Chris Parsons demonstrated his very considerable prowess on the trumpet in a lunchtime recital that was meant to last 50 minutes but overshot its allotted time; nobody seemed to mind. Accompanied by Andrew Passmore on the organ they were on a concert tour of Scotland.
This is a Steven King story which has been adapted into a short 50 minute play. The storyline has an interesting twist but as a play it feels like a quart has been desperately squeezed into a pint pot. For the purposes of getting the play into less than an hour there appears to have been some streamlining and over simplification of characters and narrative.
In the decrepit splendour of a chaotic old sideshow known as Riley’s Odditorium, we meet Riley’s family of freaks - Tiny, the World’s Fattest Man, Countess Marketa the armless bearded lady, Lillie and Millie the beautiful joined-at-the-hip Siamese twins, George/Georgina the hermaphrodite and Serena the ‘Mermaid’.
Comedy + August = Edinburgh seems an obvious equation, but it’s twelve years since Mitch Benn last performed solo on the Fringe, and there have been some changes in the intervening years. One of which being that, physically, the Mitch known to those (including this reviewer) who remember him from his sojourn among us is a shadow of his former self, having lost over half his previous weight.
Athol and Morna, brother and sister, haven’t spoken in fourteen years. Morna’s son, Joshua (Josh to his Uncle Athol) tries to change that. ‘A Slow Air’ is much, much more than its narrative premise, and the uncomfortable, gnawing reality of what we leave unsaid, can’t bring ourselves to say and all too often won’t admit needs saying, form the warp and weft of David Harrower’s play.
If you happen to have popped in to the Pleasance Courtyard this Fringe, it’s likely you’ll have spotted a pair of peacock-headed men milling around. That would be Robin Clyfan and Charlie Partridge, who have come Edinburgh-bound in search of new audiences to work up into a hot, sweaty and very happy rabble.
We are in Italy with an opera company rehearsing inside a villa; singers wander outside with unpredictable consequences. The evening is divided into two acts, each with three scenes. In each scene are sung excerpts from well known and well chosen operas and musicals. This gave the opportunity for solo parts, small groups and the entire chorus of the twenty six performers.
Incessantly branded as one of our youngest comedy success stories, Daniel Sloss is fast shaking off his adolescence with an exceptional contribution to this year’s Fringe. In his 3rd solo show, The Joker, Daniel tones down the gross gags and plays his newfound celebrity arrogance to great effect, but with inherent charm he’s nigh impossible to dislike. Unless of course, you’re old or think he has “prick” hair.
Casablanca, 1941 – a place to which those fleeing the Nazi regime flock, where human life is cheap and refugees are a leading commodity.
Michael Legge has a Walter Raleigh complex. He can't abide bad manners in public. This obsession and how he managed to stop himself going into convulsions of rage with rude strangers is the basis for his solo stand-up show. If that sounds a bit thin, you have to understand that this sometime softly-spoken, sometime raging Irishman is also the kind of comedian who can meander wittily in and out of a subject at length.
Rob Bailey, illusionist and psychologist brings his show to the Fringe and looks at the world of homeopathy, the psychic and reiki practitioner.
It was the Pleasance's turn to launch their programme yesterday (Saturday). Walking to the launch in Pleasance Grand theatre you get a real sense of just what an expansive complex the Pleasance Courtyard venue has turned into.
Over a quarter century of the charity piling back all its profits into its operation means that there are now theatres and bars everywhere at Pleasance Courtyard.
To get in to this particular Assembly venue, you go down a gorgeous avenue of red drapes that lead you into the black magic box where the Macaroni Puppet Show takes place.
The sound of trumpets that you’d hear in a cartoon and fabulous filmic music, along with a convincing Charlie Chaplin as compere, got this show in the gloriously glamorous Spiegeltent off to great start. They say give a dog a good or bad name and it sticks, but the theory did not work here as the momentum quickly got lost.
Join our tour guide on one of Edinburgh’s vintage open-top buses - a world of knowledge, insight and discovery awaits, as advertised.
This show is a homage to possibly the world's greatest clown, film director and actor; Jacque Tati.
We enter the long, dark, distinctly damp sub-terranian curved space to the sound of sonar pings and a slowly resolving video introduction to a submarine world. In particular we here to dive in
What would you do if you were sitting one day, minding your own business, eating your cereal in front of the telly when there is a blast and a wall catastrophes its way into your living room?
‘Spring Awakening’ is all that is promised in the programme notes and more.
Their stand-ups fill venues three times as big in Australia; not surprising, considering a good chunk of their material focuses on the racism of their homeland, whom it seems the show is tailored t
Day one of the Fringe: it's been a warm, bright day in Edinburgh today.