The List Festival 2019 - Week 3 by List Publishing Ltd

l a v i t fes 14â&#x20AC;&#x201C;26 AUG 2019 | WEEK 3 LIST.CO.UK/FESTIVAL

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EFTERKLANG LUKE TURNER AMERICA IS HARD TO SEE REUBEN KAYE NISH KUMAR BREAKING THE WAVES ELIF SHAFAK LOOPING: SCOTLAND OVERDUB

FREE

SHOW THIS S TO SEE MONT H

DIRTY DANCING CUBAN DANCE SHOW HAVANA AFTER DARK BRINGS THE FIRE TO THE FRINGE

IN ASSOCIATION WITH

FATTY FAT FAT PLATFORM 2019

PRESENTS

SAT 21 SEPTEMBER EDINBURGH FESTIVAL THEATRE THE FIVE TIME OLYMPIC GOLD MEDALLIST AND TOUR DE FRANCE WINNER SHARES HILARIOUS AND EXCLUSIVE TALES, PRIZED MEMORABILIA AND CAREER HIGHLIGHTS.

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CONTENTS FESTIVAL 2019 | ISSUE 3 | LIST.CO.UK/FESTIVAL

I Saw You

Top 20

News

FEATURES Havana After Dark

Breaking the Waves

FOOD & DRINK

Wild Gin

BOOKS

Elif Shafak

Remembering Mikey Smith

Top Tips

Reuben Kaye

Ask a Stripper

22 PHOTO: RASMUS WENG KARLSEN

LOOPING

Brazilian dance artists team up with Scottish Dance Theatre for a late-night political dance party.

EFTERKLANG

Danish indie rock group make their International Festival debut at Leith Theatre.

Nish Kumar

Desiree Burch

Courtney Pauroso

Nick Helm

Reviews at a Glance

Knot

Atomic Saloon Show

I’ll Take You To Mrs Cole!

The Dark Room (For Kids!)

Win tickets to Art Late – Eastward

Win tickets to the Grand Final of So You Think You’re Funny? 2019

James

Mull Historical Society

Total Immediate Collective . . .

Until the Flood

I’m A Phoenix, Bitch

Are We Not Drawn to a New erA

America is Hard to See

Reviews at a Glance

VISUAL ART

Colonel Mustard

THEATRE 8

Mr. Men and Little Miss

MUSIC

Win a bottle of Fidra Gin

Rite of Spring

KIDS

OFFERS

John-Luke Roberts

DANCE

The Fringe hosts the world premiere of this sizzling new Cuban dance show, which celebrates Havana’s 500th anniversary with a lively mix of salsa, mambo, rumba, ballet and hip hop. We caught up with young dancers Daniel Rittoles and Barbara Patterson on page 10 to find out more about the hi-octane production.

Michaela Burger

COMEDY

HAVANA AFTER DARK

Pleasance Cabaret Bar

CABARET

COVER STORY

David Batchelor

Platform 2019

EVENTS Tracey Thorn

TOP RATED SHOWS AT LIST.CO.UK/FESTIVAL It’s our last issue of the month, but you can still head to list.co.uk/festival until the end of August for new reviews from across the Edinburgh festivals every day. Plus, keep an eye on our top rated page to see which show is leading the pack at the end of the month, when all ratings are in.

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YOU

CONTRIBUTORS PUBLISHING Editor Arusa Qureshi

It’s back! If you feel the spark with some festival random, let us know via Facebook message, tweet us at @thelistmagazine or send us an Insta DM on @thelistuk. #FringeISawYou.

Subeditors Paul McLean, Yasmin Sulaiman Senior Designer Lucy Munro Designers Stuart Polson, Seonaid Rafferty

I saw you, a vision in camouflage on your vintage racer navigating the crowds on the Royal Mile, I was the girl multi-tasking handing out flyers and eating a burrito.

To the handsome chap in the audience at a show that when asked ‘what do you care about?’ replied ‘sausages’. The crowd laughed but I love sausages too! I hope we meat again.

Head of Development, Publishing Andy Carmichael

I saw you at George Square Gardens. You bought a pizza and you were carrying it while trying to balance two beers. You dropped the pizza and I laughed. Sorry about your pizza, maybe I can take you out for another one?

Section Editors: Books Lynsey May, Cabaret Arusa Qureshi, Comedy Brian Donaldson, Dance / Kids, Kelly Apter, Festival Food & Drink Deborah Chu, Front / News Deborah Chu, Katharine Gemmell, Music Henry Northmore, Theatre Gareth K Vile, Visual Art Rachael Cloughton Editorial Assistant Arabella Bradley Advertising & Events: Senior Events and Promotions Manager Rachel Cree, Senior Account Managers Ross Foley, Debbie Thomson, Account Manager Jakob Van den Berg, Ad Ops Executive Victoria Parker, Events Development Executive Amy Clark, Events and Promotions Intern Shaun Scott Publishing Director Sheri Friers

DATA AND CONTENT SERVICES

I saw you, drunkenly scranning the dumplings at the Assembly George Square Gardens. Some looked on in disgust, but I admired your efficiency.

I saw you talking extremely loudly during a performance at Assembly Roxy. You were told to shush three times, and still carried on. Can I buy you some manners?

2 THE LIST FESTIVAL 14–26 Aug 2019

I saw you flyering on the High Street, dressed as a sexy lion. Your claws were out but I still think I’m feline a connection.

Content Manager Murray Robertson, Senior Content Producer Alex Johnston, Content Producers Deborah Chu, Megan Forsyth, Katharine Gemmell, Sofia Matias, Affiliate Content Executive Becki Crossley, Head of Data Development Andy Bowles Data Developers Alan Miller, Stuart Moir Director Data and Content Brendan Miles

I saw you wearing a red top hat on the Royal Mile. You had a little dog and a silver car. I’d pay Monopoly money to see you again.

I saw you navigating the crowds in the Old Town. Blonde, 5”8, you were in sports gear, and looked like you had a squash racket. I’d like to court you.

THE LIST Head of Accounting & HR Sarah Reddie Director Robin Hodge CEO Simon Dessain

Published by The List Ltd HEAD OFFICE: 14 High Street, Edinburgh EH1 1TE Tel: 0131 550 3050 editor@list.co.uk GLASGOW OFFICE: at the CCA, 350 Sauchiehall Street, Glasgow G2 3JD Tel: 0141 332 9929, glasgow@list.co.uk; list.co.uk ISSN: 0959 - 1915 © 2019 The List Ltd. Reproduction in whole or in part is forbidden without the written permission of the publishers. The List does not accept responsibility for unsolicited material. The List provides this content in good faith but no guarantee or representation is given that the content is accurate, complete or up-to-date. Use of magazine content is at your own risk. Printed by Acorn Web Offset Ltd, W.Yorkshire.

HHHH ‘ACHINGLY FUNNY...

WORTH SEEING AGAIN AND AGAIN.’ TIME OUT

14–26 Aug 2019 THE LIST FESTIVAL 3

www.OwleSchrea.me

“The best morning show at the Edinburgh Fringe”  Inkblot

In 1642 theatre became illegal. Theatre didn't die. “the perfect note between farce and historical appreciation”

“a hysterical, stomach-achingly funny … stroke of genius”

 The Student Newspaper

 The Skinny

“everything about Owle Schreame’s production rejects theatrical formality. Chatty, musical, and theatrically self-aware … the actors fully embrace a no-holds-barred approach to performance”

 Broadway Baby    The List   The Edinburgh Guide



10:45AM Gilded Balloon Teviot The Billiard Room August 2 – 26 (not 13) £6-9, 60 mins

festival

TOP 20

COMEDY

Tom Rosenthal: Manhood The former Leicester Mercury Comedian of the Year discusses the practice of circumcision and the loss of his own foreskin in his new show. See review, page 51. Pleasance Courtyard, until 25 Aug.

PHOTO: SARAH AINSLIE

PHOTO: GRACE LUDLAM

MUSIC

THEATRE

FATTY FAT FAT

I’ll Take You To Mrs Cole!

The English band best known for hits ‘Come Home’, ‘Sit Down’ and ‘Laid’ rock out as part of Edinburgh Summer Sessions. See feature, page 75. Princes Street Gardens, 15 Aug.

One woman’s frank exploration of navigating a fatphobic world, mixing spoken-word and comedy to confront society’s toxic views. See feature, page 17. Pleasance Courtyard, until 26 Aug.

Complicité adapt Nigel Gray and Michael Foreman’s book for the stage, set to a two-tone soundtrack that will have you dancing. See review, page 70. Pleasance Courtyard, until 26 Aug.

James

KIDS

14–26 Aug 2019 THE LIST FESTIVAL 5

PHOTO: BEN WEINSTEIN

BOOKS

KIDS

Kate Charlesworth & Luke Turner

Don’t Mess With The Dummies

Cartoonist Kate Charlesworth and writer Luke Turner discuss queer history and sexuality in conversation with Val McDermid. See feature, page 20. Charlotte Square Gardens, 19 Aug.

Australian company Dummies Corp return with more physical comedy capers in this show about a trio of Girl Guides on a camping trip. See review, page 70. Underbelly Bristo Square, until 25 Aug (not 19).

Breaking the Waves Missy Mazzoli’s new opera follows the moral dilemma of a religious woman who makes a twisted bargain with God. See feature, page 26. King’s Theatre, 21, 23, & 24 Aug.

PHOTO: IDIL SUKAN

PHOTO: COCO JOURDANA

MUSIC

THEATRE

DANCE

Havana After Dark

Nish Kumar

Kimmings’ one-woman show examines motherhood, heartbreak and inner-strength. See review, page 87. Pleasance Courtyard, until 25 Aug.

The world premiere of a new Cuban dance show, accompanied by a live seven-piece salsa band. See feature, page 10. Pleasance at EICC, until 25 Aug (not 21).

The Mash Report host takes aim at the current political climate and whether we’re approaching the end of days. See feature, page 45. Assembly George Square, until 25 Aug.

Bryony Kimmings: I’m a Phoenix, Bitch

COMEDY

PHOTO: ANNE-LAURE MARIE

PHOTO: KENNETH NGUYEN

MUSIC

CABARET

The Danish indie trio make their big comeback to play songs from upcoming album Altid Sammen (Always Together), as well as hits from their back catalogue. See feature, page 22. Leith Theatre, 23 Aug.

Australian cabaret star brings two strikingly different shows to this year’s Fringe. See preview, page 37. Exposing Edith, Assembly George Square, until 26 Aug (not 19); A Migrant’s Son, Imagination Workshop, until 26 Aug (not 19).

Efterklang

6 THE LIST FESTIVAL 14–26 Aug 2019

Michaela Burger: A Migrant’s Son / Exposing Edith

THEATRE

DANCE

Ontroerend Goed present a visual metaphor for the current climate crisis which poses the question as to whether we are moving forwards or backwards. See review, page 90. ZOO Southside, until 25 Aug (not 19).

An inclusive, immersive performance-party that embraces the spirits of both Brazilian street festival and Scottish ceilidh dancing. See feature, page 19. ZOO Southside, 19–24 Aug.

COMEDY

Courtney Pauroso

CABARET

Reuben Kaye

THEATRE

Courtney Pauroso makes her debut in this character clown show that blends burlesque with feminist allegory. See review, page 51. Underbelly Cowgate, until 25 Aug.

Wonderfully filthy Kaye performs in his camp cabaret explosion. See feature, page 39. Reuben Kaye, Assembly Checkpoint, until 25 Aug (not 21); The Kaye Hole, 16–18, 23–25 Aug.

The UK premiere of Pulitzer Prize finalist Orlandersmith’s work centres on the aftermath of the 2014 shooting of Michael Brown. See review, page 82. Traverse, until 25 Aug (not 19).

An inquiry into Miracle Village, the American community for sex offenders situated in Florida. See review, page 91. Underbelly Cowgate, until 25 Aug.

Until the Flood

PHOTO: T. CHARLES ERICKSON

Looping: Scotland Overdub

PHOTO: ALEX BRENNER

Are We Not Drawn to a New erA

America is Hard to See

PHOTO: PAVEL STANKEVICH

BOOKS

DANCE

The British-Turkish author discusses her latest novel 10 Minutes and 38 Seconds, which movingly recounts the last thoughts of a murdered woman. See preview, page 31. Charlotte Square Gardens, 23 Aug.

Cal McCrystal directs some of the best names in variety and physical comedy in this raucous show. Catch it before it lands permanently on the Las Vegas strip. See review, page 66. Assembly George Square Gardens, until 25 Aug.

Elif Shafak

Atomic Saloon Show

14–26 Aug 2019 THE LIST FESTIVAL 7

READER OFFERS WIN TICKETS TO ART LATE – EASTWARD

WIN A BOTTLE OF FIDRA GIN

The List are teaming up with Edinburgh Art Festival to offer readers the chance of winning a pair of tickets to their Eastward edition of Art Late. Art Late is a special culture crawl with artists’ talks, handson workshops and one-off performances – celebrating the city’s galleries by night. With drinks provided by Edinburgh Gin and Bellfield Brewery. The final night of the Art Late series will begin by taking you to Rosalind Nashashibi’s festival commission at Scottish National Gallery of Modern Art, and will include a one-off performance along the Water of Leith, a visit to Arusha Gallery, and a chance to explore Collective’s exhibitions. To be in with a chance of winning, simply log onto list.co.uk/offers and tell us:

Where is the one-off performance being held?

The List are teaming up with Fidra Gin to offer readers the chance to win a bottle of their homegrown gin. Made in small batches and infused with some heady botanicals hand-picked from the beautiful East Lothian sand dunes and hedgerows, Fidra Gin is a crystal clear, pure and fragrant gin with a slightly salty tang of the sea. Serve it with a sprig of lemon thyme, a slice of lemon, tonic and ice. To be in with a chance of winning, simply log onto list.co.uk/offers and tell us:

Edinburgh Art Festival: Art Late Thu 22 Aug 5.30pm – 10pm Various locations

Where are the botanicals used to create Fidra Gin sourced?

edinburghartfestival.com TERMS & CONDITIONS: Competition closes Mon 19 Aug 2019. Entrants must be 18 or over. Image credit: Art Late – Old Town, 2019. Courtesy of Edinburgh Art Festival. Photo: Sally Jubb Photography. The List’s usual rules apply.

fidragin.com TERMS & CONDITIONS: Competition closes Sat 14 Sep 2019. Offer is for a bottle of Fidra Gin. Entrants must be 18 and over. The List’s usual rules apply.

WIN TICKETS TO THE GRAND FINAL OF SO YOU THINK YOUR FUNNY? 2019 The List are teaming up with So You Think You’re Funny? and Coors Light to offer readers the chance to win a pair of tickets to the Grand Final of this year’s competition. After touring the country in search of new comedy talent, it’s time to crown the 32nd winner of So You Think You’re Funny? Hosted at Gilded Balloon Teviot, watch some of the UK’s breakthrough stars of comedy battle it out in the final round to win the coveted prize of So You Think You’re Funny? 2019. The newly crowned winner will join the comedy hall of fame, which includes the likes of Dylan Moran, Daniel O’Docherty and Maisie Adam, to name a few. Supporting UK comedy talent, Coors Light are offering you the chance to say you saw them here first! To be in with the chance of winning, simply answer the question below:

Who has previously won So You Think You’re Funny?

So You Think You’re Funny? Grand Final Thu 22 Aug 7.30pm Gilded Balloon Teviot Teviot Row House 13 Bristo Pl Edinburgh EH8 9AJ

soyouthinkyourefunny.co.uk #SYTYF TERMS & CONDITIONS: Competition closes Mon 19 Aug 2019. The List’s usual rules apply.

8 THE LIST FESTIVAL 14–26 Aug 2019

NEWS NEWS AND GOSSIP FROM ACROSS THE FESTIVALS

fast ts fa

• The Scotsman Hotel raises the curtain on its new luxury cinema, the Scotsman Picturehouse. Boasting beautifully restored Edwardian decorative features, leather and velvet seating and ambient lighting, movie-goers will be able to view classics, blockbusters and cult hits in a setting of vintage opulence. • The first batch of The Scotsman’s Fringe First winners have been announced. The annual awards recognise new writing premiered at the festival and are judged by some of the foremost arts and culture critics in the city. Week one winners include Mustard, Raven, Arthur, How Not to Drown, Enough and Rich Kids:

A History of Shopping Malls in Tehran. • Is the Edinburgh festival a ‘plastic nightmare’? According to Hugh Fearnley-Whittingstall’s tweet, it seems to be. The celebrity chef tweeted his concern at the amount of single-use plastic that is still prevalent across the festival’s venues and bars. Other attendees were quick to agree and despite some venues’ promise to be more environmentally conscious, it seems like the festival still has a long way to go.

that the city is set to lose a £20 million pound investment from Spiegelworld, a Las Vegas circus company, due to uncertainties over leaving the EU. Over at the Edinburgh International Festival, artistic director Fergus Linehan told The Financial Times that some artists are refusing to be paid in sterling, due to the instability of the pound in the lead up to Brexit.

5 STAR SHOWS America Is Hard to See

• The Virgin Money Half Price Hut on the Mound is officially open. You can get half-price tickets for shows taking place that day and it’s a fantastic way to take a gamble or see something you wouldn’t normally. Take a look at the new Inspiration Machine, located beside the hut, while you’re at it. It’s open daily from 10am to 9pm, until Monday 26 August. • The impact of Brexit is already causing trouble at the Edinburgh Festivals, according to The Guardian. There are reports

The Desk Sea Sick Until the Flood Fempire: Mess by Kirsten Vangsness Are we not drawn onward to new erA Atomic Saloon Show Bryony Kimmings: I’m a Phoenix, Bitch Camille O’Sullivan Sings Cave Fox-tot!

S WILD THING

Goss Foley EDINBURGH’S #1 AGONY AUNT

Dear Goss,

I’ve just found my wife in the arms of a drag queen behind the Spiegeltent and I’m bereft! Any advice on getting over heartbreak? RICH, JILTED HUSBAND, 30 Do you remember the video game Simpsons: Hit and Run (2003)? I certainly do. The character Homer (of the titular Simpsons) regularly repeated the phrase ‘possessions are fleeting’. For me, love is just another ‘possession’, so - to

ADAM RICHES | SHAPPI KHORSANDI | DANIEL CONNELL Animals have been a recurring feature in Fringe posters this year and with lots of dogs and bird-related content on offer, it’s now time for some miscellaneous creatures to get their shot at stardom. Here are some of our favourites from the animal kingdom.

paraphrase Homer – ‘love is fleeting’. I hope that helps.

14–26 Aug 2019 THE LIST FESTIVAL 9

F EST I VA L F E AT URES | Havana After Dark

CARIBBEAN KING As a Cuban dance party heats up the Fringe, Kelly Apter speaks to the young dancer destined to inherit Carlos Acosta’s crown

aniel Rittoles was just seven years old when the talent scouts came calling. Up until then, his only interest had been taekwondo, but when the teachers from the Cuban National Ballet School arrived, they knew they had found someone special. Having seen Rittoles’ incredible performance in Fringe music and dance hit Havana After Dark, it’s easy to see why. Although back then, not everybody thought the same way. ‘I was the only person in my school to pass the selection audition,’ recalls Rittoles (pictured, right). ‘But I come from a military family, all the men are soldiers, so ballet was something very different for us. I travelled to the first workshop on my own because they didn’t want me to go.’ Rittoles’ grandfather was particularly unimpressed. A general who had fought in the revolution alongside Fidel Castro, he wasn’t about to stand by and watch his young grandson take a ballet class. ‘My grandfather came to take me out of the class,’ says Rittoles, ‘and even though the director of the school tried to speak to him, they couldn’t change his mind. But I liked what I did that first day in class, and when my family asked me if I really wanted to dance, I said yes, it feels good. So then everything began.’ How times have changed. Accepted into the National Ballet of Cuba after he finished his training, Rittoles was soon promoted to soloist – and now, his family (grandfather included) fight over who’s getting the theatre tickets to see him perform. Ironically, it’s the polar opposite story to Carlos Acosta, the Cuban dancer who moved to London and set the Royal Ballet ablaze for 17 years. Acosta’s father practically bullied him into becoming a dancer, knowing the opportunities it would present. And now, Acosta is helping Rittoles follow in his footsteps. ‘Carlos has always been an idol of mine,’ says Rittoles. ‘I first had an opportunity to meet him when I was at ballet school, to talk to him and listen to his story and advice. From that 10 THE LIST FESTIVAL 14–26 Aug 2019

moment, my friendship with him began to grow and now it’s a great honour to have him as my friend and advisor. ‘He said to me, “If you want to do something in your life, try and do it in the best possible way,” and now my career is stamped with his style. Everything about Carlos’ life and way of dancing has inspired me, and continues to inspire me.’ Shades of the young Acosta are in evidence when watching 21-year-old Rittoles dance on stage in Havana After Dark.. Rittoles’ powerful turns and leaps are sublime, his balletic grace refined as he partners fellow-classical ballet dancer, Barbara Patterson. It’s a remarkable contrast to the rest of the show, which is packed with hi-octane mambo, rumba and salsa, performed by eight dancers and backed by a stunning live Cuban band. This year, Havana celebrates its 500th anniversary, and alongside the uplifting and incredibly tight music and dance (Cuba has some of the best dance training in the world) is a brief sprinkling of fascinating history about the city. Rittoles and Patterson, who trained at the same ballet school, also join in some of the Latin dances, but their hearts lie in the classical realm. That said, they’re both enjoying the opportunity to live it up a little in Havana After Dark.

‘There’s a world of difference for us as dancers,’ explains Patterson. ‘In classical ballet, everything is fixed in place and specific, it’s all locked. Whereas in this show, you can improvise, you can do things differently and express yourself. ‘Daniel is a wonderful person and an excellent dance partner. We only met recently to rehearse the show, but already have a very special connection that shines. I can enter the stage dancing with him without any sense of fear, I know it will go well.’ Rittoles agrees: ‘It’s an incredible experience to dance with Barbara. I’ve never felt such a connection with another dancer in such a short space of time.’ It’s unusual to find a classical ballet dancer who can embrace the Latin styles so instinctively, but in Cuba it’s in the blood. So whether Rittoles is sweeping through the air in a pas de deux, or joining in a group rumba, he’s a force to be reckoned with. ‘ I feel incredible dancing ballet, because it’s my life,’ he says. ‘When I’m dancing, I don’t need to think about anything else, I escape into an inner world and forget all my problems, it’s a completely natural possession. ‘But with the other styles, I’m remembering my country and my Cuban identity. Cuban music lifts the spirt and brings a feeling of complete enjoyment deep inside.’ Havana After Dark, Pleasance at EICC, until 25 Aug (not 21), 9pm, £15–£17.50 (£12–£14.50).

list.co.uk/festival

Havana After Dark | FEST I VA L F E AT U RES

14â&#x20AC;&#x201C;26 Aug 2019 THE LIST FESTIVAL 11

THE COM ZO A F EST I VA L F E AT URES | Cabaret Bar

PHOTO: JOHN ROBINS

The Pleasance Courtyard Cabaret Bar is one of the most hallowed comedy rooms in all of Edinburgh. With its rich history featuring an array of award winners, the space still has a genuine allure for acts who perform there. Brian Donaldson hears from some of those who have trodden its boards down the years as well as those sampling its charms this August

12 THE LIST FESTIVAL 14–26 Aug 2019

head of 2013’s Edinburgh Fringe, the chief comedy critics at The Guardian and Telegraph agreed in print which three rooms were the best for stand-up comedy in August. The Stand’s main room, The Tron and the Pleasance Courtyard Cabaret Bar were the chosen ones back then, and despite the proliferation of comedy rooms since, it would be hard to argue against that with any great venom now. Often there’s a distinctive element to a room that gives it a certain something: the Assembly Rooms’ Ballroom with its mighty chandeliers or the main Monkey Barrel space where images of icons such as Steve Martin and John Cleese provide a potentially intimidating backdrop. But too often Edinburgh rooms feel like shipping

containers (because some of them are), or lecture theatres (because some of them are) or are too stiflingly hot, have water (or other fluids) dripping from the ceiling, or feature showspoiling levels of noise-bleed from another performing space or an adjacent bar. The Stand, The Tron and the Cabaret Bar share some similar traits. They have bars at the back, avoid a linear approach to seating layout (all three could be classified as cabaret bars) and once the doors are closed behind you, have a real underground feel to them (two of them actually are in basements). They have also been the locations for some legendary Fringe shows across the years. The Tron hosted Dutch absurdist Hans Teeuwen, and became the go-to spot for Doug Stanhope (after one autumn gig there he made the news by helping talk a man down from the North Bridge), while in 2012 Hugh Grant was famously refused entry when trying to

Cabaret Bar | FEST I VA L F E AT U RES

list.co.uk/festival

MEDY ZONE see Eddie Pepitone. As with this year, The Stand regularly houses Daniel Kitson when he fancies dipping his toes back into stand-up, while Bridget Christie walked away with the Edinburgh Comedy Award after performing a lunchtime show there in 2013. But for many comedians, the Pleasance Courtyard Cabaret Bar has a very particular allure in August. First used as a comedy space in 1985, getting a slot there in the 1990s appeared to be the gateway to a Perrier Award nomination. Frank Skinner, Jenny Eclair and Harry Hill all won awards for shows in that room, while Al Murray performed there during his spectacular early run of Pub Landlord happy hours (Nick Helm admitted that being led up on to the Cabaret Bar stage as a callow youth for ritual humiliation and a big hug from Murray helped shape his own brand of hands-on and in-your-face comedy). ‘I first played the Cabaret Bar in 1991 when I won the Perrier,’ recalls Skinner. ‘It was

smaller then – like doing a gig in a lift – and air conditioning was still on the Pleasance’s todo list. In those days the winning show would be interrupted near the end when the entire panel of judges turned up and handed over the trophy. They also gave me champagne and flowers. That was the standard package, and alcoholic winners like me had to make-do and mend.’ In more recent times, Nish Kumar and Alex Edelman received main-award nominations for Cabaret Bar shows, while it was also the venue for 2017’s joint-winning show from John Robins. ‘When I was offered it for The Darkness of Robins, it was a complete nobrainer,’ he admits. ‘It was absolutely perfect for the show I was performing. It’s big enough to really throw lines out there and feel the laugh hit back, but small enough for the sweat and spit to fly off into the front rows, which, believe it or not, is a good thing.’ >>

Clockwise from left: John Robins, Al Murray, Jenny Eclair, Alun Cochrane, Glenn Moore

14–26 Aug 2019 THE LIST FESTIVAL 13

F EST I VA L F E AT URES | Cabaret Bar

Clockwise from bottom right: Frank Skinner, Lucy Porter, Pleasance Courtyard, Cabaret Bar

14 THE LIST FESTIVAL 14–26 Aug 2019

<< But what of this year’s flock? Phil Wang has created his own little bit of Cabaret Bar history by selling out his entire run there before the Fringe had even started, and Glenn Moore is receiving rave reviews for Love Don’t Live Here Glenny Moore. ‘I can’t pretend the experience of waiting to go onstage there isn’t intimidating,’ admits Moore. ‘The dressing-room walls are plastered from floor to ceiling in posters from pre-fame household names doing their third, fourth and fifth Edinburgh shows. Chris Addison looking “somehow” even younger than normal. Lee Mack with a moustache drawn across his face from another act who’s clearly done it out of spite after having a bad one. Mel & Sue, Noel Fielding . . . the list ends there.’ For Alun Cochrane, giving us Brave New Alun, the backstage area and its signifiers of a hallowed past are also a special treat. ‘There are faded posters of comedians, some with managements that no longer exist, some with fax numbers proudly listed that are necessary no more, and at least one shows a comic who looks young and full of pep, vigour and fury, who is now stone cold dead. Each night I gaze upon these faces, many daubed by

Hitler moustaches and scribbled graffiti which questions the act’s sexuality in a way we would no longer deem appropriate, and I somehow feel, “I’m ready”.’ But the act who may well have the biggest insight of those performing there this year is Lucy Porter who is making her third Cabaret Bar appearance. In 1999, she was part of the Comedy Zone alongside Dan Antopolski, Tony Law and Rob Rouse, while she made her solo debut there in 2006 with The Good Life. ‘The thing I love most about it is that it’s called the Cabaret Bar but the stage is way too small to do an actual cabaret: there’s barely room to swing a nipple tassel. When I was younger I loved the Cabaret Bar because I was in awe of all the great acts who’d played there before me. Now I love it because it’s air-conditioned and has its own toilets. I remember seeing Harry Hill’s Pub Internationale show in 1994 and thinking it was the best thing I’d ever seen. Actually, it may well still be the best thing I’ve ever seen.’ For full details of this year’s Cabaret Bar acts, see list.co.uk/festival.

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EDINBURGH FRINGE

MAY ALL OUR VOICES BE HEARD CELEBRATING 25 YEARS DISCOVERING THE STARS OF TOMORROW

Bringing comedy to the fore since 1994! w w w. j u st th e to n i c.co m Back for the 9th year

“Big Value is the best compilation show at The Fringe. It’s an excellent barometer of people who are going to go on to big things. And I’m not just saying that because I did it.” ROMESH RANGANATHAN BIG VALUE 2011 + 2012

TWO DAILY SHOWS EACH WITH FOUR UNIQUE ACTS

Simon Wozniak Tom Taylor Matt Bragg Tom Toal

Jamie Hutchinson Maggie Kowalski Eric Rushton James Alderson

Hosted by Robin

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18:10 - 19:10 1st - 25th August (Not Mondays)

www.justthetonic.com

Cut and Paste: 400 Years of Collage Featuring: Picasso Peter Blake Cindy Sherman Terry Gilliam Henri Matisse Linder Sterling and more Until 27 October 2019 Scottish National Gallery of Modern Art

NOW Charles Avery Aurélien Froment Anya Gallaccio Roger Hiorns Peles Empire Zineb Sedira Until 22 September 2019 Scottish National Gallery of Modern Art

ARTIST ROOMS Self Evidence: Photographs by Woodman, Arbus, and Mapplethorpe Until 20 October 2019 Scottish National Portrait Gallery Admission free

Admission free

Beat the queues and buy tickets at nationalgalleries.org

National Galleries of Scotland is a charity registered in Scotland (SC003728)

Anya Gallaccio, Red on Green (detail), 1992-present, Collection: The Hyman Collection, London & the artist © Anya Gallaccio; Robert Mapplethorpe, Self Portrait, 1980, ARTIST ROOMS National Galleries of Scotland and Tate. Acquired jointly through The d’Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 © Robert Mapplethorpe Foundation; Jim Lambie, Sticky Fingers, 2010. Collage with oil painting and printed paper. Private collection © Jim Lambie. All Rights Reserved, DACS 2019.

Fatty Fat Fat | FEST I VA L F E AT U RES

list.co.uk/festival

PHOTO: HELEN JAMES

THE F WORD In FATTY FAT FAT, Katie Greenall explores the experience of living in a body that the world tells you there’s no room for. She talks to Katharine Gemmell about the inspiration she takes from fat activism and challenging preconceptions about what fat bodies can do

‘H

ow old were you when you first came out?’ This is a question posed on the podcast of This American Life, but it’s not about sexuality – it’s referring to calling yourself fat. Coming out as fat may seem a little jarring to some; however, being a fat person in an inherently fat-phobic world means saying it can be difficult. Katie Greenall, who is debuting her solo autobiographical show FATTY FAT FAT, says she never used to say the word. ‘Up until I made this show, I never referred to myself as a fat person and it wasn’t something I necessarily felt comfortable doing.’ The episode of the podcast, ‘Tell Me I’m Fat’, featured Lindy West, author of Shrill: Notes from a Loud Woman, a central figure in the current fat acceptance movement in the US, who discussed why society needs to rethink its views on fat bodies. This is what Greenall wants to do with her show in the UK. ‘It’s about me and my body and what it’s like to live in a body that the world tells you there’s no room for,’ she says. She’s firm on her purpose: ‘A fat body being on stage and taking up space publicly is a political act.’ FATTY FAT FAT is based on personal anecdotes Greenall collected about her body throughout her life, experiences she didn’t realise not everyone had. ‘I began to tell them as amusing anecdotes when I was at drama school and I’d get halfway through them and people would be like, “that’s really sad”.’ The show also mixes in more interactive moments (she opens with the hit ‘Cha Cha Slide’) that comment on the wider fat activist movement and poetic sections that reflect where she’s at on her journey. Greenall also realised her body was unfairly treated when she found herself being type-cast. ‘I was bored with that and I was also really bored with feeling ashamed,’ she says. As a way to subvert this, she started to tap into other artists

who were making work in the fat acceptance movement. ‘I was like, I want to do that too! I want this to be something I can reclaim and qualify for me.’ She makes it clear, though, that she doesn’t tap into the body positivity movement, which has been accused of using a capitalist agenda to celebrate thinness. ‘I want to challenge the status quo in moving against this whole body positivity thing that’s like: “Congratulations you love yourself despite your tiny fat roll when you bend over”. I’m more interested in fat activism and how I can challenge people’s ideas on what fat bodies can do.’ Media campaigns like Cancer Research’s obesity ads and the Nike plus-size mannequin controversy have stirred up heated debate in recent times, prompting arguments around the complex factors that contribute to people’s weight issues and whether their opinions are being adequately taken into account. ‘I talk a lot about how other people’s opinions have changed the way I view my body so that people have a better understanding of how the little things they say matter,’ says Greenall. The stigmatisation of fat people is why she believes it’s so important to use the word. ‘People shy away from the word fat because we’re fed narratives across the media and are told to be scared of bodies like mine. It’s simply a descriptive word, just like anything else, and if we refuse to acknowledge it or give it this – pardon the pun – weight that it doesn’t have, we’re continuing the idea that it’s something to be scared of’. So say after me: FATTY FAT FAT. Greenall is not just performing a show, she’s performing a radical act; one that sticks a middle finger up to society’s expectations, puts fat bodies front and centre, and does the ‘Cha Cha Slide’ while she’s at it. Pleasance Courtyard, until 26 Aug, 3.15pm, £8–£10 (£7–£9). See review, page 81. 14–26 Aug 2019 THE LIST FESTIVAL 17

Looping: Scotland Overdub | FEST I VA L F E AT U RES

list.co.uk/festival

PA RT Y STA RT ER Fleur Darkin’s parting shot at Scottish Dance Theatre has left the company, and us, with a night of people, politics and celebration, finds Kelly Apter

he’s no longer at the helm, but Fleur Darkin’s impact on Scottish Dance Theatre is still being felt. The former artistic director had a great eye for ground-breaking choreographers, bringing in several during her time with the Dundee company – the last of which are Brazilians Felipe de Assis and Rita Aquino, and their show Looping: Bahia Overdub. ‘Fleur met Felipe and Rita in Brazil,’ explains Joan Clevillé, who has now taken over at Scottish Dance Theatre. ‘She got to know their work and invited them to Dundee to create a version that would suit the company and the context here in Scotland.’ And so Looping: Bahia Overdub became Looping: Scotland Overdub, a work that’s part-show, part-installation, part-party. And, as Clevillé says, ‘it’s a very different proposition from the usual experience where you sit in an auditorium and watch the dancers onstage.’ A collaboration with Optimo Records, DJs JD

Twitch and Bake, and writer Kieran Hurley, the show may be billed as a late-night dance party but it isn’t afraid to tackle a few deeper issues around freedom and revolution. ‘I’m not interested in imposing any political agenda on the audience,’ says Clevillé, ‘but it’s definitely about being thought-provoking and encouraging debate. I think it’s really important that we engage with questions that are relevant for people – and the idea that we’re going to do that through music and the body is really exciting. It’s definitely something we should be doing as a company.’ All 12 of the company’s dancers will be performing, but they’re not the only ones expected to break a sweat. Looping: Scotland Overdub also celebrates the notion of ceilidh and its original meaning as a community gathering; a chance to imagine a new way of being in the world, with people who are different from yourself. So while you might enter the space alone or with a friend, by the end, you may well

find yourself bonding with somebody you never met before. ‘It’s a combination of watching and doing,’ says Clevillé of the show’s format. ‘For me, it’s always important that there is an invitation to get involved, rather than an imposition – because I hate the idea of forced participation. There are moments in the piece where it’s clear we need to stand back and watch, and then there are invitations – from basic walking together to bouncing to a rhythm. ‘And as the piece goes on, the propositions get progressively more ambitious, and it’s great to see how people go with that little by little. Then at the end, they find themselves wondering, “How did I end up here, all sweaty standing next to a stranger?”. I think that’s the beauty of the show.’ Looping: Scotland Overdub, ZOO Southside, 19–24 Aug, 10.30pm, £12–£14 (£10–£12).

14–26 Aug 2019 THE LIST FESTIVAL 19

F EST I VA L F E AT URES | Luke Turner

Memoir, history book, coming-of-age story, nature writing – Luke Turner’s new book takes on multiple journeys. He shares a few with Katie Goh ahead of his Book Festival appearance

SEEING THE FOREST THROUG H THE TRE ES

aving written one of the best nature books of the year, Luke Turner doesn’t see his work, Out of the Woods, as having all that much in common with the genre. ‘I’ve read a lot of nature writing and I’ve always found it strange that nature writing is so asexual when the natural world is driven by sexuality,’ Turner explains over the phone. ‘Historically, our ancestors were all living in rural places before the industrial revolution. The rural and the forest would have been the place where the nation was born or created. So I find the asexuality of nature writing quite strange.’ Veering away from the stuffy ‘asexuality’ of traditional nature writing, Out of the Woods is part memoir, part coming-of-age and part history book. Inspired to write a history of the ancient Epping Forest on the outskirts of London – where Turner grew up – the book became more personal as he continued to write. ‘I was writing a column at the time and it was the personal stuff that struck a chord with people and with me. I’ve always liked writing about how places and culture interact with peoples’ lives . . . maybe I’m just a big exhibitionist,’ he laughs. In Out of the Woods, Turner uses nature writing to tell multiple journeys: one is of his mental health after a traumatic breakup and the other is his bisexuality. ‘There’s a repetitiveness to the story’s journey that was quite deliberate because it’s realistic,’ explains Turner. ‘It was this constant journey of going to a place and trying to find this nature cure we’re always told about but never finding it. I think repetitiveness is quite a common experience if you’re in a bad space. Depression is horribly repetitive. You get stuck in a loop and that’s replicated for me with trips to the forest.’ Out of the Woods’ lack of an obvious narrative path was also a conscious decision by Turner to move away from the romanticised idea of the ‘lone tormented man’ in nature. ‘That image is such a recognisable one in nature writing but it just doesn’t feel right to me,’ he admits. ‘There’s something about the romanticisation of nature that’s very exclusionary and didn’t chime with me and I think doesn’t chime with a lot of people. It can be quite a difficult thing, thinking you should have this specific relation to nature and then when you don’t, it’s hard to know what your relationship is to the environment around you. I wanted to write a book about returning to a place in this repetitive way and things not clicking immediately. I think that’s more honest.’ Turner found that repetitiveness of trying to find a relationship with the natural world similar to the journey of coming out. ‘That was something I really wanted to get across,’ says Turner. ‘A lot of the prejudice around bisexuality says that it’s a secret journey where you either remain closeted, or bisexuality is a service station on the way to coming out as gay. That’s not true. It’s something that’s been neglected in discussions around being LGBTQ+: what bisexuality actually is. I really wanted to dive into that because it’s a complicated trip and a grey area because it’s a fluid space and there’s not a fixed point. I think that’s the same with nature. We live in a world that’s full of binary thinking but those boundaries between the city and the countryside are breaking down. I’m excited to see what happens in the grey areas of life and sexuality.’ Kate Charlesworth & Luke Turner, Charlotte Square Gardens, 19 Aug, 8.30pm, £8 (£6).

20 THE LIST FESTIVAL 14–26 Aug 2019

F EST I VA L F E AT URES | Efterklang

HI G H FIVE Danish indie rock band Efterklang make their live comeback at this year’s Edinburgh International Festival. David Pollock speaks to them about their upcoming fifth album and their emphasis on togetherness

t’s been seven years since Efterklang released their last proper album, 2012’s Piramida. And ahead of the release of fifth studio album Altid Sammen in September, they’ve picked Leith Theatre for their live comeback, as part of the Edinburgh International Festival. It will also be their only UK date of the year, ahead of more in early 2020. For the typically devoted Efterklang fan – thrilled by a band whose intricate and emotive compositions place them somewhere between Radiohead, Sigur Rós and Max Richter – this show is a very big deal. ‘When they asked us to do it, it sounded cool,’ says the band’s vocalist Casper Clausen. When we speak it’s almost as warm in Scotland as it is in his home in Lisbon, where he says he’s ‘eating berries, drinking orange juice and then having a coffee.’ He still doesn’t know quite why he’s in the city; he and bandmate Mads Brauer lived in Berlin together, before Clausen moved for a time to Switzerland with a woman he was seeing (the core trio is completed by bassist Rasmus Stolberg). ‘I was curious about leaving Berlin and living in the south of Europe, mentality-wise,’

22 THE LIST FESTIVAL 14–26 Aug 2019

he tells us. ‘I had a good friend in Lisbon who said, “come, it’s going to be great”, so I tried it and I’m still here. It’s undergoing a big change in many ways, but there are lots of good people in this city.’ What about Edinburgh? ‘We’ve been aware of the festival for many years, Rasmus’ cousin [the jazz musician and academic Haftor Medbøe] has been living there for many years, and when we were young Rasmus and I went on a teenage trip there in the midst of the festival, I remember it vividly. Plus, the show is just one month before the album is released, and we were looking for a way to start the band and get the machine working again for the rest of the year.’ Formed as a quartet in Copenhagen in 2001, Efterklang released their first album through the Leaf Label in 2004 but came to wider attention when third record Magic Chairs arrived in 2010, with the band now signed to 4AD. Next month’s release Altid Sammen, whose title translates as ‘Always Together’, is predominantly in Danish. The album began life towards the end of 2017 as a separate project of the same name, a concert with the Antwerp-based baroque ensemble BOX. In composing the album, Clausen says the trio worked on the ‘bones’ of the song, and as the baroque instruments were added, he began to recognise that the music was coming together in the way it had on past albums. Yet with 2014’s The Last Concert show in their hometown of Sønderborg on the Danish island of Als, they signalled their intention to move away from the old album-tour-album cycle, instead working on their radio station The Lake Radio and their new band Liima with drummer Tatu Rönkkö. ‘We were trying to come together and make an album after a long time,’ says Clausen, by way of explaining the new album’s title and intention, ‘but we also realised the strength of

Efterklang | FEST I VA L F E AT U RES

list.co.uk/festival

PHOTO: RASMUS WENG KARLSEN

this collective that we have together. There’s a togetherness that we’ve somehow developed over the years, even when we bring in other people we’ve learned to filter it through what we know we all love. [The last five years] have given us schooling. We learned a lot from experimenting; about how to embrace the moment of intuition and improvisation, and not overthink things too much.’ Lyrically, the use of Danish throughout the album also stems from the collaboration with BOX. ‘They’re from Belgium and they speak Flemish, which to a Danish person sounds like a strange version of our own language, like maybe we can understand five percent of it,’ he says. ‘I had been thinking about singing in Danish anyway, and this helped me decide. I was talking to a Portuguese singer who speaks in many languages the other day, and she said it was because she was curious to explore her instrument, her voice. For her it was like a new colour or a new sound, every time she uses a new language.’ Clausen can’t explain what we might expect from the show’s stage set, partly because it’s still in the planning stages when we speak, but for Efterklang the theme of togetherness stretches beyond the music and into the physically communal. ‘There is togetherness in a relationship,’ he says, ‘even when you break up, because your memories are forever. ‘At the same time, there is the political situation today, with cultures having trouble living together, even though we’re the same species and have to come together under the same roof. For us, making music and singing together is an act of spirituality in some way, a way of being together. There’s nothing in the lyrics which is religious or political, but we draw inspiration from all of these things.’ Efterklang, Leith Theatre, 23 Aug, 8pm, £25. 14–26 Aug 2019 THE LIST FESTIVAL 23

CO-PROMOTION

southside best of the

PLEASANCE CIRQUE BERSERK!

THE BRUNCH CLUB

CIRQUE BERSERK! Pleasance at EICC – Lennox Theatre, until 25 Aug (not 21), 1.30pm & 6.30pm, £17.50–£19.50 (£13–£15). Cirque Berserk! combine contemporary cirque-style artistry with adrenaline-fuelled stunt action. The international troupe includes over 30 acrobats, aerialists, dancers, drummers and daredevil stuntmen, alongside the world’s most hair-raising circus act; the legendary motorcycle Globe of Death.

GRID IRON, SDTN AND THE PLEASANCE Pleasance Pop-Up – Levels, until 24 Aug (not 20), 8.15pm, £9–£12 (£8–£11). Rebel, geek, emo, which were you? Or were you the popular one? Scotland’s brightest new talents, The Network, take on the cliques in a homage to classic coming-of-age movies, with a soundtrack that will take you right back to the tears and triumphs of finding your place in the world.

SUMMERHALL LIFE IS NO LAUGHING MATTER

BEFORE THE REVOLUTION

DEMI NANDHRA Until 18 Aug, 1pm, £10 (£8). Life is No Laughing Matter tells the exhausting and hilarious account of living with depression. ‘This is a show that has come from a powerful brain. It constantly reshapes and reforms itself as it looks at depression from every angle, zooms right in on the personal and charges out into the political.’ Selina Thompson

TEMPLE INDEPENDENT THEATRE COMPANY (EGYPT) Until 25 Aug, 9.50pm, £10 (£8). Mixing fiction and non-fiction, Before The Revolution transports its audience to the moment of stagnation before an inevitable eruption. ‘Documentary meets fiction in this powerful performance by the internationally renowned Cairo artist Ahmed El Attar, who takes us back to Egypt before the 2011 revolution.’ Théâtre Contemporain (France)

SUPER HUMAN

STAGED

ZOO NEXT ZONE ZOO Southside, until 17 Aug, 5.30pm, £14 (£12). Super Human explores and pushes the limits of the human body. Both supernatural and superhuman behaviour is in the spotlight in this performance inspired by science-fiction movies, superheroes and real-life scientific experiments. The distinctive choreography of Next Zone translates states of mind into extreme physical movements, in a fusion of urban dance and new composed music.

24 THE LIST FESTIVAL 14–26 Aug 2019

CIRCUMFERENCE ZOO Southside, until 25 Aug, 7pm, £12–£14 (£10–£12). Employing stunning aerial acrobatics in a calculated game of chance, Staged is a breathtaking test of physical limits in a world of increasing uncertainty, where not everything is as it seems. ‘At a time when circus is striving with every sinew to reinvent itself . . . Circumference are testing the conceptual boundaries’ The Observer

SUM LIST ADVERT NO2 2019 - V4_Layout 1 08/08/2019 15:06 Page 1

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FESTIVAL PROGRAMME 2019

“Host to some of the most provocative, avant-garde works to be found anywhere in Edinburgh during the festival season.” The List 2019

THEATRE AND DANCE

Caroline Horton - All of Me HHHHH HHHH Sh!t Theatre Drink Rum with Expats HHHHH HHHH HHHH Alanna Mitchell - Sea Sick HHHHH LUNG – Who Cares HHHH Reetta Honkakoski Company - The Desk HHHHH National Theatre of Wales - Cotton Fingers HHHH Vacuum Theatre - Passengers HHHH James Rowland’s Songs of Friendship HHHH Article 11 - Deer Woman HHHH HHHH Harry Clayton-Wright - Sex Education HHHH Cardboard Citizens - Bystanders HHHH Shasha and Taylor - Everything I See I Swallow HHHH Colin Bramwell - Umbrella Man HHHH One Two One Two - Everything I Do HHHH Amy Draper, Stewart Melton, Finn Anderson - Islander HHHH B. Catling - Resurrecting Bobby Awl HHHH Julia Croft – Working on My Night Moves HHHH The Independent

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ARMY AT THE FRINGE 89 East Claremont St EH7 4HU The Story of Books – Unicorns Almost Creative Electric – The Happiness Project Everwitch – Bomb Happy The Shift Theatre – Hallowed Ground Palmer & Hall – Dead Equal Plus Mess Bar and Army Field Kitchen

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MUSIC Start to End perform Taylor Swift's 1989 Kathryn Joseph - From When I Wake Peter Broderick sings the songs of Arthur Russell Dylan Carlson … and many more… ´ The Courtyard Bar, Rost, ` Fire & Dough Pizza … and plenty more … FOOD & DRINK: The Royal Dick, Summerhall Cafe,

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F EST I VA L F E AT URES | Breaking the Waves

PHOTOS: CAROLINE TOMPKINS

T HE CRU EL S EA 26 THE LIST FESTIVAL 14â&#x20AC;&#x201C;26 Aug 2019

Breaking the Waves | FEST I VA L F E AT U RES

list.co.uk/festival

PHOTOS: JAMES GLOSSOP

Lars Von Trier’s controversial moral drama Breaking the Waves is about to be given a new lease of life as an opera. Carol Main talks to composer Missy Mazzoli about the challenges of adapting such a provocative work for the stage

tatistically, it’s not often performances of opera come with a warning of adult themes, nudity, violence and strong language. Whereas it was possibly a PC close call on the Edinburgh International Festival’s Cosi fan tutte three years ago, this year’s European premiere of Breaking the Waves is very definitely not for the fainthearted. Based on the 1996 film of the same name by Danish director Lars von Trier – himself no stranger to controversy – Breaking the Waves, with music by American composer Missy Mazzoli and libretto by Royce Vavrek, is a moral drama set in a Free Presbyterian coastal community in the Scottish Highlands. After suffering a devastatingly debilitating accident, Norwegian oilrig worker Jan encourages his young wife Bess to go forth and have sex with other lovers and recount the experiences to him as a way of keeping their own romance alight. ‘I think Breaking the Waves is, in part, about a woman who is in an impossible situation,’ says Mazzoli (pictured left). ‘Everyone is telling her what to do and they are all telling her different things.’ Of course, it goes without saying that the staunch Calvinist, Godfearing villagers aren’t quite on the same wavelength as Jan on how to keep a marriage going. For Mazzoli, it’s meat and drink. ‘A friend once described me as a sex’n’ death artist. I took it as being a great compliment,’ she says, adding firmly that this particular piece is an opera for adults, not toddlers. The opera is, however, about so much more than sex and death. For Bess, the emotionally heart-wrenching situation she finds herself in is unparalleled. ‘There can be six different emotions going on at the same time,’ says Mazzoli, ‘but it’s not depressing or morose. I’ve tried to infuse a sense of lightness in the music itself. There is something psychologically leading towards lightness in the story.’ Opera is the ideal vehicle for dealing with the big stuff of life and in the case of Breaking the Waves, the headline themes are morality, goodness, faithfulness and love. It is also about Scotland. Mazzoli and Vavrek took a road trip around Scotland as part of their research in making the adaptation from the film. ‘Being in Scotland had a huge impact on the sound of the music itself,’ says Mazzoli. ‘We went to Glasgow and Edinburgh, but

spent most of the time on the island of Skye. I’d never been in a landscape that extreme before. There was such contrast between its lush greenness and the violence of the rock formations that break out over the sea,’ she says. ‘You hear that in the opening chords of the opera. It’s my depiction of Skye, a long low chord with the waves breaking on the rocks.’ The title of both the film and opera may be von Trier’s, but Breaking the Waves is an apt name in different ways, and not just how it reflects the physical waves of the shoreline. Bess herself is breaking the powerful wave of tradition and the whole of the society in which she lives. ‘Bess is complicated,’ says Mazzoli. ‘She’s described as being simple, but in that simplicity is her strength. There is something astonishingly strong about her. It’s all about layering. Every other character resorts to yelling, violence and calling on God to suppress other people, but Bess never does that.’ It’s not that the other characters are – apart from two sadistic sailors – bad. Everyone is acting with the best of intentions to do good and, indeed, von Trier’s idea was to make a film about goodness. The husband, unusual though his behaviour might be, is acting from a stance of goodness, of wanting to set his wife free. The mother and elders of the church may come across as unlikeable people we probably wouldn’t choose as our friends, but they are also trying to do the right thing. ‘It might sound a bit new-agey,’ says Mazzoli, ‘but I hear the story as one that sings to me. I watched the film and felt that there was space for music. There is no real score in the film, so there was space for my own emotional interpretation.’ In scoring the opera, Mazzoli writes for what she terms ‘beefed-up chamber orchestra’, with solo winds and brass, strings and electric guitar. ‘Whenever God appears we hear electric guitar,’ she says. In addition to the nine principal singers, there is a men’s chorus, helping to convey that the society in which the opera takes place is male dominated. Breaking the Waves provides its audience with much food for thought. ‘Opera is a place for big ideas,’ says Mazzoli, ‘and not a place for simple answers. If people go to the pub afterwards and don’t speak about it, well, I don’t want that.’ Breaking the Waves, King’s Theatre, 21, 23 & 24 Aug, 7.15pm, £15–£35.

14–26 Aug 2019 THE LIST FESTIVAL 27

F EST I VA L FOOD & DR I NK | Wild Gin

festival

FOOD & DRINK CALL OF THE WILD Head along to environmental show Below the Blanket at the Botanic Gardens and you’ll be treated to a sample of the new Wild gin from Edinburgh’s Secret Herb Garden. Like the show, this new tipple also has a strong ecological focus, finds David Pollock

unning throughout this year’s Edinburgh Festival season, Below the Blanket is a new project being held at the Royal Botanic Garden, which looks at environmental concerns surrounding Scotland’s Flow Country, a large area of peatbog wilderness in Caithness and Sutherland. The event takes the form of a series of artworks curated by the Glasgow-based art and performance company Cryptic, which are on display throughout the gardens. At the same time, anyone heading to Below the Blanket will also be able to sample the new Wild gin from the Secret Herb Garden’s Old Curiosity gin distillery. A collaboration with RSPB Scotland, and with 20 per cent of the gin’s profits going to the charity, this line won’t be released into shops until September. The Secret Herb Garden itself is just outside Edinburgh, at the foot of the Pentland Hills, but its ethos is very much in line with that of Below the Blanket’s attention-raising aim concerning the Flow Country. ‘We’ve got our own herb garden where we make gin from our own botanicals, which we hand-harvest and distill,’ explains Hamish Martin, director of the Secret Herb Garden. ‘It’s a sevenand-a-half acre site with no chemicals used whatsoever. My whole ethos of gardening, of working with nature, is about inviting the wild into your life.’ ‘We have big swathes of wild patches where we try to bring wildlife into the garden,’ he continues. ‘We run courses for kids, we have the RSPB here, the Woodland Trust. What we try to do here is let people enjoy the magic of nature, with no swings,

28 THE LIST FESTIVAL 14–26 Aug 2019

no roundabouts, no slides, but lots of free areas where kids can run about. The idea is that you come here and watch the bees or listen to the birds – just whatever it takes to give you a chance to connect with nature.’ The gin created for the RSPB, says Martin, is unique precisely because of the blend of plants grown at the Secret Herb Garden, a combination that can’t easily be found elsewhere. ‘One of the lead botanicals is bog myrtle, which grows in abundance in the Flow Country, and which we grow here as a commercial plant,’ he says. ‘This gin also has the leaves of dwarf birch, which is very rare, and sweet cicely, basil and yarrow. It’s got a whole host of what people might consider weeds, but actually they’re plants. What we do is grow wild plants like yarrow and bog myrtle as a crop, so this has a flavour profile that’s unlike any other gin, because of the wild botanicals.’ Martin is pleased that this collaboration will also draw attention ‘to the environment of the precious peatlands, and how they have to be treated with respect,’ he says. ‘I want to highlight this idea of allowing wildness and nature into your life; it doesn’t matter if you only have a flower box on your windowsill, leave a little bit blank and see what plants come to you. It’s about trying to raise awareness of how precious nature is and how we need to be in balance with that. It’s like a good friendship or a loving relationship – when you take something out you’ve got to put something back.’ Below the Blanket, Royal Botanic Garden Edinburgh, until 25 Aug (not 20), timed entry slots between 7pm and 9pm, £14 (£8).

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ELIF SHAFAK Book festival welcomes Bookerlonglisted Turkish author Award-winning novelist Elif Shafak writes in English and Turkish and her books have been translated into more than 50 languages. A political scientist, commentator and women’s and LGBT rights activist, Shafak’s writing blends myth and storytelling with an astute deconstruction and examination of contemporary issues. She will be at Edinburgh International Book Festival on 23 August speaking with Virago Press publisher Lennie Goodings about her latest book, 10 Minutes and 38 Seconds in This Strange World. Currently longlisted for the Booker Prize 2019, this absorbing novel describes the memories of a sex worker, Tequila Leila, in the handful of minutes her brain continues functioning after death. The years that led up to Leila’s murder are richly scented and described with deep humour and tenderness, creating a sensual journey through the life of a character often voiceless or consigned to the periphery. Themes of sexual harassment, gender violence and child abuse are handled with grace and described with unflinching clarity. Shafak’s choice of material has provoked social media attacks and legal difficulties (2006’s The Bastard of Istanbul resulted in a legal trial against her for ‘insulting Turkishness’). In 10 Minutes and 38 Seconds, she reminds us why some voices should never be removed from the narrative – no matter what the cost. (Lynsey May) ■ Charlotte Square Gardens, 23 Aug, 10.15am, £12 (£10).

14–26 Aug 2019 THE LIST FESTIVAL 31

F EST I VA L BOOKS | Hitlist

BOOKS HITLIST Lynsey May picks the best events from the second week of the Edinburgh International Book Festival RACHEL LONG, TANIA NWACHUKWU & HIBAQ OSMAN Prepare yourself for an hour of unforgettable words hosted by Octavia, a poetry collective for women of colour who write themselves on their own terms. Look forward to poetry from Rachel Long, Tania Nwachukwu and Hibaq Osman. Charlotte Square Gardens, 18 Aug, 4pm, £12 (£10). LINTON KWESI JOHNSON, ROGER ROBINSON & ANTHONY WALL Special event honouring Jamaican dub-poet Mikey Smith nearly four decades after his death. Poet Linton Kwesi Johnson is joined by BAFTA-winning filmmaker Anthony Wall, poet and performer Roger Robinson, and author Leone Ross. See feature, page 34. Charlotte Square Gardens, 18 Aug, 9.45pm, £12 (£10). TRACEY THORN The singer-songwriter behind

Everything but the Girl follows up her bestselling Bedsit Disco Queen with Another Planet, a witty walk through the maligned suburbia of her youth. Thorn shares hilarious recollections of the physical and emotional culde-sacs of her green belt upbringing and its lasting impact. Charlotte Square Gardens, 19 Aug, 8.30pm, £12 (£10). KATE CHARLESWORTH & LUKE TURNER History and sexuality are discussed with sensitivity and humour in an event about Luke Turner’s visceral blend of memoir and nature writing, Out of the Woods, and cartoonist Kate Charlesworth’s illustrated lesbian history, Sensible Footwear: A Girl’s Guide. See feature, page 20. Charlotte Square Gardens, 19 Aug, 8.30pm, £8 (£6). WOMEN TALKING BY MIRIAM TOEWS Writer Miriam Toews has an amazingly light tough when it comes to heavy conversations and in this theatrical production of her latest book, Women Talking, her wit and compassion will come to life in partnership with Edinburgh’s Royal

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32 THE LIST FESTIVAL 14–26 Aug 2019

Deborah Levy

Lyceum Theatre and playwright Linda McLean. Charlotte Square Gardens, 24 Aug, 6pm, £15 (£12). DEBORAH LEVY Join Deborah Levy on the day her Booker Prize-shortlisted new novel

is launched. The Man Who Saw Everything follows a historian named Saul Adler to communist East Berlin in 1989 to witness events that are painfully unearthed 27 years later. Charlotte Square Gardens, 26 Aug, 3.30pm, £12 (£10).

Remembering Mikey Smith | F EST I VA L BOOKS

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PHOTO: SPEAKING VOLUMES

R EASON TO BE LIEVE Influential poets and creators are coming together to celebrate the late Mikey Smith, one of the most original voices in poetry, at a special Edinburgh International Book Festival event. Stewart Smith finds out more >>

14â&#x20AC;&#x201C;26 Aug 2019 THE LIST FESTIVAL 33

F EST I VA L BOOKS | Remembering Mikey Smith

Roger Robinson; previous page: Linton Kwesi Johnson

‘L

ord de oppress an’ de dispossess cyaan get no res’, what nex’?’ Decades on, these lines from Mikey Smith’s classic poem, ‘Mi Cyaan Believe It’, still resonate. The late dub-poet, who met a tragically early death at the age of 28 in 1983, documented the struggles of the poor, oppressed and working-class people of Jamaica. In a special Book Festival event, fellow dub-poets Linton Kwesi Johnson (pictured) and Roger Robinson remember Smith’s life and work, alongside BAFTA-winning filmmaker Anthony Wall and Jamaican-raised author Leone Ross. Widely recognised as one of Britain’s most significant poets, Johnson broke through in the late 1970s with his highly politicised fusion of performance poetry and dubreggae. He hails Smith as ‘one of the most original poetic voices in late 20th-century Caribbean poetry’, noting that as a performer he was unrivalled among his peers. ‘His critique of the conditions of existence for the poor in post-colonial Jamaica is equally eloquent today.’ Johnson first met Smith in Jamaica in 1979, recognising a kindred spirit. He went on to co-produce, with British reggae visionary Dennis Bovell, Smith’s debut album Mi Cyaan Believe It in 1982. Smith was born in Kingston in 1954, the son of a mason and a factory worker. He came to poetry in his teens, performing at community centres and political rallies, before representing Jamaica at the World Festival of Youth and Students in Cuba. He graduated from the Jamaican School of Drama with a diploma in theatre studies in 1980, by which time he had already cut his first record, ‘Word’, a 12” featuring the Afro-jazz-roots collective The Light Of Saba and Count Ossie’s nyabinghi drummers. Smith’s fame soon spread beyond Jamaica. In 1982 he gave a scintillating reading at the International Book Fair of Radical, Black and Third World Books in Camden, and starred in the BBC Arena documentary, Upon Westminster

34 THE LIST FESTIVAL 14–26 Aug 2019

Bridge, excerpts from which will be shown at the Book Festival event. The film’s director, Anthony Wall, recalls, ‘It was an honour to be introduced to Michael by Linton and to work with them both. I believe that Michael was one of the most powerful poets of the 20th century. As for his relevance today, I think the world is still catching up with him and his vision.’ Following the release of Mi Cyaan Believe It, Smith toured with Black Uhuru, before returning to Jamaica in 1983. Politically, Smith was on the left, with Rastafarian sympathies. On 17 August 1983, Smith attended a political rally marking the birthday of the great Jamaican-born activist Marcus Garvey. The following day, he was approached by three men who objected to his heckling of the right-wing Jamaican Labour Party’s culture minister. As the argument escalated, Smith was hit on the back of the head by a stone thrown by one of the men, and later died. Due to a lack of witnesses, the case remained unsolved. Robinson, who has collaborated with dub maverick The Bug in addition to releasing several excellent solo albums, draws much inspiration from Smith. ‘Mikey Smith, like all the best artists, taught me about the importance of being a junction-maker,’ says Robinson. ‘He made connections between literature and music, Rastafarianism and liberation, slavery and colonialism, suffering and utterance. Many times I think about what’s important for me to create as an artist now, and Mikey Smith always reminds me to make connections, to be a junction-maker.’ Ross, who chairs the event, stresses Smith’s continuing importance: ‘Any artist who expresses himself with the kind of uncompromising skill and unflinching challenge to power structures as Mikey did, remains relevant for all time.’ Linton Kwesi Johnson, Roger Robinson & Anthony Wall: Remembering Mikey Smith, Charlotte Square Gardens, 18 Aug, 9.45pm, £12 (£10).

Top Tips | F EST I VA L BOOKS

list.co.uk/festival

TOP TIPS PHOTO: AIDA MULUNEH

Plan a day out with the many events on offer at the Edinburgh International Book Festival over the next week and a half

15 AUG LEILA ABOULELA & YVONNE ADHIAMBO OWUOR Charlotte Square Gardens, £12 (£10). Leila Aboulela’s Bird Summons portrays three women on a Highland road trip, encountering ideas that extend as far as Mecca, while Yvonne Adhiambo Owuor’s The Dragonfly Sea, follows young Kenyan Ayaana in a quest to make sense of East Africa’s rich cultural heritage. Today they discuss the meaning of home with author Polly Clark.

UNBOUND WITH EDINBURGH GIN: FUN LOVIN’ CRIME WRITERS Charlotte Square Gardens, 9pm, free. The Fun Lovin’ Crime Writers have hit new heights, even playing Glastonbury. Prepare for Luca Veste, Stuart Neville, Doug Johnstone, Chris Brookmyre, Mark Billingham and Val McDermid to murder some tunes.

24 AUG

16 AUG JACKIE KAY Charlotte Square Gardens, 1.30pm, £12 (£10). Scots Makar Jackie Kay reads a selection of new poems inspired by her travels around Scotland. Kay also discusses the play of her muchloved memoir Red Dust Road with James Tait Black Prize-winner Tanika Gupta, who has adapted it for the National Theatre of Scotland. JACK MONROE Charlotte Square Gardens, 5pm, pay what you can. Jack Monroe is an active anti-poverty campaigner and her recipe books – including Cooking on a Bootstrap and Tin Can Cook – are about making simple yet delicious recipes on a shoestring, based on her own experiences. Join the food writer as she reveals her ideas for turning ordinary ingredients into extraordinary meals.

17 AUG SOFIE HAGEN Charlotte Square Gardens, 3.15pm, pay what you can. Join Danish comedian Sofie Hagen as she discusses body image and the notion that being fat is wrong in a society obsessed by shrinking – the topic of new book Happy Fat. INUA ELLAMS & KEI MILLER Charlotte Square Gardens, 8.30pm, £8 (£6). Inua Ellams’s verse novel The Half God of Rainfall interweaves ancient and urban myths to tell a story of pride, power and revenge, while Kei Miller’s collection In Nearby Bushes explores legends, histories and landscapes on the fringes of Jamaican society. Join them for a celebration of the emotive powers of narrative verse.

7pm, pay what you can. Anthony Anaxagorou launches After the Formalities, a sharp examination of class, race and masculinity. He’s joined by Nadine Aisha Jassat, a new star in Scotland whose powerful debut collection Let Me Tell You This is a force to be reckoned with.

Lemn Sissay

19 AUG UNBOUND WITH EDINBURGH GIN: BACK TO NIGHT SCHOOL Charlotte Square Gardens, 9pm, free. Glasgow-based label and promoter Night School Records commands huge respect within the city’s music scene, with an eclectic mix of electronic talent. Tonight, expect performances and readings from J. McFarlane’s Reality Guest, author Michael Amherst, and Canadian artist Sean Nicholas Savage.

20 AUG JASON REYNOLDS & NIKESH SHUKLA: LEFT JAB, WRITE HOOK Spark Theatre, George Street, 5.30pm, £5. Join this conversation about finding identity and belonging through sport with award-winning authors Nikesh Shukla and Jason Reynolds. Shukla’s The Boxer was influenced by his work coaching young people in the boxing ring. In Reynold’s Ghost, his central character finds solace in running – just as Reynolds did in poetry and writing.

21 AUG JOSEPH COELHO: WARMHEARTED WORDS Charlotte Square Gardens, 1.15pm, £5. Hear award-winning performance poet Joseph Coelho share an uplifting story about the importance of being yourself. Expect lots of rhymes and tales in this gentle and positive event, perfect for encouraging open and honest conversations about your emotions.

JAMES MACMILLAN Charlotte Square Gardens, 1.30pm, £12 (£10). As he reaches the landmark age of 60, internationally renowned composer and conductor James MacMillan reflects on a classical life well lived in A Scots Song. He shares his thoughts on music, faith, community and society. JAMES ACASTER Charlotte Square Gardens, 10pm, £12. Comedian James Acaster discusses his hotly anticipated memoir, Perfect Sound Whatever – a love letter to the healing power of music. Acaster is joined on stage by writer, performer and ‘stand-up poet’ Rob Auton.

22 AUG SULAIMAN ADDONIA & OLGA GRJASNOWA Charlotte Square Gardens, 3.30pm, £8 (£6). Sulaiman Addonia, who fled Eritrea in 1976 and spent his early life in a Sudanese refugee camp, and Azeri author Olga Grjasnowa, who moved to Germany in 1996 as a refugee, discuss lives lived in exile. ALLAN LITTLE’S BIG INTERVIEW WITH ELIF SHAFAK Charlotte Square Gardens, 8.30pm, £12 (£10). Turkish-British author Elif Shafak talks to BBC special correspondent Allan Little about the rise of populism and how to avoid public angst becoming aggression.

23 AUG ANTHONY ANAXAGOROU & NADINE AISHA JASSAT Charlotte Square Gardens,

LEMN SISSAY Spark Theatre, George Street, 8.45pm, £12 (£10). Growing up with foster families and in care homes, Lemn Sissay struggled with his identity but the discovery of his birth name and Ethiopian background was the catalyst for reflection in My Name is Why. He meditates on home and identity as he presents his insightful memoir.

25 AUG KERRY HUDSON & SARAH SMARSH Charlotte Square Gardens, 1.30pm, pay what you can. Two writers revisit their experiences of working class life in Britain and the US. In Lowborn, Kerry Hudson returns to the poverty-stricken towns of her youth to discover what being poor means today, while Sarah Smarsh’s Heartland is a touching memoir on the destitution of Kansas farming life. Hear two honest takes on wealth inequality. COLSON WHITEHEAD WITH KIRSTY WARK Charlotte Square Gardens, 8.30pm, £12 (£10). Following the success of The Underground Railroad, new novel The Nickel Boys sees Pulitzer Prizewinner Colson Whitehead visit 1960s Florida, a period of American history fraught with racial tension. The giant of contemporary fiction launches the book with Kirsty Wark.

26 AUG MAKING FRIENDS WITH AXEL SCHEFFLER Charlotte Square Gardens, 1.15pm, £5. Axel Scheffler has illustrated books for numerous authors including Julia Donaldson’s The Gruffalo, but he also writes his own inventive stories. This gentle, funny event has something to teach all ages about the power of friendship and kindness. 14–26 Aug 2019 THE LIST FESTIVAL 35

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MICHAELA BURGER Multi-talented star of Exposing Edith presents her latest cabaret

PHOTO: ANNE-LAURE MARIE

‘I have been wanting to write a show about my father – the son of Greek migrants – and his life since I was a young cabaret artist,’ says Greek-Australian performer and songwriter Michaela Burger. ‘My dad has lived such a unique life and the stories that he told us growing up often sounded made up, because they were so outrageous. As I got older, I realised that they were not only true but that they defined quite an extraordinary human.’ In A Migrant’s Son, Burger sets out to explore her family’s history, traversing generations of migrant experience and detailing the tragedy and triumph of her ancestors along the way. ‘When I began to write the story and the songs, I realised that all of the qualities that I admire in my father had actually come from generations of ancestors before him. So I needed to start the story at the beginning, with the migration of my great grandparents and then my grandparents.’ The multi-award winning cabaret star – who is also appearing in Exposing Edith, a retelling of the singer’s tragic life – will be presenting A Migrant’s Son to Edinburgh Fringe audiences for the first time, having already had success in Australia with the autobiographical show. With wonderful songs and unique characters that underpin the story, it’s a production that resonates across the board thanks largely to its focus on struggle and survival. ‘The significance of this story became apparent to me,’ she notes, ‘when I previewed the show and began to feel people’s reactions to a story that is not just the story of my family, but that is one of millions of people. It is SO important to tell this story as it is one of courage, defying adversity and rising above judgement and racism in a positive and peaceful way – something that this world definitely needs to be reminded of.’ (Arusa Qureshi) ■ Exposing Edith, Assembly George Square, until 26 Aug (not 19), 2.20pm, £12–£14 (£11–£13); A Migrant’s Son, Imagination Workshop, until 26 Aug (not 19), 5.30pm, £30–£45 (£30–£40).

14–26 Aug 2019 THE LIST FESTIVAL 37

F EST I VA L CA BA RE T | Hitlist

CABARET HITLIST Arusa Qureshi picks out the best cabaret to check out in week three of the Fringe REUBEN KAYE Reuben Kaye finally returns to Edinburgh with his solo show. Prepare for an explosion of high camp and filthy humour as Kaye delivers drama, stage presence and scandalous storytelling in equal measure. See feature, page 39, and review at list. co.uk/festival Assembly Checkpoint, until 25 Aug (not 21), 9.30pm, £13–£14 (£12–£13). GINGER JOHNSON’S HAPPY PLACE In a valiant, ridiculous attempt to cope with the increasing horror of everyday life, Ginger Johnson packs her bags and poses the question: how far are we willing to run to escape reality, and at what cost? This show is crammed full of bait and switch, songs, chats, music and an acute awareness of how messed up everything is. See review, page 40. Pleasance Dome, until 26 Aug (not 19), 9.40pm, £10–£12 (£9–£11). LATE NIGHT LIP SERVICE Hosted by giant, ginger, award-winning

glamonster Gingzilla, Late Night Lip Service features the wildest acts from across the Fringe, lip-sync battles, debauched drag, catwalk-offs and midnight madness. Gilded Balloon, Rose Theatre, 15–18, 22–24 Aug, 11.30pm, £12.50. ANDREA SPISTO: BUTCH PRINCESA Join Venezuelan artist Andrea Spisto for a journey deep into a surreal queer immigrant wonderland. With Latin beats, character comedy, dance and plenty of insights on gender and politics, Spisto provides an immersive, soulbaring show with a focus on liberation. See review, page 40. Heroes @ The SpiegelYurt, until 25 Aug, 6.20pm, £5. HELP! I THINK I MIGHT BE FABULOUS Multi-talented drag prince Alfie Ordinary makes his Fringe debut, welcoming audiences into Madame LeCoq’s Preparatory School for Fabulous Boys, armed with charm, incredible pipes and a little help from good friends and puppets Whitney Houston and Bette Midler. See review at list.co.uk/festival Gilded Balloon Rose Theatre, until 25 Aug, 6pm, £9–£10 (£8–£9).

Paris de Nuit

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Reuben Kaye | F EST I VA L CA BA RE T

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HOLE LOTTA T R OU BLE Nasty rashes, cheap MDMA and spreading the love – cabaret star Reuben Kaye discusses all this and more with Katharine Gemmell as he returns to Edinburgh with not one, but two spanking new shows

‘B

igger, wetter, faster, harder – anything that can be used to describe a porn sequel can be used to describe this sequel,’ says Reuben Kaye, the Australian cabaret star who is back at the Fringe with his unique brand of intelligently filthy cabaret. This year, he’s made the brave decision to bring two shows because it turns out he ‘just didn’t have enough PTSD’ after his last Fringe run two years ago. First up is a new rebranded version of Assembly’s late-night offering dubbed The Kaye Hole, where Kaye naughtily invites you to ‘slip under’ with him. Kaye explains: ‘The late-night show is church for people who will never get into heaven and a safe space for dangerous people.’ It’s set to be a welcome addition to the late-night weekend Fringe scene and will encompass a diverse cavalcade of the festival’s riskiest acts. Kitty Bang Bang, Heather Holiday and Beau Sargent will join him for every performance, as well as a changing lineup of special guests, all backed up by his band, the Preferred Pronouns. ‘It’s going to be late-night variety done right.’ In his titular solo show, Kaye is getting a touch more personal, or as he puts it: ‘another exercise in vanity and desperation.’ It features original lyrics to well-known songs, whip-smart comedy, plenty of audience interaction and live music from the Kaye Holes (the Preferred Pronouns, rebranded). ‘It’s fast-paced, dirty, fun,’ promises Kay, ‘and there will be a little something that will touch you in the end.’ All jokes aside, Kaye’s cabaret isn’t just about the spectacle; it’s also about holding a mirror up to society and asking if it likes what it sees. ‘It’s about redressing society and redressing the perceived hierarchies of society. Where do we all sit in the world? How valued are people in our society who haven’t been [valued] previously?’ Kaye uses his own experiences growing up as a young queer kid in Australia to get to the root of these issues. ‘It’s about me and I, some kind of Jewish faggot who was gay-bashed . . . raised in sports-obsessed 90s Australia. If I can live and get through it, then anyone can. It’s about realising that underneath everyone is human.’

For Kaye, Edinburgh in August encapsulates the good that still exists in the world and the raw human quality that we all possess deep down. ‘There’s a real sense of community, a sense of belonging, it’s unlike any other place on earth – which I think is a Disneyland quote or a P&O cruise one,’ he laughs. ‘It feels like what I’d want the world to be.’ But whimsical dreaming isn’t exactly Kaye’s modus operandi, and it’s not just the utopian version of the world that he likes most about the city in August. ‘The best part about Edinburgh is a lot of the cheap MDMA that goes around and the circus performers who have low standards. All my suitcases are just filled with drag and penicillin.’ When I interject that prescription medicine is free in Scotland, he replies, overjoyed, ‘Oh good, I can afford to bring some more lashes then!’ Underneath this dark, sardonic wit, Kaye’s two shows essentially just want to use the essence of the festival to make the world a better place. ‘If I could change one bigot’s mind, if I can make the world better from Edinburgh, while paying £2500 for one month’s accommodation, and come away from it broken, with a red-raw rash that you can’t get rid of, then I’m going to do that in August, ’cause that’s what being an artist is all about.’ Reuben Kaye, Assembly Checkpoint, until 25 Aug (not 21), 9.30pm, £13 (£12). The Kaye Hole, Assembly Checkpoint, 16-18, 23-25 Aug, 11.15pm, £16 (£15).

14–26 Aug 2019 THE LIST FESTIVAL 39

F EST I VA L CA BA RE T | Reviews

ASK A STRIPPER

Breaking down stereotypes in the fight for equal rights ●●●●● Picture this: the local council has decided to take a public vote on whether your job should exist and doesn’t ask for your input. Would you be outraged? This is just one of the hypocrisies touched on at Ask a Stripper, a question and answer session hosted by Morag and Stacey Clare, aka Gypsy Charms and the Ethical Stripper. With a PHD, a TED Talk, a few properties, and a husband between them, they’re here to smash down the stigmatising stereotypes society holds about strippers and the wider sex worker community. During the hour, clothes are shed – literally and metaphorically – and there’s no such thing as a stupid question. They range from ‘How do you stay safe at work?’ to ‘What’s your favourite song to dance to?’ When queries are deemed as ‘hot topics’, the maracas come out and topical hashtags like feminism and whorephobia are investigated. A pressing issue the pair are spreading awareness on is the current Sexual Entertainment Venue license consultation in Glasgow. This has the possibility of capping the number of venues at zero – effectively eliminating strip clubs. Although both admit that the clubs are not perfect (like most people’s workplaces), licensed premises allow for as close to protection as is currently afforded. Without these, it just serves to drive work underground. Morag and Stacey are examples of confident, strong and educated women who are using their relative positions of privilege within a minority group to speak up for those who can’t. The premise is simple, yet the effect is radical: it facilitates a conversation with a silenced group and humanises the plight of sex workers. They make the simple point that, ultimately, they just want to have the same rights in the workplace that everyone else has. Is that too much to ask? (Katharine Gemmell) n Heroes @ Bob’s BlundaBus, until 5 Aug (not 14, 21), 7.50pm, £5.

PHOTO: HOLLY REVELL

GINGER JOHNSON'S HAPPY PLACE

SONGS IN THE KEY OF CREE

The bureaucratic requirement for Fringe shows to fit into neat categories is highly contentious, especially when a show is so unique that it takes that little box and smashes it into oblivion. Andrea Spisto’s Butch Princesa is a prime example of this, with elements of clowning, cabaret, character and sketch comedy synthesising to create soul-baring, immersive theatre. In her surreal opening sketch, she constructs the unseen world of South America’s Harry Potter, complete with a Latin remix of the theme tune. Spisto is an idiosyncratic performer, but nothing is done just for a tawdry, absurd laugh. In fact, beneath all of her madcap sketches are liberating perspectives. We see her dressed as a giant white puffball, visually representing cocaine, as a critique of Britain’s hypocritical middle-class coke habit; the next she’s overtly celebrating the beauty of queer sex or singing a pansexual pop song that salutes liking what you like. Principally, Butch Princesa is a love letter to Spisto’s roots, queer identity and the nature of evolving as a person, especially as an immigrant. Its forwardthinking stance endeavours to open up minds and convey how Spisto learned to release herself from society’s shackles. (Katharine Gemmell) n Heroes @ The SpiegelYurt, until 25 Aug, 6.20pm, £5.

As one of the creative forces behind acclaimed drag collective Sink the Pink, Ginger Johnson is well-known among cabaret scenes up and down the country. But with Happy Place, she takes a step away from all-singing, all-dancing cabaret to offer a show that is raw, emotional and utterly arresting. We're in Johnson's happy place, where there are no terfs, Tories or telephones allowed. Instead, she is showered with a literal suitcase of awards, has her own tech person and has made her own furry pals in the form of puppets Phillip Seymour Hoffman and Simon. But all is not perfect as the pressures of life outside the happy place start to encroach on our hero, leading her down a rabbit hole of anxiety and self-hate. Ginger's excellent songs, including her rendition of Gossip's 'Standing in the Way of Control', audience sing-alongs, comedy and cute puppets are not enough to mask the more serious undertones. As she slowly deteriorates, the happy place and its contents becomes a more ominous form of escapism, highlighting the price of trying to cope in a world where homophobia, climate change and hatred reign supreme. (Arusa Qureshi) n Pleasance Dome, until 26 Aug (not 19), 9.40pm, £10–£12 (£9–£11).

Retrospective cabaret Songs in the Key of Cree takes audiences on a journey through CreeCanadian playwright, pianist and composer Tomson Highway's illustrious career, via some of his best tunes from works including the 2010 musical The (Post) Mistress and Rose, the third in his famous 'Rez Cycle'. The songs are performed by Peruvian-Canadian cabaret singer Patricia Cano, with jazz saxophonist Marcus Ali accompanying and Highway on the piano. The symmetry between Cano and Ali is at times spine-tinglingly beautiful, as both musicians do great justice to Highway's soulful tunes. A particular highlight overall is Cano's delivery of the impressive 'When Last I Was in Buenos Aires, Argentina', but there are also moments where Highway tackles more serious topics, such as hard-hitting 'The Lunch', his response to the rape and murder of Cree woman Helen Betty Osborne in 1971. As well as providing a unique chance to hear the native Canadian language, Songs in the Key of Cree features a range of musical styles from jazz to country, giving a wonderful sample of one of Canada's favourite playwrights. (Arusa Qureshi) n CanadaHub @ King's Hall, until 18 Aug, 7pm, £11 (£9).

Genre-busting immersive theatre ●●●●●

40 THE LIST FESTIVAL 14–26 Aug 2019

Raw cabaret confessional ●●●●●

PHOTO: SEAN HOWARD

PHOTO: JAHEL GUERRA

ANDREA SPISTO: BUTCH PRINCESA

Snapshot of Tomson Highway's career ●●●●●

GILDED BALLOON presents the UK’s biggest and best new comedy competition, back for it’s 32nd year!

Now in its 15th year, The Pleasance Comedy Reserve has helped launch the careers of 60 comedians at the Fringe.

this year’s

pleasance

comedy reserve

Josh Jones

21:30

Lily Phillips

2018 WINNER: DANNY GARNELL

“Getting to the final was probably the most exciting moment of my life” Rhod Gilbert

Mo Omar

Mamoun Elagab

Comedy

“Changed my life forever!” Jason Byrne

Reserve 19:00 Below

Sophie Duker

18:00 Bunker One

Helen Bauer

Alumni

at the pleasance

SEMI-FINALS 22:15 (90 MINS) 4-6, 11-14 AUGUST

17:30 Bunker Two

Michael Odewale

17:45 Below

Jack Gleadow

18:00 Upstairs

Catherine Bohart

GRAND FINAL 19:30 (120 MINS) 22 AUGUST

18:30 Above

Rhys James

18:45 Bunker Two

Nigel Ng

18:50 Jack Dome

Alasdair Beckett-King

MEDIA PARTNER: SOYOUTHINKYOUREFUNNY.CO.UK 19:00 Attic

Yuriko Kotani

20:15 Beneath

Darren Harriott

21:30 Baby Grand

Simon Brodkin

Supported by the Charlie Hartill Special Reserve Fund

42 THE LIST FESTIVAL 14–26 Aug 2019

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JOHN-LUKE ROBERTS: AFTER ME COMES THE FLOOD (BUT IN FRENCH) DRIP SPLOSH SPLASH DRIP BLUBBP BLUBBP BLUBBPBLUBBPBLUBBP!! An innovative and challenging hour of absurdist fun Is there a comedian at the Fringe with better comic timing than John-Luke Roberts? With nothing to bounce off other than his own material, his lightning quick comedic reflexes turn routines that could fizzle out in lesser hands into exquisite gems of semi-absurdist hilarity. His performance on this evening is all the more remarkable given the things that were thrown at him during the hour. The inexplicable presence of a fully conscious baby (you can’t blame the wee one, to be fair) does lend Roberts the odd moment when he has a

human reaction to spar against, but the audible gurgling and chitter-chatter is a distraction to the crowd from time to time. Arguably worse was the moment when his big banner containing graphics and words crucial to the evening’s enjoyment failed to unfurl. A spot of coaxing by a stage tech eventually brought the banner (and the house) down, but just when Roberts must have felt he was free of glitches, his cheek-mic packed in. Despite these three impediments to a smooth gig, the comic (dressed in a suit, crown and green moustache with a buttercup

attached) weaved them almost effortlessly into a show where he plays multiple characters, conducts two-way (or more) conversations that might veer off into inspired improv territory. Meanwhile, we’re on the look-out for the joke or routine which will culminate in one of the many punchlines printed on the aforementioned banner. After Me Comes the Flood . . . is just another excellent and innovative Fringe extravaganza from John-Luke Roberts. (Brian Donaldson) ■ Assembly George Square Studios, until 26 Aug (not 14, 21), 5.30pm, £10–£12 (£9–£11) ●●●●●

14–26 Aug 2019 THE LIST FESTIVAL 43

F EST I VA L COM E DY | Hitlist

COMEDY HITLIST Brian Donaldson picks out the comedy highlights from week three of the Fringe COURTNEY PAUROSO A sometimes dark and often silly clowny show which tells the story of a lifelong relationship from its shy inception to its sad finale. See review, page 51. Underbelly Cowgate, until 25 Aug, 9.40pm, £11–£12 (£10–£11). NISH KUMAR The Mash Report man brings us the last serving of his passionate Brexit and #MeToo show, It’s in Your Nature to Destroy Yourselves. See feature, page 45. Assembly George Square, 19–25 Aug, 9pm, £16–£18 (£15–£17). TOM ROSENTHAL Manhood is the latest Fringe show from the Plebs and Friday Night Dinner guy and features the distinctly cross-legged tale of his own early circumcision. See review, page 51. Pleasance Courtyard, until 25 Aug, 6.30pm, £11.50–£14 (£10.50–£13).

44 THE LIST FESTIVAL 14–26 Aug 2019

JOHN-LUKE ROBERTS Another excellent show of absurdist humour that still adores a punchline, even if the man himself claims to hate them. See review, page 43. Assembly George Square Studios, until 26 Aug (not 14, 21), 5.30pm, £10–£12 (£9–£11). AHIR SHAH With Dots, the Edinburgh Comedy Award nominee (two times over) delivers another highly thoughtful and gag-heavy set to make you both ponder and chortle. See review, page 50. Monkey Barrel, until 25 Aug, 1.45pm, £7–£8 in advance or donations at the venue. CATHERINE BOHART Last year, a woman claimed that this bisexual Irish comic had a disgusting lifestyle, so she has hit back with Lemon, by upping the naughty ante. Will Bohart’s ‘admirer’ be back this time around? See review, page 52. Pleasance Courtyard, until 25 Aug, 6pm, £9–£11.50 (£8–£10.50).

Courtney Pauroso

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Nish Kumar | F EST I VA L COME DY

‘Brexit secretaries are like Spinal Tap drummers’ Nish Kumar might feel ambivalent about his status as a political commentator, but his work has helped people laugh away their anxiety on the future of Britain. He tells Brian Donaldson that his next move is up for grabs

longside the rest of the country, it’s fair to say that Nish Kumar is pretty fed up talking about Brexit. Though in his case, the main reason that discussing the B word with It’s in Your Nature to Destroy Yourselves has got him down is the lack of rewriting he had to do over the show’s year-long tour. ‘People kept saying to me that I’d have to rewrite it heavily, but there have only been superficial changes over the course of the year,’ he states ahead of the show’s final dates, which will be performed at the Fringe, where it all started a year ago. ‘There’s been a bit of shuffling of the pack, but beyond that, fuck all has changed. Theresa May is no longer prime minister while the Brexit secretaries are like Spinal Tap drummers: I don’t even learn the names of new ones because there’s no point. Fundamentally we have not progressed with Brexit.’ It might seem like a world away now, but Kumar arrived on the Fringe with shows that explored issues of identity and social mores in the UK, but which also dipped into his often awkward relationship with pop culture. There was the story of how he inadvertently went to see the sex-addict movie Shame with his dad or the one where he made a fool of himself at a David Bowie gig. The issue of Brexit, though, focused his mind firmly on political matters. ‘I’ve always been politically engaged, but I struggled to make that fully work. It was always easier to explore issues of race through personal stories, but the politics started to creep in because I felt I finally had an angle on it, and it has slowly taken over the show.’ With his activity on Twitter often marked with a political highlighter and being the host of BBC satirical show The Mash Report (due to return in September), the inevitable invitations to appear on Question Time rolled in. ‘Things have certainly taken a turn on that front because I don’t think I ever thought I would have done Question Time. In the live show, you’ll see that I have a deep ambivalence about my current status as political commentator. I’m doing all this with some discomfort. Which is probably fine because if I was in a situation where I genuinely thought I deserved to be on Question Time, then I’d be a psychopath.’ Even the material of It’s in Your Nature to Destroy Yourselves that isn’t directly political still questions underlying societal structures, and movements that challenge the establishment. #MeToo crops up with a withering attack on public figures, particularly comedians such as Louis CK, who Kumar can’t help but feel let down by. ‘Obviously, it’s not been a great period of time for male comedians, and there’s a profound disappointment that you feel when you’ve admired someone who turns out to be a piece of shit,’ he notes. ‘There are more and more women in comedy at all levels and that emboldens people to speak out, and hopefully #MeToo and Time’s Up are positive things by creating a climate in which people can report incidents of assault or inappropriate behaviour. You have to believe that this is a turn for the better.’ As Kumar prepares to perform his current show for the final time, he’s set to take stock on what he does next in stand-up. ‘After a solid year, I’m not really thinking about the next one because I go straight into The Mash Report. I love doing stand-up and I can’t envisage a time when I don’t do it. Regardless of what else I’m doing, there’s something a bit freeing about doing stand-up. I would love the next show to be all about something like . . . crisps.’

Nish Kumar: It’s in Your Nature to Destroy Yourselves, Assembly George Square, 19–25 Aug, 9pm, £16–£18 (£15–£17). 14–26 Aug 2019 THE LIST FESTIVAL 45

Reviews | F EST I VA L COME DY

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PHOTO: IDIL SUKAN

DESIREE BURCH: DESIREE’S COMING EARLY! Absorbing tale of love, life and racial tropes ●●●●●

It’s 2018. Desiree Burch has just got out of a long-term relationship and she’s feeling a serious absence of dick. What else is there to do but attend Burning Man? In her new show, London-based American stand-up Burch weaves an almost mystical tale of her adventure in the Nevada desert with her best friend Dave and thousands of half-naked revellers, all the while on a mega acid trip. It’s an absorbing and surreal journey, but if you’ve seen Burch before, you’ll know that the story she tells is never the whole picture. Instead, it’s just a part of a multi-layered, complex show that takes on everything from eugenics and institutional discrimination to #MeToo and Michael Jackson. And naked boobs, of course; after all, it is Burning Man. Put all together, it makes for a moving and hilarious hour on politics, sexuality and pop culture. Through her previous stand-up (Unf*ckable) and theatre (Tar Baby), Burch has time and again proved herself to be a mesmerising, energetic performer, and this year once more she has the audience lapping up every single word. She is acutely aware of her role as an entertainer too, and the problematic nature of being a black stand-up performing to mostly white audiences every day. For instance, there’s a brilliant take-down of the ‘magical negro’ trope (the black character that exists purely to further the main white character’s arc) in The Green Mile. It has tonight’s sold-out crowd in stitches, but as the image comes up again and again, it takes on a greater poignancy. Ultimately, Desiree’s Coming Early! is a great story, one that’s big on laughs but leaves you questioning the role you play in her narrative too. (Yasmin Sulaiman) n Heroes @ The Hive, until 25 Aug (not 20), 7.40pm, £10 (£7) or donations at the venue.

PHOTO: EDWARD MOORE

MOON: WE CANNOT GET OUT

Duo’s sinister set-ups sadly slip away ●●●●●

ADITI MITTAL: MOTHER OF INVENTION

Like Noble & Silver with boiler suits, the Moon boys are looking to mess with the double-act form. Producing neatly written and deftly performed minibits which play around with the idea of what a sketch can be is all well and good, but where their forebears were genuinely subversive, Jack Chisnall and Joshua Dolphin deliver a personable hour with the occasional strong idea. The conceit for We Cannot Get Out is that the room they’re operating in is playing tricks on them, leading to some dark exchanges. The notion is well set-up and there are successful sketches such as the flaws in cryogenically freezing a war hero or the man who questions how a car showroom can possibly work, both of which have a creepy menace within their inherent silliness. But the mysterious atmosphere which has been cultivated fades away by the end, the pair totally switching off from the unhinged stage selves that had been threatening to topple over into an apocalyptic oblivion minutes earlier. Now off the clock, they calmly thank us for our attendance and politely request we chuck some money into the charity bucket outside. Talk about breaking the spell. (Brian Donaldson) n Pleasance Courtyard, until 25 Aug, 9.30pm, £8.50–£10.50 (£7.50–£9.50).

Aditi Mittal is a thoroughly modern woman in a country that hasn’t caught up with her yet. If female comedians think it’s difficult in the UK, try being a woman on the Indian stand-up scene. It certainly helps that she has a fearless role model in her life, a 5ft 4in not-to-be-messed-with mother; biologically, she’s actually her aunt who, despite being a single woman of 31, took Mittal and her brother in after their birth mother died. Mittal is a fearsome storyteller blessed with a wonderful turn of phrase as she relates ‘awkward’ gigs where she’s endured a variety of reactions from being spat on to being arrested. Happily, this is countered by her experience of all-female crowds that joyously turn out not to be the hard-to-crack audiences they first appear. For an outsider it’s an incredible insight into Indian culture and a valuable reminder that feminism has a very long way to go. Some of the truly shocking anecdotes are only slightly softened by Mittal’s ebullient, fast-paced style but she stills packs a powerful punch. (Marissa Burgess) n Assembly George Square, until 25 Aug, 5.30pm, £11–£12 (£10–£11).

Powerful hour about India’s attitudes to women ●●●●●

JIM CAMPBELL: BEEF

Central question left hanging in spot-on show ●●●●● If you had the chance to live your life again, with the benefit of all your current experience, how would you do it differently? That’s the question Jim Campbell asks in Beef, an hour-long show about daydreaming, relationship breakdowns, dogs and curses. Campbell has had a turbulent couple of years, with an engagement ring for sale (a joke recycled from his last show, Trampoline), but now he’s through the worst of it and processing the emotional aftermath. This is a spot-on stand-up show, with the oneliners coming thick and fast. He’s particularly good on his family’s curse and he has some original jokes on his break-up, a general area which is somewhat hackneyed on the comedy scene. Some cultural references fall flat for a multinational audience, and he never does quite answer the question posed at the show’s outset of how he would live his life differently. At times, the show feels like a therapy session, but the laughs just about outweigh the sadness. Campbell is at his strongest when he’s looking outwards rather than inwards, and it will be rewarding to see him build on this. (Lauren McKay) n Just the Tonic at The Caves, until 24 Aug, 5.20pm, £5–£6 in advance or donations at the venue. 14–26 Aug 2019 THE LIST FESTIVAL 47

F EST I VA L COM E DY | Reviews

PHOTO: IDIL SUKAN

CIARAN DOWD: PADRE RODOLFO

Fine follow-up from last year’s Best Newcomer victor ●●●●● That lover, fighter and ‘writer of dogshit poems’ is back after his puppet master, Ciarán Dowd, sauntered out of town with last year’s Edinburgh Comedy Award Best Newcomer gong for a maiden voyage aboard the good ship Rodolfo. Now, the Don is back with that ropey Spanish accent (enabled with just the right amount of subtly Irish inflection) and a plot that you can really just forget in favour of rank silliness and swashbuckling chaos that ensues over 60 minutes. The flimsy narrative which ultimately gets in the way of juicy delivery and icky puns now has Rodolfo in the priesthood and battling the devil at every turn as he attempts to sate his ardour in the form of a comely nun. The devil himself makes an appearance, initially audibly (as the Padre and Lucifer attempt to end a conversation like two lovers looking for the other one to hang up first) but then made flesh. And later he careers into our orbit via some less than subtle references to The Exorcist. A more palatable character is the owl who tries to keep Rodolfo updated on happenings down the Vatican, but the Pope’s message can’t be delivered due to the owl’s inability to remember crucial details. As the daft plot spirals to a conclusion, there’s a genuine jump scare and a deadly fight to the finish with Beelzebub himself. But for all the mugging and special effects (a wheel of cheese brings untold doom to proceedings), the show lives or dies on Padre Rodolfo. And having earned the confidence that a big award can bring, Dowd has followed up his Don debut with another eyelinerheavy portrayal of this Lothario rubbing up against evil incarnate. When it comes to convincing character comedy strung across one full hour, as George Michael insists in song prior to the show, you gotta have faith. (Brian Donaldson) n Pleasance Courtyard, until 25 Aug (not 14), 9.45pm, £9–£12 (£8–£11).

PHOTO: STEVE ULLATHORNE

ASHLEY STORRIE: HYSTERICAL

BASIL BRUSH: UNLEASHED

ORLANDO BAXTER: FINDING MARIAH

Bantering with the crowd as they stream through the door, Ashley Storrie is quick to build a rapport, getting the laughs flowing before the show even begins. Hysterical is a one-hour set which reflects on depression, autism, dating and Beauty and the Beast, all of which has the audience hanging on Storrie’s every word. The comic isn’t afraid to talk about the difficulties she’s had in the past, telling the gathering how she spent the ten years before becoming a stand-up doing absolutely nothing. Storrie makes light work of it, though, cracking jokes left, right and centre, peppered throughout with witty side-notes as she gets distracted by some of the intrusive thoughts that make up a significant portion of the set. A warm and engaging storyteller, Storrie doesn’t shy away from controversial topics (or a bit of colourful language), and her frankness is truly refreshing; never more so than when she tells the story behind her decision to become a stand-up. Storrie is celebrating her fifth or sixth year (she can’t quite remember) at the Fringe, but with a performance like this, there’s no doubt that she’ll be a sell-out act for many more to come. (Lauren McKay) n Laughing Horse @ The Counting House, until 25 Aug, 5.30pm, donations at the venue.

Neither fish nor fowl, foxy Basil Brush is clearly too established to be considered for any of the Edinburgh Comedy Awards but hasn’t enough Fringe experience under his belt to be dubbed a veteran. All this despite being in the biz since 1963. He has clearly learned a thing or two down the years, and succeeds almost effortlessly in creating a cheeky rapport with guests, sidekicks and audience members. It’s hard to take too much offence when you’re being insulted by a bit of soft material (spoiler alert: Baz isn’t a real fox). Tonight, stand-up Suzi Ruffell joins ‘Mr Martin’ (Martin Cabble-Reid) for a bit of awkward sofa banter while Hugh Bonneville joins us on a video link to gamely play along with the constructed ruse. The ‘news review’ section engenders few laughs while there’s saucy wordplay around Arthur’s Seat and upkilting. The highlight is some horseplay with contestants when Basil is forced to deny that someone is operating him from underneath his desk. A nostalgic trip for many (there’s a plethora of silver foxes in this crowd), this adds a little bit of diverting Fringe fun for those who don’t like to be especially challenged. (Brian Donaldson) n Underbelly Bristo Square, until 25 Aug, 6.45pm, £12–£13 (£11–£12).

Of all the bad life choices made by Orlando Baxter’s mum, surely the worst was her decision to shack up with Willy in the first place. Willy, as we discover in this wonderfully engaging monologue, is Baxter’s biological father and prime candidate for America’s ‘most dysfunctional dad’. Having planted his seed, he disappears for ten years until making a sudden, brief reappearance to reconnect with his son. It sounds like Willy’s finally doing the right thing, or would be had he not proceeded to screw up his re-entry big time. In Baxter’s telling, decades after the event, it becomes a painfully funny story, which tells you something about the therapeutic power of comedy. Come the end, the audience is well and truly hooked by this charismatic performer. As the story unfolds we hear of possible sisters, though none resembling Mariah Carey which in Willy’s deluded mind means that they can’t possibly be his progeny. Before long he’s claiming the credit for his kids’ success, and by the end, you’re left wondering if that decision by Baxter’s mum wasn’t so awful after all. The world and this year’s Fringe would be much poorer without Orlando Baxter and this story. (Tom Bruce-Gardyne) n The Stand 2, until 24 Aug, 5.05pm, £10 (£9).

Colourful and controversial routines ●●●●●

48 THE LIST FESTIVAL 14–26 Aug 2019

An amble down memory lane for fans of the fantastic fox ●●●●●

Purging hour about dysfunctional parenting ●●●●●

13 shows 6 venues

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18:30 12:30 14 AUG 03 -- 25 27 AUG

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9.40PM (10.40PM) 1 - 25 AUGUST 2019

F EST I VA L COM E DY | Reviews

PHOTO: MATT CROCKETT

SEAN MORLEY: SOON I WILL BE DEAD AND MY BONES WILL BE FREE TO WREAK HAVOC UPON THE EARTH ONCE MORE Ambitious and creative absurdist set ●●●●●

Sean Morley’s opening ‘joke’ is worth the admission price alone. It’s a sprawling, high-concept fantasy featuring a prank-loving king, several demons and an essential element of audience participation. Morley is present in real life and through prerecorded voiceover, where he lends his lyrical skills to describing the landscape. He has the audience completely keeled over as the scene – somewhere between The Mighty Boosh and Tolkien – plays out. What follows is equally unpredictable, with the comic reinventing himself as a mischievous talkshow host interrogating audience members with the big questions of our time. In the hands of a lesser comedian, this bit would have the potential to collapse but Morley directs the section with intellect and wit. This is a delightfully ambitious, endlessly creative hour of lo-fi comedy, which covers fear, selfacceptance and trust. Find what you need to find, but prepare to laugh very hard indeed. (Craig Angus) n Heroes @ The Hive, until 25 Aug (not 21), 3.20pm, £5 in advance or donations at the venue.

ROSS SMITH: CRYING / SHAME

MOTHER

Ross Smith has a problem with letting it all out. Tears don’t come easily to him; indeed he’s unable to recall the last time he cried. Even when a core member of his family is close to death, the only dry eye in the house belongs to him. Down the other end, he has a ‘shy bladder’ which leads him to race for an unpopulated cubicle whenever nature calls on a night out. A row of urinals can then become the backdrop to a battle of wills that he knows he will never win. After a debut show last year about him taking a leap into the unknown (replacing another Ross Smith on a lads’ holiday abroad), he’s not sure that many people are especially inclined to exit their comfort zone. Indeed, he was quite content to avoid doing the Fringe this year and stick to an easy life. That he did return will hopefully reap some benefits down the line. Ross Smith is a terrific jokewriter and amiable company for an hour. Whether he is able to crank it up a notch, get out of his own comfort zone and reach for the next level is up for conjecture. (Brian Donaldson) n Just the Tonic at The Tron, until 25 Aug, 1pm, £5 in advance or donations at the venue.

Mother is a slick London sketch duo made up of Laura Curnick and Jack Mosedale, friends that met at an improv class, as one skit handily explains. Dressed in a Björk t-shirt (her) and Celine Dion top (him), they present a conveyor belt of characters, starting with two annoying female telly presenters who blame women for . . . most things apparently, while flashing terrifying grins. Later a male feminist reads his poetry at an open-mic night, revealing unsavoury views on women much to the host’s horror, and there’s a song about getting overexcited about wearing lanyards. It’s fun, daft stuff with camp shout-outs to Cher and Donna Summer alongside lots of corpsing and chemistry between the pair. When they’re not ‘Mothering’ it up together, Mosedale does a ‘gay time travel’ podcast called The Hole Seekers and Curnick is an actor – good training for their scene about a performer interfering in a Chekhov translation. Although some scenes don’t quite take off, the one about surreal London train station names offers a flashback to Alan Partridge’s horse-racing commentary, and the finale is fabulous. (Claire Sawers) n Gilded Balloon Teviot, until 26 Aug (not 14), 10.15pm, £10.50–£11.50 (£9.50–£10.50).

An emotionally stunted man with gags to die for ●●●●●

PHOTO: THE OTHER RICHARD

50 THE LIST FESTIVAL 14–26 Aug 2019

Daft skits and chemistry to burn ●●●●●

AHIR SHAH: DOTS

Just another hour of intelligence, ideas and jokes ●●●●● As a refresher course for Ahir Shah devotees, he kicks off Dots with the familiar routine about the culture clash of his voice and skin colour. It hits the mark as usual, but today there’s an extra resonance because Shah is suffering badly from a sore throat, his vocal cords sounding as though they are about to snap at any second. Fresh top-ups of water are called for on several occasions during the hour, but despite such a clear impediment, this is quite simply another blistering Fringe set from one of the country’s true rising stand-up stars. Dots tackles another cross-section of overarching ideas and personal incidents which bash against each other causing several layers of friction between politics, history, censorship, religion and society as Shah continues to seek nothing less than the meaning of existence. But with jokes. And plenty of them. He rails against the Twitterati’s insistence that everyone must have a fully formed opinion on everything at all times, when it should be perfectly OK to sit out the odd argument now and again. Shah is amused and amazed that ‘person of colour’ is an acceptable phrase now, the meeting which gave the thumbs-up to that particular ‘c’ word was clearly convened without his knowledge. As the world threatens to implode, Shah is trying hard to better himself; he’s been on and off anti-depressants in the last year while his trips to the gym have proved to be disappointingly positive occurrences. With two Edinburgh Comedy Award nominations in a row having made their way to him, few would bet against this year being marked by a hat-trick of shortlistings. For passion, intelligence and gag-writing expertise, Ahir Shah is positioned permanently on the winner’s podium. (Brian Donaldson) n Monkey Barrel, until 25 Aug, 1.45pm, £7–£8 in advance or donations at the venue.

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COURTNEY PAUROSO: GUTTERPLUM

A jarring and difficult hour of top clowning ●●●●● Not sure what they’re putting in the water over in America (though no doubt their president would have some wild theories), but the alt-clowning industry is positively thriving. When Doctor Brown found major critical and box-office success (and an Edinburgh Comedy Award) on the Fringe, it suggested that sketch and stand-up might be pushed all the way in the search for the number one Fringe comedy form. Natalie Palamides followed in his bendy footsteps, and now Courtney Pauroso is in town to inflict more nightmares on the unsuspecting Edinburgh public. And in particular on the one person who is roped into a long-running plot device which brings a whole new meaning to audience participation. Starting off on a large ergonomic balance ball, Pauroso takes on the character of an awkward youth who is in hot pursuit of a new pal. From out of the darkness, she plucks Dan, a guy whose vague reluctance to get involved threatens to derail the gig, but he pulls it together in time to make some valuable contributions. A game of leapfrog is followed by a slice of intense piggyback action. From there we enter darker territory as Pauroso disappears behind the curtain and returns in the guise of a far more predatory character. What she has in mind becomes quickly clear while Dan has further skin in the game with their ‘relationship’ being taken to the next level. Without giving too much away, the pair are on a journey through life with Pauroso not afraid to expose herself to the world (physically and otherwise) and her gifted performance and subtle improvised skills keeping proceedings on track. The ending is a moving farewell, with the familiar TV theme-tune end-music a deliberately jarring choice which heightens the sense of conflict and contradiction that we have just witnessed. (Brian Donaldson) n Underbelly Cowgate, until 25 Aug, 9.40pm, £11–£12 (£10–£11).

A hilarious hour that might leave you crosslegged ●●●●● The high-energy introduction to Tom Rosenthal’s latest Fringe offering suggests a man pulsating with confidence and radiating an unassailable sureness. Not so, insists the comedian and star of sitcoms Plebs and Friday Night Dinner, he’s actually a nervous wreck who can barely get himself on stage to face us. But by confronting his fears, Rosenthal brings out the best in himself and delivers a thoughtful and often hilarious take on a disturbing subject. At a very early age he was circumcised by his parents, despite not actually being Jewish. His joviality actually masks a lifelong trauma about this event and he’s sought solace in the words of everyone from a clever professor to a manic scientist. The result is a tech-heavy show (highlights include graphics of many blue penises and footage of him on Comedy Central’s Roast Battle as he tries to take on both Chris Ramsey and his own OCD) with many great lines and self-deprecation on a biblical scale. Tom Rosenthal has conducted an impressive amount of research for this show, but the many facts and figures are thankfully heightened by a man whose funny bones are perfectly intact. (Brian Donaldson) n Pleasance Courtyard, until 25 Aug, 6.30pm, £11.50– £14 (£10.50–£13).

PHOTO: JAMES DEACON

PHOTO: IDIL SUKAN

TOM ROSENTHAL: MANHOOD

STAND UP WITH JANINE HAROUNI: (PLEASE REMAIN SEATED) Accomplished and funny show about tolerance and acceptance ●●●●●

On one of the wettest days of the Fringe (a hotly contested title admittedly), Janine Harouni shows true grace in welcoming a continual stream of latecomers out of the rain, even when some trudge in after ten minutes of the show. That a number of the tardy folk happen to come from her New York hometown only adds to the general bonhomie she engenders. Clearly, it will take a lot to fluster Harouni (making her Fringe solo debut after previously appearing in sketch trio Muriel) which can possibly be attributed to the fact that she has come face to face with her own mortality. That story forms a large chunk of this excellent hour in which she paints extremely vivid pictures of her friends and family (even if her dad is a Trump supporter, he shows much more compassion towards the weak and vulnerable than the guy he voted for ever would), while confessing that she has a dark past as a member of the Young Republicans before college turned her all liberal. This very accomplished hour zips by and marks Janine Harouni out as a stand-up storyteller with the talent to go very far. (Brian Donaldson) n Pleasance Courtyard, until 25 Aug, 5.45pm, £10–£12 (£9–£11).

TOM WALKER: VERY VERY

Unreal props but solid mime laughs ●●●●● Dubbed ‘the unloved child of theatre and dance’, Tom Walker acknowledges that mime gets a bad rap. But that’s not going to stop him from dedicating his latest Fringe hour to this most reviled of artforms. However, Very Very is nothing like the mime show you think you know: there are no glass boxes involved, but there is an extremely graphic sex scene between Walker and a coat. It’s effectively the natural next step in mime art’s evolution, and he spins it off into some very absurd, very dark and very, very funny places. The sketches are all well-paced, and Walker’s physical dedication to each bit is truly a sight to behold: by the end of the show his t-shirt is entirely soaked through. Despite Very Very’s already tricky premise, he also takes the risk of pulling audience members up on stage with him, and manages each rogue element with aplomb. There’s talking involved too, thankfully, and Walker is an incredibly amiable presence, laughing bashfully after each sketch as if he, too, cannot believe he just mimed an extendable penis in front of a room of strangers. It’s safe to say that Tom Walker has broken through the glass box and expanded the art of mime to some new and extremely funny places. (Deborah Chu) n Assembly Roxy, until 25 Aug (not 14), 9.30pm, £9–£11 (£8–£10). 14–26 Aug 2019 THE LIST FESTIVAL 51

F EST I VA L COM E DY | Reviews

CATHERINE BOHART: LEMON

JOE SUTHERLAND: SOUR

PHIL ELLIS: AU REVOIR

Catherine Bohart begins by explaining that this year’s show is a rebuttal to one bigoted audience member who disliked her much-praised 2018 show, Immaculate. Determined to be even more overt about her sexuality this time around, the bulk of this hour is devoted to Bohart’s experiences as a bisexual woman, her embarrassingly sex-positive mother, lots of very frank sexual discussion, and abrupt digressions about the Teenage Mutant Ninja Turtles. Bohart frames the Fringe, and the arts in general, as a celebratory and exploratory platform for queerness and how it can exist beside the straight white male, heteronormative comedy bilge. After an hour of treating bisexuality like the totally normal thing that it is, reality kicks back in with a reminder of all the ways in which queerness is not accepted or even tolerated. This exquisitely plotted and executed hour from a beautifully self-assured performer ends on a downer, calculatedly denying the audience an expected comedic crescendo. At this point the seemingly disparate threads of the show reveal a bigger picture that connects the dots between artistic representation and the precarity of having a non-normative identity. (Suzanne Black) n Pleasance Courtyard, until 25 Aug, 6pm, £9–£11.50 (£8–£10.50).

Joe Sutherland makes a vain attempt at making himself seem uncultured, opening Sour with disparaging remarks about theatre and modern dance. We almost believe him but as the show progresses, it emerges as an intelligent, well thoughtout affair, even including a sufficient dollop of politics to assure us he knows exactly what’s going on. This year’s show (his third hour but first on the Free Fringe) dips back to tell of his slow coming out as gay in his native Coventry and jumps forwards again to include the Spice Girls reunion tour. As sharp as his cheekbones and as splendidly turned-out as his attire, the gags fly thick and fast. With a sardonically raised brow, Sutherland delivers rich, rounded descriptions of Ann Widdecombe (‘the ghost of a bag of pork’) and compares Victoria Beckham’s role in the Spice Girls to a triangle in an orchestra. Meanwhile, there are diversions into delightfully odd territory, where he relates his boyhood love of bashing the ground with a stick. Yet there’s still room too for poignant moments such as his school leavers’ book and the beguiling Peter, the friend left behind when he headed to London. Surely a star in the making. (Marissa Burgess) n Banshee Labyrinth, until 25 Aug, 10.10pm, donations at the venue.

Phil Ellis has always liked a good team around him. He helped make a kids’ show fun for the grownups as leader of Funz and Gamez, but even in his solo work he is rarely the only person onstage. For Au Revoir, Ruth E Cockburn plays the character of young Phil as a constantly running schoolboy, while Jacob Hawley is pretty much himself, appearing deliberately late just at the point where everything appears to be totally falling apart (another Ellis trait). The thrust of this show is that Ellis has finally decided to say goodbye to the Edinburgh Fringe, an arts arena which he no longer truly feels a part of. Whether he’s ‘doing a Gadsby’ and this will turn out to be a false finish remains to be seen, but for now he’s having to put up with criticism from his tech (who constantly warns him that he’s over-running). Au Revoir is a great excuse for him to show footage of his first-ever live performance, which he takes apart with glee. Nothing is ever what it seems in a Phil Ellis show and there are surprises and treats lurking in every nook and cranny. If this truly is adieu, then the Fringe will be far poorer without him. (Brian Donaldson) n Heroes @ The Hive, until 25 Aug, 6pm, £5 in advance or donations at the venue.

Beautifully executed hour on queerness ●●●●●

Gags aplenty in this poignant show ●●●●●

PHOTO: SAMUEL KIRKMAN

52 THE LIST FESTIVAL 14–26 Aug 2019

Another cunning hour from a master of the gleeful ●●●●●

CHILDREN OF THE QUORNTM

A silly and surreal hour from promising sketch duo ●●●●● Megan From HR are London-based comedy duo Ambika Mod and Andrew Shires, formerly stars of the Durham Revue when they won the Derek Award for Best Sketch Show at the Fringe. Their first full-length affair as a pairing is a surreal and absurd hour of sketch comedy, featuring a séance, slapstick moments, high energy and plenty of put-downs, both of the audience and of themselves. Children of the Quorn starts at the end, as the pair open by tidying the stage and discussing what a great show they’ve had, making reference to the aforementioned spooky ritual and their successful raising of the dead. As they rewind to the beginning in order to explain the blood-stained clothing, devil horns and bits of paper strewn across the stage, we’re taken through a series of bizarre and nonsensical sketches, most of which don’t actually connect in any way to the séance but are made all the more comical by their randomness. While the point of Children of the Quorn is undoubtedly to be as silly as possible, it would have been more effective to have some gags that link directly to the séance itself, as opposed to fleeting mentions, to give more impact to the final twist. That climax is a clever addition overall but had a few of the sketches been a bit tighter, the duo could have had even more fun messing with their crowd. Nevertheless, their recurring jokes (including those about the audience misunderstanding historical events, and unnecessary explanations at the end of sketches) keep Children of the Quorn moving along at a madcap but humorous pace. Thanks to their general rapport and ability to bounce off one another, Megan From HR offer a show that will not change your life but may just take you out of this world for a bit. (Arusa Qureshi) n Just the Tonic at La Belle Angele, until 25 Aug, 3.30pm, £5 in advance or donations at the venue.

CtheFestival Elegy

Ralf Wetzel (Belgium)

Holy Land 14 – 26 Aug 17:35

Absolutely Reliable! C aquila

THSGD Production (Australia)

Arguing On-Air 1 – 26 Aug 16:45

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Shakespeare For Kids

31 Jul – 26 Aug 11:20 C viva

1 – 25 Aug 22:00

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Skylar MacDonald’s Fact Machine 1 - 17 Aug 20:00

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Liam Whitney (New Zealand)

Shadow

14–26 Aug 19:25

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Mark Bunyan

Mark Bunyan: Forty Years Out 1 - 26 Aug 19:05

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Irene Possetto

Isabelle

18 - 26 Aug 17:35

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Shakespeare Up Late 1 – 26 Aug 21:00

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Choin Theatre (Korea)

9 – 26 Aug 14:00

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1 – 26 Aug 18:55

Hair of the Wild

Wet

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With more than 100 shows and events across our venues in the heart of Edinburgh, we celebrate our 28th Fringe with an inspiring international programme of cabaret, comedy, circus, dance, musicals, theatre and family shows. See it all with C venues.

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Reviews | F EST I VA L COME DY

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MAISIE ADAM: HANG FIRE

Pleasing follow-up to her Best Newcomer nominated show ●●●●● Maisie Adam has a priceless idea for her second show and she doesn’t even need to make it up. And that’s where the description of her new hour needs to end for fear of giving it away. Adam’s show overall is about making a mistake, doing something wrong but owning up to it, then saying you’re sorry. There are famous examples dangling from a washing line: remember when Hugh Grant got caught in a compromising position in a car on Sunset Boulevard with a sex worker? Or Mick Jagger’s weed arrest that also revealed what he was doing with a Mars Bar at the time? Adam shares her own lie, one she strung out a little bit too long and therefore got into more trouble than she would have been had she ‘owned it’. Of course, this should be echoing at the moment with anyone who has eyes and ears, and Adam briefly touches on the wider political picture featuring two Western leaders who favour the blanket denial of something that they did or said when footage actually exists of them saying or doing those things. In some ways it’s a shame she doesn’t take this further, but then it’s not really their story. Adam won So You Think You’re Funny? in 2017, scooped the Amused Moose Award last year, and received an Edinburgh Comedy Award Best Newcomer nomination for her 2018 debut show. Hang Fire is a thoroughly respectable follow-up. It possesses a fantastic hook that many can only dream of and Adam has an easy presence on stage, throwing out punchlines like she’s been doing it all her life. They might not all be at the belly-laugh level but Maisie Adam is still a pleasure to spend an hour with. (Marissa Burgess) n Gilded Balloon Teviot, until 26 Aug, 5pm, £10.50–£11.50 (£9.50– £10.50).

PHOTO: PIERS ALLARDYCE

SOPHIE DUKER: VENUS

TOM BALLARD: ENOUGH

PHIL CORNWELL: ALACKADADDY

That toe-curling notion of the ‘white saviour’ is thoroughly taken apart by Sophie Duker in the conclusion to her confident Fringe debut, Venus. Images of a Caucasian abroad handling cute black babies is one thing. When they include him photobombing a child pawing at their mother’s breast is another. That the pictures are used as part of this person’s Tinder profile catapults matters way beyond any sense of reason. Duker neatly satirises this tawdry display during an hour in which she lays into racist and patriarchal archetypes, and finds heroes in the unlikeliest of places. Among the black icons she attaches herself to are Spencer, the painter from Balamory, and Skin Diamond, formerly one of the most influential women in the porn industry. But there’s a twist to be had there that should drop lots of jaws. Venus is all about Duker owning her own story, and refusing to be patronised, fetishised or marginalised in a Western society that has been built on such foundations. But Duker has also woven dozens of punchlines into the show and her chatty banter reveals a comic at ease with herself and confident of her burgeoning status in stand-up. (Brian Donaldson) n Pleasance Courtyard, until 25 Aug (not 14), 7pm, £7–£9 (£6.50–£8).

Billed unashamedly as ‘political stand-up’, this might suggest that Tom Ballard is about to serve us yet another slice of Trump-Brexit pie. But fear not, for the Australian has bigger things on his mind such as capitalism, baby boomers, Uber Eats, gay saunas and getting his arse waxed. Naturally, there’s a bit of Aussie politics to begin with, and we learn about ScoMo, the country’s prime minister and answer to BoJo. He engages in some front-row banter, throws in a few easy jokes and then we’re off. Soon Ballard is going full throttle in a joyous, motormouthed rant that he somehow sustains right to the end. His beef is the system that grinds us down and traps us in jobs we hate: well, 80% of us apparently. If that sounds like grim material, it’s not when it’s in the hands of this seasoned pro who urges us to bring on the revolution and embrace Dolly Parton and her scathing anti-capitalist hymn, ‘9 to 5’. Ballard was living the dream hosting a nightly political satire on Australian TV until it was axed last year. Now he’s free but not quite so well-paid, as he reminds us every now and then by rattling his donations bucket. (Tom Bruce-Gardyne) n Monkey Barrel, until 25 Aug, 9pm, £7–£10 (£6–£9) in advance or donations at the venue.

Comedian, actor and impressionist Phil Cornwell is a familiar face (and voice) thanks to his work on Spitting Image, Dead Ringers and cult sitcom Stella Street. In this Fringe show, he plays ‘altered ego’ Robert Lemon Alackadaddy, a booze-soaked sad sack battling demons from his past and voices in his head. It’s not a million miles away from his wonderfully pathetic Alan Partridge character, DJ Dave Clifton. From the start, Cornwell’s crowd are unmistakably unsure about Alackaddady, a creation whose freewheeling thoughts enter the world without profundity or humour. ‘We are all in this together,’ he warns, although it’s never certain where we’re meant to be or why. While swigging from a vodka bottle, he recounts his fantasy encounters with Isambard Kingdom Brunel, Alexander Graham Bell and Alan Titchmarsh, as nary a snigger punctures the void. Walk-outs become so numerous that he weaves them into the narrative. For a time, it seems that a twist might be about to turn things around and make sense of this nonsense. But it never comes. On TV, Cornwell is a brilliant and funny performer but this is way beneath his talent. (Murray Robertson) n Underbelly Bristo Square, until 26 Aug, 4.15pm, £11–£12 (£10–£11).

Confident and classy debut ●●●●●

Motormouth goes for the jugular in heavily political show ●●●●●

Crushingly bad hour from usually brilliant performer ●●●●●

14–26 Aug 2019 THE LIST FESTIVAL 55

F EST I VA L COM E DY | Reviews

JACOB HAWLEY: FALIRAKI

Sensitive and funny hour about love and tattoos ●●●●● In the BBC Sounds programme he presents about the current state of drug culture, young comic Jacob Hawley keeps his mind wide open to arguments across all sides of the debate. In Faliraki, his second Fringe hour after last year’s acclaimed Howl, he hopes that audiences will be of a similarly welcoming disposition as he takes on a variety of subjects. Kicking off with a quick straw poll of those who’ve had tattoos that they ultimately regretted, he talks of his own experience of the body-art industry. Boxing, feminism, mental health, social mobility, the very different way that people booked holidays in the not-so distant past, hip hop artists who say the wrong thing, and folk who consume crack cocaine on the night-bus are all engaged with in this constantly entertaining and often thought-provoking set. Love is at the heart of this affair, though, with two key relationships forming the main narrative thrust. Language barriers (and an appalling act of betrayal) caused some difficulties with the holiday relationship which inspired the show’s title (‘Faliraki is a cheaper Ibiza’), while we hear of Hawley’s current partnership which seems embedded in a more solid foundation. Accepting one another’s idiosyncrasies keeps things ticking over and a trip to her Irish hometown opened up Hawley’s eyes to some unexpected realities. To his eternal credit, Hawley’s approach to veganism (his girlfriend follows a plant-based diet) deviates from the knee-jerk negativity which appears to be thriving among comics at this year’s Fringe, and leads to a finale which brings the show full circle and genuinely tugs on the emotions. With the comedy world at his feet, Jacob Hawley looks like making a serious impression on the Fringe with his sensitive and joke-busy hours. He’s already shaping up as a must-see staple in the years to come. (Brian Donaldson) n Just the Tonic at The Mash House, until 25 Aug, 5.15pm, £6 (£4) in advance or donations at the venue.

PHOTO: ANDY HOLLINGWORTH

THE DELIGHTFUL SAUSAGE: GINSTER’S PARADISE

NICK HELM: PHOENIX FROM THE FLAMES

ISMA ALMAS: ABOUT A BUOY

Fierce show but with added sensitivity ●●●●●

Fearless performer delivers a moving show ●●●●●

Bored of overpriced, non-entertaining entertainment? You should consider a holiday at Ginster’s, where Salmon Coats welcome you to play bingo and enter meat raffles. Dressed in matching pale-pink blazers, Amy Gledhill and Chris Cantrill are The Delightful Sausage, a dynamite double act from Yorkshire providing regular belly laughs through their smart Northern character comedy, partly set in a pub called The Cannon and Ball. But behind all the wide grins, unwanted sexual advances and passive aggressive instructions to chalet dwellers, all is not well. ‘Christopher Louise’ (the full title he gets onstage) is worried that it’s curtains for his comedy career, nicely noting that’s it’s not the best time to be a straight white man in the light entertainment industry. Meanwhile, Amy has been offered an opportunity to spread her wings and go solo with her ‘lady comedy’. This is solid comedy if you’re into funny nonsense of the Vic and Bob style, featuring mild seaside smut, beautiful Hull vowels and a terrifying kids mascot called Colonel Whippy, from a couple of very likeable prats with talent in spades. (Claire Sawers) n Monkey Barrel, until 25 Aug, noon, £5–£7 in advance or donations at the venue.

With a feather boa, gold hotpants and light-up trainers, Nick Helm makes a triumphant full-show return to Edinburgh after a six-year gap, featuring all the best elements of the comedian’s bombastic self but with added anger, unfortunate anecdotes and plenty of c-bombs thrown in for good measure. Helm takes aim at his own career with references to hit BBC show Uncle and the more recent Sky comedy The Reluctant Landlord, created by Romesh Ranganathan, who – as Helm bitterly reminds us – started after he did and is somehow still everywhere. His metal-inspired anthemic singalongs are very much present and excellent, and the accompanying slideshow of images provides fragments of hilarity as words like ‘penis’ and ‘cunt’ match up with images of the likes of Donald Trump and Boris Johnson. But Helm takes a step away from his brutal onstage persona to discuss more serious issues, including his own mental health and experiences with anxiety, selfloathing and different types of anti-depressants. It’s an unexpected but effective pivot, adding moments of self-analysis and sensitivity to an otherwise fierce and riotous hour. (Arusa Qureshi) n Pleasance Dome, until 24 Aug, 5.40pm, £12.50– £14 (£11.50–£13).

Life didn’t give Isma Almas the easiest option when it made her a gay Pakistani Muslim. But now she’s a little older, she’s content to be herself and is happily giving lots back with her social-worker career path and by adopting a child, picked specifically because of the shocking stats on adopting boys of African descent. Almas’ story is a moving one, and in parts she relates her tale with tears visibly welling in her eyes. She’s an incredibly warm performer, oozing likeability and easy charm. But she’s also not one to shy away from a tricky or uncomfortable topic either; when she first started to perform stand-up she would appear on stage in a burka. Here she revisits incidents of horrific racism from her own 70s childhood in Bradford where her teacher at school bullied her or the incident of outright bigotry on the NHS when she had her tonsils taken out. Nor is she afraid of a close-to-the-bone gag, such as when she compares adoption to a household task or examining whose culture is the best of all in the Indian sub-continent. A gently funny hour that is high on passion. (Marissa Burgess) n Gilded Balloon Teviot, until 26 Aug, 2.45pm, £8.50–£9.50 (£7.50–£8.50).

Solid and silly character fun ●●●●●

56 THE LIST FESTIVAL 14–26 Aug 2019

Reviews at a Glance | F EST I VA L COME DY

list.co.uk/festival

REVIEWS AT A GL ANCE AARON CHEN: PISS OFF (JUST KIDDING) ●●●●● Chen’s material isn’t ground-breaking in any particular way but the overall tone possesses a teasing and playful quality that’s continually self-conscious and knowing. Proving that there is some wonderfully evocative writing in here, he relates his discovery of stodgy ‘white people’s food’ with his first-generation Chinese dad making apple crumble for him based only on a wild guess at the recipe. (Marissa Burgess) Pleasance Courtyard, until 25 Aug, 10.45pm, £8.50–£10.50 (£7.50–£9.50). ANDREW WHITE: RETIREMENT TOUR ●●●●● Only 19, White is officially done with stand-up. His offer-letter to Cardiff Uni sits just to the right of the stage, a constant reminder that this really is his Retirement Tour (or is it?). Less capable hands might have struggled with topics such as living with dysthymia, growing up gay in a conservative rural village, or the emotional toll of unsuccessful gigs, but White interweaves them with the welltimed use of visual aids. (Sofia Matias) Just the Tonic at The Mash House, until 25 Aug, 1.05pm, £5 in advance or donations at the venue.

ANGE LAVOIPIERRE: FINAL FORM ●●●●● We’re all multiple different people to other multiple different people: friends, family, colleagues and lovers. That’s the premise of Lavoipierre’s Edinburgh debut, and although it’s an interesting concept, the execution leaves a little to be desired. Lavoipierre is clearly a woman of many talents, from journalist to cellist, but you get the feeling that she doesn’t yet know what her comedy style should be. (Lauren McKay) Underbelly George Square, until 26 Aug (not 14), 10.40pm, £9–£10 (£8–£9). BEC HILL: I’LL BE BEC ●●●●● Hill is an Australian comedian posing as a time traveller, giving advice to her audience and also her less confident past self on how to avoid climate disaster, do memorable stand-up and not become part of the 1% evil elite. Not all the jokes make it into orbit and some of the wordplay gets a bit out of hand, but her pop-culture references and range of DIY gadgets should keep sci-fi nerds entertained. (Claire Sawers) Pleasance Dome, until 25 Aug, 5.40pm, £8–£10 (£7–£9). CARL DONNELLY: SHALL WE ALL JUST KILL OURSELVES? ●●●●● As yelping seagulls and passing

performers in underwear accidentally distract from his show, Donnelly works it all into his set, looking relaxed as he updates us on his personal journey. He’s spoken openly in the past about phases of bad mental health and is interested in other people’s modernday coping mechanisms. Hypocrisy, worthiness, optimism and being bleak blend together in a warm, open hour. (Claire Sawers) Heroes @ The SpiegelYurt, until 25 Aug, £7 (£5) in advance or donations at the venue.

PHOTO: STEVE ULLATHORNE

For full length versions of these reviews, see list.co.uk/festival

CHRIS WASHINGTON: RACONTEUR ●●●●● This expostman from Wigan brings no identity crisis to the Fringe. He’s not brought a sob story, toxic rant or searing Brexit commentary either. In fact, the particular niche that the almost 30-yearold Washington is carving out, and very well too, is that of the down to earth, happy-with-his-lot comedian. (Claire Sawers) Pleasance Courtyard, until 25 Aug, 8.15pm, £9–£12 (£8–£11). DANIEL CONNELL: PIECE OF PISS ●●●●● This likeable Australian comic has been hanging out with his elderly neighbour of late and while he might hear some off-colour remarks, Connell is just too much of a gent to hang his new buddy out to dry. Instead we hear off-kilter tales of nervous flyers, a horse-ride that went wrong, and that overly-done, wellworn staple of stand-up, goat yoga . . . (Brian Donaldson) Underbelly Bristo Square, until 25 Aug, 8.10pm, £11–£12 (£9–£10.50). DAVID CALLAGHAN: DANCE LIKE NO ONE’S DAVID CALLAGHAN ●●●●● For all the material drawn from comic staples like stag dos, there is an equal amount inspired by less obvious sources, such as supermarket baking, and the best joke about a candle you’ll ever hear. Even the familiar joke fodder is given a welcome injection of inventiveness. This makes the pathos of the darker sections of the show all the more poignant, as Callaghan tempers silliness with sadness. (Suzanne Black) Just the Tonic at The Mash House, until 25 Aug, 11.55am, £5 in advance or donations at the venue.

DAVID CORREOS: BETTER THAN I WAS THE LAST TIME ●●●●● Last year, Correos did some astonishingly undignified things on stage, inspiring displays of devotion and walk-outs in equal doses. Despite trying to go for the happy medium, tonight’s show is a car crash, with almost half of it spent recalling the stunts that brought him notoriety. Correos could be a cult favourite, but before his next visit he needs to figure out what he actually wants to be.

Bec Hill

(Craig Angus) Gilded Balloon Patter Hoose, until 26 Aug, 10.15pm, £9–£10 (£8–£9). FLO & JOAN: BEFORE THE SCREAMING STARTS ●●●●● Flo & Joan have upgraded by bringing a drum kit with them this year, and their overall attitude has also had a facelift, with this show all about confidence. With a perfect blend of caustic wit and sheer nonsense, the Dempsey sisters reflect upon the recent Bros documentary, realising that one day their partnership too will end. (Deborah Chu) Assembly George Square Gardens, until 25 Aug, 6pm, £12–£13 (£11–£12). FLORA ANDERSON: ROMANTIC ●●●●● This is defiantly not a show about romantic love, insists Anderson, it’s all about the Romantic poets, and specifically the big three of Byron, Keats and Shelley. This trio are ideal for a game of Marry, Fuck, Kill, while neat analogies are made to Love Island and Titanic. An amiable enough show from a performer who has a burgeoning stage presence in a career that might well be one to watch. (Brian Donaldson) Underbelly Bristo Square, until 25 Aug, 3.10pm, £9–£10 (£8–£9).

GAVIN WEBSTER: BUDDHISM AND OTHER SUCH RUBBISH ●●●●● With such a provocative show title, you’d expect Fringe veteran Webster to be firing shots on all cylinders but, unfortunately, he doesn’t quite hit the mark. He doesn’t really

hate Buddhism, you see, or any of the other subjects he takes aim at, including veganism and women in the workplace, but the jokes about race and gender feel somewhat outdated and incendiary for the sake of it. (Lauren McKay) The Stand 2, until 25 Aug, 7.35pm, £10 (£9). GEORGE FOURACRES: GENTLEMON ●●●●● One third of sketch team Daphne, this chap from the Black Country delivers a show that tackles class, social mobility and the unwise decision to play a sweaty bunker in a tweed suit. He delivers most of the show all in his own voice and some in the broad dialect of his home region, while chucking in some entertaining characters along the way. (Brian Donaldson) Pleasance Courtyard, until 26 Aug (not 18), 3.30pm, £8.50–£10.50 (£7.50–£9.50). GEORGE RIGDEN: SPOONING WITH URI ●●●●● Rigden’s story seems stranger than fiction, a bizarre tale that’s disturbing, a little bit heartbreaking and, yes, very funny indeed. As a lonely and bullied teenager, he became an enthusiastic autograph hunter and in doing so struck up a correspondence with the self-described ‘telepathist, clairvoyant and mental bender’, Uri Geller. His old pal has got wind of the show and is sending what can only be described as self-centred messages of support. The plot continues to thicken. (Craig Angus) Just The Tonic at The Caves, until 25 Aug, 6.15pm, £5–£6 (£5) in advance or donations at the venue. 14–26 Aug 2019 THE LIST FESTIVAL 57

F EST I VA L COM E DY | Reviews at a Glance

REVIEWS AT A GL ANCE PHOTO: JIKSAW

JAMES MCNICHOLAS: THE BOXER ●●●●● McNicholas’ offering is a moving blend of stand-up and storytelling, though it doesn’t quite land all its punches. He begins in character as Terry, a bolshy lad from Paddington who moves to the US and becomes a boxing world champion. It’s a touching hour (and a personal revelation later in the show is particularly emotional) and with some refining of structure and dialogue, The Boxer could really ram its emotional message home. (Yasmin Sulaiman) Pleasance Courtyard, until 25 Aug (not 14), 4.15pm, £8–£10 (£7–£9).

Jake Lambert

GRANT BUSE: TOUCHE BUSE ●●●●● Inspired by Tim Minchin’s satirical brand of musical comedy, Busé packs in the charm and self-deprecation in this hour-long ode to when things go wrong in life. From being unlucky in love to confessing his professional woes, the wild-haired and animated comedian overshares a great deal with the audience, all with the intention of accentuating his all-important mantra; ‘it’s the blows that make the shows’. (Arusa Qureshi) Gilded Balloon Patter Hoose, until 26 Aug (not 14), 10pm, £10–£11 (£9–£10). HARRIET BRAINE: LES ADMIRABLES ●●●●● Previously combining stories about famous artists with unexpected popular songs, for this year Braine turns her attention to science, specifically some of the unsung (ha!) female inventors and practitioners from history. Her voice is stunning and her songwriting skills impressive, with the hour nicely constructed and easy on the ear. (Suzanne Black) Gilded Balloon at Old Tolbooth Market, until 25 Aug, 6pm, £6 in advance or donations at the venue. HELEN BAUER: LITTLE MISS BABY ANGEL FACE ●●●●● Bauer’s hour is so supremely confident that it’s hard to believe this is her first full-length Fringe show. There’s no filler to be found and she’s in total command of the room throughout a high-energy performance. The subject matter is light and goes down 58 THE LIST FESTIVAL 14–26 Aug 2019

confident manner, Lambert delivers an hour of perfectly fine Fringe comedy with glimpses of the mainstream stand-up powerhouse he might one day become. The show is essentially about the pitfalls of domestic life now that’s he’s shacked up with his girlfriend. By the end, we’ve arrived at call-back central, before which he has failed at small talk, poked at vegans, and revealed his dreams of a cowboy lifestyle. (Brian Donaldson) Pleasance Courtyard, until 25 Aug, 8.15pm, £7.50–£10 (£6.50–£9).

easy as she struggles to take life seriously and finds it difficult to have important conversations. (Craig Angus) Pleasance Courtyard, until 25 Aug (not 14), 6pm, £8–£10 (£7–£9).

IT TAKES THREE TO TANGO ●●●●● It might take three to tango but it would require a fair few more contributors to knock this into shape. Lottie, Amaya and Will have energy to burn, but these Footlighters have set themselves a near-impossible task of writing a show about a three-way relationship that needs to fix itself before they go into auditions for a new TV show. (Brian Donaldson) Underbelly Bristo Square, until 25 Aug, 2pm, £9–£10 (£8–£9). JACK GLEADOW: MR SATURDAY NIGHT ●●●●● The first 20 minutes of Gleadow’s show is a carefully choreographed shambles of video, song and dance featuring sustained banter with the audience and Barry, his hapless tech who keeps screwing things up. In this zany tribute to the TV giants who ruled 70s and 80s Saturday night family entertainment, the momentum dips in the final third, though he does manage to slip in a great gag about Tinder before the end. (Tom Bruce-Gardyne) Pleasance Courtyard, until 25 Aug, 5.45pm, £8–£10 (£7–£9). JAKE LAMBERT: NEVER MAK THE SAME MISTAK TWICE ●●●●● With his wide grin and

JAY LAFFERTY: JAMMY ●●●●● Working out where everyone is from and the salient details of a few individuals’ lives seems like typical crowd-warming banter but is instead one of the building blocks of this show about luck. Her carefully constructed elements come together into a convivial look at the forces of fortune as it pertains to pregnancy and childrearing. Lafferty’s warm demeanour vies with her Glaswegian cynicism to great effect. (Suzanne Black) Gilded Balloon Teviot, until 26 Aug (not 19), 6.30pm, £10–£11 (£9–£10). JOHN HASTINGS: 10 JOHN HASTINGS I HATE ABOUT YOU ●●●●● After hitting rock bottom in his personal life this year, what Hastings lacks in positive life experiences, he’s gained in quality stand-up material. From having to borrow money from his parents to being separated from his partner due to visa issues, Hasting mines such disasters in return for some schadenfreude-induced belly laughs. (Katharine Gemmell) Monkey Barrel, until 25 Aug, 9.30pm, £5 in advance or donations at the venue.

JOHN PENDAL: MONSTER ●●●●● Pendal serves up a highly emotional and chucklesome hour, exploring the power that guilt and shame can have over someone’s life. His show is formulaic, yes, but when you understand that it’s just part of his autistic traits, it makes sense. It could be easy to overlook Pendal’s gentle

and wholesome storytelling as a tad comedy-lite, but beneath the niceties is a message of radical self-acceptance and evolution. (Katharine Gemmell) Gilded Balloon Teviot, until 26 Aug (not 16, 23), 7.45pm, £10–£11 (£9–£10).

JOHN ROBINS: HOT SHAME ●●●●● Opening with a superb gag which instantly cements his candid credentials for the evening, Robins goes on to explain how he’s woke, sensitive and emotionally engaged. And so, when an innocuous Instagram post of his holiday to New York is challenged for its lack of diversity, he’s naturally incensed by the accusation. Throughout, he periodically walks stage left to his ‘Book of Shame’ from which he recounts embarrassing moments from his life; and these brief asides are unwaveringly hilarious. (Murray Robertson) Pleasance Courtyard, until 25 Aug, 7.30pm, £14–£15 (£13–£14). JON LONG: PLANET-KILLING MACHINE ●●●●● Have you ever had to explain to a group of old ladies what a dildo is? Well, Long has and in this musical comedy show, he delves into his bank of silly millennial anecdotes through the medium of a jovial sing-song. Sassy and selfdeprecating but with an unexpected edge, his set isn’t completely cohesive but it’s genuinely delightful and hints at a bright future. (Katharine Gemmell) Underbelly Bristo Square, until 26 Aug, 9.30pm, £10–£11 (£9–£10).

JONNY PELHAM: OFF LIMITS ●●●●● Pelham has previously mined his back story to talk about disability and dealing with parents who are therapists. This year brings a frank discussion of how childhood abuse has affected his adult life, from his relationships to daydreaming too much. Self-deprecating and prone to poking fun at himself he’s given himself a very difficult job with this show, which may have a saving grace in helping similarly affected members of the audience. (Suzanne Black) Just the Tonic at The Caves, until 25 Aug, 3.20pm, £5–£7.50 in advance or donations at the venue. JORDAN BROOKES: I’VE GOT NOTHING ●●●●● There’s no such thing as a conventional Jordan Brookes show, nor is there any such thing as a passive audience member. There’s a danger of giving too much away but just be assured that this is another exhilarating Brookes show. The theme is the imminent end of the world through a show of beautiful physicality, probing intelligence and unexpected laughter. (Marissa Burgess) Pleasance Courtyard, until 25 Aug, 9.30pm, £9–£11 (£8–£10).

31 JUL – 26 AUG 2019 (NOT 12 AUG) BIG YIN

22:30 60 MINS

14–26 Aug 2019 THE LIST FESTIVAL 59

LARISSA MORAN

THE SOUNDTRACK OF LIFE

‘BELLYWRENCHING LAUGHS’

BEST COMEDY PLAY

MOLIÈRE AWARD 2017

Le Figaro

‘A COMIC EXPLOSION’ Télérama

OIS BY PIERRE GUILL Le Monde Le Parisien

1.00 PM (75min)

31 Jul – 26 Aug www.pleasance.co.uk No performance 14 Aug 0131 556 6550

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60 THE LIST FESTIVAL 14–26 Aug 2019

Reviews at a Glance | F EST I VA L COME DY

list.co.uk/festival

REVIEWS AT A GL ANCE KEN CHENG: TO ALL THE RACISTS I’VE BLOCKED BEFORE ●●●●● Cheng has produced a show on racism, and it’s sad (and shocking for a white person) to learn how much abuse the British-Chinese comedian receives on a regular basis on Twitter. It’s a slick, finely plotted hour registering the differences in racists as well as the differences in racism. Matter of factly throwing out punchlines with dry wit, this is an important show that goes some way to dissecting our relationship with race in this country. (Marissa Burgess) Bedlam Theatre, until 25 Aug (not 14), 6.30pm, £10 (£8).

MARK NELSON: BREXIT WOUNDS ●●●●● Now identifying as middle-aged (he’s 38) and middleclass, Nelson continues to rail against the ills of the world, and recent years have gifted him much to bemoan. His skill at killer punchlines is as sharp as ever, focused by the ongoing disastrous Brexit process and the idiots nominally in charge. While he often goes off-topic – including an eye-wateringly candid and uproarious story about rogue sex toys – he always manages to bring things back to bear on his bête noire. (Murray Robertson) Gilded Balloon Teviot, until 25 Aug (not 19), 8pm, £12–£14.50 (£10).

LADYLIKES: TOP SECRET HOUSE PARTY! ●●●●● Peppy duo Ladylikes open their show by bouncing onto the stage before navigating the realities of life for young women in their late 20s / early 30s through a series of sketches set at different parties (Halloween, school reunion, office Christmas, New Year’s Eve). They’re at their strongest when they stray into more creative territory, as when two former rivals stress about their upcoming school reunion, or when two old friends get ready for a night out in their retirement home. (Lauren McKay) Just the Tonic at Marlin’s Wynd, until 25 Aug, 9.25pm, £8 in advance or donations at the venue.

SAM RUSSELL: PRIVILEGED TO BE HERE ●●●●● Russell starts the show by contemplating just how good he’s got it; he’s recently married to a corporate lawyer, he gets to do comedy for a living, all is well. But then one day he had a brush with death, and suddenly the title of his planned Fringe performance took on a double meaning for him. Unfortunately, this promised nuance doesn’t quite materialise, which is a shame as Russell is a genuinely funny comic. (Deborah Chu) Just the Tonic at The Mash House, until 25 Aug, 7.45pm, £8 in advance or donations at the venue.

LONDON HUGHES: TO CATCH A DICK ●●●●● Her 16+ rating is not to be taken lightly here. Between the frank discussions of her dating life, a foray into foot fetishism and some highly educational sex tips, the metaphorical dicks fly thick and fast, with the material X-rated in nature and A+ for quality. Hughes repeatedly tells the audience how funny and talented she is. This is not only a good strategy for dealing with the mountain of awfulness that comes her way for being a black woman in the world today, it’s also just true. (Suzanne Black) Pleasance Courtyard, until 25 Aug, 8.15pm, £9–£11 (£7.50–£9.50).

SUSIE MCCABE: DOMESTIC DISASTER ●●●●● Without much of an overarching thread, McCabe’s material loosely follows her theme of being deficient in the domestic sphere. This leads to an ending in which she shares her thoughts on contemporary feminism. Too many other comedians this Fringe have felt it necessary to comment upon the #MeToo movement without adding anything intelligent or insightful. McCabe provides a sanguine take on fourth wave feminism and concrete examples of how women can work to defeat sexism. And selfscanning machines. (Suzanne Black) Assembly George Square, until 25 Aug, 8pm, £9–£11 (£8–£10).

TIFF STEVENSON: MOTHER ●●●●● The title of the show relates to Stevenson’s own experience as a stepmother to a nine-year-old boy but also to the life that was expected of her as a teenager, when her dreams of becoming an actor or comedian or journalist were shut down for

SIMON BRODKIN: 100% SIMON BRODKIN ●●●●● Best known as cheeky / annoying character Lee Nelson and for his headline-grabbing pranks targeting Sepp Blatter, Theresa May and Donald Trump, Brodkin finally steps onto the stage as himself. Well, sort of. While the title suggests that he’s finally shed all traces of personae, it’s quite obvious that this is still an act. And while he talks of his Judaism and past career as a doctor, he’ll gladly throw veracity under the bus for a good joke. (Murray Robertson) Pleasance Courtyard, until 24 Aug, 9.30pm, £12 (£11). SIMON EVANS: DRESSING FOR DINNER ●●●●● Where’s this loud, posh man going with all his

being unrealistic. Controlling men bear the brunt of her ire, but Mother is also a damning indictment of Britain’s obsession with class. Very funny and righteous to boot. (Craig Angus) Monkey Barrel, until 25 Aug, 9.15pm, £10 in advance or donations at the venue. VLADIMIR MCTAVISH: 60 MINUTES TO SAVE THE WORLD ●●●●● McTavish (Paul Sneddon) is a mainstay of the Scottish comedy scene where his silver-topped spiky bonce can be seen all year round. His Fringe effort this time is a trawl through current affairs, ostensibly to try and find some solutions to the world’s ills. Climate change, Brexit, Scottish football and politics come under his perceptive but not entirely innovative scrutiny. Politically a left-fielder, he comes across as such a gentle soul, refusing to rely on shock and provocation for laughs. (Suzanne Black) The Stand’s New Town Theatre, until 25 Aug, 6.50pm, £10 (£9). VOLDEMORT AND THE TEENAGE HOGWARTS MUSICAL PARODY ●●●●● The Potter pound has not yet run dry and anything associated with the boy wizard will draw in the seemingly inexhaustible Potterheads. This production sets the action in 1942 when Tom Riddle is a hormonal teenager who has not yet become Voldemort or lost his nose and is a slick, light-hearted romp. (Suzanne Black) Assembly George Square Studios, until 25 Aug (not 14), 5pm, £13–£15. PHOTO: STEVE ULLATHORNE

LOLA AND JO: ESCAPE ●●●●● This acclaimed duo’s 2019 narrative is designed to capitalise on the immersive live experience of the escape room. ‘Leslie’ and ‘Jackie’ guide the audience (who are the escape-room contestants) as they search for the missing Lola and Jo. So far, so meta, and also a lot of fun. However, rather than provide a backdrop for their sketches, the frame overshadows them, rendering them the weakest links in this otherwise hilarious endeavour. (Suzanne Black) Assembly George Square, until 25 Aug (not 14), 4.15pm, £10–£11 (£9–£10).

SARA BARRON: ENEMIES CLOSER ●●●●● ‘They hate us’, says Barron to some of her American compatriots in the front row getting straight into transatlantic politics. It sets the tone for the hour. This is a show about judgement, both the loud, tribal kind and the internal monologue kind. Barron doesn’t stay in one place for long, making her point and mining it for laughs before moving swiftly onto a new targets such as reality TV, the ‘sexy baby voice’ and her grandmother. (Craig Angus) Pleasance Courtyard, until 25 Aug, 8.30pm, £10–£12 (£9–£11).

curmudgeonly observations about ‘non robust’ young people nowadays? Actually, despite his brusque style, it’s going somewhere very good, but his intricate storytelling technique is built around a few crucial surprises, so the less said about those, the better. As a stand-up comedian, he’s well placed to understand identity issues, he says, and makes well-informed points about bio-essentialism and homophobia. (Claire Sawers) Assembly George Square Studios, until 25 Aug, 8.15pm, £13–£14 (£12–£13).

Tiff Stevenson 14–26 Aug 2019 THE LIST FESTIVAL 61

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CANADA EDINBURGH FESTIVALS 2019

Canada returns to Edinburgh in 2019 with an array of artists, performers, comedians, musicians, writers and many others who will descend on the city. This year, the CanadaHub @ Edinburgh Fringe will feature five performances – showcasing some of the very best of Canada’s contemporary performance scene. From circus to music, to dance and literature and everything is between – there is something for everyone!

To see all that Canada offers, at the CanadaHub and beyond, check out The List’s dedicated Canada brochure or visit www.list.co.uk/canada

62 THE LIST FESTIVAL 14–26 Aug 2019

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DANCE & PHYSICAL THEATRE

FOR MORE INFO GO TO

LIST.CO.UK /FESTIVAL

RITE OF SPRING Chinese interpretation of the Stravinsky classic The Rite of Spring may be intrinsically linked with Russia, but tales of rebirth and renewal have their roots in cultures all over the world. Growing up in China’s Yunnan province, which borders Tibet, choreographer Yang Liping would dance at the ceremonial harvest each year. So although her new interpretation acknowledges versions that have gone before, the movement is inspired by her own life. A household name in her homeland, Liping is making her Edinburgh International Festival debut with this work in three parts. Stravinsky’s iconic score is the filling in a visually striking sandwich, with traditional Tibetan music by Chinese composer He Xuntian either side of it.

Liping worked with long-time collaborator, designer and artist Tip Yip on the show (best known for his Academy Award-winning designs for Crouching Tiger, Hidden Dragon) and to say their Rite of Spring is full would be an understatement. ‘There are a lot of different things that can be taken away from this show,’ says Liping. ‘But that will depend on the audience, because they’ll have different feelings about it afterwards. Some will like the dancing, some will like the stage design, some will respond to the religion and philosophy within it. So the audience will take away whatever they want to – but there’s an ocean of information in there.’ (Kelly Apter) ■ Festival Theatre, 22–24 Aug, 8pm, £15–£35.

14–26 Aug 2019 THE LIST FESTIVAL 63

F EST I VA L DA N C E | Hitlist

Kelly Apter selects the dance, physical theatre and circus highlights from week three of the festival HARD TO BE SOFT: A BELAST PRAYER One of the most interesting dancers and choreographers in the world today, Oona Doherty uses her reallife experience of living in Belfast from the age of ten to create this four-part dance inspired by the city. See feature at list.co.uk. Lyceum, 21, 24 Aug, 8pm; 22 & 23 Aug, 4pm, £20–£25. RITE OF SPRING Acclaimed Chinese choreographer Yang Liping brings her company, Peacock Contemporary Dance to the International Festival for this hugely visual, large-scale work. Fusing traditional music with Stravinsky’s legendary score, ideas of spring and sacrifice are explored through dynamic choreography. See preview, page 63. Festival Theatre, 22–24 Aug, 8pm, £15–£35. OCKHAM’S RAZOR: THIS TIME The wonderful Ockham’s Razor is

PHOTO: LUCA TRUFFARELLI

DANCE HITLIST back with another Fringe hit, this time it’s a multi-generational work about vulnerability and bravery. ‘Brave, thought-provoking and wonderful,’ said our critic. See review, page 66. Saint Stephen’s Theatre, until 25 Aug (not 20), 3pm, £16.50–£17.50 (£13.50–£15). ALI AND ALPO One of them is a Finnish contemporary dancer, the other plays the oud (a kind of lute), and together they create a captivating duet like no other. Largely because although Ali Alawad and Alpo Aaltokoski share the billing, only one of them is actually in the room. See review, page 65. Summerhall, until 25 Aug (not 19), 1.05pm, £10 (£8). ATOMIC SALOON SHOW Our critic was so bowled over by this riotous, Wild West-themed cabaretstyle circus show, he gave it five stars. Expect strong circus skills, potty-mouthed humour, dancing, juggling and everyone (cast included) having a good time. See review, page 66. Assembly George Square Gardens, until 25 Aug, 10.10pm, £16–£17 (£15–£18).

Hard to Be Soft: A Belfast Prayer

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PHOTO: DAN AUCANTE

PHOTO: CARL ARCHAMBAULT

ALI AND ALPO

KOMBINI

SUPER HUMAN

Soon after Ali Alawad and Alpo Aaltokoski begin to perform, you realise you are in the presence of two exceptional artists. Except we are not fully in the presence of one of them. Alawad is an asylum seeker from Iraq and, two weeks before the production’s premiere in 2017, his application for asylum in Finland was rejected and he fled to avoid forced repatriation. He appears here in video projection only, as in the original piece. Despite the sorrowful distance this creates, there is an unbreakable thread linking their performances, Aaltokoski dancing to Alawad’s oud playing and song, weaving in shades of dabke and flamenco. Alawad’s oud (a kind of lute) sings like a human voice. Before and in between his pieces, an ominous synthesised soundtrack rumbles and the lighting falls harsh and blue. Aaltokoski clutches his head, spinning, marooned. At the first mournful ripples of the oud, the light changes to warm suntones and his body opens like a flower. Dance culture tends to fetishise youth, and watching Ali and Alpo you realise what a shame that is. There is no substitute for the experience of an older dancer like Aaltokoski, which pours out like poetry. (Lucy Ribchester) n Summerhall, until 25 Aug (not 19), 1.05pm, £10 (£8).

Clowns are used to mortgaging their dignity for our entertainment, but Montreal’s Les Foutoukours have found a situation that even someone wearing striped pantaloons, a ruff and a red nose would balk at: performing at a child’s birthday party. It’s a neat piece of meta-clowning, allowing us to see clowns humiliated by dressing up as . . . clowns – just in even more garish and unflattering costumes than they were already wearing. Both Rémi Jacques and Jean-Félix Bélanger are trained in Russian clowning, which mixes tragi-comic notes into its farce. Both are natural performers, Bélanger at his best when puppy-eyed in shock or unleashing a torrent of pent-up rage, Jacques when hectoring the audience or gleeful at the thought of something forbidden. He has all the charm and horror of a recalcitrant toddler and is brilliant when trying to pin the blame for his mischief on a hapless crowd member, which then turns into a messy and climactic extravaganza. But shortly after this, the show starts to drag, and the build up to a doomed blind date has a long set up for a fleeting punchline. A snappier paring down would allow more concentrated laughs and pathos. (Lucy Ribchester) n Underbelly’s Circus Hub, until 24 Aug (not 20), 2pm, £12.50–£15 (£11.50–£14).

Choreographer Lene Boel, of Danish company Next Zone, has commandeered a handful of young urban male dancers – and only one female, alas – in order to focus on what the human body of the future might be able to do. It’s a workable premise for a watchable piece of street-style light entertainment, jazzed-up with lurid, attention-grabbing lighting. Displays of hip hop and related popular movement prompted by superhero behaviour is hardly new and, even at 45 minutes long, this show struggles to sustain that concept. Boel probably realises there’s only so much pumped-up razzmatazz that can be tolerated, so she has the cast trot through a typical day: commuting to work on public transport; partying hard afterwards; playing with devices. It’s familiar material, but the physical illustration of the clichés of contemporary city life lets some welcome air into the show. We see, too, that the dancers have a sense of humour about themselves. They are a genuinely talented group, although better individually than in the strait-jacketing routines. Still, it’s all here: popping, gyroscopic body spins, robotic motion and more. Recommended for street dance connoisseurs. (Donald Hutera) n ZOO Southside, until 17 Aug, 5.30pm, £14 (£12).

Exquisite Finnish dance and Iraqi music ●●●●●

Russian-style clowning from Montreal ●●●●●

Skilled street-style dancers in urban light entertainment ●●●●●

PHOTO: LAURENT CAHU

KNOT

Magnificent circus duet from performers Nikki and JD ●●●●● There are many different kinds of love all tangled up in the threads of this duet from circus performers Nikki Rummer and JD Broussé: romantic, erotic, filial, parental, platonic, professional. To say more than that about how the love-knots are unpicked would be to give too much of the game away. But this is a piece that will certainly challenge your perceptions of ordinary relationships and how one kind of relationship can nurture or smother another. The show is put together in the modish dance theatre style of casual deadpan monologues – delivered close enough to the mic to hear each breath and swallow – interspersed with dance. But both performers are endearingly candid enough to stop their patter from feeling like a gimmick. They are sweet and shy as they tell us how they met. Rummer lists an increasingly aggressive shopping list of what she looks for in a man; Broussé makes mumbling excuses for standing her up on an early date. The rapport they set up makes their later petulant assertions that they can live without the other wry and charming. And then there are their circus and dance passages. As expressions of love – trusting, soulful, bickering and sometimes declarations of open war – they are magnificently choreographed and blindingly performed, full of wisdom and wit, segueing seamlessly from expressive dance to awesome balances and drops. At one point Rummer climbs Broussé’s body like a spiral staircase, ending up on his head in a display of such intensity you feel as if they must be joined at the soul. Later, when this is gender-reversed almost entirely, it is a tremendous statement of equality and strength. Is there a word for the love an audience can feel towards two circus performers? If not, there ought to be. (Lucy Ribchester) n Assembly Roxy, until 25 Aug (not 20), 2.45pm, £12–£14. (£11–£13). 14–26 Aug 2019 THE LIST FESTIVAL 65

F EST I VA L DA N C E | Reviews

PHOTO: NIK MACKEY

OCKHAM’S RAZOR: THIS TIME

Testing the limits of body and soul in a multigenerational circus ●●●●● Usually when a circus performer is called brave, it means they have vaulted to the top of a tower of four people, or trotted blithely across the wheel of death. But here, in Saint Stephen’s Church, 60-year-old aerialist Lee Carter is standing at the edge of the stage, facing us straight on and telling us about what must surely be one of the most heartbreaking moments of her life. Before this, Ockham Razor’s co-artistic director Charlotte Mooney has talked candidly about the very un-sugar-coated world of new motherhood. And we have learned about the illness her partner, co-artistic director Alex Harvey, suffered as a baby, and about the hopes and dreams of 13-year-old Faith Fahy. Whatever tumbling, swinging, body-flipping, and risking of shoulders and backs by bearing the weight of each other they exhibit, the inner vulnerability each performer opens themselves up to by sharing intimate details of their lives is surely just as daring. There are continuations of the Ockham’s Razor style in this piece: custom built aerial equipment, the curious play with balance, gravity and rotation, the pensive human Newton’s cradles they build from their bodies. But This Time feels genuinely different. By showing us each performer’s body and different strengths, it posits that all feats are relative and invites us to appreciate that whatever we do to test our own limits is extraordinary. Harvey and Mooney shine in a whirling, tangling duet; a three-generational double trapeze is hypnotic, and the whole ensemble makes beautiful knotted cradles. But it’s when Carter picks up the densely-muscled Harvey and carries him across her back that is most breathtaking. Brave, thought-provoking and wonderful. (Lucy Ribchester) n Saint Stephen’s Theatre, until 25 Aug (not 20), 3pm, £16.50– £17.50 (£13.50–£15).

ATOMIC SALOON SHOW

BACKBONE

INTERBEING

Sexy and funny – or, depending on your point of view, crude and silly – is a pretty unbeatable combination, in comedy director extraordinaire Cal McCrystal’s outrageously raunchy cabaret/circus entertainment. Think Fringe classic La Clique revamped by Mel Brooks, director of Blazing Saddles, and you’ll have some idea of what’s in store. McCrystal’s predilection for naughty-minded, potty-mouthed humour is deployed full-throttle by a top-notch cast, headed by the eye-wettingly hilarious Petra Massey as a smoking-crotched Madam cum compere. From Colin Cahill’s dopey singing cowboy, and the sensationally fast and precise Irish dance and hand tap duo Peter Harding and Suzanne Cleary, to the delicious ping pong juggler known as Fofo as an unforgettable nun with balls, everyone in this ensemble is having a helluva good time. That includes dazzling circus performers like the awesomely built hand balancer Pavel Stankevic, or zesty pole artiste Alina Shpynova. On press night, the brawling line dance finale still needed finessing, but already the goofy, sex-positive spirit of McCrystal’s Vegas-bound joke-fest felt fully formed. In short, this show is a total blast. Yee-haw! (Donald Hutera) n Assembly George Square Gardens, until 25 Aug, 10.10pm, £16–£17 (£15–£18).

With so many circuses in town, it’s hard for them all to have something unique. This Australian troupe is in a league of its own in terms of the acrobats’ balletic teamwork and original routines. There are several stunning sections of powerful, synchronised tumbling, or bodies neatly crossing each other mid-air like precisely aimed life-sized paper airplanes, so it’s a pity they pad the action out with daft bursts of comedy. Metal buckets of soil are earnestly upturned on the gymnasts faces, or a knight in a suit of armour creaks across the stage, maybe to give the performers a few moments to catch their breath, but actually just detracting from the much more impressive action. Like when the laidback performers turn themselves into a human Rube Goldberg machine, and their floppy limbs trigger a domino effect of graceful jumps and stunts, or the bit where they all balance massive wooden poles on their foreheads, keeping them straight like upended spirit levels. The audience gasps out loud a lot, either at fluid sequences of relentless rubbery gymnastics or moments when the group hoists someone up high towards the ceiling. Naff humour aside, it’s very impressive modern circus. (Claire Sawers) n Underbelly Bristo Square, until 26 Aug (not 19), 5pm, £17.50–£18.50 (£16.50–£17.50).

Barcelona-based duo Lana Biba and Txema Perez make a versatile team. If you caught their last Fringe offering – grotesque elderly clown double-act Losing It – you won’t recognise them in their more serious current incarnations. They are masterful physical performers and have amassed a team of similarly sharp storytellers this time, to enact a weightier piece based on the experiences of press photographers embedded in Ukrainian war zones. The ensemble fires and zips through images of dissent, destruction and resilience, taking in student protests, bombs exploding in a school, checkpoints, militia training, the camaraderie of soldiers in camp. Each scene snaps into the next with the speed and precision of a graphic novel. Drawn in part from the performers’ own experiences, the images they create feel authentic and compassionately painted. But the same problems that beset Losing It – namely ones of dramaturgy – resurface here as well, and the story feels slight and generic. Biba and Perez share an outstanding eye for narrative dance; you only wish they would go that little bit further in interrogating their material. (Lucy Ribchester) n Assembly Rooms, until 25 Aug (not 20), 3.30pm, £12–£14 (£11–£13).

Raunchy, Wild West cabaret-style circus ●●●●●

66 THE LIST FESTIVAL 14–26 Aug 2019

Stunning synchronised tumbling ●●●●●

Physical theatre piece on war photography is sharply told but lacks depth ●●●●●

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KIDS

MR. MEN AND LITTLE MISS ON STAGE Kids’ favourites charm in a sweet, gentle stage outing The familiar, primary-coloured illustrations from the Mr. Men books are the backdrop for this morning show for kids. Walter the Worm narrates (with some snooty, funny asides) as he introduces some favourite characters. Messrs Happy, Tall and Small are joined by Little Misses Bossy and Splendid, plus newest addition, Little Miss Inventor, created last year by Adam Hargreaves (the original inspiration for Mr Tickle). Adam took over

the writing and illustration when his father, Mr. Men creator Roger Hargreaves, died in 1988. Four actors with puppets share the same cute messages as the books have done since 1971, with minimal modern updates. Sorry for the spoilers, but when Mr Happy is down, his friends take him to see Mr Funny, and when Mr Bump feels he’s not good at anything, he comes in handy for shaking ripe apples off trees in the orchard. It’s tempting

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to give Little Miss Princess a boo when she flounces onstage, but it’s not that kind of show. Her egodriven thespian turn is on-brand for the Fringe, and Little Miss Naughty risks ending up on The Step if she doesn’t stop mucking about with the spotlights and stage lighting. Sweet, gentle storytelling, very well done. (Claire Sawers) n Underbelly George Square, until 26 Aug, 11am, (£11–£12 (£10–£11). ●●●●●

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68 THE LIST FESTIVAL 14–26 Aug 2019

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PHOTO: MARK DAWSON PHOTOGRAPHY

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Hitlist | F EST I VA L K I DS

list.co.uk/festival

Kelly Apter picks out the highlights for children and families from week three of the Fringe I’LL TAKE YOU TO MRS COLE! Set in Coventry in 1981, the birthplace of two-tone music and an era of racial tension on the streets, this imaginative new show with music finds a young girl and her single mother having very different ideas of when to tidy the house – and the looming presence of the dreaded Mrs Cole down the road. See review, page 70. Pleasance Courtyard, until 26 Aug, 1.45pm, £11–£12 (£10–£11). DON’T MESS WITH THE DUMMIES The talented Australian team behind Trash Test Dummies and Splash Test Dummies, is back with this new show for all ages blending physical comedy with cracking circus skills, that follows three Girl Guides on a camping trip. Recommended for all ages. See review, page 70. Underbelly Bristo Square, until 25 Aug (not 19), 11.20am, £11.50–£12.50 (£10.50–£11.50).

MR. MEN & LITTLE MISS Celebrating their 50th anniversary this year, the brightly-coloured book characters are brought to life on stage, through gentle storytelling and puppetry very well done. See review, page 68. Underbelly George Square, until 26 Aug, 11am, £11–£12 (£10–£11).

PHOTO: ALI WRIGHT

KIDS HITLIST

THE DARK ROOM (FOR KIDS!) Shouty Australian comedian John Robertson adapts his adult show The Dark Room for a younger audience, but still brings the same level of energy and sardonic asides. Ideal for kids over 11. See review, page 72. Gilded Balloon Teviot, until 24 Aug, 5.30pm, £10–£11 (£8–£9). DEXTER & WINTER’S DETECTIVE AGENCY Two fearless 10-year-olds set out to prove an injustice, in this fun, energetic but ultimately honest and compassionate show from the acclaimed Paines Plough theatre company. See review at list.co.uk. Roundabout @ Summerhall, 17 & 18 Aug, 24 & 25 Aug, 11.20am, £10 (£8).

I’ll Take You To Mrs Cole

“Four fantastic stars for Ogg ’n ’ Ugg ’n ’ Dogg which is genuinely funny and energetic and the adults in the audience were laughing just as much as the kids.” Families Edinburgh Mag FES TI FUN VAL THE FOR W FAM HOLE ILY!

31 JUL - 26 AUG

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14–26 Aug 2019 THE LIST FESTIVAL 69 09/08/2019 13:01

F EST I VA L KI DS | Reviews

PHOTO: ALI WRIGHT

I'LL TAKE YOU TO MRS COLE!

Imaginative tale of two-tone music and single parenting ●●●●● Ashley’s fed-up tidying the house, she wants to play her new records and dance instead. Even better, she wants to dress up as Princess Leia and act out her favourite Star Wars fantasy. But mum’s on her case again, looking for help to keep the house spick and span. Meanwhile, up the road, Mrs Cole lives in a jumbled mess of a house – and if Ashley’s not good, mum will send her there as a punishment. Based on Nigel Gray and Michael Foreman’s picture book, but re-imagined by acclaimed theatre companies Complicité and Polka, I’ll Take You to Mrs Cole! is a visual and musical delight for the ears and eyes. Set in Coventry in 1981, the home of two-tone music and an era of racial tension on the streets, the show blends Gray’s original story with historical references. So while Ashley is the focus, the world she’s growing up in is woven throughout her story and songs (much of which will be lost on the children watching, but it’s fuel for conversations with their grown-ups later). As you would expect from Complicité, the theatre space is as much a part of the show as the actors. Images of what’s going on inside Ashley’s head are interspersed with archive footage, and projected onto everything from the wall to the fridge, while each challenge Ashley faces is met with a two-tone tune that has the audience bopping in their seats. At its core, however, this is a show about acceptance, which is played out beautifully. Ashley’s house is run on tidiness and discipline, Mrs Coles’ is organised chaos – neither one is better than the other, they’re just different approaches to life. (Kelly Apter) n Pleasance Courtyard, until 26 Aug, 1.45pm, £11–£12 (£10–£11).

PHOTO: MANOU MILON

ONE DUCK DOWN

COMÈTE

MUSTARD DOESN’T GO WITH GIRLS

He’s painted a lighthouse without using ladders, taught the local seagulls to sing the national anthem, and now Billy has just one task left to prove his love for the demanding girl he loves. It’s his biggest quest yet – to reclaim 7000 yellow rubber ducks from the oceans and seas of the world and bring them home. Along the way he meets two birds with their necks stuck in a bottle top, an Arctic polar bear who’s run out of ice to stand on, and a family of crabs clinging to a pile of rubbish as if it’s home. The story in One Duck Down may be fiction, but the event it’s based on is true – thousands of plastic ducks really did fall off the back of a tanker. And, of course, our oceans really are filled with plastic, and marine and birdlife die each day as a result. So hats off to Faceplant Theatre for finding a colourful and engaging way to deliver this message to a young audience, without ever labouring the point. Which goes some way to making up for the fact that almost all the witty wordplay is for the adults, not the children. (Kelly Apter) n Pleasance Courtyard, until 26 Aug (not 20), 10.30am, £8–£10 (£7–£9).

It’s never too early to expose your child to their first live music experience; and in the case of the Belgian Compagnie Dérivation’s in-house band Comète, it really is an early time. Half past ten in the morning might seem unnaturally early for parents to be dancing around to a rock group in a music venue, but it’s probably the point in the day when children have the most energy to burn off. Consisting of a quartet of musicians arranged in the traditional guitars-bass-drums format, Comète takes its members from a variety of Brussels indie groups. Their show is conventional by normal rock standards, but for kids, it’s the perfect introduction to the basics of concert-going. The sound is at normal gig level, if not abrasively loud, and the music includes a number of covers alongside the group’s own material. They play songs fit for different styles of dancing, including Hot Chip’s ‘Over and Over’ and the Clash’s ‘Should I Stay or Should I Go’, as well as more eclectic bursts of Francois Hardy and Trio’s ‘Da Da Da’, the latter on ‘the world’s smallest synthesiser’. By the end, most of the audience, young and old, have forgotten the time and are out of their seats and dancing in the aisles. (David Pollock) n Assembly Checkpoint, until 26 Aug, 10.30am, £9– £11 (£8– £10).

There’s a strong message about gender, conformity and challenging the status quo in this new show from Bric à Brac theatre. It’s also not short on witty characters or passionate performances. But the storytelling and language are tell-tale signs that this is the company’s first show for children. Tales within tales always come with an extra layer of complexity, and the performers do their best to delineate the two worlds. First, we meet a crocodile librarian on her last day at work (she’s been asked to leave as she’s too scary – though in truth she’s utterly loveable), trying to work out which section of the library to place her only un-read book. Then off we go, inside the world of the book, where another crocodile (only this one’s mean) is ruling the town of Bow-on-Tie with an iron fist. Boys aren’t allowed to bake or dance, girls can’t do science or think about anything too complicated. That is until young Abigail discovers the croc’s dark secret and sets about putting things right. What it lacks in clarity, the show makes up for with enthusiasm, leading to a fun way to spend an hour. (Kelly Apter) n Pleasance Courtyard, until 23 Aug, 11.30am, £10–£11 (£8–£9).

Engaging tale highlights the perils of plastic ●●●●●

70 THE LIST FESTIVAL 14–26 Aug 2019

Perfect introduction to gig-going for kids ●●●●●

Young girls sets the world to rights in this lively musical ●●●●●

15th & 16th AUGUST 2019 13:00-14:00 & 15:15-16:15

www.pleasance.co.uk Written by Giles Andreae and Russell Ayto Adapted for stage by Oliver Lansley

10.45am

31st July - 19th August 2019, excl. 13th Pleasance One, Pleasance Courtyard www.pleasance.co.uk 0131 556 6550 /lespetitstheatrecompany

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14â&#x20AC;&#x201C;26 Aug 2019 THE LIST FESTIVAL 71

F EST I VA L KI DS | Reviews

THE EXTRAORDINARY TIME-TRAVELLING ADVENTURES OF BARON MUNCHAUSEN

Silly tales inspired by fictional nobleman ●●●●● Even though the show bears his name, the fictional teller of tall tales Baron Munchausen doesn’t actually appear here (or does he?). Instead, the stories we hear are inspired by his absence – the Baron is missing, and only by creating the sort of works of fiction he might enjoy are we able to summon him. So each of the three storytellers solicits suggestions from the audience as they go, to create a trio of stories filled with magic, unlikeliness and the good-natured involvement of the audience, whether they’re invited to impersonate a tree, gallop as if on horseback through the venue, or simply offer a prompt here and there. Nigel Lovell, Will Seaward and Alice Moore are the storytellers, and after short introductions they each take charge of a story, with only the help of a table of silly hats and the audience to keep everything moving. Results must depend largely on the size and engagement levels of the crowd, who – when we visited – were hyped by the performers to pleasingly enthusiastic levels. (David Pollock) n The Stand’s New Town Theatre, until 25 Aug, 4.10pm, £9 (£6).

THE DARK ROOM (FOR KIDS!)

SPARKLE

There is a wonderfully low-tech kick to John Robertson's design for his interactive comedy games show, which puts the audience in a dark room, looking for the light switch to get out. Contestants make choices with the promises of £1000 if they escape – and a truly awful prize (a cassette of Aussie pan pipes anyone?) if they don't, as the whole audience scream ‘Die! Die! Die!’. An Xbox console taped to his chest and handheld torch provide the tech, while his outfit seems to be channelling Riff Raff in the Rocky Horror transformation scene. Which is as wildly inappropriate a reference as Robertson's attitude – ‘leave your hands up if you mind if I swear at your kids’, he shouts at the parents. None do, and he does. The game itself becomes immaterial as the hour rattles past. Robertson pitches it perfectly, repeating himself precisely when a choice is made for the umpteenth time, but adding a sardonically caustic aside. With plenty of room for genuine spontaneity, he has a canny ability to pitch his retorts at a level the participants can take. Except, perhaps, the man texting in the back row who had his phone confiscated and given away as a prize. (Thom Dibdin) n Gilded Balloon Teviot, until 24 Aug, 5.30pm, £10–£11 (£8–£9).

It’s David’s first day at school, and he’s excited about all the new friends he’ll make, games he’ll play, and the special show he’s going to perform for everyone. What he’s not looking forward to is wearing the dull grey uniform laid out for him. Why wear a blazer, cap and tie, when you could be dressed in a fabulous frilly skirt and shimmering hair band? Why put on boring black shoes, instead of diamante-encrusted sandals? Essentially, why be someone else when you could be you? That’s the central message in this gentle and funny tale of empowerment at primary school. Sparkle (aka David) likes wearing clothes from his dressing-up box, but class bully Alastair has other ideas, leading to a touching journey of self-acceptance. Sparkle was created by Scottish theatre-maker Annie Cusick Wood, when her son asked her to make a show ‘that would have helped me when I was a kid.’ The result is a rare, but very welcome children’s theatre foray into LGBT life. And although the production is a little rough around the edges, when the Pride-coloured paper dolls come out to represent Sparkle’s new friends, I wasn’t the only one wiping tears away. (Kelly Apter) n Summerhall, until 25 Aug (not 19), 10.20am, £10 (£6).

Shouty comedy show for over 11s ●●●●●

PHOTO: BEN WEINSTEIN

72 THE LIST FESTIVAL 14–26 Aug 2019

Beautiful message of acceptance and bravery ●●●●●

DON'T MESS WITH THE DUMMIES

Comedy capers with incredible stunts ●●●●● With its international reputation already well established through the shows Trash Test Dummies and Splash Test Dummies, Australian company Dummies Corp is back with a third offering that’s easy to recommend to audiences of all ages. If it seems as though there’s something of a production line feel to the way they turn out shows, it’s because they’ve hit upon a perfect combination of slapstick physical theatre storytelling matched with thrilling circus skills performance. This year’s all-female crew of ‘Dummies’ are Ellen Henry, Maya Tregonning and Shona Conacher, playing a trio of Girl Guides on a camping trip for whom mishaps are inevitable. As is the way with theatre aimed at as wide an international market as possible, their story is told wordlessly through mime, gesture and the relentlessness of the physical tasks they set themselves. When it comes time to set up the tent, for example, one flips a readyconstructed pop-up out of a canvas bag, while another finds only hula hoops in hers; undeterred, she builds a tent with them anyway. Physical comedy segments like this, the defeat of marauding insects with silly string ‘repellent’ sprayed across the audience, and – most impressively – an ingenious sequence where the trio use their sleeping bags to become a chorus of Tremors-like monsters serenading us with ‘The Lion Sleeps Tonight’, would be enough for many shows in themselves. But when the circus skills kick in, this show is elevated to a whole new level through breathtaking manoeuvres involving those hula hoops, as well as juggling, acrobatics and more. An easy but purposeful character comedy show, with singularly incredible stunts, the Dummies’ latest appearance at the Fringe is recommended on every level. (David Pollock) n Underbelly Bristo Square, until 25 Aug (not 19), 11.20pm, £11.50–£12.50 (£10.50–£11.50).

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COLONEL MUSTARD Big pop, disco funk and more as the Colonel hosts two shows at this year’s Fringe A joyous mix of big pop songs, funk and audience participation, Colonel Mustard & the Dijon 5 are one of the most consistently entertaining bands in Scotland. ‘It’s obviously eclectic, we can go from dance music to country to punk to disco to rock’n’roll,’ explains the Colonel himself when we catch up with him on the road to the Belladrum festival near Inverness. ‘I like making every song a different genre, exploring the music I love.’ Weird costumes, disco balls, mass dance routines and all manner of weirdness combine for a truly uplifting live show. ‘From day one I wanted this band to be the go-to festival band. Let’s dress up, get the crowd involved with every song, get out into the audience,

get them on stage. Even when we were playing to just 20 people, that was the ethos with this band from the start. As we’ve got bigger, the scale has got bigger, but we obviously want to maintain that connection with the audience.’ The Colonel is particularly busy this August with two shows at the Fringe. The first is a kids’ show, Colonel Mustard and the Big Bad Wolf, directed by Andy Arnold and Christina Gordon. It also features the song ‘I’m a Vegetarian and I Don’t Like to Talk About It’ which went top ten in the Apple kids chart. ‘Because I don’t come from the acting world, I’ve made it more like gig theatre,’ he explains. ‘The actors and directors reign me in a bit but I’ve put my own

stamp on it from what the Dijon 5 do live. Basically, it’s a fairy tale set in a nursing home, exploring different themes like not writing old people off, the power of music and don’t judge a book by its cover with a few modern messages like don’t spend too much time on your phone.’ As well as entertaining the little ones, the Colonel also has a late-night show, featuring variety and cabaret with special guests, music, comedy, spoken word and more. ‘Basically it’s going to be a big party. (Henry Northmore) ■ Colonel Mustard and the Big Bad Wolf, Gilded Balloon Teviot, 15–18 Aug, noon, £9 (£7; family £28); Colonel Mustard and Friends, Gilded Balloon at the Museum, 16, 18–22, 25 Aug, 10.30pm, £10–£11 (£9–£10).

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F EST I VA L M US I C | Hitlist

Henry Northmore selects the music highlights from across the Fringe and International Festival BLACK NEVER DIE Fringe debut from this fresh and vital tenpiece rap crew from Conakry, Guinea. Mixing West African rhythms with fastpaced lyrics, R&B and dance beats. Acoustic Music Centre, 15–24 Aug (not 17 & 18), times vary, £8 (£5–£6). START TO END PERFORMS 1989 Taylor Swift’s slice of perfect pop gets played in full by a lineup of Scottish musicians including Rachel Lightbody, Cariss Crosbie and Emilie Boyd (Little Acres) on vocals and members of FatSuit, Stanley Odd, Apache Darling and Altered Images. Summerhall, 16 Aug, 11pm, £12. MADNESS Big knees up celebration of classic ska from the original nutty boys as part of Edinburgh’s Summer Sessions. Ian Broudie’s Lightning Seeds support. Princes Street Gardens, 18 Aug, 6pm, £45. BRIAN KELLOCK / COLIN STEELE PLAY MARY POPPINS Two of Scotland’s most respected jazz

PHOTO: RYAN PFLUGER

MUSIC HITLIST artists (pianist Kellock and trumpeter Steele) with their unique take on the classic music of the Disney favourite. Jazz Bar, 18, 20 Aug, 2.30pm, £10 (£8). SHARON VAN ETTEN Intoxicating raw, emotional indie rock from the New Jersey singer-songwriter who introduced an electronic edge on latest album Remind Me Tomorrow. Leith Theatre, 21 Aug, 7pm, £25. JARV IS . . . New project from erstwhile Pulp frontman Jarvis Cocker: ‘JARV is an experiment. JARV is a night to remember. JARV is a live experience with no barriers. JARV is . . . and always will be.’ Leith Theatre, 22 Aug, 7pm, £30. JACKMASTER Eclectic electronica in a special allnight (six hour) set from Jackmaster at this Fringe closing party. Bourbon, 23 Aug, 11pm, £25. JUPITER RISING A mixture of art, moving image, workshops and performance with a musical lineup including Cate le Bon, the Vaselines, Edinburgh Leisure, The Comet is Coming, Ill, Ben Vince and

Sharon van Etten

many more. Jupiter Artland, 23–25 Aug, £85 (under 12s free). VIRGIN MONEY FIREWORKS CONCERT The Scottish Chamber Orchestra play

music by Bizet, Mozart, Glinka, Dukas and Berlioz as fireworks explode over Edinburgh. A spectacular end to 2019’s festival season. Princes Street Gardens, 26 Aug, 9pm, £15.50–£36.

Two new musicals, across two uncertain worlds

Odd days, 3pm

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Musical Theatre Review

Even days, 3pm

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ScotsGay

1-24 Aug (not 12/19), Gilded Balloon Patter Hoose rcsedfest.co.uk 74 THE LIST FESTIVAL 14–26 Aug 2019

James | F EST I VA L MU S I C

list.co.uk/festival

‘We’re still looking for a decent tune!’ Fifteen albums in and James are still creating extraordinary alternative pop-rock. Saul Davies and Jim Glennie talk to David Pollock ahead of their Summer Sessions gig in Edinburgh

t’s March 2019 and James are playing Edinburgh’s Usher Hall, with one difference from their usual set – a local choir are going to be performing alongside them in the venue’s organ gallery, and extra rehearsal and soundcheck is necessary. As a result, our interview will have to be shorter than intended, because the choir are starting to set up. ‘It’s Brian Eno’s daughter who’s in it, she lives here,’ says the band’s multi-instrumentalist Saul Davies in pretend indignation. ‘He suggested, “since you’re in Edinburgh why don’t you get them along?” Sixteen hours later, here we are!’ Alongside him in the nondescript and disused room chosen for our interview is bass guitarist Jim Glennie. ‘It’s been chaos, but it’ll be amazing,’ he says cheerfully. Fifteen albums and the best part of four decades into their career, James are the level of band who get Brian Eno calling them up asking for favours. Both members of James since the 1980s (Glennie and singer Tim Booth are the only remaining founder members, having been in the band since 1982), the pair share the same intuitive sense of humour, but they couldn’t be a greater contrast; Glennie softly spoken

and polite, like a mindful English teacher, and Davies animated and full of opinions. When we spoke, Brexit was meant to be only days from happening, and the latter’s fury at the whole situation is approaching incandescence. James are unusual in that they aren’t just a band from their era who are still together and heading out on the road; they continue to prolifically write and record material which searches for new sounds and new things to say. ‘It’s because we don’t have any good early material,’ says Davies, in what might be called the James deadpan. ‘We’re still looking for a decent tune!’ Last year’s 15th album was named Living in Extraordinary Times, and the title told the story of what it was about. ‘Tim lives in the States, so he’s well-versed in all the Trump stuff,’ says Glennie. ‘He didn’t want the album to be about Trump, there are two songs that are specifically, but the rest he consciously tried to stop himself – he said, “the man doesn’t deserve to have an album dedicated to him!”’ Unlike Booth, both Glennie and Davies have chosen to make the Scottish Highlands their home, the former near Ullapool and the latter near Gairloch; they say childhood holidays

were an inspiration, although Davies was partly brought up in Scotland. ‘The Highlands might be nice if you visit from Italy or do a fly-drive from London, but life is pretty hard there,’ says Davies. ‘The economy isn’t great, the weather is worse, but we’re part of a movement who have come to the Highlands and even in our mid-50s brought new energy. The Highlands have historically been an amazing melting pot of people, but pretty viciously depopulated over generations. Maybe that trend is starting to reverse – people think, what an amazing place to bring up your kids.’ With the obvious geographical differences, then, what keeps the band working so hard on new material when they could rely on old hits? ‘We’re not just a pop act any more,’ says Davies, simply. ‘I like the way a novelist or painter creates work without constantly referencing the past. Pop music is the only artwork which seems tied to the past by a thing called a “hit”, but I love bands like Sigur Ros or Mogwai, who just come out with the latest thing they’ve done because that’s what they do.’ James play Summer Sessions, Princes Street Gardens, 15 Aug, 6pm, £53–£94.

14–26 Aug 2019 THE LIST FESTIVAL 75

F EST I VA L M US I C | Mull Historical Society

HISTORY BOY Colin MacIntyre is best known to music fans as Mull Historical Society. Ahead of his upcoming Edinburgh gig, he chats to Henry Northmore about his songwriting process, working with Bernard Butler and life growing up in Tobermory

olin MacIntyre has been making soulful indie as Mull Historical Society since the release of 2001’s Loss. However, the reality stretches even further back. ‘It’s always an interesting point when you start to write again, those things become albums, but in some ways I still feel a real connection to being a teenager, or even younger, when I first started writing songs. Even before I got a record deal I’d written 300 songs. It’s like a tap that starts running again that you then formulate into an album.’ MacIntyre admits he finds writing music an almost subconscious compulsion. ‘At the moment I have a song in my head that’s plaguing me, it’s involuntary, since being a kid it just seems to happen and luckily I found a place to put down those thoughts that have melodies attached to them.’ Across six albums under the MHS moniker and two under his own name (alongside a novel, a children’s book, a play and a musical he’s currently working on), MacIntyre’s found multiple outlets for his overflowing ideas. ‘Hopefully [my music is] uplifting, but I also try to make it as real as possible. It’s most rewarding when it connects with another person or a live audience. Having come from quite a small community, I’m always interested in finding a community and I think my music does that.’ His latest album, Wakelines, once again taps into his life growing up on the Isle of Mull alongside themes of movement, migration and community. Sometimes taking ideas from old diaries, notebooks and demos, he draws inspiration from the innocence and raw passion of his younger self. ‘I didn’t know it at the time, it was just my way of

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documenting what was going on growing up in Tobermory, there’s an ongoing conversation with myself. Even on the new album there are melodies and choruses that are old lines. Ninety-five per cent of what I’m doing is new but it’s nice when you find something that authentically fits into what you are doing now.’ ‘That idea of the child inside you is very much part of the album,’ he adds. ‘It was enjoyable to make but it was also quite revealing. I was writing a memoir [Hometown Tales: The Boy in the Bubble] at the same time and in some ways they kind of accompany each other.’ Wakelines was also a collaboration with producer Bernard Butler. MacIntyre had met the former Suede guitarist at various festivals over the years. Then Butler produced Mark Eitzel of American Music Club’s album, MacIntyre found himself supporting Eitzel on tour and a connection was made. ‘It was fun to make. I recorded it at his house, which he’d just converted into a studio. I think we’ll do it again, I felt almost challenged by him, in a good way.’ After a couple of full band shows in Tobermory (at An Tobar Arts Centre on 28 & 29 August), Butler will also be joining MacIntyre for a special stripped-back MHS show in Edinburgh. ‘He played a lot on the album so it’s been great to have his sensibility on stage. Because he was making it [Wakelines] at home, he’d work on it late at night when I wasn’t there, so he was putting his own flavour through it. He’s such a brilliant guitar player. I was always into his rock guitar, Suede and McAlmont & Butler, but also that lightness he brings to the album and the acoustic stuff is so beautiful.’ Mull Historical Society, Mash House, 30 Aug, 7.30pm, £17.

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PHOTO: RICHARD GARDNER

MY LEONARD COHEN

CAMINO DE SANGJARU

SK SHLOMO: SURRENDER

Australian covers performer Stewart D’Arrietta was last at the Fringe with 2018’s Tom Waits tribute Belly of a Drunken Piano, and somehow that show makes more sense than this. D’Arrietta’s voice is low and gravelly, more suited to the dark blues of Waits than the uncategorisable pop poetics of Cohen; yet while it’s true that very few people could surely pull off a pitch-perfect Cohen imitation, D’Arrietta doesn’t so much make these songs his own as rent them out and rearrange the furniture in attractive fashion. It’s the sense of storytelling which feels as though it grants D’Arrietta licence to have a crack at Cohen’s music. He tells of the singer’s ‘muse’ Marianne Ilhen and Cohen’s final correspondence with her before ‘So Long, Marianne’; the dark legacy of the Holocaust which was the unlikely inspiration for ‘Dance Me to the End of Love’, given a klezmer-style update here; and of the flirtation with religion and bankruptcy which brought about the ‘I’m Your Man’ tour. Every seat in the room is filled and the closing ‘Hallelujah’ is greeted like the inter-generational pop classic it’s become, a sign of Cohen’s posthumous popularisation. (David Pollock) n Assembly Rooms, until 25 Aug, 6.30pm, £15–£16.50 (£14–£15.50).

Traditional band Korean Gipsy Sangjaru set out on a musical pilgrimage of discovery, strapping their instruments to their backs and walking the 800km Way of Saint James trail from France to Santiago in Spain, along the way exploring the idea of where tradition meets modern innovation. Bounding on stage in elaborate white fluffy headgear, bashing out a frenzied traditional Korean instrumental on gongs and drums, they add swing and jazz elements before guitar and bass are layered over janggu and gayageum (Korean drums and strings). Inspired by their trek, they mix eastern and western influences into new and intriguing sounds. It sometimes drifts into slightly surreal territory, touching on prog rock but still underpinned by Korean folk – an interesting mix of old and new. A perfect example is an early track about Alice in Wonderland’s continual pursuit of the White Rabbit, accompanied by cute and quirky 8-bit graphics. They are a continually engaging trio and even if their final message – that the journey can be as important as the destination – isn’t exactly groundbreaking, their sense of adventure is infectious. (Henry Northmore) n Assembly George Square Studios, until 26 Aug (not 19), noon, £10–£12 (£9–£10).

SK Shlomo has won numerous awards for this beatboxing and looping and in this part gig, part confessional, the world class beatboxer opens up about his struggles with mental health. The range of weird and wonderful beats and breaks he can produce orally are astounding (there’s a bass drop that stuns the crowd). His one-man Prodigy and the final track that turns audience members' shouts into a blistering techno track are phenomenal. It’s an unlikely medium for a deeply personal show. Shlomo was at the top of his game, working with the likes of Bjork and Ed Sheeran, but two years ago, he withdrew from public life. The writing and recording process for his debut solo album opened up some unexpected memories and insecurities. The pressure of public scrutiny, online abuse and childhood trauma led to depression and thoughts of suicide. Reaching out and seeking help saved him and became the foundation for his album Surrender. By the end, the show feels hugely positive and watching Shlomo’s astounding beatbox and looping skills as he creates tracks from nothing is a joy to behold. (Henry Northmore) n Underbelly Cowgate, until 23 Aug, 10.10pm, £10.50–£12.50 (£9.50–£11.50).

Reinterpreted covers of Cohen’s classics ●●●●●

Traditional Korean music with a modern twist ●●●●●

Astounding musicianship in part gig, part confessional ●●●●●

CAMILLE O’SULLIVAN SINGS CAVE

Perfectly balanced tribute to the music of Nick Cave ●●●●● Camille O’Sullivan has long peppered her sets with covers of Nick Cave tunes, but here, she dedicates an entire 75-minute show to him, singing nothing but the songs of Cave and the Bad Seeds. The lighting is moody and atmospheric, helping O’Sullivan to channel Cave’s energy as she struts on stage dressed in a black cape and sparkly silver heels, before performing a pared-back version of ‘God is in the House’. Hunkered down on her knees, sipping from a glass of red wine, she’s like a female version of Cave – apart from the hints of her Irish lilt coming through as she belts out the tune with gusto. The set is balanced perfectly between stripped back, contemplative Cave songs, and rollicking numbers where she demonstrates how perfectly in-tune she is with her backing band. During the quieter numbers, such as a perfect version of ‘Into My Arms’, the audience are reverent and so quiet that you can hear O’Sullivan tapping her heels. She commands the stage during these songs, just as she does in the more upbeat segments, when she kicks and struts, full of wild energy and growling Cave’s lyrics in her husky voice. ‘I’ve loved his work and the Bad Seeds for a very long time,’ O’Sullivan tells the audience while explaining her decision to focus only on the music of one artist. ‘His lyrics are king and he goes to the darkest parts of the heart but also the most spiritual.’ She explores those depths by adding her own unique spin to his songs, bringing a lot of comedy to the classic murder ballad ‘Stagger Lee’, and showing us she can do soft and gentle as well as loud and raucous, with an ethereal version of ‘Sad Waters’. Even if you’re not a fan of Nick Cave and the Bad Seeds, O’Sullivan’s stage presence is incredible, and this performance unmissable. (Lauren McKay) n Pleasance Courtyard, until 25 Aug (not 19), 9.15pm, £17.50–£22. 14–26 Aug 2019 THE LIST FESTIVAL 77

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TOTAL IMMEDIATE COLLECTIVE IMMINENT TERRESTRIAL SALVATION Tricky flickering between pages and stages of the script. The sense of inevitability, that classic tragic quality, is both invoked and mocked. When Crouch comes on stage at the end – as both director and actor – his twin roles are questioned and, representing the cult leader, he slyly comments on scientific, theatrical and religious models of salvation and belief. Yet beneath this fascination with formal experimentation, Total Immediate Collective Imminent Terrestrial Salvation still has a strong message and emotive power: it’s a cerebral, thoughtful comment on how truth can be manufactured, and how even human emotion can be erased by a powerful enough conviction. (Gareth K Vile) ■ The Studio at Edinburgh Festival Theatre, until 25 Aug (not 19, 21), times vary, £20. ●●●●●

PHOTO: MIHAELA BODLOVIC

Arranged in a circle around the performers, the audience in Tim Crouch’s new show for the Edinburgh International Festival are invited to read from a book that serves as both script and a graphic novel. The actors describe the activity of a cult in the last days before the end of the world; they read from the cult’s sacred text, and also appear in the book themselves. The whole thing is permeated by the sense that the conversations are predetermined by the cult’s leader. While many theatremakers are integrating film into their dramaturgy, Crouch is moving in the other direction: this production introduces the solitary pleasure of reading to the communal experience of theatre. The actors do not look like the illustrations of the characters that they play, and the audiences are invited to perform parts

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F EST I VA L T H E AT RE | Hitlist

Gareth K Vile picks out the theatre highlights from week three of the festival

relentless energy. See review, page 87. Pleasance Courtyard, until 25 Aug, 5.30pm, £15–17 (£14–£16).

ARE WE NOT DRAWN ONWARD TO NEW ERA Fringe champions Ontroerend Goed demonstrate their continued dominance of the experimental theatre category, with a sinister, intriguing, passionate and formally imaginative study of human progress, environmental catastrophe and time itself. From the title’s palindrome to the structure of the narrative, Ontroerend Goed prove it is possible to go backwards and forwards at the same time. See review, page 90. ZOO Southside, until 25 Aug (not 19), 11am, £14 (£12).

PINK LEMONADE A call for a revolution of acceptance, Mika Johnson delves into the challenges of intersectionality, discovering that their own queerness is complicated by issues of race and fetishisation. From bad dates to selfacceptance as a radical foundation for change, Pink Lemonade is stunning contemporary theatre with both heart and a message. See review at list.co.uk/festival Assembly Roxy, until 25 Aug (not 14, 16, 18, 20, 22, 24), 3.45pm, £10 (£9).

BRYONY KIMMINGS: I’M A PHOENIX, BITCH Bryony Kimmings has made a career from ruthless selfexamination, defining the new wave of autobiographical theatre from her Fringe debut Sex Idiot to this, her comeback. Considering Kimming’s mental illness, the savage title hints at the power of her return, with her usual ferocious energy, dramaturgical wit and

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THE WORDS ARE THERE In which a mop becomes a major performer in a tale of domestic abuse. Ronan Dempsey’s solo show matches formal experimentation and physical theatre with emotional intensity and lends his performance a symbolic depth through the mop’s representation of an abusive partner. Emotive and provocative, it is as visually spectacular as it is painful. See review, page 88. theSpace @ Surgeons Hall, until 24 Aug, times vary, £9–£11 (£8–£9).

PHOTO: ANDREW PERRY

THEATRE HITLIST

Baby Reindeer

BABY REINDEER Richard Gadd’s shift from comedy to theatre is a rough journey through emotional obsession. Gadd’s autobiographical solo refuses to let the protagonist escape from his complicity,

but this is a modern horror story that demonstrates how an act of kindness can lead down a dark path. See review at list.co.uk/festival Roundabout @ Summerhall, until 25 Aug (not 20), 6.25pm, £14–£16 (£12–£13).

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PHOTO: HELEN JAMES

ANGUIS

FATTY FAT FAT

BUZZ

Sheila Atim, winner of last year’s Olivier Award for Best Actress in Girl from the North Country, makes her writing debut with Anguis, in which podcast presenter and contemporary immunologist Kate Williams interviews special guest, the one-and-only Cleopatra, the great Pharaoh. Atim uses the fantasy interview scenario to address the differences between these two radically different females. They are both successful, but both define success differently. Where Cleopatra – ‘call me Cleo’, she insists – relied on power and strength to rule, woke health professional Williams campaigns for education and opportunities for all. The women’s conversation quickly turns into a bitter fight about feminism and exploitation of power, as both of their pasts are laid increasingly bare on the interviewer's table. Atim’s thoughtful writing carries the narrative thrillingly and tensely forward. Paksie Vernon nails Cleo’s poised spikiness and Janet Kumah brilliantly captures Kate’s volatility and passion. Perhaps the genius move, though, is incorporating happy-go-lucky radio producer David, who offers light relief and real laughs across a tense and revealing play about dark truths. (Adam Bloodworth) n Gilded Balloon Teviot, until 26 Aug, 3pm, £12–£13.

A frank and at times gut-wrenching one-woman show, FATTY FAT FAT depicts Katie Greenall’s fraught relationship with her body from childhood up until the present day. As the audience files into the venue, Greenall is doing the Cha Cha Slide, repeating the moves to the hit song over and over again. Behind her, three giant silver balloons spell out ‘FAT’, with gold tinsel hanging down, giving the illusion of a party. The mood is upbeat and celebratory to start, but as Greenall weaves in and out of her deeply tender monologues about her experiences with her weight and appearance, there is a profound sadness that sometimes feels overwhelming. Interspersed with audience interaction and hilarious anecdotes, her poetic and lyrical soliloquies highlight a clear sense of an internal conflict that may never truly be resolved. FATTY FAT FAT does well to break down taboos surrounding body image but it’s also funny, contemplative and moving. A powerhouse of a performer, Greenall forces the audience to confront society’s issues with judgement and shame, while at the same time making no apology for her own daily battles. (Arusa Qureshi) n Pleasance Courtyard, until 26 Aug, 3.15pm, £8–£10 (£7–£9).

Matthias has been washed ashore on the far-flung Faroe Islands. He has no idea how he got there. Discovered by a mysterious doctor, he finds himself in an improvised home for damaged individuals, where he looks back over his young life, his dashed hopes, his ill-advised decisions. Based on Johan Harstad’s novel, poignant solo show Buzz from Belgium’s Kopergietery has a simple but resonant central conceit. What if we don’t all want to be the best, the top, the CEO? What if some of us want to be a cog in the machine, of crucial but, well, secondary importance? It’s a slow-moving, reflective 70 minutes of theatre, underscored by a vivid live soundtrack from Karen Willems, and an evocative video backdrop of moody Faroese landscapes from Ann-Julie Vervaeke. Performer Charlotte Vandermeersch (who also adapts Harstad’s text) does a good job at conveying her central character, but Matthias remains elusive, intentionally directionless and scarred by a passion he was never bold enough to act on. In the same way, Buzz remains quite an elusive show – it’s moving, but too understated to feel entirely compelling. (David Kettle) n Summerhall, until 25 Aug, 10am, £12 (£10).

Thrilling podcast interview with Cleopatra ●●●●●

Moving one-woman account of life in a body you’re told to hate ●●●●●

Moving show struggles to reach top gear ●●●●●

PHOTO: TOBY LEE

GUN

Justice and laughter in the Old West ●●●●● Gun is fun: not a deconstruction of the Western, but a parody with plenty of surreal touches. The hero is appropriately sardonic and cynical: his love interest is hidden beneath a mask of terror. The villain is English and only interested in making money and killing the Native Americans, and the deep themes that the Western addresses so well – family, loyalty, justice in a land where law has disappeared – are given cheeky subversions. William Hartley’s decision to play all the parts, and use some fairly basic props and set, adds to the comedy, as he struggles to jump between characters, knocks over the set and somehow, keeps the narrative as straight as the sheriff’s morality. Hartley clearly loves the Western, even as he mocks it. He gives his hero the happy ending, avoids the more unpleasant machoism and racism of the 1950s’ films and manages to engage the audience both in and falling out of character. The plot, despite his best efforts to undermine it with humour and slapstick, remains a sentimental parable about the importance of doing the right thing and the power of love to save even a violent villain: it is a testament to the genre’s resilience. Hartley’s energy and versatility gives Gun its distinctive energy, and his exaggeration of tropes drives the humour. Although there is plenty of violence – the baddies plan to annihilate the Native Americans, a bar is burnt down, the hero has a tussle with the masked killer on the top of a train – Hartley depicts a world of easy moral choices and heroism. The lack of pretension and the good humour of the writer-performer ensures that the hour rushes past. Even the insubordination of the props become part of the shenanigans, and Hartley’s combination of charisma, energy and cheek provide a witty and entertaining session. (Gareth K Vile) n Assembly Rooms, until 24 Aug (not 14), 5.10pm, £10–£11 (£9–£10). 14–26 Aug 2019 THE LIST FESTIVAL 81

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UNTIL THE FLOOD PHOTO: ALEX BRENNER

Vital drama interrogates the insidious nature of racism ●●●●● Framed around the tragic real-life shooting of teenager Michael Brown in Missouri in 2014, writer and performer Dael Orlandersmith's script really resonates, particularly as President Trump’s recent words on Twitter telling certain people to ‘go back’ – his riposte to four Democrat Congresswomen of colour who dared to challenge his majesty – still hang in the air. Such words of division and hate seem impossible to scrub off, and this production wants to interrogate the climate that can propel a man holding such opinions to the POTUS. Orlandersmith embodies not just one, but seven characters, whose testimonies are genuine (recorded in the aftermath of Brown’s shooting). All respond to his death in their own individual ways, whether compassionate, sorrowful or merely scornful. Orlandersmith knows that words have weight, and her ear for the cadences of language is superb. She even emulates the ‘swag’ and ‘flow’ of Hussan, a teenage wannabe rapper, by lowering both her voice and shoulders, adding a dramatic physicality to the monologue format. It’s a masterful performance, with words of savagery spat out like bullets, and contrasting moments of tender understanding providing perspective. The play asks how a community can heal in the wake of tragedy. By using a plethora of disparate voices, Orlandersmith suggests that human resilience and understanding lies in education and her poetic epilogue is a plea for looking at what binds, not separates, a community when hope seems lost. In the midst of the candles and floral tributes on the floor is the graduation photograph of Michael Brown, smiling and anticipating a future which he was so unjustly denied. Until The Flood is a bold, moving and timely tribute. (Lorna Irvine) n Traverse, until 25 Aug (not 19), times vary, £21 (£15.50).

PHOTO: ELISABETH CAREN

FOUR WOKE BAES

BAIT: KILL THE PRINCESS

PARADISE LODGE

From established American playwright Jonathan Caren, Four Woke Baes is a dark comedy about four unassuming men having their doctrines on monogamy challenged while on a secluded camping trip in Colorado. The trip is to celebrate Dez’s bachelor party, but they are irked by a female camper who sparks conversations about the legitimacy of love, marriage and monogamy in the 21st century. Despite a well-crafted script that examines a series of relevant contemporary themes, it seems to resolve its tensions too early. There’s strong comic timing and fast-paced delivery from the cast., but the claustrophobic setting – the action never wanders outside of the campsite – focuses attention on their characters and it’s difficult to empathise with such clearly flawed individuals. Equally, the journey of self-discovery for white males is a path well-trodden, and the philosophical debates are undermined by its familiarity. Neatly framed by two monologues from Dez, Four Woke Baes summarises the path to woke and asks the audience to follow – it’s an ambitious invitation after a play featuring characters who are so difficult to relate to. (Rachel Baker) n Underbelly Cowgate, until 25 Aug, 5.05pm, £11.50–£12.50 (£10.50–£11.50).

In the modest space of the Spiegelyurt, two women are smashing the patriarchy. Kill the Princess is a hilarious and unpredictable venture that tackles every fairy tale trope, examines the intricacies of female agency and reclaims the power of female storytelling. If this all sounds a bit serious, it absolutely is not: in one scene, performers Michelle Madsen and Lizzy Shakespeare ransack a dressing-up box until one shoves a feather duster down her shorts and proclaims herself the prince; in another, they transform into old crones and outrageously flirt with everyone in the tent. Despite the audience interaction, there’s a sense that Madsen and Shakespeare are not really playing to anyone else’s expectations but their own; although this can lead to a confused narrative structure, it also gives the play a levity and charming assurance. This assurance is particularly striking in the moments when the play connects the archaism of fairy tales with broader and continuing systems of gendered oppression. As thoroughly absurd and inventive as Kill the Princess is, these moments offer an unexpected profundity and intimacy that speak to the power of feminist rewriting. (Anahit Behrooz) n Heroes @ The SpiegelYurt, until 25 Aug (not 17, 21), 3.40pm, £5 in advance or donations at venue.

Despite an unassuming premise – a duo perform nostalgic hits to an audience of senior citizens in a palliative care home – and a dark undercurrent of unfulfilled ambitions and frustrations, Paradise Lodge manages to be both charming and thoughtful. Examining questions of dementia and later life care, Doodlebugs’ production is a bracing journey that never panders to sentimentality. Framing the show as the first gig by a new musical duo allows the company to roam around the stories of various patients. Across a series of short episodes, the people in the home lose their health, independence and memories while the musicians bicker and compete for attention. Steve Cooper and Sophie Osborne excel as they jump between depicting the musicians, Eric and Kylie, and the patients and their families, lending a bravura edge to their understated portrayals of emotional longing and ill-health’s frustrations. The tone is gentle but slowly exposes the horrors of old age. The tension between Eric and Kylie finds resolution, but not before a sad secret is revealed. There is a warmth and compassion at the heart of this script and the performance itself. (Gareth K Vile) n Underbelly Bristo Square, until 26 Aug, 1.15pm, £10–£11 (£9–£10).

Witty, honest comedy of self-discovery ●●●●●

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Finding a happy ending ●●●●●

Musical tales from the group home ●●●●●

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SPLINTERED

JAMES ROWLAND’S TEAM VIKING Idiosyncratic journey of friendship ●●●●●

FEMPIRE: CLEO, THEO & WU BY KIRSTEN VANGSNESS

Splintered is a weird and wonderful cabaret combining comedy skits with real interviews and personal experiences to explore the challenges of being queer in the Caribbean. Charlotte, Sanaa and Natasha are three outstanding performers, engaging the audience in their struggle with empathy and flair. The repetition of some of the skits works well, while a queer version of Chicago’s ‘Cellblock Tango’ is the highlight of the evening. The performance then seamlessly moves on to touching interviews with queer Caribbean women, and dramatisations of the difficult experience of coming out. These scenes damn the faults of Caribbean homophobia while maintaining a whole-hearted celebration of the culture’s strengths. The evening ends with a declaration from the performers of where to go from here, which isn’t necessarily needed alongside the clarity and effectiveness of each act. Splintered is the perfect combination of entertainment and political comment. It addresses intersectionality and proclaims solidarity and strength in an inclusive, welcoming atmosphere. (Rachel Baker) n Bedlam Theatre, until 25 Aug (not 20), 9.30pm, £10 (£8).

If anything of Team Viking is true, James Rowland is a dangerous man. In order to make good on a promise made to his closest friend, he decides to give him a proper viking burial, complete with burning boat (and inevitable criminal charges). It is a testament to Rowland’s warmth, wit and humour that Team Viking becomes an eloquent paean to friendship and not the litany of a psychopath on a rampage. Rowland finds a way to lighten the darker humour in his tale by acknowledging how inappropriate it might be. Once the story takes a deeper turn – a friend dying of a rare and terminal cancer – he manages the transition through juxtapositions of fun and anguish, and a rough, jagged, episodic structure. Rowland’s doubts about his behaviour – and the question of how much of the adventure is true – transcend any traces of arrogance or selfsatisfaction: the constantly shifting energy enthuses even mundane moments with the kind of childish grandeur that possibly inspired the viking funeral in the first place. It’s a virtuoso display of post-modern storytelling. (Gareth K Vile) n Summerhall, 16, 20, 23 Aug, 9pm £12.50 (£10); also as part of Songs of Friendship, 18, 25 Aug, 9pm, £25 (£20).

There seems to be a trend for theatre companies bringing ancient leaders to life. At this year’s Fringe, Sheila Atim is resurrecting Cleopatra in a great new play called Anguis, and in the West End, Six The Musical brings King Henry VIII’s wives back to life with the help of a musical soundtrack. Fempire: Cleo, Theo & Wu fits into this mould by offering Cleopatra again, alongside a couple of other fictitious leaders from the past, in a musical about feminism. The ancient leaders are here to save poor wayward Earthling Lucy from herself. Too obsessed with her mobile phone, she has a bad track record with dating. And that’s the segue into a musical with wildly absurd space-themed costumes, a fictional space language and a twisting plot. It’s supposed to be an uplifting, relatable tale and to show creator and Lucy actress Kirsten Vangsness’ credit, the bizarre script and great costumes do lend the show a sublime energy. But it’s too woolly to convey its worthy messages, and the acting and singing doesn’t quite hit the mark enough to pull off the craziness. (Adam Bloodworth) n Assembly Rooms, until 23 Aug (not 14 & 15, 18, 20 & 21), 8.15pm, £10–£11 (£9–£10).

Hilarious and thoughtful cabaret exploring queer identity in the Caribbean ●●●●●

Bizarre tale that’s not so fantastical ●●●●●

FULL CONSENT TO SPEAK ON MY BEHALF

People with experience of care given a dramatic voice ●●●●● Social enterprise Good Wolf is committed to using theatre to enable vulnerable people to participate in the arts and have their voice heard. Full Consent to Speak on my Behalf is a montage of verbatim conversations with people who have experience of care, and manages in 50 minutes to cover a remarkable range of experiences, both positive and negative. At a ferocious pace, the cast of four maintain an optimistic attitude, giving voice to many who are often deprived of a platform. The setting is minimal, relying on the dynamic physicality of the cast and their ability to contain the moods and experiences of those who have been part of the care system. While fostering has changed, one theme that remains constant is the sense of instability; the treatment of young people who have reached a nominal age of independence is depicted sensitively through details of their frustration at the sudden removal of support, and the life-long impact is considered through short, revealing reflections. There is even time to ponder the importance of Jacqueline Wilson’s fictional character Tracy Beaker, a child in a care home who became a household name thanks to the successful CBBC series. While Good Wolf’s intention is didactic – or at least questioning – their dramaturgy is incisive. With merely a few boxes and comic books for props and set, the ensemble embodies multiple characters and generates a positive atmosphere that finally reflects on the challenges of making verbatim theatre, and the risk of losing the voices of the interviewees beneath the theatricality of the presentation. As a candidate for the Sit Up Awards – which is dedicated to rewarding theatre that is engaged with serious issues – Good Wolf shows appropriate respect for its subjects, never forgetting the need to educate and entertain. (Gareth K Vile) n Greenside @ Infirmary Street, until 24 Aug (not 18), 3pm, £7 (£5). 14–26 Aug 2019 THE LIST FESTIVAL 83

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PHOTO: CODY BUTCHER

PHOTO: GREGORY NAVARRA

BEFORE THE END

FIRST TIME

HITLER’S TASTERS

Before the End has an explicit intention: when Catherine Graindorge’s father was dying, he asked her to perform a concert in his memory. Her father, Michel, was a famous Belgian lawyer, engaged in struggles for equality and ending up in prison himself when one of his clients escaped from the dock. Graindorge is a violinist and a writer, and she combines music, film, audio of her father and plenty of lo-fi technological trickery to relate Michel's biography. There is a sense of reverence in her memories of her father: both as a person and a lawyer, he is depicted as a man of integrity and compassion. Tracing some of the more unexpected aspects of Michel’s life and recounting the controversial public episodes, Graindorge addresses the grief that she can't shake and offers a sketch of a life lived to its full potential. The contemplative tone, interrupted by the wail of the violin and electronic sounds, doesn't quite capture the passion and energy of the man, but as a personal testament, it is eloquent and moving. However, there is little sense of his character, or deeper moods, and the elegiac atmosphere dominates even the video footage of his political actions. (Gareth K Vile) n Summerhall, until 25 Aug, 1.15pm, £10 (£8).

With a stage strewn with props, costumes and the debris of a party, Nathaniel isn’t ready for an audience, he says. In fact, his show is about him getting ready to tell his story – to us, to himself and, most importantly, to his family. Nathaniel had to come out twice: first as a gay man, and second as HIV positive. He contracted the virus from his first boyfriend, Sam, at just 16. Manchester-based Nathaniel Hall’s autobiographical solo show covers a lot of ground – from distressing diagnosis to the glories of the NHS, from the horrific effects of medication to failed later relationships. But underneath, it’s a story of self-acceptance. Hall is a natural, unforced performer and raconteur, gloriously camp at times, yet ready to yank the rug away to expose episodes of despair and torment. He’s harrowingly honest about his deepest lows – a sequence dwelling on a cocktail of drugs (both prescribed and otherwise) is particularly moving as are his thoughts on his feelings of guilt and shame. Unhurried and reflective, First Time is not without moments of fury. But ultimately it’s a captivating, life-affirming tale of resilience and determination. (David Kettle) n Summerhall, until 25 Aug (not 19), 4.15pm, £14.50 (£12.50).

Written by American playwright Michelle Kholos Brooks, Hitler’s Tasters has a fascinating premise, interpreting the experience of the three women selected to taste the Führer’s food to check if it was poisoned. Combining satire, black comedy and atmospheric movement, the play delves into the terrifying concept of indoctrination and control. Although the play is set in the 1940s, the three women are using mobile phones, taking incessant selfies as a wry comment on the way that distraction encourages ignorance of the reality of a situation. The morbid, witty script relentlessly shifts from immature conversations about sex to anti-semitic comments. The plot is equally unpredictable, and its daring twists feel seamless. The movement sequences are effective, but unfortunately interrupt the far more effective dialogue scenes. And while the mobile phones make a clever political comment, the musical soundtrack drags the story too far from its historical context. Nonetheless, the strength of this play’s dark dialogue prevails to make a thoughtful and unsettling piece of work. (Rachel Baker) n Greenside @ Infirmary Street, until 24 Aug (not 18), 6.35pm, £11 (£8).

Performing grief and filial piety ●●●●●

Funny and frank autobiographical show ●●●●●

Black comedy about three unfortunate women in the Third Reich ●●●●●

LUCY MCCORMICK: POST POPULAR

Musical mess from the queen of performance art ●●●●● Thank goodness for Lucy McCormick. Without her, those of us who love a good song and dance routine, but don’t want to feel dirty afterwards for bathing in the mainstream, would be lost. Fortunately, McCormick is willing to get dirty for us, in every possible way. Following on from previous Fringe hit, Triple Threat, where she clambered inside the New Testament, McCormick is now looking at powerful women in history. Starting chronologically (“so the show makes some sort of sense”) she goes right back to the Garden of Eden to embody Eve. Then ends with the beheading of Anne Boleyn via Celtic warrior Boudica and hospital hero Florence Nightingale (that’s the chronology shot then). We, the crowd, are here to serve as bit-parts in what is essentially the I Love Lucy show. But it’s a role we’re more than happy to play, whether it’s the front row holding up bits of foliage in Eden, playing the army to her wild-eyed Boudica, or simply bolstering her wafer-thin ego. For while (show) Lucy is a self-serving narcissist who treats her fabulous sidekicks like dirt, (real) Lucy is lovely and talented, so we’ll forgive her anything. Especially when she and her dancers throw out a sharply synchronised routine, or McCormick’s silky voice slips down the microphone in a power ballad. And the fact that she does it covered in mud, sweat and tomato ketchup makes her even more lovable. Ultimately, McCormick is searching for a hero to inspire and motivate her, so she can then do the same for us. But when, upon opening, the box of Cadbury’s Heroes she grabs is filled with empty wrappers, McCormick solves the problem with possibly the finest show ending I’ve ever seen. (Kelly Apter) n Pleasance Courtyard, until 25 Aug (not 19), 8pm, £13–£14 (£11–£12). 14–26 Aug 2019 THE LIST FESTIVAL 85

Part of the British Council Edinburgh Showcase 2019

adapted for stage by Gbolahan Obisesan

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barbeque flavour 86 THE LIST FESTIVAL 14â&#x20AC;&#x201C;26 Aug 2019

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PHOTO: LARA CAPPELLI

CHERIE – MY STRUGGLE

ART HEIST

CROCODILE FEVER

Billed as ‘an intimate, gossipy memoir’ about Cherie Blair, this one-woman show sadly cannot decide its focus – zeroing in on random moments and spending far too much time broadly recounting Westminster events. Mary Ryder takes on the role of Cherie, trying her best to bring some intrigue to the one-time household name. Written by Lloyd Evans, it’s a traditional monologue – starting with a modern-day Cherie recounting her childhood and parentage, how she met her husband, and her struggles with the press. Although this intends to offer the audience a deeper understanding of her, the bracing sprint through her entire life does the opposite, with vague anecdotes about her father and her time with the royals. The piece does touch on something interesting with Carole, Cherie Blair’s style advisor, and her treatment at the hands of Downing Street men. However, it is too blunt with its proclamations. Overall, this piece plays it far too safe; it’s a missed opportunity to offer a new insight into one of the key players at the heart of British politics over last two decades. (Sean Greenhorn) n Imagination Workshop, until 25 Aug (not 19), 10.30am, £10 (£8).

After the runaway success of Lights Over Tesco Car Park last year, expectations are high for Poltergeist Theatre. While the company has become increasingly inventive with their staging, there’s a lingering sense of style over substance in Art Heist, where three utterly bonkers burglars attempt to rob a gallery on the same night and tightly choreographed chaos ensues. In an apparent mash-up of Mission Impossible and Dungeons & Dragons, each character must find creative solutions to the problems game master / security guard Alice Boyd throws at them. It’s a cool concept and writer Jack Bradfield has constructed an airtight farce full of intersecting subplots. However, such a tight structure leaves no room for chance, the very thing that makes roleplayer games like D&D so much fun. This, and gimmicky audience interaction, cheapen this potential masterpiece. Ruminations on the value and meaning of art feel shoe-horned in. Onstage cameras, moving lights and roaming lasers certainly make for a visual spectacle but by the end it feels about as empty as the frames they’re fighting over. (Liam Rees) n Underbelly Cowgate, until 25 Aug, 1.55pm, £11–£12 (£10–£11).

Brilliant, batshit and brutal, Meghan Tyler’s new play, set against the backdrop of Northern Ireland during the Troubles in 1989, plays out like conventional farce – initially, at least. Fianna (Lise Dwyer Hogg), a rebellious young punk is back to visit buttoned-up, religious sister Alannah (an outstanding Lucianne McEvoy), forever trying to scrub the outside world away in her pink Formica kitchen. But both characters develop into something far more complex when forced to confront reptilian abusive father Peter (Sean Kearns). A surreal comedic bloodbath, homaging classic horror films like Carrie and The Shining, ensues. After all, what’s a little chainsaw action and crisps-related violence between good Catholics? Underpinning the larky humour and gore, though, is female rage. Gareth Nicholls’ marvellous direction of this dream cast draws out the tics and nuances of Tyler’s intelligent writing. These young women have been pushed to the edge, and the heart of the play shudders with the terrible hurt of adolescent years. In a sense, it’s #MeToo for the pre- internet generation, when horror and evil wasn't just limited to video nasties. (Lorna Irvine) n Traverse, until 25 Aug (not 19), times vary, £21 (£15.50).

Unfocused look at the life of Cherie Blair ●●●●●

A lingering sense of style over substance ●●●●●

Snapping at the jaws of the patriarchy ●●●●●

BRYONY KIMMINGS: I’M A PHOENIX, BITCH

Arresting one woman show depicting an astonishing recovery from mental illness ●●●●● In this intimate yet epic solo, Bryony Kimmings describes a journey of salvation from the depths of depression and psychosis to recovery and acceptance. I’m a Phoenix, Bitch is a perfectly crafted declaration of one woman’s innermost demons. The set is scattered with sheets covering small set pieces to represent moments in Kimmings’ life which she revisits to embark upon recovery. Kimmings uses these and a video camera to perform satirical musical numbers that range from hilarious to heartbreaking. From film noir to scenes that evoke The Blair Witch Project, these tunes skillfully enlighten moments that contributed to her eventual undoing. The filmic allusions bring each personal memory to a relatable level, and Kimmings’ is utterly compelling in her delivery of these stylistic performances. As each scene goes by, what started as a scathing but light-hearted, satire, becomes a dark exploration of female insecurities. The show’s climax consists of striking movement pieces and stunning projection, depicting Kimmings’ psychotic episode as something out of a horror movie. Her focus on the terror that comes with severe mental illness effectively removes any risk of fetishising the subject. Relentless in its honesty and exquisite in its artistry, this cinematic response to her own mental state is devastatingly memorable. It is astonishing that she is able to continue. I’m a Phoenix, Bitch is a remarkable testament to resilience. Kimmings’ brave surrender of her own life to the stage illustrates that to experience mental suffering is to also undertake a transformative journey. Steeped in honesty and made with impeccable skill, this is a glorious piece of theatre that demands to be seen. (Rachel Baker) n Pleasance Courtyard, until 25 Aug, 5.30pm, £15–£17 (£14–£16). 14–26 Aug 2019 THE LIST FESTIVAL 87

F EST I VA L T H E AT RE | Reviews

THE WORDS ARE THERE

A vital piece of physical theatre about male domestic violence ●●●●● Praise must be heaped upon Irish actor Ronan Dempsey, of Nth Degree Productions, for creating something so dazzling with only the use of an upturned mop. Here is a production that bravely addresses male domestic violence, tackling its weighty subject with an experimental staging that seems absurd but seriously pays off. Doting Mick cares for his girlfriend Trish by styling her hair, dressing her and even helping her to walk. But she isn’t disabled – it’s just that writer and performer Dempsey has chosen to represent her in the form of a mop. Their relationship seems to be progressing well, until one day Mick mucks up an important speech at a key moment and Trish responds by becoming emotionally abusive. As the relationship lengthens, her abuse worsens. By anonymising Trish (the mop has no real face), Dempsey is making a stand for all of the thousands of cases of domestic violence upon men (and women) that are reported, and perhaps those that go unreported too. Dempsey is a fantastic physical actor. He employs dramatic movement and expression to communicate exactly the ways isolation and fear can break a person. For an added trick, all (well, almost all) the speech is prerecorded so Dempsey is left further exposed, on stage alone. At some of the more tense points, audience members crane their necks to look at the mop as it lies sideways on the floor: does looking at a mop for an emotional response signify madness? Nope: Dempsey forges true character and meaning in his relationship with Trish, and audiences are privileged enough to be awarded a visual feast as well as an emotionally complex and politically relevant thriller. (Adam Bloodworth) n theSpace @ Surgeons Hall, until 24 Aug, times vary, £9–£11 (£8–£9).

PHOTO: ARNIM FRIESS

A PARTNERSHIP

GREAT GRIMM TALES

TRYING IT ON

Zach and Ally’s five-year relationship is quietly fracturing. Nurse Ally is desperate to cling on to his sense of youthful adventure as he turns 30, throwing himself into gin and coke. Lawyer Zach wants a nice kitchen and evenings watching Poirot. As they await delivery of an Indian takeaway, more is revealed than either of them anticipated. There’s more crammed into Rory Thomas-Howes entertaining two-hander than there probably should be: fear of ageing, definition of sexual roles, monogamy versus wild affairs, bisexuality, selfloathing, gay marriage and more all get a look in, none gets the dissection it properly deserves. At times A Partnership feels too much like a catalogue of issues facing gay couples, but Thomas-Howes has come up with a strongly defined duo to explore those questions. He plays the long-suffering Zach, hankering after wealth and security, while quietly detesting the gay men around him. Ben Hadfield as Ally is needy yet shows a surprising strength and integrity, and director Josh Tucker keeps things moving. There’s a lot that’s impressive in A Partnership, but as it stands, its ambition hampers its clarity. (David Kettle) n Gilded Balloon Patter Hoose, until 26 Aug, 2.45pm, £8.50–£9.50 (£7.50–£8.50).

The power of stories is a consistent theme at the Fringe: Great Grimm Tales takes a selection of the brothers’ macabre fairy tales and, with a cast of three and a few puppets, conjures dark European nights, haunted churchyards and symbolic adventures in which the devil is always threatening but never victorious. Old Nick keeps turning up, and is repeatedly vanquished, ensuring that the atmosphere of horror dissipates like ghosts in the dawn’s light. While the weaving of the tales is elegant, and builds nicely towards a climax, the tales themselves are predictable. There is plenty of torture and horror, but virtue is both its own reward and the ultimate victor. The ensemble inhabits a variety of roles, with the devil himself given a sly, deceptive charm: the heroes of each story, however, follow a pattern of naïve goodness and the complexities of the fairy tale are reduced to the unfolding of a mythic pattern. Yet Box Tale Soup are confident in presenting well-paced and appropriately sinister stories, bringing a subtle modern sensibility to Grimm that never quite explores their contemporary relevance. (Gareth K Vile) n Underbelly Cowgate, until 25 Aug, 11am, £10–£11 (£9–£10).

Playwright and performer David Edgar’s self-reflexive performance lecture asks: do individuals become less politically engaged in later life? From his agit-prop theatre and radical Marxist publications in the late 60s, to enjoying his comfortable home in his 70s in the present day, he wonders aloud if it is he or the world that has shifted imperceptibly. He uses several interviews with radical firebrands, and even his younger self, to see ‘if I was on the right side of history’, and if his peers too have sustained their radical activism. Talking heads in the video and audio clips include David Aaronovitch, Sue Clegg and Carole Moss, but – Tariq Ali aside – there is a slight lack of people of colour here. Edgar neither preaches nor hectors, maintaining a level of self-deprecation. The scenes where he ridicules himself as a frock coat-wearing, Wildean wannabe should strike a chord with anyone whose wardrobe has been as experimental as their ideas. It’s all gloriously deadpan, but Christopher Haydon’s direction means that the unexpected twist is as delightful, empowering and passionate as Edgar still clearly is: this is a humane, funny and often rather beautiful paean to optimism, progress and sowing the seeds of change. (Lorna Irvine) n Traverse, until 25 Aug, times vary, £21 (£15.50).

Ambitious gay relationship drama ●●●●●

88 THE LIST FESTIVAL 14–26 Aug 2019

Lively recollection of the fairy tale masters ●●●●●

Human, funny and beautiful work ●●●●●

Becky Barber-Sharp & Something for the Weekend present

Directed by Lisa Cagnacci 31 July - 26 August, 11:30am (not 13; 1hr)

pleasance.co.uk

0131 556 6550

14â&#x20AC;&#x201C;26 Aug 2019 THE LIST FESTIVAL 89

F EST I VA L T H E AT RE | Reviews

ARE WE NOT DRAWN ONWARD TO NEW ERA Technically dazzling, emotionally devastating work ●●●●●

Provocative, pioneering Flemish theatre company Ontroerend Goed have baited and outraged audiences with previous Fringe shows, made us gamble our cash, offered intimate one-on-one experiences, and three years ago gazed aeons into the future to a time when humankind has long vanished from the Earth. This year, they again consider our relationship with the planet in what might appear a more conventional show. But Are we not drawn . . . is a technically dazzling, emotionally devastating work that marries form and content to revelatory effect. A bare stage, an apple tree, a man and a woman: there’s no question where it begins. But as its title suggests, the show is a palindrome, so, are we going to end up back where we started? What Ontroerend Goed attempt is quietly breathtaking: an uncompromising examination of human progress and environmental destruction, an interrogation of time, and a deeply troubling questioning of whether we really can achieve what we surely need to achieve. All in a show full of wit and wonder. And if you’re planning to see it – and you really should – stop reading now. For experiencing Are we not drawn to a new erA’s high-precision mechanisms unfolding in front of you, and the slow realisation of what’s actually happening (and therefore what’s yet to come), are some of the show’s many pleasures. Using reversed speech that sounds like something from Twin Peaks’ sinister Red Room, OG’s six actors gradually transform the stage into a nightmarish microcosm of contemporary western life. Are we not drawn . . . is a playful, ambiguous work, whose ultimate message could be joyfully optimistic or deeply despairing – and is probably both. It’s vitally important theatre that that never preaches, yet reveals possibilities, fears and hopes. (David Kettle) n ZOO Southside, until 25 Aug (not 19), 11am, £14 (£12).

A HOLY SHOW

CONSPIRACY

TERRATORY

A comic play about a flight from Dublin to London which is hijacked by a short-tempered Australian ex-monk who demands that the Pope tell him the Third Secret of Fatima sounds like cheerful fluff, tapping into time-honoured Irish comedy tropes. The glorious twist of A Holy Show, written and directed with immense brio by Janet Moran, is that Aer Lingus Flight 164 was a real thing. Clever, economy-class staging whisks the audience back to 1981, when smoking on planes was allowed and booze was free. Caitriona Ennis and Patrick Moy effortlessly inhabit a surprisingly large range of characters: a pair of bitchy stewardesses, a golf-obsessed yuppie and his seething personal assistant, two discontented newlyweds, a new grandmother and her unmarried sister. A device that tracks their seat numbers helps the audience keep track of who’s who, but Ennis and Moy are so good that it’s almost superfluous. Trimmed down to a tight 60 minutes from its original production, it’s funny, wise and expertly performed. Like Flight 164 itself, it carries you off to places you didn’t think it would go. (Alex Johnston) n Pleasance Courtyard, until 26 Aug, 3pm, £10–£12 (£9–£11).

It’s an iconic image: 11 men sit atop a girder, hundreds of metres above the New York skyline, calmly eating lunch in the 1930s. But what’s really going on here? Can we really take this at face value? According to the nervy, suspicious trio in Barrel Organ Theatre’s Conspiracy, the photo points to a massive global cover-up, bringing in (naturally) JFK, Elvis, Michael Jackson, the moon landings and even the death of Princess Diana. There’s a lot of fun to be had in the far-fetched opening investigations of Jack Perkins’ dark comedy, especially from the awkward grimaces of the trio’s ringleader Rose Wardlaw and her obsessive mistrust of even the tiniest details. But halfway through, things suddenly move into stranger and far less convincing territory, as though Perkins isn’t sure of where to take his material next. There’s plenty left unanswered, probably intentionally. Who are these three people and what does the mystifying but elaborate closing sequence signify? Conspiracy offers plenty of laughs but it shies away from digging deeper into the troubling issues behind cover-up theories, and the reasons why many choose to believe them. (David Kettle) n Underbelly Cowgate, until 25 Aug, 4.45pm, £11–£12 (£10–£11).

In the face of growing nationalism and racism, this production from Nicholsons Upstage demonstrates eloquently why no race is superior to another, and why we might all share more common ancestors than we know. Spanning today and the 15th century, TERRAtory is determinedly internationalist and inclusive. The play opens with the protagonist Emma receiving the results of her genealogical DNA test. To her delight she discovers that she isn't 100% English, but has links on the other side of the world. This, alongside a discovery of colonial documents in her gran’s attic, leads her to research her ancestry and to question her friend’s attitude to immigrants. TERRAtory proposes a makeshift study of global inter-relationships. While the characters and some of the dialogue are over-simplified, the plot moves at a good pace. Some scenes from the past are stilted compared to the wry banter of Emma and her best friend, but the commitment of all eight actors to telling such an important story is admirable. A special mention must go to the colonialist Captain Gonzalo; he’s so convincingly morally repulsive, it’s difficult to watch. (Clare McVay) n Greenside @ Nicolson Square, until 17 Aug, 3pm, £10 (£8).

Gloriously comic and unexpectedly thoughtful ●●●●●

90 THE LIST FESTIVAL 14–26 Aug 2019

Comedy on outlandish cover-up theories ●●●●●

A deeper look at racism and our roots ●●●●●

Reviews | F EST I VA L T HE AT RE

list.co.uk/festival

GENESIS: THE MARY SHELLEY PLAY

NEVER NONE (BUT SHE)

THE TRIAL

The circumstances surrounding Mary Shelley’s creation of the novel Frankenstein has been well explored in the arts, notably in Ken Russell’s Gothic, a film that taps into the hallucinogenic nightmare that seemed to follow the romantic poets Byron and Shelley and their wives and lovers as they attempted to break through the pieties of Enlightenment society. Genesis takes the night before Mary’s dream that birthed the monster, yet can bring little new to the wild events. Mary Shelley herself is lost in the general antics: a few monologues expressing her thoughts and desires aside, the sexual and artistic hysteria of the two male poets – and their companion Polidori – dominates the action. The script is over-written, aiming for the elegance of 18th-century conversation but never quite achieving poetic fluidity, and the cast pitch their performances towards a formal, traditional acting style that can feel stilted. While the company make good use of the limited accessories of the venue – the lighting is evocative and guides the structure – Genesis never quite matches the mania of the story itself. (Gareth K Vile) n C Cubed, until 26 Aug, 5.05pm, £10.50–£12.50 (£8.50–£10.50).

Asterglow Theatre have created a lovely image at the heart of their inaugural show. Set on a minimal, twinkly stage, three female protagonists are tasked with saving the stars in the sky before their depleting numbers inevitably shroud us all in darkness. As well as female empowerment, there’s an environmental message, and the urgency with which these women are fighting to put more stars back into the sky is a nice metaphor for the continued struggle to save the real environment. The three protagonists – Pan, Lilla and Tansy – discover that their shared inner powers can work as a force for change in a darkened world. Every now and again, the show’s neighbourhood antifeminist pops up, declaring that all women should leave the decision making to the men. But even non-progressives don’t – for the most part – think women should be silent in 2019, so an updated antifeminist character written with a little more nuance would have felt like more of a believable illustration of the show’s concerns. Still, there’s a real sense of urgency coursing through this piece of experimental theatre, and the company impressively convey the idea that each and every action counts. (Adam Bloodworth) n theSpaceTriplex, 19–24 Aug, 11.55am, £10 (£7).

This inventive solo is loosely based around real life experiences and the novel Tieta do Agreste by Jorge Amado. Charismatic performer Inês Sampaio manages to keep the audience captive for the duration of the piece, with some inventive character work and use of musical instruments. However, the central question and the titular ‘trial’ lack the clarity to truly resonate. The story centres around the family of a transgender woman from the Brazilian town of Agreste, who was chased from their hometown in their youth, only to become wealthy. Examining how money impacts people’s perceptions and prejudices, the script explores issues surrounding the LGBTQ+ community. A smattering of musical instruments and loop pedals add to the show’s engaging quality. Unfortunately, the story unfolds too unevenly, and the amount of ground Sampaio attempts to cover means that the audience is constantly catching up. When it comes time to ask the audience to act as a jury, there is too much confusion about their task: a missed opportunity to explore some timely and complex questions. (Sean Greenhorn) n Greenside @ Infirmary Street, until 17 Aug, £10 (£5).

Creative mayhem portrayed politely and traditionally ●●●●●

Feminism with an environmental message ●●●●●

Muddled exploration of gender ●●●●●

AMERICA IS HARD TO SEE PHOTO: EM WATSON

Compassionate yet troubling verbatim examination of a community of sex offenders ●●●●● These people are habitual liars, community psychologist Anne warns us. You can’t believe a word they say. It’s a warning that runs like a dark thread through this emotionally devastating, deeply troubling show from New York’s Life Jacket Theatre Company. This is Miracle Village, a small Florida community like no other. Here, everyone is a convicted child sex offender, living a tightly controlled life on probation following years of incarceration. Mercifully, there’s a total absence of judgement and sensationalism in this challenging, uncomfortably honest show (and yes, a few upsetting specifics are divulged – as they really need to be). Six actors sketch in the men’s stories using verbatim testimonies, though what’s true is always up for discussion. There’s Chad (a touchingly fragile Harry Waller), a talented music teacher who got too close to a favourite pupil. Or 21-year-old Chris (an appropriately wide-eyed, David Spadora), who maintains he never knew his girlfriend of several months was just 14. Director Travis Russ has expertly curated their interviews to create a gripping dramatic arc, tackling forgiveness and guilt, truth and lies with remarkable balance. If there’a sense we might empathise too much with these ambiguous characters, we’re brought up short with a reminder that their crimes have destroyed lives. Likewise, if we start to condemn, we’re reminded that these are men, not monsters, with failings and frailties like we all have. Life Jacket have been performing the show in the US since early 2018, and it shows: it’s a sharp performance that bristles with conviction, with faultless choreography and some heartrending songs. America is Hard to See is a brave, bold work, delivered with ringing clarity and purpose, and as unsettling as it is compassionate. (David Kettle) n Underbelly Cowgate, until 25 Aug, 7.45pm, £11–£12 (£10–£11). 14–26 Aug 2019 THE LIST FESTIVAL 91

F EST I VA L T H E AT RE | Reviews at a Glance

REVIEWS AT A GL ANCE THE AFFLICTED ●●●●● Four girls are on-stage when the lights come up; dressed in uniforms, they start to twitch and jerk rhythmically. They evoke the girls of Hope River, a stand-in for the real-life town of Le Roy, and The Afflicted worries away at some big questions. A first work from a new Scottish company, this is an auspicious, confident debut. (Eddie Harrison) Summerhall, until Aug 25, 7.30pm, £14 (£10). BABY REINDEER BY RICHARD GADD ●●●●● A chilling, claustrophobic but thoroughly gripping hour of theatre. Expertly structured and paced by director Jon Brittain, it slowly reveals the ever-more horrifying extremes of a stalker’s obsessions, yet points the finger, too, at Gadd’s own culpability and involvement – there’s no self-pity here. (David Kettle) Roundabout @ Summerhall, until 25 August (not 20), 6.25pm, £14–£16 (£12–£13). BLIND DATE ●●●●● Intimate and light-hearted merging of theatre and comedy explores how we allow ourselves to be vulnerable when making new connections. Consent is a huge part of the show, with Mimi the clown taking great care to ensure the experience is genuinely enjoyable for everyone involved. (Arusa Qureshi) CanadaHub @ King’s Hall, until 25 Aug (not 19), 9pm, £11 (£9). THE CANARY AND THE CROW ●●●●● In this staggering new piece of gig theatre from Middle Child, Daniel Ward answers the question of what it is like to be a black kid in a white world. Comedic and uplifting, while deeply critical of societal racial assumptions, this is an astute and emotive comment on contemporary racism. (Rachel Baker) Roundabout @ Summerhall, until 25 Aug (not 20), 7.50pm, £14–£15 (£12–£13). CHURN ●●●●● This solo performance has an unfaltering energy: using minimal props and staging, and a playful delivery, the tone jars with the overriding theme of gun violence. This rollercoaster of emotions fails to become emotive: what was perhaps meant to be a childlike narrative comes over as lacking in conviction and emotion. (Clare McVay) Greenside @ Nicholson Square, until 24 Aug (not 18), 2pm, £10 (£7). DAUGHTERHOOD ●●●●● Daughterhood is a simple show with ferocious emotional depth, that leaves nowhere to hide from the intensity of 92 THE LIST FESTIVAL 14–26 Aug 2019

the relationship at its core. (Rachel Baker) Roundabout @ Summerhall, until 25 Aug (not 18, 20, 24), times vary, £15–£17 (£10–£12).

PHOTO: THE OTHER RICHARD

For full length versions of these reviews, see list.co.uk/festival

LAST LIFE: A SHAKESPEARE PLAY ●●●●● The performers in this show do very little with the imaginative setting, and the opportunity for interesting physical theatre is lost, with many of their movements simply acting out the words rather than attempting to twist or bring new meaning to them. The assemblage nature of the work means that some of the rhythm of Shakespeare’s language is lost. (Sean Greenhorn) Greenside @ Infirmary Street, until 17 Aug, 6.30pm, £8 (£5). LEAVE A MESSAGE ●●●●● Leave A Message details an afternoon in the life of Ed – a self-professed millennial who is dealing with the death of his alcoholic father whom he has not seen in many years. The play triumphantly opens up a window into the lives of others with a storyline that straddles the alien and the familiar. (Becki Crossley) Gilded Balloon Patter Hoose, until 25 Aug, 2pm, £9 (£8). LIFE IS NO LAUGHING MATTER ●●●●● Based on writer Demi Nandhra’s experiences with depression, Life Is No Laughing Matter is a personal exploration of the struggles and stigmas associated with this mental health issue: creative and sensitive in its exploration of this universal feeling, making it an enjoyable and impactful hour. (Becki Crossley) Summerhall, until 18 Aug, 1pm, £10 (£8). MY MOTHER’S SHOES ●●●●● Although her mum died seven years ago, Karola Gajda still loves her, and that’s the biggest take-away from My Mother’s Shoes. There’s plenty of reasons to recommend it; for sincerity, warmth and relevance, this small but carefully formed free show is far better value than many of the Fringe’s pricier enterprises. (Eddie Harrison) Laughing Horse @ Bar 50, until 25 Aug (not 19), 12.15pm, free. THE PATIENT GLORIA ●●●●● Moxley’s play aims to be a feminist rallying call, but the material doesn’t crack up in the manner required. She throws in a line where Gloria suggests that ‘way in the future, during the third wave of feminism, someone will write a play about me’ but it’s hard to imagine that the Californian housewife would have been wowed by this depiction; it’s notable that Gloria somehow gets side-lined in her own play. (Eddie Harrison) Traverse, until 25 Aug (not 19), times vary, £22 (£15–£16.50).

The Canary and The Crow

THE PRESENTED ●●●●● Jaded with the Fringe? Tired of the same old comics, gauche student productions, the usual publicly funded tent-poles? Chris Davis is here to shake all that up. While offering a deliberately insubstantial quality, Davis’s show is an invigorating alternative to the usual fare, based as it is on the kind of innovative spirit that the fringe was originally created to showcase. (Eddie Harrison) Laughing Horse @ The Place, until 25 Aug, 1.45pm, free. A ROCK’N’ROLL SUICIDE! ●●●●● Lee Mark Jones is an aged punk who found moderate fleeting success in various bands throughout the decades. Now he is recounting his life as an also-ran to a handful of bemused audience members in this fairly ramshackle show. Jones makes for a charmingly eccentric presence in his ill-fitting Ziggy Stardust get up. (Sean Greenhorn) ZOO Southside, until 26 Aug, 9pm, £10 (£8).

10.15pm, £10.50–£11.50 (£9.50– £10.50). SUFFERING FROM SCOTTISHNESS ●●●●● The strength of the show lies in the spoken word vignettes that poetically illustrate the struggle of getting to grips with Scotland’s identity problem. However, there’s a lot of black and white thinking going on here and this distinct lack of nuance, ultimately, makes it feel pretty bleak. (Katharine Gemmell) Assembly Roxy, until 26 Aug, 5.10pm, £10–£12 (£9–£11). TOKYO ROSE ●●●●● In 1941, a young American woman named Iva Toguri set sail from California to Japan, sent by her mother to care for her ailing aunt. Burnt Lemon does an immensely admirable job of condensing the tangled web of Iva’s story into an hour-long musical. (Deborah Chu) Underbelly Cowgate, until 25 Aug, 6.55pm, £11–£12 (£10–£11).

SCOTTEE: CLASS ●●●●● This is an unabashed lecture show with autobiographical dirt under its fingernails. Lulling the crowd into a false sense of security with some working-class shout-outs, Scottee insists that his audience are made aware of growing up with the certainty of uncertainty that comes from poverty. (Lorna Irvine) Assembly Roxy, until 25 Aug (not 19 & 20), 4.05pm, £12–£14 (£11–£13).

TYPICAL ●●●●● Typical’s innovative script makes Richard Blackwood’s character sympathetic and engaging, so that the climax is all the more heart-wrenching. Blackwood’s effective performance draws audiences back in for the tragic conclusion, which packs an even stronger punch with real footage from the event which inspired the script. (Rachel Baker) Pleasance Courtyard, until 25 Aug, 4.30pm, £10–£12 (£9–£11).

SEARCHERS ●●●●● A vaguely impressionistic tale of a young woman searching across America, it seems to want to question what it means to be a young woman in America. However, it does so in an unfocused way, obsessed with certain iconography and allusions to a point that brings the flow of the story to a halt. (Sean Greenhorn) Gilded Balloon Rose Theatre, until 25 Aug (not 19),

THE WAR OF THE WORLDS ●●●●● In their previous work, Rhum and Clay have proven themselves to be masterful individual and ensemble performers. There’s no weak link in the cast here and they’re such a well-oiled machine that this technical whirlwind of a show flies by. (Liam Rees) Pleasance Courtyard, until 26 Aug (not 14), 3.20pm, £13–£15 (£12–£14).

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DAVID BATCHELOR: MY OWN PRIVATE BAUHAUS Perfectly pitched work pays tribute to the revolutionary art movement

PHOTO: TOM NOLAN

Titled, says the Dundee-born artist, after ‘a phrase that has been hanging around the studio for a few years’, the timing of this exhibition has a certain ‘now or never’ sense to it, given that 2019 is the 100th anniversary of the founding of the Bauhaus by Walter Gropius. Working here largely in sculpture and painting, Batchelor – whose work and writing is based around the application of colour – pays understated tribute through the use of geometric shapes, particularly the square, circle and triangle, each of which has been filtered through his own style. In the centre of the room, ‘Dogdays’ is a series of lumps of coiled cable, each one in uniform colours, transformed far beyond their original use. There are sheets of graph paper with perfectly shaped patterns picked out in rainbow colours and black silhouette objects highlighted with a wash of spraypaint; ‘paintings’ created with large dollops of commercial paint, dried to a soft shine; painted tin lids arranged in gravity-defying towers atop blocks of concrete; and, in the long shelving arrangement of the title piece, sheets of painted paper, reflective gels and broken plastic drawing tools arranged in perfect aesthetic arrangements. None of this is any accident, but a measure of how perfectly pitched and controlled Batchelor’s practice is. (David Pollock) n Ingleby Gallery, until 28 Sep, free. ●●●●●

14–26 Aug 2019 THE LIST FESTIVAL 93

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Rachael Cloughton highlights some of the best visual art to explore in week three of the festival

review, page 95. The Fire Station at Edinburgh College of Art, until 25 Aug, free.

CORIN SWORN: HABITS OF ASSEMBLY Corin Sworn presents two new films focused on the artist’s long-standing interest in technology and its impact on the body, and vice versa. The films show carefully choreographed performances and are housed within an intimate metal structure created by Sworn, placed in the centre of Edinburgh College of Art’s newly reopened sculpture court. See review, page 95. Edinburgh College of Art, until 25 Aug, free.

CAROLINE ACHAINTRE, ADAM BENMAKHLOUF AND LUCY WAYMAN Escape the hubbub of the city and head to Edinburgh Sculpture Workshop in Newhaven, where three sculptors have created site-specific works that encourage audiences to explore the building’s impressive production facilities and exhibition spaces. See review, page 95. Edinburgh Sculpture Workshop, until 25 Aug, free.

PLATFORM An annual showcase of Scotlandbased artists at the beginning of their careers, offering audiences a great opportunity to see new artistic talent during the festival. Anna Danielewicz, Joanne Dawson, Suds McKenna, Harry Maberly have been selected this year and their diverse selection of works are installed in the atmospheric former fire station building at ECA. See

94 THE LIST FESTIVAL 14–26 Aug 2019

DAVID BATCHELOR: MY OWN PRIVATE BAUHAUS Timed to coincide with the 100th anniversary of the founding of the Bauhaus by Walter Gropius, this exhibition at Ingleby Gallery is David Batchelor’s tribute to the movement and his personal appreciation of simple geometric forms. The show includes small sculptures, paintings and drawings. See review, page 93. Ingleby Gallery, until 28 Sep, free.

PHOTO: SALLY JUBB PHOTOGRAPHY

ART HITLIST

Suds McKenna from Platform

Reviews | FEST I VA L VI S UA L A RT

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PHOTO: LUCY WAYMAN

PHOTO: KEITH HUNTER

CORIN SWORN: HABITS OF ASSEMBLY

Human bodies and technology intertwine ●●●●●

CAROLINE ACHAINTRE, ADAM BENMAKHLOUF AND LUCY WAYMAN

DERRICK GUILD: EVER AFTER

The usually bright and airy sculpture court at Edinburgh College of Art feels almost claustrophobic, as it hosts this new commission by Corin Sworn. A metal structure houses video and sound pieces: one depicts two performers in near-darkness, their silhouettes illuminated only slightly by their white outfits as they perform their respective sequences, and the accompanying sound flickers between classical music and white noise. The second depicts the same two performers in a well-lit room where their movements are clear, and the sound is heightened; even their footsteps can be heard. The whole viewing experience is highly sensory and jars at points; what looks like a synchronised dance routine suddenly resembles a scratched DVD each time the performers break the fluidity of their movements. The centre of the structure is a conversation between two people about tasks and roles. The performers in the videos can be seen to embody this notion; undertaking a task (their movements), and their roles are changed by the absence/presence of certain technologies (light, sound) which is something Sworn is intrigued by; the intertwined nature of technology and the human body. (Arabella Bradley) n Edinburgh College of Art, until 25 Aug, free.

As part of Edinburgh Art Festival, three artists have been commissioned to place their work in and around the Edinburgh Sculpture Workshop site, with the most traditionally gallery-specific one being that of London-based European artist Caroline Achaintre. Achaintre’s 'Encounter L.' series is housed in the white cube alongside the courtyard and in the outside space, a series of mask-like wall hangings in ceramic and bronze which imitate strange alien faces in their crumpled but very individual forms. Outside, the same style is recreated on a grand scale with ‘Echo Peel’, a large, colourful hanging fabric made from woven raffia. Recent Glasgow School of Art graduate Adam Benmakhlouf’s ‘The Noise of Making Spills Over’ is an audio piece located in the base of ESW’s landmark tower, broadcasting the disembodied sound of the studio’s schools and community engagement up into the air. Meanwhile, Edinburghbased Lucy Wayman’s ‘Clovehitch’ on the cycle path nearby is a waymarker amid the trees, a woven sheet of marine rope which hints at the area’s history. (David Pollock) n Edinburgh Sculpture Workshop, until 25 Aug, free.

Trio exhibit across sculpture workshop ●●●●●

Cabinet of curiosities for the post-modern, digital world ●●●●● Few contemporary artists are as tenacious in their engagement with the history of the art as Derrick Guild – or as inventive. His varied practice includes drawing and painting, found objects and film, but this show focuses entirely on painting. With considerable skill, he references directly painters such as Velazquez, Raeburn and Batoni, using them to pose his own set of questions. The title work in Ever After is a sequence of 40 miniature paintings in ornate oval frames, details reproduced from classic portraits: an eye, a pair of parted lips, a pearl earring, a row of buttons. Clusters of miniatures are linked by fine gold chain. Other works create trompe l’oeuil effects such as folded paper. A goldfinch, straight out of Fabritius, perches on a crust of bread next to two dead bumble bees. Perhaps Guild is interrogating the fragmentary nature of how we understand the past, breaking things down into pieces in order to analyse them, or questioning the ideologies which lie behind these works. Whatever his intention, he is taking on the greats at their own game – the creation of beautiful illusion – and proving he is up to the task. (Susan Mansfield) n Scottish Gallery, until 24 Aug, free.

PHOTO: SALLY JUBB PHOTOGRAPHY

PLATFORM

Edinburgh Art Festival’s showcase of new talent ●●●●● What’s most striking about Platform is the juxtaposition created through viewing contemporary artworks in an old space; an effect which is mirrored by the works on display, which reflect on the past while also contemplating the present. The exhibition presents four artists whose work is an eclectic mix, ranging across video, sculpture and printmaking. Anna Danielewicz’s work consists of a set of different sized chairs resembling those in the age-old Goldilocks tale, inviting visitors to sit and listen to her story Voun Town (about a fictional landfill settlement inhabited by nonhuman persons) through headphones, or to read a printed copy. Suds McKenna’s sculptures represent grotesque human forms, which could have been selected from the hoards of people depicted in his three prints in the show. The prints nod to the past while also commenting on society today, as they have an uncanny resemblance and function to caricatures by the Dada artist Georg Grosz. Harry Maberly’s videos 'It’s me, I’m Cathy!' (2017) and 'Babooshka' (2019) see the artist take on the persona of Kate Bush by recreating her videos for ‘Wuthering Heights’ (1978) and ‘Babooshka’ (1980), serving as a humorous exploration of fandom with a more serious undertone, questioning how far people will go to embody their idols. Joanne Dawson’s wooden room divider is both a functional and aesthetic object which embodies both contemporary and traditional craft. A fantastic opportunity to see new works by emerging Scottish artists in a wonderful space. (Arabella Bradley) n The Fire Station at Edinburgh College of Art, until 25 Aug, free. 14–26 Aug 2019 THE LIST FESTIVAL 95

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HIGHLIGHTS FROM OUR PACKED FESTIVAL EVENTS PROGRAMME

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PHOTO: EDWARD BISHOP

EVENTS CALENDAR

MUSEUM LATES: FRINGE FRIDAYS The National Museum of Scotland opens its doors once again for this adults-only, afterhours showcase of performances, comedy and music, curated from the festival madness outside by The List. The evening of 16 August will feature appearances by comedians Jay Lafferty, Harriet Dyer and Sam Taunton; performances by the Black Blues Brothers and Noise Boys; as well as cabaret star Gingzilla. Guests will be able to keep fresh into the late hours with plenty of bars and nibbles on hand, as well as free entrance into the NMS’ summer exhibition, Wild and Majestic: Romantic Visions of Scotland. National Museum of Scotland, 16, 23 Aug, 7.30pm, £20 (£18), nms.ac.uk

TRACEY THORN Pop veteran and best-selling author brings her latest release to the Edinburgh International Book Festival

efore she became one half of acclaimed musical duo Everything but the Girl, and author of the best-selling memoir Bedsit Disco Queen, Tracey Thorn was just another cynical teenager living in a commuter town, waiting for her life to begin. The musician and writer comes to the Edinburgh International Book Festival to discuss her latest book Another Planet, which explores her adolescence growing up in post-war suburbia. Written with warm insight and her signature wit, Another Planet has been a Sunday Times top ten bestseller, and hailed as ‘wise, tender, beautifully observed [and] deadly funny’. Her Book Festival talk promises to go into greater detail about the lasting effects that this stifling environment had on her life and career, as well as the other creative icons to have emerged from the green belt cul-de-sacs of the 1970s. Thorn’s talk is part of the EIBF’s Telling Her Story strand, which brings women’s experiences and the fight for gender equality to the forefront.

Charlotte Square Gardens, 19 Aug, 8.30pm, £12 (£10). 96 THE LIST FESTIVAL 14-26 Aug 2019

SO YOU THINK YOU’RE FUNNY? The semi-finalists of Gilded Balloon’s So You Think You’re Funny? competition have battled it out through the month of August, performing seven minutes of their best material before a panel of discerning judges. Now the winners of the semi-final heats will ascend to the competition’s ultimate stage: a two-and-a-half hour showdown which will see one person finally crowned the funniest upand-coming comedian around. The judging panel this year will feature Gilded Balloon head honchos, Karen and Katy Koren; The Times’ Helen Harkins; Beyond the Joke’s Bruce Dessau; director of the Melbourne Comedy Festival, Susan Provan; and celebrity judge Jenny Eclair. Previous winners and contestants have included the likes of Aisling Bea, Maisie Adam, Graham Norton, Dylan Moran, Lee Mack and David O’Doherty. Gilded Balloon Teviot, Thu 22 Aug, 7.30pm, £15.50, soyouthinkyourefunny.co.uk

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19—25 August The Lyceum Part of You Are Here

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