Fringe 2012 - it's coming!

A selection of Edinburgh Fringe 2012 tickets on sale now

We can’t believe we’re collating this list in February, but here are the details to the tickets available for purchase now:

Frankie Boyle is appearing at the Edinburgh Playhouse 31st July – 2nd August – tickets here

As ever, the Faulty Towers dining experience have put their August tickets on sale early. There are both lunch performances and dinner performances.

Various performers have early bird tickets on the Edinburgh Fringe’s official website.

Waverley Care Comedy Gala 2012 at the Festival Theatre. 23rd August, tickets here.

The wonderful Venue 150 has a tremendous line up of comedians for 2012 and have a great selection of tickets on sale now:

Jason Byrne, 1st – 12th August tickets here

Danny Bhoy, 3rd – 8th August tickets here

Alan Davies, 9th – 14th August tickets here

Jimmy Carr, 16th-18th and 23rd – 25th August tickets here

Rhod Gilbert, 15th – 19th and 22nd – 26th August tickets here

Jimeoin, 2nd – 20th August tickets here

Daniel Sloss, 2nd – 20th August tickets here

Udderbelly

Craig Hill, 2nd – 27th August tickets here

Tiddler and other terrific tales, 2nd – 27th August tickets here

*Updated March*

The Gilded Balloon have released some tickets for a handful of their shows including:

Fascinating Aida: Cheap Flights, 1st – 26th August tickets here

Some of shows on at the Pleasance are on sale via edfringe.com including tickets for: Josh Widdicombe, Seann Walsh, Shappi Khorsandi, Simon Evans and Abandoman

Several Assembly Festival shows are also on sale via edfringe.com including: Des Clarke, Greg Proops, Marcus Brigstocke, Mark Little and Stewart Lee.

Some shows aimed at children are on sale for Fairmilehead Church Hall include Nessie the Loch Ness Monster and Pips and Panda meet the Three Bears

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We will add more listings to this page as they come available, so bookmark it for reference and keep visiting!

Meanwhile if you need a ‘Fringe’ fix – have a look at all of our 2011 coverage.  Dates of all Edinburgh’s 2012 festivals can be found here.

Edinburgh Spotlight loves living in ‘Festival City’ and already has all these dates in its calendar – here’s the rundown of 2012′s festivals.

Mary King’s Ghost Fest TBC for 2012

Paranormal investigations, celebrity ghost hunts and other spooky goings on at The Real Mary King’s Close.

Ceilidh Culture 16 March – 25 April

Edinburgh’s traditional arts festival, featuring music, dance, storytelling and more.

International Science Festival 31 March- 13 April 2012
The International Science Festival features a host of fun and educational events, lectures and attractions celebrating all things scientific.

Beltane Fire Festival 30 April 2012
Beltane is an ancient Celtic festival and Edinburgh plays host to some colourful and exciting celebrations to mark the date.

Imaginate Festival 7 – 14 May 2012
The Imaginate Festival is Edinburgh’s children’s festival and has loads of plays, activities and fun things to do for youngsters of all ages.

Leith Festival 8 -17 June 2012
Come and celebrate all things Leith at this festival, featuring music, dance, art and other exciting events.

Edinburgh International Film Festival 20 June – 1 July
The Edinburgh Film Festival is an internationally-renowned event on the movie festival circuit and attracts premieres and stars from all over the world.

Edinburgh International Magic Festival 29 June – 6 July 2012

2012 will see Edinburgh host the third International Magic Festival with a range of performers show-casing their magical talents.

Edinburgh Art Festival August 2 – September 2
Edinburgh Art Festival celebrates the visual arts in all its diversity, from world-class exhibitions to strikingly original installations.

Edinburgh Jazz and Blues Festival 28 July – 6 August 2012
Get your gladrags on and party to the sounds of the Edinburgh Jazz and Blues Festival, a popular event which attracts international talent.

Edinburgh Fringe Festival 3 - 27 August 2012
Getting bigger, better and – some may say – weirder every year, the Edinburgh Fringe Festival is the highlight of many a festival-goer’s calendar.

Royal Edinburgh Military Tattoo 3 – 25 August 2012
Selling out months in advance, the Royal Edinburgh Military Tattoo is a spectacular event taking place on the Castle Esplanade.

The Edge Music Festival TBC 2012
Adding alternative music to the August festival mix, The Edge Music Festival attracts A-list bands as part of its programme.

Festival of Spirituality and Peace TBC 2012

The Festival of Spirituality and Peace features music, dance, talks and other events highlighting humanitarian issues and causes.

Edinburgh International Festival 10 August – 2 September 2012
The one that started it all, the Edinburgh International Festival is a feast of world-class music, dance and theatrical performances.

Edinburgh International Book Festival 11 - 27 August 2012
This literary event attracts major names in the writing, publishing and political fields to the serene Charlotte Square Gardens setting.

Edinburgh Mela Festival 31 August  - 2nd September 2012

Celebrating the cultural diversity of the city, the Mela Festival brings colour and exotic flair to Edinburgh in August.

Scottish Story Telling Festival 19-28 October
Celebrating the great Scottish oral tradition, the Story Telling Festival showcases the talents of national bards, poets and tale-spinners.

Edinburgh’s Christmas TBC – late November – End Dec 2011
Edinburgh sparkles at Christmas and features events, attractions and shows for all the family to enjoy during the festival season.

Edinburgh’s Hogmanay 30 December 2012 – 2 January 2013
End the year with the biggest street party in the world!

Jennifer McGregor’s Winners Wear Crowns is an intriguing character study that presents all the horror of that well-known stereotype, the pushy mother obsessed with her daughter’s success within the mother’s desired field. This production presents what looks like an American cliché – about success at beauty pageants – but what stands out is the subtlety of the writing and characterisation, with some people seeming to think that McGregor, Scottish, is actually American herself.

The character McGregor has created is Mississippi mother Patricia Harris Williams and she is not a monster, depicted monstrously, but someone we can recognise whilst having major issues with the choices, and justifications, she makes. Through the use of visible costume changes (rather interesting to watch), built in make-up scenes, and clear story-telling within the monologue, time passes, states change and Patricia’s beautiful baby Mandi grows up, with great triumphs, increasing disappointments and expected tensions.

The audience can pick out the clues to so much of what is really going on, things Pat does not appear to see, because of the quality of the writing, so that the problems inevitably brewing are obvious, but beautifully depicted without being spelt out. Pat’s relations with husband, daughter and mentor are clear, though even more about some of these people would be welcome. Her tight focus means it makes sense that we only gain glimpses of others, but it would be satisfying to see further developments for the piece that might allow fleshing out of the people in Pat’s life.

We do, though, see Pat’s preoccupations, her wishes and feelings for her daughter and her expectations of return, and her inability to look past her blinkered hopes. McGregor, as writer, director and actor, shows a flair for irony, subtle provocation, detailed observation and wry wit. There are some strong poignant moments, as well as fine comedy, though there could be a little more emotion embodied towards the end of the piece, but the subtle creation of Patricia may well deliberately set a distance between character and audience.

Winners Wear Crowns does, however, raise a question about where McGregor wants to take us. We, as an audience, gain a fine look into a very specific world and are able to judge a character delicately drawn. However, the picture seems somewhat removed, as if overly protected behind glass. There may be an occasional reflection of oneself or another in the casing but connection is somewhat hindered. This does not mean the piece cannot be developed, rather that it should be. It is also perfectly possible that you might be someone who likes such a presentation – a fly caught in amber – in which case, add another star to this rating!

Winners Wear Crowns shows great promise in the writing, with some detailed direction, and it is presented well – this reviewer just wants more because there is a sense that more from McGregor is very possible.

16 – 28 August (not Mondays), 17:15 (18:00) @ Leith on the Fringe @ Out of the Blue Drill Hall

Although theatre/drama is not particularly this reviewer’s cup of tea, it is clear that Theatre Alba actors’ performance abilities, Jo Clifford’s interpretation of Chekov’s play and the clever outdoor setting is 4-star worthy.

The play is performed in Duddingston Kirk Manse Gardens. Initially, the prospect of sitting outdoors for a 2 hour 30 minute play sounds dire. However, bring a few blankets and a thermos of a hot beverage and you’re all set. The Loch setting and beautiful gardens makes the play come alive; audience members feel as though they are not just observers but also bearing silent witness to the happenings in the Cherry Orchard. Musicians provide an excellent accompaniment to the play, evoking an Old-World atmosphere and enhancing the central emotional dichotomy in the play.

Theatre Alba’s actors are cast perfectly for the play, with Corinne Harris leading as Madame Ranevskaya (Lyubov Andreyevna). Each character in the play has a complex personality, which is further divided by their moral dilemmas and philosophical debates. Beautifully played by John McColl, Lopahin’s duality resonates strongly with the audience’s understanding of generational pain conflicting with the joys of self-actualisation. Harris’ excellent portrayal of Lyubov, her romanticism of the past versus its contribution to her current suffering, perfectly captures the Russian dame mentality. Mike Daviot is a great choice for Trofimov, the eternal student. Considered to symbolise Western modernity in the play, Daviot’s Trofimov is a complete juxtaposition to Lyubov’s character, rendering the audience further ensnarled in the distorted perceptions of the characters.

The characters maintain a constant internal and external dynamic tension, rendering the audience keenly aware of the character’s flaws and thus never sympathetic to one character for extended periods of times. This perfectly captures the feeling that Chekov wanted his audiences to experience: the struggle of reconciling with the past, the disgruntled acceptance of the present and the desperate hope for a better future.

By Ingrida Dornbrook

28 August, 19:30 (22:00) @ Duddingston Kirk Manse Gardens

Palindrome Theatre’s production starts with a newly-created soliloquy that floods past with only a few well-worded phrases coming through clearly. It is a confusing beginning, but the staging hints at fine things to come: grand storm sounds, clever use of props, such as a torch for on-stage lighting effects, and set – chairs and tables, and a suspended can for pouring water onto the stage – and, above all, a cast that is in sync, with focus and controlled physical energy. The play itself then comes to life with intensity, real speech rhythms and modern psychological characterisations that are also heightened in their delivery without damaging believability – a sign of very fine acting. Possibly the performances are particularly strong because most of the cast were involved in Palindrome’s full, more traditionally presented, version of the play earlier this year.

It is a little strange that Palindrome Theatre should specifically mention the playwright in the title Ibsen’s Hedda Gabler, but perhaps this is to reassure people that the script, while a new adaptation with a modern setting and cut down to 90 minutes, is still faithful to the essence of the original. The affect of Victorian society on characters’ choices is not fully reflected, so “Ibsen’s stifling society” is not as strongly portrayed, but the expectations of academia work well and there is still a sense of Hedda coming from a different social world.

Ibsen’s play sees the central character, famous as a major role for women (she has been called a counterpart to Hamlet for actresses), pursuing her own self-centred ends with a deliberate malice in her attempts to find what she feels she needs in life, hitting out, and in, and causing destruction. Robin Grace Thompson is excellent and brings a feverish quality and a driving idealistic need to Hedda’s manipulations. Nigel O’Hearn, also the adaptor, creates a vulnerable Eilert Lövborg whose attractiveness to the women and fatal return to drink is believable, and Chase Crossno portrays a fragile strength that makes sense of Thea Elvsted’s role in others’ lives. Hedda’s husband George Tesman is a recognisable academic, with both boring, frustrating and redeeming qualities shown well, and Judge Brack a somewhat menacing ‘friend’, also completely self-focused, while the maid Berthe has a feel of her own life, relationships and understanding playing beneath her work.

There are a number of moments of great emotion and the hints of what might come are clearly, though subtly, directed, creating suspense well. The acting is very strong and the play itself fascinating, here with a pared down and contemporary driving energy that means this Ibsen’s Hedda Gabler, while longer than many shows in the Fringe, passes with speed. In all, this is a mesmerising production.

By Danielle Farrow

5 – 29 August (not 10, 17, 24), 14:15 (15:45) @ Hill Street Theatre

You would never have guessed that the Fringe was coming to a close, as tonight’s performance from Jimeoin seemed fresh and inspired. Playing to a packed room in the Spiegeltent, Jimeoin delivered a creative set, as his show, Lovely, had the audience comparing their own experiences against his interpretation of day-to-day, mundane events.

Jimeoin’s unique style of comedy culminated in a mix of relatable anecdotes, homing in on everyday activities and their potential for comedic results, peppered with a serious of incomparable facial expressions. It’s a rare sight to see a comedian  make the audience laugh with merely a contortion of the face, or slant of the lip. His ability to map out such expressions to match certain situations, resulted in a momentous cackle throughout the room, as the audience reflected on their own similar facial spasms.

At its roots, this comedy show is a very enjoyable way to spend an hour of an evening. Teaming observational comedy with physical comedy, this show delivered something a little different to other comedy performances. Like the professional that he is, Jimeoin managed the stage well, with a clear presence throughout, resulting in an audience that were engaged and ready for the next laugh, as he delivered his entertaining set. Having laughed along with the rest of the spectators, this is a show I would happily recommend.

By Chiara Pannozzo

Until 29 August, 21:00 (22:00) Assembly George Square, Spiegeltent

Ordinarily, when you go to see a show at the Fringe, the spotlight is on one person. Best of the Fest at Assembly, goes one step further by showcasing a range of the comedians from across the festival. Each comedian has roughly 15 minutes to dazzle with an excerpt from their own show, whilst you are allowed the opportunity to experience four comics for the price of one.

The comedians featuring in this show change every night, keeping the format fresh and exciting. Last night’s compère was Jason Cook, who immediately got the audience going with his observations of various spectators past and present. His warm-up made way for Jack Whitehall, who had the audience doubled over with laughter as he divulged the inner most secrets of a lads holiday.

Following Jack Whitehall, Paul Nichol entertained us with musical comedy. He led the way to more observational and opinion based comedy courtesy of Dave Fulton, an American now living in the UK, who got many a laugh from the audience as he told us how far he really would go to win a bet. Closing the show was comedy circuit newbie Chris Ramsey, who got a roar of laughs from telling us about his experience as an audience member on the Jeremy Kyle show.

Best of the Fest was a great way to see snippets of what the Fringe has to offer. I can’t think of a better way to be entertained, whilst adding more comedians to my list to see next year. A very enjoyable hour and a half, that’s not to be missed.

By Chiara Pannozzo

With any number of Macbeth plays in Fringe 2011, Ray Sutton offers a very different look at this anti-hero of Shakespeare’s creation. Replaying Macbeth takes us through Sutton’s reconstruction of acting styles in the 18th century, focusing on an acting revolution that occurred in the 1740s with the new style of David Garrick and contrasting it with the established style, as embodied in the performances of James Quin.

For the most part, this is more of a lecture than a performance, particularly as Sutton speaks to his audience directly but does not really connect to us in his initial welcome nor with real eye contact at any time. The feel is that he is presenting academic research, putting forward his reasons for coming to certain playings of key scenes, explaining the evidence available and how this has to be enhanced by “informed speculation – or making it up”. There are flashes of dry wit and there is a lot of historical information: bring pen and paper if you wish to grab some of this, but be warned, it does fly past rather quickly.

Through Sutton’s Replaying Macbeth we learn about the theory of the passions – thoughts on the psychology and physicality of human feeling and action – and how this could come to inform acting technique. A demonstration of just one passion – fear – shows how strange these set gesticulations and poses may seem nowadays, but Sutton then brilliantly introduces just how they can be seen in very popular contemporary performance by the simple production of a modern magazine. Dr Who, anyone?

After laying out the background of his research, Sutton dons the character of Macbeth, first via James Quin, known for vocal resonance, dignity, clear speech, a swinging motion of the arms and portentous pauses which, along with other characteristics, gained him a lot of criticism once Garrick’s style became popular. Then we see Macbeth via David Garrick, known for a more ‘real’ portrayal, speaking low and responding to others rather than the completely posed full declamation that ignores other characters. Set demonstrative gestures are visible in both renditions, but Sutton clearly portrays the differences between the styles and goes on to say what he was hoping to show, just to be clear.

Of interest, too, is the difference in the texts used, for Garrick restored Shakespeare’s lines after William Davenant’s text had been used since the Restoration, so the Quin excerpts are really quite different from the Shakespeare known today.

Sutton does not show how he would play Macbeth, so in the reconstructions there is no way to see how much is Sutton himself, and as a presenter he is more of a removed lecturer than a performer engaging the audience with energy and charm. However, Sutton’s own interest in this work shines through and Replaying Macbeth is clearly presented, offers a lot of interesting information and some fascinating insights into 18th century performance, with demonstration of such performance and a rather fine dying speech from Macbeth to end.

23 – 27 August, 12:15 (13:15) @ Paradise in The Vault

The Woolton Irregulars present this look at an amateur group, with its share of ‘professionals’, who are working on A Midsummer Night’s Dream. Various relationships undergo transformations, echoing action in Shakespeare’s play, but with contemporary spins that bring some of the darker aspects of the fooling about into sharper focus.

Despite a rather high-voiced, unsupported starting soliloquy from the director character about how much she hates actors and why, which nods rather a lot to clichés and not at all to the non-actor politics of amateur groups, this proves to be an entertaining piece, with some fair acting. The characters go on to bear out all that the director has been complaining about, but there is some depth to their quirks and relationships and the humour of the piece is well served.

There is pathos, too, in lost dreams – with a character who once had a season with the RSC having particularly poignant moments – and the mess that can be created as people chase lust and love, the Puck character providing plenty of sexual comedy. Basic lighting, with a change at one point to give a red glow to dramatic proceedings, allows the setting of a rehearsal room, with chairs the sole furniture and the fourth wall put to use briefly as set being decorated by the simple use of a paint pot and brush.

In Your Dreams includes bitching, sleeping around, clashing egos, unrequited love, drug-induced revelations and a bit of a Meisner exercise (an acting technique). It has some connection to the reality of many would-be actors’ lives, though it does not find a way to show the joys of rehearsal and performance that keep people striving to return to the stage. The comedy covers a somewhat nasty core, and the resolutions, while they may seem more in keeping with today’s standards, have a melancholy feel.

In all, In Your Dreams is a relatively short piece that provides entertainment, decently played, some of it very funny, points quite moving, and other parts more disturbing.

22 – 27 August, 21:45 (22:35) @ Greenside

Milford Haven School’s abridged Macbeth first appeared as part of the fantastic initiative that is the Shakespeare Schools Festival. This charity works to “challenge the preconception that studying Shakespeare is difficult, dry or dull through a combination of teacher training, workshops and student performance” and is enthusiastically enjoyed by teachers and pupils who take part, producing some great entertainment and spreading the joy of Shakespeare’s works.

Excellent direction and real focus and energy from the cast produces a visually stunning production using just costume and three black boxes, well-lit, with some washes of red, and well-sounded with music that builds drama and suspense, along with the stage used as a drum by the cast. Supporting players are on at the back throughout and used well in scenes, particularly through the sharing of lines. This device is also used for some main characters and throughout helps the dynamism and energy of the piece. It is particularly effective in the witches, dramatically clad in red satin wings that create their storms – external and internal within Macbeth and others. Lady Macbeth, however, sharing Macbeth’s lines becomes involved in his plotting after the murder of King Duncan and this changes the Macbeths’ relationship. While it makes sense in performance and may not be remarked by anyone not knowing the play, it means that her isolation from her husband, which is part of her journey into madness, has been completely lost, and Macbeth’s estrangement from all is unclear.

Other losses include cuts that damaged the sense of sentences and scenes -that between Macduff and Malcolm particularly suffering (though the message of devastation was well delivered without need for words) – and some necessary words which were dropped or distorted by the actors, including the one playing Macbeth, though he gave a fine performance, with strength, understanding and passion. The ending, too, suffered, but here it was from continued shouting and forced voice, without variation.

Overall, though, this is a fine production, a Macbeth that has depth, interest and fine pace, driving through the story well and with atmospheric texture and direction that brings a fresh feel to this oft-performed play.

22 – 27 August, 18:05 (19:05)@ theSpaces @ Surgeons’ Hall

Visit this large gracious room, the pale green and white of its walls reflected in pictures and laden tables, in serviettes and crockery, all pleasantly accented with pink. Choose tea or coffee provided by Frederick Street’s eteaket – there will be more at the interval – and find your table, one of the large ones making up an outer circle. Cake will be brought to you, delicious sponges and slices from Henderson’s of Hanover Street, and you can enjoy a good chat. Oh, you don’t have to have brought a companion for that – the conversation isn’t yours once this play starts, for at those smaller inner circle tables there will be plenty of talk for you to enjoy: not just the fascinating snatches you pick up in a café, wishing you could know more – in Tanya Alexander’s Tearoom, presented by So Far Productions, you hear the full stories.

A fine cast of twelve infuse these vignettes of lives with some great characterisations brewed in the impressive writing. Linda Denning as Mrs Baker, very much controlled by her husband, is mesmerising, a very real person whose hope and pain touches the audience. A couple of friends reunited develops into a very strong piece, and the waitress and all her customers are recognisable, all having something interesting to share in their relationships with friends, spouses, other kinds of family and the world in general. A great deal of humour threads through the pieces even while reasonings behind behaviour are explored, with some interesting considerations and a satisfying amount of pithy descriptions of life and living.

Dialogue is particularly well-written, Alexander‘s own eavesdropping yielding fine fruit, deftly picked, but the often striking metaphors and language can become somewhat overblown in lengthier dramatic speeches. Here the repetition, cliché and cod-psychological advice that people do use in real life are not always condensed enough – with only their essence plumbed – to fully hold attention and there is some belabouring of ideas. These moments, though, are few are far between, Denning excellent in dialogue and monologue and Alexander herself managing to warm into her longer periods of speech. There are also a couple of single visitors with a lot to say in more comic monologues who entertain beautifully, especially Esther (played by Eileen Rawlings) who expounds on men and women with wry humour and provocative insight.

Tearoom provides both obvious and subtle entertainment. More could be done to interlace the presentation of the stories and none of the characters really seem to notice what happens at other tables – the very behaviour the whole production has been built upon – but these are minor quibbles.

Humour, deep emotion, real observation, a talent for insightful description and some fine cake make the taking of light refreshment at this Tearoom an entertaining and discovering experience, titillating both taste buds and interest in other people’s lives.

By Danielle Farrow

22 – 28 August, 10:30 (12:30) + 15:00 (17:00) @ Lauriston Hall

N6 Productions do not deliver, as promised, a “sexy rock and roll romp“, nor is it clear from publicity that this is a school production. They do deliver Shakespeare’s Much Ado relatively faithfully and set in the 1950s, with a modernised introduction to the ‘police’ who uncover a plot by Don John for ruining the marriage of Hero and Claudio. The other romantic couple – Beatrice and Benedict – provide the witty banter for which Much Ado is famous.

Beatrice showed understanding and a dry wit, though higher energy and variation would help. Benedick handled verbal comedy well and also a scene in which he challenged Claudio. He could improve by really listening to others (especially when eavesdropping) and allowing thoughts to come to him rather than rattling them along without change. Leonato, father to Hero, had moments of real thought and feeling and Don John’s brother Don Pedro was played with a natural quality and charm. The villains tended to play one attribute – sullen, nasty, tormented – though a gender change for one (being female in this version) worked well. Others gave clear support with flashes of fine language handling, particularly the minister. The Watch had panto elements, clear but not always effective, and Dogberry took a while to warm into his performance but was then able to highlight his misuse of words.

Period music occurred mainly at change of scenes and these flowed nicely, not requiring set changes. A garden bench and two trellises served well, with the occasional addition of items and projection. Spotlights picked out moments of soliloquy and costume suited period and different scenes. Where the play is understood, there is a lot of clarity in this production and some directing ideas work well.

However, passages are not always understood, for instance, Don John’s lie about his brother wooing Hero is not clearly shown to be said in order to trick Claudio. When three men know Benedick is listening and lay a romantic trap for him, there is no sign any of them understand when they suggest he is a coward. Playing of this would have heightened the comedy, which here is overly staged in moves which often mask and which damage the real humour to be found in response to what is actually being said. Obscuring also occurs elsewhere, often caused by actors moving without reason – very common in inexperienced performers – and should be discouraged, not added to by flawed direction. There is also a problem with pace and energy not carrying the play forward.

N6 Productions’ Much Ado About Nothing does not fulfil the promise of its publicity and design, but it does offer the opportunity to see a school offering some charming humour, a few fresh ideas, and lines clearly delivered when understood.

By Danielle Farrow

22 – 27 August, 11:45 (13:15) @ theSpaces @ Surgeons’ Hall

Berkoff’s Graft fantastically tells Tales of an Actor, from the incredible joy of being accepted for training (and funding!), through the exhilaration and torment that is the life of one forever putting themselves up for rejection, the sacrifices made with deliberation and with less self-knowledge, and the struggle to actually make a living, through to ‘the final curtain’. The latter is a little abrupt, but this is quite possibly apt, given what occurs, and still contains dark humour.

There is a lot of comedy in fact, but most of all there is a consummate actor ‘showing how it’s done’. George Dillon attacks the words, emotions and ideas with a controlled and often ferocious energy that sweeps the audience up into a world of sheer physicality, entertaining, pushing and in some ways probing us. Any actors watching – and there are bound to be many in the Fringe – have both the joy of recognition and the squirming of private rants made public. And there is the opportunity to learn from a master player quite possibly at his peak.

Dillon’s performance actually has a circus feel to it – throughout you cannot help but be aware of, and amazed by, his skill – the fitness, detail and energy given to presenting his script. If you are also aware of technique you will spend the time in awe of how he plays his character and the audience. This style, with its use of vocal tone changes, slow motion pieces, muscular physicality, portrayed self-awareness points – very much part of Berkoff’s tradition – along with beautifully engineered introspective moments, holds a quality of obvious performance that, while it might make Brecht cheer in his grave for this very effect, can alienate audience empathy with this very striking character. The seconds in which a real person emerges and connects in heartbreaking simplicity are a little too rare and in this reviewer begged the question: if this were not a Berkoff piece, what would Dillon do with it?

But this is clearly a Berkoff piece and it has huge appeal for being such. Dillon, closely connected to Berkoff’s work, delivers a powerhouse of vocal and physical performance, showing much of an actor’s world in both the bringing to life of an exposing script and in the sheer entertainment value of his clear, energetic, explosive and comic embodiment of these Tales of an Actor.

Berkoff’s Graft is just one of Dillon’s shows in Fringe 2011, so while there are only a few showings of each piece, there are a number of opportunities (at different venues) to watch this brilliant actor in his 21st Anniversary Solo Season. The Man Who Was Hamlet is also reviewed (from last year’s production) here at Edinburgh Spotlight, with more to come – so it is with confidence that this reviewer says: grab whatever Dillon show(s) you can!

By Danielle Farrow

23 + 25 August, 17:45 (19:20) @ Spotlites @ The Merchants’ Hall

Hammerpuzzle breaks a text down, exploring it, finding actors’ personal connections and recreating the play. With The Tempest these performers only occasionally use their own language to move things along or make matters clear and this is a relief, as their paraphrases can miss the specifics of Shakespeare’s lines and thoughts.

The cast are talented singers and use instruments well, here mainly using a drum and a guitar, the latter put to somewhat amusing use in one of the scenes, and these, along with their voices, punctuate and support the action. Sometimes a song is overly long or sounds are slightly too repetitious, and harmony was not achieved in one song, but overall this musical accompaniment is a strong point for the company.

The performers also have fine vital energy and clear story-telling skills, needing minimal props to go with their travelling player costumes of cloaks, plain wide shirts, red-belted, and brown trousers. A few accessories take care of multi-role playing and the actors’ physicality does the rest well. Caliban’s movements work, but – in any character – this actor’s voice needs modulation, the projection being beyond that needed for their performance spaces (Hammerpuzzle also present their version of Measure for Measure as part of PBH’s Free Fringe at Princes Mall) and there is little to no subtlety and variation. The actress playing Prospero is capable of better performances, here neglecting rooted physicality and thought, plus genuine feeling, for a focus on what is perhaps meant to be an older voice that demonstrates status, but which actually hampers true expression.

The actor playing Stephano and Alonso shows variation and understanding, Ariel has moments of charm and a decent voice, Sebastian / Trinculo shows skill with voice, comedy and the playing of differing parts and she and the delightful Miranda are in fine singing voice. Miranda / Gonzalo (the text adaptor as well) also has a depth to her acting, and Ferdinand / Antonio shows how voice and body work well together, with both strong technique and genuine feeling. There is also a section where the playing of different parts is used for comedy purposes which went down well with the audience.

Director and performers link their own travelling / wondering-about-settling lives to The Tempest, and add a song reflecting this at the end, with strained connections to the play that are strangely, and somewhat self-indulgently, worded. However, their energy and skills in story-telling, choral song and comedy, with some fine performances, make this a Tempest that is, for the most part, an entertaining one on which to be tossed.

15 – 27 August, 15:20 (16:20) @ Gryphon Venues @ the Point Hotel

The kind of thing you only get to see at the Fringe – Camille O’Sullivan singing with beatboxer extraordinaire Shlomo at a BBC ‘Secret Gig’.

The Fringe is winding down and the relative sobriety of September may be beckoning, but the last of award-winning playwright Murray Watts’ three new plays has just opened. You have until 29th August to catch ‘First Light’, and it is well worth fitting in a viewing.

The story is set over 24 hours in a boarding school, where retiring house father and chaplain Tom Weston has recently lost his wife, and may be losing his faith. Sunk deep in his grief, he receives an unexpected nocturnal visit from a young pupil, also suffering and bereaved. She both seeks and provides comfort in equal measure, but innocence and scandal collide and both characters are left to deal with the aftermath.

The themes of responsibility and trust resonate in a society where authority figures often live in fear of accusation. Watts – with the help of an exceedingly strong cast – demonstrates to heartbreaking effect the consequences of society’s often paranoid approach to protecting our children.

Simple but effective sets, minimal music and unobtrusive lighting all contribute to the overall effect, but it is the performances which astonish. All four cast members are excellent, but Natalie Burt as schoolgirl Merry Catherwood is electrifying. By turns petulant, cheeky, flirtatious and heartrending, Burt radiates the defiant cockiness of a precocious teenager.

‘First Light’ may only be running for a few days, but it will remain with the audience long after they leave the theatre. Do make the most of its short run and catch it while you can.

23-29 Aug 1150 (1320) @ The Playhouse at Hawke & Hunter Green Room

For some of the most innovative dancing of this year’s Fringe, go see “In The Dust”. It is performed by 2Faced Dance Company, comprising 8 male dancers, and led by artistic director Tamsin Fitzgerald. The sheer physicality and almost animalistic masculinity is defied by the effortlessness and grace with which the choreography is performed.

A triple bill, the overarching themes in the performance include survival of the fittest versus individual vulnerability. Mainly a fusion of contemporary, breakdance and street dance, though with elements of capoeira and acrobalance tricks, the performance does not cease to impress.

“Subterrania”, choreographed by Tom Dale, is first up on the bill. There is an Armageddon quality to the piece, helped by industrial music, urban costuming and eerie lighting. The audience members are given a brief glimpse of Doomsday in a solo performed in a gas mask to futuristic music, which melts into an army of dancers united to dance-fight their fate.

The second piece is “Politicking Oath”, choreographed by Freddie Opoku-Addaie. Seemingly a parody of the Olympic games, this piece shows fierce, pigheaded competitiveness and amazing athleticism between three dancers. Sports such as synchronised swimming, boxing and gymnastics are interpreted in dance form; leaving the audience thinking that perhaps the dance form is more physically demanding than the sport itself!

Finally, Tamsin Fitzgerald’s “7” explores human fragility. With smoke billowing on the stage and dust rising from the dancer’s bodies, faint lighting and dark music, this piece evokes a place abandoned of hope. Indeed, the piece is inspired by Fitzgerald’s visit to Haiti a year following the aftermath of the earthquake. The dancers glide with balletic refinement across the stage in this piece, and the partner work is incredible. This finale hits home the message that by sticking together, we are much more likely to survive.

By Ingrida Dornbrook

Until 29 August, 16:00 (17:05) @ Zoo Southside

Dave Gorman is both author and comedian. He has been named in the, “Top 25 Most Influential Jewish Authors.” He is understandably pleased with this position, but there is one problem; he isn’t Jewish, but no one believes him. “Not that there’s anything wrong with being Jewish,” he protests, “It’s just that I’m not.”

Throughout the show he uses information from papers, magazine and the Internet to outline his take on the world, projected on a giant screen behind him.

He recalls familiar scenes, of life at home with his new wife, crafting his show neatly around himself, his likes and dislikes. It works well. People identify with Gorman, he calls this his ‘Everyman‘ character, a conclusion he has come to after fans and journalists continually refer to people as looking a bit like Dave Gorman. He projects images of some of these people; they look nothing like him, except perhaps for the brown hair and red beard.

Gorman’s show is slick, witty and well rehearsed. The audience lap it up.

There is a boyish charm to Gorman, he comes across as a practical joker and mischief maker and tells of his adventures on Twitter and Facebook and the consequences of chance encounters and remarks thereon. He has 1000s of followers, many of them in the audience.

A populist comedian, he hangs around for a chat afterwards with those who want to say hello. Brave, when you manage to fill a 500 seat auditorium every night for 3 weeks. Cue stampede.

Assembly @ George Square Theatre 1940(1hr)  until 28th August

Chris Cox: Fatal Distraction

In Fatal Distraction, Chris Cox tells the story of a failed romantic relationship – a story full of blank details, like his ex-paramour’s name, profession and favourite kind of food. In between routines where he replicates what volunteers from the audience have drawn on an out-of-sight flipchart – and an impressive segment where he appears to have memorised the Fringe programme in its entirety – Chris gets the audience to fill in the missing parts of the lovelorn tale.

All this leads up to a conclusion which baffles and ensures that the attention is firmly held throughout this highly entertaining performance.

With his lovable geek stage manner and gentle audience fun-poking, Cox is an easy performer to like. Mocking himself as much as anyone, his humour hits the mark – but it is the mastery and mystery of his mentalism feats which impress the most – if this is a man who can’t read minds, then he does a mighty fine job of convincing otherwise.

Chris Cox: Fatal Distraction runs until Aug 28 at the Pleasance Dome at 17:10

Poetry Takeaway van

The Poetry Takeaway, Bristo Square

We stumbled across the excellent Poetry Takeaway in Bristo Square which is ‘the world’s first purpose-built mobile poetry emporium.’

Open daily from 12 – 3pm, you order a poem (free) about any subject you want, pop back 10 or so minutes later and it will have been written by one of the ‘chef poets’. The chefs for the Fringe are: John Claire, John Osborne, Molly Naylor, Hannah Walker and Luke Wright.

The poets on offer vary day by day with the majority of the them having their own shows in the Fringe – yet still finding the time to donate an afternoon writing poems for visitors and residents of Edinburgh.

At 12pm on the dot, we requested a poem about how much we love the Fringe as a local, the sleep deprivation due to our manic schedules, living off burgers for August and dealing with the weather.

Our poet was Tim Clare who has a show on at the Underbelly called ‘How to be a leader‘ but he had to be pushed for that info as there’s no hard sell involved, it’s all about the poetry.

20 minutes later, I returned to the van and was presented with a hand written poem, tucked up in a cover with an official ‘Poetry Takeaway’ stamp. Tim asked if I would like it read to me and immediately said yes and soaked in his dramatic presentation of the freshly-written words.

‘Local Colour’

The poem

Enjoy the exhuastion,

wolf down one more burger,

stagger through the streets

like the Dawn of the Dead;

Handle your schedule

like a knife juggler,

hangovers feel like you’ve shorn of your head.

Weeks spent perfecting

the flierer force field

sunglasses, stock response

set to ‘dismember.;

drizzle and sunshine

turns into rainbows -

bed is for wimps!

You can sleep in September.

The End

Every poem is obviously different and ours was near-perfect apart from the fact that we don’t drink in August due to our work schedule, so don’t have hangovers, but we were pretty impressed considering the 10 minute turnaround.

Waiting for collection

You can read more about the concept behind Poetry Takeaway.

We think it’s a great way to bring poetry to the public and hope it’s a regular visitor to Edinburgh.

Information

Open daily 12pm – 3pm, Bristo Square (outside McEwan Hall)

Until 28th August.

You can follow them on twitter @PoetryTakeaway

Poetry Takeaway