Fest 2014 Issue 5

EE FR

Into the Underworld

E JAM PUTS POMEGRANAT BACK IN THE PERSEPHONE DRIVING SEAT

19 August 2014 — YOUR COMPLETE GUIDE TO THE FESTIVAL

k s e D Hot 9.10PM (10.10PM)

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THE EDINBURGH FESTIVAL

Your complete guide to the Festival

PUBLISHER

Dr. Sam Friedman

FRIDGE They’re oddly overlooked amid the frenzy of the Festival. But fear not: Fest brings you coverage of Fringe performers’ best-stocked fridges.

EDITOR Evan Beswick CREATIVE DIRECTOR Matthew MacLeod DEPUTY EDITOR Tom Hackett THEATRE EDITOR-AT-LARGE Matt Trueman COMEDY EDITOR-AT-LARGE Lyle Brennan

Joey Page

“I share with five other comics. From the top shelf down: top shelf - Tom Bell - veggie haggis, ale and cheese.

Sy Thomas who just eats sausages.

Luke McQueen loves beetroot and salad cream. Alexis Dubus and Joe Bor are doing too well in their careers to need to eat at home. I have Mexican food, beer and three juices ‘cause they were on offer.”

WEB EDITOR & SUB EDITOR John Hewitt Jones PHOTO EDITOR & COVER IMAGE Weronika Bachleda

WRITING TEAM Ed Ballard, Billy Barrett, Sean Bell, Lyle Brennan, Jo Caird, Tom Hackett, Julian Hall, Si Hawkins, Dan Hutton, Ben Judge, Miranda Kiek, Andrew Latimer, Catherine Love, Edd McCracken, Brett Mills, Lewis Porteous, Stewart Pringle, Arianna Reiche, Lucy Ribchester, Jay Richardson, Alice Saville, Joe Spurgeon, Tom Wicker

SALES & MARKETING Gillian Brown, Lara Moloney, Tom McCarthy, George Sully, John Stansfield

@festmag www.festmag.co.uk hello@festmag.co.uk Founded by Dan Lerner and Helen Pidd Published by Fest Media Limited, Registered in Scotland, number SC344852. Registered office 3 Coates Place, Edinburgh, EH3 7AA Every effort has been made to check the accuracy of the information in this magazine, but we cannot accept liability for information which is inaccurate.

Show times and prices are subject to changes always check with the venue. All rights reserved. no part of this publication may be reprodiced in whole or in part without the explicit permission of the publisher. The views and opinions expressed within this publication do not necessarily represent the views or opinions of the printer or the publisher.

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fest 19 August 2014

JOEY PAGE: THIS IS NOT A CIRCUS 10:45pm – 11:45pm, until 25 Aug, Underbelly

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Contents 8 Pomegranate Jam A re-imagining of the Greek myth of Persephone, putting a feisty female back in the driving seat

12 Freedom of Expression We look at Spine, a contender in Amnesty’s prestigious Freedom of Expression Award

16 Video fights back Joseph Morpurgo and Ross Sutherland do crazy things with video. We ask why.

19 - Comedy

Tim Key does it again, with a new show that’s essentially an hour-long tease

39 - Theatre 69 - Music 73 - Kids 75 - Listings www.festmag.co.uk

Hand Made in China is a small and perfectly formed sliver of cross-cutural artistry

The winner of ITV’s now defunct Pop Idol, Michelle McManus delivers an hour of camp, throwaway fun

Human Child is a multidisciplinary feast, based on a W.B. Yeats poem

Your essential guide to what’s on at the world’s biggest arts festival 19 August 2014 fest

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THEATRE

JOURNEY INTO THE

UNDERWORLD Photos: Weronika Bachleda

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THEATRE A re-imagining of the story of Persephone, Pomegranate Jam puts choice back in the hands of the romantic young woman, producing a beautiful piece of theatre

I

n many ways, the myth of Persephone is emblematic of Greek mythology. Epic, otherworldly, allegorical – and deeply problematic. The daughter of Zeus and Demeter becomes the unwilling bride of Hades through abduction, a scene tellingly known in much of Western art as “the Rape of Persephone”.

When Zeus demands that she be freed, Hades ensures that she will return to him through trickery: by feeding her pomegranate seeds, the food of his domain, she is compelled to spend every winter in the underworld. And so, each year, her mother despairs and the sun grows cold, until Persephone returns in the spring.

As a metaphor for the changing of the seasons the myth has endured for thousands of years, always casting Persephone as a tragic figure, a damsel in distress controlled by fate. It’s a characterisation created in antiquity – which is where it should probably stay.

When Megan Lewicki and Evangeline Crittenden first tackled the myth while studying at the California Institute of the Arts (CalArts), their dissatisfaction with Persephone’s lack of agency was mutual and immediate.

“The Persephone myth is so evocative,” Lewicki explains, “the only part we weren’t fans of was the kidnapping. We were really interested in developing a more evolved perspective on her story. In the original myth, she’s tugged around like a puppet – you never hear her voice. She’s rarely even mentioned in other myths. She’s such a mystery in the whole canon.”

As such, Persephone turned out to be a perfect creative blank slate. What began as a course requirement on using objects to tell stories—”We told the story of Persephone using toy birds and a storage unit,” Crittenden recollects—forced them to confront the problems of a character that not only employed sexist tropes, but probably did a great deal to cement them in our culture.

Their solution was sheer elegance in its simplicity: Persephone isn’t kidnapped. She chooses to go with Hades. Choice changes everything, and Pomegranate Jam is the proof. u

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THEATRE

“I’m not interested in stories that propagate female helplessness.”

t︎ A magically beautiful “shadow ballet”, the play is told through a mixture of dance, music and shadow puppetry – a love story of dark, graceful figures caught between worlds of hazy, shimmering colour. The masterstroke of Pomegranate Jam is to reimagine Persephone as a rebellious and romantic young woman, a figure fully in control of her own destiny. As such, when she is courted by Hades, the ultimate bad boy with a heart of gold, it is her decision which sets in motion all that follows.

This core alteration of the myth allowed the rest of the production to fall into place. “It gave us the freedom to explore what it is to find your own agency and identity,” says Lewicki. “Moving out of one realm and into another.”

Crittenden expands on the theme: “It’s the struggle between where you’re coming from and where you’re going.

Everyone has that struggle.”

What remains from the original narrative is the pain of Demeter losing her daughter. To Crittenden, who also plays Persephone’s mother, this was a major, much-overlooked aspect of the story. “It’s not just Persephone’s struggle between worlds,” she says, “but a mother’s struggle to let go. We have the term ‘empty nest syndrome’, but we have so few stories that acknowledge what that really means. If you do your job right as a mother, it has loss written into it. In our simple way, without words, we were interested in exploring what that means.”

Then again, Crittenden is completely aware of how much Pomegranate Jam is a fantasy. “There’s a moment where the puppets say goodbye, and Demeter gives this little gesture of acquiesence. In rehearsal, I always joked about that – as if your mother could ever really let you go. But I’m not a mother – yet.”

As multilayered, provocative and experimental as Promegranate Jam is, it was always the intention of the co-directors to create something accessible and relatable to all ages. “We really want more children to see it,” enthuses Crittenden. “I think it’s a wonderful story for kids. They can really surprise you with what they can appreciate.”

A tale of young love conquering the odds has an obvious adolescent appeal as well. “Yeah, it’s a great romance for teenagers,” says Lewicki. “When we were digging dramaturgically into Persephone as a character, we figured out that she’s rebellious. She wants more out of life, and so when Hades appears and they have a ‘moment’, she decides to descend into the underworld. That choice

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is a rebellious choice. It says: ‘I don’t want to be up here’.”

The play does not feel like a radical reinterpretation – in fact, it feels considerably more natural than the original myth. This is partly because Persephone has become a far more convincing, compelling character, and also because there was never a moment in Pomegranate Jam’s development when her agency was not of paramount concern.

Crittenden’s reasoning is uncomplicated and unwavering: “I’m not interested in stories that propagate female helplessness.”

“We are part of this crazy medium that says we can tell whatever story we want,” Lewicki continues. “We can take a myth that is common enough that everyone knows it, and make it better.”

“My experience of the canon is that if you passively accept it, you are reinforcing centuries-old power structures,” argues Crittenden. “We’re not here to accept something. We’re here to create something. From the beginning, we wanted to retain the beauty and poetry of this story, and remove the problematic elements. Once we did that, the adaptation was somewhat effortless.”

Lewicki smiles mischievously. “So effortless, it’s almost as if this was the story that was meant to be told...”

Crittenden’s reasoning is uncomplicated and unwavering: “I’m not interested in stories that propagate female helplessness.”. n SEAN BELL Venue 13, 10:00am – 10:45am, 2–23 Aug, not 4, 11, 18, £8

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RADICAL STORIES The shortlist for Amnesty’s Freedom of Expression Award is announced this week. Fest lifts the lid on one contender, Spine, which looks at who has the right—and the confidence—to speak out

“I

n a way, books probably saved my life,” says Clara Brennan. The playwright, for whom learning was a life raft, has now written something of a love letter to literature and education in Spine. The play, which tells of an unlikely friendship between an elderly woman and a disaffected teenage girl, is primarily about access to knowledge and who has the right to speak.

It’s a pertinent question for Amnesty International’s Freedom of Expression Award. The accolade, for which Spine is one of this year’s contenders, recognises the best theatrical efforts at the Edinburgh Fringe to speak out against injustice. It offers a platform for voices not usually heard and truths not usually spoken.

Amy, the character who delivers Brennan’s monologue, is an individual whose voice has been marginalised

by British politics. Young, female and working class, she is part of a whole swathe of the population written off as apathetic and unimportant. “She’s already decided that the audience think she’s an idiot, that she’s young and not worth listening to,” explains Rosie Wyatt, the actor bringing Amy to life. “As far as she’s concerned, she’s already been written off.”

Brennan’s provocation to audiences is to think about how a girl like Amy might be politicised in the current climate. The play first emerged in Edinburgh two years ago as part of Theatre Uncut, a project created to mobilise theatre-makers and audiences in response to the coalition government’s policy of austerity. Despite wanting to “write about everything”, Brennan eventually settled on asking “at what point a working class girl could get into politics”.

Her 15-minute monologue married the closure of British

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libraries with an encounter between two generations and two very different attitudes to politics.

Since Theatre Uncut in 2012, that idea has been developed into an hour-long play. In the full version of Spine, Brennan tells us more about Amy, her background and the significance of her friendship with older woman Glenda, who educates and politicises her bit by bit, but the skeleton of the original story remains. “The bits that have survived are the bookends,” says Brennan, “pun intended.”

Another way in which the piece has retained its initial impulse is in the tenderness and emotional power of the central relationship between Amy and Glenda. Brennan’s politics are intensely personal, communicated through people rather than ideologies. “It very much became about their relationship,” Brennan reflects on the process of fleshing out the play. “For me the politics is embedded in that.”

“Glenda’s experience of politics is that it is a personal thing, it is something she has lived through,” Wyatt agrees.

“It doesn’t feel like a set of ideologies. I think when she talks about what she believes in and how young people ought to be more angry than they are, she can’t fathom how a whole generation can be entirely disconnected from what happens in parliament. Because to her she was there and she lived it and politics was on the street.”

Brennan admits that Spine is an emotional, cathartic piece, but neither she nor Wyatt see any contradiction between this and its politics. “I don’t see there being a problem with people being emotionally charged about a political message,” says Wyatt, adding that audiences are moved as much by politics as by human relationships. u

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THEATRE

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t︎ Some critics have described Spine as a sort of fairytale – a telling suggestion of how unlikely it is seen to be for a girl like Amy to become politicised. Brennan, however, is adamant about the need for hope in the play and ultimately rejects the comparison.

“We’re fed fairytales as girls,” she says, touching on the play’s implicit feminist message. “We perform our gender in that way, responding to princess mythologies. I take umbrage with that because her story is not solved by a man, she’s never rescued – in fact she rescues herself.”

What Brennan does agree with, however, is the importance of stories, whether fairytales or not. It is through the stories in the rescued library books that Glenda makes her read that Amy comes to a fresh realisation about herself and her place in the world, while the story of the play is itself a demonstration of how narrative can be politically galvanising.

“Glenda says stories are radical; you walk in another person’s shoes,” says Brennan. “It’s the basic tenet of empathy. For me that’s revolutionary, to get inside the mind of a character, to empathise with them. Ultimately that’s why I find storytelling radical.”

“It’s a love story about our teachers as well,” Brennan adds, returning to the central subject of education. She reflects on the popularity of mentor narratives, from

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Good Will Hunting to the Karate Kid, and on how her own teachers “saved me from the scrapheap”. Wyatt, however, chips in to point out that at the beginning of the play Amy actually is in formal education.

“Although Amy is from a working class background, she’s got a loving family, she’s got a group of friends and she’s at a school. It’s not like she’s a total lost cause at the start of the play, but she still slips through. I think that’s really telling of where we’ve got to as a nation.”

For Brennan, it all comes down to a sense or absence of entitlement and the basic inequality of our education system, which ends up dictating whose stories are worth telling.

“As Glenda says, the one thing that Amy is born without is a sense of deservedness. I think that’s the difference in our education system between kids who don’t feel like they’re going to amount to anything so why bother, and kids who go on to sixth form and get coached in how to interview for Cambridge and Oxford. There’s a massive discrepancy. We have a lack of social mobility in this country and we still have private schools. We’re not talking about that and it drives me mad.” n CATHERINE LOVE Underbelly, Cowgate, 3:30pm – 4:30pm, 31 Jul – 24 Aug, not 12 Aug, £10 – £11

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COMEDY

REVENGE OF THE

VIDEO ST R It seems an unlikely muse, but old TV footage is providing the inspiration and structure for two of this year’s most original and engaging pieces. Ed Ballard pauses for a moment with Joseph Morpurgo and Ross Sutherland

Photo: Joseph Morpurgo, by Weronika Bachleda

O

n March 15, 1983, a gas pipeline in West Texas was pierced by a drill being used for planting trees.

The explosion sent flames rising 600 feet into the air and killed five people living in a nearby trailer park. The tragedy survives in the memories of the inhabitants of West Odessa (population: 22,707), as an entry on a Wikipedia page (“List of pipeline accidents in the United States 1975 to 1999”) that lists 15 such incidents for 1983 alone – and, after a strange fashion, in a Fringe show.

Odessa, a one-man hour of character comedy by Joseph Morpurgo, spins a Lynchian whodunnit out of bits of archive footage. He pauses on a shot of the Texan blaze: surely the audience can see that mysterious figure in the smoke? A police officer provides his protagonist—the rookie cop tasked with investigating the blaze—while a smarmy salesman from an advert becomes a suspect.

Watching the show, it’s easy to imagine that Morpurgo started with the intention of poking fun at the conventions of the cop drama, a genre which gives him ample opportunity to show off his comic range (as well as brilliant one-liners, the show is rich with Booshian creations – an evil Santa Clause and the lyric-spitting personification of static). The easiest way to find raw material would be to pick and choose bits of goofy footage, scavenging oddities from here and there.

In fact, the clips all come from a single broadcast which he has condensed but otherwise presented as it was originally aired on TV. It might seem like a minor distinction, but it bugs Morpurgo (a bit) that people miss it. For him, it’s what defines the show, which was conceived from a rule: everything had to come from a single bit of footage.

He didn’t spend long scouring the archive – holding out for a piece of footage that seemed too perfectly suited for comedy would have felt like cheating.

“The opening premise was to find a bit of footage and if

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I got a tingle in my gut, go with it. I had no idea that it would be set in America, that there would be this whodunnit aspect – it just came from finding that clip. I thought, ‘These characters are interesting, what if they were trying to solve this fire?’ I could have found a clip from East Anglian TV from the ‘60’s. It could have been something totally different.”

Morpurgo has been coming to the Fringe for seven years, first as an Oxford Imp and latterly as a cast member in Austentatious, and his training in improv—where “somebody gives you something arbitrary and the performance is about you pulling something from it”—gave him an appreciation of how a constraint can be liberating, channeling creativity in unexpected directions. But you could also say, without being completely ridiculous, that Odessa is a work of postmodern art.

Morpurgo’s eyes light up when I suggest that his approach has something in common with that of the Oulipo writers, the group of postmodernists (mostly French, obviously) who wrote using incredibly restrictive rules.

Could you write a novel using a single vowel? What if you took a familiar story, a fairy tale that everybody knows, and replaced every noun with the word 23 places later in the dictionary? He starts talking rapidly about the significance of Georges Perec’s decision to omit the letter “e” from his book A Void. An arbitrary decison – and yet “e” stands for the feminine in French literature, and Perec was obsessed by the death of his mother...

If you gather 25,000 performers in a city it’s hardly surprising that some of them will be working, without any knowledge of each other, on strange but oddly similar projects. It might be a statistical certainty, but it’s still a nice moment when you spot such a concordance.

The next day, I talk to poet Ross Sutherland about Standby For Tape Back-up, another show that plays with u

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COMEDY

Standby for Tape Back-Up

t the possibilities of video. Standby... came about, or so the story goes, when Sutherland inherited a videotape from his grandfather. It contained a mishmash of his old favourites. Ghostbusters, The Fresh Prince of Bel-Air, Jaws, The Crystal Maze. They’re jumbled up because Grandad’s habit was to wipe over the tape most evenings.

Like Morpurgo, Sutherland uses the footage as the basis for a game. He plays the same sequences over and over, telling a long poem whose lines riff on what’s happening onscreen, twisting the footage in a new way with every loop. There’s Will Smith again, sitting on his rotating throne, and every time the meaning’s different. It’s an electrifying performance – both a moving tribute to his grandfather and one of the wittiest pieces of writing you’ll come across at the Fringe.

I ask Sutherland where the idea came from. The first thing out of his mouth: “I love the Oulipo writers.”

“It was about creating a form that was incredibly difficult to write. You had to find something to say that matches this two-second clip of video and at that point you can’t write from the front of your brain – it doesn’t matter what you want to say, it’s not gonna fit. You have to sort of write more from the subconscious. You’ve created your form and now you’re a mouse scurrying around trying to get out of the maze.”

Morpurgo spent around a year working on Odessa, returning to his office at weekends (he works as a music journalist) and teaching himself Final Cut so he could play around with the footage. For Sutherland, who began performing the Fresh Prince sequence a couple of years ago (“the proof of concept phase”) and kept adding to the project incrementally, the process was even more painstaking. He broke the footage into two-second chunks, watching fuzzy versions of the material on dodgy online streams and forcing himself, line by line, to come up with a

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lyric to match the visuals.

Most of the material he wrote never made into the final piece. The trick was to find bits of footage on the tape that were familiar enough to resonate easily with the audience.

(He rejected Tutti Frutti, an 1987 drama with Robbie Coltrane, because it’s too obscure.) His hope is that people watching will be able to pick up on the visual echoes and concordances almost subconsciously, without getting distracted.

“If you gave most people an hour with a camcorder they could probably give you a version of the opening credits of the Fresh Prince,” Sutherland says. Of course, what he means is: most people of a certain age. Both these performances are shot through with a nostalgic love of the look and sound of aged videotape – its click and hiss, its strangely lurid colours.

Sutherland was born in 1979, which makes him almost a decade older than Morpurgo; they span a short-lived generation of people who came of age when analogue forms of data storage were being supplanted by cleaner, more easily manipulable but less romantic digits. Talking about the electronic music he loves, artists like Boards of Canada, Morpurgo goes misty-eyed, rhapsodising about “mildewy electronic textures, the feel of warped betamax”. And Sutherland, flourishing his heirloom at the opening of his performance, raises an eyebrow and tells a hackneyed joke for the benefit of the younger people in the audience: “This is a videotape. We used to have these.” n ED BALLARD JOSEPH MORPURGO: ODESSA Pleasance Dome, 5:20pm – 6:20pm, 30 Jul – 25 Aug, not 11 Aug, £8.50 – £10.50 STANDBY FOR TAPE BACK-UP Summerhall, 8:30pm – 9:30pm, 1–24 Aug, not 11, £10

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COMEDYREVIEWS

Amy G: Entershamement

HHHHH A triumph of revolutionary cabaret comedy PAGE 31 Photo: Weronika Bachleda

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COMEDY Andrew O’Neill’s History of Heavy Metal

HHHHH

Pleasance Dome, 10:45pm – 11:45pm, 30 Jul – 24 Aug, not 11 Aug, £7.50 – £9.50

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Idil Sukan

Capably conveying Andrew O’Neill’s passion for heavy metal with a seasoned comic’s skill at making his subject compelling for the uninitiated, this is an engaging late-night show with broad appeal and a little bit extra for the metalheads.

Recreating some of the most famous guitar riffs in history from behind his skull mic and incense scented candles, O’Neill is an accomplished guide to the genre, infectiously imparting his enthusiasm and knowledge but never losing sight of the music’s more ridiculous developments. Where Spinal Tap spoofed prog rock so brilliantly, heavy metal scarcely seems to require satirising, with recurring themes being hardcore bands inexplicably kicking out founder members for imbibing too enthusiastically; fans completely missing the blatant homosexuality of their frontman for the better part of decades; and a commitment to splitting into enough confusing sub-genres to surpass the number of metal elements in the periodic table.

On this last aspect, when it comes to differences between death and black metal for example, O’Neill is particularly enlightening and doesn’t refrain from condemning the dickishisness surrounding the latter, which prompted a series of church burnings and murders.

The emergence of nu-metal and decline of Metallica as they galloped up their own fundament pains him to a hugely amusing degree.

But what’s striking is that, a few gratuitous swipes at Elton John fans notwithstanding, he always affords a band their due. Ultimately, he arrives at a rather mixed conclusion, that while the music itself has lately stopped progressing, this is a golden age of retrospection for metal fans. n JAY RICHARDSON

Tim Key: Single White Slut

HHHHH Unveiling Single White Slut at the Fringe following a trial run last year and series of London dates, Tim Key has every reason to look pleased with himself. Strolling his vast stage in a denim onesie, cowboy boots and unkempt beard, affecting bemusement about what we’ve all gathered for, it’s tricky to define this show beyond an extended, elaborate tease.

Ostensibly about beds, and his efforts to get women into them, he reflects upon a committed post-gig seduction, a clinical transaction in Sochi and an awkwardly negotiated threesome in India, inbetwixt concocting a playful fantasy sequence with Anne Hathaway on the set of One Day. Lest we forget, the Alan Partridge sidekick is now a film star, this once marginalised versifier now the smug, self-confident face of a

so-called poetry boom. In actuality, his signature clipped poems play a reduced role this time round, subsumed into the broader, inexplicable collage. And his crude appeals to laddishness ring deliberately hollow, not unsettling so much as just off.

Wrong-footing his audience has become Key’s mojo, as with those he coaxes onstage to share his bed.

But also, subtly, in his deceptively precise language and the theatrics he employs to add a further, dream-like quality to the piece’s measured pace and mood.

Occasionally, there’s a suggestion of the Emperor’s New Clothes, his capricious discursions into owls and such like. But these reinforce the bathos of a performance that knows when to flirt with the mundane.

Rich, strange and ambitious, Key has delivered another novelty suffused with sly intent and mischievous wit. n JAY RICHARDSON Pleasance Courtyard, 9:40pm – 10:40pm, 13–25 Aug, £12 – £16

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COMEDY Scott Capurro: Islamohomophobia Reloaded

HHHHH

Glenn Wool: Wool’s Gold

HHHHH Well-seasoned standups have long looked on with undisguised disgust at the way rock stars get to just crank out the same old hits on every tour, while they’re busting a gut writing a whole new hour annually. Or, at least, that used to be the case.

Actually, the free fringes are now peppered with newer acts doing best-of sets to help fund their “proper” shows in the pricier venues, so why shouldn’t a Fringe semi-legend like Glenn Wool try a gig full of his most crowd-pleasing material, to see if it still wows those crowds second time around? He is, after all, just about the most rock ‘n’ roll of modern comics: indeed, this set culminates in the memorable tale about and him,

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Belgian beer, and Iron Maiden.

Then again, “rock ‘n’ roll” tends to refer more to behaviour than music these days, and while much of Wool’s best stuff involves drink, drugs and an occasional sexy swan, telling it umpteen years later invariably elicits a weary “those were the days”-type postscript. They’re a more honest breed, your comics. You don’t see Iron Maiden banging out ‘Run to the Hills’, then admitting that they now struggle to stroll up steep inclines.

The worry with a greatest hits set is that the original passion will have passed, but Wool’s fury has matured: emboldened by a larger venue these days, his gruff vocal delivery now almost verges on the operatic, great booming roars that could fell a horse.

Long may he rant. n SI HAWKINS

With its high, corniced ceilings and plush carpetry, Studio One in the Assembly Rooms feels like a reception room in a consulate. Scott Capurro’s heart must have sunk when he saw it. In a seedier venue, he might find it easier to conjure among this sparse but enthusiastic crowd the feeling of intimate complicity his close-to-thebone material depends on. A sample one-liner gives you an idea of this performance: “Actually, my husband’s here tonight – you just can’t see him!”

You see, Capurro’s husband is black.

Not only is this an old and terrible joke, it doesn’t even make sense in this over-lit theatre.

Capurro, a cattily effeminate Kevin Bacon lookalike, is good at ribald back-and-forth with audience members, and he must be given credit for making the absolute most of the meagre resources at his disposal tonight. He relentlessly teases the father of a young fan who’s cracking up in the front row without ever seeming merely cruel.Over a 30-year career, Capurro has perfected his stagecraft and amassed a lot of great lines (“Say what you like about paedophiles, they drive slowly around schools”), and he almost manages to make this evening a success.

Where he falls down is his treatment of religion, particularly Islam. The capacity to negotiate the hazy line between the risqué and the unconscionable helps make comedy an important artform – and as somebody who has to put up with “Gays Out” signs in his neighbourhood, it’s no surprise that Capurro is keen to harangue the intolerant.

But when he’s reduced to writing off whole swathes of humanity as “cunts” on the basis of their religion, he seems to cross over another line entirely: this isn’t edgy, it’s just tedious. n ED BALLARD

Underbelly, Bristo Square, 9:30pm – 10:30pm, 30 Jul – 25 Aug, not 3 Aug, 11 Aug, 18 Aug, £13 – £14

The Assembly Rooms, 10:00pm – 11:00pm, 30 Jul – 24 Aug, not 31 Jul, 11 Aug, £10

19 August 2014 fest

21

COMEDY WOMANz

HHHHH This deceptively ambitious offering from Australian Tessa Waters finds her in character as a cosmic goddess, conceived when a star collided with a rock and became “totally pregnant!”. Welcoming us from beneath a red sheet, the glamourous deity disrobes in enthusiastic if not spectacular fashion and proceeds to deliver a nutty sermon on self-acceptance before our incredulous faces.

Waters inhabits her creation so convincingly that many are unsure how to respond. She gives us comedy, dance, clowning and theatre all at once, but surely some laughs must be less intentional than others? Is it possible that the well-lubricated audience ought to be moved by the choreography they clearly find so risible?

Maintaining a Hispanic accent as she elucidates on her philosophy, the scatty insanity of Waters’ irrepressible alter ego is, for better or worse, accurately reflected in WOMANz’s structure. The show isn’t the product of a sound, focussed mind. It’s a mess that veers from the disappointingly slight, to the brilliantly dense.

On the one hand, donning a large plastic breast plate and encouraging us to fondle her mammary armour barely qualifies as entertainment. On the other, this behaviour is entirely consistent with the character. Is leading the audience in an extended dance tutorial a lazy attempt to pad out what amounts to a 40 minute show, or does it speak of Waters’ charisma and the strength of her motivational rhetoric that we so willingly participate. Does she really think “hugging” our genitals in public should be considered normal behaviour? Is she laughing inside as we ashamedly explore our bodies?

What is this supposed to be? n LEWIS PORTEOUS Underbelly, Cowgate, 10:10pm – 11:10pm, 31 Jul – 24 Aug, not 12 Aug, £9 – £10

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Pippa Evans: Don’t Worry, I Don’t Know Who I am Either

HHHHH Some posh comedians disguise the fact. Others try to atone for their good fortune by focusing on some defect in their personality, a streak of discontent to mine for comedy gold.

Pippa Evans is too grown-up to try the former tactic, and too well-adjusted (well, she seems to be on the basis of 50 minutes’ observation in a cellar) for the latter. She went to a girl’s school and gives off a jolly hockey-sticks vibe. She volunteers for things in the community, and some of that enthusiasm—an air of chivvying people along for their own good—carries over into her comedy. In fact, it’s her relentless chivvying that makes sure that this unstructured assortment of songs and character work is a qualified success,

rather than a mess.

A pianist smiling at the back of the stage accompanies the songs and signals when Evans is introducing a new character with the Batman theme (obviously we have to sing along).

Evans’s voice is terrific, and some of the songs, such as a music-hall kneesup with all the innuendos removed, are good fun. In others—a whole song about a wife murdering her husband because she was “hangry”?—the material falls short of the execution.

None of the characters on show, meanwhile, can hold a candle to Evans’s most celebrated creation, booze-soaked indie singer Loretta Maine. Evans has talent in abundance, and enough of Don’t Worry... hits the mark to keep the audience happy, but it’s hard to escape the feeling that she’s used this show to dump a bagful of ideas that didn’t fit anywhere else. n ED BALLARD Bannermans, 1:45pm – 2:35pm, 2–24 Aug, not 4, 11, 18, free

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19 August 2014 fest 23

COMEDY Old Folks Telling Jokes

HHHHH On principle, you can’t really take issue with the elder statesmen getting their slice of Fringe stage time alongside all the other shiny young students from Oxford. The trouble is, the minute you peg together a bunch of comics under such a blunt demographic as age, you know exactly what you’re going to get: yep, loads and loads of self-deprecating age jokes.

It’s a tedious topic at the best of times and our trio of worn-in standups

A Controversial Title In Order To Sell Tickets

HHHHH After a series of mutually disappointing festivals, the chip on Gavin Webster’s shoulder has moved front and centre. The Geordie isn’t wrong to suggest that there’s snobbery towards northern circuit comics in the comedy industry and media. Yet bitter at being overlooked as a journeyman, he’s locked into a spiral of self-fulfilling prophecy, marginalising the kind of surrealism-tinged routines that

Ivo Graham: Bow Ties and Johnnies

HHHHH Is comedy a rich man’s game? You’d be forgiven for thinking so as you traipse across the city this month.

Well-off Oxbridge alumni crop up everwhere throughout the Fringe, while performers without wealthy relatives or the backing of big agencies presumably have some nefarious method in mind for paying their inevitable debt. In this environment, Ivo Graham really needn’t spend the

24 fest 19 August 2014

do little to dissuade the theory. Only brashly cocksure compere Lewis Schaffer comes good with a stream of bolshie provocations about women, the English, the Scots and, well, the entire audience. In an affectionate way, of course.

But then the procession of dreariness unfolds. Octogenarian Lynn Ruth Miller’s set (“You know what you’ve got to look forward to when you’re older? Waking up”) is particularly wearing, concluding with a meaningless rendition of ‘When the Saints Go Marching In’ with new lyrics proving that—hold the phone!—grannies can be a little saucy too.

At least Peter Callaghan goes off-

piste with some mumbled, sub-Tim Vine puns and deadpan dad jokes.

The trouble is, he’s just nowhere near as good.

Then Charmian Hughes, who can at least work a story, gets back on-script with the Old Folks dictat: husband slighting, body despairing and forewarning the perils of old age.

Message received. If this is the kind of entertainment brought on by the twinkly twilight years, then they’re certainly not something to look forward to. n JOE SPURGEON

made his reputation for floundering swipes at the Fringe itself.

Railing against all those, and journalists especially, whom he reckons have misrepresented his knowingly provocative show titles, he wants to sell tickets with his notoriety; yet he eschews responsibility for people getting the wrong end of his shtick. His spoof posters of standup archetypes at the Fringe are so broad and devoid of satirical finesse that they’re embarrassing. A creaky setpiece in which he accepts a series of fictional awards for performing the best material about dead parents backfires spectacularly.

The appearance of a stooge to deliver the “news” encourages a disruptive element in the crowd to get up as

well, leave, come back and pass judgement on the gig as they please, prompting a tense stand-off.

Regrettably, Webster is only reaping what he’s sown and the first person he ought to blame is himself.

Nobody wants to see a comic of his abilities struggle, ad there are flashes of what he’s capable of in the tale he recounts of performing in Monte Carlo, channelling his class anger into an amusingly over-the-top ultra-violent fantasy. He should ditch either the self-pity or the Festival, because he’s not doing himself justice at the moment. n JAY RICHARDSON

entirety of his show apologising for having been schooled at Eton, and yet he pushes ahead with this searingly honest exercise in self-flagellation regardless.

At times, he calls to mind a figure in the mould of Woody Allen, an emotionless automaton, wired to inflict perfectly crafted barbs upon himself. He demonstrates a clear understanding of the human condition, but little ability to identify with it in any meaningful way. The 22 year old expertly exploits the stigma of having lost his virginity later than most of his peers, without ever conveying how this supposed social failure made

him feel. He explores his outsider status not to move us, but because he recognises the comic value of his own isolation and pain. A member of “an outdated, hereditory elite,” it’s to Graham’s credit that he can sell himself as a low status figure of fun whose privileged upbringing we never once come close to resenting. He’s just too smart and self-aware to be anything other than a hilarious embarrassment of a man, albeit one who seems increasingly comfortable in his own skin. n LEWIS PORTEOUS

Just the Tonic at The Community Project, 4:15pm – 5:15pm, 31 Jul – 24 Aug, not 12 Aug, £7

The Stand Comedy Club III & IV, 5:50pm – 6:50pm, 31 Jul – 24 Aug, not 11 Aug, £8

Pleasance Courtyard, times vary, 30 Jul – 24 Aug, not 11 Aug, £7.50 – £10

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COMEDY Ennio Marchetto: The Living Paper Cartoon

HHHHH Imagine the papercuts you’d suffer over 25 years of this stuff. That’s how long it’s been since Marchetto’s Edinburgh debut established him as the leading quick-change, celebrity-aping mime artist currently working in the medium of dead trees.

The Italian’s 2D paper tunics and hats are simple at first sight but conceal an abundance of surprises. Tab A goes into slot B, cue music and ta-da: he transforms from one pop-culture icon into another, then another. Almost no star caricatured is less than Madame Tussaud’s-level famous, creating just the sort of crowd-pleasing novelty Cowell and Walliams might judge of a Saturday night.

Even if that’s got your snob sense tingling, you’ll surely appreciate the craftsmanship required to make paper bounce like Marilyn’s breasts or swing like Beyonce’s hips, not to mention the planning that’s gone into figuring out whose guitar might be origamied into whose hairdo. Only once does a transformation slip, when Jesus appears to be giving birth to Shirley Bassey’s feather boa.

It’s mightily impressive, albeit sometimes so lowbrow it’s practically moustached. Nobody needs another Mona Lisa breaking decorum, and by the time Adele waddles around scoff-

Lucy Beaumont: We Can Twerk It Out

HHHHH In Lucy Beaumont’s debut Fringe gig, we are transported from Edinburgh to the Walton Street Working Mens Club in Hull. There are no smarmy middle-class observations on luxury lattes here; instead, we get a cosy hour of ditzy comedy from the northern lass, with countless stories about her hometown.

After winning the BBC New Comedy Award and Chortle Best

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ing cake, some will be wishing they could smack the buzzer, flash up the big “X” and be done with it.

But wait, is that a wisp of actual satire? A dig at Barlow’s tax affairs?

Miley’s decline told in three short acts? Marchetto’s clearly laboured to test the limits of his shtick, and when

an opera diva rendered in profile keeps trying to revert to his default face-on stance, it hints at self-awareness. Look at this and try to deny that Italy’s got talent. n LYLE BRENNAN

Newcomer, Beaumont shows all the promise of a new star on the circuit.

Her material centres on her strong “east curst” accent that was both a point of ridicule and regard when she tried to move down to London (on four separate occasions, she hastens to add). Now living in Surrey, she unpicks the difference between suburban decorum and Yorkshire candour. It’s everywoman comedy full of truths and half-truths, packed with some killer one-liners along the way.

Unfortunately however, not all of the material quite comes off, and Beaumont often relies on her

adorable, bubbly persona to see her across the finish line. Often, the story opener (“and there was another time, right”) is actually funnier than the pay off. She blurts out questions to the audience to the point where it’s unclear if she’s being rhetorical. Still, much of her material is timed to perfection, with a warmth that is hard not to immediately fall in love with. As a result, we let her off the hook every time, as if staring into by big, puppy-dog eyes. n ANDREW LATIMER

Run ended

Pleasance Courtyard, 5:45pm – 6:45pm, 30 Jul – 24 Aug, not 12 Aug, £8.50 – £10

19 August 2014 fest 25

COMEDY Deborah FrancesWhite: Half a Can of Worms

HHHHH Absorbing and affecting, delivered with candour, humour and self-awareness, this emotional show traces a compelling search for identity. Australian comic Deborah Frances-White always knew that she was adopted and grew up in a loving household.

But when she belatedly sought to trace her birth parents, through the scant information afforded her by the clinical but efficient Australian system, the internet, and wild speculation, not to mention a couple of cut-price private eyes, she came to realise that you can’t open Half A Can of Worms - it’s all or nothing, and you’d better steel yourself for what you may or may not find.

Rather than simply outline her experience, Frances-White capably

conveys the inner turmoil that she wrestled with at every stage of the process, excitedly pursuing false leads and rounding out her tale with eccentric, peripheral characters for light relief. It’s a dramatic detective story with escalating stakes. There’s also a strong line of enquiry on the roles nature and nurture play in our development, with Frances-White devoting plenty of time musing on the machinations of fate.

Whether the show has to be 75 minutes long is debatable. It certainly retains your interest for that time, but there’s a sense of the comic revelling in her new situation once a certain point is reached, even if it’s understandable in the circumstances.

Liable to bring a tear to your eye, she nevertheless elicits plenty of laughs from the absurdities of her journey.

Intriguingly, too, it ends with the promise of further developments to come. n JAY RICHARDSON Pleasance Dome, 3:45pm – 5:00pm, 1–25 Aug, not 12, £9 – £11

Waiting for Hitchcock

HHHHH Hitchcock fans rejoice! Number 8, the legendary director’s first silent movie has been discovered. And it’s being screened at Hill Street Solo Theatre. Be warned, though: old-fashioned film projectors can be irascible. Luckily, if things should go wrong, you’ll be in the company of Robert Jägerhorn.

There’s a wonderful 1920s celluloid flicker to this excellent Finnish magician’s performance as we while away the time—so the conceit goes— waiting for a technician. Set against a chaotic loop of film, his sad-eyed Chaplin-esque haplessness and plaintive glances feed into a unique and playfully eccentric hour.

Part of the Fringe’s Universal Arts Festival, Jägerhorn’s act is light and whimsical, his magic revolving around magazines, musical instruments and impossible disappearances. He doesn’t deliver this with any fanfare, but rather with vague surprise. There’s no smug knowingness, but an irresistibly charming air of innocent pleasure when we applaud.

This otherworldliness extends to Jägerhorn’s audience interaction – which he approaches with a kind of tentative respectfulness that leaves you not knowing what to expect.

And he’s great at pointing you in one direction with a trick, before doing something else entirely. It’s a consummate performance.

But, most importantly, he’s just an exceptional magician. He lands his varied array of tricks seamlessly, bringing together mimicry, physical humour and skilled sleights-of-hand.

His weaving of each into a Marx Brothers-style sketch or rambling narrative is delightful.

Amid the noise and the bustle of the Fringe, Jägerhorn provides an hour of quietly spellbinding, top-class magic. You’ll leave feeling calmer than when you arrived – and seriously impressed. n TOM WICKER Hill Street Solo Theatre, 6:30pm – 7:35pm, 31 Jul – 24 Aug, not 12 Aug, £12

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Idil Sukan

Adam of the Riches

HHHHH “Lights! Steam! ‘Crockett’s Theme’!” yells a half-naked, hoarse-voiced Adam Riches before joining a hapless audience victim under a makeshift shower for a little Imperial Leathering. Yep, he’s back. As meek as ever.

Retaining much of the wild, careering character comedy that saw

Riches bag the Foster’s Edinburgh Comedy Award in 2011, tonight’s assortment of shrinking violets includes, most potently, a superhunk take on Sean Bean (“I wasn’t born…

I was smelted!”), a smarmy cocktail “mixologist” with a face that needs slapping, a dunderheaded take on Ryan Gosling, his lascivious mother (Ms Goose, of course) and body-confident ultraman, Victor Legit. Only the drawling tattooist with

COMEDY electric toothbrush hands outstays his welcome.

But Riches knows it’s in the margins where he comes into his own, improvising with everyone from the lighting operator to the hooded onstage sidekicks to the procession of mostly male ‘volunteers’ extracted from the front row. He takes a risk, and we go with him. He’s given the odd gift, mind, with missed sound cues and plenty of participatory enthusiasm, but boy does he run with it, dispensing sardonic soundbites (“Wow! Our conversation is flowing like warm butter on a Spaniard’s back!”) seemingly on the fly.

Beneath the heady, high speed anarchy, Riches’ carefully selected audience interactions might take a subtextual swipe at male bravado, but that’s to belittle the sheer dumb fun of it all. He mightn’t have the surprise factor of a few years ago, but still: when he’s good, he’s very, very good. n JOE SPURGEON Pleasance Dome, 9:45pm – 10:45pm, 30 Jul – 24 Aug, £10 – £14

Winner of The Herald Angel Award for an outstanding performance.

HAmell on triAl

tHe HAppiest mAn in tHe world 11th - 25th AUGUST at 9.30pm Studio One

“streetwise, packed with great one-liners and righteous in his fury” Scotland on Sunday

Album out now!

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19 August 2014 fest 27

COMEDY Kerry Godliman: Face Time

HHHHH Plenty of comedians have material about being a knackered, forty-something parent. But Kerry Godliman brings a rare enmity under fire and exhaustiveness to the project. A preview of her upcoming tour, the judginess of Edinburgh and its scrutiny of comics fits neatly into her perspective on the modern world - of constantly being solicited for feedback, persecuted by consumer choice and staying partial to the “schadenfreude”

The Pin

HHHHH The Pin—aka chummy duo Ben Ashenden and Alex Owen—have been ascending the hallowed ranks of cerebral sketch acts for a while now, selling out their previous two Fringe visits. They’re packed again tonight, and have souped-up their routine with borrowed props, pre-recorded video relays and a superbly conceived stooge.

They start well, seemingly creating their show on the spot and puppeteering the audience through a script which is being written in the room and projected on a large

John-Luke Roberts: Stnad-Up

HHHHH Middle class male absurdists in their late 20s with an enfeebled sense of masculinity need to work pretty hard to stand out at the Fringe. You might have noticed quite a few of them around.

John-Luke Roberts fits the profile.

He’s 29 (“old for a baby, young for a glacier”), he founded the Alternative Comedy Memorial Society (making him a semi-bigshot in the late-20s absurdism scene), and he tells jokes about his breakup.

28 fest 19 August 2014

TV of dysfunctional freak documentaries, making her own life seem more balanced.

Sustaining the perception of a ticking time bomb ready to blow, malevolently conspired against by her kids and an incompetent phone service provider that lays claim to her business in perpetuity, she only allows her frustrations to boil over on a couple of hilarious occasions, prompted by the beauty regimes dictated by lifestyle magazines and the level of stalking demanded before the arrival of mobile phones.

For all that Godliman affects to be out of touch with technology and youth trends, recruiting a teenager in

the crowd as a litmus test for how the world is changing, she’s actually pretty savvy on the ramifications of social media for friendships. And as ever, exceptionally good at tapping into universal bugbears. Brought together under the umbrella of her stresses, not every routine is fully formed yet, with a section on why humans are the only animals to suffer existential angst tailing off somewhat. However, the judging process of Edinburgh ought to ensure that this is a robust, battle-hardened hour by the end of the festival. n JAY RICHARDSON

screen behind them. It’s not the only time the inner workings are revealed as sketches are repeated with additional amplified subtext, translated, rerun and refined with different cast (audience) members. The more you see the setup, the more the gags are layered up like deliciously syrupy pancakes.

It’s a neat idea that allows Ashenden and Owen to play to their comically studious, faux-naïf strengths, a bus stop skit transposing Ant and Dec for the European market a brilliantly off-hand case in point.

On occasion, though, the trickery trips them up – an extended dialogue between the pair and a

filmed version of themselves is both tortuous and overlong, with a payoff that never quite arrives. But it’s never that long before the precision engineered routine is cantering down the next comic avenue and, generally, we follow.

Tonight’s show is bookended by its two best moments and it’s easy to see why The Pin have risen above a crowded market with their loopy brand of slick subversiveness. Retune the middle bit, and who knows which venue they’ll be selling out in 2015. n JOE SPURGEON

A brilliant opening sequence sets in motion the show’s two strands: weirdness and angst. Regretting that the failed relationship never had a properly acrimonious climax, he gets an audience member to do what his girlfriend wouldn’t and chuck a glass of water in his face. Roberts gets good mileage out of his face, which is mournful and bearded. Soon it is caked in flour which another punter must dab off for him, a highly intimate process, while Roberts mimes along to Gotye’s slinky ‘Somebody that I used to know.’ Later on there’s an inspired bit with lots and lots of lemons. Roberts’ face turns sour as he looks mournfully at yet another lemon. He knows what he must do.

Clouds of citrus tang waft over us.

Unfortunately these set-pieces sometimes seem like icebergs adrift in a sea of ordinary gags. Some of this stuff—a few visual half-jokes scrawled on an A2 pad, a tiresome skit with a dinosaur puppet—relies too heavily on the ramshackle nature of the performance and Roberts’ artfully downbeat delivery to obscure the fact that they’re only fitfully funny. Still, there’s more than enough virtuosity on show here to lift Roberts above the run of the mill, and make Stand Up worth watching. n ED BALLARD

The Stand Comedy Club V, 6:45pm – 7:45pm, 12–24 Aug, £10

Pleasance Courtyard, 6:00pm – 7:00pm, 30 Jul – 25 Aug, not 11 Aug, 18 Aug, £9 – £11

Voodoo Rooms, 6:05pm – 7:00pm, 2–24 Aug, not 12, free

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COMEDY

22:15 31 JUL - 24 AUG

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19 August 2014 fest 29

COMEDY

Ahir Shah: Texture

HHHHH One mustn’t judge on appearance alone, notes Ahir Shah, in a long,

Markus Birdman: 2B Or Not To Be

HHHHH If life has taught Markus Birdman anything, it’s that optimism does you no favours. “Bad shit’s going to happen to you,” he shrugs, with the authority of a man who’s suffered a stroke at just 40 (explored in 2012) and the collapse of a 14-year relationship (see 2013). He’s adept at turning misery into fuel for his comedy and, after recapping those calamities with easy candour, he assures us he’s topped up his tank: to his politely contained horror, his ex is seeing someone else.

30 fest 19 August 2014

wordy and compelling takedown of the dating app, Tinder. It’s certainly not lost on him that to accept or reject on the basis of a sexy selfie is to give full rein to those same impulses evident in signs which read “no dogs,

Birdman isn’t morose or self-pitying, simply eager to articulate the experience of taking the rough with the smooth. He gives much of the hour over to the story of how, in defiance, he re-entered the world of one-night stands after a particularly weird gig in Norway. It’s a bizarre and bawdy tale balanced out by his English shockability and the insistence that he’s not trying to paint all women as mad – only one or two.

Unsurprisingly, Birdman’s no romantic, so he’s keen to counter the representations of love that his daughter sees in kids’ books. Here he’s drawn some of his own, with a series that runs from lust at first sight, to the strains of coupled life,

no blacks, no jews”. Shah is after a life with more “texture”, in the pursuit of which he must reject hollowness in comedy and shallowness in life.

And judge not on the basis of Shah’s tiny, sweaty, free venue, because for the most part he succeeds, producing a set marked by linguistic novelty, structural experimentation and impeccable self-awareness.

At a time when the “cost of living” is a tense political battleground, Shah latches on to the erroneous idea that this must simply be seen as “existing” – “the cost of existence plus love” is, for him, a far more feasible formulation. It’s a setup which allows him to get his emotional juices flowing, bolstering observational fare with a more rewarding next-step around what this means for real, feeling people. Take that tired old target, religion: Shah’s routine about Hinduism, and the very human focus for its divine mysticism, shunts most of the heard-them-before cracks about the Pope right down to the bottom of the comedy caste system.

A little too often, Shah relies on a too-limited comic toolbox – building to verbose, dense climaxes, is a favourite. And there’s a hint of Oxbridge arrogance at times.

Really, Shah has no need to draw attention to his obvious intelligence. n EVAN BESWICK Laughing Horse @ The Counting House, 5:00pm – 6:00pm, 1–24 Aug, free

and finally to the desolate aftermath.

Even if the drawings don’t carry much in the way of effective gags, they’re a lovingly draughted embellishment that provides a colourful counterpoint to the everyday pain they describe.

For a show that seeks to show disillusionment and heartbreak as facts of life, 2B’s triumph is that it’s remarkably light. We’ll even forgive the first doodle Birdman reveals: a pervy clergyman pull-tab animation that’s straight from the “naughty” section of Clinton Cards. n LYLE BRENNAN The Stand Comedy Club V, 9:15pm – 10:15pm, 31 Jul – 24 Aug, not 11 Aug, £8

COMEDY

Amy G: Entershamement

Fest HHHHH Best Entershamement marks the return of Amy G (née Gordon) to the Fringe after ten years away. We must do everything in our power to ensure she is never again absent for so long.

Those familiar with Gordon will know her infamous specialities, and those who aren’t should not have the surprise spoiled. It suffices to say

that Gordon, a “revolutionary cabaret comedian”, is a virtuoso of physical comedy (proving the old slapstick adage that you need to be a genius to fall on your ass), as well as a brilliant, insightful standup and a truly sensational singer. She thus crafts a performance of enormous variety, constant hilarity and refreshing intelligence.

Despite her fondness for sequins, ballads and unreliable bosoms, Gordon easily outgrows the confines of burlesque; she roller-skates on to what can best be described as vaudeville, though with far greater compexity, daring and heart than that term implies. Her aim is to overcome her own sense of shame – as the show’s slogan puts it, “make

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fun of the monster in the mirror.” At one point, she becomes a chicken.

Perhaps even more astonishingly, she provides audience interaction with a philosophy that justifies it, avoiding the boorish blackmail that infects so much of the Fringe. Gordon mocks herself far more than the audience, and in a show about defeating shame, it would make no sense to humiliate anyone. Instead, Gordon believes we can all have fun doing silly things without feeling bad about ourselves. It is an assertation she confirms magnificently. n SEAN BELL

Underbelly, Bristo Square, 11:00pm – 12:10am, 1 – 25 Aug, £12

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19 August 2014 fest 33

COMEDY Kraken

HHHHH The recent resurgence of mime at the Fringe, epitomised by Doctor Brown’s triumph at the comedy awards two years ago, has been one of its most pleasant surprises. But it brings the risk that the still relatively small pool of top-notch performers of this arcane art are forever compared against each other, to the detriment of those who are very good, but not quite great.

There’s no getting away from the comparisons between Brown and Trygve Wakenshaw. For a start, his show is performed in the same, ideal black-box space of the Belly Button as was Brown’s award-winning stormer; more importantly, he practices a similar brand of very adult mime, played out with an air of joyful, child-like innocence.

Wakenshaw’s relationship with his audience is almost like that of an enthusiastic toddler, totally consumed by his own roleplay game and insisting that we join in. This sort of faux naivety makes the transgressive content—nudity, scatology, suggestions of homosexual lust—somehow more palatable and more shocking at once. He performs with a pure and raw physicality that all but completely hides any sense of the person beneath, simultaneously drawing us in with a crooked smile and a sort of blinking bewilderment, expressing amazement at what he—and we—are prepared to do in the service of a laugh.

There are moments of sheer, giddy, hysteria that have much of the audience doubled up; I honestly can’t remember the last time I laughed so hard than at the baby bird sketch, where the combination of innocence and vulgarity reaches its zenith.

For me, these laughs could have been more carefully built and more solidly maintained, and the audience interactions could have gone that bit further, to present a genuine risk of things going wrong. Even so, this has to be one of the most fall-about, wet-yourself laughing hours at this year’s Fringe. n TOM HACKETT Underbelly, Cowgate, 8:40pm – 9:40pm, 31 Jul – 24 Aug, not 11 Aug, £11 – £12

34 fest 19 August 2014

Alex Horne: Monsieur Butterfly

Fest HHHHH Best Some comedy sets are like machines.

Themes, narratives, seemingly throwaway one-liners – all the bits whirr away in isolation for long stretches, only for a beautifully orchestrated finale, or an ingenious structural callback, to demonstrate how cleverly the whole thing was contrived. Alex Horne, a master engineer, has built a smoothly-efficient machine with Monsieur Butterfly, even if it lacks the ornateness of earlier efforts. The theme is fatherhood, and he tells a few sentimental stories that build to a heartwarming epiphany at the end; meanwhile, he scarcely tells a joke that doesn’t reappear in altered form down the line.

What sets Horne’s show apart is that while he’s doing this, he’s also casually assembling an actual, non-metaphorical machine out of

planks and ladders and traffic cones and clockwork mice and audience members. It’s a Rube Goldberg machine, one that does something simple—in this case, ringing a bell—in an incredibly convoluted way. Some of the machine’s components, such as a toy squirrel, stand in for elements of the story he’s telling, meaning the show’s two dimensions are nicely integrated.

To somebody who has trouble typing and talking at the same time, watching Horne perspire gently as he eases a belt around a balloon without allowing a nail to burst it prematurely—all while miming a song about a horse—defies belief. A sign of how invested the audience becomes in Horne’s task is the shrill urgency of the warnings that come when somebody spots that the belt has slipped off the balloon, or that the bowling ball has begun to roll slowly out of position.

Monsieur Butterfly turns comedy into an edge-of-your-seat experience. It’s a joy to behold. n ED BALLARD Pleasance Courtyard, 8:10pm – 9:10pm, 30 Jul – 24 Aug, £10 – £11

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COMEDY

Casual Violence: The Great Fire of Nostril

HHHHH Stepping into a Casual Violence show is a lot like entering Arkham Asylum, as the door is wedged firmly shut behind you. The multi award-winning quintet behind last year’s spectacularly macabre House of Nostril reanimate the bizarre and spooky sketches they are now so well known for in The Great Fire of Nostril.

We are introduced to a madhouse of characters, loosely strung together

White Man’s Burden

HHHHH Thoughtful and gently provocative on the subject of ethnicity, Inder Manocha has reached middle age feeling disconnected and alienated from his Asian roots; but not feeling quite white either, despite his passion for white playwrights, women and surreptitiously fitting in. Only when he was invited to perform at a diversity workshop in his home of Wembley, and challenged for not being “broud” enough (proud of being brown), did he begin to consider the full ramifications of his

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from interweaving storylines. When conjoined hitmen kill Nostril’s father, he vows for vengeance. But if they split, his task of hunting them down becomes much trickier. Will he have revenge, or will he find the cure for death to bring his father back to life? Along the way, the group accompanies us through a labyrinth of riotous narrative detours that are as surreal as they are polished.

It’s quite marvellous to witness the range of themes and comedy styles embedded in the company’s work.

Live, eerie piano music performed by Ben Champion sets a villainous, gothic tone, while the actors’ demented laughs and twisted intentions recall the terrifyingly dark protagonists of Victorian literature. It is their brand of

hilarious horror that is so inventive, so explicit and graphic, yet so infectious.

The fact that they also produce Internet web series, radio sitcoms and podcasts is as telling of their professionalism as it is their myriad talents.

As the show largely comprises sketch comedy is largely sketch comedy, there are moments when certain routines go awry, or fail to follow a hysterical prior scene.

However, the journey we are taken on is exquisitely imaginative, alive with detail, conflict and comedy, to the point where we can overlook such misgivings. n ANDREW LATIMER

racial heritage.

Dictated to by the twin, opposing voices in his head of Bernard Manning and his father’s accountant, Mr Patel, he’s further flummoxed by his family’s emotional constipation, casting around for any kind of grip on his identity. Probing at the implications of well-meaning and politically correct but egotistical multiculturalism, he foregrounds and seeks to address his own prejudices, cultural snobbery and occasional, dubious motivations for tolerance of others, offering a complex, layered portrait of a conflicted individual.

Manocha is perceptive and per-

suasive on the racial logic underpinning shows like Mock The Week, but a little too fond of gratuitous similes and grasping for the gag, when in fact the strength of his show lies in the storytelling. Quite how successfully he resolves all his conundrums is a moot point, especially as therapy’s been no help to him. Even so, he offers a nicely judged application of the spontaneity of Martin Luther King’s ‘I Have a Dream’ speech to his situation, appreciating that every journey begins with a first step. n JAY RICHARDSON

Pleasance Courtyard, 4:45pm – 5:45pm, 1–25 Aug, not 4, 12, 19, £7.50 – £9.50

Laughing Horse @ The White Horse, 4:45pm – 5:35pm, 1–24 Aug, free

19 August 2014 fest 35

COMEDY The Improveteers!

HHHHH In the shadow of the mightiest improv comedy show known to the public at this year’s Fringe (Whose Line...), it must be slightly annoying for the smaller troupes. Stirling University once again buses down its student improv cohort, however, for this giggly 45 minutes of quick-witted interplay. Well-known games including ‘change’, ‘party guests’ and ‘playing God’ all feature in what could actually be a replica of Clive Anderson’s frantic TV show.

Bulletproof

HHHHH For a show that purports to mock reductive stereotypes, joking about Scotland being a land of drunks is not the best opening gambit. It is the first of several missteps that Shazia Mirza makes in Bulletproof, which oversells the profundity of its premise without ever really exploring it.

Buried within its general mediocrity, there is the germ of an interesting idea: can words, or jokes, ever be truly dangerous? The subject is huge and tangled, and as

Felicity Ward: The Iceberg

HHHHH Oz standup Felicity Ward, with her bouncy corkscrew hair, voluminous print trousers and white micro vest, looks a 1970s exercise video instructor as she hops around her little Underbelly stage.

She’s got plenty of zip, has Ward, and she’s a master at getting the audience onside. For a start, there’s a lot of self-deprecating anti-Australia jibes and she’s quick to call herself out

36 fest 19 August 2014

Stepping up are six wide-eyed contestants who all plunge us into surreal scenarios and perilous plotlines. The group is savvy, its members all comfortable with each other on stage; and they’re quick to break out the pop culture references from the start, which helps to dispel the tension (something a room is often filled with at the start of an improv comedy show). From policemen and victims to party guests with no knees, this is a robust routine of weird, but confident and controlled, sketch material.

One wishes however that the sextet would submit to the whims of its audience more enthusiastically.

We’re only taken into semi-strange territory, which is successful; but we’re left with the feeling that an outright berserk hour would guarantee riotous applause, rather than the scattered clapping that just nudges the performers along.

The group seems to be holding back, simply relying on their own incredulity to make us laugh. But their potential is clear. Perhaps with tougher crowds, they’ll learn to fight fire with fire when someone suggests “grave-digger” as a “quirky occupation”. n ANDREW LATIMER

a result Mirza seems hesitant to fully engage with it. Instead, her humour is largely anecdotal, as she describes how she inadvertently offended the Nigerian finance minister and tells of a gig in Pakistan that required a bulletproof vest. The result is less an exploration of free speech than a standup pleading for sympathy over the tough receptions she has endured.

It would be no surprise if most could not summon such sympathy.

Mirza blithely pegs her audience as a crowd of typical Guardian readers; and while this may be a dig at her own work as a columnist for that paper, it’s an assessment

that seems questionable to those of us who prefer the Morning Star.

Unfortunately, she sticks to this characterisation throughout. When lines fall flat, she’s quick to accuse quiet onlookers of scandalised, middle-class nervousness.

If the crowd fitted her assumptions, this might be true. But this is the Fringe, which instills a higher tolerance of controversial material than comics like Mirza may suspect.

It never occurs to her that people aren’t laughing for a far more obvious reason. n SEAN BELL

when she smugly tries to talk Spanish to a Portuguese man in the audience.

She’s also happy to fully commit to a reverse body roll to demonstrate just how, exactly, to bring sexy back, and even the Scottish get an easy ride for once. The crowd interactions are always blithe and breezy, never confrontational.

It’s a handy trait to have, but, as Ward is keen to convey, it’s just a part of her “iceberg”. You see, the thing about icebergs, is that you only ever see part of them. Bits melt. And bits break off. And all of it is pretty transparent. And… well, you get the idea.

The theme seems like a bit of

a hindrance at times, when in fact Ward’s at her best simply giving us little glimpses of life on Planet Felicity.

She re-enacts the three stages of crying to the sound of ‘El Cóndor Pasa’, gorges on German “grief bacon” (look it up) and dreams of a more practical sex line for the over-30s. It’s matey, mostly successful and whilst the show mightn’t explode with originality, Ward’s finale is a real wrong-footing gem that proves there’s far more than mere whimsical wonderings at work here. n JOE SPURGEON

Run ended

The Assembly Rooms, 5:15pm – 6:15pm, 31 Jul – 24 Aug, not 11 Aug, £10

Underbelly, Bristo Square, 9:25pm – 10:25pm, 1–25 Aug, £13

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5–7 August 2014 fest 37

COMEDY Alexis Dubus: Cars and Girls

HHHHH While it’s common enough for a Fringe success to return the following year basically unaltered, a show which really evolves during its absence is relatively rare. Few comedians are prepared to tamper with what seems like a winning formula.

Nevertheless, since he last presented Cars and Girls in Edinburgh, Alexis Dubus has significantly revised his autobiographical reverie on roads and romance. It is a reinvention that is entirely for the

Tom Binns: Has Not Been Himself

HHHHH It must be comforting bringing a new standup show to the Fringe that has its own inbuilt safety net. Tom Binns has recently come over all Mike Yarwood, the hugely popular 1970s impressionist who’d infamously end his shows by saying “and this is me,” then launching into a song. At which point viewers lurched for the kettle.

Over the last couple of years Binns has been edging aside his two hugely

Andy Zaltzman: Satirist for Hire

HHHHH As his own hype man, Andy Zaltzman excels. While his sell-out Stand III crowd file in, the 40-year-old satirist and Sideshow-Bob-alike serves up some wonderfully stilly announcements, informing us to dispense with our carrier pigeons as well as our mobiles, and to send in in our heckles within a certain time period. So, great then: we are on for a reminder of why John Oliver’s erstwhile comedy

38 fest 19 August 2014

better. What was once a perfectly charming if slightly underwhelming collection of anecdotes tied by a common theme is now a tight hour of breathlessly verbose comedy. Not incidentally, all of it is now in rhyme.

This impressive and unexpected development lends an almost poetic momentum to Dubus’s performance, which gives his wry, heartfelt recollections of youthful world travel an appropriate highspeed energy. The two central stories, which remain from the show’s previous incarnation, remain both engaging and often hilarious.

As a student, Dubus hitches across Europe to Morocco in the company of his then-girlfriend and a series

of friendly but increasingly addled truck drivers. Later in life, following a broken heart, he rides through the desert to Burning Man for an accident-prone but life-affirming experience.

Dubus’s storytelling is colourful yet conversational, replete with intriguing detail and delivered in a smirking, self-deprecating deadpan that never loses the audience’s sympathy or investment. In a city of one-liners, Dubus easily defends the honour of the comedic monologue.

The only question is: what might the show turn into next? n SEAN BELL

popular creations, the hapless hospital radio DJ Ivan Brackenbury, and the oddly impressive medium Ian D Montfort, in favour of traditional standup.

He hasn’t quite cut the character apron strings, however.

Both Brackenbury and De Montfort bag a decent chunk of this set, and both are still wickedly funny - and bewilderingly clever in de Montfort’s case, even when shorn of his usual gladrags. The section doesn’t feel too shoehorned in, as it follows a spot in which Binns explains how the medium character came about: chiefly as a way to discredit such charlatans.

His own standup is a bit too tradi-

tional, in truth, much of it spent gently dissing his wife, albeit affectionately.

The other main protagonist is Binns’ “little devil”, an alter-ego that keeps making him say inappropriate things, several of which got him fired from radio jobs. There is still a sense of the daytime FM jock about his polished delivery—and his curiously ‘80s hairdo—yet while the gags and stories are relatively strong, they’ll never get the belly laughs that greet Brackenbury’s show-closing set. He’s been outshone by his own creation. n SI HAWKINS

partner is also a whip-crack topical gag writer. Not quite.

Unfortunately the conceit of his show, that audience members email in a subject that they want him to lampoon—bespoke satire—strangles any real flow. Even considering that this is the opening night (though the show has previously had runs in London), the kinks are inherent in the format. The risk is that Zaltzman has to deal with some rather niche questions, such as the merits of baseball over cricket (a topic featuring quite heavily in tonight’s show) and Belgian waffles over potato waffles.

Though Zaltzman quickly segues

to prepared material, the momentum is erratic and this is compounded by him being unrehearsed. At one point he makes two jokes with the same punchline in quick succession. For the last part of the show, he is literally against the clock to fulfil the requisite number of requests and the show ends up as a bit of a puddle of loose ends.

Zaltzman sheepishly acknowledges this. It’s been a hugely disappointing hour from a hugely engaging talent. It’s death by format though, and he never really stood a chance. n JULIAN HALL

The Stand Comedy Club V, 3:00pm – 4:00pm, 31 Jul – 24 Aug, not 11 Aug, £8

Pleasance Courtyard, 6:40pm – 7:40pm, 30 Jul – 24 Aug, £11.50 – £14.50

The Stand Comedy Club III & IV, 4:25pm – 5:25pm, 13–24 Aug, £10

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COMEDY Sara Pascoe Vs History

HHHHH First off, …Vs History is a bit of a misnomer. Sara Pascoe does give nods to Freud, da Vinci and cavemen at various points in this funny and intriguing set. But they’re all there to illuminate musings on female sexuality, Pascoe’s teenagehood and other more personal topics, rather than to provide any grand narrative thread. This might be a case of choosing your show title before you’ve written the show (a common affliction at the Fringe), and Pascoe just about gets away with it with an hour that

Joe Bor: A Room with a Jew

HHHHH If you think comedian Joe Bor’s title pun is groan-worthy, you should hear some of the hilariously awful alternatives. He reels them off during this hour-long free show. It’s ironic, then, that while he’s chosen a name, his set never really decides what it’s trying to do.

Armed with a pen and a whiteboard divided into “Jewish” and “Non-Jewish”—helpfully illustrated by cartoon de-

Catriona Knox Thinks She’s Hard Enough

HHHHH Catriona Knox puts a lot into her shows. Before we’ve even had a chance take our coats off and drop anchor, she’s bouncing around the room, waving, high-fiving and bellowing introductions over the top of Catatonia’s ‘Mulder and Scully’ turned up to 11. Then the inevitable pause.

The music stops, a quick costume change, and the exhilaration never quite returns.

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charms and amuses, without ever quite catching fire.

There’s really nothing to fault in the material here. It’s strong, it’s original, it’s frequently quite bold, and it takes the newly-rekindled feminist voice in standup to interesting places. For example, I had no idea that women make more noise during sex because, prehistorically, they might have wanted to attract more than one lover per session; nor that the clitoris tends to be closer to the vagina in smaller-breasted women, meaning that they experience greater pleasure through intercourse (both facts that delight Pascoe for reasons both personal and political).

This is no po-faced lecture, either: though it doesn’t contain the off-the-

wall silliness of Bridget Christie, one might even say that the relentless gag rate in this show exposes that particular stereotype of feminist comedy for the lie it always has been.

Even so, there’s no real build to the theme or the laughs, and Pascoe’s delivery invites us to ponder, engage and guffaw, rather than to collapse in hysterics. As we leave the venue, people (particularly women), talk appreciatively about how interesting the set was. All well and good, but the show retains a slightly underwhelming quality that Pascoe could overcome if she really kicked into fifth gear. n TOM HACKETT

pictions of anatomy with more or less skin—his announced intention is to see just how faithfully Jewish he is. But this never really materialises into something with a point. The board quickly feels like an afterthought.

What we get instead are some amusing, lighthearted anecdotes about Bor’s trials as a Jewish kid, neurotic mothers and his adventures with caricaturists. His material steers clear of anything political or properly controversial. His beats are familiarly cheeky – as you might expect, there are puns about noses and money.

What Bor is really good at is embracing his crowd. Possibly as a

result of his TV warm-up work for The Graham Norton Show and Mock the Week, he’s easy-going and chatty, striking up a relaxed rapport with everyone he talks to. The best parts of this show come from the bounce between us and the stage.

If Bor could match his audience interaction skills with more substance, this could be great. His current material is fun but feels underfed. However, if you’d enjoy just spending an hour in the company of a witty, down-to-earth guy, you won’t go wrong here. n TOM WICKER

Knox has a compact deck of characters to shuffle, and she starts with a bum deal. Griselle Munchen, which, if you listen really closely, sounds a bit like the name of a world famous supermodel, is a prim, wartime “austerity cook” and with a little help from the front row, is whipping up a “make do and mend pie”.

But guess what? She’s going to put really unsavoury things into it! Like offal! And tobacco! And human hair! Yuck or what?

It’s a tissue-thin ruse for Knox to make a few gags about modern day culinary habits but they, like the character, quickly feel over-baked. A whiny American social psychologist fares little better with her TED Talk about Brilliant

Life Outcomes for Ever, or BLO-Es (pronounced “blowies” – you can see where this one’s going…).

In fact, it’s only when she channels Nick Clegg—with meticulously observed gestures, Overly. Emphasised. Phrasing, plus a smattering of misappropriated Spoonerisms—that she really hits her stride. “Do you want a hard-boiled or a soft-boiled Britain?” she/he intones…

“And are we doing enough to support our soldiers?”.

A little more comedy in this vein, and we’d all vote for that. n JOE SPURGEON

Assembly George Square Studios, times vary, 3until 25 Aug, £10.50 – £12

Laughing Horse @ The Free Sisters, 7:30pm – 8:30pm, 31 Jul – 24 Aug, free

Pleasance Courtyard, 3:15pm – 4:15pm, 30 Jul – 25 Aug, not 12 Aug, £7.50 – £10

19 August 2014 fest 39

COMEDY Josie Long: Cara Josephine

HHHHH Josie Long has followed an interesting trajectory at the Fringe: from a largely personal, confessional debut in 2006, she went on to tackle her more intellectual preoccupations in 2008 and, galvanised by what she saw as the horrendous election result of 2010, has found a uniquely self-questioning but roundly anti-Tory political voice in the years since.

Perhaps surprisingly, Long has largely dumped the political stuff this year (though a fantasy about choking Nigel Farage on marshmallows during a romantic camping trip goes down a

Massive Dad

HHHHH With an audio-visual blitz of an intro, Massive Dad deliver a succession of sketches that herald an ambitious, confident debut. With the conceit that they’re on a world tour from their non-specified Eastern European homeland, assembled as a proto-sketch unit from disparate comic traditions in a Hunger Games-style tournament, Stevie Martin, Tessa Coates and Liz Smith are deft performers and creative writers with an appealing aptitude for offbeat humour.

A buzzword-heavy business

Mark Watson: Flaws

HHHHH Mark Watson’s tenth Fringe show starts on rather poignant footing.

The days of getting ID’d for his own show are long gone. At 34, Watson has come to recognise and celebrate his flaws, so often accentuated by the nervous energy he continues to pump out in this year’s show.

Over the decade, Watson really has perfected his craft: he understands his audiences, can tease out anything from dispersed applause to roaring

40 fest 19 August 2014

storm). Instead, she’s written a heartfelt and sometimes alarmingly honest show about where she is personally.

She’s 32 years old, but only recently ready to embrace adulthood. She’s the inhabitant of a socially diverse and mostly distant family. And she’s the casualty of a string of long-term, ultimately unhealthy relationships with equally distant men, the last of whom ended up treating her “like an acquaintance he doesn’t like”.

Long has absolutely not forgotten the jokes here, and in fact the most bracingly personal show she’s written in years is perhaps funniest, too. She has a great knack for making the specifics of her personal story speak to universal truths, such that even punters who might be alienated by

her jokes about Joanna Newsom and Radio 3 should find plenty to enjoy here.

But of course, Long has cultivated her audience now to the point that many will get her more esoteric references, and this is part of the joy.

This 31-year-old, developmentally arrested, Newsom-loving, weird family-inhabiting, pseudo-bohemian comedy nerd came away feeling that she’d written a show especially for him. No doubt much of the crowd felt the same. Whatever goes on in her newly rekindled love life, Long’s place in the hearts of many a Fringe-goer is assured. n TOM HACKETT

meeting that escalates nonsensically makes for an assured start. But the trio properly establish their credentials with a breakfast television debate between a sexpert and sex denier, a very funny discussion channelling the tone and vernacular of Richard Dawkins versus religious fundamentalism. Musical parody is a strong suit, with a London market pastiche of Les Miserables’ ‘Lovely Ladies’ an exuberant knees-up, if slightly one-joke. But their most satisfying skit is also the simplest – a folk ballad delivered with bright, harmonising conviction despite the terrible circumstances of the singers’ situation.

A scene in which lunching ladies struggle to split a bill is nicely

observed but ultimately falls flat.

And it’s questionable how much the cod-Slavic accents and Hunger Games framing actually add to the hour, beyond the amusing montage of callbacks serving as a coda. Only with their penultimate set-piece, in which they assume the guise of a painfully earnest, American theatre company presenting conflicting messages about climate change, smoking and cyber-bullying to kids, do Massive Dad fully synthesise all that makes them distinct. Still, there’s significant promise here. n JAY RICHARDSON

belly laughs. In Flaws, this is particularly apparent.

Watson leads us on broadly-observed journeys that are made all the more hysterical because of his loveable creepiness. He talks about the problems that now challenge him in his life as a thirtysomething: raising a young daughter who asks him every question under the sun or rifling through his wallet for the correct change at the post office. It’s all fairly quotidian.

But when Watson talks about his real neuroses and anxieties, ones that derailed him for large periods over

the last couple of years, his comedy enters more evocative dimensions.

He drank a lot. For comedians, this isn’t new. But Watson started to need it in ways that began to define who he was. And from that, Watson reveals part of who he is today, weaving this in with tales of the banal to really stir the audience. He hasn’t made any of this up, he tells us, it’s just easier to have a shit life and then report back.

Thankfully for us, Watson is hilarious en route. n ANDREW LATIMER

The Stand Comedy Club, 8:40pm – 9:40pm, 1 – 24 Aug, £11

Pleasance Courtyard, 6:00pm – 7:00pm, 1 – 25 Aug, £9.50

Pleasance Courtyard, times vary, 1 – 24 Aug, £12 – £15.50

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COMEDY Natasia Demetriou: You’ll Never Have All of Me

HHHHH As Robbie Williams, the other two from Destiny’s Child and pretty much every Spice Girl would tell you, going solo really tests the ego.

Natasia Demetriou previously came to Edinburgh safely ensconced within the comforting womb of Oyster Eyes, the acclaimed sketch troupe, so to recreate that warm embrace tonight she enlists the help of, well, everyone else in the room.

“I need you to be my sketch group!” announces the effervescently needy Demetriou at the top of the show, at which point the punters who’d just been urged to move into the front rows give an almost audible gulp.

Thankfully—apart from a couple who are welcomed in a little too affectionately—she pretty much just picks on a poor chap called Mack, whose previously unheralded improv, seduction and martial arts skills are pushed to the limit. Demetriou’s show is, officially, “just some character comedy,” but, honestly, it’s so much more.

One sometimes off-putting issue with character stuff is the lack of insight into the performer. Here, it’s very much the opposite, as we become pleasingly acquainted with the family

Don’t Tell Anyone About Sarah Callaghan

HHHHH There comes a point in this brief solo showcase when Sarah Callaghan feels the need to spell something out to us. “I’m not a character act!” she remonstrates with what the audience has already begun to consider her trademark aggression. This claim seems a little disingenuous when one considers her background in acting: she trained at Chicago’s prestigious Second City School. It’s sure hard to

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Demetriou via numerous increasingly eccentric videos, including a cameo from Natasia’s annoyingly successful comedy brother, Jamie.

Another well-known comic pops up at regular intervals to provide musical accompaniment for this head-spinning array of garish oddballs and sexy/disturbing dance moves,

and by the cathartic finale we’re partying in the seats as much as British reserve allows, very much part of Team Demetriou. Let’s just hope she doesn’t bill us for a share of the losses. n SI HAWKINS

get a grip on the performer. Certainly, if she really is the plain-speaking ladette that we see on stage, she knows to accentuate certain mannerisms and verbal tics, treating her personality as source material with which to construct a comedy alter-ego. Her constant use of colloquial language serves as an expectation-lowering device, the endless volley of “innits” and “geezers” providing a stark contrast to verbose turns of phrase and beautifully acidic put-downs.

Aged 22, Callaghan’s status as a newcomer makes her something of an outsider to the comedy scene at large. She kicks things off by commenting on the posters of other acts and, while the eminently obscure

Tim Roast probably doesn’t deserve to be laughed at by strangers who haven’t seen his act, her instinctive distrust of industry chumminess is a joy to behold. The inexperienced comic falters whenever she strays close to hot-button topics like disability and child abuse, but these moments register as blips on an otherwise magnificent performance.

An absolute natural, Callaghan is definitely one to catch before she sells out for a big paycheck, which she undoubtedly has every intention of doing. n LEWIS PORTEOUS

Underbelly, Cowgate, 9:20pm – 10:20pm, 1 – 24 Aug, £8.50 – £10.50

Laughing Horse @ Finnegan’s Wake, 6:15pm – 7:00pm, 31 Jul – 23 Aug, not 3 Aug, 10 Aug, 17 Aug, free

19 August 2014 fest 41

COMEDY Twins

HHHHH Credit where credit’s due: there’s a structure and a concept to Twins.

And, lordy, is it paper-thin. It goes thus: Annie McGrath and Jack Barry are identical twins, looking for their third, long-lost, twin. That’s it. And they’re not even actual identical twins. Within this flimsy frame of reference, the pair trot through a series of equally half-baked sketches, shonky costume changes and dead-end audience interactions. And, here’s the

Alistair Green: Nobody’s Twisting Your Arm

HHHHH “It’s like Oscar Wilde this show, innit,” grins Alistair Green, after a particularly foul-mouthed rant goes enjoyably off the rails. The gangly, grim-faced Green has aimed his arsenal of righteous ire at younger, sexier comics in recent years via a character called Jack Spencer, but is now back at the Fringe under his own steam, and spraying invective all over the shop.

Thick people, clever people, blokes

Robin Ince’s Blooming Buzzing Confusion

HHHHH We learn a lot about Robin Ince this afternoon. For a start, he has a lot to say. In recognition of this, he talks very fast to make sure he says it all before we leave. He even has an alarm clock to remind him to finish up. And he still overruns.

As fans of Ince’s BBC Radio 4 show The Infinite Monkey Cage won’t be surprised to see, his major preoccupation

42 fest 5–7 August 2014

thing: it’s unfeasibly good fun.

What’s not immediately apparent is that this level of chaotic shoddiness takes some work to pull off. And McGrath and Barry pull it off with aplomb. They bicker and jibe at each other – a shtick that could feel forced were they not absolutely all over each other’s cues. They shove each other about with choreographed fluidity.

They step in and out of character (“are you acting?” / “I’m about to, yeah.”) with timing that shows off their skill as comic actors, as well as an awareness of the lunacy of their act.

For the most part, this is flimsy, throwaway stuff, gilded only by the verve and chemistry of the duo who deliver it. One sketch, however is worth the (erm, free) entry alone. It is unique—to my limited knowledge—in being delivered mainly in Mandarin.

And it’s a bit of a showstopper. Why bother with a fancy title or a clever theme when you can have a ball spraffing around somewhat aimlessly for an hour? n EVAN BESWICK

who change their names to something stupid, blokes whose names were already stupid – all human life is rubbished here.

Green can get away with disparaging pretty much everyone because, as opposed to the aggressive alpha-male performers, his total-loser persona seems worryingly authentic. The most significant woman in this show, for example, is his 94-year-old nan.

She turns up in an anecdote about his disastrous debut show (upshot: never mention onstage that you’ve just been to see a grandparent if you’re trying to appear cool and confident, and you don’t want hecklers shouting something obscene), then reappears in arguably the best routine.

It’s an exasperated rumination on the curious hierarchy of grandparents’ anecdotes: all those fascinating war stories forgotten, in favour of one oft-repeated tale about a neighbour from the ‘50s. It perhaps isn’t breaking much new ground, but rather than just bemoan the elderly, Green gives the impression that he’d genuinely love to communicate better. Which is pretty positive, when you think about it.

Green may be irascible, but he’s also believable – a virtue frequently overlooked by those chasing the funny. n SI HAWKINS

this year is science and human biology (specifically, the mind) with some characteristic forays into literature, fatherhood and social convention. Just how do you politely decline a friend’s offer of breastmilk cake?

A perk of the job, Robin’s just had an EEG—or electroencephalogram— brainscan and his peculiarly large corpus callosum has got him thinking.

Literally. He ruminates on the power of music to mess with his neuro electrics, puzzles over a capuchin monkey’s inability to recognise its own face and likens fans of meta-TV tripe like Goglebox to sea squirts, known principally for imbedding themselves in a comfy underwater crevice before

eating their own brain.

It stays just the right side of performance lecture at times and Ince has pockets full of gags, asides and impressions to keep it light including a mildly vexed Brian Cox (“’You sound like Deepak Chopra!’ is about the worst insult he has”) and a thundersome Brian Blessed in full show-off mode.

Despite his assertions to the contrary, Ince isn’t the 45-yearold grump he claims, revealing himself a quicksilver gagsmith with deep-seated interests in the world around him. Fascinating, in a funny way. n JOE SPURGEON

Laughing Horse @ The Blind Poet , 4:00pm – 4:50pm, 31 Jul – 24 Aug, not 18 Aug, free

The Stand Comedy Club III & IV, times vary, 31 Jul – 24 Aug, not 11 Aug, £8

Run ended

THEATREREVIEWS

At The Illusionist’s Table

HHHHH Deliciously magical - enough said PAGE 62 Photo: Weronika Bachleda

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19 August 2014 fest 43

THEATRE

Matt Trueman LEAD THEATRE CRITIC

Sirens

HHHHH

T

here are two types of sirens: those that draw you in and those that get you out of the way. The first sort—the stuff of Greek mythology—sing sailors to their deaths, luring them into shallow waters and onto the rocks beneath the surface. The second sort wail warnings in emergency situations.

They are shrill and piercing, designed to repel.

To look at them, you assume the six young women in Ontroerend Goed’s latest belong to the former category. They’re dressed in ballgowns and all of them have done their hair. Their skin is unblemished and they look beautiful, confident and statuesque. Stood behind six music stands, they clear their throats and clasp their hands primly. Then they open their mouths and sing.

Awfully. Atonally. Deafeningly.

They sing in such a way that the soundwaves seem to clatter off one another and buckle. Your ears ring.

Your eyes wince. Your head starts to throb. My mind momentarily—and guiltily—flashes back to the squealing vixen at the start of Chris Goode’s Men in the Cities. This broken note goes on for ages.

Behind them, a video starts: silvery and translucent. You have to focus quite hard to recognise it for what it is—hardcore porn—but when you do, you see Sirens. The women onscreen are all “come hither” stares and open-access policies. They lure by giving men exactly what they want.

44 fest 19 August 2014

Private View

Those onstage are different: they perform a recital of anxieties, irritations and infuriations; a litany of feminist complaints. Expensive face creams and beauty products, all deemed necessary. Famous, flawless women, all successful on and therefore complicit in patriarchal terms.

“Sharapova is a skank,” spits one. So, apparently, is Mother Theresa. They deadpan misogynistic jokes, list men that have slapped their bums (Celebrities. My uncle.) and detail deep-set insecurities.

So what is Sirens? Is it a feminist action, designed to effect change in its audience and beyond? Or is it a portrait of a feminist movement: a kind of theatrical readymade testifying to the ideas and concerns of those onstage? I suspect, both at once.

As an action, Sirens is best at its most innocuous, when it levels accusations that those watching can’t wriggle out of it: those little compliments about someone’s looks, the

gentlemanly etiquette that becomes a tad patronising. That’s not breaking new ground—see also the Everyday Sexism project—but where that reports on sexism elsewhere, Sirens manages to include us in the charge.

However, it’s also aware of its own fallibility. Sirens knows that it’s portraying a limited spectrum of feminism and womanhood: that others are worse off, that presenting six young white women doesn’t encompass feminism in total. As with Teenage Riot, Ontroerend Goed have placed something onstage for us to see it for what it is. The title and structure—the idea of Sirens, of attraction and repulsion—acts as commentary: it testifies to a generation that wants, for example, to look good without being gawped at.

There’s still a problem of process here though: Ontroerend Goed, a male-dominated company, determine how we should see these young women and Sirens doesn’t admit or unpick the power structures

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THEATRE

Sirens

that have, however indirectly or inadvertently, shaped it as a piece.

At some level, we need to know who decided how these six women should be costumed, for example, and how that decision was reached?

You see that kind of diligence in the emerging company Plunge Theatre’s confrontational piece Private View. It may be theatrically naïve and in need of a good director, but there’s a self-awareness that Sirens

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is missing. Three young women are “dolled up” in frocks so figure-hugging, they’re almost shrink-wrapped.

They pout and pose ironically, awkwardly recreating Beyonce’s routines, to take down of imposed ideals of female beauty, but the trio still admit to being in thrall to those standards themselves. One notes the vigiliance with which they’re attending their bikini lines for the show’s costume changes. Another talks

of the training runs countering the cakey calories consumed en route. It makes a somewhat baggy show that bit sharper. n MATT TRUEMAN PRIVATE VIEW Just the Tonic at The Mash House, 9:00pm – 10:00pm, 6–24 Aug, not 12, £7 SIRENS Summerhall, 8:30pm – 9:50pm, 12–24 Aug, not 18, £12.50

19 August 2014 fest 45

THEATRE

Elephant Room

HHHHH Magicians Geoff Sobelle, Steve Cuiffo and Trey Lyford’s new sleight-ofhand show is far from the roll-up, roll-up school of magic. The trio have adopted the personas of three ex-rockers—as if Spinal Tap had become magicians instead of musicians—to present a show as much about these three guys and their shortcomings as the magic they will perform for us.

They reveal to us that this room is where the magic happens (not that kind). There’s no elephant here. The

A Series of Increasingly Impossible Acts

HHHHH Form. Convention. Plot. Casting.

Script. Actor safety. None of this is what drives the purposely rule-breaking Secret Theatre Company.

Instead, an actor (the evening’s sole “protagonist”) is picked from a hat by the audience and then subjected to what can only be described as a mental and physical interrogation by her sportswear clad young castmates, none of whom leave the stage all night.

46 fest 19 August 2014

room is the elephant. Rather than simply amaze us with tricks, they tell us about their lives, compete with each other for the best trick and try to win our affections with passing glances or grandiose illusions. This dimension can be as hilarious and entertaining as the magic: a wondrous yarn that tells us about pride, appreciation and talent.

Elephant Room delivers all the tricks one would expect in a traditional magic show: levitation, sawing audience members in half, disappear-and-reappear, but tops them all with surreal comedy, glitterball dance routines and bonkers audience interaction. It’s gloriously imaginative

storytelling that fuses theatre and magic to meticulous levels.

It’s the precision of the ensemble which pulls the whole show together: they are completely natural, metrical performers who harmonise almost perfectly with each other.

Even the tricks which aren’t particularly impressive, the secrets to which are quite obvious, come off. They say a magician should always leave the crowd wanting more: it would seem it’s hard to get enough in Elephant Room. n ANDREW LATIMER

There’s dancing, a lot of dancing, there’s wrestling, a volley of interrogative questions, a speech interrupted by persistent kissing, a loud love confessional and a series of repeated challenges that see our leading lady compelled to eat a lemon, balance on a football and climb inside a suitcase. She drinks a beer, loses her clothes, sheds a tear, recites Shakespeare and expends a lot of sweat.

“What is tonight’s show about?” she’s asked pointedly, on more than one question, before breathlessly panting out a different answer each time.

It’s incredibly captivating. How does an actor, freewheeling the majority of what she does on the spot, respond to such extreme conditions?

Stripped of almost everything, literal and otherwise, that would usually inform our preconceived notion of what an actor is, it feels like we are inching towards some elusive truth.

If she gets upset, or emotional, tired, or elated, it’s not because she’s “in character”, it’s because she is those things.

On occasion, it swerves dangerously close to cruelty, though the exhilaration, affection and display of collective human endeavour at the end reminds you just what an extraordinary theatrical experiment this is. Utterly fascinating. n JOE SPURGEON

Assembly Hall, 10:40pm – 12:00am, 31 Jul – 25 Aug, not 6 Aug, 13 Aug, 20 Aug, £14 – £15

Northern Stage at King’s Hall, 8:15pm – 9:15pm, 31 Jul – 17 Aug, not 1 Aug, 7 Aug, 14 Aug, £14

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19 August 2014 fest 47

THEATRE Lorraine & Alan

HHHHH Well now, this is a salty little windwhipped treat. Nel Crouch and Becky Ripley’s humorous, junk theatre take on the Scottish selkie myth is a triumph of layered, lo-fi storytelling and unexpected poignancy.

It might be helpful to arrive at the Lorraine & Alan without knowing the source material, as we meet our titular male, freshly minted degree in hand (“Marine Biology. High 2:2”).

He’s a bit of a waster is Alan (played with a cheeky wink by the Mathew

Pondling

HHHHH A young girl’s fantasy world can be a frightening thing. It is in Pondling – frightening, and oddly pitiable too.

As we watch the odd, awkward little girl in front of us repeatedly misread the world around her, we may laugh in horror but we also blush for her naivety and hurt at her loneliness.

Madeleine has turned herself into the ‘swan-lady’ heroine of her own romance – something that imbues her with an unwittingly amoral sense of self-entitlement. She is both Odette and Odile, although the echoes of Swan Lake never weigh too heavily and are more apparent in retrospect than during the play itself. She spends her days seeking “beauty” and “femininity” with amoral ruthlessness. “Beauty” and “femininity” are things she feels are sorely lacking

The 56

HHHHH Verbatim theatre surged up a few years ago from the angry bones of companies keen to respect those who had stories to tell, by using their own words. It’s certainly a powerful genre.

Hearing the actual news broadcast from the 1985 Bradford City football stadium fire, at the opening of The 56, there is a horrific immediacy that knots the stomach.

The verbatim accounts are then

48 fest 19 August 2014

Horne-a-like Adam Farrell), returning to his childhood bedroom in rural Norfolk to play Xbox and procrastinate. The only thing to rouse Alan from his torpor is his ongoing life aquatic, a fascination which leads him to a job running coastal seal tours and his first encounter with the enigmatic Lorraine (Katie Sherrard).

It’s a pitch shift in the play that sees the waves of wordplay and gentle comedy overlapped by an altogether otherworldly air to form something far more potent. Who is Lorraine? What is she doing lolloping around the wetlands? And whose is that sealskin coat bobbing about in the Blakeney surf?

The odd couple relationship

provides plenty of literal fish-out-ofwater comedy as Lorraine and her new baby buoy (heh) try to settle into a new life, despite the inescapable sense that something is amiss.

Peel back the sweet skin of this folksy fable, with live accompaniment provided by two waterproof-wearing singing soundrackers, and you’ll find a very hard-working foursome who tease out the weightier thematic threads of isolation, belonging and possessiveness with a wonderful lightness of touch. n JOE SPURGEON Pleasance Dome, 1:30pm – 2:30pm, 30 Jul – 25 Aug, not 9 Aug, £8 – £10

from home on her Grandfather’s farm in Ireland. Madeleine does her best, stringing daisy chains from barn doors, scaring the birds away from the feeders, and strangling a stray cat that roams around the yard.

Genevieve Hulme-Beaman’s monologue is rich in irony and humour.

In creating Madeleine, the ultimate in quixotic narrators, she has done something very impressive – make an audience laugh at the same time as they feel disturbed.

The totality of the narrative is less than the sum of its excellent parts. We learn nothing new about Madeleine’s character from beginning to end.

However, such is the sickeningly compulsive quality of Hulme-Beaman’s performance that shocked interest is maintained throughout. n MIRANDA KIEK Underbelly, Cowgate, 1:30pm – 2:30pm, 31 Jul – 24 Aug, not 11 Aug, £9 – £10

taken up by the cast of three, who sit on football benches and take turns to each tell their own section. It’s the small details that hurt the most; the pride with which Danni Phillips says “we had a drink of coffee” before the match, as if that was a rare treat now forever tainted; or her admission that at the time she could only think “I’ve burnt my hands”, oblivious of the tragedy unfolding behind her.

But these moments are occasional flashes in a script so rigidly caged by integrity that it loses sight of the fact that drama, and not description, is

what moves the heart. Unlike Instabili Vaganti’s Made in ILVA, which transforms the misery of many into the searing pain of an everyman, The 56 is so concerned with the minutiae of authenticity that it does nothing with the material other than transmit it. It is moving in parts—particularly Phillips’s story—but begs the question; why not just read the transcript or listen to a recording of the real survivors instead? n LUCY RIBCHESTER Underbelly, Bristo Square, 1:55pm – 2:55pm, 31 Jul – 25 Aug, £9 – £10

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THEATRE

Letters Home

HHHHH Last year, there was a peculiar paradox to Grid Iron’s colossal site-specific Leaving Planet Earth. It sought to take us on an interstellar journey, but consequently affirmed our own sense of place and belonging. In Letters Home, a similarly epic but multinarrative work, we are taken from the grounds of the Edinburgh International Book Festival to rooms in and around Charlotte Square, where we experience four epistolary fictions centred on the titular theme. In this new promenade piece

Tales From The MP3

HHHHH Verbatim theatre, assembled documentary style from the exact words of transcribed reality, is an inherently dicey premise. The paramount concern is truth, not art – though there is no reason the two cannot coincide. As such, the play in question must make do with the material it is dealt. The end result relies upon the actors’ reconstruction, rather than a playwright’s interpretation. Performance matters just as much as content.

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however, it’s more difficult to really hone in on a sense of place.

Details by Chimanda Ngozi Adichie foregrounds LGBT rights as a gay female couple in Nigeria are split apart; Kamila Shamsie’s War Letters cradles us underneath four panoramic screens which play out a film about two Punjabi soldiers battling through the First World War across continents; Christos Tsiolkas’ Eve and Cain channels a savage argument between the pair told through slave messengers; and Kei Miller’s England in a Pink Blouse, which seats us blindfolded on board an aeroplane, reveals the thoughts of a mother estranged from her son.

The braided proportions that link these four works are often centred on themes of despondency and confusion. In Details, Chisara and Oyin focus on minutiae that deflects how they really feel, which clashes hard against the direct and more tortuous exchanges shared by Eve and Cain over the mercilessness of their God. But as well as the promenade aspect coming across as too logistical and regimented, many of the conclusions are far too on the nose for a work of such nuanced and delicate synthesis. n ANDREW LATIMER

It is to the credit of Liverpool-based theatre company 20 Stories High that they have hit upon a fairly original approach to the idea. The cast are hooked up throughout to synchronised mp3 players, listening to the original recordings which they repeat only seconds later, with little time for imaginative alteration. Secondly, and most importantly, the reality they re-enact is their own: the recordings are taken from conversations between the young members of 20 Stories High. They are playing themselves – up to a point.

If Tales From The MP3 were simply a troupe of actors repeating their own

words and talking about their own lives, it would run the risk of self-indulgence.

Fortunately, the play has a simple but effective way around this pitfall: they swap characters. As often as not, gender and racial identities are exchanged as well. This highlights both the uniqueness and the universality of the perspectives being articulated. While it drags at times, and seems to end purely because their time and material has run out, Tales From The MP3 is a worthy experiment. n SEAN BELL

Charlotte Square Gardens, 6:15pm – 8:45pm, 18 Aug, £15

Summerhall, 6:45pm – 7:55pm, 10–24 Aug, not 12, 19, £12.50

19 August 2014 fest 49

THEATRE Hand Made in China: Moons, Migration and Messages

HHHHH Chinese theatre company Hua Dan, an NGO based in Hong Kong, has teamed up with Tinderbox Project and Alchemy Arts to transfer a project first presented by the Beijing Community Rickshaw Gallery to Edinburgh.

Fortunately, too many cooks haven’t spoiled anything about this gorgeous ten-minute mobile installation, which all takes place in the confines of Summerhall’s courtyard.

Performers Dong Fen and Jin Lian welcome us with herbal tea before asking us to choose one object from a basket of five. We are then driven in a rickshaw, which is a replica of ones frequently used as means of employment across poor regions in China, to the rear of the courtyard.

Joined by a second performer, we are told a short story relating to the object we selected.

Only big enough for two audience members at a time (or three if you can squeeze into the back of the rickshaw), this delicate and sweet-natured performance throws cultures together in a very personal and emotive way. One object from the basket, a Chinese rail ticket, reveals a story about a young woman who seeks to liberate herself from poverty by heading to Shanghai in search of a job. Overcrowding and

The Gospel According to Jesus, Queen of Heaven

HHHHH Step into St Marks and you’re hit by that church smell: pine steeped in incense, must and dust; a reminder of how long it’s been since you last stepped inside a building like this. Sat on a pew, shoulder to shoulder, all facing forwards, you feel its stillness. A voice at the back pipes up, soft and resonant: “They should have sofas in here. Not benches.”

50 fest 19 August 2014

under-pay await her, but the promise of a better life outweighs her reluctance to leave the village.

With numerous videos about Hua Dan’s work in China all available to watch, as well as enlightening discussions, this is both a perfect

example of what the Fringe is capable of and also demonstrates that the origins of a project can be as powerful to learn about as the performance itself. n ANDREW LATIMER

Jo Clifford’s re-envisaged Christian service was dubbed blasphemous by the Archbishop of Glasgow five years ago and St Johns refused to host this revival. That rather proves her point.

Religion can be so exclusive, so liturgical and, frankly, so intolerant. How does this ever square with the core of its preaching: love?

Here Clifford wrenches Christianity into something open-armed and fit for all. The transgender playwright plays Jesus, disrupting the gospels’ patriarchal perspective and refusing the distortion of her teaching into injunctions. Her disciples weren’t “12 straight men with beards.” Her Good Samaritan is a queer nightclubber

heading home. Her Prodigal Son comes home a daughter. This is Christianity couched in humanist terms; not so much non-denominational as anti-denominational.

Originally performed at the Tron theatre, it gains a lot from its move into a church. This is no longer a wry theatrical satire or an ersatz mock-up, but an actual alternative. Clifford is practising what she preaches and her Gospel is less theatrical than it is spiritual; a vital reminder of religion’s real heart, rather than the rules and rites that so often obscure it. n MATT TRUEMAN

Summerhall, times vary, 11–24 Aug, £3

artSpace@StMarks, 10:30pm – 11:30pm, 5–23 Aug, not 10, 11, 17, 18, £12

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THEATRE

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This summer, you could wander through shadows.

The Scottish National Gallery is open every day.

See what you could do this summer.

The Mound, Edinburgh

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Peter Graham, Wandering Shadows, 1878. Scottish National Gallery. National Galleries of Scotland is a charity registered in Scotland (No.SC003728)

19 August 2014 fest

51

THEATRE Pss Pss

HHHHH It’s a measure of how much Camilla Pessi and Simone Fassari are able to charm their audience, that within minutes of appearing on stage they draw a round of applause for tossing an apple from hand to hand.

Pss Pss, from Switzerland-based Baccalà, is about as classic as the art of clowning comes; short-trousered, frilly-bloomered, flower-pot hatted, Pessi and Fassari could have stepped straight off the set of Fellini’s La Strada. By the

end of the show their elastic eyebrows and Charlie Chaplain pouts make you want to hug them.

They play around with their relationship to each other, invoking jealousy, neediness, competition and wonder. But seen through the lens of a clown these are all are pared down to their basest forms; when Pessi covets a banana from Fassari he is torn between his own greed and the morally correct act of sharing, and the agony of the decision etched into his face is priceless in its pathos.

It’s this honesty that makes Pss Pss so utterly loveable. The acrobatics are top notch, their carefully measured

clumsiness so convincing that you often find yourself catching your breath. And their interaction with the audience, implicating us in their mischief, plants a seed of laughter that just keeps growing until the bumbling climax. Letting two clowns loose on a trapeze is always going to be a recipe for trouble, and Baccalà don’t disappoint. With all the desperate innovation going on at the Fringe it’s nice to be reminded that sometimes the old tricks are the best. n LUCY RIBCHESTER Zoo Southside, 6:50pm – 7:55pm, 1–25 Aug, not 18, £12

Chef

HHHHH Food is never just food, it is a storehouse of memory and the raw ingredient of our dreams. As the eponymous chef plans a series of exquisite dishes, from red wine risotto to curried coconut tofu (“veggies will be particularly excited”), she is able to imagine a future for herself. But she is also propelled backward into recollections of her own lonely and abusive past.

Playwright Sabrina Mahfouz’s cleverly looping narrative only reveals its secrets slowly. It is not until the second scene that the audience discovers the young chef with the bright future is speaking from inside jail, and it is not until the last that we find out why she is there. If Mahfouz does not quite manage to adhere to Chef’s food philosophy of just keeping it simple, and adds a few too many digressions and repetitions to her script, she does not sacrifice the essential flavour of her dish.

Jade Anouka in the role of Chef gives a more than considerable performance.

She makes each audience member feel like she is talking to them, and speaks Mahfouz’s verse with a pleading hopefulness which is particularly poignant.

This is not just the story of Chef, but of her mother and her fellow inmate, Candace, too. Three women and their abuse by men. There is a part of me that would have liked to have seen some sort of gesture towards a wider critique of the system which lets such women down.

But Chef is not that kind of play – too personal, too close. n MIRANDA KIEK Underbelly, 6:10pm – 7:10pm, 1–17 Aug, £10.50

52 fest 19 August 2014

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THEATRE FREEDOM IS NEVER GIVEN.

IT MUST BE WON.

Scottish Dance Theatre & The One Ensemble

8 - 17 Aug 7.55pm (55min) Box Office: 0845 874 3001

(venue 26)

www.summerhall.co.uk www.summerhall.co.uk

www.scottishdancetheatre.com

Seabright THE WORLD’SProductions FIRST SHOWpresents BASED ON COMING-OUT STORIES

13:00 (70 mins) 30 Ju ly – 25 A ugust 2014 (not 6, 13 & 21 August)

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Full list of upcoming guests: Festival www.OutingsTheShow.com Directed by Tony Award winner Highlights.com David Grindley and written by the team behind the hit West End play The Act. www.festmag.co.uk Produced by five-time Fringe First award winners Seabright Productions.

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31 JUL - 25 AUG

19 August 2014 fest 53

THEATRE

Horizontal Collaboration

HHHHH It’s difficult to overstate the accolades and acclaim meted out to David Leddy. And why not? His insatiable urge towards inventiveness of form in theatre is undeniable – and no less evident in Horizontal Collaboration which sees four new actors delivering the script completely blind every night. But this high regard seems not to infect the (at least) three audience members who snooze through most of tonight’s performance. This is certainly ambitious, but it’s also pretty turgid.

The play’s premise requires the

The World Mouse Plague

HHHHH The building is infested. Mice have moved in and they need to be dealt with. But the authorities also need to move the tenants, who are being relocated against their will for refurbishments. And now a theatre company have arrived and they’re performing a site-specific, immersive, durational, verbatim show about genocide. In mouse costumes.

Confused? You’re not the only one. As in The Eradication of Schiz-

54 fest 19 August 2014

actors to play four lawyers – stand-ins for the regulars at a UN war crimes tribunal. They read through previously unseen interview transcripts regarding alleged crimes committed by Judith K, the wife of an African warlord. The issues are certainly meaty, and all too real: the crimes take place in a region where 48 women are raped every hour, where dynasties keep power through murder, and where the West is implicated via its purchase of minerals we know are stained by exploitation. And there’s certainly a nugget of genius in the dramatisation of this: as the actors read details of horrific crimes, they should react organically to the amoral no-man’s land which confronts them. Their humanity scratches at the surface of their professionalism.

Except that doesn’t really happen tonight – only one actor really engages with the text beyond simply struggling through the words. Worse still, the conceit frames the whole performance, and not just the supposely “unseen” bits of it. Who reads hesitantly from a script when introducing themselves? And why would four lawyers all drink water or change screens on their laptops simultaneously? Rather than focusing on their reactions to the transcripts, the effect is of a robotic, monotone ritual. If the point is to emphasise the faceless bureaucracy of the UN’s legal black hole, then this this is a rather dull exercise in hopelessness. n EVAN BESWICK

ophrenia in Western Lapland, Ridiculusmus set out to baffle, though this time in the interest of questioning what art can and can’t discuss.

Layers of fiction and meta-fiction slip and slide, as David Wood and Jon Haynes take on the many different roles between them, all the while sporting tails and whiskers. It’s fast-paced, chaotic and deliberately difficult to follow.

Amid the anarchy, it’s possible to discern a number of overlapping strands. The imaginary theatre production prods at the ethics of representation, taking as its target the kind of queasily problematic immersive experiences that abound on the Fringe, while its appropriation

of the building nods to the role that artists play in gentrification. Then there are the mice, whose treatment has deliberate echoes of both past genocides and present rhetoric about stemming immigration.

The show is also frequently silly, tackling these heavy topics with a lightness of touch. But there is the danger that, along with creating confusion, the knowing references to immersion and verbatim amount to one big theatrical in-joke. The audience, like the mice, runs the risk of being left out in the dark. n CATHERINE LOVE

Traverse Theatre, times vary, 31 Jul – 24 Aug, not 4 Aug, 11 Aug, 18 Aug, £18

Summerhall, 9:30pm – 10:30pm, 13–24 Aug, not 18, 19, £10

www.festmag.co.uk

THEATRE The Day Sam Died

HHHHH Given limited resources, who should receive treatment and on what basis? Brazilian avant garde theatre company, Armazém, takes morality in healthcare for its subject. Ought the rich and powerful to have priority, as charismatic chief surgeon Benjamin believes? Or should the deciding factor be moral worth: can judge Samantha justify jumping to the top of a heart transplant list because she is one of the few judges who is truly just? Alternatively, is junior nurse Samuel in the right to insist that care be provided on an equal basis regardless of status or means? A series of interlocking scenarios, each with a different Sam at its centre, puts these questions to the test. But not fully. Nothing hangs together. The last of the plot strands concerning ageing Alzheimer sufferer Samir and his relationship with his daughter is particularly puzzling, as it only touches on the healthcare system tangentially.

Simon Callow in Juvenalia Assembly Hall 15:30 31 Jul – 25 Aug Unmissable!

In Brazil during the period 1999 to 2012, 70 per cent of hospital beds belonged to the private sector. Not that we learn this in The Day Sam Died. But we do learn that a system in which healthcare is provided according to need, and empty private beds are allocated to desperate public patients, is viewed as a hopelessly idealistic dream. If nothing more the play

Title and Deed by Will Eno Assembly Hall 18:05 31 Jul – 25 Aug Guardian Scotsman

The Herald

www.festmag.co.uk

Independent

should serve as a salutary reminder of the importance of the NHS. The Day Sam Died is terrifically stylish, full of sound, fury and high ideals, played out against the strum of loud rock guitars, but it never fulfils its intellectual promise. n MIRANDA KIEK New Town Theatre, 1:45pm – 3:00pm, 5–24 Aug, not 7, 11, 18, £10

Baby Wants Candy: The Completely Improvised Full Band Musical Assembly Roxy 20:45 30 Jul -25 Aug

50 Shades!

The Musical.

The Original Parody Assembly Hall 22:30 31 Jul – 25 Aug Gloriously crude The List

19 August 2014 fest 55

THEATRE

Exhibit B

HHHHH South African artist Ben Bailey’s unforgettable if limited investigation of the darker, forgotten corners of colonial history is a startling piece of work.

Among the swept frames and portraits of white Scottish dignitaries hanging in the Old College’s Playfair Library Hall, a variety of meticulously constructed “exhibits” await our inspection. Except here, the sculptures blink back.

Taking the heinous European phenomenon of human zoos (where objectified “savages” were treated as mere spectacles by

Tis Pity

HHHHH The problem with putting on revenge tragedies is that it’s bloody hard not to make all that bloodiness look bloody silly. Evidently this is also true of updated productions.

Gregory has fallen violently in love with his virginal sister, Anita. This poses a problem. Not only is she his sister but she is also betrothed to the son of a powerful neighbouring family. An incestuous affair and four deaths (or is that five? I lost count)

56 fest 19 August 2014

supposedly superior Westerners), Bailey places several living men and women into nearly still-life tableaux alongside seemingly anodyne explanatory notes entitled “The Age of Enlightenment”, “The Missing Link”, “Cultivating the Natives” and others.

Further reading reveals the true horror: a group of runaway slaves have their bones broken before being “slowly roasted” in the Dutch colony of Paramaribo; Sarah Bartmann, the nineteenth century “Hottentot Venus”, famous for her large fleshy thighs and buttocks, rotates naked on a plinth; and most movingly, four singing heads, their bodies hidden from view, form a Namibian choir and sing traditional laments while real photographs of African behead-

ings are suspended above them.

It’s hard to look at, the returned eye contact inevitably intensifying feelings of silent shame. To what end, we wonder? It’s belligerent and bruising, unremittingly so, with nothing much beyond the dreadful depictions. Perhaps Exhibit B’s real legacy lies in its exposing of the insidious process of documenting history and museum curation across the world. The beaten, blooded and debased human beings on display here might be silent, but for once, Bailey’s work will see their stories heard across the world.

later - and Natalie Audley’s 1950s reimagining of John Ford’s ‘Tis Pity She’s a Whore has shown itself only marginally less Tarantino than the original. And even less credible.

Can we really believe a young girl growing up in a well-off family in the fifties would have been kept entirely cloistered from the world? And were swords, not guns, the upper-class weapon of choice?

By far the oddest aspect of the re-write is Audley’s antiquated dialogue. Although she has abandoned Ford’s original script, the update sounds in no way modern. You half

expect the characters to drop in the occasional “forsooth”.

A halfway house modernisation is a potentially interesting experiment but here it is not a successful one.

Nothing is gained by Audley’s update and the 1950s setting isn’t integrated into the play; if anything relocating Ford’s plot relocated makes it seem even more absurd. Although the cast perform with commendable earnestness, they can’t stop the audience from giggling throughout the final blood bath. n MIRANDA KIEK

n JOE SPURGEON

Playfair Library Hall, times vary, 9–25 Aug, not 11, 14, 18, 21, £14

Run ended

www.festmag.co.uk

THEATRE Every Brilliant Thing

HHHHH Well, this is sweet. A six-year-old whose mother attempts suicide tries to re-connect her with happiness by listing, literally, every briliant thing. “Ice Cream...things with stripes...laughing so hard you shoot milk out of your nose.” They are crystallised insights into what makes a six-year-old heart leap with joy; and a perfect lense to completely misunderstand mental illness through. For how, really, can a six-year-old understand a hard-wired preponderence for insoluable despair?

Or, a teenager? Or a young adult?

This could seem like a tired conceit – there’s only so many cute things you can get away with listing. But it works because it grows with the character.

They reflect changing priorities, a growing imagination, and a growing sense of the ironic futility of the task.

“Hairdressers who listen to what you want,” is number...I forget. As our hero falls in love, he tries and fails to grasp it with his list – circling around the

point in the same beautiful but incomplete way. The breaking point of this Syphean task (we get to 1 million), is in “the difference between feeling happy and joyful”. In a sense, Every Brilliant Thing tries to understand mental illness by homing in on what it is not.

Played in the round, this is anchored by a sweet, comic performance from Jonny Donnahoe (of comedy duo Jonny and the Baptists

G ary K i tc h i n G & c o m pa n y in as s o ci a t i o n w i t h G r e ys c a l e

fame) – assisted by, well, us, the audience. We read numbered items from his list. We provide him with props.

Some of us even play important characters. In this sense we’re part of the task, sharing in its moments of joy and patterns of incomprehension. n EVAN BESWICK Summerhall @ Roundabout, 12:00pm – 1:10pm, various dates until 22 Aug, £15

Company TSU in association with Curious Monkey

by G a ry K i tc h i n G

5.30pm (1hr) UNTIL 23 AUg (not 14, 21) 7.10pm (1hr 20) UNTIL 23 AUg (not 14, 21) Venue 26a PAINES PLOUgH ROUNDABOUT Box Office 0131 477 6630 Book Online northernstage.co.uk www.festmag.co.uk

19 August 2014 fest 57

THEATRE

Raymondo

HHHHH In more ways than one, Raymondo is an exercise in the power of paring back. The stage is set with nothing but household furniture—rugs and domestic lamps en masse—but it feels warm and alive. And most importantly, it forms the perfect hidey-hole to snuggle in and listen to Annie Siddons tell her grotesquely beautiful, tragic and uplifting tale.

If that sounds like a bunch of contradictions then you have the measure of Siddons’ untamed brilliant writing.

Unfaithful

HHHHH Drama so often lies in the things that are left unsaid. The secrets, the suppressed desires, the regrets. The same goes for Owen McCafferty’s new play, which finds its true subject not in adulterous trysts but in our devastating inability to communicate with one another.

Tom and Joan are partners of over 30 years, left newly alone together following their daughter’s flight from the nest. After decades of fidelity, they are both feeling restless.

Also restless is younger woman Tara,

58 fest 19 August 2014

Raymondo and his brother Sparky have lived in a basement since their mother locked them there six years ago, and only effect escape when the chance death of a pigeon gives them a means to (quite literally) fashion their way out by making an extraordinary-ordinary cape.

Siddons’ prose is jewelled with everyday filth – pigeon blood makes a “splash of scarlet”; one of the heroines’ hair smells of “cooking fat and Worcester sauce”. The story would make a fine read by itself. But her performance lifts it to another level. She is an outstanding storyteller, textured and musical, with her mic amped up so high that

even her breaths, swallows and soft lipsmacks become punctuation in the tale. Accompanied by Daniel Green’s ever-present, never-invasive music, Raymondo takes on the feel of a vivid, comic-book rollercoaster ride.

There are a few meta-literary interjections in there that feel a bit too pleased with themselves; the writing is rich and wacky enough without them. But Siddons will make you feel like a child again as she wraps you in her very grown-up tapestry. n LUCY RIBCHESTER

who approaches Tom in a hotel bar in a bid for adventure. The traitorous moment of their meeting, however, is less significant than the subsequent fallout, as the parties involved say either too little or too much.

Avoiding the more lurid possibilities of his set-up, McCafferty recognises that there is more than one way of being unfaithful. He casts an unblinking eye over the less photogenic realities of long-term relationships, revealing that we can only ever know and understand one another so far.

Against the aptly bland backdrop of designer Gary McCann’s series of impersonal rooms, two very different couples speak a language of lies and

evasion.

A touch of existential crisis adds another layer to the piece, but McCafferty’s drama is essentially a self-contained tale of marital disappointment and bungled communication. Rachel O’Riordan’s production is suitably understated, as are the four strong yet unshowy performances. As poignantly truthful as McCafferty’s observations often are, however, there is little new to learn here about the inarticulacy and unwitting cruelty of human beings. n CATHERINE LOVE

Summerhall, 2:50pm – 4:00pm, 11–24 Aug, £11

Traverse Theatre, times vary, 1–24 Aug, not 4, 11, 18, £19

C theFestival Sally E Dean

Tokyo Tapdo!

Shrewsbury & Severn Opera

The Lost Domain

Shakespeare in the Garden: A Midsummer Night’s Dream

6 – 25 Aug 3.00pm C cubed

30 Jul – 25 Aug 4.45pm C

18– 23 Aug 12.45pm C

31 Jul – 25 Aug 6.00pm C south

DEM Productions

Straylight Australia and Bee Loud

Five Point One with C theatre

Notoriously Yours

The Happy Prince

30 Jul – 25 Aug 8.30pm C

10 – 25 Aug 2.15pm C

31 Jul – 25 Aug 8.00pm C south

31 Jul – 25 Aug noon C south

Haddangse

National Theatre of China

Ricardo Garcia’s Flamenco Flow

Flamenco y Mas

English Cabaret Hour

30 Jul – 24 Aug noon C

20 – 25 Aug 4.45pm C

10 – 25 Aug 9.00pm C

31 Jul – 25 Aug 5.20pm C south

Something’s in the Living Room

Lysistrata

Brush

Sushi Tap Show

The Road to Skibbereen

Green Snake

C theatre

English Cabaret with C theatre

English Cabaret with C theatre

With more than 200 shows and events across our venues in the heart of Edinburgh, we celebrate our 23rd Fringe with an inspiring international programme of cabaret, comedy, circus, dance, musicals, theatre and family shows. See it all with C venues.

THEATRE

Wingman

HHHHH In an era when heart-warming has become a term more pejorative than complimentary, one uses it in a review only after much hesitation.

Wingman, however, is heart-warming: gloriously, upliftingly, unapologetically heart-warming. You leave with a tear in your eye and a generally restored faith in humanity.

This is not to say it’s trite. The wit is too acute, the observation too real.

There are moments when you forget that it is Richard Marsh’s fictionalised

Riding the Midnight Express with Billy Hayes

HHHHH Billy Hayes: former hashish smuggler, runaway convict and thespian to the core. Famous for spending seven years in a Turkish jail on drugs smuggling charges, escaping and making his way across stormy seas and inhospitable countryside to Greece and freedom. Now he performs his own story.

It’s a cracking yarn, and one that

60 fest 19 August 2014

alter ego on stage and believe that he is recounting his own history.

The story is one of restitution and new life. It is about the death of an adored iconoclast of a mother (“suffering as herself, a glorious autumn”), the difficult road to reconciliation with a father who left 20 years before (“I share his surname, nothing else”), and Marsh’s own accidental accession to fatherhood. In Marsh’s universe flowers, literal and metaphorical, grow out of shit.

As with Marsh’s other hit, Dirty Great Love Story, Wingman is a verse play. Or at least, a relaxed verse play.

The verse slips in and out of focus,

interspersed with dialogue and jokey banter between Marsh and his father (a pitch-perfect performance from Jerome Wright). If anything the rhyming elements are too strong, artificially manipulating messy emotions into jarringly neat couplets.

At times the final twenty minutes veer dangerously close to becoming a rhyming Tony Parsons novel. No matter. Marsh’s ability to find humour in the human and his tenderness for our frailty remains constant throughout. n MIRANDA KIEK

has been told twice before: once

by Billy Hayes himself in his 1976 memoir, Riding the Midnight Express, and once in a 1978 film adaptation with a script by Oliver Stone. The film version, however, as Hayes makes abundantly clear, shares only a passing resemblance to his own story.

The Turks were much nicer - he never made an anti-Turkish courtroom speech. There was a romance, but with a man.

And crucially, his flight was far more thrilling, involving running through woods, dodgy disguises and pretty much everything that’s ever featured in a boys own adventure story, including a night-time row in a

dinghy. Hayes is particularly put out about the omission of the dinghy: “It was in that little boat,” he says, somewhat evangelically, “I felt a man again, with my life in my own hands.”

Hayes is a terrific raconteur. Do stay for the question and answer session. If you’re lucky, you’ll find out some fascinating cultural titbits about the Turkish jail system.

Truth, they say, is stranger than fiction. And when film budgets don’t stretch to escape sequences, it can be a darn sight more exciting too. n MIRANDA KIEK

Pleasance Dome, 2:10pm – 3:25pm, 30 Jul – 25 Aug, not 12 Aug, £9 – £12

Upstairs @ Le Monde, 5:00pm – 6:10pm, 3–21 Aug, not 8, 9, 15, 16, £16.50

www.festmag.co.uk

THEATRE The Initiate

HHHHH How is it possible to belong to two different places at once?

What do you do when you find yourself identified with something from which you recoil? And is every supposedly altruistic act just a defence of selfish interests?

Alexandra Wood’s new play, commissioned by Paines Plough, asks these questions and plenty more besides. At the centre of The Initiate is British Somali Dalmar, a taxi driver who moved to the UK two decades ago and now proudly calls it his home. But when a British couple are held hostage by Somali pirates, Dalmar and his sons suddenly find themselves treated with suspicion, prompting a dangerous trip back to his homeland to secure the release of these two strangers.

Dalmar’s motivations

remain murky, often even to the protagonist himself. Is he doing this for the hostages, for Somalia, for himself? In George Perrin’s tight production, Andrew French keeps this nicely ambiguous throughout.

All of the other roles, meanwhile, are played by Abdul Salis and Sian Reese-Williams, often requiring the actors to play against race in a way that interestingly complicates the play’s ideas about identity and resemblance.

There’s plenty to chew on here – perhaps too much. Of the many questions it asks, The Initiate never settles on a primary focus, feeling indecisive as a result. There is also the sense, despite the neatness of this in-the-round production, that it would work just as well as a radio drama. Wood’s play is certainly not lacking in ideas, but it could do with a bit more theatricality. n CATHERINE LOVE Summerhall @ Roundabout, times vary, various dates between 2 Aug and 23 Aug, £15 – £17

A New Play Combining Text & Physical Theatre

www.festmag.co.uk

19 August 2014 fest 61

THEATRE At the Illusionist’s Table

HHHHH Candelabra-lit, sage-green walled, nestled at the top of a dizzyingly tall staircase inside the Scotch Malt Whisky Society, lies a private dining room with a huge oval table. And seated louchely at the head, a darkwood box and a glass of crimson wine before him, is Scott Smith. Impeccably dressed with manners to match, he invites us to sit. We are all, according to Smith, going to make friends with

strangers tonight and that, he tells us, is the real magic of the evening.

Of course it isn’t. The real magic is in the suspension of disbelief that allows you to behold… well Fest would not be such a party-pooper as to tell, of course. Suffice to say that over the course of a two-and-a-half hour meal, Smith is as excellent a host as one could wish for. His patter is gracious, debonair, his tricks classic. He spins yarns delving into his family history and shares with us exclusive and delicious cask whiskies.

James Freeman’s food has been cleverly integrated into the show—we shall say no more—and in its innova-

tion and execution, easily stands up to its rivals on Edinburgh’s fine dining scene.

In fact, the whole show breathes class from start to finish, with Smith’s maddeningly brilliant number-guessing jiggery-pokery a highlight. There is something a tiny bit less assured in his sleight of hand. But then he is still enviably young, and already wildly confident. And Fest would most certainly be first in line to see what he conjures up next. n LUCY RIBCHESTER

play is functional enough, if slow.

Often it struggles under the weight of its own metaphors – e.g. the daughter conquering her fear of water. Unfortunately the acting is not of all of the same high standard. And for a play

already inclined to the protracted, this can prove fatal to dramatic tension. n MIRANDA KIEK

The Scotch Malt Whisky Society, 7:30pm – 10:00pm, various dates between 1 Aug and 22 Aug, £59

13 Sunken Years

HHHHH 13 Sunken Years is set in deepest darkest Finland, in the type of small town where Helsinki seems about as far away as Hollywood and people go swimming in temperatures of 0°C thinking it mild weather. It’s all very Tove Jansson (eccentric Grandmother Ursula Koskinen could have been lifted straight out of The Summer Book) except for the misery and missing persons. In that it resembles Scandi-noir.

On the day that Eva Koskinen graduates with flying colours from High School her beautiful mother, Helena, goes missing. Eva is forced to abandon her plans of studying at Oxford University in order to stay at home and look after her Gran. On top of all this her grandmother is in the early stages of dementia. As her mother’s body is not found, Eva spends over a decade living a half-life, suspended between grief and hope.

For the most part 13 Sunken Years is the story of Eva’s struggle to adjust her dreams to her restricted circumstances, although frequent flashbacks give hints about Helena’s past. These scenes, the most compelling of the play, remain frustratingly underdeveloped. We spend too little time with the mother and too much with the daughter.

Paula Salminen’s first full-length

62 fest 19 August 2014

The Assembly Rooms, 2:05pm – 3:20pm, 11–24 Aug, not 18, £13

www.festmag.co.uk

THEATRE 10:00

CalArts Festival Theater 11th Season on the fringe 12:30

Shadow Puppetry Tale of Persephone

Pomegranate Jam 16:45

19:45

Premire Tale of Van Gogh's Lust

Kaspar by Peter Handke Yellow Fever August 2-23 - £8 Gen £6 Con tickets: www.venue13.com - 07074 20 13 13

l cia

I s UR age NO Dam t

es

Gu

EL nd HACIS a C MI of N e

Sp

‘THRILLING! HAD MY HEART PUMPING!’

ar

HUFFINGTON POST

‘THE MUSICAL OF THE MOMENT.’

‘EXTRAORDINARY! BREATHTAKING!’

MAXIM ITALY

LA SPLASH

St

siddharthathemusical.co.uk

31 July - 24 August (not 6, 13 August) 6.10pm Festival Highlights.com

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19 August 2014 fest 63

THEATRE Sophie Wu is Minging, She Looks Like She’s Dead

HHHHH Firstly, a big boooo to the organisers of this late-starting PBH Free Fringe gig at the Wee Red Room for one of the least friendly welcomes in Edinburgh: not only are drinks banned (huh?), but there are festival-style bag searches, surly security staff and an enforced, previously unadvertised over-18s only policy, leaving at least one audience member stranded on the wrong side of the door.

Not that any of this is Sophie Wu’s fault, of course, and the elfin star of Fresh Meat’s sunshiny demeanour provides a much-needed tonic to the militancy around her.

This afternoon, Wu tells us, she’s taking it back. It’s Edinburgh, 1998, and her pubescent days of house parties, boys, botanical gardens and, um, hand rape, are in full swing. Except, somewhat unbelievably given the present day incarnation, the teen Wu is something of an isolated, acne-ravaged outcast. Can you spot what’s coming?

The conceit—as regurgitated incessantly by everyone from Sue Townsend to Helen Fielding to all the other Ugly Bettys and Mean Girls of this world—would ideally give life to some choice outsider

Landscape with Skiproads

HHHHH What a title. Like everything in Pieter De Buysser’s quixotic one-man show, it sits somewhere just beyond meaning and dares you to denounce it as nonsense. De Buysser clowns about the stage erecting a very tall tale indeed, one that pulls in Plato, Walt Disney, André Breton and a constellation of geniuses ancient and modern. It’s the story of a young boy and his horse, and of a clutch of objects which spell

64 fest 19 August 2014

comedy and hard-won underdog epiphanies. Except that nothing of any real interest actually happens to Sophie. There’s unrequited love, the odd scrape with mum, a fumble on the dancefloor and—gulp!—one too many vodkas here and there, but it’s hardly ripping the lid off Generation Y.

Despite the breezily articulate delivery and undeniable pleasantness, Wu’s solo debut is just a bit beige – epitomised by a closing, tacked-on life lesson that rings particularly hollow. n JOE SPURGEON

out the creation story of contemporary thought.

Wooden plinths with horse-hooves for feet support these eclectic items – the bell that snapped Pavlov’s dog to attention, Henry Ford’s rocking horse, a glove that belonged to the father of free-market capitalism.

The objects are cheekily worked into De Buysser’s surreal narrative, but they also stand for something greater, namely the intrusion of the “world of ideas” into the world of the physical.

Adam Smith’s glove mocks his theory of the “invisible hand” of a benevolent marketplace, dust collected from Plato’s cave brings on an attack of con-

junctivitis when sprinkled in the eyes.

De Buysser’s problem is that the density of his text works against the playfulness of his continually delightful ideas, and his own performance errs perilously close to grating, with its pratfalls and gurning. But these issues never come close to obliterating what is a fascinating shaggy dog story that asks one crucial question: what relics of the past, material or conceptual, will we take with us as we’re propelled into our unknowable future? n STEWART PRINGLE

Wee Red Bar, 5:00pm – 6:00pm, 2–24 Aug, free

Summerhall, 12:05pm – 1:20pm, 4–24 Aug, not 11, 18, £12.50

www.festmag.co.uk

THEATRE Looking for Paul: Wunderbaum

HHHHH Looking For Paul, produced by experimental Dutch theatre troupe Wunderbaum, begins with a deceptively polite presentation by “Inez van Dam”, a Rotterdam citizen who strikingly resembles Wunderbaum member Maartje Remmers.

Regardless, the veracity of Ms van Dam’s identity matters less than the arguments being presented.

Van Dam lives and works in the shadow of Santa Claus, a statue

by American artist Paul McCarthy,

Footprints

HHHHH This Celtic-flavoured dance and music fusion show is a collaboration between High Heart Dance company, singer Emily Smith and multi-instrumentalist Jamie McClennan and his band, whose folkish sounds make a beautiful foil for the simple, graceful choreography. It’s showing as part of the Made in Scotland programme, and as a tribute to the country’s dance and music heritage with a distinctly contemporary feel, it makes a great way to spend an

Notoriously Yours

HHHHH Information is important. One of the first statements of Van Badham’s new play turns out to be one of the most central. Her modern noir thriller plays out in a world, like our own, where everything is watched and our data is not our own. Information is both power and weakness.

Badham’s twist on Alfred Hitchcock’s Notorious swaps Nazi spies for Croatian war criminals, sending the daughter of one to infiltrate a circle of his associates. The unnamed woman has fallen foul of an anonymous

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known to Rotterdammers as “the Buttplug Gnome” and made possible by the Netherlands’ enviable system of public arts funding. Van Dam hates the statue, and particularly hates that she paid for it with her taxes. When Wunderbaum hear her story, they take her to Los Angeles to instigate a debate with McCarthy over who pays for art and why.

That’s the plan, anyway. Much of Looking For Paul has van Dam, Wunderbaum and their American liason reenact their email correspondence, bickering over what they are trying to achieve. While this supplants the debate they aimed to inspire, watching Wunderbaum caricature themselves as grandiose

and self-absorbed is less fun that it sounds, while their arguments grow increasingly repetitive.

The show ends with a version of Who’s Afraid of Virginia Woolf? in the grotesque style of McCarthy himself, either as an homage or a savage parody. Foodstuffs and fake faeces are sprayed and smeared with abandon. But while there are many reasons for forcing an audience to feel disgust, there is no excuse for boredom, which is the only result.

Still, by the end, the theatre does resemble post-recession arts funding: it stinks. n SEAN BELL

afternoon hour.

A four-strong dance team unfolds neat formations and airborne partnerings with clean swishing style, turning patterned swirls into hints of Triskeles and other ancient designs.

The phrasing is woven smoothly into the music, picking out motifs and making shapes out of tunes. The result—combined with the casual turquoise and aquatic blue costumes— is extremely pretty and lively.

It’s nice when the stories of the music give relationships to the dance, as is the case in the tale of “twa sisters”, leading to a competitive

and playful wrestle. Also great is the idea of pairing Scottish folk music with something other than ceilidh or country dancing: the smoothness of it provides a refreshing modern feel and gets inside those sweet lilting tunes.

It would be disingenuous to say the folk music is the real star - the whole thing works so beautifully– but Jamie McClennan’s fiddle playing is sometimes distractingly brilliant. Whether that’s a good or bad thing you’ll just have to go along and see. n LUCY RIBCHESTER

Tinder hook-up with an Edward Snowden-esque whistleblower, giving the Australian secret service a threat to hang over her head. Recruited by blackmail, she is brought in to supplement a covert surveillance mission, watched all the while by her employers.

On one level, noir is an apt genre for the subject matter. The modern world is shadowy and unknowable, a place where anyone might be watching at any time. The taut atmosphere of the thriller thus becomes a metaphor for the constant paranoia of the observed. There are also gestures to this in the staging, as smartphones

capture video footage and intimate scenes are projected onto a large screen.

Smart as this reappropriation of Hitchcock’s film may be, however, it is not necessarily the best vehicle for all of the points that Badham and theatre company five.point.one are attempting to make. Drama has a tendency to overtake critique, until the overly blunt conclusion hammers home the message. It’s chilling, certainly, but not as powerful as it sets out to be. n CATHERINE LOVE

Summerhall, 10:30pm – 12:15am, 14–23 Aug, £12.50

Run ended

C venues - C south, 8:00pm – 9:00pm, 31 Jul – 25 Aug, not 11 Aug, £8.50 – £10.50

19 August 2014 fest 65

THEATRE

Icarus

HHHHH It is unnerving that galactic travel could well become the feeding ground of reality television. In the same way we currently seek to weaponise space, how we transmit the journeys of cosmonauts to our living rooms is the genuine objective of certain organisations today. Mars One is a bold example: a Dutch foundation that has conceptualised a human colony on Mars between the years 2023-2025 (depending on which source you credit).

Square Peg Theatre have sculpted

Birdwatchers’ Wives

HHHHH You’ve got to watch what they put in your coffee at Summerhall. Are you really seeing a seven foot bird woman, or is it just an ornithological bad trip?

Cross Sleeping Beauty’s Maleficent with Patsy from Ab Fab, add a dash of Queen Victoria, and you get somewhere close to Rita Grebe. She thinks she’s a bird – a great crested grebe to be precise. Apparently thinking you’re a bird is a real life phenomenon.

It happens when twitchers identi-

66 fest 19 August 2014

this idea into a launchpad for their new show, developed as a conversation on discovery, sacrifice and relationships. Katie Robinson, Michael White and Dominic Myerscough comprise a pensive three-hander that tells two stories: one set aboard the rocket blasted off towards Mars with its team ready to make base, another back on earth a while prior, as Robinson’s Anna prepares to sacrifice her whole life in pursuit of a revolutionary dream.

With a hand from The Lowry, Harrogate Theatre, The Unity and Slung Low, this piece has the makings of a great meditation on our infinite lust for innovation. The scenes set in space have been meticulously

configured, as the actors mime their zero-gravity environment. Back on earth, Anna weighs up the decision as public pressure mounts. Once she confirms her place on board the craft, there’s no going back. But it’s all too narrow, methodical, plodding and limp. It fails to talk earnestly of the relationships we would genuinely have to eschew to take part in such a mission, nor the doom should it all fail. Its titular reference point drifts off into space, instead of crash-landing on our laps with a thump. n ANDREW LATIMER

fy too closely with their feathered friends. There’s even a name for it: avian-therianism.

Caroline Smith created Rita after an artistic residency with the RSPB and some of the humour, designed with a specialist audience in mind, is lost on the average fringe-goer. The clash between Rita-the-human and the Rita-the-bird can be funny all the same. Rita might think she’s got wings but she’s still on a carb-free diet. In one bizarre interlude she impatiently pokes three slices of bread that she won’t eat herslf, one after the other, down the upturned throat of her silent

assistant, Grouse.

Don’t ask me what happens. There doesn’t seem to be much rhyme or reason underpinning any of it. There’s an avian singing competition called Birdoff (Birrrrrdawrrrrf) in which Rita is up against her greatest rival, Maggie, and somewhere along the line a birdwatcher gets picked to death.

Seeds of a plot frustratingly never get anywhere. Perhaps a bird ate them?

Cuckoo. Magnificently cuckoo. n MIRANDA KIEK

ZOO, 2:45pm – 3:45pm, 1–24 Aug, not 4, 11, 18, £8

Summerhall, 12:30pm – 1:30pm, various dates between 2 Aug and 24 Aug, £12

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THEATRE L’Enfant Qui...

HHHHH Spending an hour with Belgian company Théâtre d’un Jour feels about as close as it’s going to get to stepping back in time and watching a band of travelling players heave up their tent to perform. Their style of storytelling circus is honest and plain; they don’t pause for applause, they don’t style or pose. Their clothes are grubby with mud from the floor of the big top, pitched in Randolph Crescent gardens, where soil is scattered along with leaf mould.

The tale is simple. Sculptor Jephan de Villiers has inspired an autobiographical piece about his own childhood. Through a forest landscape littered with tree stumps, fizzing with menace, a puppet boy makes his own fun, picking up objects, stealing others and dipping into his own deep, dark imagination.

Here lie melancholy fantasies of men with axes, a three-story tower of people, and a pack of furies puffing balls of smoke-dust. It’s a child’s view of things and, as such, things are liable to change in perspective and nature. The creatures that are fearsome one minute become friendly the next. People recount

stories to us in multiple disorientating languages. There’s a randomness to the boy’s imagination and nothing is particularly harnessed to what has come before it.

L’Enfant qui… isn’t a perfect show, but it has the feel—like Villiers’s sculptures—of being both organic

Eden Gate

HHHHH Is there a more perilous genre to attempt than a participatory promenade sci-fi thriller on a budget?

To be fair, despite the obvious restrictions of C nova’s snug siderooms, Produced Moon make the most of the limited effects at their disposal as they set about creating their disease-ravaged dystopia, also known as Edinburgh, 2017.

As the audience, the plot is in our hands, we’re told, as we’re cast as survivors following the near obliteration of the human race. We’ve somehow made it to the fabled Eden Gate, a sealed sanctuary run by shadowy pharmaceutical company GTNV,

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where we’re tagged, checked in and, suspiciously, handed a shot of water to neck before we cross the divide.

You can see where all this is going, and the genre staples are all dutifully ticked off – the embedded rebellion group, the anodyne corporate communications manager, big business misbehaviour. Any initial excitement quickly dissipates following a series of dull teamwork games and purposeless

and beautifully strange. And the acrobatics of cellist Florence Sauveur playing Bach’s ‘Cello Suite No. 1’ will stay in my mind for a very long time to come. n LUCY RIBCHESTER Institut français d’Ecosse, 6:00pm – 6:55pm, 8–24 Aug, not 11, 14, 18, 21, £12

psychometric tests.

The conclusion hinges on the cast artificially creating a schism in the room whereby we, with the help of a few covert actors in our midst, noisily exchange aspersions as we’re presented with a devastating moral dilemma. Who do we believe? What’s the right thing to do? What are the consequences? And why is it all so confusing?

Commendable as the purpose might be, the audience are never totally included in the debating room tussle and as the clock unerringly ticks down on humanity, the overriding sense is merely one of relief that the end is nigh. n JOE SPURGEON C venues - C nova, 1:15pm – 2:05pm, 30 Jul – 25 Aug, not 11 Aug, £8.50 – £10.50

19 August 2014 fest 67

THEATRE

Mmm Hmmm

HHHHH This tight-lipped title isn’t telling you much about the show wrapped up inside it, except to hint that it’s all about the sound. But that really is the overriding hook for Bristol-based Verity Standen’s barmy and entertaining piece.

The three women who make up the choral troupe—Standen, Ellie Showering and Dominie Hooper— love to play with sound, whether it’s everyday words (slogans and calorie counts come in for a lampooning) or

Where The World Is Going, That’s Where We’re Going

HHHHH Belgian theatre company Hof van Eede are trying to tell a story, and they’re failing. Their two performers are trying to give us the lowdown on Diderot’s bawdy picaresque Jaques the Fatalist, but the book’s meandering style has infected them.

Their explanation stutters and stalls, they can’t agree where to begin, they barely make a start. They think that’s

68 fest 19 August 2014

kitsch styles of song.

Clothed in the most remarkably versatile tri-coloured jersey dresses— please someone tell me where I can get one—used to create cassocks, daywear and comfortable-looking blobs, they play irreverent games with their fine-tuned, impeccable a capella skills. Three-way harmonies dish out train announcements in Gregorian chants, words are shared a-syllable-each to create a pipe-organ effect, and love songs are doused with biscuit-crumb spittle.

There’s a sweetness to their mischief which follows the vein of cosy surrealist Edward Monkton, though

the sharp subversion of feminine ideals—those dresses, calories, and biscuit crumbs—has echoes of Smack the Pony.

But original as it is, Mmm Hmmm sometimes seems to fall into the gap of being not quite blisteringly funny enough to keep us on our toes, and not quite developed musically enough to carry the 45-or-so minutes of show.

After a few numbers you feel as if you have the measure of their style, and it blows you on its drifting, whimsical path without ever reaching for higher goals. n LUCY RIBCHESTER

maybe okay. That it might be for the best.

Where The World Is Going… celebrates an often overlooked ability of language – the power to say nothing definite at all, to revel in the discursive and the unhelpful. A casual, careful, perfectly flippant but undeniably serious dialogue that tiptoes around the edges of its themes, it’s a celebration of journeys and a rejection of destinations.

Performers Jeroen Van der Ven and Ans Van den Eede play things very low-key, hinting at a vague relationship largely through the tone of their passive-aggressive bickering.

Each wants to speak about love, and

beauty, but each is aware that the acts of definition or description are at best futile and at worst damagingly reductive.

It’s a smart work that deepens in the memory, but as appropriate as its content-matching form is, it’s also extremely dry. Going nowhere slowly may be what Diderot would have wanted, but it’s really boring.

A few moments of humour offer sustenance in these arid wastes of hesitation and digression, but as easy as it is to respect, this is a difficult show to love. n STEWART PRINGLE

Run ended

Summerhall, 2:55pm – 4:10pm, 1–24 Aug, not 11, 18, £12.50

www.festmag.co.uk

MUSIC&CABARET

Bridge Over Troubled Lager (Volume 2)

HHHHH Destined to be snubbed by the discerning, this show has the appearance of a complacent cash-in intended to exploit the dwindling celebrity of Rory McGrath. It’s easy to forget that before he became known for his down-to-earth quips on shows They Think it’s All Over and Three Men in a Boat, the star was a jobbing gag-writer of repute. Both Frankie Howerd

The Factory

HHHHH “Musicals are just like operas,” goes the debate outside Assembly Hall.

“They express those heightened emotions that normal dialogue just can’t.”

Whether you buy into all that or not, there’s no denying the cash cow popularity of a triumph-against-adversity musical and The Factory, “big hearted and with all the soul of the South Pacific”, is that. Certainly there are some pretty impressive pipes on display, with the authentically native Kila Kokonut Krew unleashing some

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and the Not the Nine O’Clock News team saw fit to use his material, while even the notoriously prickly Peter Cook chose to spend time with him socially. The self-professed “bearded tit” knows how to speak the language of comedy when he isn’t resting on his laurels, and musical partner Philip Pope is no different. The latter may not get top billing here, but he appeared in Blackadder and no one can take that away from him.

The blokeishness hinted at by the show’s title is admittedly off-putting, yet entirely charming in person.

These men are obsessed with beer and onanism to such a pathetic extent that their endless stream of

knob gags and innuendo starts to seem surreally sophisticated. Picture them, if you will, sitting in front of a word-processing unit, typing out the line about Scarlett Johansson bouncing atop McGrath’s member. Imagine their snickering faces and trembling, hairy hands.

Their comedy songs may touch upon conceits already associated with Jake Thackray and Loudon Wainwright III, but so much joy has been channelled into this musically-minded opus that it’d be churlish not to go along with it. n LEWIS PORTEOUS

room-filling choruses and caterwauling harmonies.

The catalyst for The Factory, which is merely the backdrop for a paper-thin love story and all the hoofin’ and hollerin’, is actually quite interesting. It begins with the moment, during the 1970s, when a rapidly industrialising and exploitative New Zealand relaxed its immigration policies to the apparent benefit of those Pacific Islanders living beneath the breadline. But who wants to get bogged down in all that when there’s flares to flash and money to be made!

In a textiles factory in Auckland, beautiful Samoan Losa and Edward, heir to the family business, are our

Romeo and Juliet whose path to true love is bound to have a few twists, though there’s very little else to surprise in this frankly machine-tooled and oddly westernised production.

Still, there’s something undeniably compelling about watching vast Polynesian frames hop, hurtle and high-kick round the stage to some magisterial ensemble singing. It’s hardly Hamlet, but if you’re looking for a brainless, high-energy and familiarly formed feelgood musical, you’ll find enough to engage you here. n JOE SPURGEON

The Assembly Rooms, 6:00pm – 7:00pm, 11–24 Aug, £15

Assembly Hall, 7:15pm – 8:30pm, 31 Jul – 25 Aug, not 11 Aug, £15 – £17.50

19 August 2014 fest 69

MUSIC&CABARET The Horror! The Horror! The Final Curtain

Michelle McManus’ Reality: The Musical

HHHHH

HHHHH

Where to begin with this baffling, contextless and odd little dinosaur of a show?

The promising-sounding Theatre of the Damned’s paean to end-of-the-pier-style variety shows is told through the duplicitous, unhappily married music hall owner Alfred Brownlow, down at heel and barely balancing the books.

In between bouts of excruciating innuendo of the “I was rummaging in my drawers” variety, shared with sidekick Archie Cox (just imagine the puns you can dream up with a surname like that), Brownlow is marshalling his dwindling troupe of performers for one last hurrah. At least, you think that’s what’s happening, but the jumbled, episodic mess of a narrative falls apart faster than the “rotten heap of timbers” the group calls home.

There’s a drawn-out skit with a charlatan spiritualist, some bizarrely misplaced puppetplay, a saucy singalong from a pair of girls (inexplicably from Somerset), a ponderous conjuring trick and, well, just lots and lots of double entendre. Crashing into this procession of confusion are some half-baked occultish overtones, and the audience, over half of whom leave when the show is interrupted by a genuine fire alarm, are left literally and figuratively out in the cold.

The company, who have engaged themselves in a far more intriguing-sounding promenade performance at the exquisite Wilton’s Music Hall in London, claim their primary line of enquiry is to explore “horror and suspense on stage”. Perhaps not quite in the way they’d hoped, they certainly manage the first of these here. n JOE SPURGEON

You remember Michelle McManus, don’t you? She’s the one who wasn’t Will Young who won the show that wasn’t X Factor – famously failing to make it big after 10 million-odd viewers declared her Pop Idol champ. In reality, we don’t learn much more about the singer in this hour of camp songs and gentle banter. Oh, except one thing: she’s actually pretty funny.

Musically, this is fairly ridiculous.

Essentially it’s an album worth of high-octane showstoppers with a dodgy MIDI backing track. As such, Michelle McManus’ Reality requires a high tolerance for power ballad heaped on power ballad, and a willingness to overlook the most tenuous links between the

Bedlam Theatre, 7:45pm – 8:55pm, 4–24 Aug, not 17, £10

70 fest 19 August 2014

storytelling and the song choice.

McManus certainly has a winning voice, but if this feels initially like paid-for karaoke, then an audience singalong for the final number seals the deal on that front.

What redeems it is McManus’s carefree charisma. “Oooh, I feel like that wee guy who takes the choirs,” she giggles during the participatory caterwaul. We hear (without bitterness) of her failures at chart success, and her attempts to lose weight on Gillian McKeith’s show. Consistently, she laughs up her showbiz shortcomings, and plays up the authentic cheekiness of someone who is a girl from Baillieston first, and a TV star second. At times, it feels almost artistic – a sendup of the glitz of the stage and screen, popping its puffed up excesses with an overtly performative working class “reality”. Mostly, though, it’s just nice to hear that Gillian McKeith is as awful in real life as she appears on the telly. n EVAN BESWICK Stand in the Square, 7:00pm – 8:00pm, until 25 Aug, £12

MUSIC&CABARET Miss Hope Springs

HHHHH Batting dusty-dark eyelids and swatting at a peroxide beehive big enough to house a whole swarm, Ty Jeffries’s drag queen creation Miss Hope Springs buzzes with talent. Seated at the piano, she parodies and plays out a whole soulful repertoire of the music of love, heartbreak, making it in the big city, and heartbreak again.

Her sob story is littered with one-liners: “I wrote songs for all the greats...they never sang any of them.” In revenge, she doesn’t perform a single cover all show, regaling her audience with jazz standards all of her own.

Her story sets off from her small town armed only with a few fabulous outfits, on a picaresque trail through lounge jazz’s twentieth-century heartlands.

Standout song ‘Girl in a Million’ picks up the story – seamed through with the subtext that Springs knows she’s anything but. She literally outgrows her role as a Vegas showgirl to become a callgirl who’s taught to play the piano by Ray Charles. Screwed over by her agent, she marries her (presumably plastic) surgeon and falls for a string of men who swing the other way.

Heartbroken, she dives into the sleazy clubs of Pigalle in an excuse for plenty of breathy Edith Piaf naughtiness.

But although Springs makes plentiful allusions to entertaining sailors and winning over reluctant agents, she only dips a satin clad toe into the gutter, never wallowing in it. Instead, this is a deliciously old-fashioned kind of drag, underpinned with serious songwriting skills that don’t need sequins to mask their outlines. n ALICE SAVILLE

Circo Aereo & Thomas Monckton:

THE PIANIST Assembly Roxy CentRAl, 2–25 August (not 11th) At 12:00 pm www.festmag.co.uk

19 August 2014 fest

71

MUSIC&CABARET Song Noir: The Director’s Cut

HHHHH Just as KlangHaus at Summerhall this year explores the sonic, industrial identity of the building’s Small Animal Hospital, Scottish band Pumajaw seeks to reimagine an electronic world of sounds and audio effects in Song Noir – The Director’s Cut. Duo Pinkie Maclure and John Wills have taken tracks from films and shows including Twin Peaks, Kill Bill and Kiss Me Deadly and remixed them with looped artrock phrases, twisted, gothic vocals and hammering guitar cadences.

The Reviewers

HHHHH Generally, critics are about as popular as traffic wardens. And inside the Edinburgh bubble, it’s often safest to keep our heads down and avoid eye contact. So this new, Edinburgh-set musical parodying our poisonous profession feels inevitable.

Written and performed by Nottingham University students, both past and present, The Reviewers follows the self-styled Critic with No Name as he battles to free theatre criticism’s reputation from the tyrannical Keira Cochrane and her

Cocktails with the Diva

HHHHH Operatic performer Melinda Hughes has once again taken a step out of the aria spotlights and into Fringe cabaret.

Noting that Edinburgh is far from understocked with cabaret singers, Hughes dips us into an interesting Weimar-style bar with her threepiece jazz band bobbing through gentle rhythms behind her. To the side, a cocktail cabinet that, if we’re lucky, we might get to sample.

72 fest 19 August 2014

After the success of last year’s show, the band returns with music lifted directly from their new album, which is released this month. Wills stands on one side equipped with laptop, guitar and mixing devices to produce clinks and clonks that jar against gorgeous, ethereal vocals from Maclure. At times, this is a seastorm of noise that experiments with rhythm and repetition, jarring major chords with minor notes, to generate a rich, layered and deeply immersive experience.

It’s actually quite sexy, too. As Maclure drifts between microphone and curtain, dressed in a shoulder-buffed black gown, her bellowing, cavernous singing con-

jures up a cabaret tone that bizarrely compliments the melodies created

by Wills. We are invited to lose ourselves in this maze of sound, aided by projections of colour, artwork and lyrics that flash up on the screen in front of us.

There are moments when the gain of the guitar drowns out the sound of Maclure’s vocals, which frustratingly breaks up the flow of the performance. That said, it is often a stunning experiment of form and function, and a fascinating synthesis of musical tastes. n ANDREW LATIMER

venom-spewing “Spawn of the West End Reviews”.

The show tries not to pull the lion’s tale, with a light-hearted plea for tolerance at the end. But, hell, I’m going to dip my keyboard in poison, anyway. Because, according to this, we’re either scarred ex-actors or just plain fame-hungry. Mwahaha.

Joking aside, the songs have charm, with some genuinely funny lyrics that—although they’d benefit from being sung louder here—strike a Royal Mile chord. And it’s hard not to enjoy the audacity of the tonguein-cheek critic-baiting.

Content-wise, though, it’s a bit of a mess, losing focus by spreading

itself too thinly. Not only does it aim to send up theatre reviewers, but it simultaneously strives to take the piss out of student productions while cramming in some postmodern spoofing of musical theatre.

Tonally, there are some odd shifts and the young cast could do with pitching their performances higher, to match the exaggerated tenor of the script. But I’m going to stifle my most evil cackle. The Reviewers isn’t perfect, but it is fun – and has potential in bucket loads. n TOM WICKER

The trouble is that the chance of a slippery nipple is about as exciting as it gets. Hughes belts out songs about where the cheapest places to go on holiday would be—Gaza and Ukraine probably the best options—and what life is like on the streets of Edinburgh during the Fringe. These bland, bumbling numbers are well written and performed with plenty of sass by Hughes and pianist Jeremy Limb, but they’re lifeless.

Producing only dispersed applause, Cocktails with the Diva possesses neither the racy naughtiness of an East End Cabaret nor the scathingly funny satire of Frisky and

Mannish. To be honest, the word “penis” is about as risqué as it dares to venture. Hughes can never quite get the balance right between audience interaction and solo singing: she bursts through the fourth wall, then drops all the building blocks on the way back. As a result, it’s all rather embarrassing and amateurish. There are moments of light relief, purely down to Hughes’ singing talents. But sadly this is quite the cabaret cod: a soirée that will leave you with an empty glass. n ANDREW LATIMER

Summerhall, 10:35pm – 11:35pm, 12–18 Aug, £10

Greenside @ Nicolson Square, 1:45pm – 2:45pm, 1–23 Aug, not 3, 10, 17, £9.50

The Assembly Rooms, 10:15pm – 11:05pm, 1–24 Aug, not 11, 18, £10

www.festmag.co.uk

KIDS

HUFF

Tiger Tale

A scary, dramatic version of a classic tale as reviewed by Jamie Hall, aged nine

A high-energy dance show as reviewed by Cameron Searle, aged 11

HUFF changes the story of three little pigs; it’s not at all babyish. You become one of the little pigs with two other people and walk through different rooms. When you touch things they make different sounds, like the noise of water and a man singing in the shower. In some rooms it seems like the wolf is trying to get you. It’s really scary and dramatic. I really liked the show, but it was very scary sometimes, especially the attic. Although it was only 25 minutes, it felt a lot longer. I would definitely recommend seeing it, but not for children younger than 7 because they would find it too scary. My mum really liked it too, although she said she found it a little bit claustrophobic sometimes.

Traverse Theatre, times vary, 1–24 Aug, not 4, 11, 18, £6

Tiger Tale is a high-energy contemporary dance show about changes happening in your family life. The tiger represents all types of change - both good and bad. It would be helpful if at the beginning the performers said a few lines about the storyline to help in understanding the details. However, as the show progresses it all starts to make more sense.

The dancers are fantastic and the music and lighting really helps to set the scene. At the end of the show the whole audience gets involved on stage for a surprise ending. If you enjoy dance this is the show for you!

Edinburgh Elim, 10:45am – 11:35am, 1–16 Aug, not 3, 10, £8

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19 August 2014 fest 73

KIDS Human Child

HHHHH A country of eternal playtime, where no one makes you go to school and sorrow is unknown, sounds wonderful, at least until you remember all you have left behind.

Based on W.B. Yeats early poem, The Stolen Child, this beguiling children’s play has many of the components of a children’s classic – from the lonely imaginative child at its heart to the heady tumble into strange worlds.

Misfit Leila doesn’t want to play the boring games of other children. Why

1001 Arabian Nights with James Mayhew

HHHHH James Mayhew is an exceptionally talented and versatile illustrator - that is not in question. His Katie books are deserved classics. But in this performance at the Edinburgh International Book Festival, producing a painting in five minutes flat, while standing side on to an easel, proved too great a challenge.

The concept of this event is a good one. Mayhew tells a story from

Potted Sherlock

HHHHH How to review a show that admits its own limitations as readily as this? Of course it’s impossible to do justice to the 60 Holmes novels and short stories in 70 minutes, a fact that’s laid out in Dan and Jeff’s argumentative introduction. Within 15 minutes, they’ve also taken the mick out of their crowd-pleasing decision to shoehorn the “minor sub-character” of Moriarty into every other scene, by having him enter—albeit amusingly—at the suggestion of “more tea”.

Most crucially, Jeff somewhat sheepishly admits that there’s no

74 fest 19 August 2014

should she have to be a secretary or damsel just because she’s a girl? Her dad is finding it hard to cope with her, and she’s always being told off by her teacher for being “awa’ wi’the faeries”.

And then one day, when Leila is feeling especially hurt and misunderstood, idiom becomes reality. She answers the siren call of three sprites to “Come away, O human child!” and leave a mortal land “more full of weeping than you can understand.” But all is not as it seems, and soon the race is on for Leila to return home before a changeling takes her place forever.

Irish theatre collective, Collapsing Horse, was founded by a musician, an

actor, a puppeteer and a comedian and Human Child reaps all the multi-disciplinary benefits. The live guitar music, including a beautiful folk setting of Yeats’ poem, is atmospheric; puppet work is imaginative and varied; acting is uniformly strong and, importantly, the script bubbles over with Irish craic.

Human Child’s unexpectedly poignant lesson mellows the production’s brassy top notes and lingers longer than a conventional Happily Ever After. n MIRANDA KIEK

the Arabian Nights, puts on Rimsky Korsakov’s sublime symphonic poem ‘Scheherazade’, and proceeds to illustrate the story on the spot.

Live painting is undeniably theatrical - seeing the process behind the end result, watching the layers being built up and the definition added.

However, Mayhew’s paintings were underwhelming. The overhead screen onto which they were projected bleached the colours. Intense ultramarines became wishy washy blues, brilliant vermillions were turned watery pink. Any loose brush strokes looked, when magnified, messy rather than impressionistic. This did not stop

the children from admiring them – but then children are easily impressed when it comes to pictures.

You have to be a pretty darn good storyteller to hold your own in the company of the many professional practitioners at the Fringe. Mayhew was good but not good enough. He was submerged by the large space, and would have been better served by a more intimate venue in front of a smaller audience. Were he in Scheherazade’s place, I wouldn’t bet on his surviving the Sultan’s chop. n MIRANDA KIEK

way that they can convey the air of mystery and excitement of any single Holmes story when their company’s modus operandi is to “take someone else’s creativity and stamp all over it with lots of silly hats and wigs.”

There’s no denying the bewildering professionalism and slickness of this production, with its gorgeous faux-Victorian staging, super-quick costume changes and enormously high gag rate. There are plenty of laughs here, particularly when they turn their attention to the thinness and artificiality of some of the original plots (similarly to the Potted team, Conan Doyle was brilliantly professional, but also something of a

slave to his own brand).

But no amount of fake corpsing or staged improv-style games can inject the show with any real sense of anarchy; and while I don’t doubt that the team love the original books, most of this affection is lost in a barrage of daftness that could be overlaid on to just about any story or franchise. The audience reception suggests that the team are assured success for a while to come, but they’d do well to remember that even potted goods can go stale. n TOM HACKETT

Underbelly, Cowgate, 12:50pm – 1:50pm, 31 Jul – 24 Aug, not 11 Aug, £8 – £9

Run ended

Pleasance Courtyard, 2:50pm – 4:00pm, 30 Jul – 25 Aug, not 4 Aug, 6 Aug, 13 Aug, 20 Aug, £11 – £12

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11:00

BBC: Today BBC@POTTERROW, 23 Aug, £free

Ray Fordyce’s Brunchtime Banter (Part 2) Laughing Horse @ The Free Sisters, 1–23 Aug, not 3, 10, 17, £free

09:00 Japanese Samurai Don Quixote Challenging Giant English Windmills!

Laughing Horse @ The Free Sisters, 10–24 Aug, not 13, £free

Scotland’s Referend... uhm?

Laughing Horse @ The Counting House, 1–23 Aug, not 13, £free

BBC: @BBCEdFest BBC@POTTERROW, 1–24 Aug, £free

Bridget Christie: An Ungrateful Woman

BBC: Shaun Keaveny BBC@POTTERROW, 22 Aug, £free

10:00 Lulo’s Shitting in Narnia Laughing Horse @ The Free Sisters, 1–24 Aug, £free

10:15 An Audience With Walter J Plinge Alter Ego Laughing Horse @ The Free Sisters, 7–24 Aug, £free

10:30 Baby Wants Candy Workshops Assembly Checkpoint, 9 Aug, 16 Aug, 23 Aug, £15 BBC: MacAulay and Co BBC@POTTERROW, 5–22 Aug, weekdays only, £free

10:40 Ben Mepsted: Middle Class Idiots Laughing Horse @ The Counting House, 1–24 Aug, not 7, 8, 9, 10, £free

10:50 Guns Don’t Kill People, Rabbits with Batteries Do Laughing Horse @ The Counting House, 1–23 Aug, not 3, 10, 17, £free

11:10 HHH The Stand Comedy Club, 2–25 Aug, not 11, £10

11:15 I Am Not Malala SpaceCabaret @ 54, 9–23 Aug, not 10, 17, £free

11:45 Aaaand Now For Something Completely Improvised Pleasance Courtyard, 1–25 Aug, £6—£9

COMEDY LISTINGS Stand-Up Showdown: Singh vs Whitmer Laughing Horse @ Finnegan’s Wake, 1–23 Aug, not 3, 10, 17, £free Richard Brown: This Is Not for You Hotel Ibis Edinburgh Centre South Bridge, 2–23 Aug, £free Virginia Ironside: Growing Old Disgracefully The Assembly Rooms, 11–24 Aug, £9—£10 Night of the Living Tories Viva Mexico, 2–23 Aug, £free Cupcakes with Colebrook and Khoshsokhan Laughing Horse @ The Cellar Monkey, 1–24 Aug, £free

Settle Down Electric Circus, 18–22 Aug, £free

Spitfire! Free Laughing Horse @ The Free Sisters, 5–24 Aug, not 11, 18, £free What Shall We See Today?

Laughing Horse @ The Free Sisters, 1–24 Aug, £free Gilligan’s Island Laughing Horse @ Dropkick Murphys, 1–23 Aug, not 3, 10, 17, £free Sophie Willan: Novice Detective

HH

ZOO, 1–25 Aug, not 11, £7—£8

12:55 Penny Matthews: Cup of Boiled String Southsider, 2–23 Aug, not 11, 18, £free

13:00 The Tight Six Comedy Showcase Ciao Roma, 2–23 Aug, not 6, 13, 20, £free Always Be Rolling - Free Laughing Horse @ Bar 50, 1–23 Aug, not 12, £free

12:30

Dave Waller: Where My Folk To? Laughing Horse @ The Wee Pub, 1–24 Aug, not 11, 18, £free

Big Value Comedy Show - Lunchtime Just the Tonic at The Community Project, 1–24 Aug, not 12, £4—£6

BBC: BBC Radio New Comedy Award 2014 BBC@POTTERROW, 19 Aug, 21 Aug, £free

Martin Pilgrim: Diary Farmer Cowgatehead, 1–25 Aug, £free

Shit of the Fringe Laughing Horse @ The Counting House, 2–24 Aug, £free

Jessie Cave + Emer Kenny: Grawlix Laughing Horse @ Espionage, 1–25 Aug, £free

12:05 Rosie Wilby: Nineties Woman Voodoo Rooms, 2–24 Aug, not 11, £free

12:10 Off the Top Canons’ Gait, 2–24 Aug, not 11, 18, £free

Felicity Ann: It Takes All Sorts Gilded Balloon , 1–25 Aug, not 8, 10, 12, 13, £5—£9 Get Divorced and Join the Circus The Stand Comedy Club V, 1–24 Aug, not 11, £8 The Lunchtime Special Just the Tonic at The Tron, 1–24 Aug, not 12, £5—£6 Pam Ford Happy in Your Skin Too Laughing Horse @ City Cafe, 18–24 Aug, £free Patrick Turpin: A Brother for Jonathan Bannermans, 2–24 Aug, not 12, £free

Eleanor Morton: Lollipop The Stand Comedy Club III & IV, 1–24 Aug, not 11, £8

Tony Law: Enter the Tonezone HHH The Stand Comedy Club III & IV, 1–24 Aug, not 11, £11

Abi Roberts’ Musical CID Gilded Balloon , 1–24 Aug, not 11, £5—£9.50

GhostCop Laughing Horse @ The Free Sisters, 1–24 Aug, £free

Jana and Heidi Underbelly, Cowgate, 1–23 Aug, not 6, 11, 17, 18, £6—£9.50

Jon Pearson: Last Supper Whynot? , 2–23 Aug, not 11, 18, £free

This Slate Is Intentionally Left Blank Chiquito, 2–23 Aug, not 12, 19, £free Girl on Fire Laughing Horse @ The Counting House, 1–24 Aug, not 12, 19, £free

All the Fun of the Fairburn Laughing Horse @ Jekyll & Hyde, 1–24 Aug, not 19, £free

Up the Auntie C venues - C nova, 10–25 Aug, £8.50—£10.50

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Pab, Comedy and Poetry Laughing Horse @ The Counting House, Various dates from 1 Aug to 22 Aug, £free

Challenge Accepted Suruchi, 1–25 Aug, £free

Conor O’Toole’s Manhood St John’s, 1–25 Aug, £free

Ellie Taylor: Elliementary HHH Laughing Horse @ The Counting House, 1–22 Aug, not 11, £free

12:45

Ian D Montfort’s Midday Seance Heroes @ Bob & Miss Behave’s Bookshop, 1–25 Aug, £5—£8

About Comedy: Stand-Up Comedy Courses Laughing Horse @ The Counting House, Various dates from 2 Aug to 23 Aug, £99

12:00

12:15

Afternoon Delight Just the Tonic at The Caves, 1–24 Aug, not 12, £5 Marigold Just the Tonic at The Caves, 1–24 Aug, not 12, £5—£6 The Human Loire Cowgatehead, 16–25 Aug, £free Mervyn Stutter’s Pick of the Fringe Assembly George Square Studios, 2–24 Aug, not 6, 12, 19, £10—£11 Mrs Thundercünt’s Splooge Adventurers!

Just the Tonic at The Mash House, 1–24 Aug, not 12, £3—£5

13:05 Austerity Pleasures Laughing Horse @ Espionage, 1–24 Aug, not 12, 19, £free

13:10 Derek Johnston’s A Day Oot! The Stand Comedy Club III & IV, 1–24 Aug, not 11, £8

Best of Edinburgh Showcase Show Pleasance Courtyard, 1–24 Aug, £6—£11 Caution to the Wind

HH

Banshee Labyrinth, 2–23 Aug, not 13, £free

13:15 Nicky Wilkinson and Friends St John’s, 1–25 Aug, £free Matthew Collins: My Favourite Waste of Time Laughing Horse @ The Phoenix, 1–24 Aug, £free Just Like That! The Tommy Cooper Show Gilded Balloon , 18–25 Aug, £10—£12 Surname and Surname: Last Year’s Show (But Better) Laughing Horse @ The Counting House, 1–24 Aug, not 5, 12, 19, £free The Walking Dead The Liquid Room, 1–24 Aug, £free Claire Ford: ConsciousMess St John’s, 1–25 Aug, £free Yes Cowgatehead, 1–25 Aug, £free Tamar Broadbent: All

By My Selfie Cowgatehead, 1–25 Aug, not 12, £free Liam Williams: Capitalism HHH Laughing Horse @ The Cellar Monkey, 1–25 Aug, not 11, £free Who Is Mr Kirby?

Laughing Horse @ Espionage, 1–24 Aug, not 3, 10, 17, £free Peace, Tolerance, Surveillance and Drones - Free Laughing Horse @ Ryrie’s, 2–21 Aug, not 6, £free

Gilded Balloon, 13 Bristo Square, Edinburgh EH8 9AJ 19 August 2014 fest 75

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COMEDY LISTINGS Gráinne Maguire: What Has The News Ever Done For Me? Viva Mexico, 2–23 Aug, £free Atella the Pun Laughing Horse @ The Free Sisters, 1–24 Aug, not 5, 12, 19, £free The Beta Males Sessions: Richard and The Storybeast Laughing Horse @ Espionage, 1–24 Aug, not 12, £free Kwame Asante: Basket Case Laughing Horse @ The Counting House, 11–24 Aug, £free Hannah and Barri: Telly Box Laughing Horse @ The Newsroom, 11–24 Aug, £free Four On Demand Cowgatehead, 1–25 Aug, not 18, £free A Robot Presents Comedy - Free Cowgatehead, 3–24 Aug, not 15, £free

13:20 Sam Brady: Kindness Cabaret Voltaire, 2–23 Aug, not 5, 12, 19, £free Dan Nicholas’ Conversation Garden George Next Door, 2–24 Aug, not 5, 12, 19, £free Caimh McDonnell: Southbound and Down Cabaret Voltaire, 2–23 Aug, not 12, 19, £free Alfie Moore: The Naked Stun Assembly George Square Studios, 24 Aug, £11 Phil Kay: The Wholly Viable II Heroes @ Bob & Miss Behave’s Bookshop, 16–25 Aug, £5

13:25 The Edinburgh Revue Stand-Up Show Scottish Comedy Festival @ The Beehive Inn, 1–24 Aug, not 13, £free

13:30 Plumbing The Depths Paradise in The Vault, 19–23 Aug, £6

Jen Brister - Wishful Thinking Whistlebinkies, 1–24 Aug, not 12, £free Who Ya Gonna Call?

Laughing Horse @ The Counting House, 1–24 Aug, not 5, 12, 19, £free Lunchtime of Champions Sportsters, 4–22 Aug, weekdays only, £free Fridge Magnets Laughing Horse @ The Free Sisters, 1–24 Aug, £free Jake Lambert and Dom Lister Laughing Horse @ Dropkick Murphys, 1–23 Aug, not 3, 10, 17, £free

13:35 Baron Sternlook’s Big Naughty Improv Musical Spotlites @ The Merchants’ Hall, 1–25 Aug, not 18, £6.50

13:40 Fat Girl Slim Just the Tonic at The Mash House, 1–24 Aug, not 12, £1—£3 Austentatious: An Improvised Jane Austen Novel HHH Pleasance Dome, 1–25 Aug, not 12, £6—£11 Bob Graham’s Travel Guide for Agoraphobics Scottish Comedy Festival @ The Beehive Inn, 1–23 Aug, not 12, 19, £free

13:45 The Clinic: An Afternoon of Serious Stand-Up Gilded Balloon , 19 Aug, £5.50 David Jesudason: Things My Dad Says Laughing Horse @ The Free Sisters, 1–24 Aug, £free Pippa Evans: Don’t Worry, I Don’t Know Who I Am Either Bannermans, 2–24 Aug, not 4, 11, 18, £free Phill Jupitus: Shirking Progress The Stand Comedy Club V, 1–24 Aug, not 11, £10

Comedy With a Dyslexic Geordie Laughing Horse @ Jekyll & Hyde, 3–24 Aug, £free

Hooray for Ben Target Banshee Labyrinth, 2–24 Aug, not 11, 18, £free

Fall Girl Gilded Balloon , 1–25 Aug, not 12, £5—£11

The Improvised Improv Show - Free Laughing Horse @ Jekyll & Hyde, 1–24 Aug, £free

Once Upon a Time in a Sketch Group Laughing Horse @ City Cafe, 1–24 Aug, not 5, 12, 19, £free A History of Rome.

With Jokes - Free Sportsters, 2–23 Aug, not 8, 15, £free

13:55 Gagging for Attention Just the Tonic at The Caves, 1–24 Aug, not 12, £3

14:00 Tim Vine: Timtiminee Timtiminee Tim Tim To You Pleasance Courtyard, 19 Aug, £15 SmART Attack!

Laughing Horse @ The Free Sisters, 1–24 Aug, not 14, £free All Made Up: This Time It’s Social Chalky’s , 2–23 Aug, not 13, £free Jasper Cromwell Jones: This is Not a Holiday Just the Tonic at The Caves, 1–24 Aug, not 12, 22, £free The Durham Revue: Shenanigans Underbelly, Cowgate, 1–24 Aug, not 13, £6—£10 Narin Oz: Addicted to Love C venues - C south, 1–25 Aug, not 12, £4.50—£6.50 BBC: Radio 4’s Bookclub BBC@POTTERROW, 23 Aug, £free

Arthur Smith Sings Leonard Cohen (Vol. 2) Pleasance Courtyard, 15–24 Aug, £11—£12 Shellshock! Improv Live!

C venues - C nova, 1–25 Aug, not 11, £7.50—£9.50

14:05 Kids With Beards Quest for the Golden Beard Just the Tonic at The Caves, 15–24 Aug, £free

14:10 The Alternative Comedy Memorial Society Stand in the Square, 6 Aug, 13 Aug, 20 Aug, £10 The Exeter Revue: Sketchy At Best Ciao Roma, 2–23 Aug, not 7, 14, 21, £free Falafel, Houmous and Baba Ganoush Stand in the Square, 1–25 Aug, not 6, 13, 20, £8

POD Comedy Princes Mall, 2–24 Aug, £free

14:20 Sameena Zehra: Homicidal Pacifist The Stand Comedy Club III & IV, 1–24 Aug, not 2, 11, £8 Rat: Induction Just the Tonic at The Tron, 1–24 Aug, not 12, £4—£7

14:15 Best of the Fest Daytime Assembly George Square Gardens, 1–24 Aug, £8—£12.50 Booze, Bombs and Haggis Laughing Horse @ Espionage, 1–24 Aug, £free Is He a Bit Simon Jay? - Free Laughing Horse @ The Counting House, 1–24 Aug, £free

Ali Brice Presents: Eric Meat Wants to Go Shopping Heroes @ The Hive, 1–24 Aug, not 11, £5 The Oxford Revue Presents – Free Jam House , 2–23 Aug, £free

Dannie Grufferty’s First World Problems SpaceCabaret @ 54, 20–23 Aug, £5

Wild Card Kitty: The Showgirl Show Laughing Horse @ The Phoenix, 1–24 Aug, not 12, £free The Beta Males Sessions: Adam and Guy Laughing Horse @ The Free Sisters, 1–24 Aug, not 12, £free Dan Cook and Gareth Cooper Cowgatehead, 1–25 Aug, not 12, £free Three Shot Mockery Laughing Horse @ The Newsroom, 1–24 Aug, £free

The Cleek Just the Tonic at The Mash House, 6–24 Aug, not 11, 12, 18, 19, £free

Barbara Nice: Squirrel Proof The Assembly Rooms, 1–24 Aug, not 11, £10

Stewart Lee: A Room With a Stew (Work-in-Progress) The Stand Comedy Club, 2–25 Aug, not 11, £10

The Edinburgh Revue and You Can Too Opium, 2–23 Aug, not 6, 13, 20, £free

Stuart Laws When’s This Gonna Stop?

(1hr Show) Banshee Labyrinth, 2–23 Aug, not 12, 19, £free Let’s Talk About Sketch Baby Underbelly, Cowgate, 1–24 Aug, not 13, £6—£9.50

14:25

Robin and Partridge: Robin Dies at the End of the Show Pleasance Courtyard, 1–24 Aug, not 18, £6—£9

Enjoy comedy, cabaret, theatre & more Open every night until 5am 76 fest 19 August 2014

Bryan Lacey: Bry Hard!

Laughing Horse @ Bar 50, 16–24 Aug, £free

Josh Howie - AIDS: A Survivor’s Story Canons’ Gait, 2–23 Aug, not 11, £free

Aidan Killian: Jesus Versus Buddha Heroes @ The Hive, 1–24 Aug, not 11, £5 Henry von Stifle: Working Class Hero (With a Valet) St John’s, 1–25 Aug, not 10, 17, £free My Sister Says I’m Special Laughing Horse @ Ryrie’s, 2–24 Aug, £free Upstairs Downton: The Improvised Episode Laughing Horse @ The Counting House, 1–24 Aug, £free

Kriss Foster and Friend Chiquito, 2–23 Aug, not 18, £free

Mercedes Benson Presents... The Pleasure is Yours St John’s, 1–23 Aug, not 8, 13, 20, £free

14:30

Ian Fox Presents The Unsearchables - Free Laughing Horse @ Espionage, 1–23 Aug, £free

Ken Crystal Afternoon Showcase Laughing Horse @ The Counting House, 1–24 Aug, not 4, 11, 18, £free Worst Show On the Fringe - Free George Next Door, 2–25 Aug, £free

Comedy Death: Comics Talking About Their Worst Gigs Cowgatehead, 2–24 Aug, not 11, 18, £free

10 Films with My Dad Voodoo Rooms, 2–24 Aug, £free

Alasdair Lists Everything Freestival St Mary’s, 1–24 Aug, not 11, £free

Matt Forde: 24 Hour Political Party People Pleasance Courtyard, 1–24 Aug, £6—£10

Oh Boy! The Quantum Leap Show Cowgatehead, 1–24 Aug, not 4, 11, 18, £free

0131 622 6552 gildedballoon.co.uk @gildedballoon www.festmag.co.uk

0131 622 6552 gildedballoon.co.uk #Happy / A Rather Pleasant, Misanthropic Laughing Horse @ Finnegan’s Wake, 1–23 Aug, not 3, 10, 17, £free

❤ Ellie White: Humans HHHH Viva Mexico, 2–23 Aug, not 13, £free Narin Oz: Addicted to Love C venues - C south, 1–25 Aug, not 12, £4.50—£6.50 Sy+ Laughing Horse @ Espionage, 1–24 Aug, not 12, £free

14:35 Baby Wants Candy present The Improv All Star Explosion!

Underbelly, Bristo Square, 1–25 Aug, not 13, £7—£12 Nathaniel Metcalfe: Trivial Pursuits Cabaret Voltaire, 2–23 Aug, not 13, £free Tom Toal in Prequel Cabaret Voltaire, 2–23 Aug, not 11, £free

14:40 Eric and Little Ern Gilded Balloon , 1–25 Aug, not 6, 13, 20, £14—£15 The One-Eyed Men’s Cult of Lactos Just the Tonic at The Caves, 1–24 Aug, not 12, 19, £2—£4 The Quest for Coolness Sweet Grassmarket, 1–25 Aug, not 11, £8.50 Chris Griffin and Ross Leslie Present Two Flew Over the Cuckoo’s Nest Scottish Comedy Festival @ The Beehive Inn, Various dates from 1 Aug to 25 Aug, £free

14:45 Kitten Killers Underbelly, Bristo Square, 1–25 Aug, not 13, £6—£9 Gary Colman: ChUNT - The Verb to Grumble Whistlebinkies, 2–23 Aug, not 18, £free

Juliette Burton: Look at Me Gilded Balloon , 1–25 Aug, not 13, £8—£10 The Marijana Method Assembly George Square Studios, 1–25 Aug, not 12, £6—£10

COMEDY LISTINGS Narin Oz: Addicted to Love C venues - C south, 1–25 Aug, not 12, £4.50—£6.50

Rachel Stubbings: Doing It for Himself Underbelly, Bristo Square, 1–25 Aug, not 12, £6—£9

Next Best Thing Opium, 2–23 Aug, not 13, £free

Eddie Hoo: Angry in the Afternoon - Free Laughing Horse @ City Cafe, 1–24 Aug, not 12, £free

Emily Snee is Bifurious Laughing Horse @ The Free Sisters, 1–24 Aug, £free

Alex Horne: The Percentage Game Gilded Balloon , 12 Aug, 19 Aug, £5

Operation You Three Laughing Horse @ The Blind Poet , 1–24 Aug, £free

Mark Cooper-Jones Geography Teacher Globe Bar, 2–24 Aug, not 11, 18, £free

Stories About Love, Death and a Rabbit Dragonfly, 2–23 Aug, £free

Frequently Asked Questions Laughing Horse @ Dropkick Murphys, 1–23 Aug, not 3, 10, 17, £free

Russell Kane: The Kaneing Podcast Assembly Checkpoint, 6 Aug, 12 Aug, 19 Aug, £9

Charmian Hughes: Raj Rage!

Banshee Labyrinth, 2–24 Aug, not 12, £free

Aaaaargh! It’s the Monster Stand-Up Show! Free Laughing Horse @ Jekyll & Hyde, 1–24 Aug, £free

15:15

Ctrl-Alt-Sketch Citrus Club , 2–23 Aug, £free The Rat Pack Stand-Up Comedy Laughing Horse @ The Free Sisters, 1–24 Aug, not 11, £free

14:50 Jim Campbell’s Personal Space Underbelly, Bristo Square, 1–25 Aug, not 12, £6—£10 Two More Liars Capital Bar & Club, 2–24 Aug, not 12, £free

14:55 Ben Verth: Anxious Scottish Comedy Festival @ The Beehive Inn, 1–24 Aug, not 11, 18, £5 Colin Cloud – The Forensic Mind Reader Just the Tonic at The Caves, 20 Aug, £5

15:00 Bristol Improv Steals the Show - Free Whynot? , 4–23 Aug, not 5, 12, 20, £free

Jenny Collier: Love in the Time of Collier Laughing Horse @ The Free Sisters, 1–22 Aug, £free James Veitch: The Fundamental Interconnectedness of Everyone with an Internet Connection Gilded Balloon , 1–25 Aug, £6—£10 Mitch Benn: Don’t Believe a Word The Stand Comedy Club III & IV, 1–24 Aug, not 10, 11, 17, £10

Catriona Knox Thinks She’s Hard Enough

HH Pleasance Courtyard, 1–25 Aug, not 12, £6—£10

Skimprov Just the Tonic at The Caves, 1–24 Aug, not 12, £1—£8 Surname & Surname: Bang!

Pleasance Courtyard, 1–25 Aug, not 12, £6—£9 Rory O’Keeffe is a Fussy Eater Southsider, 2–23 Aug, not 12, £free

Ria Lina: School of Riason HHH Gilded Balloon , 1–25 Aug, £5—£9

I Need A Doctor: The Whosical Pleasance Courtyard, 1–25 Aug, not 12, 19, £6—£11.50

Matthew Highton’s Good Luck Sleeping Jerks Heroes @ The Hive, 4–24 Aug, £5

The Anglo-Irish Glee Tent Laughing Horse @ The Free Sisters, 1–25 Aug, £free

Winter Is Coming Gilded Balloon , 1–25 Aug, not 12, 19, £5—£11

15:20

#meetandtweet Just the Tonic at The Mash House, 1–24 Aug, not 12, 18, £3—£5

Gledhill and Callaghan Pilgrim, 2–23 Aug, not 18, £free

Minor Delays Gilded Balloon , 1–25 Aug, not 11, £5—£10

Separate But Equal Thistle King James Hotel, 1–25 Aug, £free

Lizzie Bates: Reprobates Pleasance Courtyard, 1–25 Aug, not 9, £6—£10

Invisible Woman: Maxine Jones Spotlites @ The Merchants’ Hall, 1–25 Aug, not 12, 19, £7.50

0131 622 6552 gildedballoon.co.uk @gildedballoon www.festmag.co.uk

15:10

Tania Edwards: Always Rihgt Pleasance Courtyard, 1–24 Aug, £6—£9 The Oxford Revue: Happy Accidents Underbelly, Cowgate, 1–24 Aug, not 12, £6—£10 Short & Curly - Who Dunnit? HH Ciao Roma, 2–23 Aug, not 12, 19, £free

15:25 The Canon: A Literary Sketch Show C venues - C too, 1–25 Aug, not 11, £7.50—£9.50

15:30 Yes Laughing Horse @ The Counting House, Various dates from 4 Aug to 22 Aug, £free Free Footlights Jam House , 2–23 Aug, £free Kevin J: The Urban Truth Laughing Horse @ The Counting House, 1–24 Aug, not 12, £free Jason Patterson - All About the Pattersons Laughing Horse @ The White Horse, 3–24 Aug, not 17, £free Krispy Kreems (and Comedy!) 4U Princes Mall, 1–25 Aug, £free Chris Coltrane: There’s No Heroes Left Except All of Us

HHH

Banshee Labyrinth, 2–24 Aug, £free

Mae Martin’s Workshop Cowgatehead, 2–24 Aug, not 6, 13, 20, £free

Dan Jones: New Kid Pleasance Courtyard, 1–25 Aug, not 11, £6—£9.50

15:40 Eric’s Tales of the Sea – A Submariner’s Yarn Just the Tonic at The Caves, 1–24 Aug, not 12, £8—£11 The Hibrow Comedy Hour Summerhall, 6 Aug, 12 Aug, 20 Aug, Comedians’ Cinema Club Just the Tonic at The Tron, 1–23 Aug, not 12, £7

❤ Kieran Hodgson: French Exchange

HHHH

Voodoo Rooms, 2–24 Aug, not 13, £free

zazU Underbelly, Cowgate, 1–24 Aug, not 13, £6—£10 Show Pony Just the Tonic at The Mash House, 1–24 Aug, not 11, 12, £free Maddy Carrick in Maddy’s Carrickters Laughing Horse @ The Counting House, 1–24 Aug, not 18, £free

15:45

AAA Batteries (Not Included) - Free Laughing Horse @ Bar 50, 1–24 Aug, £free

MommAutism - A Love Story Laughing Horse @ The Newsroom, 1–25 Aug, £free

Paul Duncan McGarrity: Fail! - Free Laughing Horse @ Espionage, 1–24 Aug, not 12, £free

Caimh McDonnell: Southbound and Down The Liquid Room, 9–23 Aug, not 13, 20, £free

A Bridge Over Toddled Warder Cowgatehead, 1–25 Aug, not 13, £free

FunBags a Go-Go! St John’s, 1–23 Aug, not 8, 13, 20, £free

Max Dickins: My Groupon Adventure Pleasance Courtyard, 1–24 Aug, not 11, £6—£10 Spencer Jones is The Herbert Heroes @ The Hive, 1–24 Aug, not 12, £3

Seriously Now! - Free Laughing Horse @ The Phoenix, 1–24 Aug, not 4, 5, 11, 12, 18, 19, £free Patrick Morris: Seemingly Laughing Horse @ The Free Sisters, 1–24 Aug, £free

John Robertson: A Nifty History of Evil

The Oxford Imps: Pun and Games Gilded Balloon , 1–25 Aug, £8—£10

The Stand Comedy Club III & IV, 1–24 Aug, not 11, £8

Prompter HHH Gilded Balloon , 1–25 Aug, £5—£12

HHH

Gilded Balloon, 13 Bristo Square, Edinburgh EH8 9AJ 19 August 2014 fest

77

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COMEDY LISTINGS Brydie Lee-Kennedy Repeats On You Cowgatehead, 1–24 Aug, not 13, £free Toast with Ruth E. Cockburn Viva Mexico, 2–23 Aug, not 9, £free Jody Kamali: One Man Variety Show Laughing Horse @ Espionage, 1–24 Aug, £free Nutjob Laughing Horse @ Finnegan’s Wake, 1–25 Aug, not 3, 10, 17, 24, £free The Thinking Drinkers’ Guide to the Legends of Liquor The Famous Spiegeltent, 1–25 Aug, not 11, £9—£11

Someone’s Pinched Me Yoghurt!

George Next Door, 17–23 Aug, £free

Andrew Bird - Up Against It Laughing Horse @ The Free Sisters, 17–24 Aug, £free Hilarity Bites Comedy Club: Showcase Show Cowgatehead, 1–25 Aug, £free

❤ Cariad and

LOLympics Live - Free Laughing Horse @ Ushers, 11–24 Aug, £free

Quiz in My Pants Cabaret Voltaire, 2–23 Aug, not 12, £free

Makes Something of Himself Laughing Horse @ Espionage, 1–24 Aug, not 12, £free

Glenn Cosby: Food Junkie Assembly Roxy, 1–25 Aug, not 11, £7—£14

Alistair Williams and Daryl Perry Love You St John’s, 17–24 Aug, £free

15:50

Six Steps to Joy Cowgatehead, 1–25 Aug, not 18, £free

Mike Shephard: M*ther of All Parliaments Laughing Horse @ Dropkick Murphys, 2–23 Aug, not 3, 10, 17, £free

Hatty Ashdown: Hurry Up Hatty Laughing Horse @ The Wee Pub, 1–24 Aug, not 11, £free

Frances-White: Half a Can of Worms Pleasance Dome, 1–25 Aug, not 12, £6—£11

Jenan Younis: A Masterclass in Anger Management Paradise in The Vault, 19–21 Aug, £free

Jeremy Hunt and Other Spelling Mistakes Wee Red Bar, 17–23 Aug, £free

❤ Deborah HHHH

16:00

Jagged Little People Cabaret Voltaire, 2–24 Aug, not 5, 13, 19, £free Neil Henry’s Impossible Pleasance Courtyard, 1–25 Aug, £6—£10

iPaddy Laughing Horse @ The Free Sisters, 4–24 Aug, £free

16:10 Hayley Ellis: We Need To Talk About Kevin

Al Donegan: The Five Worst Things I Ever Did Just the Tonic at The Caves, 1–24 Aug, not 12, £4—£8

HHH

Rice ‘n’ Peas ‘n’ Caviar George on the Bridge, 13–23 Aug, £free

❤ Tom Neenan: The

Underbelly, Bristo Square, 1–24 Aug, £6—£10

16:15

Rob Auton: The Face Show Banshee Labyrinth, 2–23 Aug, not 3, 12, £free Do You Remember Rock’n’Roll Radio?

Laughing Horse @ The Free Sisters, 1–24 Aug, £free Twins HHH Laughing Horse @ The Blind Poet , 1–24 Aug, not 18, £free

16:05 On The Box! Greenside @ Nicolson Square, 1–23 Aug, not 10, 17, £5—£8.50

Haunting at Lopham House HHHH Pleasance Courtyard, 1–25 Aug, not 12, £6—£10 The Story of Medieval England From 1066 to 1485 at Roughly Nine Years and Two Jokes Per Minute Incorporating The Hundred Years War as a Football Match and of Course Scottish Independence Performed by Paul B Edwards – Free Bannermans, 3–24 Aug, not 9, 16, 23, £free Big Society Thistle King James Hotel, 1–25 Aug, £free Learn to Laugh with Keep Calm and Improv C venues - C nova, 1–25 Aug, not 6, 7, £7.50—£9.50

Lucie Pohl: Hi, Hitler

HHH

Gilded Balloon , 1–25 Aug, not 11, £5—£9

Old Folks Telling Jokes Just the Tonic at The Community Project, 1–24 Aug, not 12, £7 Freddie Farrell and Friends Laughing Horse @ Jekyll & Hyde, 1–24 Aug, not 13, £free Stephen Bailey: Neon Heart Gilded Balloon , 1–24 Aug, not 11, £6—£8.50 Another American Laughing Horse @ The Free Sisters, 1–24 Aug, £free Cracker Jokes - Free Pilgrim, 2–23 Aug, £free Clever Peter: Free for All! Laughing Horse @ City Cafe, 1–24 Aug, not 12, £free Tom Allen: Life/Style The Stand Comedy Club V, 1–24 Aug, not 11, £8 The Usual Rejects Laughing Horse @ The Counting House, 1–24 Aug, not 12, £free

16:20 Joz Norris: Awkward Prophet HHH Underbelly, Bristo Square, 1–25 Aug, not 12, £6—£10 Paul Savage Finds Every Joke in the Bible HHH Dragonfly, 2–23 Aug, not 12, £free

Deadly Dungeon Murder Mystery!

m

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The Clean (As Possible) Comedy Show Greenside @ Nicolson Square, 1–23 Aug, not 10, 17, £6

Dancing with the Inflatable Colonel Suruchi, 13–25 Aug, £free

Ride of the Wagnerian Just the Tonic at The Mash House, 2–24 Aug, not 12, £3—£6

Nick Hall: Helmet George Next Door, 2–23 Aug, £free

Alfie Moore: The Naked Stun HHH Assembly George Square Studios, 1–25 Aug, £6—£11

Narin Oz: Addicted to Love C venues - C south, 1–25 Aug, not 12, £4.50—£6.50

Cambridge Footlights International Tour Show 2014: Real Feelings Pleasance Dome, 1–25 Aug, £6—£10.50

Simon Munnery Sings Soren Kierkegaard HHH The Stand Comedy Club, 1–25 Aug, not 11, £10

Anna Morris: Would Like to Thank Underbelly, Bristo Square, 1–25 Aug, not 12, £6—£11

Candy Gigi: I’m Not Lonely HH Heroes @ The Hive, 1–24 Aug, not 5, 12, 19, £5

Staple/face are...

Going Down Fighting Gilded Balloon , 1–25 Aug, not 12, £7—£8

15:55

S D a

Louise’s Character Hour HHHH Laughing Horse @ The Counting House, 1–24 Aug, not 12, £free

The Grandees: BaBoom!

Underbelly, Cowgate, 1–24 Aug, not 12, £6—£10

Si

m

m

o

A thrilling Fringe debut from Scotland’s Best Visitor Attraction 2014. Who killed Judge Mental? It’s up to you to find out! t e he C Di f n om n B oS o e U te m D R R in Y Gh ’S e e aW Re a tU RD Rn S!

n

S:

Enjoy comedy, cabaret, theatre & more Open every night until 5am 78 fest 19 August 2014

1st, 8th, 15th and 22nd August Tickets selling fast!

thedungeons.com/Edinburgh 0131 622 6552 gildedballoon.co.uk @gildedballoon www.festmag.co.uk

0131 622 6552 gildedballoon.co.uk John Lloyd’s Museum of Curiosity Live Underbelly, Bristo Square, 16–24 Aug, £12.50—£13.50

Matt Winning and Lolly Adefope Southsider, 2–23 Aug, not 13, £free

Alison Spittle Needs an Agent Just the Tonic at The Mash House, 1–24 Aug, not 12, £3—£6

Kate Lucas and Dave Green: Well-Adjusted Just the Tonic at The Caves, 1–24 Aug, not 12, £3—£6

16:25 Andy Zaltzman: Satirist for Hire HH The Stand Comedy Club III & IV, 13–24 Aug, £9—£10

❤ Goose (An Odd New One-Man Comedy Whodunit)

HHHH

Assembly Hall, 1–25 Aug, not 11, £5—£10

16:30 Terry McHugh: Reservoir Dad Laughing Horse @ Jekyll & Hyde, 1–21 Aug, not 3, 10, 17, £free Berliner and Stamell: One of Us Will Die Heroes @ The Hive, 1–24 Aug, not 18, £5

16:35

Danny Ward – Infra Dig Pleasance Courtyard, 1–24 Aug, £6—£9.50

16:40 FanFiction Comedy Assembly George Square Theatre, 1–24 Aug, not 12, £6—£10 The Rules of Engagement The Stand Comedy Club III & IV, 1–24 Aug, not 11, £8

16:45 David Elms: Nurture Boy HHH Pleasance Courtyard, 1–25 Aug, not 11, £6—£9.50 Unicornucopia Globe Bar, 2–23 Aug, not 6, 13, 20, £free

Australia: A Whinging Poms Guide Chalky’s , 1–24 Aug, £free

Almost Sean Brightman Cowgatehead, 1–25 Aug, £free

Stephen K Amos Talk Show Gilded Balloon , 17–23 Aug, £13—£14

Micky Bartlett: I’m Not Even Sorry Cowgatehead, 1–25 Aug, £free

Rachel Parris: Live in Vegas HHH Pleasance Courtyard, 1–25 Aug, not 12, £6—£11

Laughing Horse Free Pick of the Fringe Laughing Horse @ Espionage, 1–24 Aug, £free

Jack Gardner and Liberty Hodes On Ice Laughing Horse @ The Free Sisters, 18–24 Aug, £free The Twins Macabre: Small Mediums at Large Pleasance Courtyard, 1–25 Aug, not 11, £6—£10 Narin Oz: Addicted to Love C venues - C south, 1–25 Aug, not 12, £4.50—£6.50 Adventures on Air - Free Laughing Horse @ The Counting House, 1–23 Aug, not 12, £free

Thünderbards: Seconds Pleasance Courtyard, 1–24 Aug, £6—£12

❤ BEASTS: Solo HHHH Pleasance Courtyard, 1–25 Aug, not 12, £6—£10

Rhys James: Begins

COMEDY LISTINGS ❤ Casual Violence: The Great Fire of Nostril HHHH Pleasance Courtyard, 1–25 Aug, not 4, 12, 19, £6—£9.50 Neil Pummell: Losing My Identity Just the Tonic at The Caves, 1–24 Aug, not 12, 18, £3—£5

16:50 Ryan Coffey Live and Loud Underbelly, Cowgate, 1–24 Aug, £6—£10 Abi Roberts: Twerk in Progress Voodoo Rooms, 1–24 Aug, not 11, £free

16:55 Harvey, Garvey and The Kane HHH Underbelly, Bristo Square, 1–24 Aug, not 11, £6—£12

17:00 BongoLicious Just the Tonic at The Mash House, 1–22 Aug, not 12, £free—£8 Wilkinson Ford: Kagoolio Just the Tonic at The Mash House, 1–24 Aug, not 7, 8, 12, £5—£8.50 The News at Kate: Leftie Cock Womble Viva Mexico, 2–23 Aug, not 12, £free Start Wars To Save Us All Laughing Horse @ The Cellar Monkey, 1–24 Aug, £free Perfectly Goddamned Delightful Laughing Horse @ The Newsroom, 1–24 Aug, not 12, £free

Laughing Horse @ The White Horse, 1–24 Aug, not 11, 18, £free

Battle of the Superheroes - The Great Superhero Debate Laughing Horse @ Espionage, Various dates from 4 Aug to 24 Aug, £free

Tom Goodliffe: Thug Liffe- Free Laughing Horse @ Bar 50, 1–24 Aug, £free

These Boyz Need Therapy Kilderkin, 2–23 Aug, not 5, 12, 19, £free

HHH

Pleasance Courtyard, 1–24 Aug, £6—£10.50

White Man’s Burden

HHH

0131 622 6552 gildedballoon.co.uk @gildedballoon www.festmag.co.uk

Over It - Death, Anorexia and Other Funny Things Laughing Horse @ Finnegan’s Wake, 1–30 Aug, not 3, 10, 17, 24, £free

❤ Adam Hess: Mustard HHHH Heroes @ The Hive, 1–24 Aug, £5

Bristol Revunions: Bonus Material Just the Tonic at The Caves, 1–24 Aug, not 12, £3—£7 BBC: The Verb BBC@POTTERROW, 23 Aug, £free The Coin-Operated Girl - A Sex-Workers Real Life Revelations of Frivolous Fornications The Liquid Room, 2–24 Aug, not 3, 4, 11, 18, £free Laughter Is the Worst Medicine The Assembly Rooms, 1–24 Aug, not 4, 11, 18, £10 Tom Deacon: Get Your Deac-on!

Laughing Horse @ The Free Sisters, 1–21 Aug, not 8, £free Heavy Petting: Hammer Time Laughing Horse @ Ryrie’s, 16–24 Aug, £free Sid Wick Has No Friends Opium, 13–23 Aug, £free The Kat and Jon Appeal Cowgatehead, 1–25 Aug, not 11, £free BBC: Simon Mayo Drivetime BBC@POTTERROW, 18–21 Aug, £free

Jollyboat: Five Stars, F*****ck Yeah!

Beat, 2–23 Aug, £free ComedySportz UK Laughing Horse @ The Free Sisters, 17–24 Aug, £free Nathan Cassidy: Date of Death Laughing Horse @ The Counting House, 1–24 Aug, not 11, £free Sketchbox St John’s, 1–23 Aug, not 5, 11, 12, 13, 19, £free Sean McLoughlin: I Will Prevail Laughing Horse @ Espionage, 1–24 Aug, not 12, £free Nik Coppin - Mixed Racist Laughing Horse @ Espionage, 1–23 Aug, not 4, 5, 11, 12, 13, 18, 19, 20, £free Narin Oz: Addicted to Love C venues - C south, 1–25 Aug, not 12, £4.50—£6.50 Ahir Shah: Texture

HHH Laughing Horse @ The Counting House, 1–24 Aug, £free

Alan Irwin - Party Hard Laughing Horse @ The Wee Pub, 1–24 Aug, not 12, £free

17:05 John Kearns - Shtick

HHH Voodoo Rooms, 2–23 Aug, not 13, £free

Don’t Worry Guys It’s Sarah Campbell

HHH

Bren and Jenny: Hello!

Freestival St Mary’s, 1–24 Aug, not 13, £free

Cabaret Voltaire, 2–23 Aug, not 12, £free

Jack Samuel Warner and John Pendal: Men and Myths Cowgatehead, 1–24 Aug, £free

Anything’s Better Than These C**ts Scottish Comedy Festival @ The Beehive Inn, 3–21 Aug, not 5, 6, 7, 8, 9, 14, £free

Andy de la Tour Stand-Up or Die in New York HH Gilded Balloon , 1–25 Aug, not 12, £11.50—£12.50 Dead Ghost Star Cowgatehead, 1–24 Aug, not 11, £free

17:10

Adam Belbin: The Third Half of Next Year’s Show Laughing Horse @ The Free Sisters, 1–24 Aug, £free Anything Can Be a Podcast! Podcast!

Laughing Horse @ The Free Sisters, 1–24 Aug, £free Andrew O’Neill Mindspiders Whistlebinkies, 2–24 Aug, £free Bulletproof HH The Assembly Rooms, 1–24 Aug, not 11, £10 Sooz Kempner Defying Gravity Fingers Piano Bar, 1–24 Aug, not 4, 11, 18, £free Wendy Wason: Hotel California HHH Gilded Balloon , 1–24 Aug, not 11, £6—£12 Funny For A Grrrl Stand in the Square, 1–25 Aug, not 11, £10 SomeNews Live Laughing Horse @ Dropkick Murphys, 1–23 Aug, not 3, 10, 17, £free Jeff Leach: Fit Laughing Horse @ The Counting House, 1–22 Aug, £free

17:20 Hardeep Singh Kohli: Hardeep Is Your Love Pleasance Dome, 1–25 Aug, not 12, £6—£12 Sam Avery: Rock and Dole Just the Tonic at The Caves, 2–24 Aug, not 12, £6—£8

❤ Joseph Morpurgo: Odessa

HHHHH

Pleasance Dome, 1–25 Aug, not 11, £6—£10.50

Jonny Lennard: Tale Blazer HHH Assembly George Square Studios, 1–25 Aug, not 12, £6—£11

17:15

17:25

Now That’s What I Call Stand-Up #1 Laughing Horse @ The Blind Poet , 1–24 Aug, £free

Benny Boot: Greatest Hits Volume II Underbelly, Bristo Square, 1–25 Aug, not 11, £6—£12

Gilded Balloon, 13 Bristo Square, Edinburgh EH8 9AJ 19 August 2014 fest 79

0131 622 6552 gildedballoon.co.uk

COMEDY LISTINGS Chris Kent: Corked Gilded Balloon , 1–25 Aug, not 12, £8.50—£9.50

17:30 Dane Baptiste: Citizen Dane HH Pleasance Courtyard, 1–24 Aug, not 11, £6—£12

Gordon Southern: Your New Favourite Comedian Gilded Balloon , 1–24 Aug, not 11, 14, 19, £5—£12

David Morgan Social Tool Underbelly, Bristo Square, 1–24 Aug, £6—£10

James Christopher - Partially Sighted in All the Big Venues Banshee Labyrinth, 2–24 Aug, not 6, 13, 20, £free

Jonny Pelham and George Zach - Subtitles Not Provided Laughing Horse @ Jekyll & Hyde, 1–24 Aug, £free

Knightmare Live Level 2 Pleasance Courtyard, 1–24 Aug, £8—£13.50

Dan Nightingale is Trying His Best Not to Be a Dick Pleasance Dome, 1–24 Aug, not 11, £6—£9.50

Carly Smallman: Made in Penge Laughing Horse @ The Counting House, 1–24 Aug, not 11, 18, £free

Mark Grist & MC Mixy: Dead Poets’ Death Match Assembly George Square Studios, 1–24 Aug, not 11, £6—£12

Pretending Things Are a C*ck Laughing Horse @ City Cafe, 1–24 Aug, not 13, £free

Funmbi Omotayo and Prince Abdi: East Meets West Globe Bar, 4–24 Aug, not 18, £free Robert White - The Curious Incident of the Gag and the Gun-Crime… Plus More Stuff!

Heroes @ The Hive, 1–24 Aug, not 11, 18, £5 Bec Hill in... Ellipsis

HHH Gilded Balloon , 1–24 Aug, not 12, £5—£9.50

Gary Little: The Thing Is The Stand Comedy Club, 4–25 Aug, not 18, £10 Seymour Mace presents Questionable Time!

The Stand Comedy Club V, 1–24 Aug, not 11, 13, £8

17:35 Lucy Frederick and the Claw of Anxiety!

Just the Tonic at The Community Project, 1–24 Aug, not 12, £free Present and Correct: Now Recruiting - Free Sportsters, 2–24 Aug, not 4, 11, 18, £free

17:40 Music, Speech and the Sound of a Wheelbarrow Just the Tonic at The Mash House, 1–24 Aug, not 12, £6—£8

❤ Jason Cook: Broken HHHH Pleasance Dome, 1–24 Aug, not 4, 11, 18, £6—£11.50

Dan Schreiber: C*ckblocked from Outer Space HH Underbelly, Bristo Square, 1–25 Aug, not 9, £6—£11

17:45 Matt Price: The Maryhill Dinosaur Laughing Horse @ The Counting House, 1–24 Aug, £free Lucy Beaumont: We Can Twerk It Out Pleasance Courtyard, 1–24 Aug, not 12, £6—£10 Best of Oh So Funny - Free Southsider, 2–23 Aug, £free Comedy Showdown - Free Laughing Horse @ The Free Sisters, 1–25 Aug, £free Croft & Pearce: Give and Take Gilded Balloon , 1–24 Aug, not 11, 21, £5—£10 Toby: Fuzzbuzz HH Pleasance Courtyard, 1–25 Aug, not 12, £6—£11

Angry Young Women in Low Rise Jeans with High Class Issues Gilded Balloon , 1–24 Aug, £5—£11 Zoe Lyons: Mustard Cutter Gilded Balloon , 21 Aug, £9.50 Shhh - An Improvised Silent Movie Gryphon@WestEnd, 4–23 Aug, not 10, 17, £10 Aaaaargh! It’s 101 Jokes in 30 Minutes!

Free Laughing Horse @ Jekyll & Hyde, 1–24 Aug, £free

❤ Clever Peter: The Dreams Factory

HHHH Pleasance Courtyard, 1–25 Aug, not 12, £6—£11

edinburgh 3 South College Street, Edinburgh EH8 Email: edinburgh@callprint.co.uk www.callprint.co.uk

FRINgE pRINtINg FROm A cItY cENtRE lOcAtION

an enlightening Buddha Maitreya afternoon of NATURE’S HEART SONG MUSIC POETRY

LIVE!

Tickets available from Ticket Booking Line 0141 226 0000 or visit www.edfringe.com/whats-on/events/nature-s-heart www.buddhamaitreya.co.uk

£15 Adults £10 Concessions £30 Family (2 adults and 2 children)

.

celebrating life together. sunday17august14 2.30 - 6pm

A5 lEAFlEtS FUll cOlOUR SINglE SIDED 500 - £29 1000 - £58

A3 pOStERS FUll cOlOUR SINglE SIDED 10 - £10 50 - £40

READY IN 2 HOURS cAll - 0131 667 3539 Terms and Conditions *Mon - Fri 9am - 5:30pm *Last orders taken 3:15pm *Collection only * From print ready artwork

Artspace@St.Marks, 7 Castle Terrace, Edinburgh EH1 2DP

Enjoy comedy, cabaret, theatre & more Open every night until 5am 80 fest 19 August 2014

0131 622 6552 gildedballoon.co.uk @gildedballoon www.festmag.co.uk

0131 622 6552 gildedballoon.co.uk 17:50 A Controversial Title In Order To Sell Tickets The Stand Comedy Club III & IV, 1–24 Aug, not 11, £8 The Canterbury Tales Remixed Underbelly, Bristo Square, 1–25 Aug, not 11, 18, £7—£13 Phil Wang: Mellow Yellow HH Pleasance Courtyard, 1–24 Aug, £6—£10

17:55 Colin Cloud – The Forensic Mind Reader Just the Tonic at The Caves, 1–23 Aug, not 12, £5—£10

18:00 Bridge Over Troubled Lager (Volume 2) The Assembly Rooms, 11–24 Aug, £15 Gamarjobat: Boxer Gilded Balloon , 1–25 Aug, not 5, 12, 19, £6—£13 Drink Carlin Sensibly Canons’ Gait, 1–23 Aug, not 11, £free Stuart Mitchell Work in Progress Laughing Horse @ The White Horse, 1–24 Aug, not 12, £free

Mike Newall is Here All Week (Almost) Just the Tonic at The Caves, 19–23 Aug, £5—£6

❤ Angela Barnes:

Simply the West theSpace @ Jury’s Inn, 1–23 Aug, not 3, 10, 17, £9 Every Loser Wins: with Kelly Wenham and Simon Salmon Chiquito, 2–23 Aug, £free

The Best of Irish Comedy The Stand Comedy Club III & IV, 1–24 Aug, £12

Charlie O’Connor Dandyisms Underbelly, Cowgate, 1–24 Aug, £6—£11

Laughing Horse Free Pick of the Fringe Laughing Horse @ Espionage, 1–24 Aug, £free Overlooked Cowgatehead, 1–25 Aug, not 5, 12, 19, £free Ian Smith – Flappable Pleasance Courtyard, 1–24 Aug, not 12, £6—£10 Comedy in the Dark Just the Tonic at The Community Project, 1–24 Aug, not 12, £10 Will Adamsdale: Borders Underbelly, Cowgate, 1–24 Aug, not 11, £6—£12.50 Massive Dad HHH Pleasance Courtyard, 1–25 Aug, not 13, £6—£9.50 Nick Dixon and Sunil Patel: Two Wrongs Laughing Horse @ Bar 50, 1–24 Aug, not 13, £free

The Pin Pleasance Courtyard, 1–25 Aug, not 11, 18, £6—£11

Tim Renkow: At Least Hell Has Ramps Heroes @ The Hive, 1–24 Aug, £5

Rick Kiesewetter: No More Mr Rice Guy Cowgatehead, 1–25 Aug, £free

The Craic Was Mighty Gryphon@WestEnd, 11–23 Aug, not 17, £10

Luke McGregor: I Worry That I Worry Too Much HHH Assembly George Square Theatre, 1–25 Aug, not 11, £6—£11

18:05

Greg Proops: The Smartest Man in the World Gilded Balloon , 5 Aug, 19 Aug, £12

18:10

You Can’t Take It With You HHHH Pleasance Courtyard, 1–24 Aug, not 11, £6—£10

Is This What You Want?

Laughing Horse @ The Free Sisters, 10–24 Aug, £free

Folie à Deux Pleasance Courtyard, 1–24 Aug, not 9, 12, 19, £6—£9

COMEDY LISTINGS

The Church of Zirconium Just the Tonic at The Caves, 1–24 Aug, not 8, 12, £7—£8 Absolute Improv! theSpace on the Mile, 1–23 Aug, not 3, 17, £6—£10 John-Luke Roberts: Stnad-Up Voodoo Rooms, 2–24 Aug, not 12, £free

18:15

Feminism for Chaps Laughing Horse @ The Counting House, 1–24 Aug, £free Referendum and Dumber New Town Theatre, 1–24 Aug, not 11, 12, 13, £6—£12 Geezer Bird Laughing Horse @ Espionage, 1–24 Aug, £free

The Brendon Burns Show The Liquid Room, 2–24 Aug, not 7, 14, 21, £free

Strudelhead Laughing Horse @ Espionage, 1–24 Aug, not 12, £free

Paperclips Laughing Horse @ The Newsroom, 1–24 Aug, £free

Hollywood Film Fest C venues - C nova, 2–25 Aug, not 11, £7.50—£9.50

The Maggy Whitehouse Experience Laughing Horse @ Ryrie’s, 2–24 Aug, not 6, £free Scottie Road the Musical - From Primark to Prison Laughing Horse @ The Free Sisters, 1–24 Aug, not 5, 11, 18, £free Liz Peters: Toybox Cowgatehead, 1–24 Aug, not 11, £free

Fern Brady and Peter Brush - Free Laughing Horse @ The Counting House, 1–24 Aug, £free In Cahoots: Some Like It Hoots St John’s, 1–25 Aug, £free Don’t Tell Anyone About Sarah Callaghan HHH Laughing Horse @ Finnegan’s Wake, 1–23 Aug, not 3, 10, 17, £free

Danny Mcloughlin Feels Alright Just the Tonic at The Tron, 1–24 Aug, not 12, £5—£10

Amusia - Luc Valvona - Free Laughing Horse @ Jekyll & Hyde, 1–24 Aug, £free

Jim Holland: Shoegazing Just the Tonic at The Caves, 1–24 Aug, not 12, £2.50—£7.50

The Nualas in ‘Hello Again, We’re The Nualas’ Assembly George Square Studios, 1–25 Aug, not 11, 18, £10—£14

Dr Professor Neal Portenza Performs His Own Autopsy Live On Stage.

One Night Only.

(Obviously). HHH Just the Tonic at The Mash House, 1–24 Aug, not 12, £4—£8 Matt Forde: The Political Party - Scottish Independence Special Pleasance Courtyard, 20 Aug, £8.50 Lockdown Just the Tonic at The Mash House, 1–24 Aug, not 12, £5—£9 Lead Pencil: In Full HB Underbelly, Cowgate, 1–24 Aug, not 11, £6—£10

18:25 Jojo Sutherland - In Conversation Scottish Comedy Festival @ The Beehive Inn, 1–23 Aug, £free

Burke Shire St John’s, 1–23 Aug, not 8, 13, 20, £free

Avent & Monie: Back to Front Greenside @ Nicolson Square, 1–22 Aug, not 10, 17, £6—£9

Danny Buckler: Punch Cowgatehead, 1–25 Aug, £free

❤ Kevin Day: Standy Uppy HHHH

18:30

Nick Revell - Closet Optimist The Assembly Rooms, 1–24 Aug, not 11, £10

18:20

Alexander Bennett: Follow Me Cowgatehead, 1–25 Aug, not 13, £free

How Not to Pedal an Ocean Laughing Horse @ Ushers, 11–24 Aug, £free Australia is F*cked George Next Door, 10–23 Aug, £free Christian Reilly: Lost in Music Beat, 2–23 Aug, £free Electric-Hogg’s Dada Garden of Dark Delights - Free Laughing Horse @ The Free Sisters, 1–24 Aug, £free

0131 622 6552 gildedballoon.co.uk @gildedballoon www.festmag.co.uk

Legion of Doom’s Fear and Laughter Wee Red Bar, 2–24 Aug, £free

Gilded Balloon , 1–25 Aug, not 12, 19, £6—£11

Ben Champion: Cracking Up - Free Cabaret Voltaire, 2–23 Aug, not 5, 12, 19, £free Four Screws Loose in The Big Screw Up Assembly George Square Gardens, 1–25 Aug, not 8, £6—£11.50 The Only Way is Downton Pleasance Courtyard, 1–25 Aug, not 6, 13, 20, £7.50—£12.50 Rory O’Hanlon: Have Jokes Will Travel Cabaret Voltaire, 2–23 Aug, not 18, £free

Waiting for Hitchcock Hill Street Solo Theatre, 1–24 Aug, not 12, £7—£12 Laughing Horse Free Comedy Selection Laughing Horse @ The Free Sisters, 1–24 Aug, £free Old Jewish Jokes Gilded Balloon , 1–25 Aug, not 12, 19, £9.50—£10 Philharmonic of Wit Venue150@EICC, 1–24 Aug, not 21, £8—£14 Susan Calman: Lady Like HHH Underbelly, Bristo Square, 1–24 Aug, £7—£13.50

All Star Stand-Up Showcase Laughing Horse @ Dropkick Murphys, 1–23 Aug, £free Aye Right? How No?: The Comedy Countdown to the Referendum with Vladimir McTavish & Keir McAllister The Assembly Rooms, 1–24 Aug, not 11, £10 Captains of Industry!

An Improvised Miscellany Laughing Horse @ The Counting House, 17–23 Aug, £free Jack Dee’s Help Desk Assembly George Square Studios, 18–24 Aug, £14 Matt Roper: Wilfredo Deconstructed Heroes @ The Hive, 1–24 Aug, £5 NewsRevue 2014 Pleasance Courtyard, 1–25 Aug, not 12, £9—£16.50

18:35 Suzi Ruffell: Social Chameleon Assembly George Square Studios, 1–24 Aug, not 11, £6—£10

18:40 Tom Binns Has Not Been Himself HHH Pleasance Courtyard, 1–24 Aug, £6—£14.50 Tim FitzHigham: Hellfire HH Pleasance Dome, 1–25 Aug, not 13, £7—£12.50 Fast Fringe Pleasance Dome, 1–23 Aug, £5—£10 Thomas Pocket presents: Me (Oscar Jenkyn-Jones) HH Underbelly, Cowgate, 1–24 Aug, not 11, £6—£10.50

Gilded Balloon, 13 Bristo Square, Edinburgh EH8 9AJ 19 August 2014 fest 81

0131 622 6552 gildedballoon.co.uk

COMEDY LISTINGS A Kitchen Nightmare Just the Tonic at The Caves, 1–24 Aug, not 12, £6—£9 Devvo’s Deal or No Dealer Gaymeshow Heroes @ Bob & Miss Behave’s Bookshop, 1–24 Aug, prices vary Aaah’m Votin YES Scottish Comedy Festival @ The Beehive Inn, 1–23 Aug, not 11, 18, £5

18:45 Kaile, Keeble and Kuntz Globe Bar, 13–24 Aug, £free Abigoliah Schamaun: It’s Pronounced Abigoliah Schamaun

HH

Gilded Balloon , 1–24 Aug, not 11, £5—£10

Sy Thomas: Disasterpiece Laughing Horse @ The Counting House, 1–24 Aug, not 12, £free Kai Humphries: Stuff Protocol Gilded Balloon , 1–25 Aug, not 11, £6—£12.50 Tommy Rowson: Down and Out in Powys and London

HH

Underbelly, Bristo Square, 1–24 Aug, not 12, £6—£10

Holly Walsh: Never Had It HHH Assembly George Square Studios, 1–24 Aug, not 12, £5—£10

BBC: Edinburgh 2014 with Sue Perkins BBC@POTTERROW, 8 Aug, 15 Aug, 22 Aug, £free

18:50

Darren Walsh: Chicken Meow!

Heroes @ The Hive, 1–24 Aug, not 11, 16, 17, 18, £3

Lloyd Langford: Old Fashioned Pleasance Dome, 1–25 Aug, not 9, 18, £6—£11.50 Imran Yusuf: Roar of the Underdog Underbelly, Bristo Square, 1–25 Aug, not 17, £6—£11

18:55 Erich McElroy: The British Referendum

HH

Just the Tonic at The Community Project, 1–24 Aug, not 12, £5—£10

Stuart Goldsmith: Extra Life Pleasance Courtyard, 1–24 Aug, not 13, £6—£11.50

Happenstance Pleasance Courtyard, 1–25 Aug, not 12, £6—£11

Morgan & West: Parlour Tricks Pleasance Dome, 1–25 Aug, £6—£12

Zoe Lyons: Mustard Cutter Gilded Balloon , 1–24 Aug, not 21, £5—£11

19:05

Gary Lynch - Missed Life Crisis Laughing Horse @ The Free Sisters, 1–24 Aug, £free

Ant Dewson and Mark Silcox: Life in the Bus Lane - Free Laughing Horse @ The Free Sisters, 1–24 Aug, not 11, 18, £free

❤ The Beta Males:

Croft & Pearce: Give and Take Gilded Balloon , 21 Aug, £10

Chris Turner: Pretty Fly Pleasance Courtyard, 1–25 Aug, £6—£9

Kerry Godliman: Face Time The Stand Comedy Club V, 12–24 Aug, £9—£10

The Weegies Have Pokled Edinburgh’s Pandas HH SpaceCabaret @ 54, 1–23 Aug, £7

George and Co (The Solo Tour) C venues - C nova, 20– 24 Aug, £8.50—£9.50

❤ Mr Swallow – The Musical HHHH

Bobby Mair: Off Meds Laughing Horse @ City Cafe, 1–24 Aug, not 17, 18, £free

Cal Wilson: It Could Have Been Me Gilded Balloon , 1–24 Aug, not 11, £5—£10.50

HHHH

19:00

Milo McCabe: Troy Hawke HHH Gilded Balloon , 1–24 Aug, not 11, £5—£10.50

Russell Grant: Strictly Edinburgh Gilded Balloon , 1–24 Aug, not 12, 18, £13—£14

Mark Restuccia Stooch Club Just the Tonic at The Mash House, 1–24 Aug, not 12, £free—£6

Pleasance Dome, 1–24 Aug, £6—£14

Light Relief Sweet Grassmarket, 1–24 Aug, £8.50 Tom Craine: Thoughts On Love (By a Man With None of the Answers) Pleasance Courtyard, 1–25 Aug, not 12, £6—£11 Jo Caulfield: Cancel My Subscription

An Introduction to Twerking Southsider, 2–20 Aug, not 13, 14, £free

HHH

Red Bastard Pleasance Courtyard, 1–24 Aug, not 6, 11, 12, 18, £7—£13

19:10

❤ Lazy Susan: Extreme Humans

HHHH

Pleasance Courtyard, 1–25 Aug, not 12, £6—£10

The Irrational Fears of Rillettes Laughing Horse @ The Counting House, 1–24 Aug, not 5, 12, 19, £free

The Stand Comedy Club, 1–24 Aug, not 11, £10

Ladies Live Longer: Volunteerology Just the Tonic at The Caves, 6–22 Aug, not 12, £5 Ward and Watts in... Journey to the Centre of the Office Serenity Cafe, 13–24 Aug, £free Zombie Science: Brain of the Dead C venues - C, 1–25 Aug, not 12, £8.50—£10.50

Enjoy comedy, cabaret, theatre & more Open every night until 5am 82 fest 19 August 2014

19:15 AAA Stand-Up Pleasance Courtyard, 1–25 Aug, £6—£11 Lee Griffiths: Post Traumatic Sketch Disorder HH Pleasance Courtyard, 1–24 Aug, £6—£10.50

❤ David O’Doherty Has Checked Everything HHHH Assembly George Square Theatre, 1–25 Aug, not 12, £8—£15 James Dowdeswell: Wine, Ale and I Laughing Horse @ Bar 50, 11–24 Aug, £free Nick Hodder: Insert Comedy Here Banshee Labyrinth, 2–24 Aug, £free Charles Booth: Go Thank Yourself!

Cowgatehead, 1–25 Aug, not 13, £free Tickled Pig Presents Laughing Horse @ The Free Sisters, 1–24 Aug, not 12, 13, £free Laughing Horse Free Pick of the Fringe Laughing Horse @ Espionage, 1–24 Aug, £free Carey Marx: Abominable Canons’ Gait, 2–24 Aug, not 12, £free

❤ Nish Kumar: Ruminations on the Nature of Subjectivity HHHH Pleasance Courtyard, 1–24 Aug, £6—£12 Iain Stirling: Everything Pleasance Courtyard, 1–24 Aug, £6—£10 Lloyd Griffith: Voice of an Angel, Body of a Trucker HH Pleasance Courtyard, 1–24 Aug, not 11, £6—£10.50

19:20 Al Murray: One Man, One Guvnor Special Previews Assembly George Square Gardens, 7–24 Aug, not 8, 9, 15, 16, 22, 23, £12—£17.50 Craig Hill: Give Him an Inch...

Underbelly, Bristo Square, 1–25 Aug, not 11, 18, £10—£15.50

Big Value Comedy Show - Early Just the Tonic at The Community Project, 1–24 Aug, not 12, £7.50—£9.50

Paul Foot: Hovercraft Symphony in Gammon # Major Underbelly, Cowgate, 1–24 Aug, not 11, £6—£12

Adrift George Next Door, 17–23 Aug, £free

Laughter on the Outskirts: The Return - Free Laughing Horse @ The Wee Pub, 1–24 Aug, £free

Al Murray - The Pub Landlord’s Summer Saloon Assembly George Square Gardens, Various dates from 8 Aug to 23 Aug, £19.50 Vikki Stone: Instrumental Underbelly, Cowgate, 1–24 Aug, £6—£12 Laurence Clark: Moments of Instant Regret Assembly George Square Theatre, 1–24 Aug, not 12, £5—£10 Brian Just the Tonic at The Caves, 20–24 Aug, £5

19:30 Outrageous Courageous Highly Contagious: Israeli Style Improv – Free Laughing Horse @ The Phoenix, 1–24 Aug, not 5, 12, 19, £free Elf Lyons - Underground Success Voodoo Rooms, 2–24 Aug, not 13, £free Jonny Donahoe: Class Whore Cowgatehead, 12–24 Aug, not 17, 18, £free Paul Currie: Release the Baboons HH Heroes @ The Hive, 1–24 Aug, £5 Darius Davies’ HBÖ Special Uncensored Cowgatehead, 1–25 Aug, £free Bookshop Fringe Encore Heroes @ Bob & Miss Behave’s Bookshop, 26–30 Aug, £5 Tiernan Douieb: Read Something Beat, 13–23 Aug, £free David Mulholland’s Conspiracy St John’s, 1–25 Aug, not 13, £free

Mark Dolan Changes the World Gilded Balloon , 1–24 Aug, not 12, £5—£10 Tim Vine: Timtiminee Timtiminee Tim Tim To You HHH Pleasance Courtyard, 1–24 Aug, not 11, 18, £9—£17 Working Men’s Club Laughing Horse @ The Free Sisters, 1–24 Aug, not 4, 11, 18, £free Comedy Gala 2014: In Aid of Waverley Care Edinburgh Playhouse , 19 Aug, £25 Dan Lees: Brainchild St John’s, 1–24 Aug, not 5, 11, 18, £free So You Think You’re Funny? Final Gilded Balloon , 21 Aug, £15 About 2.5% Ginger Comedy Showcase - Free Laughing Horse @ The Newsroom, 1–24 Aug, £free The Comedian and His Future Wife Laughing Horse @ Espionage, 1–24 Aug, not 13, £free Jamie McCarney Spermologist Laughing Horse @ The Counting House, 1–24 Aug, not 6, 13, 20, £free Joe Bor: A Room with a Jew HHH Laughing Horse @ The Free Sisters, 1–24 Aug, £free Des Clarke: The Trouble with Being Des The Assembly Rooms, 1–24 Aug, not 3, 11, £10 We Love Comedy Cowgatehead, 1–25 Aug, £free

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0131 622 6552 gildedballoon.co.uk

COMEDY LISTINGS

Rik Carranza: Charming Laughing Horse @ The Counting House, 1–24 Aug, not 4, 11, 18, £free

❤ Bears in Space HHHH

The Edinburgh Festival Comedy Roast Gilded Balloon , 24 Aug, £12

❤ The Colour Ham HHHH Just the Tonic at The Caves, 1–23 Aug, not 12, £8—£11

Laugh Train Home Presents: Dropkick Comedy Laughing Horse @ Dropkick Murphys, 1–24 Aug, £free

Fred MacAulay: The Frederendum The Assembly Rooms, 1–24 Aug, not 11, £7.50—£15

Craig Campbell: Thrilling Mic Hunt The Stand Comedy Club III & IV, 17–24 Aug, £9—£10

Angus Dunican: The Great Indoors Laughing Horse @ Jekyll & Hyde, 1–24 Aug, not 14, 21, £free

Big Brass Just the Tonic at The Caves, 1–24 Aug, not 12, £5—£9

19:50

Susan Murray’s F*ckwit Club The Liquid Room, 2–24 Aug, not 11, 18, £free Jimeoin - Is It...?!

Venue150@EICC, 1–24 Aug, £10—£17.50 One Foot in the Gays Laughing Horse @ The Cellar Monkey, 1–24 Aug, not 4, 11, 18, £free Hennessy and Friends: Murmurs Cowgatehead, 1–25 Aug, not 11, £free Showstopper! The Improvised Musical Gilded Balloon , 22 Aug, £15 Thinking Standing Up Laughing Horse @ Espionage, 1–24 Aug, not 5, 12, 19, £free 37 Years of Childhood Laughing Horse @ Ryrie’s, 2–24 Aug, not 6, £free

19:35 Frisky and Mannish: Just Too Much

HHH Underbelly, Bristo Square, 1–25 Aug, not 8, 18, £7.50—£15

Luke Toulson: LaidBack Grouch - Free Cabaret Voltaire, 2–23 Aug, £free Alastair Clark: Vote Russell Brand Cabaret Voltaire, 2–23 Aug, £free

19:40 Will Mars: As Good As My Audience Just the Tonic at The Tron, 1–24 Aug, not 12, £5—£7

Underbelly, Cowgate, 1–24 Aug, not 11, £7—£12

Lisa-Skye: Bunny and Mad Dog Get High Just the Tonic at The Mash House, 1–24 Aug, not 6, 12, £4—£10 WitTank: Old School Secrets HHH Pleasance Courtyard, 1–24 Aug, £6—£12 The Bearpit Podcast Podcast Just the Tonic at The Mash House, 1–24 Aug, not 12, £3

19:45 Testiculating (Waving Your Arms Talking B*ll*cks) HH Laughing Horse @ The Counting House, 1–23 Aug, £free Lewis Schaffer: Success Is Not An Option Heroes @ The Hive, 1–24 Aug, not 12, 19, £5 Loretta Maine: Strong Independent Woman (Unless I Am Very Tired) Assembly George Square Gardens, 1–24 Aug, not 11, £5—£10 Gower Rangers Citrus Club , 2–23 Aug, not 12, 19, £free Alan Hudson: Trick Teaser Gilded Balloon , 1–25 Aug, not 13, £5—£12 Rob Deering: Musicface The Assembly Rooms, 1–24 Aug, not 11, £10 Spencer Brown Laughing Horse @ The Free Sisters, 1–24 Aug, not 4, 11, 18, £free

Nobody Gets Away Unscathed Fingers Piano Bar, 1–24 Aug, not 4, 11, 18, £free

Men With Nectar Points Dragonfly, 2–23 Aug, £free An American’s Guide to Being Like, Totally British George Next Door, 2–24 Aug, not 6, 13, 20, £free Marlon Davis: Once Upon A Grime Assembly George Square Studios, 1–24 Aug, not 11, £6—£10

19:55 Oh My Godley!

Underbelly, Bristo Square, 1–25 Aug, £7—£12 David Kay The Assembly Rooms, 19–20 Aug, £12 Raymond Mearns Live Scottish Comedy Festival @ The Beehive Inn, 1–24 Aug, not 11, £free Jerry Sadowitz: Card Tricks and Close-up Magic The Assembly Rooms, Various dates from 15 Aug to 24 Aug, £17.50

20:00 Pete Firman: Trickster Pleasance Courtyard, 1–24 Aug, £8.50—£15 One Man Star Wars Assembly George Square Studios, Various dates from 1 Aug to 24 Aug, £12—£16 Luke McQueen: Now That’s What I Luke McQueen HHH Pleasance Courtyard, 1–24 Aug, £6—£9.50

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Alasdair Tremblay-Birchall: Success Arms Underbelly, Cowgate, 1–24 Aug, not 11, £6—£10.50 Anil Desai’s Last Night at the Movies Laughing Horse @ City Cafe, 1–24 Aug, not 4, 11, 18, £free Katie Mulgrew: Happily Ever After

HHH Gilded Balloon , 1–24 Aug, not 12, £6—£10

Nathan Caton: Teenage Mutant Nathan Caton Pleasance Dome, 1–24 Aug, not 11, £7—£11 Katia Kvinge presents Karacters Globe Bar, 2–23 Aug, not 6, 13, 20, £free Andrew Ryan: The Life of Ryan Gilded Balloon , 1–24 Aug, £7—£8

❤ James Acaster: Recognise HHHH Pleasance Courtyard, 1–24 Aug, £6—£12

Katsura Sunshine, Sit Down Comedy Japanese Style!

New Town Theatre, 1–24 Aug, £7—£12 Life Deconstructed Laughing Horse @ The Counting House, 17–24 Aug, £free The Half Naked Chef Heroes @ Bob & Miss Behave’s Bookshop, 1–25 Aug, £5 EastEnd Cabaret: Sexual Tension

HHH Underbelly, Bristo Square, 1–25 Aug, not 11, £7—£11.50

❤ Celia Pacquola: Let Me Know How It All Works Out

❤ Alex Horne:

Gilded Balloon , 1–24 Aug, not 11, 12, £5—£10.50

Pleasance Courtyard, 1–24 Aug, £6—£11

HHHH

[kuh-MEE-dee-uhn]

HH

The Stand Comedy Club V, 1–24 Aug, not 10, 11, £8

101 Comedy Club - Free Laughing Horse @ The White Horse, 1–24 Aug, £free Playing Politics Acoustic Music Centre @ St Bride’s, 15 Aug, 22 Aug, £12.50 Mark Simmons - Mr Just the Tonic at The Mash House, 1–24 Aug, not 12, £7—£9 Patrick Monahan: Adventures in Monahan Land Gilded Balloon , 1–24 Aug, not 11, £5—£12 One Man Lord of the Rings Assembly George Square Studios, Various dates from 2 Aug to 25 Aug, £14—£16

20:05 Sketch Appeal theSpace @ Surgeons Hall, 11–23 Aug, not 17, £5 Rhys Nicholson Eurgh Underbelly, Bristo Square, 1–25 Aug, not 12, £6.50—£11.50 Improvabunga: Scared Scriptless theSpace on the Mile, 2–23 Aug, not 3, 10, 17, £7

20:10

Sean Nolan: The Joke Manifesto Just the Tonic at The Caves, 1–24 Aug, not 12, £5—£9

Alistair Green: Nobody’s Twisting Your Arm HHH The Stand Comedy Club III & IV, 1–24 Aug, not 11, £8

Hannah Gadsby: The Exhibitionist HHH Assembly George Square Studios, 1–24 Aug, not 11, 18, £6—£11.50

Cariad & Paul: A Two-Player Adventure Pleasance Dome, 18–23 Aug, £9—£10

❤ Des Bishop: Made in China HHHH Pleasance Dome, 1–24 Aug, not 11, £7.50—£13

Monsieur Butterfly

HHHHH

Steen Raskopoulos: I’m Wearing Two Suits Because I Mean Business Underbelly, Bristo Square, 1–25 Aug, not 12, £6.50—£11.50

20:15 Eleanor Tiernan Help the Frigid Laughing Horse @ The Counting House, 1–24 Aug, not 11, 18, £free Mick Ferry: What’s Going On? Just the Tonic at The Community Project, 1–24 Aug, not 12, £6—£8 Lords of Strut: Chaos Assembly Roxy, 1–24 Aug, not 11, £7.50—£12.50

❤ Alex Edelman: Millennial HHHH Pleasance Courtyard, 1–24 Aug, £6—£11.50

Neel Kolhatkar in GENeration comedY Assembly Hall, 1–25 Aug, not 11, £6—£10 Romesh Ranganathan: Rom Wasn’t Built in a Day

HHH

Pleasance Courtyard, 1–24 Aug, not 11, £7—£11

Stuck C venues - C nova, 13– 25 Aug, £7.50—£9.50 Sara Pascoe vs History HHH Assembly George Square Studios, 1–25 Aug, not 11, £6—£12 Friends With Benefits Laughing Horse @ The Free Sisters, 4–24 Aug, not 17, £free Rubberbandits: Continental Fistfight Gilded Balloon , 1–25 Aug, not 11, 18, £6—£14

The Explorers Club Scottish Comedy Festival @ The Beehive Inn, 1–24 Aug, not 11, 18, £free

Ivo Graham: Bow Ties and Johnnies Pleasance Courtyard, 1–24 Aug, not 11, £6—£10

Gilded Balloon, 13 Bristo Square, Edinburgh EH8 9AJ 19 August 2014 fest 83

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COMEDY LISTINGS Jon Bennett - Fire In The Meth Lab

HHH Assembly Roxy, 1–25 Aug, not 13, 20, £6—£10.50

20:20 Carl Hutchinson: Here’s Me Show Pleasance Courtyard, 1–24 Aug, £6—£10 Christian Talbot: Hello Cruel World Underbelly, Bristo Square, 1–25 Aug, not 12, £6—£10 Dan Clark: Me, My Selfie and I Pleasance Dome, 1–24 Aug, not 13, £6—£12.50 Shelby Bond: Fauxmosexual Just the Tonic at The Mash House, 5–24 Aug, not 12, £free The Evolution Will Be Televised Ciao Roma, 2–23 Aug, not 12, £free Eric Davidson - The Independent State of Eric HH theSpace @ Symposium Hall, 1–23 Aug, not 3, 10, 17, £10

20:25 Nick Doody vs The Debonair Assassin

HHH Canons’ Gait, 2–24 Aug, not 11, 18, £free

20:30 Carl Donnelly: Now That’s What I Carl Donnelly Vol. 6

HHH Pleasance Courtyard, 1–23 Aug, not 13, £6—£10

Chris Martin: Responsibilliness

HHH Pleasance Courtyard, 1–24 Aug, £6—£12

Robert Newman’s New Theory of Evolution Stand in the Square, 1–25 Aug, not 4, 11, 18, £12 Daniel Sloss– Really...?!

Venue150@EICC, 1–24 Aug, not 20, £10—£17.50

Gareth Morinan’s Play: Time Banshee Labyrinth, 2–24 Aug, £free Wanted Sweet Grassmarket, 11–24 Aug, £8.50 Laughing Horse Free Pick of the Fringe Laughing Horse @ Espionage, 1–24 Aug, £free Harriet Dyer: Barking at Aeroplanes Laughing Horse @ Bar 50, 1–24 Aug, not 11, £free Shappi Khorsandi: Because I’m Shappi...

Pleasance Dome, 1–24 Aug, not 11, £7.50—£13 Igor Meerson: Hou I lernt inglish Pleasance Courtyard, 1–25 Aug, not 11, £6—£10.50 Who Dares Grins Again 2014 Cowgatehead, 1–25 Aug, £free Lights! Camera!

Improvise! - The Improvised Movie Pleasance Courtyard, 1–25 Aug, not 12, £6—£12.50 The Referendum Review Show!

Laughing Horse @ The Free Sisters, 1–24 Aug, £free Laughdance: The Experiment Paradise in Augustines, 21 Aug, 23 Aug, £free Rhys Mathewson Hombre Lobo HH Pleasance Courtyard, 1–25 Aug, not 11, 12, £7—£10.50 Simon Feilder: All The Things I’m Not Pleasance Courtyard, 1–25 Aug, not 11, £6—£9

20:35 Rice ‘n’ Peas ‘n’ Caviar Madogs Cocktail Bar and Grill, 2–23 Aug, £free Javier Jarquin: Joke Ninja Just the Tonic at The Caves, 1–24 Aug, not 12, £5—£8

20:40 Paul McCaffrey: Paul Or Nothing Assembly George Square Theatre, 1–23 Aug, £6—£10 Gerry Howell’s Portal of Discovery Voodoo Rooms, 2–24 Aug, £free

❤ Josie Long: Cara Josephine HHHH The Stand Comedy Club, 1–24 Aug, not 11, 16, £11

❤ Kraken HHHH Underbelly, Cowgate, 1–24 Aug, not 11, £7—£12

John Robertson: The Dark Room Underbelly, Cowgate, 1–24 Aug, not 11, £6—£10.50 The Voyage of The Narwhal Just the Tonic at The Caves, 1–24 Aug, not 12, £5—£8

20:45 Andrew Lawrence: Reasons to Kill Yourself HHH The Assembly Rooms, 1–24 Aug, not 11, 18, £10 Damien Slash: Forward Slash Cowgatehead, 1–24 Aug, not 10, 11, 20, £free Paco Erhard: Worst.

German. Ever.

Cowgatehead, 1–25 Aug, not 4, 11, 18, £free Roger Swift and Patrick Draper - The Energy and the Apathy Laughing Horse @ Ryrie’s, 16–24 Aug, £free The Twilight Region Laughing Horse @ The Wee Pub, 1–24 Aug, £free The Best of Singapore Laughing Horse @ The Counting House, 18–24 Aug, £free

❤ Frank Skinner: Man in a Suit HHHH Assembly George Square Theatre, 1–24 Aug, £10—£17.50

Enjoy comedy, cabaret, theatre & more Open every night until 5am 84 fest 19 August 2014

The Barry Experience Laughing Horse @ Espionage, 1–24 Aug, not 5, 12, 19, £free Mark Nelson: Please Think Responsibly Gilded Balloon , 1–25 Aug, not 11, £6—£12.50 Baby Wants Candy: The Completely Improvised Full Band Musical Assembly Roxy, 1–25 Aug, not 13, £10—£15 Gareth Richards: Comedy in the Key of Gareth Beat, 2–23 Aug, £free The Grandees: A Creepshow Heroes @ The Hive, 1–24 Aug, not 12, £5

❤ Sam Simmons: Death of a Sails-Man

HHHH

Underbelly, Bristo Square, 1–24 Aug, not 11, 18, £7—£13

Neil Hamburger Underbelly, Cowgate, 13–24 Aug, £10—£12 The Incredible Paul F Taylor Cabaret Voltaire, 2–23 Aug, not 12, 19, £free

20:55 Tom Stade: Decisions Decisions The Assembly Rooms, 1–24 Aug, not 11, £15

Ricky and Dave Gigglelos Dragonfly, 1–25 Aug, £free Alpha Fail Laughing Horse @ Jekyll & Hyde, 1–24 Aug, £free Laughing Horse Free Comedy Selection Laughing Horse @ The Free Sisters, 1–24 Aug, £free Sol Bernstein: Still Standing Just the Tonic at The Tron, 1–24 Aug, not 12, 14, £7—£9

❤ Joel Dommett:

Pete Dobbing: Dobbing Kilderkin, 2–22 Aug, not 5, 12, 19, £free Chris Henry: Only the Good Die Young Laughing Horse @ The Free Sisters, 1–23 Aug, £free Ben Norris: Benny on the Loose The Liquid Room, 10–21 Aug, £free Hurt and Anderson: Bringing Sketchy Back Laughing Horse @ The Newsroom, 1–24 Aug, not 4, 11, 18, £free Infinitely More Deluded Laughing Horse @ The Phoenix, 1–24 Aug, not 5, 12, 19, £free 99 Club Stand-up Selection - Cowgate - Free Laughing Horse @ The Free Sisters, 1–24 Aug, £free Billie Was Tap Dancing for the Seagulls St John’s, 1–25 Aug, not 11, 19, £free An Evening With Patti DuPont St John’s, 1–24 Aug, not 12, £free Half Baked Laughing Horse @ The Counting House, 1–25 Aug, not 12, £free

21:00

Finding Emo

BBC: Bridget Christie Minds the Gap BBC@POTTERROW, 24 Aug, £free

Laughing Horse @ The Counting House, 1–24 Aug, £free

Russell Kane: Smallness Underbelly, Bristo Square, 20–22 Aug, £15 Stand Up for Shelter Underbelly, Bristo Square, 23 Aug, £20

❤ Mark Watson: Flaws HHHH Pleasance Courtyard, 1–24 Aug, not 11, 18, £9—£15.50

Eddie Pepitone: RIP America, It’s Been Fun HHH Pleasance Courtyard, 1–24 Aug, not 11, £7—£14 Paul Ricketts’ West End Story Just the Tonic at The Mash House, 1–24 Aug, not 12, £3—£5 Tom Shillue: Impossible The Assembly Rooms, 1–24 Aug, not 11, £10 Maff Brown: Born Again Comedian Gilded Balloon , 1–24 Aug, not 11, £6—£12 What Does The Title Matter Anyway?

HHH

Underbelly, Bristo Square, 6–19 Aug, £16—£17.50

20:50

Dangerfield: Sex with Children Heroes @ The Hive, 4–23 Aug, £5

Michael Fabbri: Oversharing Cabaret Voltaire, 2–23 Aug, not 11, £free

Tedfest Underbelly, Cowgate, 1–24 Aug, not 11, £6—£10.50

HHHH

Foster’s Edinburgh Comedy Awards Show Underbelly, Bristo Square, 24 Aug, £14 No Strings Just the Tonic at The Caves, 1–24 Aug, not 12, £4—£8 The Axis of Awesome: Viva La Vida Loca Las Vegas

HH

Gilded Balloon , 1–24 Aug, not 21, £8—£14

A Bonanza of Festival Comedy and Cabaret Laughing Horse @ The Paradise Palms, 3 Aug, 10 Aug, 17 Aug, 24 Aug, £free Jason Byrne in You Name the Show Assembly Hall, 1–24 Aug, not 11, 18, £10—£19.50

21:05 Stephen K Amos: Work in Progress The Stand Comedy Club III & IV, 1–23 Aug, not 11, 12, 18, 19, £10 Jamie MacDonald: That Funny Blind Guy 2 - The Good, the Stag and the Ugly Assembly George Square Studios, 1–25 Aug, not 11, £5—£7 Bob Doolally, Football Legend The Stand Comedy Club III & IV, 11 Aug, 19 Aug, £10

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0131 622 6552 gildedballoon.co.uk 21:10 B.J. Novak: One More Thing Assembly George Square Studios, 19–24 Aug, £16

❤ Abandoman: Hot Desk HHHH Underbelly, Bristo Square, 1–25 Aug, not 11, 18, £7.50—£15

Larry Dean: Scottish Comedian of the Year 2013 Scottish Comedy Festival @ The Beehive Inn, 1–24 Aug, £5—£12

21:15 Justin Hamilton: Johnny Loves Mary Forever 1994 Assembly George Square Studios, 1–24 Aug, not 13, £6—£10

COMEDY LISTINGS

James Loveridge: Funny Because It’s True Laughing Horse @ Jekyll & Hyde, 1–24 Aug, £free

Felicity Ward: The Iceberg HHH Underbelly, Bristo Square, 1–25 Aug, not 11, £7—£13

Jem Brookes: Punusual Laughing Horse @ The Counting House, 1–24 Aug, £free

Jonny & The Baptists: The Satiric Verses HHH Pleasance Dome, 1–24 Aug, not 11, £6—£11

Jim Davidson: No Further Action

21:30

Yacine Belhousse: Made in France

Michael Mittermeier: das Blackout Gilded Balloon , 11–25 Aug, £10.50—£12.50

HHH

Assembly Hall, 1–25 Aug, not 18, £12—£15

Complete Holmes and Shakeshaft Laughing Horse @ The Free Sisters, 1–24 Aug, £free Sully O’Sullivan: Nationhood Laughing Horse @ The White Horse, 1–24 Aug, £free

Guilt & Shame: Going Straight Underbelly, Cowgate, 1–24 Aug, not 13, £6—£10 Cookies and Cream Laughing Horse @ The Free Sisters, 1–25 Aug, £free The New Wave Laughing Horse @ New Empire Bingo, 14 Aug, 21 Aug, £free

Pierre Novellie is Mighty Peter HHH Pleasance Courtyard, 1–24 Aug, not 12, £6—£9.50

BBC: Asian Network Presents… Comedy BBC@POTTERROW, 23 Aug, £free

The Split Note Sessions CC Blooms, 2–24 Aug, not 6, 13, 20, £free

21:20 ❤ Natasia

Kendall: Touchdown

Richard Gadd: Breaking Gadd Laughing Horse @ The Counting House, 1–24 Aug, not 11, £free

HHHH

❤ Brent Weinbach: Appealing to the Mainstream

HHHH

Gilded Balloon , 1–25 Aug, not 11, £5—£12

Tom Rhodes: Colossus HHH Gilded Balloon , 1–25 Aug, not 11, 21, £6—£12 Omar Hamdi +1 Globe Bar, 2–24 Aug, £free Markus Birdman: 2B or Not to Be HHH The Stand Comedy Club V, 1–24 Aug, not 11, £8 Damian Clark: Go Ahead, Make My Damo Gilded Balloon , 1–24 Aug, not 11, £9—£10

❤ Sheeps: Wembley Previews HHHH Bedlam Theatre, 2–24 Aug, not 11, £6—£10.50

Eddy Brimson Windy Piss Laughing Horse @ City Cafe, 1–24 Aug, not 11, 18, £free Tiff Stevenson: Optimist HH Gilded Balloon , 1–23 Aug, £6—£10

Demetriou: You’ll Never Have All of Me Underbelly, Cowgate, 1–24 Aug, not 8, 11, £6—£10.50

Seann Walsh: Seann 28 Pleasance Courtyard, 1–23 Aug, not 11, 12, 18, 19, £7.50—£13 Andrew Doyle: Zero Tolerance The Stand Comedy Club III & IV, 1–24 Aug, not 11, £8 Jimmy Carr – Funny Business Venue150@EICC, 15 Aug, 16 Aug, 22 Aug, 23 Aug, £18.50 Henning Wehn: Eins, Zwei, DIY Just the Tonic at The Caves, 1–24 Aug, not 12, £7.50—£11.50 Evolution of iMaAN Just the Tonic at The Caves, 1–24 Aug, not 12, £5—£10

21:25 Never Mind the Bawbags!

Scottish Comedy Festival @ The Beehive Inn, 1–24 Aug, not 6, 13, £free Ray Peacock: Here Comes Trouble Underbelly, Bristo Square, 1–24 Aug, £6—£10

❤ Sarah HHHH

Pleasance Courtyard, 1–25 Aug, not 17, £6—£10.50

21:35 Henry Paker: Unpacked Pleasance Courtyard, 1–24 Aug, not 11, £6—£10 Back to the Hills!

Just the Tonic at The Community Project, 1–24 Aug, not 12, £5—£9 The Oxy Morons in...

Glistening Flanks theSpace @ Surgeons Hall, 18–23 Aug, £8

Pleasance Courtyard, 1–25 Aug, not 11, £6—£12

11 Films to Happiness Ciao Roma, 2–23 Aug, £free

Hamell On Trial: The Happiest Man in the World Assembly George Square Studios, 13–25 Aug, £12—£15

Casual Violence: Om Nom Nom Nominous - Free Voodoo Rooms, 1–23 Aug, not 5, 12, 19, £free

Künt and the Gang go to Mecca Laughing Horse @ New Empire Bingo, 22–23 Aug, £5 The Comedy Reserve Pleasance Dome, 1–25 Aug, not 11, 18, £6—£9.50 Pete Johansson: Several Jokes Pleasance Courtyard, 1–25 Aug, not 11, £6—£11 Michael Downey: Blue Sometimes Underbelly, Bristo Square, 1–24 Aug, not 11, £6—£12

❤ Glenn Wool: Wool’s Gold

HHHH

21:40 Four Stories Four Songs Sweet Grassmarket, 11–24 Aug, £7 Jess Robinson: Mighty Voice Pleasance Dome, 1–25 Aug, not 11, £6.50—£11.50 Tim Key: Single White Slut Pleasance Courtyard, 13–25 Aug, £10—£16 Big Value Comedy Show - Late Just the Tonic at The Community Project, 1–24 Aug, not 12, £7.50—£9.50

Justin Moorhouse: This is What I Am Gilded Balloon , 1–24 Aug, not 2, £5—£11

George Ryegold: Iron Face in a Velvet Beard Underbelly, Bristo Square, 1–25 Aug, not 13, 14, 19, 20, 21, 22, 23, £6—£10

Tom Price: Not As Nice As He Looks Pleasance Courtyard, 1–24 Aug, not 21, £6—£10

Dave Callan: A Little Less Conversation Assembly Roxy, 1–25 Aug, not 11, 12, 13, £6—£11

Underbelly, Bristo Square, 1–25 Aug, not 3, 11, 18, £7—£14

0131 622 6552 gildedballoon.co.uk @gildedballoon www.festmag.co.uk

HHH

21:45 Born in the 90s Cowgatehead, 1–26 Aug, £free Pat and Paul Get Some Beans Laughing Horse @ The Free Sisters, 1–24 Aug, £free Bob Blackman’s Local Laughing Horse @ Bar 50, 9–23 Aug, not 17, £free Aaah’m Voting NO Laughing Horse @ Espionage, 1–23 Aug, not 11, 18, £free David Trent: Live at the Pleasance Courtyard HHH Pleasance Courtyard, 1–24 Aug, £6—£12 Ed Gamble: Gambletron 5000

HHH Pleasance Courtyard, 1–24 Aug, £6—£10

Swedish Oddballs Cowgatehead, 19–23 Aug, £free

❤ Adam of the Riches HHHH Pleasance Dome, 1–24 Aug, £7—£14

Beth Vyse: Get Up With Hands! HHH Pleasance Courtyard, 1–24 Aug, not 11, £6.50—£10

❤ John Robins: This Tornado Loves You

HHHH Pleasance Courtyard, 1–24 Aug, not 11, £6—£12

❤ John Hastings Adventure HHHH Pleasance Courtyard, 1–24 Aug, £6—£9.50

21:50 Quint Fontana ‘I Remember Me’ Voodoo Rooms, 2–24 Aug, not 11, 18, £free

21:55 Got It Covered Comedy Hour Chiquito, 2–23 Aug, not 12, 13, £free

22:00 ❤ Sarah Bennetto’s Funeral HHHH Pleasance Courtyard, 4–25 Aug, weekdays only, £9—£11

Shirley and Shirley: Late Night Lock In Assembly George Square Theatre, 1–24 Aug, not 12, £6—£11 Soho Comedy Club at the Fringe Freestival St Mary’s, 1–25 Aug, not 13, £free Sarah Bennetto’s Storytellers’ Club Pleasance Courtyard, Various dates from 9 Aug to 24 Aug, £12 Katerina Vrana: Feta with the Queen Laughing Horse @ Espionage, 1–24 Aug, not 12, 19, £free BattleActs! - Free Laughing Horse @ The Free Sisters, 2–24 Aug, not 4, 11, 18, £free The Alternative Comedy Memorial Society Stand in the Square, 3 Aug, 10 Aug, 17 Aug, 24 Aug, £10 Zapp and Dembina Cowgatehead, 1–25 Aug, not 5, 12, 19, £free Nev: Gold Laughing Horse @ The Wee Pub, 1–24 Aug, £free

❤ Nick Coyle: Double Tribute

HHHH Just the Tonic at The Caves, 1–24 Aug, not 12, £6—£10.50

Foil, Arms and Hog: Loch’d Underbelly, Cowgate, 1–24 Aug, £7—£11 Brendon Burns and Colt Cabana Sit in a 150 Seater at 10pm and Provide the Commentary to Bad Wrestling Matches Stand in the Square, 1–25 Aug, not 3, 10, 17, 24, £8

Gilded Balloon, 13 Bristo Square, Edinburgh EH8 9AJ 19 August 2014 fest 85

0131 622 6552 gildedballoon.co.uk

COMEDY LISTINGS Sharma Sharma Sharma Sharma Sharma Comedian!

Laughing Horse @ Espionage, 1–24 Aug, £free The Mangina Funalogs Cowgatehead, 1–28 Aug, not 4, 11, 18, 25, £free The Best of Who’s Available Laughing Horse @ Espionage, 12 Aug, 19 Aug, £free Cardinal Burns Pleasance Courtyard, 15–23 Aug, not 18, £12—£13 Birthday Girls: Party Vibes Cowgatehead, 1–25 Aug, not 12, £free

Aunty Donna Gilded Balloon , 1–25 Aug, not 11, £10 Sunna Jarman: Family Tree Cowgatehead, 1–25 Aug, £free Daniel Sloss – Really...?! Extra Shows Venue150@EICC, Various dates from 8 Aug to 23 Aug, £17.50 Marcel Lucont Is Pleasance Dome, 1–25 Aug, not 11, £8—£12 Scott Capurro Islamohomophobia: Reloaded The Assembly Rooms, 1–24 Aug, not 11, £10

Bronston Jones: What Comes Out - Free Laughing Horse @ The Counting House, 1–24 Aug, £free

22:05 Blind Mirth theSpace on the Mile, 11–23 Aug, not 17, £6 Phlash! theSpace @ Jury’s Inn, 13–23 Aug, not 17, £6 Alan Anderson: Whisky For Dafties Scottish Comedy Festival @ The Beehive Inn, Various dates from 4 Aug to 24 Aug, £15 The Shambles theSpace @ Surgeons Hall, 1–23 Aug, not 3, £7—£8

– The Crossroads

IT Rock‘n’Roll: Business Trip to the Future Laughing Horse @ The Cellar Monkey, 1–24 Aug, £free

Laughing Horse @ The Counting House, 1–24 Aug, not 11, 18, £free

Zombie Science: Worst Case Scenario C venues - C, 1–25 Aug, not 12, £8.50—£10.50

Jay Handley: Free Comic Dragonfly, 2–23 Aug, £free

❤ Stuart Black HHHH

22:10

WOMANz Underbelly, Cowgate, 1–24 Aug, not 12, £6—£10 Alun Cochrane: (Me Neither) HHH The Stand Comedy Club, 1–24 Aug, not 11, £10

22:15 Jonny Awsum: Sexy Noises Gilded Balloon , 1–24 Aug, not 11, £6—£8.50 Japanese Terminatol is Back!

Laughing Horse @ The Free Sisters, 1–24 Aug, not 13, £free The Good, the Bad and the Irish!

Laughing Horse @ Jekyll & Hyde, 1–24 Aug, £free

Luisa Omielan...

Am I Right Ladies?!

HHH Laughing Horse @ The Counting House, 1–24 Aug, not 10, 17, £free

22:20 Fin Taylor: Real Talk Just the Tonic at The Tron, 1–24 Aug, not 12, £7.50—£9.50 Danish Face Just the Tonic at The Mash House, 1–23 Aug, not 12, £free Come Heckle Christ

HH Pleasance Courtyard, 1–24 Aug, not 11, 18, £6—£9.50

Coppers Uncovered: The Walk of Shame Underbelly, Cowgate, 1–24 Aug, £6—£10 Miss Glory Pearl: The Naked Stand-Up Just the Tonic at The Caves, 1–24 Aug, not 12, 13, £5—£8

Sh*t-Faced Shakespeare Underbelly, Bristo Square, 1–25 Aug, £6—£11.50 Who Shot Hitler?

Just the Tonic at The Mash House, 1–24 Aug, not 12, £2—£4

22:25 Now You’re Just Being Silly Paradise in The Vault, 19 Aug, 20 Aug, 22 Aug, 23 Aug, £6

22:30 Isla Dogs: Down the Dogs CC Blooms, 2–24 Aug, £free Scottish Falsetto Sock Puppet Theatre - And So Am I Gilded Balloon , 1–24 Aug, £5—£11

A dramatic unpredictable magic performance by actor and magician Robert Jägerhorn

6.30 pm 31 July - 24 August HILL STREET SOLO THEATRE tickets: 0131 226 0000 / universalartsfestival.com

A diverse programme of high quality professional dance from Wales presented daily between 18-25 August ZOO Southside (Venue 82)

Enjoy comedy, cabaret, theatre & more Open every night until 5am 86 fest 19 August 2014

tel. 0131 662 6892

0131 622 6552 gildedballoon.co.uk @gildedballoon www.festmag.co.uk

0131 622 6552 gildedballoon.co.uk

COMEDY LISTINGS

Silky: Tribute Act The Stand Comedy Club III & IV, 1–24 Aug, not 11, £8

These Is You’re Lifes Laughing Horse @ Jekyll & Hyde, 1–24 Aug, not 4, 11, 18, £free

The Comedy Zone Pleasance Courtyard, 1–24 Aug, £6—£10

Chelsea Manders: Don’t Tell My Dad Assembly George Square Studios, 1–25 Aug, not 11, £5—£9

Joke Thieves Just the Tonic at The Caves, 1–24 Aug, not 12, £5—£7

Lord of the Dance Settee HHHH Assembly George Square Theatre, 1–24 Aug, £10—£14

❤ The Circus HHHH Assembly George Square Gardens, 1–25 Aug, not 11, £8—£16

Al Lubel in... I’m Still Al Lubel HHH Pleasance Courtyard, 1–24 Aug, £6—£10 Fright Bus Service Necrobus, 1–23 Aug, £9

50 Shades! The Musical. The Original Parody Assembly Hall, 1–25 Aug, not 13, £10—£15

Hedluv and Passman: Doin’ it Dreckly Gilded Balloon , 1–25 Aug, £5—£11

❤ Lou Sanders in

Birds with Human Lips HHHH Gilded Balloon , 1–25 Aug, not 11, £5—£10.50

Another Great Show Again HHHH Laughing Horse @ City Cafe, 1–24 Aug, £free BBC: Newsnight BBC@POTTERROW, 21 Aug, £free Craig Campbell: Thrilling Mic Hunt The Stand Comedy Club III & IV, 15 Aug, 16 Aug, 22 Aug, 23 Aug, £10 Dave Hughes: Pointless Assembly George Square Studios, 19–23 Aug, £14—£15 Freddie Farrell: Lock, Stock and One Joking Farrell Laughing Horse @ The Counting House, 1–24 Aug, not 13, £free Sketch Bingo Laughing Horse @ The White Horse, 1–24 Aug, £free Political Animal – Scottishreferendogeddon 2014 The Stand Comedy Club III & IV, 17–21 Aug, £10 Scotland Stands Up Gilded Balloon , 8–24 Aug, not 11, 21, £11.50—£12.50 Chris Ramsey: The Most Dangerous Man On Saturday Morning Television Pleasance Courtyard, 16–24 Aug, £12.50—£15 Return to Superglad Laughing Horse @ The Free Sisters, 1–24 Aug, £free

❤ Demi Lardner:

Showstopper! The Improvised Musical Gilded Balloon , 1–24 Aug, not 21, 22, £14—£15 One Thing Led to a Mother The Stand Comedy Club V, 1–24 Aug, not 11, £8

22:35 Nancy Clench: Down Right Dirty Spotlites @ The Merchants’ Hall, 20–24 Aug, £8.50

22:40 ❤ Will Franken: The Stuff They Put in Sleep HHHH Just the Tonic at The Caves, 1–24 Aug, not 12, £10—£11 Elephant Room Assembly Hall, 1–25 Aug, not 6, 13, 20, £9—£15 Scotland’s Pick of the Fringe Scottish Comedy Festival @ The Beehive Inn, 1–24 Aug, not 4, 11, 18, £5 Sex with Animals Underbelly, Cowgate, 1–24 Aug, not 4, 11, 18, £6—£10.50

❤ Richard Herring:

❤ Gein’s Family Giftshop: Volume 1

HHHH

Pleasance Courtyard, 1–24 Aug, not 11, £6—£9

Julian McCullough: Dream Girls HH Pleasance Courtyard, 1–24 Aug, not 11, £7—£14 Joey Page: This is Not a Circus HHH Underbelly, Bristo Square, 1–25 Aug, not 12, £6—£10 Joe Munrow: Misinformation Laughing Horse @ The Free Sisters, 1–24 Aug, not 4, 11, 18, £free Werewolf Erotica, She Wrote Laughing Horse @ The Counting House, 1–24 Aug, not 18, £free Titty Bar Ha Ha: Hard Time Gilded Balloon , 1–24 Aug, not 11, 18, £5—£13 Mat Ewins: The Six Million Dollar Ewins

HHH

Pleasance Courtyard, 1–25 Aug, £6—£10

22:50 The Noise Next Door’s Comedy Lock-In Pleasance Courtyard, 1–24 Aug, not 12, £6—£13 Le Flop Underbelly, Cowgate, 1–24 Aug, not 11, £6—£10.50 Edinburgh Comedy Allstars Underbelly, Bristo Square, Various dates from 1 Aug to 23 Aug, £10.50—£16

22:45

Francesco De Carlo: Italians Do It Later Pleasance Courtyard, 1–25 Aug, not 11, £6—£10.50

Andrew O’Neill’s History of Heavy Metal Pleasance Dome, 1–24 Aug, not 11, £6—£9.50

The Horne Section: Milk the Tenderness Underbelly, Bristo Square, 7–24 Aug, £12—£14

0131 622 6552 gildedballoon.co.uk @gildedballoon www.festmag.co.uk

23:00 It Might Get Ugly Pleasance Courtyard, 1–24 Aug, £6—£10

Stand-Up Comedy Live @ Le Monde Upstairs @ Le Monde, 3–21 Aug, not 8, 9, 15, 16, £10

AAA Stand-Up Late Pleasance Courtyard, 1–25 Aug, £6—£11

Hate ‘n’ Live Laughing Horse @ Espionage, 1–24 Aug, £free

Alfie Brown: Divorced from Reality (and My Wife) Pleasance Courtyard, 1–24 Aug, £6—£10

BBC: BBC Presents…

BBC@POTTERROW, 3–23 Aug, not 7, 11, 12, 13, 14, 18, 20, 21, £free

The Jest Pleasance Courtyard, 1–24 Aug, not 12, £6—£10 The Comedian’s Comedian Podcast with Stuart Goldsmith Heroes @ Bob & Miss Behave’s Bookshop, 10 Aug, 17 Aug, 18 Aug, 19 Aug, 20 Aug, £5 Late Night Gimp Fight: The Worst of Late Night Gimp Fight Pleasance Courtyard, 21–23 Aug, £12 Tom Short and Will Hutchby: Only Child Syndrome Just the Tonic at The Mash House, 1–24 Aug, not 10, 12, 17, £2—£4 Nymphonerdiac Laughing Horse @ Bar 50, 12–24 Aug, £free Brains Mcloud: 15 Reasons Why Justin Bieber is Gay Heroes @ Bob & Miss Behave’s Bookshop, 21–25 Aug, £5 Stephanie Laing: Nincompoop Globe Bar, 2–24 Aug, not 5, 12, 19, £free BBC: BBC Presents…

Edinburgh 2014 BBC@POTTERROW, 24–25 Aug, £free McQueen: McQueen

HH

Pleasance Dome, 1–24 Aug, not 10, 13, £6—£10

Aaaaaaaaaaaaarrghhh! It’s the Increasingly Prestigious Malcolm Hardee Comedy Awards Show - and It’s Free!

Laughing Horse @ The Counting House, 22–23 Aug, £free

Foul Play. The F*cking Nasty Show Pleasance Dome, Various dates from 1 Aug to 23 Aug, £10—£12 Excited!!!

Pleasance Courtyard, 1–25 Aug, not 8, 14, £6—£8

23:05 Cheaper Than Therapy Just the Tonic at The Community Project, 1–24 Aug, not 12, £7

23:15 Comedian Matt Henry and Friends: A State of the Art Comedy Event Freestival St Mary’s, 1–25 Aug, £free Late Night Dark Show Cowgatehead, 1–25 Aug, £free A to Z Improv Comedy Kilderkin, 2–23 Aug, not 5, 12, 19, £free TAKE a coMEdian OUT! Pleasance Courtyard, 19–20 Aug, £10

Shaggers Laughing Horse @ The Free Sisters, 1–23 Aug, £free All at Sea Laughing Horse @ The Cellar Monkey, 1–23 Aug, not 16, £free Voices in Your Head Gilded Balloon , Various dates from 1 Aug to 24 Aug, £5—£10 Scotsman and Irishman Walk Inde a Bar Laughing Horse @ The Newsroom, 4–21 Aug, not 8, 9, 10, 15, 16, 17, £free Carter and Ollerton: Won’t Go Quietly Cowgatehead, 1–25 Aug, not 11, 19, £free Fat Controller Comedy Laughing Horse @ The Free Sisters, 3–24 Aug, not 8, 9, 15, 16, 22, 23, £free

23:20 American Roadshow Just the Tonic at The Caves, 1–24 Aug, not 12, £1—£5 Tom Rosenthal: Meme, Myself and I Pleasance Dome, 14 Aug, 18 Aug, 20 Aug, 22 Aug, 23 Aug, £10.50—£12.50 Set List: Stand-Up Without a Net Stand in the Square, 1–25 Aug, not 5, 12, 19, £12.50

Choose Your Own Comedy Adventure Laughing Horse @ The Counting House, 1–24 Aug, not 5, 12, 19, £free

Best of Scottish Comedian of the Year Underbelly, Cowgate, 1–24 Aug, not 6, 12, 13, 19, 20, £6—£13.50

Andrew Lawrence: Reasons to Kill Yourself HHH The Assembly Rooms, 22–23 Aug, £10

This is Your Trial Assembly George Square Theatre, 1–23 Aug, not 3, 4, 10, 11, 17, 18, £6—£10.50

Jarred Christmas and Jack Hobbs: The Christmas and The Hobbit -A Beat Box and Stand-Up Collaboration Gilded Balloon , 18–20 Aug, £12

Laughdance: The Experiment Paradise in Augustines, 12–24 Aug, not 18, 20, 21, 22, 23, £free

Comedy Monkey Laughing Horse @ The Counting House, 1–24 Aug, £free

The Alternative Comedy Memorial Society Stand in the Square, 5 Aug, 12 Aug, 19 Aug, £10

Gilded Balloon, 13 Bristo Square, Edinburgh EH8 9AJ 19 August 2014 fest 87

0131 622 6552 gildedballoon.co.uk

COMEDY LISTINGS 23:30 I am, I am Gilded Balloon , 1–25 Aug, not 11, 18, £5—£10 The Mac Twins: Mac Yourself at Home The Blackbird, 9 Aug, 15 Aug, 16 Aug, 22 Aug, 23 Aug, £10

Afterhours Comedy Assembly Roxy, 2 Aug, 9 Aug, 16 Aug, 22 Aug, 23 Aug, £12.50 Diane Chorley Just the Tonic at The Caves, 18–24 Aug, £free

23:45

Smells Like Shite...

Tastes Like Chicken Laughing Horse @ Jekyll & Hyde, 1–25 Aug, £free

Licence To Laugh Comedy Club Laughing Horse @ The White Horse, 1–24 Aug, £free

Marc Burrows in the Ten Best Songs Of All Time - Free Laughing Horse @ The Free Sisters, 1–23 Aug, not 11, £free

Just Jokes Laughing Horse @ City Cafe, 1–24 Aug, not 11, 18, £free

Richard Tyrone Jones: What the F*ck is This?

Banshee Labyrinth, 2–24 Aug, not 6, 13, 20, £free

23:40 WitTank: Old School Secrets HHH Pleasance Courtyard, Various dates from 8 Aug to 23 Aug, £12 Russell Hicks: Unprepared Just the Tonic at The Tron, 1–24 Aug, not 12, £free Wil Hodgson’s Records in the Roof Just the Tonic at The Mash House, Various dates from 1 Aug to 23 Aug, £5

Billy McGuire Ain’t Always Honest Laughing Horse @ The Counting House, 1–24 Aug, £free Andy Field is a Giddy Manchild Laughing Horse @ The Free Sisters, 1–24 Aug, £free Rob Deering’s Beat This Gilded Balloon , Various dates from 1 Aug to 24 Aug, £10—£11

23:50 ❤ Mark Watson: Flaws HHHH Pleasance Courtyard, 22–23 Aug, £15.50

23:55 The Assembly Rooms Very Best of the Fest The Assembly Rooms, Various dates from 2 Aug to 23 Aug, £15

The Stand Late Show The Stand Comedy Club, Various dates from 1 Aug to 23 Aug, £15

23:59 Will Seaward’s Spooky Midnight Ghost Stories!

Gilded Balloon , 1–25 Aug, not 11, 20, £5—£8.50 Best of the Fest Assembly Hall, Various dates from 1 Aug to 24 Aug, £10—£15 Comedy Countdown Gilded Balloon , 1–23 Aug, not 3, 4, 10, 11, 17, 18, £5—£8

00:00 From Pirates to Pop Stars Laughing Horse @ The Free Sisters, 9–25 Aug, £free John Conway Tonight Pleasance Dome, 2–26 Aug, £6—£9.50 Late With Kate Canons’ Gait, 3–24 Aug, not 4, 11, 18, £free Just the Tonic Comedy Club’s Midnight Show Just the Tonic at The Community Project, 2–25 Aug, not 13, £5—£12

Fright Bus Service Necrobus, Various dates from 9 Aug to 24 Aug, £9 Tomorrow! with Ron Lynch Just the Tonic at The Caves, 2–25 Aug, not 12, £3—£7 Spank!

Underbelly, Cowgate, 2–25 Aug, £10—£15.50 Edinburgh Toilet Duck Award – Grand Final Underbelly, Cowgate, 23 Aug, £9.50 One Man Breaking Bad The Stand Comedy Club III & IV, Various dates from 18 Aug to 24 Aug, £12

Mr Harris Laughing Horse @ The Counting House, 2–25 Aug, £free Hidden Laughing Horse @ The Counting House, 2–25 Aug, £free Free Fall Laughing Horse @ The Free Sisters, 1–24 Aug, not 2, 3, 9, 10, 16, 17, 23, £free The Improverts: 25th Anniversary Bedlam Theatre, 3–24 Aug, £7.50

00:15 The Room Assembly George Square Theatre, 4 Aug, 11 Aug, 18 Aug, 25 Aug, £8 Dr Ettrick-Hogg Presents The Bite - Free Laughing Horse @ Espionage, 1–25 Aug, £free

00:20 IndieRound (Fool Members Club) with Bob Slayer & Tim Fitzhigham Heroes @ Bob & Miss Behave’s Bookshop, 1–26 Aug, £5 Late Show Pleasance Courtyard, Various dates from 2 Aug to 24 Aug, £12.50—£14

00:30

Sam Larner Can’t Say His R’s - With Other Guests Who Can Laughing Horse @ The Free Sisters, 1–25 Aug, weekdays only, £free

00:45 Improv from the Crypt Laughing Horse @ The Counting House, 16–25 Aug, £free Spanktacular Underbelly, Bristo Square, Various dates from 9 Aug to 25 Aug, £15.50

Irish Late Night Mayhem Laughing Horse @ The Free Sisters, 2–24 Aug, £free Young and Here Laughing Horse @ Jekyll & Hyde, 1–25 Aug, £free Luisa Omielan: What Would Beyoncé Do?!

Underbelly, Bristo Square, 23 Aug, £15.50 W@nk the Dog - Free Laughing Horse @ The Free Sisters, 1–25 Aug, £free

01:00 The 1am Apesh*t Show Laughing Horse @ The Free Sisters, 1–26 Aug, £free Late’n’Live Gilded Balloon , 2–26 Aug, £10—£15 A Catalogue of Characters Laughing Horse @ Jekyll & Hyde, 1–25 Aug, not 5, 12, 13, 19, £free Late Night TED Laughing Horse @ City Cafe, 18–25 Aug, £free

01:15 Trevor Feelgood: Sex Machine Laughing Horse @ The Counting House, 11–24 Aug, £free

AL PorT

e theatr

Stories of women in science

Venue18 14:35 July31 £5.00 August1–24 £8.50 (£7.50)

Enjoy comedy, cabaret, theatre & more Open every night until 5am 88 fest 19 August 2014

0131 622 6552 gildedballoon.co.uk @gildedballoon www.festmag.co.uk

THEATRE LISTINGS 09:00 Traverse Breakfast Plays Traverse Theatre, 12–24 Aug, not 18, £14

10:00 Shakespeare for Breakfast C venues - C, 1–25 Aug, not 12, £7.50—£9.50

10:35 Kitty in the Lane Spotlites @ The Merchants’ Hall, 1–25 Aug, £7

10:40 The Madness of Tellaralette Seville theSpace on North Bridge, 19–23 Aug, £7 Frozen theSpace on North Bridge, 18–23 Aug, £7

❤ Pomegranate Jam HHHHH

11:00

Venue 13, 2–23 Aug, not 4, 11, 18, £8

Horizontal Collaboration Traverse Theatre, 3 Aug, 9 Aug, 15 Aug, 21 Aug, £18

BigMouth Traverse Theatre, 23 Aug, £19 Unfaithful HHH Traverse Theatre, 2 Aug, 7 Aug, 13 Aug, 19 Aug, 24 Aug, £13—£19 Lippy Traverse Theatre, 5 Aug, 10 Aug, 16 Aug, 22 Aug, £13—£19 Cuckooed HHH Traverse Theatre, 3 Aug, 8 Aug, 14 Aug, 20 Aug, £19 RIVERRUN Traverse Theatre, 9 Aug, 21 Aug, £19

10:15 Through the Clouds theSpace @ Surgeons Hall, 11–23 Aug, not 17, £5

10:20 Alice in Concert Church Hill Theatre, 19 Aug, £5 A Collection of Grimms’ Fairy Tales Greenside @ Nicolson Square, 18–23 Aug, £8

10:25 Architects and Anarchists theSpace on Niddry St, 19–23 Aug, £8

10:30 The Big Bite-Size Breakfast Show Pleasance Dome, 1–25 Aug, not 12, £7.50—£12.50

www.festmag.co.uk

The Carousel Traverse Theatre, 5 Aug, 10 Aug, 16 Aug, 22 Aug, £18 Spoiling HHH Traverse Theatre, 6 Aug, 12 Aug, 17 Aug, 23 Aug, £18

❤ The Fair Intellectual Club

HHHH

The Assembly Rooms, 1–24 Aug, not 11, £10

The Canterbury Tales Greenside @ Royal Terrace, 18–23 Aug, £9 Tea Time Story ZOO, 1–25 Aug, not 20, £4—£7 The Box – Free Laughing Horse @ The Free Sisters, 13–24 Aug, £free The Little Leaf Laughing Horse @ The Free Sisters, 14–26 Aug, £free Donald Robertson Is Not a Stand-Up Comedian HHH Traverse Theatre, 2 Aug, 8 Aug, 14 Aug, 20 Aug, £18

❤ Men in the Cities HHHH Traverse Theatre, 1 Aug, 7 Aug, 13 Aug, 19 Aug, 24 Aug, £18

11:10 Burton Assembly Hall, 16 Aug, 18 Aug, 19 Aug, 21 Aug, 23 Aug, £8—£10 Dylan Thomas: Clown in the Moon Assembly Hall, Various dates from 15 Aug to 25 Aug, £8—£10

These Are the Best Days: A Revue theSpace on the Mile, 19 Aug, 21 Aug, 23 Aug, £6

merry christmas, Ms Meadows Pleasance Dome, 19–25 Aug, £9.50—£12.50

11:15

12:00

Why Is Life Like Sparrows?

Venue 13, 17–23 Aug, £8

The Silence of Snow: The Life of Patrick Hamilton Laughing Horse @ Espionage, 1–24 Aug, not 6, 11, £free

The Princess Initiative theSpace on the Mile, 18 Aug, 20 Aug, 22 Aug, £6 Punk Rock Spotlites @ The Merchants’ Hall, 18–21 Aug, £7

11:25 I Am the Wind Greenside @ Nicolson Square, 18–23 Aug, £5

11:30 Hecat’s Poison: Enter the three Witches Quaker Meeting House, 4–23 Aug, not 10, 17, £5—£6 Lavender Junction C venues - C nova, 1–25 Aug, not 12, £7.50—£9.50 Dalloway Assembly Roxy, 1–25 Aug, not 12, £8—£13

11:40 Happy Pleasance Dome, 1–25 Aug, £6—£9 The Decline and Fall of Marcus Distilius theSpace on North Bridge, 1–23 Aug, not 3, 10, 17, £8

11:45 My Uncle’s Shoes

HHH New Town Theatre, 5–24 Aug, not 11, 18, £10

11:50 The Electra Project theSpace @ Surgeons Hall, 18–23 Aug, £6 Smoking Ban theSpace @ Surgeons Hall, 18–23 Aug, £7 The Curious Incident of the Frog in My Sightline Zoo Southside, 10–25 Aug, £7

First Class Laughing Horse @ Espionage, 1–24 Aug, £free

Sweep Up the Stars Just the Tonic at The Caves, 1–24 Aug, not 12, £5—£10

❤ Every Brilliant Thing HHHH

The 3rd Sector Pleasance Courtyard, 1–25 Aug, not 11, £6—£9.50

Summerhall @ Roundabout, 5–22 Aug, not 9, 10, 11, 16, 17, £10—£15

McAlister in Wonderland theSpace on the Mile, 19–23 Aug, £8

Somebody I Used to Know HHH Assembly Roxy, 1–25 Aug, not 3, 4, 6, 13, 20, £8—£10

Saint-Exupéry, a Pilot’s Story Assembly George Square Studios, 1–24 Aug, not 18, £5—£10

The Initiate Summerhall @ Roundabout, Various dates from 2 Aug to 23 Aug, £10—£17

Feral Underbelly, Bristo Square, 14–24 Aug, £10—£11

Dear Mister Kaiser

HH

Bedlam Theatre, 2–24 Aug, £5—£7

The Curing Room Pleasance Dome, 1–25 Aug, not 11, £7.50—£13 Welcome to Terezin Gilded Balloon , 12–24 Aug, not 18, £8—£9 Last Christmas

HHH

Assembly George Square Studios, 1–25 Aug, not 11, 18, £6—£11

The Moth of August C venues - C nova, 1–25 Aug, not 12, £7.50—£9.50 Low Tide in Glass Bay Underbelly, Cowgate, 1–24 Aug, £6—£10

I Have an Idea for a Film Laughing Horse @ The Counting House, 1–24 Aug, not 5, 12, 19, £free Absolutely Laughing Horse @ The Phoenix, 13–24 Aug, £free

12:20 The Art of Falling Apart HH Pleasance Courtyard, 1–25 Aug, not 12, £6—£11

Chaplin Pleasance Courtyard, 1–25 Aug, not 11, £6—£12

Can Stand Up - Don’t Want To! theSpace @ Surgeons Hall, 19–23 Aug, £5

The Waste Land Sisters Summerhall, 14–24 Aug, £10

Different is Dangerous theSpace @ Jury’s Inn, 19–23 Aug, £6.50

12:25

12:10

Chasing Zeds theSpace on North Bridge, 18–21 Aug, £5

Animal Farm Assembly George Square Theatre, 1–24 Aug, not 11, 18, £10—£15

12:15

Early Doors HHH Pleasance Pop-Up: The Pub, 1–25 Aug, not 11, 19, £6—£10

Banjo Man Laughing Horse @ The Blind Poet , 1–24 Aug, £free

Landscape with Skiproads Summerhall, 4–24 Aug, not 11, 18, £8—£12.50

The Hemline Index Pleasance Courtyard, 1–25 Aug, not 12, £6—£10

Summerhall, 1–24 Aug, not 8, 9, 10, 18, £12—£14

Clown Slut Dario’s Restaurant, 2–23 Aug, not 12, £free

12:05

The Hive HH Pleasance Dome, 1–25 Aug, not 11, £6—£10

HHH

Pentimento Gilded Balloon , 1–24 Aug, not 12, 19, £5—£10

The God Box: A Daughter’s Story HH Assembly Roxy, 1–25 Aug, not 11, 18, £7—£12

Pope Head: The Secret Life of Francis Bacon Laughing Horse @ Ryrie’s, 2–24 Aug, not 6, 13, £free

The Eradication of Schizophrenia in Western Lapland

Labour of Love Church Hill Theatre, 19 Aug, £5

Cushion theSpace on the Mile, 11–23 Aug, not 17, £5

Once Upon a Nightmare Laughing Horse @ The Counting House, 2–24 Aug, not 13, £free Dylan Thomas Return Journey - Bob Kingdom, Original Direction by Anthony Hopkins HH Pleasance Courtyard, 1–25 Aug, not 12, £6—£11

The Height of the Eiffel Tower HHH Assembly Hall, 1–25 Aug, not 11, 18, £7—£12 Frank Sent Me Underbelly, Bristo Square, 1–25 Aug, £6—£12

❤ Blood at the Root HHHH Assembly George Square Studios, 1–25 Aug, not 11, 12, £6—£12

Butterfly in Shades of Blue SpaceCabaret @ 54, 1–23 Aug, not 13, £8

12:30 Somebody I Used to Know HHH Assembly Roxy, 1–25 Aug, not 3, 4, 6, 13, 20, £8—£10 Going Out West Just the Tonic at The Mash House, 1–24 Aug, not 12, £6—£9.50

19 August 2014 fest 89

THEATRE LISTINGS ❤ Near Gone HHHH Summerhall, Various dates from 1 Aug to 23 Aug, £7—£10

The Pitiless Storm

HHH

The Assembly Rooms, 1–24 Aug, not 11, £15

Things from Before Pt. 4 Venue 13, 2–23 Aug, not 4, 11, 18, £8 I’m Thinking of Leaving Facebook Laughing Horse @ The Free Sisters, 1–24 Aug, £free

Manuelita Underbelly, Cowgate, 1–24 Aug, not 12, £6—£12

NSFW C venues - C nova, 10–25 Aug, £7.50—£9.50

...and This is My Friend Mr Laurel Pleasance Courtyard, 1–25 Aug, not 6, £6.50—£11

13:00

12:45 Chlorine Zoo Southside, 1–25 Aug, not 19, £5—£8 SmallWar HHH Traverse Theatre, 7 Aug, 13 Aug, 24 Aug, £19

Playback Impro Laughing Horse @ Jekyll & Hyde, 1–24 Aug, not 4, 11, 18, £free

RIVERRUN Traverse Theatre, 5 Aug, 10 Aug, 16 Aug, 22 Aug, £19

Lunchtime with Patsy Cline Hispaniola, 2–23 Aug, not 5, 12, 19, £free

The Zulu Assembly Hall, 2–25 Aug, not 11, £12—£13

The Time of Our Lies - The Life and Times of Howard Zinn HH Gilded Balloon , 1–25 Aug, not 11, £5—£10 Verbatopolis C venues - C, 18–25 Aug, £7.50—£9.50 Lippy Traverse Theatre, 6 Aug, 12 Aug, 17 Aug, 23 Aug, £19 Cuckooed HHH Traverse Theatre, 9 Aug, 15 Aug, 21 Aug, £19 Birdwatchers’ Wives

HH

Summerhall, Various dates from 2 Aug to 24 Aug, £8—£12

High Vis Thistle King James Hotel, 12–25 Aug, £free

12:35 L’Annunciazione – The Annunciation Spotlites @ The Merchants’ Hall, 23–24 Aug, £6 Error 404 Just the Tonic at The Caves, 1–23 Aug, not 12, £3.50—£7

12:40 Sunday Morning Assembly George Square Theatre, 1–25 Aug, not 11, £8—£11 Winky HHH Underbelly, Cowgate, 1–24 Aug, not 13, £6—£10

A Slight Ache HH Pleasance Courtyard, 1–25 Aug, not 13, 20, £6—£9 Cirque Tsuki: Feast C venues - C nova, 1–25 Aug, not 12, £7.50—£9.50 BigMouth Traverse Theatre, 19 Aug, £19 Unfaithful HHH Traverse Theatre, 8 Aug, 14 Aug, 20 Aug, £19

12:50 300 to 1 - Free Banshee Labyrinth, 2–24 Aug, not 5, 12, 19, £free Goodbye Gunther Pleasance Dome, 1–25 Aug, not 6, 13, 18, £6—£10 Candide: The Optimist theSpace on North Bridge, 18–23 Aug, £8—£10 Inevitable Greenside @ Nicolson Square, 18–23 Aug, £4

❤ Beowulf: The Blockbuster HHHH Pleasance Courtyard, 1–24 Aug, not 11, 18, £6—£11

Sochi 2014 Pleasance Courtyard, 1–21 Aug, not 11, £6—£9

12:55 Good Timin’ Northern Stage at King’s Hall, 14–23 Aug, not 17, £8—£11

90 fest 19 August 2014

Government Inspector Pleasance Courtyard, 1–25 Aug, not 11, £6—£9.50 Italia ‘n’ Caledonia Valvona & Crolla, 23 Aug, £12 John Muir. Rhapsody in Green Valvona & Crolla, 6 Aug, 8 Aug, 11 Aug, 16 Aug, 24 Aug, £12

❤ Pioneer HHHH Zoo Southside, 1–25 Aug, £7—£12

Outings HHH Gilded Balloon , 1–25 Aug, not 6, 13, 21, £12—£13 Sleeping Beauty Institut français d’Ecosse, 1–25 Aug, not 11, 18, £5—£10 Somebody I Used to Know HHH Assembly Roxy, 1–25 Aug, not 3, 4, 6, 13, 20, £8—£10

❤ Dr Longitude’s Marvellous Imaginary Menagerie HHHH Pleasance Courtyard, 1–25 Aug, not 12, £6—£12.50 A Play, a Pie and a Pint - Upstairs at Le Monde Upstairs @ Le Monde, 3–21 Aug, not 8, 9, 15, 16, £12

13:05

13:20

This Way Madness Lies theSpace @ Surgeons Hall, 1–23 Aug, not 3, 10, 17, £7

Let It Fall (After King Lear) Assembly George Square Studios, 12–23 Aug, not 18, £8—£10

Seven Missed Meals Leads to Anarchy theSpace @ Jury’s Inn, 18–23 Aug, £5

(BEAT) A Solo Show

by Lizzie Stanton Just the Tonic at The Caves, 23–24 Aug, £7

First World Problems C venues - C south, 1–25 Aug, not 11, £8.50—£10.50 Reduced Shakespeare Company in The Complete History of Comedy (abridged) Pleasance Courtyard, 1–25 Aug, not 6, 13, 20, £10—£13 Fundamentalists theSpace @ Surgeons Hall, 18–23 Aug, £10

13:10 Inevitable theSpace on the Mile, 19–23 Aug, £5 The Selkie and the River God Sweet Grassmarket, 11–25 Aug, £8

13:15 Lovecraft’s Monsters - Free Laughing Horse @ The Wee Pub, 1–24 Aug, £free The Carousel Traverse Theatre, 6 Aug, 12 Aug, 17 Aug, 23 Aug, £18

Rants, Bantz and Comas theSpace on North Bridge, 18–21 Aug, £5

Leaving Home Party

Hand Made in China: Moons, Migration and Messages Summerhall, 11–24 Aug, £3

MacBraveheart: The Other Scottish Play The Assembly Rooms, 1–24 Aug, not 11, £10

Woyzeck Gilded Balloon , 1–25 Aug, not 12, £9—£10

Donald Robertson Is Not a Stand-Up Comedian HHH Traverse Theatre, 3 Aug, 9 Aug, 15 Aug, 21 Aug, £18

A Little Nonsense Pleasance Courtyard, 1–25 Aug, not 11, 18, £6—£11 Night Bus HH Pleasance Courtyard, 1–25 Aug, not 13, £6—£11 Antigone theSpace on the Mile, 19–22 Aug, £5

HHH Summerhall, 1–23 Aug, not 3, 10, 17, £8—£12

Running Into Me H Underbelly, Cowgate, 1–24 Aug, not 11, £6—£10

13:25 Silk Road Assembly George Square Studios, 1–25 Aug, not 6, 18, £5—£11

13:30 Antiquithon HH Institut français d’Ecosse, 1–23 Aug, not 11, 18, £5

Don’t Let Go HHH Bedlam Theatre, 2–24 Aug, not 12, £6—£8.50 Somebody I Used to Know HHH Assembly Roxy, 1–25 Aug, not 3, 4, 6, 13, 20, £8—£10

A Split Decision HH The Assembly Rooms, 1–24 Aug, not 11, £10 The Closure of Craig Solly: A Dark Monologue by Russell Kane Underbelly, Bristo Square, 18–24 Aug, £12.50—£14.50 Lorraine & Alan Pleasance Dome, 1–25 Aug, not 9, £6—£10 Bottleneck Underbelly, Bristo Square, 1–24 Aug, not 11, £6—£13 In the Surface of a Bubble ZOO, 1–25 Aug, £5—£9 The Picture of Dorian Gray C venues - C, 18–23 Aug, £7.50—£9.50

13:35 Now’s the Hour The Stand Comedy Club III & IV, 1–24 Aug, not 11, £10 Land of Smiles H Assembly George Square Studios, 1–25 Aug, not 11, 18, £5—£12

Forgotten Voices

13:40

Pleasance Courtyard, 1–25 Aug, not 5, 12, 19, £8—£14.50

In The Window Assembly Hall, 1–24 Aug, not 11, £8—£13

HH

Cutting Off Kate Bush

HHH

Gilded Balloon , 1–25 Aug, not 11, £6—£11

The Duel Venue150@EICC, 5–23 Aug, not 11, 18, 21, £10 Romeo and Juliet C venues - C cubed, 10– 25 Aug, £8.50—£10.50 Horizontal Collaboration Traverse Theatre, 5 Aug, 10 Aug, 16 Aug, 22 Aug, £18 Spoiling HHH Traverse Theatre, 1 Aug, 7 Aug, 13 Aug, 19 Aug, 24 Aug, £18 Odd Shaped Balls Gryphon@WestEnd, 18–23 Aug, £8.50

On the Upside Down of the World HHH Assembly Roxy, 1–25 Aug, not 11, £8—£13

Pondling Underbelly, Cowgate, 1–24 Aug, not 11, £6—£10

Eden Gate HH C venues - C nova, 1–25 Aug, not 11, £8.50—£10.50

Love is a Cat Skin Rug Laughing Horse @ The Blind Poet , 14–24 Aug, £free

13:45 Victims of Influence Venue 13, 2–23 Aug, not 8, 9, 10, 11, £8 Mock Tudor HHH Pleasance Courtyard, 1–25 Aug, not 11, £6—£10 KATE Pleasance Courtyard, 1–25 Aug, not 12, £6—£9 Echolalia Gilded Balloon , 1–25 Aug, not 11, 19, £9—£10

❤ Men in the Cities HHHH Traverse Theatre, 2 Aug, 8 Aug, 14 Aug, 20 Aug, £18

The Day Sam Died New Town Theatre, 5–24 Aug, not 7, 11, 18, £10 Julie Burchill: Absolute Cult HHH Gilded Balloon , 1–25 Aug, not 6, 13, 20, £6—£12.50

www.festmag.co.uk

THEATRE LISTINGS Red Tap/Blue Tiger Assembly Roxy, 1–25 Aug, not 12, £7—£11 A TED* Talk with Clay JW Crowne (*not affiliated with TED.com, its members, fellows, organisers, partners, subsidiaries, sponsors or stockholders) Gilded Balloon , 1–25 Aug, not 12, £5—£9

13:50 The Initiate Summerhall @ Roundabout, Various dates from 5 Aug to 21 Aug, £15 Lungs Summerhall @ Roundabout, Various dates from 2 Aug to 23 Aug, £10—£17 LABOURatory Greenside @ Royal Terrace, 18–21 Aug, £4 Years to the Day Pleasance Courtyard, 1–24 Aug, £6—£10 Live Forever H Pleasance Courtyard, 1–25 Aug, not 12, £6—£11 The Result of a Man and His Ponderings theSpace on North Bridge, 18–21 Aug, £5

13:55 The 56 Underbelly, Bristo Square, 1–25 Aug, £6—£10 Blind Pleasance Courtyard, 17–25 Aug, £9—£12

❤ Factor 9 HHHH Summerhall, 1–24 Aug, not 11, 18, £8—£13

Back Door theSpace on the Mile, 18–23 Aug, £8

14:00 Such a Nice Girl just Festival, 15–24 Aug, £10 Silent Voice HHH Assembly Roxy, 1–25 Aug, not 11, £9—£13 The Tarzan Monologues Underbelly, Cowgate, 1–24 Aug, not 11, £6—£10

www.festmag.co.uk

The Importance of Being Earnest C venues - C too, 10–25 Aug, £7.50—£9.50

Jim theSpace @ Jury’s Inn, 1–23 Aug, not 3, 10, 17, £5—£8

The Road to Skibbereen C venues - C, 10–25 Aug, £7.50—£9.50

You, Me and the World HHH Zoo Southside, 1–24 Aug, not 6, 12, 19, £7—£9

The Baron Conspiracy C venues - C south, 1–25 Aug, not 11, £8.50—£10.50

14:20

A Midsummer Night’s Dream Edinburgh Elim, 19 Aug, 21 Aug, £8 My Rabbi New Town Theatre, 5–24 Aug, £10—£12 Glue theSpace @ Surgeons Hall, 18–23 Aug, £8 Domestic Labour: A Study in Love HHH Summerhall, 1–23 Aug, not 11, 18, £10—£12 Sweater Curse: A Yarn about Love Sweet Grassmarket, 1–24 Aug, not 6, 13, 20, £8 Bill Clinton Hercules Assembly George Square Studios, 1–24 Aug, not 11, £8—£13 Signal Failure Underbelly, Cowgate, 1–24 Aug, not 13, £6—£10 Café Ruse Zoo Southside, 1–25 Aug, not 13, 20, £5—£8

❤ The Capone Trilogy: Loki HHHH C venues - C nova, 1–25 Aug, £11.50—£13.50

No Guts, No Heart, No Glory Sandy’s Boxing Gym, 18 Aug, 19 Aug, 20 Aug, 21 Aug, 25 Aug, £12 MacBheatha Summerhall, 11–24 Aug, not 18, £12.50 Faulty Towers The Dining Experience B’est Restaurant, 1–26 Aug, not 2, 9, 16, 23, £45 Making It! Assembly George Square Theatre, 1–25 Aug, not 18, £7—£10 Shakespeare, His Wife and the Dog Summerhall, 5–24 Aug, not 11, 18, £8—£14

14:05 Pvt. Wars theSpace @ Symposium Hall, 19–23 Aug, £5

Antiquithon HH Institut français d’Ecosse, 1–23 Aug, not 11, 18, £5 13 Sunken Years

HHH

The Assembly Rooms, 11–24 Aug, not 18, £13

14:10 Who’s Afraid of Michael Gove? theSpace @ Venue45, 18–22 Aug, £7 Wireless Theatre Presents: Couples Who Changed the World Pleasance Dome, 18–25 Aug, £10 Unsung C venues - C nova, 1–25 Aug, not 12, £7.50—£9.50

❤ Wingman HHHH Pleasance Dome, 1–25 Aug, not 12, £6.50—£12

We Have Fallen Underbelly, Cowgate, 1–24 Aug, £6—£11 Angel: Take This Body theSpace on North Bridge, 18–23 Aug, £8 Renfield theSpace on the Mile, 18–23 Aug, £5

14:15 Footloose Church Hill Theatre, 19 Aug, £5 Show Off HHH Pleasance Courtyard, 1–25 Aug, not 11, 19, £6—£11 Bad Boys: Whisky Theatre Valvona & Crolla Scottish Foodhall@Jenners, 20 Aug, 24 Aug, £15

Altamont C venues - C nova, 1–25 Aug, not 12, £8.50—£10.50 Telling Tales C venues - C nova, 17–24 Aug, £7.50—£9.50 Black is the Color of My Voice Gilded Balloon , 1–25 Aug, not 13, £5—£10

14:30 Baba Brinkman - The Rap Guide to Religion

HHH

Gilded Balloon , 1–25 Aug, not 11, 18, £6—£10.50

Staggered theSpace on North Bridge, 22–23 Aug, £22 Government Inspector ZOO, 17–25 Aug, £5—£8 The Pure, the Dead and the Brilliant

HHH

The Assembly Rooms, 1–24 Aug, not 18, £15

Confusions Paradise in The Vault, 19–23 Aug, £7 Who Did I Think I Was? Laughing Horse @ The Counting House, 1–24 Aug, £free Keeping Up with the Joans HHH Pleasance Courtyard, 1–24 Aug, not 12, £7—£13.50 History from the Past ... But Now! Laughing Horse @ The Cellar Monkey, 1–24 Aug, £free

14:35 No Belles Sweet Grassmarket, 1–24 Aug, £8.50

Dead Fresh theSpace on North Bridge, 18–21 Aug, £5

❤ Raymondo HHHH

Tea and Jamboree with Queenie Greenside @ Royal Terrace, Various dates from 2 Aug to 23 Aug, £8

14:55

Bloom Underbelly, Cowgate, 1–24 Aug, £6—£10 The Europeans Part Two Heroes @ Bob & Miss Behave’s Bookshop, 1–25 Aug, not 6, 13, 20, £5 White Rabbit Red Rabbit Assembly George Square Studios, 1–25 Aug, £5—£11

14:45

Summerhall, 11–24 Aug, £11

Post-Its (Notes on a Marriage) Just the Tonic at The Community Project, 14–24 Aug, £2—£4 Where the World Is Going, That’s Where We Are Going HHH Summerhall, 1–24 Aug, not 11, 18, £12.50 Games of Love and Chance Bedlam Theatre, 18–23 Aug, £7.50 The Burning Crowd Just the Tonic at The Caves, 11–24 Aug, not 12, 17, £10 Alive Paradise in The Vault, 19–25 Aug, £7

Mark Ravenhill: Product HHH Assembly Hall, 1–24 Aug, £10—£14 Private Peaceful by Michael Morpurgo Underbelly, Bristo Square, 1–25 Aug, not 13, £7—£12.50 Bette Davis Ain’t for Sissies The Assembly Rooms, 1–24 Aug, not 11, £10

15:00 Zelda- The Last Flapper by William Luce Hill Street Solo Theatre, 1–24 Aug, not 12, £7—£10

The Real Inspector Hound C venues - C nova, 10–25 Aug, £7.50—£9.50

Somebody I Used to Know HHH Assembly Roxy, 1–25 Aug, not 3, 6, 13, 20, £8—£10

Icarus HHH ZOO, 1–24 Aug, not 4, 11, 18, £5—£8

The Estate Greenside @ Royal Terrace, 18–23 Aug, £8

14:50

The Matchmaker Assembly George Square Studios, 1–25 Aug, not 11, 18, £9—£14

Travesti HHH Pleasance Dome, 1–25 Aug, not 5, 19, £6—£11 Blind Hamlet HH Assembly Roxy, 1–25 Aug, not 12, 18, £10—£15 Superfluous Spotlites @ The Merchants’ Hall, 17–25 Aug, £9

❤ Mush and Me HHHH Underbelly, Cowgate, 1–24 Aug, not 11, £6—£11

The Ruby Dolls: Fabulous Creatures

HHH

Assembly Checkpoint, 1–25 Aug, not 6, 12, 19, £8—£12

Ctrl+Alt+Delete Zoo Southside, 1–24 Aug, not 7, 13, 20, £5—£7

Something You Like

14:40

Prelude to a Number

SingleMarriedGirl Greenside @ Nicolson Square, 18–23 Aug, £8—£10

Pleasance Courtyard, 1–24 Aug, not 11, 18, £7—£12

Antiquithon HH Institut français d’Ecosse, 1–23 Aug, not 11, 18, £5

Northern Stage at King’s Hall, 2–23 Aug, not 3, 10, 17, £8—£11

Swimming Pleasance Dome, 1–25 Aug, not 12, £6.50—£11

Saving Graces at St Mabel’s Paradise in Augustines, 21–25 Aug, £5

Party in the USA! HH Underbelly, Bristo Square, 1–25 Aug, not 11, £7—£12

❤ Talk About HHHH

Normal/Madness Pleasance Courtyard, 1–25 Aug, not 12, £6—£10

Mercury Fur C venues - C, 1–25 Aug, not 12, £9.50—£11.50

HHH

19 August 2014 fest 91

THEATRE LISTINGS Kingmaker HHH Pleasance Courtyard, 1–25 Aug, not 11, £7.50—£14 Mallory: Beyond Everest C venues - C nova, 1–25 Aug, not 11, £8.50—£10.50 The Sorcerer’s Tale Mayfield Salisbury Church, 23 Aug, £10 John Muir. Rhapsody in Green Valvona & Crolla, 7 Aug, 9 Aug, 19 Aug, 22 Aug, £12 Quentin Crisp: Naked Hope HHH Gilded Balloon , 1–25 Aug, not 6, 13, 20, £11—£12 Barbara and Yogashwara’s Safe Space theSpace on Niddry St, 6–20 Aug, not 10, 11, 14, 18, £8

15:05 Gordon theSpace @ Surgeons Hall, 1–23 Aug, not 3, 10, 17, £7 Pennyroyal Assembly Hall, 1–25 Aug, not 11, £6—£10 Munich theSpace on the Mile, 19–23 Aug, £7 Amy K theSpace on the Mile, 18–23 Aug, £6 Now We Are Pope: Frederick Rolfe in Venice theSpace on North Bridge, 18–23 Aug, £8 Smoking Kills theSpace @ Surgeons Hall, 18–23 Aug, £5.50 Crazy Glue HH Assembly Roxy, 1–25 Aug, not 11, 18, £7—£11

15:10 The Lover theSpace on Niddry St, 18–23 Aug, £8

The Lieutenant of Inishmore Hill Street Drama Lodge, 1–24 Aug, not 6, 12, 13, 20, £7—£12.50

Are You Lonesome Tonight HHH Summerhall, Various dates from 1 Aug to 22 Aug, £5

15:35

Lippy Traverse Theatre, 7 Aug, 13 Aug, 19 Aug, 24 Aug, £19

Chariot: The Eric Liddell Story Palmerston Place Church, 23 Aug, £11

When It Rains HH Pleasance Dome, 2–23 Aug, not 6, 11, 18, £8—£10.50

The Sleeping Trees Treelogy Pleasance Courtyard, 1–25 Aug, not 13, £6—£9

This Wide Night C venues - C nova, 10–25 Aug, £7.50—£9.50

Cuckooed HHH Traverse Theatre, 5 Aug, 10 Aug, 16 Aug, 22 Aug, £19 RIVERRUN Traverse Theatre, 6 Aug, 12 Aug, 17 Aug, 23 Aug, £19

15:20 Pomme is French for Apple HHH Underbelly, Cowgate, 1–24 Aug, not 13, £6—£10 The Bunker Trilogy: Morgana C venues - C nova, 1–25 Aug, £11.50—£13.50 Vanity Bites Back Just the Tonic at The Caves, 1–24 Aug, not 12, £5—£8 Away From Home Assembly George Square Theatre, 1–25 Aug, not 12, £8—£12 Race by David Mamet Assembly George Square Studios, 1–25 Aug, not 11, 20, £9—£13

15:25 Squidboy Underbelly, Bristo Square, 16–25 Aug, £11—£12 Red Jungle Fowl Just the Tonic at The Caves, 1–24 Aug, not 12, £5—£8 Jestia and Raedon C venues - C nova, 1–25 Aug, not 11, £8.50—£10.50

15:30 The Greatest Liar in All the World Pleasance Courtyard, 1–25 Aug, not 12, £6—£10

I Killed Rasputin Assembly George Square Theatre, 1–24 Aug, £10—£14.50

The Secret Wives of Andy Williams HH Underbelly, Cowgate, Various dates from 1 Aug to 24 Aug, £6—£10

Post-Its (Notes on a Marriage) Just the Tonic at The Community Project, 16 Aug, 17 Aug, 23 Aug, 24 Aug, £4

❤ Spine HHHH

15:40

Underbelly, Cowgate, 1–24 Aug, not 12, £6—£11

SmallWar HHH Traverse Theatre, 8 Aug, 14 Aug, 20 Aug, £19 Antiquithon HH Institut français d’Ecosse, 1–23 Aug, not 11, 18, £5 Somebody I Used to Know HHH Assembly Roxy, 1–25 Aug, not 3, 6, 13, 20, £8—£10 Simon Callow in Juvenalia HHH Assembly Hall, 1–25 Aug, not 6, 11, 18, £10—£20 Hot Cat Pleasance Courtyard, 1–25 Aug, not 11, £7—£12.50 Scaramouche Jones Pleasance Courtyard, 1–24 Aug, not 11, £7—£14 Till Death theSpace on North Bridge, 18–21 Aug, £5 King David’s Wives St Cuthbert’s Church, 15–23 Aug, not 19, £free The Bastard Children of Remington Steele Underbelly, Cowgate, Various dates from 2 Aug to 23 Aug, £9—£10

The Future for Beginners HH Summerhall, 1–24 Aug, not 12, 19, £8—£10 Llais/Voice theSpace @ Surgeons Hall, 11–23 Aug, not 17, £5 Sleight & Hand Summerhall, 15–19 Aug, £5—£12 Alison Jackson: A Story in the Public Domain (La Trashiata) Summerhall, 21–24 Aug, £10—£15

15:45 Horizontal Collaboration Traverse Theatre, 6 Aug, 12 Aug, 17 Aug, 23 Aug, £18 The Carousel Traverse Theatre, 1 Aug, 7 Aug, 13 Aug, 19 Aug, 24 Aug, £18 18b ZOO, Various dates from 1 Aug to 25 Aug, £8

❤ Guinea Pigs on Trial HHHH

Unfaithful HHH Traverse Theatre, 9 Aug, 15 Aug, 21 Aug, £19

Swiss Cheese Ghillie Dhu, 18 Aug, 25 Aug, £free

Summerhall, Various dates from 2 Aug to 23 Aug, £5

❤ Men in the Cities HHHH

92 fest 19 August 2014

Somebody I Used to Know HHH Assembly Roxy, 1–25 Aug, not 3, 6, 13, 20, £8—£10 A Game of Soldiers Lauriston Halls, 19–23 Aug, £10 Contractions C venues - C nova, 10–25 Aug, £7.50—£9.50 Hand Made in China: Moons, Migration and Messages Summerhall, 11–24 Aug, £3 FOMO: The Fear of Missing Out Underbelly at Forth 1, 1–25 Aug, not 11, £8—£13 Love. Guts. High School.

Sweet Grassmarket, 1–24 Aug, not 11, 18, £6—£9 Our Jackie Spotlites @ The Merchants’ Hall, 1–25 Aug, £6

16:05

Zoo Southside, 1–24 Aug, not 12, £5—£8

HHHH

No Guts, No Heart, No Glory Sandy’s Boxing Gym, 22–24 Aug, £12

Queen B ZOO, Various dates from 2 Aug to 24 Aug, £8

The Penelopiad C venues - C, 10–25 Aug, £8.50—£10.50

Cry (At My Funeral)

The Man Who Would Be King ZOO, 1–25 Aug, not 13, £6—£9

Fundamentalists just Festival, Various dates from 18 Aug to 25 Aug, £10

Strange Resting Places Assembly George Square Studios, 1–25 Aug, not 11, 18, £9—£12

❤ Please Don’t

16:00 Reduced Shakespeare Company in The Complete Works of William Shakespeare (Abridged) (Revised) Pleasance Courtyard, 17–25 Aug, £12—£17

We Never Land C venues - C nova, 1–25 Aug, not 9, £8.50—£10.50

Donald Robertson Is Not a Stand-Up Comedian HHH Traverse Theatre, 5 Aug, 10 Aug, 16 Aug, 22 Aug, £18

15:15

See no Evil, Hear no Evil, Speak no Evil Sweet Grassmarket, 20–24 Aug, £9

Traverse Theatre, 3 Aug, 9 Aug, 15 Aug, 21 Aug, £18

Antiquithon HH Institut français d’Ecosse, 1–23 Aug, not 11, 18, £5 Macbeth - Son of Light theSpace @ Surgeons Hall, 11–23 Aug, not 17, £8 The Trial of Jane Fonda HH The Assembly Rooms, 1–24 Aug, not 11, £16

The Tulip Tree- The Love Story of J Enoch Powell theSpace on Niddry St, 1–23 Aug, not 3, 17, £8—£10 An Evening with Dementia theSpace on the Mile, Various dates from 2 Aug to 23 Aug, £10 The Constant Soldier theSpace @ Jury’s Inn, 11–23 Aug, not 17, £7 Tadzio Speaks ...

Death in Venice Revisited theSpace on North Bridge, 18–23 Aug, £8 The Return of Savonarola theSpace on the Mile, Various dates from 1 Aug to 22 Aug, £5—£10

16:10 The Confessions of Gordon Brown Assembly Hall, 1–25 Aug, not 13, 20, £10—£16 Freak HHH Assembly George Square Studios, 1–25 Aug, not 11, £5—£11 How to Achieve Redemption as a Scot Through the Medium of Braveheart HHH Underbelly, Cowgate, 1–24 Aug, not 12, £6—£11 Broke HHH Pleasance Dome, 1–25 Aug, not 12, £6—£12 The Last Piemen theSpace on the Mile, 18–23 Aug, £8

16:15 Boxman H Gilded Balloon , 1–25 Aug, £5—£10 News Junkie Paradise in The Vault, 19–25 Aug, £6—£7 Pygmalion Church Hill Theatre, 19 Aug, £5 Spoiling HHH Traverse Theatre, 2 Aug, 8 Aug, 14 Aug, 20 Aug, £18 Jamaica Farewell

HH

Pleasance Courtyard, 1–25 Aug, £6—£11

Maybe New Town Theatre, 16–24 Aug, £10

www.festmag.co.uk

THEATRE LISTINGS The Exchange Zoo Southside, 1–25 Aug, £10 Dead Letters C venues - C cubed, 1–25 Aug, not 12, £7.50—£9.50 Much Ado About Nothing theSpace @ Venue45, 18–23 Aug, £8

16:20 Anthem for a Doomed Youth Assembly Roxy, 1–24 Aug, not 11, 18, £8—£13

16:35

16:55

How does a Snake Shed its Skin? HHH Summerhall, 1–24 Aug, not 11, 19, £7—£12.50

Too Much Light Makes the Baby Go Blind Underbelly, Cowgate, 1–24 Aug, not 4, 11, 18, £6—£10.50

Flat Pack theSpace @ Surgeons Hall, 19–23 Aug, £8 Shooting the White Eagle Just the Tonic at The Caves, 1–24 Aug, not 12, £5—£7

❤ Confirmation HHHH

Bitesize Chekhov Zoo Southside, 1–25 Aug, £10

Northern Stage at King’s Hall, 2–23 Aug, not 3, 10, 17, £11—£14

16:25

Lands of Glass HHH Summerhall, 1–24 Aug, not 5, 12, 16, 19, £9—£12

Gagging for It SpaceCabaret @ 54, 1–23 Aug, not 17, £5—£9

16:30 Somebody I Used to Know HHH Assembly Roxy, 1–25 Aug, not 3, 6, 13, 20, £8—£10

16:40 Nougat for Kings Underbelly, Cowgate, 1–24 Aug, not 12, £6—£10 The Dirty Talk C venues - C, 1–25 Aug, not 12, £9.50—£11.50

St Joan Bedlam Theatre, 2–24 Aug, not 12, £8

16:45

Theatre on a Long Thin Wire HH Summerhall, 1–24 Aug, £5—£10

Inheritance Blues Pleasance Courtyard, 1–25 Aug, not 12, £6—£11

Ernest and the Pale Moon Pleasance Courtyard, 3–25 Aug, not 12, £9.50—£12.50

Cirque Tsuki: Parade C venues - C nova, 1–25 Aug, not 12, £7.50—£9.50

17:00 Tick Tock Spotlites @ The Merchants’ Hall, 1–25 Aug, £9.50 Nathan Penlington: Choose Your Own Documentary Gilded Balloon , 10–25 Aug, £10.50—£12.50

❤ Little on the inside HHHH Summerhall, 1–24 Aug, not 6, 13, 20, £9—£12

Woyzeck!

C venues - C nova, 1–25 Aug, not 11, £8.50—£10.50 Barbara and Yogashwara’s Safe Space theSpace on Niddry St, 6–20 Aug, not 10, 11, 14, 18, £8 The Knee Jerk of Sloth HHH ZOO, 1–25 Aug, not 12, £5—£8 Symphony by Ella Hickson, Nick Payne and Tom Wells

HHH

Assembly George Square Gardens, 1–25 Aug, not 11, £10—£15

Conflict in Court H New Town Theatre, 1–24 Aug, not 12, £10—£12

Hamlet C venues - C too, 1–25 Aug, not 11, £8.50—£10.50

God Is in My Typewriter Hill Street Solo Theatre, 1–24 Aug, not 12, £7—£10

Lie Back and Think of England C venues - C nova, 1–25 Aug, not 12, £8.50—£10.50

Sophie Wu is Minging, She Looks Like She’s Dead HH Wee Red Bar, 2–24 Aug, £free

The Collector Gilded Balloon , 1–25 Aug, not 11, £5—£11

Green Snake C venues - C, 20–25 Aug, £11.50—£12.50

Kiss Me Honey, Honey!

Gilded Balloon , 24 Aug, £12.50

Yellow Fever Venue 13, 2–23 Aug, not 4, 11, 18, £8

You, Me and the World HHH Zoo Southside, 1–24 Aug, not 6, 12, 19, £7—£9

Lunch Just the Tonic at The Community Project, 13–24 Aug, £7—£8

16:50

Fear and Loathing in Las Vegas Pleasance Courtyard, 1–25 Aug, not 11, £6—£14.50

www.festmag.co.uk

Man Enough Laughing Horse @ The Phoenix, 1–24 Aug, £free

Tender Napalm C venues - C nova, 10– 25 Aug, £9.50—£11.50

A Walk at the Edge of the World HHH Summerhall @ The Scottish National Gallery of Modern Art, 1–24 Aug, not 7, 11, 18, £8—£12

Hiraeth Underbelly, Cowgate, 1–24 Aug, not 13, £6—£11

Haggis Haggis Haggis Scottish Storytelling Centre, 4–24 Aug, not 12, 13, 14, £10

Civil Rogues HHH Pleasance Courtyard, 1–25 Aug, not 11, £6—£11

Unprescribed Greenside @ Nicolson Square, 1–23 Aug, not 10, 17, £5—£9

Dead To Me Summerhall @ Roundabout, 6–23 Aug, not 7, 14, 21, £8—£11

❤ Riding the

MenSWEAR Collection: Three, Two, F*ck C venues - C nova, 1–25 Aug, not 11, £8.50—£10.50

17:35

Midnight Express with Billy Hayes HHHH Upstairs @ Le Monde, 3–21 Aug, not 8, 9, 15, 16, £16.50

17:05 The Blazers theSpace @ Surgeons Hall, 18–23 Aug, £6—£7 Linwood No More theSpace @ Jury’s Inn, 4–23 Aug, not 10, 17, £10 An Audience With Shurl Spotlites @ The Merchants’ Hall, 1–23 Aug, £7 Momma Was a Bad Mutha theSpace on the Mile, 18–23 Aug, £5 Driving with the Parking Brake Up theSpace @ Surgeons Hall, 1–23 Aug, not 3, 10, 17, £7 The Trojan Women theSpace on the Mile, 18–23 Aug, £8—£10

17:10 ❤ Hayani HHHH Assembly George Square Studios, 1–25 Aug, not 11, £9—£13

Soldier Box theSpace on North Bridge, Various dates from 2 Aug to 22 Aug, £6—£8 Perfection C venues - C nova, 1–25 Aug, £8.50—£10.50

17:15 Bad Boys: Whisky Theatre Valvona & Crolla Scottish Foodhall@Jenners, 6–23 Aug, not 11, 12, 13, 18, 19, 20, £15 Moonshine, Medicine and The Mob: Whisky Theatre Valvona & Crolla Scottish Foodhall@Jenners, 13 Aug, 20 Aug, £15 Spectrum theSpace on North Bridge, Various dates from 3 Aug to 23 Aug, £6—£8

Monkeys and Typewriters theSpace @ Venue45, Various dates from 12 Aug to 23 Aug, £5

Occupied Greenside @ Royal Terrace, 11–23 Aug, not 17, £9 Treasure Island theSpace on Niddry St, 1–23 Aug, £10—£11

The Ukulele Evangelists Bang One Out theSpace @ Surgeons Hall, 1–23 Aug, not 3, 10, 17, £8

Life on the One Wheel ZOO, 17–25 Aug, £8

Harry the King Zoo Southside, 10–25 Aug, £9

Safeword Sweet Grassmarket, 20–24 Aug, £8

Ablutions HHH Assembly Roxy, 1–25 Aug, not 11, 18, £6—£11

Light Pleasance Dome, 1–25 Aug, not 11, 18, £7.50—£13

17:40

17:20

Motortown Sweet Grassmarket, 18–24 Aug, £8.50

True Brits Assembly Hall, 1–25 Aug, not 11, £5—£10

The Sonneteer Greenside @ Nicolson Square, 1–23 Aug, not 10, 17, £8—£14 Klip HH Summerhall, 1–24 Aug, not 4, 8, 11, 18, £6—£11

17:30

17:45 The Human Voice Spotlites @ The Merchants’ Hall, 18–25 Aug, £10 BigMouth Traverse Theatre, 21 Aug, £19

❤ Black Faggot HHHH Assembly Roxy, 1–25 Aug, not 11, £7—£12.50

PratFall theSpace @ Symposium Hall, 18–23 Aug, £5

❤ So It Goes HHHH Underbelly, Cowgate, 1–24 Aug, not 12, £6—£10.50

Your Fragrant Phantom C venues - C cubed, 1–25 Aug, not 12, £8.50—£10.50 Burger Van Thistle King James Hotel, 1–25 Aug, not 6, 7, 21, £free Somebody I Used to Know HHH Assembly Roxy, 1–25 Aug, not 2, 3, 6, 13, 20, £8—£10 Yellow Moon: The Ballad of Leila and Lee theSpace @ Surgeons Hall, 18–23 Aug, £8

The Lieutenant of Inishmore Hill Street Drama Lodge, 1–24 Aug, not 6, 12, 13, 20, £7—£12.50 Cuckooed HHH Traverse Theatre, 6 Aug, 12 Aug, 17 Aug, 23 Aug, £19 John Muir. Rhapsody in Green Valvona & Crolla, 13 Aug, 18 Aug, 20 Aug, £12 Phone Whore: A One Act Play With Frequent Interruptions Sweet Grassmarket, 1–24 Aug, not 12, £8.50 The Great Gatsby Assembly Roxy, 1–24 Aug, not 11, 18, £10—£14

17:50 The Greenville Ghost C venues - C nova, 1–25 Aug, not 12, £7.50—£9.50

19 August 2014 fest 93

THEATRE LISTINGS He Had Hairy Hands

HHH

Pleasance Courtyard, 1–25 Aug, not 13, £6—£11.50

Boosters ZOO, 4–24 Aug, £5—£9

❤ Men in the Cities HHHH Traverse Theatre, 5 Aug, 10 Aug, 16 Aug, 22 Aug, £18

Mental Pleasance Pop-Up: The Bedroom, 7–24 Aug, not 11, 12, 13, 18, 19, 20, £10 Broken Dolls (Razbitye Kuklu) C venues - C cubed, 1–25 Aug, not 12, £8.50—£10.50

18:35

James Bannon: Running with the Firm Assembly Roxy, 18–24 Aug, £10 Trainspotting HHH Hill Street Drama Lodge, 1–24 Aug, not 5, 12, 19, £7—£14

18:50 Awkward Conversations with Animals I’ve F*cked

HHH

Underbelly, Cowgate, 1–24 Aug, not 13, £6—£10.50

Chris Dugdale: More Magic and Mischief Assembly George Square Studios, 1–25 Aug, not 11, 18, £6—£12

I Promise You Sex and Violence HH Northern Stage at King’s Hall, 2–23 Aug, not 7, 14, 21, 22, £11—£14

Beans On Toast Zoo Southside, 1–25 Aug, not 18, £5—£9

Old Gristle theSpace @ Venue45, Various dates from 12 Aug to 23 Aug, £5

Forever Young theSpace @ Symposium Hall, 18–23 Aug, £8

Deprescos theSpace @ Venue45, Various dates from 11 Aug to 22 Aug, £5

19:00

Working Title: The Orpheus Project C venues - C too, 2–25 Aug, £8.50—£10.50

18:40 Punk Rock theSpace on North Bridge, 18–23 Aug, £7 You’re Never Too Old Just the Tonic at The Mash House, 1–24 Aug, not 12, £5—£10

18:45 Tales from the MP3 Summerhall, 10–24 Aug, not 12, 19, £10.50—£12.50 Lace Up theSpace on North Bridge, Various dates from 4 Aug to 22 Aug, £8 Death is the New Porn theSpace on North Bridge, Various dates from 3 Aug to 23 Aug, £6—£8 A Brief History of Scotland - We Done Loads!

Sweet Grassmarket, 2–24 Aug, £9.50

18:55

Naked in Alaska Assembly Roxy, 1–25 Aug, not 11, 18, £6—£10 Vincent Goes Splat

HHH

Underbelly, Bristo Square, 1–24 Aug, not 11, £6—£10

I’m Not Pale, I’m Dead

HHH

Assembly Hall, 1–25 Aug, not 11, 18, £6—£11

The Despondent Divorcée C venues - C cubed, 1–25 Aug, not 8, 9, £8.50—£10.50

Barbara and Yogashwara’s Safe Space theSpace on Niddry St, 6–20 Aug, not 10, 11, 14, 18, £8 And I Ran With The Gang – The Story Of The Original Bay City Roller Upstairs @ Le Monde, 3–21 Aug, not 8, 9, 15, 16, £12 Love to Love to Love You Royal Over-Seas League, 18–21 Aug, £7.50

19:05 Hamlet theSpace @ Jury’s Inn, 18–23 Aug, £8—£10 Don Quixote theSpace @ Surgeons Hall, 11–23 Aug, not 17, £5 Stackard Banks is Self-Discovered Ciao Roma, 2–23 Aug, not 12, £free

19:10 Winter of Our Discotheque Paradise in The Vault, 12–25 Aug, not 18, £8 Backstage Spotlites @ The Merchants’ Hall, 6–19 Aug, £8—£10 Candy Cigarettes theSpace on the Mile, 19–23 Aug, £8 The Canterbury Crawl theSpace on the Mile, 19–23 Aug, £5 And the Horse You Rode in On Paradise in Augustines, 4–25 Aug, not 11, 18, £7

A Midsummer Night’s Dream Edinburgh Elim, 19 Aug, 21 Aug, £8

Beats North Summerhall @ Roundabout, 11–23 Aug, not 14, 21, £11—£14

Legion Buccleuch Free Church, 19–23 Aug, £free

19:15

Can’t Stay Away! theSpace on Niddry St, 1–23 Aug, £9—£11

Chariot: The Eric Liddell Story Palmerston Place Church, 19–22 Aug, £11

My Name is Saoirse Scottish Storytelling Centre, Various dates from 1 Aug to 19 Aug, £10 X and Y Scottish Storytelling Centre, Various dates from 6 Aug to 24 Aug, £10

94 fest 19 August 2014

The Player’s Advice to Shakespeare C venues - C too, 14–25 Aug, £9.50—£11.50 3,000 Trees by George Gunn Gryphon@WestEnd, 1–24 Aug, not 4, 11, 18, £8

19:20

19:35

Doing Time With Number 5 Spotlites @ The Merchants’ Hall, 1–25 Aug, £7

The Really Big Diamond theSpace @ Venue45, 19–23 Aug, £7

The Bunker Trilogy: Agamemnon C venues - C nova, 1–25 Aug, £11.50—£13.50 In Control Paradise in The Vault, Various dates from 3 Aug to 25 Aug, £6.50—£7 Rats!

Paradise in The Vault, Various dates from 2 Aug to 24 Aug, £6.50—£7

19:25 Frankenstein: UnBolted Just the Tonic at The Caves, 1–24 Aug, not 12, £1—£9

19:30 Swing HH Dance Base, 1–24 Aug, not 4, 11, 18, £8—£10

❤ How to Disappear Completely HHHH Underbelly, Cowgate, 1–24 Aug, not 13, £6—£11.50

Leave Me Spotlites @ The Merchants’ Hall, 10–25 Aug, £7 The Edinburgh Literary Pub Tour Outside the Beehive Inn, 1–31 Aug, £14 Kiss Me Honey, Honey!

Gilded Balloon , 17 Aug, 18 Aug, 19 Aug, 20 Aug, 23 Aug, £12.50 Mojo C venues - C, 1–25 Aug, not 11, £9.50—£11.50

❤ At the Illusionist’s Table HHHH The Scotch Malt Whisky Society, 1–22 Aug, not 3, 7, 9, 10, 17, £59

Claustrophobia ZOO, 1–25 Aug, not 18, £9—£10 Mary Stewart Duddingston Kirk Manse Gardens, 6–24 Aug, not 10, 11, 12, 18, 19, £10

Tinderbox Greenside @ Nicolson Square, 1–23 Aug, not 10, 17, £8—£10 A Journey Round My Skull Summerhall, 1–24 Aug, not 4, 11, 18, £11—£12 Making Light theSpace @ Surgeons Hall, 1–23 Aug, not 3, 10, 17, £7

19:40 Sins of Seven Tables Greenside @ Royal Terrace, 1–23 Aug, not 3, 10, 17, £3—£7

19:45 The Sorcerer’s Tale Mayfield Salisbury Church, 2–22 Aug, not 3, 4, 9, 10, 11, 16, 17, 18, £10

No Guts, No Heart, No Glory Sandy’s Boxing Gym, 22–24 Aug, £12 Faulty Towers The Dining Experience B’est Restaurant, 3–26 Aug, not 8, 9, 15, 16, 22, 23, £49.50 God’s Own Country

HH

Zoo Southside, 1–25 Aug, £8—£10

(Un)tied Sweet Grassmarket, 20–24 Aug, £8 Notoriously Yours

HHH

C venues - C south, 3–25 Aug, not 11, £8.50—£10.50

Pint Size Laughing Horse @ The Free Sisters, 1–24 Aug, not 4, 11, 18, £free

20:05 The Quant HHH Hill Street Solo Theatre, 1–24 Aug, not 12, £5—£10

Bond!

ZOO, 1–24 Aug, not 12, £6—£12

Soften the Grey theSpace @ Surgeons Hall, 18–23 Aug, £8

Blood Orange HHH Summerhall, 1–24 Aug, not 10, 11, £14.50

Marijan theSpace @ Jury’s Inn, 1–23 Aug, not 13, 14, 15, prices vary

Kaspar Venue 13, 2–23 Aug, not 4, 11, 18, £8

19:50 21 Things You Should Know About Toronto’s Crack-Smoking Mayor Sweet Grassmarket, 1–24 Aug, not 2, 12, 13, £5—£8.50 Keeping Abreast Assembly George Square Studios, 1–25 Aug, not 11, 18, £8—£13

19:55 Last Call C venues - C cubed, 1–25 Aug, not 12, £8.50—£10.50

20:00 Victorian Vices – The Picture of Dorian Gray theSpace on Niddry St, 1–23 Aug, not 10, 17, £8—£11

20:10 The 24 Hour Mystery Play Paradise in Augustines, 20 Aug, 22 Aug, 24 Aug, £7 Upper Lip theSpace on the Mile, 1–23 Aug, not 3, 10, 16, £6—£8 Before Us Underbelly, Cowgate, 1–24 Aug, not 11, 18, £6—£10.50 According To His Need C venues - C nova, 1–25 Aug, not 11, £7.50—£9.50

20:15 Captain Amazing Northern Stage at King’s Hall, 18 Aug, 19 Aug, 20 Aug, 22 Aug, 23 Aug, £14 Lippy Traverse Theatre, 9 Aug, 15 Aug, 21 Aug, £19

www.festmag.co.uk

THEATRE LISTINGS Compulsion Paradise in The Vault, 19–25 Aug, £8

Lippy Traverse Theatre, 8 Aug, 14 Aug, 20 Aug, £19

❤ The Capone

17:55

Mata Hari In Eight Bullets Acoustic Music Centre @ St Bride’s, 15 Aug, 16 Aug, 17 Aug, 19 Aug, 20 Aug, £15

C venues - C nova, 1–25 Aug, £11.50—£13.50

Antigone C venues - C, 17–25 Aug, £9.50—£11.50 The Alchemist Just the Tonic at The Caves, 1–24 Aug, not 12, £5—£10

18:00 The Interview HHH Underbelly, Cowgate, 1–24 Aug, £6—£10 Shakespeare in the Garden: A Midsummer Night’s Dream C venues - C south, 1–25 Aug, not 12, £7.50—£9.50 Voca People HHH Pleasance Courtyard, 1–25 Aug, not 12, 19, £8—£16

www.festmag.co.uk

RIVERRUN Traverse Theatre, 7 Aug, 13 Aug, 19 Aug, 24 Aug, £19 Somebody I Used to Know HHH Assembly Roxy, 1–25 Aug, not 2, 3, 6, 13, 20, £8—£10 Sherlock Holmes: The Hound of the Baskervilles National Library of Scotland, 11–22 Aug, weekdays only, £6 Victorian Vices – Sweeney Todd and the String of Pearls theSpace on Niddry St, 1–23 Aug, not 10, 17, £8—£11

Trilogy: Lucifer

HHHH ❤ The Object Lesson HHHH Summerhall, 1–24 Aug, not 6, 13, 20, £9—£14

The Duck Pond Bedlam Theatre, 2–24 Aug, not 12, £5—£8 Unfaithful HHH Traverse Theatre, 5 Aug, 10 Aug, 16 Aug, 22 Aug, £19

18:05 When My Time Comes theSpace @ Surgeons Hall, 11–23 Aug, not 17, £5 Belfast Boy Spotlites @ The Merchants’ Hall, 1–25 Aug, £7.50—£10

Casting the Runes theSpace on the Mile, 1–23 Aug, not 3, 10, 17, £5—£10 Title and Deed by Will Eno HH Assembly Hall, 1–25 Aug, not 11, £8—£13

18:10 The God That Comes Summerhall, 13–24 Aug, not 18, £12

18:15

Donald Robertson Is Not a Stand-Up Comedian HHH Traverse Theatre, 6 Aug, 12 Aug, 17 Aug, 23 Aug, £18 Spoiling HHH Traverse Theatre, 3 Aug, 9 Aug, 15 Aug, 21 Aug, £18 Love Thy Neighbour Spotlites @ The Merchants’ Hall, 1–25 Aug, £5

Death Shall Have No Dominion Laughing Horse @ The Phoenix, 1–23 Aug, not 19, £free

Letters Home Edinburgh International Book Festival, 9–25 Aug, not 12, 19, £10—£15

Too Cool to Care Venue 13, 2–23 Aug, not 11, £8

Bunbury Is Dead Cafe Camino, 2–23 Aug, not 15, £free

The Ingenious Gentleman Don Quixote of La Mancha ZOO, 1–25 Aug, not 6, 13, 20, £9

18:25 A Modernist Event C venues - C south, 3–25 Aug, not 11, £8.50—£10.50

18:30 Horizontal Collaboration Traverse Theatre, 7 Aug, 13 Aug, 19 Aug, 24 Aug, £18 The Carousel Traverse Theatre, 2 Aug, 8 Aug, 14 Aug, 20 Aug, £18 Light Killer Summerhall, 9–24 Aug, £7—£11

18:20

Silence in Court New Town Theatre, 1–24 Aug, not 12, £10—£12

Charmolypi Summerhall, 9–24 Aug, not 18, £10

The Flood HHH Summerhall, 1–24 Aug, not 11, 18, £12

19 August 2014 fest 95

THEATRE LISTINGS Nancy Dell’Olio: Rainbows From Diamonds Gilded Balloon , 14–24 Aug, £11—£13

20:20 Chatroom C venues - C nova, 1–25 Aug, not 12, £9.50—£11.50 Sonnets for an Old Century Church Hill Theatre, 17 Aug, 19 Aug, £5

20:30 The Carousel Traverse Theatre, 3 Aug, 9 Aug, 15 Aug, 21 Aug, £18 The Bridge just Festival, 1–25 Aug, not 2, 11, 18, 24, £10 Sirens Summerhall, 12–24 Aug, not 18, £8—£12.50 Unfaithful HHH Traverse Theatre, 6 Aug, 12 Aug, 17 Aug, 23 Aug, £19 The House of Bernarda Alba theSpace on Niddry St, 1–23 Aug, £9—£11 Cuckooed HHH Traverse Theatre, 2 Aug, 7 Aug, 13 Aug, 19 Aug, 24 Aug, £13—£19 The Flood HHH Summerhall, 1–24 Aug, not 11, 14, 18, £12

❤ Standby for Tape Back-Up

HHHHH

Summerhall, 1–24 Aug, not 11, £8—£10

Italia ‘n’ Caledonia Valvona & Crolla, 11 Aug, 13 Aug, 19 Aug, 21 Aug, £12 John Muir. Rhapsody in Green Valvona & Crolla, 14 Aug, 23 Aug, £12 Shrew C venues - C cubed, 1–25 Aug, £7.50—£9.50 Lysistrata C venues - C, 1–25 Aug, not 12, £10.50—£12.50

20:35 Great Artists Steal

HH

theSpace @ Venue45, 1–23 Aug, not 3, 10, 17, £5—£9

The Rose of Jericho theSpace @ Surgeons Hall, 1–23 Aug, not 3, 10, 17, £6—£10 The Importance of Being Earnest as Performed by Three F*cking Queens and a Duck theSpace on North Bridge, 1–23 Aug, not 3, 10, 17, £9—£11

20:40 ❤ The Capone Trilogy: Vindici

HHHH

C venues - C nova, 1–25 Aug, £11.50—£13.50

Darkle theSpace @ Surgeons Hall, 1–23 Aug, not 10, £10—£11

96 fest 19 August 2014

What Do You Mean Spotlites @ The Merchants’ Hall, 1–25 Aug, not 12, 19, £10 Sleeping with Beauty Spotlites @ The Merchants’ Hall, 19 Aug, £4

20:45 Standing on Lego Paradise in Augustines, 21 Aug, £8 Terror Paradise in The Vault, 12–24 Aug, not 18, £10 The Cold Clear Elsewhere Cafe Camino, 2–23 Aug, not 15, £free Donald Robertson Is Not a Stand-Up Comedian HHH Traverse Theatre, 7 Aug, 13 Aug, 19 Aug, 24 Aug, £18

❤ Men in the Cities HHHH Traverse Theatre, 6 Aug, 12 Aug, 17 Aug, 23 Aug, £18

SmallWar HHH Traverse Theatre, 5 Aug, 10 Aug, 16 Aug, 22 Aug, £19 RIVERRUN Traverse Theatre, 3 Aug, 8 Aug, 14 Aug, 20 Aug, £19 Take Me Home: A One-woman Odyssey George Next Door, 2–23 Aug, not 4, 11, 18, £free

20:50 Punk Rock Greenside @ Royal Terrace, 18–23 Aug, £6

❤ Janis Joplin: Full Tilt HHHH Assembly Checkpoint, 1–24 Aug, not 8, 12, 19, £10—£13.50

Hyde & Seek C venues - C, 14–25 Aug, £8.50—£10.50 Actors Paradise in The Vault, 12–25 Aug, not 18, £6.50—£8 The Merchant of Venice Greenside @ Nicolson Square, 18–23 Aug, £9

20:55 The Villains, the Vote and the Black, Black Oil Sweet Grassmarket, 18–24 Aug, £7

21:00 Private View Just the Tonic at The Mash House, 6–24 Aug, not 12, £7

❤ The Generation of Z: Edinburgh

HHHH Assembly George Square Theatre, 1–25 Aug, not 11, 19, £8—£12

Hunter and Johnny ZOO, 1–25 Aug, £9

Trainspotting HHH Hill Street Drama Lodge, 1–24 Aug, not 5, 12, 19, £7—£14 Fragile ZOO, 1–25 Aug, £8.50—£9.50

❤ Return to the Voice HHHHH Summerhall @ St Giles Cathedral, Various dates from 7 Aug to 25 Aug, £15

Hibrow In-Conversations Summerhall @ Roundabout, 8 Aug, 15 Aug, 22 Aug, £10

21:05 Lady GoGo Goch Summerhall, 1–24 Aug, not 4, 11, 18, £11—£12 Totally Devoted theSpace @ Surgeons Hall, 11–23 Aug, not 17, £6—£9 Seated Reservations theSpace @ Surgeons Hall, 11 Aug, 13 Aug, 15 Aug, 19 Aug, 21 Aug, £7 Dave! theSpace @ Surgeons Hall, 14 Aug, 16 Aug, 18 Aug, 20 Aug, 22 Aug, £7

21:10

Honest theSpace @ Jury’s Inn, 18–23 Aug, £8

21:15 Horizontal Collaboration Traverse Theatre, 2 Aug, 14 Aug, 20 Aug, £18 Spoiling HHH Traverse Theatre, 16 Aug, 22 Aug, £18 Replay C venues - C cubed, 1–25 Aug, £8.50—£10.50 Connected SpaceCabaret @ 54, 18–23 Aug, £8 The Lieutenant of Inishmore Hill Street Drama Lodge, 1–24 Aug, not 6, 12, 13, 20, £7—£12.50 666 DSM: A Dark Comedy about Sanity, Society and Spirituality Venue 13, 2–23 Aug, not 11, £8 Super Tramp Zoo Southside, 1–25 Aug, £9

21:20 Dracula HHH Pleasance Courtyard, 1–25 Aug, not 11, £8—£14 Paperback Time Machine: Book to the Future Just the Tonic at The Mash House, 1–24 Aug, not 12, £4—£8

Early Doors HHH Pleasance Pop-Up: The Pub, 17 Aug, 18 Aug, 20 Aug, £10

Guaranteed Nudity theSpace on the Mile, 11–23 Aug, not 17, £6

3,000 Trees: The Death of Mr William MacRae Sweet Grassmarket, 1–24 Aug, £8

Queen of Soho

21:25

HHHH

Barge Baby C venues - C nova, 1–25 Aug, not 12, £8.50—£10.50

❤ Margaret Thatcher Assembly George Square Gardens, 1–24 Aug, not 11, £8—£13

www.festmag.co.uk

THEATRE LISTINGS 21:30

22:00

The World Mouse Plague Summerhall, 13–24 Aug, not 18, 19, £8—£10

X and Y just Festival, Various dates from 1 Aug to 19 Aug, £5—£10

Thief Hill Street Solo Theatre, 1–24 Aug, not 12, £10

The Bunker Trilogy: Macbeth C venues - C nova, 1–25 Aug, £11.50—£13.50

Send More Paper Northern Stage at King’s Hall, 21 Aug, £14 The Unholy Trinity theSpace @ Symposium Hall, 11–23 Aug, not 17, £12

21:35 The Temptation of St Anthony theSpace @ Venue45, 18–23 Aug, £8—£9

21:40 GoldDust theSpace on North Bridge, 18–23 Aug, £5 The Post Show

HHH Assembly George Square Studios, 1–25 Aug, not 11, £7—£15

21:45 The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union C venues - C cubed, 1–25 Aug, not 11, £8.50—£10.50

21:50 Snoutology for Beginners Summerhall, 18–24 Aug, £5—£7

www.festmag.co.uk

Drunk Lion Laughing Horse @ The Newsroom, 1–24 Aug, £free

❤ Milk Presents: Self Service HHHH Northern Stage at King’s Hall, 2–23 Aug, not 3, 7, 14, 21, £8—£11

My Name is Saoirse just Festival, 6–23 Aug, not 16, 17, 18, 19, £10 Sanitise Underbelly, Cowgate, 1–24 Aug, not 11, £6—£10 Candide Greenside @ Nicolson Square, 18–22 Aug, £7.50 Mata Hari In Eight Bullets Acoustic Music Centre @ St Bride’s, 7–23 Aug, not 9, 15, 16, 17, 19, 20, £10—£15 Wuthering Heights Summerhall, 10–24 Aug, not 11, 12, 15, 18, £12.50

22:05 MenSWEAR Collection: Spunk C venues - C nova, 1–25 Aug, not 11, £8.50—£10.50

22:10 Loose Soul Spotlites @ The Merchants’ Hall, 1–25 Aug, £9

22:15 We Were Kings theSpace on the Mile, 1–23 Aug, not 3, 10, 17, £5—£7 Refresh: Stories of Love, Sex, and the Internet theSpace @ Surgeons Hall, 1–23 Aug, not 3, 10, 17, £5—£7 Tape C venues - C too, 10–25 Aug, not 14, 15, 16, £7.50—£9.50 The Bastard Queen theSpace on Niddry St, 18–23 Aug, £7 A Male Soprano Paradise in The Vault, 4–25 Aug, not 10, 11, 18, £7

22:20 Biding Time (Remix) Summerhall, 5–23 Aug, not 10, 11, 14, 15, 16, 18, 22, £6—£12

22:25 Hamlet theSpace on North Bridge, 1–23 Aug, not 3, 10, 17, £4—£7.50

22:30 And They Played Shang-a-Lang The Assembly Rooms, 13–24 Aug, £12—£15

Looking for Paul Wunderbaum Summerhall, 14–23 Aug, £12.50 The Gospel According to Jesus, Queen of Heaven artSpace@StMarks, 5–23 Aug, not 10, 11, 17, 18, £10—£12 A Virgin’s Guide To...

Rocky Horror New Town Theatre, 1–24 Aug, not 12, £12—£14

❤ Return to the Voice HHHHH Summerhall @ St Giles Cathedral, 6 Aug, 13 Aug, 14 Aug, 15 Aug, 20 Aug, £12—£15

❤ The Generation

23:00 ❤ The Generation of Z: Edinburgh

of Z: Edinburgh

HHHH

HHHH

Assembly George

Assembly George Square Theatre, 12 Aug, 13 Aug, 18 Aug, 20 Aug, £12

Square Theatre, Various

This Is Living Bedlam Theatre, 2–23 Aug, not 10, 17, £7—£9

Against Nothingness

Shed Brain Laughing Horse @ The Free Sisters, 14–24 Aug, £free

23:10

dates from 1 Aug to 24 Aug, £8—£12

or 3cm Above an Empty Head Summerhall, 18–24 Aug, £10

Séance Sweet Grassmarket, 4

Case Number Spotlites @ The Merchants’ Hall, 20–24 Aug, £6

Aug, 8 Aug, 15 Aug, 22

22:35

23:15

23:55

The Devil Without C venues - C nova, 1–25 Aug, not 12, £8.50—£10.50

Trainspotting HHH Hill Street Drama Lodge, 1–24 Aug, not 5, 12, 19, £7—£14

Alice

22:40 Engels! The Karl Marx Story Double Bill theSpace @ Surgeons Hall, 19–23 Aug, £10

22:45 Calypso Nights Assembly Roxy, 1–25 Aug, not 11, £6—£10

22:55 Puzzle the Puzzle C venues - C nova, 1–25 Aug, not 11, 18, £8.50—£10.50 Et Tu Elvie C venues - C, 1–25 Aug, £8.50—£10.50

Kim Noble: You’re Not Alone Traverse Theatre, 19–24 Aug, £13—£19 What a Gay Play C venues - C, 1–24 Aug, £8.50—£10.50

Aug, £10

theSpace on North Bridge, 6–23 Aug, not 10, 11, 12, 17, 18, 19, £10—£14

00:00 City Of the Blind Online at www.

23:30

DavidLeddy.com (with

Dinner is Swerved

Traverse Theatre), 2–25

HHH

Aug, £8.99

C venues - C nova, 8–24 Aug, not 12, 19, £15.50—£19.50

Bonenkai Underbelly, Cowgate, 1–24 Aug, not 11, £6—£10

Eggs Collective Get A Round Laughing Horse @ The Counting House, 2–25 Aug, £free

19 August 2014 fest 97

BRENDON BURNS:

Ten Things I Did Today THE BRENDON BURNS SHOW – The Liquid Room, 6:15pm – 7:15pm, 2–24 Aug, not 21, free BRENDON BURNS AND COLT CABANA SIT IN A 150 SEATER AT 10PM AND PROVIDE THE COMMENTARY TO BAD WRESTLING MATCHES

Stand in the Square, 10:00pm – 11:00pm, 1–25 Aug, not 24, £8

My day begins at midnight. After Colt and I’s wrestling show, I head straight home to edit content from my solo show.

2

1

By 4am I am suitably sick of my own voice in snippets and in reverse that I consider going to bed.

3

Around 1pm, I awake and start editing from bed, only to get a text from my PRs Chloe and Madelaine reminding me that my day is supposed to be way more interesting than this.

4

I am preparing a BBQ on Sunday (last Sunday by the time you read this) if the weather forecast allows. As fate would have it there’s one above my venue. The grill is a mess and the gas bottle is empty, hence my grumpy face.

I do my free fringe show to a devoted audience who have managed to find me in an alley off an alley.

6&7

5

After discovering that the venue are actually going to sort the BBQ for me for Sunday’s show I have time for a quick wave to Susan Murray and Ben Norris, who I’m sharing the venue with. Ben tells me he’s against BBQs until I inform him that I’ll have veggie options beyond Quorn sausages. Quorn sausages for my money are a rather passive-aggressive way of telling your veggie friends that you don’t like them very much.

After another quick edit it’s time for Colt and I to watch some bad wrestling in a tent.

9

Tonight’s guest is Des Clarke. He fits like a glove, which is why we’ve declared Fridays “Des Clarke day”.

This lady in the front row is suitably horrified by the clip I can only describe here as “The Closer”.

98 fest 19 August 2014

8 10 www.festmag.co.uk

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www.festmag.co.uk

19 August 2014 fest 99

FESTIVAL TICKETS ON-SALE FRIDAY 22 AUGUST 10AM

GUIDES