FESTIVAL THEATRE | Reviews at a Glance REVIEWS AT A GLANCE
For full length versions of these reviews, see list.co.uk/festival
ACTION MAN ●●●●● A gripping, moving play from a talented young cast, Action Man confronts post- traumatic stress disorder, NHS cuts, and the treatment of disabled people by the welfare state. Unflinching in its address of real, important and pressing issues in British society today, Action Man is a fantastic piece of theatre which deserves a full audience during every performance. (Kenza Marland) Paradise in Augustines, until 11 Aug, 5.35pm, £10 (£8).
ALL THE LIGHTS ARE ON ●●●●● There’s little startling or surprising about ACE-Production’s eloquent, poignant show; a part of the Fringe’s From Start to Finnish showcase. But it’s an honest, strongly delivered reflection on the impact of life-changing disease on a loving family, with hopes raised then dashed, and impossible decisions that have to be made. (David Kettle) Summerhall, until 26 Aug (not 8, 13, 20), 11.40am, £10 (£8). EREWHON ●●●●● Despite his likeable magic lantern slides, it’s Arthur Meek’s droll storytelling that carries this show, supported brilliantly by the retro-futuristic tunes played live by Meek’s compatriot Eva Prowse. The show becomes more opaque as it strays into time travel and the threat from conscious technology towards its end. But as a critique of colonialism, and a merciless send-up of hand- wringing liberal inertia, Meek’s Erewhon is a sublime achievement. (David Kettle) Summerhall, until 26 Aug (not 13, 20), 1.25pm, £10 (£8).
FRONTING ●●●●● Playwright Darren Hardie covers a lot of topics – sex, family, music, religion and more – so many, in fact, that few are examined in the depth they deserve. Conor O’Donnelly is nicely thoughtful in the central role of David, but Kirsty McAdam’s direction strikes too restrained and too similar a tone throughout, and opportunities for drama and development sometimes feel left unexplored. It’s a touching hour of theatre, but one that ends up seeming more like lengthy exposition than compelling drama. (David Kettle) Pleasance Courtyard, until 27 Aug (not 14), 12.45pm, £8–£11 (£7–£10).
THE FLOP ●●●● ● Enjoying the silliness of a judicial system obsessed with male genital efficiency, The Flop never manages to overcome the inconsequentiality of this historical oddity and revels in slapstick. The comedy is pleasant rather than uproarious yet the depiction of naive yet sincere love is moving and mildly tragic. (Gareth K Vile) Summerhall, until 26 Aug (not 13, 20), 4.55pm, £12 (£8). GRACE ●●●●● Grace is a one- woman theatre show about Alfie, the male half of a comedy double act, who re-enters the stage as Zora, a woman. Except Zora battles stage fright, so Alfie plays characters they meet until she’s ready. As well as sharp observations on the entertainment industry, Grace addresses gender fluidity and trans acceptance. (Adeline Amar) Gilded Balloon Teviot, until 27 Aug (not 13), 1.45pm, £8.50–9.50 (£7.50–£8.50).
HOW TO KEEP TIME ●●●●● There’s masses of potential here, but for the moment How to Keep Time feels too much like two ideas placed side by side,
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neither of which are explored in the depth they need. Nonetheless, Antosh Wojcik is a likeable, engaging actor, as well as a brilliantly skilled drummer across many styles, and he sets a nicely thoughtful pace throughout this rewarding, reflective hour of music and memory. (David Kettle) Summerhall, until 26 Aug (not 13, 20), 10.15am, £10 (£8). JOHN PARTRIDGE: STRIPPED ●●●●● While the show contains moments of vulnerability and emotional honesty for Partridge, this is perhaps not as obvious for those who are not familiar with his career. Still, few people couuld pull off a rendition of Bowie’s Bring Me the Disco King as impressively as he does, and Stripped remains a powerful, enjoyable moment of entertainment. (Adeline Amar) Assembly, until 26 Aug (not 13, 20), 6.30pm, £14–£15 (£13–£14).
MENGELE ●●●●● Mengele has a resonant message: that xenophobic ideas, while extreme, continue to proliferate today, and such evil can emerge from the most mundane of sources. The play does a fine job of inter-cutting his ravings with documentary footage from the Holocaust – a formidable counterpoint to Mengele’s historical revision, and an ominous warning to us all. (Deborah Chu) Assembly, until 26 Aug (not 9, 11, 13, 15, 17, 19, 21, 23, 25), £10–£12 (£9–£11).
MODEL BEHAVIOUR ●●●●● A study of life for a model that veers between general thoughts on patriarchal oppression and more pointed critiques of the fashion industry, Model Behaviour does not always integrate the personal and the political, but is a forceful condemnation of a system that reduces women to skin and bone facsimiles of beauty. (Gareth K Vile) theSpace @ Jury’s Inn, until 11 Aug, 8.20pm, £7.50 (£5). OFFSTAGE ●●●●● Offstage is a physical, almost wordless play exposing the mental health struggles that happen behind the mask of performance. At points, the symbolism becomes muddied and can be hard to follow, but the intention of showing that mental health issues often lurk behind the scenes is achieved effectively. (Nyla Ahmad) Pleasance Dome, until 27 August (not 14), 12.10pm, £8–£10 (£7–£9).
QUEENS OF SHEBA ●●●●● A series of powerfully sung or spoken vignettes that detail the various micro- aggressions that black women must contend with on the basis of both their race and gender. Their vocal prowess is only matched by equally
excellent choreography that highlights the strength these women draw from one another, come what may. In the immortal words of Diana Ross: there ain’t no mountain high enough for these queens. (Deborah Chu) Underbelly Cowgate, until 26 Aug (not 13), 6.50pm, £10–£11 (£9–£10) RE:PRODUCTION ●●●●● Re: Production follows Karen and Tom, whose status as the most disgustingly endearing couple on the planet is threatened by the revelation that Karen doesn’t want children, and Tom desperately does. The issues at the heart of the matter are frequently interposed with asides about the scientific and anthropological basis of love and reproduction, as well as snippets of friends and families weighing in. As such, the conclusion is perhaps a bit slight for Re: Production’s emotionally hefty premise. (Deborah Chu) ZOO Southside, until 27 Aug (not 15), £12 (£10).
SHAKESPEARE FOR BREAKFAST ●●●●● The ensemble are playful and confident, dealing with the corruption of English’s ‘Great Playwright’ and audience participation gleefully: nods to the problems of the text don’t really resolve the clear disrespect for women, but the broad humour manages to keep the tone light and witty. A lively start to the day – with free food and drink – ensures Shakespeare for Breakfast will continue being a familiar Fringe favourite for the future. (Gareth K Vile) C, until 27 Aug (not 13), 10am, £7.50–£9.50 (£5.50–£7.50). SHOWMANSHIP ●●●●● Showmanship is a modest, understated affair, with just a table of candles and an exotic, peacock- feathered costume – plus a couple of tiny but telling special effects – to create atmosphere. But it’s a captivating, thoroughly bewitching hour of theatre nonetheless, and one with dark resonances for our own troubled times. (David Kettle) C royale, until 27 Aug (not 14), 5.40pm, £7.50–£10.50 (£6.50–£8.50).
VERY BLUE PETER ●●●●● The show’s humour depends on the juxtaposition of the Blue Peter format with adult emotional tragedy. The cast has little to do but shout and mug, and many of the jokes fail to land. Lacking interest in satire or structure, VBP is shallow and crushes potential wit beneath blunt references and occasional meta-theatrical slapstick. Underdeveloped and slapdash, it is disappointing and seems to care more about being brash than entertaining. (Gareth K Vile) Gilded Balloon Teviot, until 27 Aug, 11.15pm, £10–£11 (£9–£10).