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CHERIE MY STRUGGLE Unfocused look at the life of Cherie Blair ●●●●● ART HEIST A lingering sense of style over substance ●●●●●

Billed as ‘an intimate, gossipy memoir’ about Cherie Blair, this one-woman show sadly cannot decide its focus zeroing in on random moments and spending far too much time broadly recounting Westminster events. Mary Ryder takes on the role of Cherie, trying her best to bring some intrigue to the one-time household name.

Written by Lloyd Evans, it’s a traditional

monologue starting with a modern-day Cherie recounting her childhood and parentage, how she met her husband, and her struggles with the press. Although this intends to offer the audience a deeper understanding of her, the bracing sprint through her entire life does the opposite, with vague anecdotes about her father and her time with the royals. The piece does touch on something interesting with Carole, Cherie Blair’s style advisor, and her treatment at the hands of Downing Street men. However, it is too blunt with its proclamations. Overall, this piece plays it far too safe; it’s a missed opportunity to offer a new insight into one of the key players at the heart of British politics over last two decades. (Sean Greenhorn) n Imagination Workshop, until 25 Aug (not 19), 10.30am, £10 (£8).

After the runaway success of Lights Over Tesco Car Park last year, expectations are high for Poltergeist Theatre. While the company has become increasingly inventive with their staging, there’s a lingering sense of style over substance in Art Heist, where three utterly bonkers burglars attempt to rob a gallery on the same night and tightly choreographed chaos ensues. In an apparent mash-up of Mission Impossible

and Dungeons & Dragons, each character must find creative solutions to the problems game master / security guard Alice Boyd throws at them. It’s a cool concept and writer Jack Bradfield has constructed an airtight farce full of intersecting subplots. However, such a tight structure leaves no room for chance, the very thing that makes roleplayer games like D&D so much fun. This, and gimmicky audience interaction, cheapen this potential masterpiece. Ruminations on the value and meaning of art feel shoe-horned in. Onstage cameras, moving lights and roaming lasers certainly make for a visual spectacle but by the end it feels about as empty as the frames they’re fighting over. (Liam Rees) n Underbelly Cowgate, until 25 Aug, 1.55pm, £11–£12 (£10–£11).

CROCODILE FEVER Snapping at the jaws of the patriarchy ●●●●●

Brilliant, batshit and brutal, Meghan Tyler’s new play, set against the backdrop of Northern Ireland during the Troubles in 1989, plays out like conventional farce initially, at least. Fianna (Lise Dwyer Hogg), a rebellious young punk is back to visit buttoned-up, religious sister Alannah (an outstanding Lucianne McEvoy), forever trying to scrub the outside world away in her pink Formica kitchen. But both characters develop into something far more complex when forced to confront reptilian abusive father Peter (Sean Kearns).

A surreal comedic bloodbath, homaging classic horror films like Carrie and The Shining, ensues. After all, what’s a little chainsaw action and crisps-related violence between good Catholics? Underpinning the larky humour and gore, though, is female rage. Gareth Nicholls’ marvellous direction of this dream cast draws out the tics and nuances of Tyler’s intelligent writing. These young women have been pushed to the edge, and the heart of the play shudders with the terrible hurt of adolescent years. In a sense, it’s #MeToo for the pre- internet generation, when horror and evil wasn't just limited to video nasties. (Lorna Irvine) n Traverse, until 25 Aug (not 19), times vary, £21 (£15.50).

BRYONY KIMMINGS: I’M A PHOENIX, BITCH Arresting one woman show depicting an astonishing recovery from mental illness ●●●●●

In this intimate yet epic solo, Bryony Kimmings describes a journey of salvation from the depths of depression and psychosis to recovery and acceptance. I’m a Phoenix, Bitch is a perfectly crafted declaration of one woman’s innermost demons.

The set is scattered with sheets covering small set pieces to represent moments in Kimmings’ life which she revisits to embark upon recovery. Kimmings uses these and a video camera to perform satirical musical numbers that range from hilarious to heartbreaking. From film noir to scenes that evoke The Blair Witch Project, these tunes skillfully enlighten moments that contributed to her eventual undoing. The filmic allusions bring each personal memory to a relatable level, and Kimmings’ is utterly compelling in her delivery of these stylistic performances.

As each scene goes by, what started as a scathing but

light-hearted, satire, becomes a dark exploration of female insecurities. The show’s climax consists of striking movement pieces and stunning projection, depicting Kimmings’ psychotic episode as something out of a horror movie. Her focus on the terror that comes with severe mental illness effectively removes any risk of fetishising the subject. Relentless in its honesty and exquisite in its artistry, this cinematic response to her own mental state is devastatingly memorable. It is astonishing that she is able to continue. I’m a Phoenix, Bitch is a remarkable testament to resilience.

Kimmings’ brave surrender of her own life to the stage illustrates that to experience mental suffering is to also undertake a transformative journey. Steeped in honesty and made with impeccable skill, this is a glorious piece of theatre that demands to be seen. (Rachel Baker) n Pleasance Courtyard, until 25 Aug, 5.30pm, £15–£17 (£14–£16).

14–26 Aug 2019 THE LIST FESTIVAL 87