the owner of the Café de Tanborin; Maren Ovidia offers a bruising ballad as prostitute, Sien; and Francesca Layland performs a stunning solo as Theo’s wife, Joanna. But once again, it’s when all the voices come together that the piece really dazzles, the harmonies soaring. It would take a staunch soul indeed not to well up when listening to the show’s extended finale – or to Vincent and Theo’s heartbreaking duet on Brother of Mine.

But then there are the visual delights to consider: a back-projection screen the size of the stage blooms with vivid images of some of the artist’s most iconic works, gradually rearranging and erasing them to be replaced by others, with subtle flourishes of animation added to the mix. The danger here is that those paintings could overpower the performances, but somehow the production walks the precarious tightrope between the different disciplines, ensuring that everything is kept in perfect balance.

Vagabond Skies is a sumptuous and brilliantly performed entertainment, worthy of the unique artist who inspired it.

5 stars

Philip Caveney

Michelle Brasier: It’s a Shame We Won’t Be Friends Next Year

12/08/25

Gilded Balloon at the Museum (Auditorium), Edinburgh

Ah, who doesn’t dread a wee-hours-of-the-morning shame spiral? It turns out that even the uber-confident Michelle Brasier has to deal with these joy-sapping tummy-churners. Yes, that’s right: the bold, brash, in-yer-face Aussie, who struts about the stage like she couldn’t give a flying fuck, even she lies awake wincing with embarrassment, remembering old slights, reliving awkward encounters. But, unlike most of us, Brasier decides to tackle them head-on.

The title of the show refers to something a mate said to her at the end of Year 6. Clearly, it resonated, making her second-guess herself for years, wondering what was wrong with her. I’m guessing Brasier is popular IRL: she comes across as warm and funny, open and engaging. But still, that comment niggled, chipping away at her self-esteem.

It’s a Shame We Won’t Be Friends Next Year is a gentler affair than last year’s Legacy and, to our great delight, this venue has much better sound. This really matters: we get to hear the full range of her impressive singing voice and can also discern most of what she says (her speaking rate still clocks in at a gazillion words per minute). IASWWBFNY is a nostalgic show, looking back at the hurtful moments that shaped her: that offhand remark from a primary school pal; a scathing comment from an industry snob; a brutal review from a snippy critic. Brasier decides to track them all down and demand answers.

With musical support from her partner, Tim Lancaster, the show is cleverly-crafted, as poignant as it is hilarious. And it’s not all about the bad stuff: there’s a lot here about the positive differences people can make, most notably the high-school drama teacher, who provided a safe space for her and other “freaks”, telling Brasier that she could fly and opening the window to a wider world. The standout for me is a song about her schoolfriend Sally, which makes me cry. Sensibly, there are no jokes in this section, just a beautiful reminder of why we need to “stand up for the dolls”.

Part self-reflection, part-eulogy to that drama teacher, IASWWBFNY is a memorable and thought-provoking hour of musical stand-up. And you’ll learn more about The Fast and the Furious franchise than you ever wanted to.

2 stars (just kidding)

4.5 stars

Susan Singfield