Theatre

Review: Wil Greenway – These Trees the Autumn Leaves Alone, Fringe 2017 Rating 55%

Review: Wil Greenway – These Trees the Autumn Leaves Alone, Fringe 2017

“If this is not the show you are looking for then go out, it’s out there somewhere,” says Wil Greenway at the close of These Trees the Autumn Leaves Alone. “I’m sorry if you didn’t like the show, we tried our best.” This is not my show and I didn’t like it. But I also know that they – they being Greenway and indie folk duo Kathryn Langshaw and Will Galloway – tried their best and that this most certainly someone’s show and they will love it. Maybe it’s you. Maybe you think I’m being cynical or unfair. Maybe I am. But these people were kind to me and I want to reciprocate, hoping that I can help them find their audience. Call me Cupid, why don’t you?

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Review: Last Clown on Earth, Fringe 2017 Rating 88%

Review: Last Clown on Earth, Fringe 2017

Walking out of the Last Clown on Earth, there is little in the way of words to describe what we had just seen; an assault to the senses, which began with what looked like a beggar scrambling over our heads to make his way to the stage. Celebrating twenty years since their Fringe debut, award-winning Russian physical theatre company Derevo return with their solo masterpiece, which immortalises the notion of the clown, a mimed cycle of self-sacrifice and rebirth.

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Review: TUTU – Dance In All Its Glory, Fringe 2017 Rating 80%

Review: TUTU – Dance In All Its Glory, Fringe 2017

“Dance in All Its Glory” is how the TUTU men are pitching their Fringe performance and glorious it is. It is also joyful and funny and beyond energetic. Tutus and tulle do feature heavily, and it transpires that they are a surprisingly versatile materials. You can go classic (with briefs) or down to the ankles in frills to create an almost bear like lower half, or even put it on your head to become a fruit of some kind.

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Review: Chris Dugdale – Up Close!, Fringe 2017 Rating 85%

Review: Chris Dugdale – Up Close!, Fringe 2017

After a bold entrance, Chris Dugdale uses his magic to stun and mesmerise the crowd, proving he is that one step quicker and more in tune than the rest of us with this show that incorporates audience participation, a subtle introduction to how the tricks are performed and a full list of information on how to get kicked out of any casino in Las Vegas. A dab hand at card and observational tricks, Dugdale continuously shocks the audience in this sold out show, converting even the most cynical punter. 

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Review: Courtney Act – The Girl From Oz, Fringe 2017 Rating 90%

Review: Courtney Act – The Girl From Oz, Fringe 2017

As I sit down to write this I wonder how much of my word count I can waste talking about Ru Paul’s Drag Race. The answer is probably a lot but in truth I’d rather focus on the wonderful show I’ve just seen. Things get off to a good start, opening with a rendition of Olivia Newton-John & ELO’s Xanadu while Courtney tumbles around the stage on a pair of red sequined rollerskates that I am more than a little jealous of.

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Review: John Shuttleworth – My Last Will & Tasty Mint, Fringe 2017 Rating 13%

Review: John Shuttleworth – My Last Will & Tasty Mint, Fringe 2017

It was about midway through the show, during a discussion about how a dishcloth should never just be thrown out before being turned into a floor cloth first, that I felt myself give up. I just wasn’t into it at all, even though I knew and liked many of the songs that were played. A best-of collection of songs from his twenty-five year career, Shuttleworth’s show was aimed specifically at fans of his type of comedy. If I’m being honest, I’m surprised many of them are still alive.

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Review: Abigoliah Schamaun – Namaste, Bitches, Fringe 2017 Rating 77%

Review: Abigoliah Schamaun – Namaste, Bitches, Fringe 2017

The Fringe this year reminds me of No Face from Spirited Away; it seems intent on growing and growing and consuming all of Edinburgh. The problem with that is that some good acts fall between the cracks. Hell, I didn’t even know Milton Jones was on at this year’s Fringe and if someone who is on TV can’t cut through the noise to Joe Public, then what hope do smaller acts have?

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Review: Alice Fraser – Empire, Fringe 2017 Rating 75%

Review: Alice Fraser – Empire, Fringe 2017

Alice Fraser is already on stage as we come in, her back to the audience, as she waits for what must be nearly ten minutes for us all to take our seats. It’s sold out and 10pm on a Wednesday so the audience is a mix of young people, several generations of families, and groups of middle-aged men holding pints. The first thing we notice about Fraser is that she is dressed up like some sort of pantomime wicked witch with a penchant for S&M.

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Review: The Man On The Moor, Fringe 2017 Rating 85%

Review: The Man On The Moor, Fringe 2017

Max Dickins (alumni of last year’s Fringe smash hit The Trunk) returns to Edinburgh this summer with his one man show The Man on the Moor – a driech fictional tale based broadly on fact that is a sombre yet ultimately uplifting portrayal of a son on the hunt for his dead father and those poor souls around the UK in a comparable situation. 

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