tighted, naked-chested, bowler-
. Company, Randolph Studio (Venue 55)
Seen anything good?
‘. . . very, very good.’ it’s the reviewer’s kiss oi death: not quite as bad as ‘. . . very iunny’; twice as naii as ‘nice’. Such a bland adjective can only be describing a bland show.
I iind myseli apologising ior the iact that Mervyn Stutter is actually very, very good as compere oi this chat show. Someone should apologise ior the name (he says it’s ior real) and shocking, shocking pink suit, but to make such a showcase iorrnat work requires skill, talent and quick reactions. Stutter works the crowd like the showman he undoubtedly is. This is either a pluggers’ paradise, or an opportunity ior tourists to get a quick Fringe iix. Mervyn warms up the punters with a couple oi numbers beiore embarking on today’s busy line-
12.20pm: We start with a couple oi out-oi-breath tunes irom a one-hour liie-story of Gary Glitter. ‘It’s just a great, great show.’
12.30pm: Mania Productions storm the stage with iootball vandals reciting iambic pentameter irom These Colours Don’t Run.
12.37pm: Rob llash’s adroit portrait oi an eleven-year-old valley girl irom Twelve Steps To A More Ilysiunctional You is the ‘best show we’ve ever done’.
12.45pm: Merv has a quick natter with Anna Landucci, designer oi the Fringe Programme cover.
12.50pm: The Pack, three white-
hatted, lip-sticked men, periorrn a mime piece irom their ‘very good show.’
Melv jumps into the throng asking, ‘Seen anything good?’ Karen irom
llewcastle’s critique on Bob Downe is, ‘Very good, very good.’
1pm: Saxtet’s uplifting virtuosity gets everyone clapping. We aren’t told how good they are; luckily we can work it out ior ourselves.
1.15pm: The highlight is Renee llicks, Ian Edwards and Suli McCullough, irom Stand lip Black America, each oi whom tell us how good their show is.
1.29pm: Merv rounds up with a review oi his own show irom the lady in the iront row. ‘Excellent. Really, really good.’
’lluii said. (Gabe Stewart) Seen Anything Good? (Fringe) Mervyn Stutter, Pleasance (Venue 33) 555 6550, until 31 Aug, noon. £4.
It’s 84 Charing Cross Road with shagging: lrish iisherman/pen pal gets to make out with Welsh/Scouse publisher aiter a year’s correspondence. There are lots oi reasons why Sea Marks shouldn’t work: wandering accents, poor design, improbable plot, yet ior all that it remains an engaging and occasionally gripping piece oi theatre which rewards the patient viewer. The poetic realism with which the iisherman describes his home and occupation broadens the scope oi what might otherwise have been a rather claustrophobic two-hander, and the struggles oi sex and culture maintain an energy which cannot be ignored. Eight Sea Marks out oi ten. (Stephen Chester)
Sea Marks (Fringe) One Theatre
84 Sharing Cress lined with log 225 5366, until 4 Sept, noon, £4 (£3.50).
TROY THEATRE COMPANY presents
Directed by SIMONE VAUSE
THE CHURCH HILL
THEATRE _ 1,, MOHNINGS'DE ROAD "A must for all Holly fans" VENUE 46. N3. at The Scotsman 12-30 P°m° Th1: ariZiSrIgIﬁnge, (INCLUDING SUNDAYS) (Venue 95) Tickets available from Tickets: £6.00 (FUII), The Fringe Box Office £4.50 (ConCS)_
or The Church Hill Theatre Box Office
031-447 7597 £5 . £4
Brunton Theatre Box Oﬂice N0. 031 665 2240
"GLITZY. BITCHY, CHIC. UNIOUE. HEART-BREAKING."
WRITTEN & PERFORMED BY
PRESENTED 5V PW PROOUCIIOIS
lFaYOU WERE SPELLBOUND BY BOB KINGDOM as DYLAN THOMAS YOU'LL BE
CAPTIVATED BY OAPOTE
25 Aug-4 Sept
at 12 noon daily
BOX OFFICE: O31 226 2428
The List 27 August—9 September I993 23