Dave, as all good comics do, brings us into his id the right way, with tales from the swimming baths that are completely delightful, almost BBC Scotland sitcom-style. Of course, he also mines his own adventures in the tattooverse, with sizing and bizarre requests all getting an airing. Nothing seems off limits when it comes to finding the funny.

His travels abroad also get a decent airing, particularly the joys of learning the lingo and his experiences in France. It’s the kind of stuff that Dave manages to turn into something relatable, calling out absurdity in elitism and snobbery with gusto and cutting barbs.

More interesting, though, is the section on how his own views have made him something of a target for the right-wing shiterati, particularly online. Dave doesn’t shy away from it, but the politics doesn’t overwhelm the comedy. He keeps the whole thing moving along, which is one of the show’s real strengths. He controls the crowd beautifully and knows exactly when the push and pull of audience interaction should end.

Dave already has something of a cult following in Scotland. On the evidence of Tat’s Life, expect that following to grow. An excellent, well-managed and thought-out hour from a performer who knows what he wants to say, isn’t pandering to the masses and is the type of everyman we need on the comedy scene.
****
Reviewed by Steve H
Hoot 2 at Hoots @ The Apex
17 – 31 Aug
20:10-21.00

The post Tattoo Dave : Tat’s Life 4**** appeared first on One4Review.

Delivered by a small yet immensely talented troupe of young dancers currently touring globally, the performance demonstrates an impressive level of precision and discipline. Every movement feels deliberate, with the choreography allowing the dancers to tell the story through their bodies rather than relying heavily on dialogue or explanation. There is something particularly compelling about watching such a small ensemble create a sense of scale and drama through movement alone.

The transitions between musical pieces and dance routines are seamless, with one sequence flowing naturally into the next. The overall effect is haunting and atmospheric, at times feeling almost dreamlike. The combination of traditional elements with modern technology gives the production a distinctive visual identity, creating a fascinating meeting point between ancient mythology and contemporary performance art.

My only real disappointment was the brevity of the show and the relatively small size of the ensemble. In some ways, this is actually a testament to how effective the performers are, because I found myself wishing there was more. The ideas on display here feel considerably bigger than the production currently has the resources to realise.

I would love to see this vision developed on a much grander scale, with a larger ensemble, a bigger stage and a production budget capable of matching the ambition of the concept. Given the quality of what is already being achieved with relatively limited resources, I can only imagine what this troupe could accomplish with the opportunity to really let their creativity loose.

For now, I’m awarding four stars, but with the distinct feeling that a five-star evolution is already on the horizon. I would be very interested to see this production again in a few years and discover just how far this young troupe has taken it.
****
Reviewed by Mike

The post Dragon – Yehyo Dance Company 4**** appeared first on One4Review.

While a few moments didn’t quite land for me or felt slightly disjointed, these were minor issues in what was otherwise a thoroughly enjoyable performance. The trio of accomplished magicians each brings their own personality and style to the stage, creating plenty of variety and ensuring that the hour never feels repetitive. Seeing three different approaches to magic in a single show is one of its biggest strengths.

The performers have clearly developed a good understanding of how to engage a Fringe audience, balancing the magic itself with plenty of energy and audience interaction. There is a lovely sense of fun running through the whole production, and you get the impression that the performers are enjoying themselves almost as much as the audience.

They have become something of a Fringe staple and, having originated here, it is wonderful to see them still thriving amidst the sea of other shows competing for attention. The Fringe can be an unforgiving place for performers, with thousands of productions vying for an audience, so returning year after year is an achievement in itself. It feels particularly fitting that a show born at the Fringe has managed to establish such a lasting presence here.

My personal highlight of the afternoon was the laser illusion featuring all three magicians. It was a fantastic way to showcase their collective skills and provided a suitably spectacular way to end the show on a high note. You really have to see it to appreciate it, because words struggle to do it justice. Think funky, elongated lightsabers combined with great music, lighting effects and three magicians seemingly doing the impossible together.

Another personal favourite was given a special spotlight: the classic sawing-the-assistant-in-half illusion. It may be one of the oldest tricks in the magician’s book, but there is a reason it has endured, and this version is executed masterfully. Sometimes there is nothing wrong with giving a classic illusion the attention it deserves, particularly when it is performed this well.

Overall, One Hour of Insane Magic is easily one of the better magic shows I’ve seen at the Fringe and a must-see if you’re a fan of the genre. The variety provided by three distinct performers is a real bonus, while the combination of impressive illusions, humour and family-friendly entertainment makes this an accessible show for just about everyone.

There are a couple of rough edges that prevent it quite reaching five stars for me, but there is plenty here to enjoy. These three performers have great potential, and given their growing Fringe reputation, I’m looking forward to seeing what they come up with next.

I’ll certainly be back next year to see what they’ve got up their sleeves.
****
Reviewed by Mike
Various Times
Gilded Balloon Teviot Debating Hall

The post One Hour of Insane Magic – Insane Productions 4**** appeared first on One4Review.

Starring and written by Ralph McCubbin Howell, Suitcase show is a delightfully dark and comic collection of poetic short stories which Howell brings to life with carefully crafted miniature sets and props contained within a selection of suitcases. Framed as an inspection at an airport by a disinterested but pernickety customs official (played by Hannah Smith who also directs), the show covers everything from a shadow puppet play about a deposed dictator trying to flee his country, to a pair of (literal) hand puppets arguing about getting access to a swanky first-class lounge. And as Howell’s unnamed traveller opens each new case things get slowly darker and more sinister until the audience is forced to ask why he’s carrying these stories with him and where did he find them.

There’s a lot to admire about how skilfully this show has been put together. The performance from both on stage and the writing are fantastic and Howell is clearly a masterful storyteller. What stands out most, though, are the visuals. In particular the light and shadows are used to create truly breathtaking effects with the limited props on stage, from torches to miniature projectors. The smallness of the stories in the suitcases creates a wonderfully intimate atmosphere though I did wonder how good the view from the back of the theatre might be at times.

I should also note that, while the stories have their serious points and there is a spooky atmosphere, that doesn’t mean that the overall show isn’t also very funny and, somewhat contradictorily, light-hearted. Howell is a captivating and entertaining storyteller and his natural humour and witty jokes make sure that even in the darkness things never get too bleak or pretentious.

An immaculately made and produced show that, appropriately, is perfectly sized and I believe will travel very well.

*****
reviewed by Tom
Assembly Roxy

The post Suitcase Show – 5***** appeared first on One4Review.

The show opens with narration from the honey-toned Sir Stephen Fry (who, presumably, owed someone in the production a favour) who assures us that everyone in the 1600s was called Stuart, hence why it was known as the Stuart era. And this very much sets the tone for the level of historical realism we can expect from the story. Our protagonist is the actual mastermind behind the treasonous plot, Robert Catesby, who is portrayed as a bumbling underachiever who is quickly overshadowed by the arrival of the much more charismatic (and memorable) Guy Fawkes. As part of the ongoing conspiracy, Robert is sent to spy directly on James I of England (James VI of Scotland) a mission that may lead to some unpredicted emotional complications when he realises that maybe he has more in common with the king than he first thought.

The songs themselves come thick and fast and are surprisingly good – to the degree that I can still hum them several days after seeing the show, something I can’t say for any of the other musicals I’ve seen this year.

The four-strong cast of Kluane Saunders, Ross Tomlinson, Lucy Buncombe and Tom O’Kelly do a great job as the various characters. My favourites were Tomlinson’s camp and unhinged King James and Buncombe’s swaggering Guy Fawkes but everyone is pulling their weight here. The jokes range from the silly to the daft with a slight stop at the truly disgusting with one particular gag about a gout-ridden foot that made me recoil with giggling horror. The show is also overtly camp and queer in a fun panto-esque way.

I will say that the show feels expensive. Not in the props and staging which are all your standard “use your imagination” Fringe fare but something in the quality of the performances on stage and the music production just has that little tinge of real quality. The company feels like a group ready to move from the stage to the screen (or, y’know, the radio) and I wouldn’t be surprised to hear they’ve done just that by this time next year.

Low on explosions, but big on laughs, this is a show sure to make your (bonfire) night.

****1/2
Reviewed by Tom
17.15 to 18.15
Pleasance Queendome
Until 30th August

The post Remember, Remember! – WIT? Theatre Company and Pleasance 4.5**** appeared first on One4Review.

Starring Arleigh Curran as the titular heroine and José Andres Bordas as everyone else, Catching a Cheese Pervert is, as you might guess from the title, a very silly show and it’s not afraid to lean into the daftness with liberal use of puppets, fun voices and comedy characters. The story itself is a lot of fun and though the identity of the cheese pervert in question will probably be fairly obvious to anyone familiar with cozy crime books, it’s more the haphazard journey Priscilla goes on that makes it worthwhile. Curran’s Priscilla is, ironically, pretty clueless but very likeable, despite being shallow and self-serving. This makes for some great humour as Priscilla flails her way through various suspects and leads, all the while live streaming her efforts to her followers like a beauty queen Alan Partridge.

The writing and direction (from Kayla Kurin and Krista Rowe respectively) is more than good enough to make this a funny and enjoyable romp, though I felt the show hadn’t yet managed to find its core audience the day I was there as the laughs weren’t coming as quickly as you might expect. This might possibly be down to the extremely specific nature of some of the humour, which clearly plays on stereotypes of very specific kinds of Canadian people and situations that don’t entirely translate to the British cultural trough. That said, as the show continued the audience really warmed up and, by the climax, everyone seemed to be on board.

Clever but silly comedy theatre is my favourite kind of Fringe show, and this is a great example of it. Hopefully we’ll be able to enjoy more of the cheesefluencer’s adventures in future Priscilla Patton Mysteries.

****
Reviewed by Tom
Just The Tonic

The post Catching a Cheese Pervert: A Priscilla Patton Mystery – 4**** appeared first on One4Review.

Bounding onto the stage, Morton is glowing, primed and ready for action. Last year, having caught her partner cheating, she spent the aftermath dealing with the stresses, strains and baggage that come with it. Somewhere amid the uncertainty and carnage though, there’s a voice in her head saying I’ve got my new Fringe show!

The first section has a “How Did I Get Here?” vibe, where she analyses her ex-boyfriends and school relationships with scalpel precision. There are a few WTF moments, but it lays the groundwork for what’s coming up.

The analysis of millennial crushes is a delight, from the hotties of a certain film franchise to pop, goth and punk love songs, Morton knows exactly where the laughs are.

A big question running through the show is how she gets the adulting crap together. Should she pay for Tinder Gold? How do you go looking for clues and crumbs of romance? Getting back out there, meeting people again and negotiating those inevitable walks of shame are discussed with equal aplomb.

There’s also an interesting diversion into how much she thinks she can blame her parents for some of this, and it could easily have become a nepotism sideshow. Not a chance. Morton is standing firmly in her own Doc Martens, delivering the story in her own voice and avoiding the pity party and bloody heart held aloft on stage tropes.

However, it’s the excellent “Why Am I Not Angry?” section that raises the bar, where Morton lets her guard down and allows some vulnerability to creep through, where you get a glimpse of the person behind the punchlines.

Crushed is a well-executed and ultimately damn funny show, where Morton takes the shitty arse end of a relationship baton and shakes it to the naked bark. OK, the smell never disappears, but you can still pick it up and conduct your own tune with class, style and dignity.

A Scottish voice well worth discovering.
****
Reviewed by Steve H
17.00 to 18.00
Basement at The Gilded Saloon

The post Hannah Morton : Crushed 4**** appeared first on One4Review.

The show, split neatly into 3 major set pieces, is obviously the culmination of months – if not years – of brainstorming and planning all the best ways to make use of the paper-prop idea, culminating in a truly gigantic amount of bits to work with. The performers slide through them all in a highly choreographed style, ripping off each piece of paper when a gag is completed to reveal the next one and diving straight in. Paper becomes backpacks, bullets and boats even, at one memorable point, the tentacles of a giant sea monster. A ceiling-mounted camera gives a birds-eye-view of a rotating table which, as paper is moved, flipped and discarded, fills with plates, then food as the performers rapidly bustle through the motions of the meal before becoming a spinning globe, then the next thing the the next. The ceiling camera is then used to film a wide variety of stunts as the performers lie on the floor or wheel themselves on trollies to act out parachute jumps or space adventures.

After a (slightly cringe-inducing) video package opening introducing us to the performers, the show moves from skit to skit with each of the objects at a truly breathtaking rate. This is a bit of a double-edged sword. While there is a huge amount of energy on display and the smoothness of the choreography is impressive, the constant number of moving parts on stage does make it hard to appreciate the jokes and situations as they go past or properly marvel at the hard work that has gone into some of the concepts, which feels a bit of a shame. The stage is often very busy and each performer always seems to have something to do, even if it’s just reacting to the actions of another or standing in the wings ready with the next prop to come on so it can be a little hard to know what you should focus on. Possibly this is me just being a bit too old to fully appreciate this kind of hyperactive performance and someone younger or more caffeinated would disagree, but I felt that slightly fewer bits with slightly more room to breathe would be easier to laugh at.

With this kind of high concept show, much relies on the quality of the ideas brainstormed up and, with ideas of this density, some are naturally going to be more effective than others. Fortunately, Noted has a high hit rate and while there were no ideas that truly blew me away, everything was effective enough to get a few surprised gasps and satisfied chuckles.

The one part that didn’t work for me and, judging from the muted response of the audience I wasn’t alone, was the final set-piece when the actions were being performed for the ceiling-mounted camera. There was actually nothing wrong with this as a concept and, indeed, it worked very well if you were only watching the action on the projector but, for reasons I cannot understand, the entire camera feed had a delay of around 30 seconds. This meant that you saw the performers doing the actions, not from the best angle, but well enough that you could figure out the gag and then, 30 seconds later, you saw it again from a better angle at which point the humorous events were no longer surprising or funny. I can only assume that this entire section was designed to be done in such a way that the audience were unable to see what was happening on stage before the actions on screen, potentially on a raised stage with non-tiered seating? But even from the ground position of the front row, I could see everything in advance of what was supposed to be happening and it managed to spoil any reveals or surprises. I originally thought that this was potentially leading to a series of gags where the performers would interact with their past selves on screen, but this was only done once and in a very simple way, meaning that every single other part of this final routine would have been improved if it was just shot in real time. It should be mentioned as well that this asynchronicity between what is on screen and what the performers are actually doing lead only to more issues with not knowing where to look at any one time to best appreciate the show.

A playful and experimental show but probably more suited to younger audiences who will find the visual (and literal) clutter more enticing than overstimulating.
*** 1/2
Reviewed by Tom
10.15 to 11.15
Assembly Roxy
Until 31st August

The post Noted – The Back Pack 3 1/2 *** appeared first on One4Review.

With possibly one of the most visually arresting stage designs of any show I’ve yet seen, The Mothman Cometh takes place almost entirely in darkness, with the only light coming from the glowing red eyes of the performer on stage. I was honestly blown away by how effective and eerie this – initially simple seeming – concept was. The eyes bounce and dance as Mothman speaks and moves. When he turns to the wall he’s briefly silhouetted and all you can see is a slim black shape against the darkness. But while you cannot see Mothman you soon realise that he can see you. It’s immediately thrilling and odd and all sorts of spooky. However, this tone doesn’t really reflect the show and I can’t help wondering if that impacts on its effectiveness at the end.

Mothman (performed by Richie Schiraldi) starts the show saying that he is a creature fuelled by darkness though its not entirely clear what this means. Schiraldi’s Mothman is something of a camp supervillain in the 60s Batman mould – not evil as such, but seemingly having some kind of dastardly plan going on, though he never really gets around to revealing what those are, other than establishing that the audience members present are his “minions”. The rather loose structure of the show is that Mothman is being pursued by an interdimensional…thing called “the void” which consumes everything and it is only by leading his minions to complete a series of challenges and rituals that he will be able to defeat it. What this boils down to is an awful lot of audience participation in a show that, in its essence, is a clown show minus the visual part of physical theatre. There are, however, plenty of music breaks as Mothman is seemingly taken over by radio signals (or something? It’s never explained) and bursts into various well-known songs at points, which the audience are more than happy to sign along with.

Thematically the show is about overcoming fears. It starts with Mothman asking audience members to shout out their fears and interrogating them as to their answers. Over the show this leads to audience members being asked to chat with strangers, dance on stage and otherwise use the intimacy and anonymity of the cover of darkness to come together and move forwards into the light. And that’s pretty commendable as a goal and I’m sure for some people it worked well but I was left feeling it hadn’t quite hit the mark.

I think what didn’t click for me is Schiraldi’s style of audience participation. It’s one I’m beginning to associate with certain clown performers, predominantly from the US, where they keep digging after the initial question/moment of interaction like a toddler asking “why?” until the poor mark who’s being asked is forced to just give up and say “I don’t know”. It seems odd to me that while stand-ups and improv troupes are happy to shoulder the burden of making the interactions funny, some performers turn up seemingly hoping that the audience will do the work for them. Schiraldi’s Mothman is more than likeable enough, and the crowd were clearly behind him but he didn’t seem to have anything prepared to weave the straw the audience gave him into gold, and the interactions went from funny to awkward a little too often. And I should mention that on the night I went the crowd was seemingly full of American theatre-kids and acts from around the festival who were more than happy to throw back what Schiraldi threw at them but they still ended up getting overwhelmed by the pressure to perform he put on them at points.

Overall, this is a show for a very specific audience, who show up ready to play, are generous with laughs, and don’t mind a little obfuscation in terms of what’s happening (Mothman also would occasionally shut down into a sort of “sleep mode” which was never explained or resolved either). Ironically, I would say that probably this isn’t really a show for people who are interested in Mothman lore, which I gathered from a couple sitting behind me during the making friends section, was the only reason some people came to the show. But that said, the design of this show is not just good but phenomenal, so while it wasn’t necessarily for me, it was certainly worth the experience.

The post The Mothman Cometh – Whisper Theatre 3*** appeared first on One4Review.

Like all good magicians, he saves the best until last. The devilish double-twist Rubik’s Cube deception is worthy of the greats.
Mr B is an engaging guide, performing with a mesmeric ingenuity that has you wondering whether some of this stuff might actually be possible.
It’s a fantastical gold standard hour, full of genuine bewilderment, performed by someone who clearly loves his art. Another PBH Free Fringe find well worth checking out.
****
Reviewed by Steve H
15.30 to 16.30
Room 6 at PBH’s Free Fringe @ SUPERCUBE Cowgate 
Until 30th August

The post Adam B Magic : Welcome to My Reality : 4**** appeared first on One4Review.