FESTIVAL 6—8pm continued

THEATRE REVIEW Asteroid Haemorrhoid aunt

Piles of LaughszAsteroid Haemorrhoid

Less a coherent piece of theatre than a succession of observational stand-up monologues and duologues, the loose narrative which holds this piece together is that of a media whore and a hooker, of the more common and honest variety, who are locked in a cell after an alien abduction. An initial period of hostility gives way to some buddy movie-style bonding, and each goes on to reflect pretty bluntly upon relationships, sex and botty problems. There are some sharp turns of wit in a script written by Wendy Lloyd and


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Lizzie Roper, the performers, as well as some appropriate rock music in the score, though there are some occasional longueurs. (Steve Cramer) I Asteroid Haemorrhoid (Fringe) Wendy Lloyd and Lizzie Roper, Gilded Balloon (Venue 38) 226 275 7, until 29 Aug (not 9, 16, 23) 6.75pm, £ 7 (£6).

THEATRE PREVIEW Women Of Troy: 2099

Want to see a classic done in a new way? London writer Courttia Newland plays fast and loose with Euripides’ 3000-year-old Trojan Women by setting this adaptation 100 years into the future. He outlines his rationale: 'I didn't want to set it in the past or the present because I’d be limited by the parameters of history. By setting it in the future I have control over an entire world.’ The original dealt with the aftermath of the Trojan Wars, but Newland believes that the Kosovo conflict gives it a fresh relevance. Conscious of adapting one of antiquity's most revered playwright’s, Newland stresses: ’|'ve changed it a little, but hopefully you won’t be able to tell what Euripides wrote and what I wrote.’ This is a big shift from the inner- city subject matter that dominates Newland’s previous work, but if this classicaVsci-fi mix is as successful, it promises to be an interesting production. (Davie Archibald)




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I Women Of Troy: 2099 (Fringe) Riggs O’Hara Theatre Company, Pleasance (Venue 33) 556 6550, until 30 Aug (not 76, 23) 6.50pm, £6.50/£6 (£5.50/E5).


It’s 1979 and four Manc Iasses just have to have tickets for FA Cup Final in this revival of Debble Horsfield’s award winning 1982 play. This all female cast, who are still only eighteen, convincingly take us back to those years of high unemployment and flares, a time when Manchester United didn't win everything and football was still a gritty working-class game. The girls in the play, concede the cast, ’all lead pretty shitty existences'.

It may be only twenty years ago but it feels like a period drama. First time director Mimi Poskitt feels that the problems the young women face are still relevant today. Mimi Poskett, who will also perform, seems to be handling the tall order of directing with maturity beyond her years. The passion on the terraces is keenly evoked, and we can anticipate strong performances from these Festival first timers. (Ross Holloway) I Red Devils (Fringe) Hot Poker Productions, Rocket Venue (Venue 123) 558 9997, until 74 Aug, 7.05 pm. £5 (£3).

THEATRE REVIEW A Madman Sings To The Moon

If theatre is to debate common fears and concerns, it cannot rely on classics but must produce new writing. Brunton Theatre writer/director David Mark Thomson sees new Scottish writing as vital: ’It’s been one of my prime objectives since I arrived here in 1997. There can be no future for theatre if we don’t generate our own voices.’

A Madman Sings To The Moon is a bizarre dark comedy set in a sophisticated Edinburgh cafe where the arrival of a gunman creates turmoil. He takes the occupants hostage, but, as Thomson explains: ’He doesn't observe the usual rules where there’s a financial demand. The exchange that he wants is more

subtle.’ Using this situation to explore the fears of contemporary Scottish society, Thomson comments: ’lt’s very much about fear and anxiety in the late 20th century and about what it feels to belong. It's not Tarantino but its kind of Fear And Self-Loathing In Edinburgh.’ (Davie Archibald)

l A Madman Sings To The Moon (Fringe) Brunton Theatre Company, Brunton Theatre (Venue 797) 665 2240, 73-28 Aug (not 75, 22) 7. 30pm; 27, 25 Aug, 2.30pm, £8/£5.50 (E4).

COMEDY REVIEW Stephen K. Amos 1% *

Comedians should, to a certain extent, reveal themselves to the audience (not physically of course) but basing your material on personal insecurities can be dangerous and as it transpires, not very amusing. Stephen K. Amos, with stories of childhood bullying and material centred on hate and disparagement, comes across as having a gaping great chip on his shoulder. Starting off well, he rearranges the audience, drawing them closer to the stage and demanding a lerry Springer- style enthusiasm. But as he progresses through observational material that makes observations long since made, the enthusiasm gradually wanes. Viagra, American talk-shows and the dodgy knitwear mothers buy us haven’t we been here before? (Catherine Bromley)

99:: Stephen K. Amos (Fringe) Observer Assembly (Venue 3) 226 2428, until 30 Aug, 6.30pm, £9/£8 (£8/£ 7).

COMEDY REVIEW The McBeige Lecture ****

Mr Beige is resplendent in his personally tailored pink leisure suit with yellow cravat, chinchilla briefs, sexy sincere eyebrows and dashing hairpiece akin to a well-trained domestic animal. The legend of East London cabaret presents his very special one hour lecture peppered with sleazy innuendo and majestic metaphors covering everything from his family to his disdainful view of dance music.

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