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Edinburgh Festivals Magazine Tom at the Farm by Pleasance and Cena Brasil Internacional is based on the original French play by Michel Marc Bouchard. It is a Brazilian adaptation performed in Portugese with English subtitles. The performance declares itself as epic from the outset. The largest and simplest of stages is only filled with the breadth of characters and the enormity of themes. Based around the death of Tom’s gay lover and his visit to his family afterwards the story unfolds to become a psychological battle of love, passion, violence, masculinity and control. The staging, lighting and sound are exceptional and most definitely add to creating visuals of a cinematic nature. Some real creative direction has been thought as to the colour palette of this performance matching the emotion. The use of mud and water being part of this. The sound is brutal in parts and punctuates the drama perfectly. There is also humour within. In particular when the fourth character appears. But too much of this almost isn’t required because the storyline running throughout is so powerful and the dark side alone is enough with only a little balance needed to reflect the human complexity. Tom at the Farm is edge of the seat stuff. It sadly is a reminder that somehow prejudices like this are still prevalent and growing today. It strips this back to one story and the dynamics of one country but this will be relatable in some ways across the world. ‘We learn to lie before we learn to love.’

Edinburgh Festivals Magazine Thanks For Being Here by Ontroerend Goed aims to dissolve the boundary between audience and cast. It could be classed as an experiment or a new type of experience. It isn’t about audience participation but rather an acceptance of the part they play in the show. This was a packed venue so therefore an appealing concept. It is one that you don’t want to say too much about or give away what might happen because that is part of what makes it interesting. A large stage, largely unused gives way to a curtain and video and sound clips. The real performers subtly blend with the performance. The show did not create unease but perhaps more slight confusion and questioning. It certainly created ripples of laughter at times and explosions of laughter at others. With no attempt to induce uncomfortableness. Thanks For Being Here is like a mirror on human behaviour. It examines the differences between us and how much we choose to be involved. Even before the show begins and after the show ends your input is valid. Again this is your choice. Nothing is overstated. Overall, perhaps it lingers a little long in parts. The pace seems deliberately unrushed as though very much living in the moment and zooming in on the performance of the audience as a whole. It’s a creative idea that could be different every time.

Edinburgh Festivals Magazine ‘Out there, worlds are ending but stories go on.’ We enter the world of Rose, the AI chatbot who gives advice for the end of the world. The space is small and dark and the audience are issued with headphones. At intervals they are asked to dictate what part of the story they want to hear by raising their hand emoji style. Elisabeth Gunawan and KISS Witness have definitely succeeded in setting the tech scene. Gunawan’s movements match the narrative perfectly with black boxes, programming screens, interference and light combining to convince the senses that you are part of something slightly surreal. What gives this production the edge is the unpredictable feel of it, with scenes jumping back and forth. ‘She wants to begin but her worlds keep ending.’ The vision of what is deemed a perfect world. The story within a story of her parents relationship. It is deliberately jumbled creating a headspace of dysfunction yet believability. There is a vibe of repetition and interruption. Stampin’ In The Graveyard has taken on a topic that consumes us more and more. It ends with a message of positivity that humans themselves can create all of the wonderful aspects of life without reliance on this technology. But with the speed of AI’s evolution this production is timely and perhaps pivotal in a world so far only teetering on the edge.

Edinburgh Festivals Magazine Red Like Fruit is brave enough to deal with some uncomfortable truths through an unconventional delivery. Luke narrates the story of Lauren by reading aloud her own words from a book while Lauren is perched and visible on a high stage listening to every word. The show covers and questions violence, rape and violations against women. Placed into the context of human reaction, response and justification of actions within life’s environments. Lauren observes the audience carefully as Luke describes various happenings from her life. It is a unique delivery for sure. At best it is bold, honest and confrontational with detailed descriptions. At times, some of the parts when Luke checks in on Lauren perhaps take away a little from the reality of emotion, only because part of a performed play. But overall, the male / female dynamic throughout is an interesting one that adds to the complexity of message. ‘Soon I’m going to go out of this room and into the house and into the world – and how am I going to do that?” is a line within Lauren’s story that says it all. A professional woman, known for her intelligence and poise is attempting to allow someone else’s story to be heard when she is reminded of her own. Red Like Fruit powerfully goes beyond the norm and interrogates itself to even greater lengths, laying everything bare for all to see.

Edinburgh Festivals Magazine It takes a special kind of personality, writer, actor to be able to create light from the darkest situations. Palestinian born Alaa Shehada delivers this to the highest standard combining a beautiful storytelling style with genius character mask work and moments of manic upbeat stand-up comedy to create a theatre piece that comes from the heart of his true life story. The military occupation in Palestine provides a backdrop that our storyteller has always known. Alaa doesn’t dwell on the heaviness of this but instead chooses how it has affected normal fragments of his life such as his first date and his friend looking for his Playstation. Then, when a German artist builds a giant horse out of the wreckage of an Israeli incursion the horse becomes the most meaningful symbol of Jenin existence, vitality and strength. Wrapped around this symbolism is a heartwarming and beautiful story of he and his best friend Achmed. The lightness of their years spent together growing up. It is boyhood at its best and Alaa performs it to both tug at your heartstrings and make you laugh out loud. The Horse of Jenin is a rollercoaster of emotions throughout. There is of course inevitably a sadness within. But this immensely powerful and honest piece is so much more than a tragic story. It concludes with the most powerful message of hope, resilience, togetherness and rebuilding that everyone who has seen the show can now forever be proud to continue.

Edinburgh Festivals Magazine There’s a Monsterrrr loose in the Piccolo Tent - much to everyone’s delight! Follow the sound of uproarious laughter for a really feel good family show. Monsterrrr with Trygve Wakenshaw is a creative and fun bundle of joy that didn’t take long to get the laughs rolling in. A splendiferous costume, fabulous movement and mime and an extravaganza of antics have children jumping out of their seats as Monsterrrr goes on a journey, messing up and learning as he goes. With scenes including playing tennis, fixing things with sticky tape and running away from giants, Trygve plays the part perfectly, involving the audience in a gentle but humorous way. There are real stand out moments such as whether or not he should press a STOP button and the ‘staying alive’ moment from this Macarena loving monster! There is nothing not to like about this show. It has a lovely tone and the right amount of opportunities for children to get involved. It concludes with a happy ever after as Monsterrrr discovers that he is not the only Monsterrrr in the room. A piece of brilliance from Trygve and German theatre company Toboso who have invented a supremely memorable character and the most brilliant of shows to lift the spirits of young and old!

Edinburgh Festivals Magazine Kanpur : 1857 is an immensely powerful piece that centres around the reality of British colonialism and a moment in Indian history that was going to change everything. Billed as being ‘darkly comic’ this satirical play focusses in on the interrogation of an Indian rebel by a British officer. He is asked to narrate his personal story that begins with the beauty and simplicity of Kingfishers and butterflies and takes him to the events of the Indian uprising of Kanpur. The play covers some very distressing and violent truths. It seeks to somehow find a humour, with our two opposing characters excelling in their roles of villain and hero. The scriptwriting cleverly lends itself to moments of audacity, mockery, irony and wit. It is a big ask of audiences to receive a comedic reaction to such a serious subject. But it is handled carefully and succeeds in acknowledging and readdressing the wider truths of colonialism as well as similarity with today’s conflicts. It even branches into a trans love story strengthening the human element. Kanpur : 1857 is gripping and stays with you afterwards. It is questioning in nature whilst dealing with complex themes and it focusses on an engaging storytelling of dynamic yet uncomfortable human connection. Most importantly Kanpur : 1857 re-examines history and refuses to be silenced and for that it should be applauded.

Edinburgh Festivals Magazine Award winning theatre maker Victoria Melody has a habit of immersing herself into the world of hobbyists and enthusiasts for a few years before making a show about it. Trouble, Struggle, Bubble and Squeak centres around her time with the English Civil War Society. But what was to happen as a result of this project nobody could ever have guessed! This show is so relatable. It is packed full of human stories that make you think, that make you laugh and that make you shake your head with dismay. It is about the power of people and the magic that can happen when they come together for good. Victoria’s delivery is spot on. With little asides to the audience, credits to her own humour and more than a touch of self-depreciation, you are on her side from the outset. Her drive, determination and acceptance of human error has you willing her on throughout. This is a show that spotlights the everyday hero. From seventeenth century activists to Brian the vegetable man. It pinpoints the frustration of bureaucracy, celebrates the gift of £50k worth of cheese and honours a new species of superhero beetle - with knitted vegetables aplenty! There is a serious lesson embedded in Trouble, Struggle, Bubble and Squeak, one we could all learn from. When wrapped up in the most entertaining of formats it is one that the widest of audiences will remember for a long time.

Edinburgh Festivals Magazine Dazed and Confused is part of the Taiwan Season by Lu Productions. It is a one person show in an intimate venue combing magic and sleight-of-hand with a highly autobiographical story of the life and ambitions of Lin Lu-Chieh. Lin Lu-Chieh has spent his years searching for something that made others pay attention. He has no trouble with that today as he heads straight into a choreography of sleight-of-hand tricks upon entry. His presence is gentle and understated as he performs with ease. Armed with some simple props he produces some impressive results. The show is close up so there are definite ‘how did he do that?’ moments that he has honed over the years through his journey of endeavours. A little audience participation adds to the show’s humour. But what sets this show apart is the accompanying heartwarming narrative. With his father’s words ringing in his ears, Lin Lu-Chieh has found the joy in taking pastimes to a new level, settling on magic after explorations with Taylor Swift, baseball and the wonder of Pi. Lin Lu-Chieh performs the show in English, a language he learned on YouTube. Just one achievement of many from this performer. He enjoyed his first applause as a school child and with his developing skills and warm presence he should go on to enjoy many more.

Edinburgh Festivals Magazine Sometimes a show is so entrancing you don’t notice the time go past. Diana Salles achieves this with her Fringe debut ‘Delusional – I Killed A Man’. Like the aerial aspects of the show you find yourself suspended in the moment, often forgetting to breathe. Diana has chosen to explore her story through physicality. Combining dance, movement and stunning aerial performance. Using silks and hoops to explain her transition and the process of leaving behind her assigned gender. The choreography is stunning. Bold yet graceful. There are statements of womanhood. Symbolic red silks splay from her body to become a babe in arms. There are questions and longings and what seems to be a long struggle, a fight against at times. A pulsating beat, background noise, voices that come from within. This is a breathtaking show from a very talented performer. You can feel the pain, the battle and the lighter moments of freedom and relief. When Diana breaks to talk to the audience she is witty and warm, explanatory with a genuine open and honest connection. It is no wonder this is an award winning show. It is presented in controversial times for trans people making it especially important. But it is also deeply personal to the individual and that is what Diana shares with you on stage to receive her standing ovation.

JONNY WOO : SUBURBIA (Edinburgh Festivals Magazine) This isn’t Jonny Woo’s first rodeo. But for those who have followed him into his fifty plus years of life and Queer performance it is being hailed as his most honest to date. Step into what he refers to as his ‘cul-de-sac’ audience space if you dare to experience Jonny Woo! The show begins with an insight into Thatcher’s Britain and the injustices within. Jonny appears in her trademark blue suit and oversized wig before casting it aside to reveal his many layers. The music is loud and fun as you are transported through his Suburbia years. The show is outrageous in many ways (no spoilers) but it is balanced with a gentler side. An eloquent storytelling, the art of the spoken word and cultural references from Woolworths to Shoreditch. From AIDS to Eurovision. An honest portrayal of sexuality and Generation X. When it is upbeat it is upbeat. With enjoyable club vibes, costume changes and song choices. There are outrageous moments for sure. Then it goes deep. Jonny proudly carries his Suburbia life with him but he now out loud questions some of the moments within. Suburbia is a journey with surprises along the way and Jonny Woo brazenly succeeds here in putting the art in cabaret. I mean who doesn’t want to singalong to Natalie Imbruglia’s ‘Torn’ on a Friday afternoon?

THE LITTLE PRINCE (Edinburgh Festivals Magazine) The Little Prince is quite honestly adorable! If you have forgotten how to stare at the world with wide eyed wonder, if you have ceased to see the beauty in the simplest of things or if you just need an hour of curious enchantment then this is the show for you! Described as ‘A playful and curious one person adaptation of Antoine de Saint-Exupéry’s classic tale’ writer and performer Toby Thompson has filled it to the brim with innocence and joy as The Little Prince adventures through life finding the beauty in moments. With poetry and humour throughout there are also lessons ‘to help adults understand’, conversations with a flower, endearing ramblings, themes of loneliness, fear and friendship, seashells and sunsets and quite possibly the cutest version of a foxtrot you will ever see! The set, costume, props and animated drawings have been so well thought out to reflect the purity of this production. Billed for age seven plus, the room was filled with adults and rightly so. This is a show that anyone can enjoy. A reminder of the beautiful world we live in. Toby and team have poured every bit of imagination you could think of into The Little Prince. It is heartwarming, thought provoking and beautiful. A big hug on stage. It questions the transition from childhood to adulthood. It is scripted to perfection and is simply a delight!