Madam Jojo's

Spencer Maybe’s publicity material cites an old Time Out quote claiming he is “so sexy it hurts”. So is he sitting comfortably at the moment? “I am in a bit of pain actually,” he laughs. “Maybe that’s the root of it!”

Whilst the ladies of burlesque are expected to be sexy, “boylesquers” seem to rely much more heavily on comedy. Spencer Maybe has been keen to redress this balance right from the start: “I watched the first heat of a male burlesque competition, and I wondered where’s the sexiness? I’d seen it with the women.”

The competition organiser offered to reimburse the cost of Spencer’s first burlesque lesson if he agreed to perform. “If I hadn’t been in the competition I’d have been prancing around a stage in Camden with everyone saying ‘Who’s that guy?’”

Spencer Maybe was, it seems, born to be a star. “From about 15, I could dance. I wasn’t shy. I knew I had that physicality, that sexiness and I was never afraid of it. And coming to burlesque later on felt like I was parodying myself. When I’m onstage, it’s a caricature.”

It’s not difficult to spot the aspects of Maybe’s personality which have been exaggerated as the basis for the protest singer (“I do want to get a message across, I believe in what I am saying”), the Devil (“In my twenties I took loads of drugs. I was a bit of a mess”) and finally God (“I had this vision, this is my life’s work.”), the three characters who make up ‘The Last Trilogy’.

“People don’t want to be told what to do, they are much more open to stuff if you make them laugh,” Maybe says. “I genuinely want to touch people, and make them think, and make a difference, as well as making people smile and have a good night out. But that’s possibly more than I can expect!”

Spencer Maybe

So what sort of audience would Spencer like to see at his show? “People who are passionate about green issues but also interested in the hedonistic lifestyle.” He admits he is more likely to flyer women, because he can flirt. “Blokes like my music, but then they are sometimes put off by a man stripping. I’ve maybe made a rod for my own back – idiot!”

But of course it’s not all about hedonism and glamour. Maybe is currently sharing a flat with his girlfriend and his parents, struggling to balance the demands of domesticity with promoting and performing ‘The Last Trilogy’. “It’s hard work. And I’ve done my back. But when you give an amazing performance, that’s brilliant. And everyone around me has been amazing.”

Maybe is also putting his money where his mouth is. His sister runs a project in a Capetown school, bringing together green issues and music. Having been touched by what he saw in the township on a past visit, Maybe is donating proceeds from his CD sales to this project.

The future looks like a busy one for Spencer Maybe. In addition to writing a children’s book, recording a CD of love songs and completing the final album in his trilogy, he also wants to make a film of ‘The Last Trilogy’ and take the show on tour. And of course, save the world. In a very sexy way.

You can read our review of Spencer’s 2011 show here.

Idle Motion may be a young company, but they are fast developing a reputation for creating emotionally resonant, multi-layered theatre with highly innovative staging. Their latest offering, ‘The Seagull Effect’, continues this trend.

Our narrator emerges from the audience and reflects on the night of 16 October 1987, when an unprecedented hurricane hit the southeast of England. Dramatic as this event may have been, it serves here as a backdrop for highly personal stories. The title references the idea that small, seemingly random events can lead to epic changes, whether in atmospheric or emotional conditions.

Idle Motion may be young, but their subject matter shows an emotional complexity that belies their years, and their performances are beautifully subtle character studies. Their creative staging adds an
exciting dimension to what are ultimately quite small-scale, personal stories. Here, images are projected onto umbrellas, the fourth wall is penetrated and dialogue combines with dance, movement and music.

Idle Motion theatre company may only be four years old, but with three successful Fringe shows and numerous awards already under their belts, they are definitely a theatrical force to be reckoned with.

Review by Julie Dawson

5-27 Aug (not 16, 23) 1620 (1720) @ Zoo Roxy More info here.

By the end of musical comedian Matt Tiller’s series of Awkward Situations, you feel like you’d be welcome to pop round his home (or his parents’ guest house) for a cup of tea and a biscuit.

Such is his likeable charm and personable style, which starts as soon as he greets everyone personally walking into the small room at Just The Tonic @ The Caves. Matt then picks up his guitar and strums his way through a collection of amusing songs highlighting those moments in life when you wish you could crawl under the nearest stone.

So, we get songs about disastrous first kisses where false teeth go awol (“the only time I’ve been glad I met a girl who didn’t swallow”); disturbing hitch-hiking tales of lecherous French lorrydrivers (translated from Matt’s original French by an audience member); and a throwaway series of musical one-liners entitled “Things you shouldn’t say after sex”.

With floppy hair, glasses and a big grin, Matt has a nerdishly appealing persona that has the audience warming to him quickly. Some of his material hits the mark better than others, but his (mostly) gentle comedy and musical talent is an enjoyable way to spend an hour cringing at someone else’s misfortunes.

Besides, if you don’t applaud, his ex-commando father may come round and kill you…

22-29 Aug, 1215 (1300) @ C central, North Bridge

By Danielle Farrow

In a somewhat medieval setting, a would-be Fool auditions for a King who is bored with dealing – or avoiding dealing – with opposing Saracen forces, and who is in the habit of rejecting job applicants by beheading them (along with his wives). Joining these two is an advisor to the King and a bag of tricks out of a modern-day joke shop.
 
The audition of a Fool trying not to lose his head seemed a pretty good conceit for a Fringe production, and appropriate songs on entry (including “Keep Yourself Alive”) were amusing. While there was still a reasonable script in sight, a couple of audition gags and Shakespeare quotes appeared for those who like their ‘licensed Fools’, but the ideas of worth soon petered out. The piece is essentially a school skit stretched and yet still only filling two-thirds of its given time. It is for the signs of humour, thought and occasional wit in the first part of the script, and for simply managing to put on a Fringe show, that a star has been allocated.
 
Otherwise, for those members of the audience who did not walk out, the time spent was wasted on three young men showing varying, and mostly limited, acting ability. The energy was lacklustre, though the Fool tried to amend this, and the humour disintegrated into showing how unfunny the auditionee was in a manner which was even more excruciatingly unfunny.
 
If the people in this group, surprisingly called a ‘theatre company’, would like a Fringe experience – and truly that is not begrudged them – it really would be wise to treat said experience as a learning opportunity, i.e. do not charge for such thin material, so poorly delivered.
 
A Fool’s Audition needed a far more rigorous and truthful outside eye to make sure that those involved were not simply fooling themselves.

4-30 Aug, 1615 (1715) @ C, Chambers Street

By Danielle Farrow

Against a backdrop designed by theatre designer Edward Gordon Craig, Anna-Marie Paraskeva is Isadora Duncan, dressed in her iconic Grecian manner, dancing – with shadows cast – in her style, and living childishly, sensuously, coquettishly, demandingly and tenderly through her writings, mostly letters written to her lover Craig.
 
All the right character notes are there: the stillness before dancing, and symbolic Duncan gestures and steps; the earthy aspects that would make modern dance ’real’ alongside her dreaming inability to connect long with reality in her life; the mood swings of the relationship and of ‘Topsy’ herself, with the feeling of inevitable separation and possible exploitation; tragedy in the death of her children (one of whom was also Craig’s), and joy in her passionate love. The acting is layered, varied and superb, and it infuses the dance – this is part of the real beauty on display, the way in which movement is seamlessly part of ‘acting’ scenes, while real feeling enriches the dance, following truthfully from what has gone before or already paving the way for what is to come.
 
Unfortunately there are no biographical notes, or notes on the play, in the programme. As with Poem without a Hero (see review for this), Inside Intelligence presents pieces that would benefit from prior knowledge. Indeed, all publicity blurb refers to ‘Isadora Duncan’ and ‘Gordon Craig’ – without prior knowledge or post-show research, how is one to know that ‘Gordon’ is not his first name? Knowing that he is actually Edward Gordon Craig is even necessary to make sense of the play’s title. There are also references to others: her children’s names can be worked out via context, but when Isadora makes reference to another man, it does make a difference to the story if that man is another lover or – as later research showed – a relation (case in point, her brother Raymond).
 
The performance of Teddy and Topsy, though – while the script alone may prove a little thin without explanation – is a great example of truth in acting and dance. It is intriguing, and enough can be gleaned from the performance to be satisfying too. Isadora Duncan wrote well, passionately, with apt phrases, and of course, her dance style is legendary. Anna-Marie Paraskeva embodies this ‘mother of modern dance’ and dances her into the audience’s collective heart.

Will Self’s weapon of choice is his inimitably erudite vocabulary: he is unashamed to let loose multi-syllabled salvos into his writing – and into the audience at this entertaining and characteristically acerbic event at the Book Festival.

Reading three passages from his recent fictionalised travelogue “Walking To Hollywood”, Self strode around the platform unaccompanied, spitting out his literary vitriol and wit. The chosen readings – each from a separate section of the three-part work – covered such Hunter S Thompson-esque topics as walking around a sweltering Los Angeles in a Barbour jacket; fantasising about playing Scrabble whilst plunging to one’s death from the Golden Gate Bridge; and a ponderous meander along an eroding section of the English coastline whilst contemplating the theme of loss.

Self’s writing is unmistakable in its construction, socio-political references and language. When reading, we get the sense he has a love / hate relationship with his writing, rolling his tongue around the words with measured consideration before spitting them out venomously.

Each reading is interspersed with some anecdotes and observations, with some typically Self-ish comments reserved for Peter Mandelson, whose talk at the RBS Main Theatre immediately preceded Self’s own. His mental agility is of Olympic calibre, and he is as entertaining here as he is in print – if not more so.

Accordingly, Q&A sessions with Will Self are always a delight; sadly last night’s was brief, allowing him to exercise his imagination and wit on only a few subjects. The topic of his potential deification as some kind of languid and louche literary god was a thought that very obviously entertained Self’s mischievous intellect – don’t be surprised therefore if the concept ends up in his next novel.

Circus Burlesque

There were many shows at this year’s Fringe which featured – or claimed to feature – burlesque.

Lola LaBelle and her House of Burlesque promised much with their Fringe debut show – based on the seven deadly sins and claiming to be a captivating and energetic hour of ‘razzle-dazzly’ entertainment.

Circus Burlesque not only lived up to those promises, it also featured some of the most beautifully-realised routines I’d ever seen, with Lola herself putting in a performance that resonated with an emotional power seldom seen in such a genre.

This was burlesque in its purest form, with performers and routines that had a classic, timeless quality.

Yes, there was bawdy humour and partial nudity (prompting the performers to stage a protest against some unfair criticism partway through its run), but the House of Burlesque retained its taste and its dignity in what proved to be a highlight of the Fringe.

For all that and more, it gets my

Editor's Award 2010

Oompah Brass

I have seen many fabulous shows this year, but one show stood out for me above all the others – Oompah Brass, The A to Z of Oompah.  My pink highlighter sought out the listing as soon as I had the programme in my hands and I caught Oompah Brass  the first weekend.

I fell in love with the concept of Oompah Brass last year during their Fringe debut and they had fine-tuned their show to perfection for 2010.

The eclectic range of tunes played and comedic introductions in between led to my favourite hour of the Fringe due to their amazing stage energy and contagious sense of fun.  All of the members of Oompah Brass are extremely talented musicians, but their take on modern-music numbers whilst dressed in lederhosen has to be seen to be believed.

Songs they played ranged from:  soul and  heavy metal music to classical and love themes – all played at warp-speed in a brass band style.  I have no hesitation to award Oompah Brass my Best of the Fringe Award 2010.   You can check out their website here.

With nearly 400 venues ranging from tiny spaces in the back rooms of pubs to huge auditoriums capable of seating hundreds of people, it sometimes seems as though everywhere in Edinburgh is turned into a Fringe venue in August.

Some in particular manage to capture the spirit of the Fringe perfectly; as well as being great places to chill out between shows.

Here then are our nominees for 2010′s Best Venue.

• C Venues – the home of new young theatre, C Venues have their base at Chambers Street, with their delightfully haphazard collection of spaces, bars and the always-buzzing Urban Garden area. With C Aquila, C Too and C Central also forming the C Venues family, they played host to an impressive number of performances and always had a marvellous atmosphere
• Universal Arts’ New Town Theatre – a temple to culture in the west end of George Street, the grand surroundings of the Freemasons’ Hall provided the stage for some exciting and varied international acts and performers
• The Famous Spiegel Garden – the folk at the Famous Spiegel Garden upped their game this year. With two stunning spiegel tents, staff dressed in vintage clothing, and a garden full of everything from bars and cafes to vintage clothing, craft and massage stalls, this was one of the most original and atmospheric venues on the Fringe

And the winner is…

Universal Arts’ New Town Theatre

With two stunning performance spaces, pop-up bars, friendly staff and possibly the grandest toilets of the Fringe, the New Town Theatre featured a varied and exciting programme curated by Edinburgh-based arts patron Tomek Borkowy. Polish drama, Indian pop music and Spanish flamenco shared the space with one-man theatre shows from Pip Utton and Rodney Bewes, and the classical rock theatrics of Barockestra.

True to the original spirit of the Fringe and with an interior that is almost as fascinating as some of the shows playing within, Universal Arts’ New Town Theatre is therefore awarded our

Each year, certain performers and companies visit Edinburgh for their first time, full of hopes and dreams of making it big.

Some fail, some succeed – all of them help to make the Fringe that wonderful thing it is: a showcase of new and emerging talent where stars of the future are born.

In recognition of those brave people who choose Edinburgh for their work’s baptism, here are our nominations for 2010′s Best Newcomer.

• Jeff Achtem’s Sticks, Stones, Broken Bones – reminding us that ‘it’s time to play’, Jeff Achtem’s endearing and technically superb shadow puppetry was wonderful to behold
• The House of Burlesque’s Circus Burlesque – bringing their artistic and at times beautiful show to Edinburgh for the first time, Circus Burlesque proved to be a smash-hit show that wasn’t afraid to stand up for itself
• Jam Jar Theatre’s Following Wendy – this young theatre company from Bristol brought a wonderfully dark vision of JM Barrie’s Neverland to C Soco in a production filled with a bittersweet magic and excellent performances

And the winner is…

Jeff Achtem’s Sticks, Stones, Broken Bones

A deceptively simple show created by a hugely gifted performer. Clowning, comedy, movement, shadow puppetry combined to form one of the most creative, inspiring, and original experiences on offer at the Fringe this year. Truly magical, and well deserving of our

This year’s Fringe had a fantastic selection of musical acts, ranging from rock, soul and pop, through to some exotic and exciting world & traditional music.

Choosing three proved to be a difficult task indeed – and we therefore would like to give honourable mentions to Something Relevant from Mumbai, Ariul from South Korea and the fresh-faced charm of The Ukulele Project.

But, in the end, our nominations are:

• The Magnets – supplying a unique take on a wide range of music these six talented men kept the audience engaged with their incredible talent, style, wit and general banter. Incredible entertainment from start to finish!
• Jack L’s A Month of Mondays – a stunning performance at the Famous Spiegeltent from the epitome of cool, Jack L’s show was spellbinding
• Camille O’Sullivan’s Chameleon – returning with a brand new set of perfectly-picked covers, Camille cast her spell over Fringe audiences with her enchanting and beguiling voice. Even pins were too bewitched to drop during her captivating show, which was a definite highlight of this year’s Fringe

And the winner is…

Jack L’s A Month Of Mondays

How Jack L is not already a Fringe legend is beyond us. For the duration of his set, the audience fall completely under Lukeman’s spell and one can’t help but feel thrilled by the discovery of such a huge talent in such an unassuming show. If there is any justice in the world, tickets for Jack L will be at an absolute premium next time he graces us with a Fringe appearance.

He therefore is awarded our

Edinburgh Spotlight Best Music Award 2010

4-30 Aug, 1515 (1600) @ C, Chambers Street

By Danielle Farrow

Poem Without a Hero is one of Russian poet Anna Akhmatova’s most famous works, and here it is presented by Holly Strickland, as Akhmatova, in an impressive acting performance – it is certainly surprising to find that Ms Strickland was not originally cast in the role and took over just before the show opened.
 
On a stage with varying columns of books and different pools of lighting, cool and warm, we follow the poet through the movements of her piece. Starting with a welcome to various figures of literature and some topical references (research post-show discovered the latter), the first part is so full of allusions one just has to take the ride and feel the flow of the poet’s meaning through the playing of the piece. This introduces us to some interesting characters, but also leaves the impression that there is so much more here to grasp than can really be communicated in this fashion.
 
The poem changes then, beautifully captured by the actress, and becomes more direct, while still lyrical, in this fine version written by DM Thomas (some verses especially translated for this production). We learn of some caustic criticism of the poet and how she dealt with this and feels about poets, before moving into her response to the horror and pain of what had become of her beloved city and country – for Poem without a Hero was started early 1940s and not completed for over twenty years, years including the appalling 900-day siege of Leningrad / Petersburg and Stalin’s rule, under which Akhmatova and her loved ones suffered repeatedly.
 
The acting is worthy of four stars, but while the piece is lyrical, moving and interesting, the poem itself is still rather dense and of limited appeal. If you know and understand it, you will love this, but if you do not, while you may be intrigued and charmed, you are yet likely to still be left unsatisfied. As a programme is provided – always good to have information on those involved – it should also include some notes on the poem itself: no matter how well presented, it is not accessible enough without some help.
 
It is wonderful to see poetry performed with understanding, true feeling and grace, and this is a very fine production on that level. If you know the piece or are prepared to work with it, Poem for a Hero is definitely worth your attention.

More than ever before, 2010′s Fringe seemed to sparkle with sequins and glitter; with late-night variety entertainment, glamourous singers and stylish stars.

New venues appeared – such as Assembly in Princes St Gardens and the Pleasance’s Ghillie Dhu – ready to be filled with all the bawdy fun and high-kicking high jinks of the cabaret scene.

At times, it felt as though you couldn’t turn a corner without bumping into someone wearing feathers and fishnets. And that was just the men…

So, here are our naughty but nice nominations for the Edinburgh Spotlight Best Cabaret Award 2010.

• Meow Meow – Feline Intimate – making the tent of the Assembly’s new venue her own, Meow Meow played in front of, amongst and above an adoring audience in her entertaining and hilarious new show
• Cabaret Whore Encore! – Sarah-Louise Young’s marvellous singing, clever lyrics and memorable characters gave her free Fringe show the feel of a one-woman variety act. We can’t wait to see her back – bigger and bolder than ever – next year.
• Vive Le Cabaret – a great big confection of humour, music and burlesque with an ‘anything goes’ attitude, this late-night cabaret with an ever-changing lineup guaranteed a great time at the Ghillie Dhu

And the winner is…

Vive Le Cabaret

Vive Le Cabaret

Compered by the devilishly debauched Desmond O’Connor, Vive Le Cabaret appropriately lit up Edinburgh’s West End this Fringe with a glittering array of talent. Enticing other stars of the Fringe to appear on the bill, no two Vive Le Cabarets were ever the same – although every show packed in crowds eager to enjoy some top-quality entertainment and soak up the atmosphere of the best cabaret evening in Edinburgh.

For that, Vive Le Cabaret is awarded our

How many comedians does it take to change a light bulb?

None – they’re all too busy in Edinburgh.

The comedy section of the Fringe programme is by far and away the largest, and the comic fare on offer ranges from the big name stand-ups packing out huge venues every evening, to the rising stars of the circuit playing back rooms of pubs to the proverbial two men and a dog.

As well as the stand-ups, there’s a whole host of shows with a twist that are also in the comedy section – often, some of the funniest and best-hidden gems of the Fringe are here: be it magic, ventriloquism or something even more surreal.

This year, our comedy award nominations are:

• Frisky & Mannish’s The College Years – returning after last year’s breakthrough School of Pop, Frisky & Mannish delighted with a show which took their spoof pop-based education to a higher (degree) level.
• New Art Club’s Big Bag Of Boom – proving that contemporary dance and comedy do mix, the creative lunacy of the New Art Club was far funnier than two grown men prancing about in skin-tight leotards had any right to be
• The Ginge, The Geordie & The Geek – Graeme Rooney, Paul Charlton and Kevin O’Loughlin created an excellent fast-paced sketch show packed with genuinely original characters and surrealism. Their talent was uniformly superb and comedic timing exceptional. Ones to watch out for.

And the winner is…

New Art Club

New Art Club’s Big Bag of Boom

From the sublime to the ridiculous (most often missing out the ‘sublime’ bit entirely), Tom Roden and Pete Shenton presented a consistently hilarious ‘greatest hits’ package, which saw them perform dance-based interpretations of irresponsible school teachers, touching scenes of first love, and IRA revenge beatings…

For their surreal comedy that most definitely had to be seen to be believed, they are hereby awarded the

Best Comedy Award 2010

4-30 Aug, 1945 (2045) @ C, Chambers Street

By Danielle Farrow

This adaptation of Christopher Marlowe’s famous Doctor Faustus seems a study of death and madness. A chorus clad in white gowns (possibly lunatics) takes on various roles, including the Seven Deadly Sins, while Doctor Faustus conjures Mephistophilis to do his bidding in return for Lucifer gaining the doctor’s soul. While the setting fits a time of the late 1800s, as advertised, the promotional blurb is most confusing in mentioning Whitechapel, which never appears – in fact reference is repeatedly made to the original setting of Wertenberg. So do not expect any connection to that notorious London district and all its Ripper resonances which had intrigued this reviewer. (Such a discrepancy is not rare in the Fringe, where promotional material is prepared long before rehearsals actually commence.)
 
Instead of surprising external references, then, here is a highly concentrated and intense production focused on Faustus, his internal debates, and his dealings with Mephistophilis. Dramatic elements work well, such as ‘human puppetry’ and other choral roles, atmospheric lighting (including candles), and the effective use of occasional sound created by the players. There is also fine strength of purpose in Faustus’ playing, and the Mephistophilis actor has a strong stage presence. A farcical scene in the Vatican helps to infer that these are the imaginings of a madman, through its incongruity in style compared to the rest, and the seven Sins use the auditorium well, with impressive physicality.
 
However, these changes of pace and texture are rare. Mephistophilis is played on one level only – anything in Marlowe’s script that might be deeper appears as mere surface manipulation rather than the greatest lying of all: the kind based on truth. The intense focus of Faustus is to be admired, but more variation is needed. There is little journey for the character in the choices made for this production – we see a tormented soul from start to finish. The cuts and the acting make nonsense of Faustus’ claim that he had killed himself “Had not sweet pleasure conquer’d deep despair.” One barely gains a glimpse of said ‘sweet pleasure’, for even where it might be had in the cut-down script, it was not embraced in the playing.
 
This heavy presentation, with little character discovery, fits the psychological concept of the production regarding Faustus’ sanity and is interesting intellectually, but winds up unsatisfying dramatically. Without the tricks and treats of Marlowe’s Faustus, without the doctor ever opening up to enjoyment of his bargain, there is little to tempt him, damaging character motivation and not exploring the dramatic contrasts possible. This is a production with meaning and it does provide mental stimulation, but pace is somewhat ponderous and this reviewer was left wanting more – more, which the talents of the group could provide, if they can articulate and project a little more clearly, layer the main performances more deeply, and enliven the production by embracing the contrast of joys and ills explored in Faustus’ debates.
 
So, while more can be achieved, this Doctor Faustus is an interestingly thought-out adaptation, worth seeing as a take on the themes of Faustus, and – if seen as an introduction to Marlowe’s play – it could well lead a viewer into discovering the delights of the original itself.

4-30 Aug (even dates only) 2030 (2155) @ C, Chambers Street

By Danielle Farrow

If you like a rollicking romp on the high seas, with all the traditions and clichés of musicals and pirate tales, then Piramania is a swashbuckling treat for you.
 
Aboard The Maiden’s Ruin there are caricatures and accents aplenty, gender-bending antics, bawdry and – of course – treasure-seekers. There are secrets, devious plottings, and a whole host of comedy moments. A young man joins the crew, pursued by his too-loving sister, and – surprise, surprise – has a destiny somehow connected to the sought-after treasure.
 
A narrator – who wouldn’t be out of place in The Rocky Horror Show – helps the plot along, covering scene changes with plenty of self-aware wit and topical references. There are some fine voices on display, though a lot of lyrics are lost in company numbers, and everyone performs with great piratical gusto, accompanied by a visible keyboard player. The staging is accomplished mostly with versatile boxes, and the scene setting is well-directed and clear. There is plenty of fine comic timing, but the drive of the somewhat thin plot is not always as forward-moving as it could be, making the whole seem a bit longer than needs be.
 
This is a fine production, though, with silly humour, some clever wit, rousing songs, fun dances, and great characters played with commitment and style. Piramania is not for those of a fairly serious disposition, but if you love daft fun when buckling your swash, you could well become a Piramaniac!

August 27 – 30
1400-1510, Pleasance Grand

An Enfant Terrible

You’re in for a rather delicious treat.

Just be careful you don’t gorge too heavily on the feast which The Terrible Infants lay out, or you could end up like Tumb – the boy who ate his mum.

This and many other wonderfully grotesque characters are brought to unforgettable life by Les Enfants Terribles Theatre Company in this welcome return of their hit show.

With tales from a time before political correctness took away their edge, the cast take us through a beautifully-staged storybook full of morality tales, presented in a visually-appealing vaudeville style.

We therefore meet characters whose stories warn of the dangers of telling lies or of neglecting your personal hygiene – or even of talking so much buzzing nonsense that a swarm of bees take up residence in your hair.

With a mixture of puppetry, masks and props which look as though they have sprung straight from the pages of a storybook, The Terrible Infants breathe magical life into the tales with a gleeful irony and self-awareness which ensures they appeal to adults as much as they do children.

The Terrible Infants

Indeed, the company have built up such a reputation for their staging and performance, that most of the audience are grown-ups, keen to have their inner child entertained by Les Enfants Terribles’ unique and charming voice.

The cast are wonderful to watch: from Oliver Lansley’s storyteller, only just managing to keep the rest of the Infants in order; to Nicole Lewis’ precocious and brattish Tilly, skipping around the stage in striped socks and pigtails with wilful abandon.

Although all the actors pick up instruments at points throughout the show, most of the onstage music is provided by Tomas Gisby and Rachel Dawson. This is never more effective than in the haunting melancholy of Thingummyboy’s story, where Gisby’s vocals accompany the tragic tale brought to life by Matthew Ian Kelly’s puppetry skills.

By the end of the show, the tales are all told and the storybook has been closed. The Terrible Infants have entertained and delighted once again – and shown that the theatre is a place where magic does exist.

Ticket information is available on the Pleasance website.

Review by Keith D

August 27 – 30
1715 – 1815, The White Horse

Give or take the odd minute or two, this free show from young stand-ups Andrew Ryan and Joe Lycett does what it says on the tin. With each comic having a solo 25-30 minute slot, An Hour of Humour is a great opportunity to see two rising comedy stars for the price of none.

First up is Andrew Ryan, a comic from Cork who’s only been in the game for two years. With boyish charm and great delivery, he speeds through a routine covering why Irish people really are foreigners; how moving in with his girlfriend’s not the same as sharing a flat with his mates (“Liam’s got an Xbox. And you’ve got mental problems“); and – in his standout segment – an increasingly bitter and hilarious rant on the Royal Bank Of Scotland’s customer service skills.

He also highlights his undisputed resemblance to Ardal O’Hanlon (further reinforced by way of a great facial impression of Father Dougal) – ensuring he makes fun of that fact before anyone else does. When he leaves the corner of the small, packed-out back room of The White Horse, he’s won over and entertained the crowd and looks set to continue his rise through the comedy ranks.

The wonderfully eccentric young English gentleman Joe Lycett then takes over, regaling us with his observational musings on all things ridiculous. His style is original, playing on his middle-class foppery whilst winning us over with his self-deprecating humour.

In his half-hour of humour, Joe ridicules such topics as customer reviews on Amazon; unexpected mother-bothering advert breaks in Spotify and also recites an extremely funny self-penned poem, containing all possible rhymes for the word ‘synonym’ (including at least one you would never come up with yourself…)

Although the format ensures we’re probably hearing their best material, both boys could easily carry a full show on their own, and their comedy new voices are a refreshing change from those you may have heard too often before.

So if you’re after some genuinely funny stand-up from two emerging talents, you should head to The White Horse and catch Joe and Andrew’s humourous hour (though get there early to make sure you don’t end up being turned away from the packed venue).

Ticket information is available on the Fringe website.

Review by Keith D

25-28 Aug, 2000 (2200) @ City Edinburgh

By Julie Dawson

As August comes to a close, awards are distributed, flyers are swept away and the students remove their makeup and head back to university, it’s good to end on a high note.
Which is why you should make your way to City Edinburgh posthaste to catch the short run of the Jive Aces. Resplendent in yellow zoot suits, this sextet radiate energy and positivity (which they, according to their website and flyers handed out after the show, attribute to their adherence to Scientology).
2010 would have been Louis Prima’s 100th birthday so this show is an affectionate tribute to that great man and his wife and musical partner, Keely Smith. Most of the songs were performed by Prima, but a few have a more tenuous link and the band have “Prima-rised” them – a process that works surprisingly well with everything from “Singing in the Rain” to “Bring Me Sunshine”. Their energetic rendition of “Jump, Jive an’ Wail” seems to get the entire venue on its feet.
The Jive Aces have obviously been at this awhile and their performance is polished and professional, but without sacrificing soul in the process. Their onstage antics as well as their musical ability mean they are hugely charismatic performers and consummate showmen. Extra spectacle is provided by the swing dancers who are in abundant attendance and make the most of the rather small dance floor provided.
As much as the audience enjoy all this, the undoubted highlight of the evening is the encore. With some coaxing, the Jive Aces are joined by Keely Smith herself for a duet on “That Ol’ Black Magic”. It is indeed a magic moment, and the perfect note on which to close the Fringe.

Until 28 Aug, 1700 (1800) @ Beehive Inn, Grassmarket

By Danielle Farrow
 
The advertised ‘troupe’ for Shakespeare’s Shorts turns out to be a couple of actresses, so that’s a slight misnomer, and their show only lasts about half the time advertised. Why forgive such things? Because this fun piece is part of PBH’s Free Fringe, which means you decide what you are going to pay them for their troubles when donations are requested as you leave – if you didn’t like it, you needn’t spend a penny.
 
Yes, that last might just be a weak pun of the lavatorial kind – but this is the sort of thing you can expect from one who has just watched the Bard being ‘butchered by The Professionals’, as was said of the show when it was introduced: that is, one in a good mood who isn’t the greatest at cracking jokes. So let’s leave that to those Professionals: taking us through famous Shakespearean scenes with broad winks at over-acting, over-serious academics, complete incompetents, competitive shopping-channel presenters, an interfering cleaner, and downstairs gossip, these Shorts are not too dirty and they fit well for playing in.
 
The show itself is – that’s right – short, but even so passes quicker than its actual time due to high energy, committed playing, fine character caricatures, good timing and some very decent audience interaction. The humour may overall be quite ‘housewifely’, but it pleased both genders in the audience. There’s also a witches scene that, despite being set in a kitchen (yes, that again!) is actually different from all those other culinary crones running about making appointments on heaths.
 
Shae Kuehlmann and Kate Roxburgh proffer their shorts for your inspection and – if you are into frolicsome fun with Shakespearean references (alongside many modern ones) and some famous scenes set askew – they’re a pair you’re likely to enjoy.