i Important wheelie bin The storylinc revolves i :I , facts-you should know “mum, twp Sign,“ who A F’Sff’ltg-‘fc'n‘e'l ‘llf‘jhmfl revisit lilCli'ClilidiiOOd - i area . cottts 1 region was nun-cry and graduapy , i " 11?“ UN 19 “#6 WhCL‘l'c succumb to uncomlortable I As you may have 15”“ “1 Brim” find. memories reawakened in " v surmised. a bin and a German “'hcc'w blns “W the process. To set the ; sister are central to the "W19 “W” WC}'C'?d_$03P Victorian scene. the 1 plot of this action-packed boxes and smell dmnc? company have compiled adventure comedy. Stella (61” Rom). . background notes on the is the new kid on the I A Wheel'e 8'" Ate my socml and sexual mores of block. isolated and 515‘“! (Fllngc) OP'CllWidC the time. sparked by the There are poignant ironies in physical . unconhdent. she plunges Theatre Company. The source material. theatre company Big Spirit’s ' head first into the land of (QJIELCFmiglzlgfifiiggsc R 'When Christi'na ' - x r x u ' o e e .. i . ossettl wrote tie oem :daPtation 0' "in", l8“ s powerml 22:31:19: 14—19 Atlg 1.05pm. 28—2 she said it was iUSlril estimony to the Holocaust, The .

' rubbish. Sept 1 1.05am. £5 (£3). fairytale.‘ says Theresa Embarking on a Demel. who Co-directs the W company with Kira Muse.

remarkable journey. she

Drowned And The Saved. The ttazis at- . . cynically calculated that no one would The Drowned And The Saved: deciphering t

9 _ . believe the. stories at mass I 3'“? 9°“ f" Nazism- ; encountch Slyvcsm- because during that time extenntnatton and a recurrent The company use highly trained ; Sebastian 31mm 3 Sign), g they wouldn‘t have nightmare oi prisoners was that no V0009 actors ranging from eleven to i business man and his l Phio-bused Mother Wild improved 0" her Writing one did. The play tells the story at one § seventeen years old and The John stooges. the Bumberling Theatre Company say Millictluug Sufism”. but man’s survival in Auschwitz. By “"191” company as we" as Théétie ‘19 t B‘”"““”‘"“‘ SC."“”>" they WM" m permr'" . [he l-iinguugc '5 .m'v emphasising movement and mime with complicité haVe help“ With some WW. and ROb'" - . Tiff“ that Pose qucsmns ".91? LYiiu iii"? .[ v d a limited text, Big Spirit is reflecting '. scenes. ‘I think the youth at our actors. RUbb'S'." 1"” ""0 “"‘h h" T'". “I ‘.”"‘”.‘““‘” . “Luisa” " “m m 755‘

- - - 3 band 0t Mucky Men, JUICL‘S flowme wrthout i ttito it that way but it s levi’s observation that when violence says something about the dlgmtv of 0mm Lubrmki being hugging by an... t pt‘ettv nutrient tn ntn- eves is intlicted on man, it’ls also inflicted fli'fime Innocence says Beifl9l’ds- founder or Openwidc Their "mitten mixing-tn,” i now that she had a little on language. Blg SPITIT hope that L?" 8 book '8 beyond baited: 't 5 Theatre Company says the Git/’1’.” Markt’h based 0” ‘1 i mm? m S”). mu" She physical movement can articulate the Wlthout tancourt an attempt to show was devised with all C hrislinu Rossetti poem. """"“L“‘3 (“mm linguistic hell of Auschwitz, using the understand, but it’s not about ' the family in mind. deals. with suppression of Shepherd) . . body to decipher the inexplicable forgiveness. Our show is about - ‘Therc'S Puppets Original C”‘°“°”-‘ 11”" ‘5 (‘C'M‘rcd | I 6mm" Mamet (“mg”) code of Nazism awareness) f songs. a nail biting plot, through song in a style l Mother Wild Theatre

, , . ' . . . . . . . . Sharp rcpaficc and some more classical than a ; C0”’P”")'t Chaplaincy

Vie re deliberately usmg the indirect :nggtfisglgoipmgtsraffis Whole" impormm cmmmmcnm, straight musical but Centre (Venue 23) 650 sty e at mime to get over what IS t . es .lmony '3 an ' issucs‘ but egg-emigin it's without the overwrought t 3301. 13—19 Aug. dmtcun to represent on stage, and I act oi war against Fascism. (Ronan Cmmaimncm; stylising of opera. i 1.45pm. £5 (£4). microphones are used to deliver the O'Donnell)

sub-language ot the guards. We also The mourned and the Saved (Fringe)

have no set. What you see is through 31!] 3p!”t Theatre company, 301004!” T “m

the eyes at the actors,’ says director "3115. (Venue 175) 550 8499. 14-7-9 i

Rory Reynolds. Aug. 2-2011"), 55(541- L tt nk t i e o ery e

r‘_ . . (vi/(fly 0177/12 0/ (1120/ n r i i unaéas/zerfly viz/gar. ' » r -

The Wall Street Journal on The Hard Nut by the Mark Morris Dance Group

(( . “(I ...e.x/1°c10r0/1nary emo/fona/powezf ; The Washington Post on Bill T Jones/Arnie Zane Dante Company - Still/Here ;/

Bitten by the gambling bug: Stomping Feet Theatre Company

§ Somewhat bizarrely, given the amount acronym) for the price at a lottery of column inches and air time which it ticket, which of course is the winning

a , , v ".1125/311490/A11261Cy.

The Stage on Deschamps et Deschamps (C'est Magniiique)

(r , . has generated, the National Lottery slip. Chaos, domestic cannibalism, WC] [pl/5] (“(1/9 3100914101” and the associated gambling theme ' exploding stomachs and crashed has made little impact on the Fringe ; helicopters ensue in the most

, /‘ this year. One company is producing ; unpredictable manner. (Hf/01’ / 29 .9 0.9. Dostovevskv’s The Gambler but that’s Fans at tairy tales and 18th century it. apart "0'" this Pmduction 0' no“! social satire will recognise something The American Record Guide on 1 Was Looking at the Ceiling and Then I Saw the Sky Monefluls walk. even can’t 0' Jack and the Beanstalk and Swift’s be accused ot lumping on any form of A Modest Proposal in the mix. Director

Ben Harrison, who was instrumental in last year’s Hare and Burke, draws

bandwagon since it was written two Fres meat for ; years ago and concerns ltselt with the i Irish lottery rather than Camelut’s . more modern parallels: ‘lt’s a cross U U U as cash cow. j between Flann O’Brien and Gogol; that o a The action centres around the moral j kind at absurdist strain at humour. A

dilemma of the amoral iieehaw tamin very grotesque, high speed, high

Who are ill the unfortunate energy comedy that should not be

; predicament of being addicted to the 3 taken too ggriousiy,’ (Jonathan new)

lottery while sutterlng from a terminal 1 The Lottery Ticket (Fringe) Stamping

i 038° 0' POVBTW- 5185!. the family'3 one 1 Feet Theatre Company, Pleasance daughter and astonishineg prolitic I (venue 33) 555 5550, g “9.2 Sept

15 nights of opera, 17 nights of dance, 53 nights of music, 36 nights of theatre. Miss the

Edinburgh international Festival and you

miss the biggest cultural event of the year. Edinburgh baby “do”, pops and swaps he, i (not wed”), 2.15pm, [gamma 18, Call 0131 225 5756 for details and bookings. '"le'"a"°“a' FESTIVAL . 30'9"“ haste" SD"!!! Withthe Batten : 19, 25-27Aug, £5.50 (£4)11-17Aug,

I ! Americans Baby Agency (B.A.B.A. t 20_24 Aug, 28 Aursept 2; £3 9.10 Edinburgh International Festival. 21 Market Street, Edinburgh EH1 18W. Registered Charity No.5Cooq694. I being the obvious but pleasing Aug.

28 The List 11-17 Aug 1995