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We did only a few performances but it was all a wonderful experience – from rehearsing in Penny’s living room in Clapham to then participating in this international festival, where Penny was, of course, known to so many of the other artists performing. Collectif Bim’s Place Assis (which translates as ‘a place to sit’) is a non-verbal performance set on a public bench. It’s a well-played piece of ensemble physical theatre, with the five performers imaginatively transforming the aforementioned bench into a car, boat or horse. There’s a fair bit of ‘school’s out’ type romping, with bags stolen and chucked around, and a lot of pushing and shoving and chasing round and round, all cleverly choreographed. It’s not going to change the world, but it’s a fun piece of work that goes down well with the audience.
From their early days in Scottish West Coast halls and bars, to festival crowds in the USA, Canada, Australia and throughout the UK and Europe, Skerryvore’s wide range of influences and talent produce a musically expansive, immersive yet intimate set that excites and captivates audiences. From the traditional to the contemporary, Eddi brings joyous life to all forms of song. Her taste in co-writers, writers, songs and players is impeccable and anything with her name on it is guaranteed musical treasure. Whilst the perfection of her technique is widely acknowledged, what sets Reader apart is the depth and quality of the emotional performance; her ability not only to move the listener but to connect her experience to that of her audience. Her passion and instinct move people in a way reminiscent of those who have influenced her work.
As she walkes us through her material, and recounts some of her experiences on the site, sometimes the comedy takes a little bit of a back-seat to the narrative. However, our reaction (or lack thereof) doesn’t deter Carr from continually pulling us into the show with her. And that’s mainly because it’s so hidden beneath everything else that we don’t quite register it as being at all related or more than an off-hand tangent, and instead is just more of Carr’s tendency for rather chaotic storytelling. As much as Carr tries to turn eBae into a larger, personal hour, doing so slightly detracts from how otherwise enjoyable and funny we find it. This is a very silly, slightly weird show that provides a bit of a light respite.
They can both carry broad comedy, lust, pathos (what small amount there is) and have the ability to change between characters from one second to the next. Possibly because the main female roles are better, Dettmer in particular comes across as outstanding.I can’t write much else without giving away spoilers. So, if you are the sort of person who likes a highly entertaining, daft but clever show, without trimmings, that basically relies on the talent of the two actors, then this is for you. Aaron Pang’s quest for a relationship lies at the heart of his Edinburgh Fringe show, and he shares his hopes and fears with the audience with a charm and honesty that propel the narrative and bring us face to face with his particular dating conundrum. Because, in addition to unpicking the nutty problems of choosing Tinder pictures, writing a suitably witty biography and curating “sexy” interests, Aaron walks with a cane. A cane which, he notes, carries its own legion of socially awkward questions and difficult conversations – especially on first dates.Thus begins a tender, intimate and uncompromising hour in which we share Aaron’s medical history and how he feels that his disability has impacted his ability to find love.
The year is 1900, and Milan has seen several years of unrest, including a state-sanctioned massacre at a protest over the price of bread. Amandina (Michelangiola Torriani) initially delivers a monologue in which she dissects her clientele and breaks the fourth wall, interacting with men in the audience. Touchingly Funk Fest Bonanza, she recalls one man she loved, Gaetano (Lorenzo Balducci), who visits the brothel – but only wants to use the establishment for lodgings. Despite being offered sexual services, he refuses her seduction, which only draws her closer to him.
Diva-glamourous they appear, three of them sheathed in black, plus Rhona Bennett in a spangly silver bodysuit. They play it bold, kicking off with their most famous song “My Lovin’ (You’re Never Gonna Get it)”. Burning Spear kicks off with “Door Peep Shall Not Enter” from his 1973 debut album. That was long ago and he’s now 80, but still jigs about, mustering sprightly footwork. He relishes rolling his Rs in many chants of “Rastafari” as he proceeds to “Jamaica”, a number from his most recent album. His set is an easy time in the sun but lacks the dynamism to retain our full attention.
My only suggestion would be to shorten some of the early songs to help the show flow more smoothly.Lydia Duval’s direction is truly exceptional, showcasing how the cast was allowed to experiment and explore their characters. This freedom enabled the performers to make clearer, more deliberate choices. A prime example is Marie-Laure Corben’s portrayal of Amarath Crimson Weird, whose precise acting vividly illuminate Amarath’s journey throughout the show.Lowri Jayne Rees’ vocals are absolutely stunning, with her control and clarity shining through in her performance of In the Inbetween as Scarlett Rust Weird. Dalia Kay’s portrayal of Blush Cinnabar Weird is outstanding, with impeccable comedic timing and vocal flexibility that are a true spectacle. The trio’s vocal harmonies are phenomenal, sending chills down my spine from start to finish.This show is truly worth your time and money.
A nearby flag states, “SAVE THE PLANET, EAT THE RICH”, and features hideous old Jeremy Clarkson riding a killer whale. No, he’s not OK now just because of that bloody farm programme. She looks glam in white cowboy suit with diamante stars on her arms. Today is a dash back’n’forth between Pyramid, Other and West Holts. One has a lanyard saying, “ANGIE MUTOID”, meaning she has something to do with the Mutoid Waste Company, creators of post-apocalyptic sculptures, New Age Travellers when they were John Major’s folk demons. She has a pointy, interested face, long grey hair, a tartan waistcoat, a long white skirt, arms coated in wristbands for every onsite area, pink socks in sandals, and yellow-painted fingernails.
