SCENT (Edinburgh Festivals Magazine) Stacey Cullen makes her Edinburgh Fringe debut this year with her insightful production of Scent. Both written and performed by Stacey, this solo show takes you on a journey of one person’s experience with grief, regret and the sudden loss of a significant other. The show rotates around three staged areas of her loved ones wardrobe, bread making and the chair she slumps into with her bottle of wine. Beginning with an upbeat dance to Bowie’s Modern Love, the performance depicts a before and after of how drastically life can change. Scent is deeply honest. It bares all in a storytelling sense. Almost as though Stacey has ripped out the pages of her diary and read them aloud. Her descriptions of first meeting someone who comes to exist underneath her skin to losing that same person portray real heartbreak. It cleverly pivots around scent and how humans are the only creatures who associate scent with emotion. Their love of baking bread, burning rubber from the accident and petrichor, once meaning happiness but ironically in the air and on his lips the night that he dies. There are few twists and turns to this tale, it is more of a window into one person’s world. But it is honest. It is deep. It is performed with human emotion. ‘In all likelihood there is nothing else’ she says, removing needed hope. This is a scent that will linger. Edinburgh Fringe 2023 edfestmag.com

OLGA KOCH : PRAWN COCKTAIL (Edinburgh Festivals Magazine) Buckle up for Olga Koch : Prawn Cocktail, jam packed full of fast uproarious funnies thrown at you at a frenetic pace. If you haven’t seen Olga perform before you might just feel you know her, pretty intimately, by the end of the show. Leaving no stone unturned, she delivers! Describing real life incidents of Alpaca spitting, shrimping and a top down threesome management structure within the first few moments, Olga has the wherewithal to conquer any topic in her own inimitable style. An exuberant, likeable talent who oozes charisma. Expect laughs and gasps aplenty as the audience is exposed to her trials and tribulations. She can self-depreciate and show off in equal measure, with a more vulnerable side interjected through personal flashback audio tapped on from a laptop in the corner. This gig is an absolute triumph. It is scripted with intellect and draws impeccably on a smorgasbord of observations. Olga muses around the satisfaction of reframing situations when the need occurs. Life goals and penalties delivered with sensational aplomb! Olga Koch : Prawn Cocktail not only masters parasocial relationships and the art of talking to Fiats. It doesn’t just dive into Wordle obsession one minute and Radiohead karaoke the next. It full on revs comedy to the next unmissable level. If you haven’t caught it yet, go go go! Edinburgh Fringe 2023 edfestmag.com photo credit : Rachel Sherlock

IAN SMITH : CRUSHING (Edinburgh Festivals Magazine) Ian Smith invited us all to go wild and crazy at 1.35pm! Located in a tunnel connected to a Romanian escapee nobody had ever heard of and with intermittent air conditioning playing its part in Ian’s quite shouty gig, the scene was set for a show about stress. Ian’s words seemed to come from a brilliant mind. The stories cleverly connected with a seamless flow throughout. From one liners to elaborate build ups it was the kind of comedy that sometimes made you think for a second then laugh. But then really laugh. Beginning with his uncle whose hands were too high for his hips and travelling through the audacity of Gu puddings, pronunciation of the letter H and the three bumbag vibe, the stories were quality. Margaret dusting off her laptop after four years, a particular highlight. Within the set there was a story about wine that might not have been that funny if anyone else had told it but it became a stroke of genius. Simple but so effective. A bit like his likening a flotation tank to a 90s screen saver. Each moment was crafted with observation and skill. Ironically, going wild and crazy with Ian at 1.35pm is bound to help you de-stress. His tales are relatable, plentiful and downright hilarious. He is the kind of guy who if he asked you to go smash up a car in Slovakia you would tag along. Oh … and the texture of those fliers! Edinburgh Fringe 2023 edfestmag.com photo credit : Matt Stronge

CRASH AND BURNS (Edinburgh Festivals Magazine) Crash and Burns had a little bit of a sit-com feel about it. Working around a set with a revolving door and six main characters coupled off into three combining situations, the storyline took the form of friends reuniting for a Burns Supper. In true sit-com format there were secrets, confusion, revelations and the complexity of personalities. It combined nicely into a well written piece where each scenario came to a conclusion. The young cast played the parts really well and with comic effect. The idea of the link to Auld Lang Syne and forgetting acquaintances was a good one. The piece was a mere nod to Burns though, so don’t expect anything deeper. The other Scottish links came across a tiny bit stereotypical but could be forgiven. Overall this is an enjoyable watch. It covers the many aspects of coming of age and the difficulties surrounding this but it does it in a light-hearted way. Quips like ‘receiving a Desmond’ give it an amusing and relevant edge. So if live Twister is your thing and if you fancy a feel good performance, Crash and Burns is a good shout. Displaying the complexities of life, friendships, relationships and more centred around a Burns supper table, what could possibly go wrong? Edinburgh Fringe 2023 edfestmag.com

STRATEGIC LOVE PLAY (Edinburgh Festivals Magazine) A circular room, a circular table on a revolving platform. One big circular conversation going round and round. Here we are in A Strategic Love Play, the most interesting take on the first date. There is no waffle to get to the point. This play starts brusquely as it means to go on. It was difficult at first to warm to our female protagonist. Barely taking breath she seemed on full on attack mode as though the whole dating process was one big headache in the way of her goal. Understandably he seemed uncomfortable, identifiable, apologetic, smiley. But as the tables literally turned so did the thought process. Was her ‘out there’ strategy more real? Was the charade he was churning out completely fake, predictable, defensive, counter-productive? The play spins around a cataclysm of emotional unrest. Be prepared! What was amazing about A Strategic Love Play was it delved into new territory. It hurt your brain deciphering the dating game. It made you question if we want the same thing and how we’ve been presenting crisps! Did it ever feel equal? Play to stereotypes? Did anyone win? This is illuminating and brilliantly written and performed. But best of all it was so very open to interpretation. With touching moments, genuine humour and cut throat put downs it is one that you won’t want to end. One that might even make you rewrite your strategy. Edinburgh Fringe 2023 edfestmag.com photo credit : Pamela Raith Photography

DOCTOR KABOOM (Edinburgh Festivals Magazine) Throngs of schoolchildren made their way into this show, awestruck faces and loud excited chatter as the ‘wheel of even more science took centre stage’. Doctor Kaboom made his big entrance and immediately cajoled the audience into playing their part when prompted. The show’s format was as assumed. Spin the wheel, do the experiment. One by one eager children were selected to take to the stage and assist with each. This show consisting of Catapult Schmatapult, Exothermia, Hovercraft and the Air Cannon. All sounding promising! Doctor Kaboom perhaps took too long attempting to quieten the audience, but otherwise kept the pace with jokes and interaction. Everyone shouting ‘Ya’ and ‘Kaboom’ throughout. There were pointers in there too encouraging self-esteem and kindness, a really nice touch. But the star of this show was the experiments. Catching and eating catapulted banana slices, a giant dramatic foaming test tube, fog rings blowing through the air and the best of all – the hovercraft transporting a happy little boy right across the stage. Huge cheers for them all! Doctor Kaboom is onto something. What kids wouldn’t love to be part of this much fun! It is educational, an appealing intro to science and with a bonus tip on how to beat the ‘Test Your Strength’ machine at fairgrounds, Doctor Kaboom has invented a super top family day out! Edinburgh Fringe 2023 edfestmag.com photo credit : Steve Ullathorne

SEANCE (Edinburgh Festivals Magazine) Are you ready to believe? Are you open to receive? Leave your preconceptions at the door and step into the world of SÉANCE. Yourself, other participants and who knows how many other visitors enter this long narrow chamber and find a seat at the SÉANCE table. Headphones on. The door closes. One last look of solidarity amongst you. The lights flicker. On. Off. On. Then finally off. Darkness surrounds you. Hands on the table. Heart beats faster. Then … you can only discover the rest if you are there. Are you willing to become one of us? SÉANCE is a truly immersive experience. It is one of a set of three also including EULOGY and COMA. Each located within a shipping container transformed to suit. Each with their own essence and attributes bringing meaning and psychological impact to those who take part. You can sense participants are a little unsure and that is what is intended. One member of the group decided to leave before the start. Don’t be alarmed. Nothing will reach out and grab you. But that is all that can be said now because this is your own personal journey. SÉANCE is an existential experience. Creative, ingenious and eerily unique. If you like to feel theatre deeply and be moved by your own thoughts then this is for you. If you are not sure then this could also be for you. The table is set. The guests may await. Are you there? Edinburgh Fringe 2023 edfestmag.com

THE TALENT (Edinburgh Festivals Magazine) The Talent is a collaboration between writer Deborah Pearson and performance duo Action Hero (Gemma Paintin and James Stenhouse). Gemma is also the solo performer, producing an incredible acting display by boasting an array of vocal acrobatics and natural presence. The building blocks of the show consist of a sound booth and a lone voiceover worker. Two other voices direct her to create the product they need. She seems intolerably alone, under duress as she patiently awaits instruction and endeavours to meet their ridiculous demands. At times it is a difficult sensory watch. Sound laden with repetition, interference and some flashing lights. It almost induces an empathetic sore throat and seat fidgeting. But there are magical cute moments too amidst a bigger picture that questions today’s human purpose. Jumping to a conclusion of a pandemic society, The Talent puts the voice on a pedestal where human contact is disallowed. But what does it stand for? Is it in control or being controlled? There are themes you may indeed draw from this almost sci-fi spotlight on life. The Talent is a brave, bold, futuristic piece delivered in a world of its own. It verges on the surreal and provokes an independent thought process on the meaning of talent. Leaving behind a legacy of what human existence might mean both now and in the future. Edinburgh Fringe 2023 edfestmag.com photo credit : Anna Viotti

PHILIPP KOSTALECKY (Edinburgh Festivals Magazine) Philipp Kostelecky may be an acquired taste. There is an assumption that he would be cool with that description as he seems confident in his individuality, style and prowess. Located on a small stage with not much room for pacing, Philipp filled it with elaborate gestures. This was not a straightforward trip. A combination of expressive comedy and cleverly identified metaphors collided with humour teetering on the edge and the occasional inflicted grimace. A real pick ‘n’ mix of fun, brutal and sometimes overtly sexual topics. The Wednesday audience were a little hot and cold and Phillip picked up on this. At times it appeared he was mentally altering the script to suit, a skill in itself. At other times he crashed through the barriers obtaining laughs for the bigger, braver or blue-er stuff. There was no shortage of content. Personal favourites included his definition of the cost of living and the equivalence of children to pancakes. The deer hunting comparison to cunnilingus was of epic proportions as was ‘what makes the cut’ in memory footage. Philipp uses Daddy as a social rather than sexual term. He comes across a little controversial, daring, edgy and confrontational. Both aspiring to please and displease. This was a set hard to tie down. Definitely one for the beholder and to see where it goes from here. Edinburgh Fringe 2023 edfestmag.com

JUNE CARTER CASH (Edinburgh Festivals Magazine) Where would all the legends be if their stories were not told? When Charlene Boyd stumbled across a ‘sign’ in a charity shop book, she set about to tell the story of June Carter Cash. As she questioned her right to do so, it became apparent that she not only had to tell June’s story but also her own. Watching this performance, you will be very glad she did. The space is an integral part of the play. Set up akin to Nashville’s Bluebird Café, Charlene effortlessly swirls around the setting, making great use of props, costumes and performance areas. Audience members become involved in the most subtle of moves, characters and accents switch and a backdrop of musicians, sound and voices have heads turning all ways. It’s an impressive and contrasting watch. From the sugar sweet greetings of June at the start to the grim reality of Charlene hiding in her high rise flat toilet from her kids, it doesn’t shy from the real life struggles and determination of the two. It pinpoints feminine injustices and never changing views amongst reality humour, great resilience and the power of song. June Carter Cash became Charlene Boyd’s escapism. By fighting to tell her story she has more than exceeded in shining a light upon her where others chose not to. The feeling of emotion you may be left with is probably a sense of pride. Perhaps also a sense of hope and most likely a sense of justice. This is a story that we should all see and we should all tell. Edinburgh Fringe 2024 edfestmag.com photo credit : Jess Hardwick

MARGOLYES & DICKENS (Edinburgh Festivals Magazine) “I’m not going to introduce myself, because if you don’t know who I am what the f*ck are you doing here?” Miriam Margolyes entered the stage to a rapturous applause in a way that only she could. Her colourful sparkly attire dazzled as did she. Her warm personality, instant. The house was full, the seats were luxurious and you could feel the love in the room. This was a show of two halves. The first half for those, like Miriam, who love Dickens and the second half for everyone else who simply love Miriam! From the comfort of her armchair and with stand up periods of amazing gusto, Miriam performed some of her favourite Dickens characters including Fagin, Miss Havisham, Mrs Gamp and Flora Finching. Of course in the second half the conversation turned to sex, drugs, politics and other contrary Q&A’s interrupted by an impromptu female flasher. Miriam explained that she doesn’t compare orgasms and that as soon as she says the word masturbation she can see it. Yes it was classic Graeme Norton (I tell him everything – she whispered) style entertainment. In a more reflective moment, Miriam described with feeling what she would tell her 21 year old self now and there were gasps in the silence when she shared the news that the next big event in her life is death. You could almost hear the standing ovation say … Not for a while please Miriam, not for a while. Edinburgh Fringe 2023 edfestmag.com photo credit : Jennifer Robertson Kyte

DEAR BILLY (Edinburgh Festivals Magazine) Is there anyone in the world who doesn’t love Billy Connolly? This Edinburgh venue was certainly crammed full of those who do. Our performer Gary McNair, who somewhat resembled Billy, reminded us all just how much. But it is the people of Scotland who are the stars of this show. With their personal Billy stories being told in their own words. Gary skipped between mic’s and voices recounting the various angles spilled including Billy’s terrible childhood, his days at the shipyard, his folk music career and his Parkinson’s diagnosis. It seems everyone was invested. People spoke mostly with fondness and admiration, occasionally with envy and very often with a familiar Glasgow style humour. Billy was described as luminous, a man of the people, ‘he never changed his accent’ ‘he never forgot where he came from’. One contributor said he would go anywhere with him if he asked, even a tory conference! Another got distracted by flumps before comparing him to a snow leopard. Almost everyone feels like they know Billy – he gets told that all the time. If you think you couldn’t love Billy any more than you already do then it’s possible this show will change your mind. Gary’s appreciation itself is infectious, Scotland’s love affair is real. One contributor dared to mention the day coming that every Scot fears. But one phrase used by many, summed it up for all ... ‘The Big Yin … He’s wan o’ us’. Edinburgh Fringe 2024 edfestmag.com