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Posts Tagged ‘Sarah Milican’

Well, here we are again at the world’s largest arts festival, and this year without any main festival shows booked because the programme for our week looked a bit dull. Still ,with more than 2000 shows on the fringe, you’re not going to be twiddling any thumbs up here.

We started with Africa Heart & Soul*** by a group of five performers from Zimbabwe who tour their show to raise money for their youth work. The harmonic singing was gorgeous and some of the dance was good too, but they tried to create a narrative that came out a bit embarrassing; they’d have been better sticking to a song and dance show. Still, a good cause and the spirit of the fringe.

The first highlight was Antonio Forccione***** with his trio including regular Brazilian percussionist and a new Senegalese Kora player. The sound is gloriously uplifting and it’s without question the best band he’s put together. They’re clearly loving it and it was infectious.

The first trip to the Traverse Theatre was for The Golden Dragon***, a show that weaves the stories of the staff of the Chinese-Thai-Vietnamese restaurant of the show’s title with those of its customers and neighbours. It was clever and original with some lovely touches, including regular ‘punctuation’ by menu descriptions ,but it outstayed it’s welcome by about 10-15 minutes and became a bit too surreal in the end.

I always seem to make the mistake of booking monologues when I know I don’t like them, and I did it again with A Slow Air**, lured by favourite playwright David Grieg and favourite theatre The Traverse. This was a sad tale told in two interlocking monologues. It’s well written and you can’t fault the performances but for someone with a visual imagination, under stimulating. For me, something for the radio not a theatre.

Faure’s Requiem by candlelight*** at 10pm in a church after a nice supper with rather too much Montepulciano – yes, you guessed, I joined Narcoleptics Anonymous rather quickly and the rest is a bit of a blur, but a rather pleasant blur nonetheless!

The two Welsh members in this year’s party booked for Llwyth (Tribe)*****, a play in Welsh, partly out of loyalty and partly because theatre company Sherman Cymru had given us two treats in the last two years with Deep Cut and Speechless. A play about a group of gay boys in Cardiff on the night of an international rugby match didn’t sound that promising, but it turned out to be an outstanding piece of writing which was staged well and brilliantly performed. It was captivating throughout, often funny and occasionally moving. Being from the valleys probably helped, but judging by the enthusiastic audience reaction not essential. When it opened with gorgeous choral singing I was impressed by the sound; when the choir walked onstage in the final scene, my mouth fell open. A highlight.

Sadly, we had to follow this with Wondrous Flitting*, a simply dreadful play from the Lyceum Company no less, at the normally reliable Traverse. Allegedly a social satire, it was a series of preposterous scenes that added up to nothing except a numb bum and a feeling that I’d waste of 90 minutes of my life. To appreciate the bad, you have to put up with the good, I suppose. Following Llwyth didn’t help, but it would have been bad following anything or nothing.

We ended Sunday with stand-up Sarah Milican***, whose Geordie charm is irresistible. Her use of ‘fuck’ doesn’t really suit her and we’d have liked more interaction with the audience because she’s good at it, but it was a funny hour which we enjoyed and brought the day back up again.

Monday started with an impulsive addition – Stepehn Berkoff’s adaptation of the Oedipus**** legend. I hadn’t realised Berkoff was in it, which was juts as well as he wasn’t, having pulled out following a slipped disc. I also didn’t realise Anita Dobson was in it too, which explained her sighting with Brian May at the restaurant we’d eaten at the night before. As it turned out, it was the eight man chorus and Simon Merrells who stole the show – not that Dobson and assistant director Matt Cullum standing in for Berkoff weren’t good too – they were. It was a touch long for the amount of story to tell, but was on a scale you don’t often see at the fringe and a thoroughly enjoyable show.

Judith sat next to two actors on the train up who were finishing off their show, as one does, so of course we had to go! It was an audio experience where you wear headphones and listen to stories unfold, but unlike similar experiences, the scenes were also being acted out amongst the crown in the Pleasance Courtyard so you could also wander around and if you found them, watch from as much distance as you wished (or not at all). In Invisible Show II****, four actors played a number of characters each and though the scenes did not seem to be inter-connected, it did add up to a satisfying dramatic experience.

We ended the first half as we had started with the spirit of the fringe, but this time it’s comic godfather Arthur Smith in his latest incarnation as chat show host for Arthur Smith’s Pissed Up Chat Show***. He’s now famously dry and the premise here is that the guests have to be pissed – they are breathalysed by ‘a licensing officer’ (his mate Terry!) to check. Our guests were a new labour spin doctor turned comic whose name escapes me, poet Monkey Man and comedian Andrew Maxwell, breathless from running straight from his show, but the highlight nonetheless. It was all rather eccentric fun, ending with a sing along Wild Rover with song cards held up by a naked woman and a naked man (who looked extremely uncomfortable, so I hope he got a decent fee!).

To be continued…..

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Monday started with England’s best baritone (and the world’s second best – guess who’s the best), Simon Keenlyside, in the lovely Queens Hall with a programme of Rorem (never heard of him until this year, now featured in two concerts in quick succession), Buttterworth and Schumann. The Butterworth songs were gorgeous and the Rorem intriguing, but I wasn’t expecting to enjoy the Schumann so much; I normally find German lieder a bit too strident, but this was beautiful – though we had some strident Shubert for the encores****

I’m off to the Outer Hebrides on Friday, staying in Stornaway on Lewis, so I was thrilled to find that the British Museum and the National Museum of Scotland had combined their collections of the Lewis Chessmen for a special exhibition here in Edinburgh. The story of the pieces (well, what’s known of them) was well told, but it was disappointing to find the pieces split up within the exhibition – I’d have liked to see a complete set at some point***

I lost a shit load of money investing in the West End production of the rock musical Spring Awakening – a critical success but a financial loss – but I have to say I’m proud to have been a small part of it as I consider it ground-breaking stuff and I’ve been thrilled to see the talented cast subsequently turn up all over the place; the last occasion only 6 days ago at the National. I couldn’t resist seeing the first amateur production by the Royal Scottish Academy of Music & Drama here at the fringe. The decision to cast the London production with raw talent was completely vindicated. In the hands of singers /actors in training at a premiere league conservatoire, it lost a lot of its edge. Though it was well sung (and particularly well played by the small band) there was a sort of ‘posh boys saying fuck to be cool’ about it – though I have to say the ending was somehow more moving***

Back at the main festival in Greyfriars Church we went to some Latin American Vespers that were both fascinating and beautiful. I’d had no idea how liturgical music was transported with Spanish colonisation (and apparently back again). There were fewer Latin American touches than I was expecting, so it did sound rather European, but a treat nonetheless****

Monday ended with our first stand-up (we missed Sarah Milican because I’d misread the 24-hour clock and double-booked us), Shappi Khorshandy. She’s gone through a divorce recently and she chose to make this a very personal show (therapy?) and I thought it was very funny; she has a genuine charm and appealing self-deprecating humour***.5

Back at the Traverse Tuesday morning for a play called Girl in the Yellow Dress about the relationship between an English teacher and her French (adult) pupil. It took an age to take off, but the second half – when the psychological games between them unravel – was excellent***

The rest deserted me at this point, but I stayed for a quirky show called The Not So Fatal Death of Grandpa Fredo. I’d seen a show before by the same company and I liked their cartoonesque style with ingenious sets and great use of music. This wasn’t as satisfying as the previous show, but it was even more inventive as a small hut became, amongst other things, a diner, a laboratory, and ultimately a boat on a lake in Norway!***.5

We had lunch 100ft above Edinburgh at a table raised by a crane – this is true!!! It was a great experience and the food was surprisingly good. I had to have a drink beforehand for Dutch courage, but it actually wasn’t scary at all and I even looked down and twirled my seat!****

I saw the original production of Five Guys Named Moe at its first outing at Stratford East (that night local boy Dudley Moore was in the audience and in the interval impresario Cameron Mackintosh allegedly made the Theatre Royal Stratford an extraordinarily generous offer for a speedy transfer) and subsequently in the West End and in Germany. It’s based on the terrific 30’s / 40’s jazz of Louis Jordan and Cab Calloway and this new production is at least as good as the original. Its toe tapping, funny, high energy stuff which they’ve updated cleverly without losing the essence.  All six performers were outstanding and the six-piece band was terrific. Catch it when it comes back to Stratford East, though I suspect its West End bound once more****

Tuesday ended at a Comedy Gala for AIDS charity Waverley Cares with 26 stand-ups over 3.5 hours. In truth it was exhausting and I suspect less would have been more, but there were excellent mini-sets from Welshman Mark Watson, Edinburgh’s Danny Bhoy, Aussie Adam Hills, Tooting’s Stephen K Amos, and archetypal Englishman Simon Evans. It’s a great way to ‘sample’ and decide who to see next time***.5

Two more days to go……..

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