Category Archives: Gilded Balloon

‘Dave Johns: A Comic’s Tale’ (Guilded Balloon Teviot, Wine Bar, until AUG 28)

Posted in 5*, Comedy, EdFestivals, EdFestivals 2022, Gilded Balloon, Rated: Outstanding, Stand-Up by

“His journey from the streets of Byker to the red carpet of the Cannes film festival is beautifully encapsulated in his comment upon encountering a incredulous Meryl Streep at a star-studded buffet: “Hey, Meryl – it’s all free!””

Editorial Rating: 5 Stars (Outstanding)

To anyone who follows stand-up comedy closely, the name Dave Johns ought to be familiar: founder of Newcastle’s first comedy club, and as such co-facilitator of several of his contemporaries’ glittering careers; and veteran of both the Fringe and the year-round club circuit. Though not quite – yet – a household name, his face is much more familiar since starring in the title role of I, Daniel Blake, and a subsequent movie career including Fisherman’s Friends.

Johns is on top comic form in this hour-long one-man show, which combines general observational patter with reflections on his rags-to-riches life. As his close relationship with his audiences suggests, he prefers working in small, intimate venues where he can chat with the punters – indeed, there won’t have been a dry seat left in the front row, judging by the helpless laughter of two ladies he focused on. As Johns tells us, no two nights of his show are the same as he tries out slightly different material each night to see what goes down well. Highlights of this particular evening were a surreal shaggy dog story about an orphan midget; audience participation in a chorus of The Pirate King; and the reason why he’ll never be in a Stephen Spielberg film. His journey from the streets of Byker to the red carpet of the Cannes film festival is beautifully encapsulated in his comment upon encountering an incredulous Meryl Streep at a star-studded buffet: “Hey, Meryl – it’s all free!”

For a man who’s spent so many years wielding a microphone, there is inevitably some sage reflection on the nature of what he does. Rightly disparaging the vast, impersonal arenas played by some of his contemporaries, and the slick glitz of Live at the Apollo. Johns champions the unpredictable intimacy of small venues. “I’m at the two-tickets-for-the-price-of-one end of the market”, he notes disparagingly, adding ironically that the more five-star reviews he gets, the fewer the people who come to see him.

I came away from this show not having laughed out loud so much in years. Give me heart and soul stuff like this rather than an arena any day. So come for the authenticity. Stay for the non-stop laughs. Leave with a great big cheeky-chappie smile on your face. This is Geordie humour so, even if it’s baltic out, leave your coats at home and go see this!

 

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‘Basil Brush’s Family Fun Show’ (Gilded Balloon Teviot Debating Hall, until AUG 21st)

Posted in 4*, Comedy, EdFestivals, Gilded Balloon, Rated: Outstanding, Ratings by

“This is pantomime, this is Butlin’s, this is the kid’s entertainer you wished you had at your birthday, this works because we know it and love it. It is part of our heritage.”

Editorial Rating: 4  Stars (Outstanding)

A long time ago I was involved in the Scottish student debating circuit. That could be a genuine contender for the sentence most likely to lose friends and alienate people. The only reason I raise this terrifying prospect is that I have fond memories of the debating union at Edinburgh and it is always a trip down nostalgia lane to find myself at the top of Teviot (or the Gilded Balloon as many of you will know it).

And so it was on Saturday that the youngest and I found ourselves in that grand old hall where so many great debaters have cut their teeth… to see Basil Brush.

She had been keen to see Basil purely because of his posters around town. Upon interrogation, it became clear that this legend of British kids’ TV is unknown to the young team. Other than the image from the poster she had no concept at all of Basil. She had not seen him on TV. She did not even – God help us all – know his catchphrase. What do they teach them in schools these days? I sat and wondered: is she going to enjoy this? Or am I going to spend the show saying ‘not too much longer, darling’ as I threw Jaffa Cakes at her to keep her schtum?

I need not have worried. There’s a reason the fox has been around so long, after all. Now striding into his sixth decade he knows what is what and how to make a group of kids giggle.

Brush’s sidekick, Britain’s Got Talent’s Mr Martin, walks on stage and kicks it all off. Good as he is we are here to see the Grand Old Fox and soon enough the great one joins us.

Over the next forty-five mins – the perfect length for a kids’ show as it happens… other shows please take note – a hugely interactive show dazzles us. At every point the audience is asked to do something – sing, dance, cower from a water pistol, shout, clap, Mexican Wave, or wave our arms about. It might not seem sophisticated but, ultimately, it is a puppet (sorry to destroy illusions but we value brutal honesty here at GetYourCoatsOn). The duo need to work hard to get the audience onside and they do from the off: always involving us and always changing up how we are involved.

A mix of rude jokes (mostly fart-based but not exclusively… my youngster enjoyed one that was cut off by Mr Martin as she guessed the next word), disco sets to dance along with, Mr Martin with his Super Soaker and focusing on a pensioner with an umbrella, magic tricks, and – in one indescribable sequence – a visit from a flatulent Princess Elsa all land well with the kids. Two didn’t: the PANTS Alexa gag was grand enough but went on too long and the three envelopes gag was clever but well over the head of the kids.

But there is no need to overanalyse sunlit genius or quibble too much. No. This is old-school fun. Many of us have seen it all before. Indeed, that’s the point. We love it because we have seen it before. This is pantomime. This is Butlin’s. This is the kid’s entertainer you wished you had at your birthday. This works because we know it and love it. It is part of our heritage. It is part of us.

There’s a reason that the disco section included Baby Shark and YMCA because this show is for everyone. I couldn’t help but notice the granny at the end of our row was dancing away to Agadoo and the mum in front of us was doubled over laughing at the farting Elsa.

The sort of old-school silly fun that is easy to sneer at but hard to do and ultimately the kids all walk off smiling having had a grand 45 minutes, a signed photo and a selfie with a comedy legend. Ultimately, there’s not much more you can ask for?

So come for the gags, stay for the Boom Booms, and leave with the feeling of having bathed in nostalgia. Get your foxiest coats on and go see this! For those who want things a little foxier Basil has an adult show at 6.30pm (unleashed and uncut… for the rest of the Fringe).

‘Sex Tips for Straight Women from a Gay Man’ (Gilded Balloon Patter Hoose, until AUG 28)

Posted in 5*, EdFestivals 2022, Gilded Balloon, Theatre by

“The flamboyant style and innuendo-laden patter had the audience shrieking with laughter from the outset. “

Editorial Rating: 5 Stars (Outstanding)

The programme note “Includes scenes of a sexual nature” is putting it mildly for this hilariously raucous and bawdy romp. Based on a book of the same name by Dan Anderson and Maggie Berman, it comes to the Edinburgh Fringe after productions in Las Vegas and Off-Broadway New York. Not for the shy or straight-laced, the tips of the title are presented as a step-by-step guide to sex in the format of a scholarly presentation that quickly escalates into something like Love Island-style reality TV or an X-rated late-night quiz show.

At the centre of the action is Dan, the “Gay man” of the show’s title, played by Adam Fane, who hosts the evening like Graham Norton on acid and is camper than a field full of tents. His flamboyant style and innuendo-laden patter had the audience shrieking with laughter from the outset. His foil is Robyn, a bookish ingenue who vainly tries to sustain the pretence of an academic seminar amidst an onslaught of dick jokes and phallic symbols. While we’re on the subject of the penis, come prepared to volunteer a nickname for the male pudendum to be used for the rest of the show. I heard the audience propose everything from the workaday “knob” to the exotically suggestive “beef whistle”, but the one we ended up with was “Ever-Ready”. The third cast member is Bradley Allen Meyer, who plays Stefan the stage manager. Something of a stud who clearly excites the interest of Robyn. Stefan is used as a life model and stripper for some of the tips demonstrated.

Things were cranked up another notch when a little more audience participation saw three brave ladies take the stage to mime various arousal techniques under Dan’s instruction. This greatly excited the other women in the audience including my wife – normally a presbyterian sort of lady – who started fondling me in a way she hasn’t for a wee while. Dan whipped things up even further to whooping hysteria when we were invited to mime something – modesty forbids me from saying what – using our rolled-up programmes. At this stage my wife giggled: “This is like a Hen night in Blackpool!” (And she told me she was going to a conference…)

This ribald laugh-out-loud show is an absolute hoot. The large auditorium was nearly full when I was there and I can only imagine things getting even busier as word gets around. So come for the Sex Tips, stay for the laughs, and leave with a few nifty ideas to buck up your love life. Get your sexiest coats on and go see this!

 

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‘Bird with Kylie Vincent’ (Gilded Balloon Patter Hoose, until AUG 28)

Posted in 4*, Comedy, EdFestivals 2022, Gilded Balloon, Rated: Nae Bad, Stand-Up, Theatre by

“This is edgy and very funny stuff, delivered with self-deprecating wit that invites much laughter”

Editorial Rating: 4 Stars (Nae Bad)

There is no shortage of stand-up comedy at the Fringe these days, which is rather taking over from theatre. This production (and I think that’s the right word for it) comes somewhere between the two. Kylie Vincent takes the stage as a feisty in-your-face young comedian, opening with some funny if fairly conventional observation about being an American in Edinburgh.

But we quickly realise there’s going to be more to this act than meets the eye. The traditional relationship trope of performer and audience is exploded by her analysis of a heckle she received at a gig in New York – to which we listen on audiotape – before this leads her off into a revealing and confessional exploration of her self-image and personal life. The usual idea of a comic making wry observations about the world we all share is abandoned as we are drawn into the sometimes dysfunctional and abusive world of her “white trash” family upbringing. This is edgy and very funny stuff, delivered with self-deprecating wit that invites much laughter – but I noticed there were several highly introspective episodes when there was scarcely a giggle for some minutes as the audience were raptly absorbed in listening to stories that were a little too painful for amusement. Jerry Sadowitz this ain’t – and I mean that as a compliment.

The eponymous “Bird” is Kylie’s name for herself. She sees herself and others as metaphorical animals, with other friends and family referred to by names such as “the deer” or “the gazelle”. Tellingly, all of the males in her life are monkeys or apes, with her father being “the gorilla”. Although a fine emotional rollercoaster of a show, I felt that overall it fell a little too far down between the two stools of dramatic monologue and stand-up comedy to be an out-and-out success in its current form. But Kylie Vincent is someone to watch: this combination of misery memoir and wryly observational humour felt like a work in progress that has much potential and I suspect we’ll be hearing more from Ms Vincent in years to come.

So come for the laughs, stay for the heartbreak, and leave thinking a little more about the ups and downs of your own family life. Get your coats on and go see this emerging new genre of tragicomedy.

 

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Princess Party (Gilded Balloon, Aug 3-11, 13-18, 20-26 : 22:30 : 1hr)

Posted in 4*, Comedy, EdFestivals 2019, Gilded Balloon, Theatre by

“Required watching for anyone who wants to be in a comedy duo”

Editorial Rating: 4 Stars: Outstanding

It’s 4pm on a Saturday. The sun is beating down through the window and drowning my laptop screen, but it doesn’t matter. After a half hour, I’ve got nothing to show for all my squinting and sighing except for unanswered questions: how do you talk about the incredible comedic restraint in a show that starts out with everybody being flashed? What kind of production simultaneously respects and ridicules its audience? How do you even begin to describe Princess Party?

The synopsis is simple enough: it’s a duo comedy presented by comedians Lauren Howard Hayes and Hannah Pilkes, about a rich kid’s birthday party that goes horribly wrong. The audience are the children, and sometimes the parents. You get to hold a cool flashlight. Telling you any more than that would be revealing far too much, and give Hayes and Pilkes too little credit.

Princess Party is a lot of things. It’s the best party you’ve ever been to, wrapped in the worst party you’ve ever been to. It’s like going to Disneyland, if Disneyland let in people who’d been drunk for three days. But most importantly, Princess Party is a masterclass in how to properly implement artistic restraint and make hard comedy look easy.

From the outset, the basic mechanics of the piece are excellent. With an impressive pile of acting, writing and comedy credits between them, Hayes and Pilkes are very visibly comfortable in their craft. Punchlines are crisp and well execution; physical clowning elements have complete follow-through; and everything is presented with a confidence and polish that can only come from collaborators who know how to fit into their genre like water in a glass.

And make no mistake, Hannah Pilkes and Lauren Howard Hayes are the show. It’s hard to nail down exactly what each brings to the table, but only because they jump from role to defined role like it’s child’s play. Pilkes plays the perfect dope, but her sense of comedic timing and verbal dynamics would make a razor weep. Hayes, who so effortlessly channels a living cartoon from the moment she’s on stage, can go acid queen in a single wig change. But what’s so truly excellent about this show, oddly enough, is invisible. To define it, we’ve gotta talk about nudity.

I have a lot of thoughts on comedic nudity. It’s not hard to pull off (you’re welcome), but damn hard to actually do well. Audiences have a level of shock fatigue, and if it’s not incorporated enough or relied on too heavily, it can come off as crass and lazy. Even worse, it can pull an audience out of the flow entirely. But in Princess Party, it’s funny as hell – It’s not played for too long, or too hard, and is so at home in its setting that you can only think “well of course this is happening”. Beyond the visible, it’s an incredibly impressive display of artists who know the relationship between shock and restraint.

So why is that important? Because it applies to every other joke and theme in the show. Controversial jokes and setups only stick around insofar as they’re funny, and never push themselves into bad taste. Do they toe the line? Pilkes and Hayes have basically built a big mansion on the line. But God knows they never cross it. It’s a testament to how tight and well crafted their material is, and a joy to watch.

The same goes for the multimedia portions of the performance. Despite a few visible command boxes, it’s seamless and ultimately serves its purpose without ever sticking out or dragging. As a cover for costume changes, its brevity only becomes more impressive.

Does everything in the show work? No. Because of the creative talent on display in other portions of the performance, certain skits (particularly the balloon artist sketch) seemed sluggish by comparison. Although these pockets of slowdown seldom lasted long, and were usually ended with some crackling improv, they were nevertheless noticeable in amongst the otherwise flawless wallpaper.

Princess Party is, if nothing else, a wonderfully crafted piece of entertainment. When I one day ascend to power and rule with neither pity nor mercy, it will be required watching for anyone who wants to be in a comedy duo, and/or anyone who thinks lavish parties for children are a good idea. Hannah Pilkes and Lauren Howard Hayes are damn funny people, and this show is a love letter to the hard work it takes to make that talent into something worthwhile. If you’re in need of laughter, this is the next best thing to nitrous oxide.

outstanding

StarStarStarStar

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Reviewer: Jacob Close (Seen 2 August)

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Daliso Chaponda: What The African Said (Gilded Balloon at the Museum: 19-26 Aug: 19:30: 60 mins)

Posted in 5*, Comedy, EdFestivals 2018, EdFestivals 2018 – Reviews, Gilded Balloon, Rated: Outstanding by

“This is must-see standup.”

Editorial Rating: 5 Stars: Outstanding

A hilarious, hilarious show. After rising to prominence on Britain’s Got Talent and touring various parts of the globe, Daliso Chaponda performs eight nights at Gilded Balloon’s Museum auditorium space, and take it from me, this is must-see standup. The comedy is clever and uproariously funny, the persona is both charming and caustic, and the hour is so packed with brilliant setups and payoffs that at only 60 minutes it feels altogether too short. 

Topics range from his road to standup, to his childhood, to his nationality, to newfound success, and other well-trodden ground for standup comedians — especially ones at the Fringe. Yet What The African Said never feels lazy or recycled; though these topics are not new subjects on the comedy stage, here they are spun with Chaponda’s unique charm and dexterity, so even an early-on Brexit joke provokes a much more appreciative giggle than 99% of the bone-tired political material bouncing around microphones all over the city.

Of course, he also ventures into fresh, intriguing territory, such as riveting takes on racism online and in person, European arrogance in education, and the hairpin tendencies of so many to take offence at so much. Some of his most delightful and arresting material takes aim at racial difference and touchiness, yet with exceeding grace and humility — it is telling that even as he acknowledged an upcoming one-liner caused (dubiously sensible) widespread offence and alarm, the audience felt prepared for a clever and commendable jab regardless of more sensitive reactions. Needless to say, the line in question is spectacularly funny and had me smiling hours after the performance; it boggles the mind that certain audiences did not feel the same. This is a man who knows how to write a joke.

Chaponda could be said to walk the fine line between probing race and racism and toying with it, yet he speaks and jokes with such confidence and wit that even his incisive commentaries are accompanied with a genuine laugh alongside them. On that topic, there is no shortage of incisive commentaries in this show; Chaponda’s comedy is matched with an impressive back catalogue of information and knowledge, which embeds his witticisms with a well-earned sense of genuine understanding, rather than flippant mockery. On top of that, the Malawi-born comedian includes some affectingly personal undercurrents to his material — not in the way so many other Fringe comedians work in an ‘emotional side’ to their standup, which has practically become clichéd by now — but again in a commendably honest and somehow quite fun aside to his more ribald suggestions.

Overall, this is a practically perfect hour of comedy, and one of the most enjoyable and rich standup performances I have experienced this year. Go and see it.

 

outstanding

StarStarStarStarStar

Reviewer: Nathaniel Brimmer-Beller (Seen 22 August)

 

The Flyboys: A Postmodern Swing Sensation (Gilded Balloon @ Rose Theatre: 1-24th Aug: 22:30: 60 mins)

Posted in 4*, EdFestivals 2018, EdFestivals 2018 – Reviews, Gilded Balloon, Music by

“The Flyboys instantly ooze charm and fun”

Editorial Rating: 4 Stars

There’s been a huge rise in popularity of hybrid vintage/modern acts in recent years, with electro-swing becoming cool, and bands such as Scott Bradlee’s Postmodern Jukebox selling out tours and racking up millions of hits on YouTube. Enter the Flyboys at the Fringe on the back of this trend, mixing up modern songs with a vintage 30s/40s twist.

Taking to the stage in coordinating waistcoats and spats, The Flyboys instantly ooze charm and fun as they launch into their cool rendition of Arctic Monkeys’ I Bet You Look Good on the Dancefloor. With a swinging beat and smooth, intricate harmonies the foursome have a real likeability and set the tone for a fun evening of music with a twist. And what follows is a string of popular, up-tempo songs performed in the band’s trademark style.

These are four great singers, and while none of them possess a spine-tingling unique voice to dazzle as a soloist, the blend and balance of voices as a group is what makes each arrangement special and entertaining. And they make it look so easy and fun at the same time, beaming with smiles, busting some daring kicks and flicks, it’s amazing to witness the control and accuracy with which this group performs.

At times it verges a little too close to holiday park singing for me – with some very obvious, crowd-pleasing song choices, cheesy choreography and a few dad jokes in between ditties, but they are a really fun bunch and perform with pizzazz so such flaws seem unimportant on the great scale of what the night is. I’d certainly prefer more variety in the set list and more depth in the artistry – the group’s mash-ups in the second half of the set go some way to achieving this, and the painfully short a capella rendition of Etta James’ At Last shows that this group do have the potential to elevate themselves into a really classy band of musicians, rather than being about entertainment for entertainment’s sake.

Overall, this is a good fun night with some fine singing, comedy and choreography, and even the sternest viewer will find it difficult not to indulge in at least a little toe-tapping. One to take your mum to.

 

Star (blue)Star (blue)Star (blue)Star (blue)

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Reviewer: Steve Griffin (Seen 21 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

RENT (Gilded Balloon @ Rose Theatre: 16-26th Aug: 17:15: 2 hrs)

Posted in 4*, EdFestivals 2018, EdFestivals 2018 – Reviews, Gilded Balloon, Musical Theatre, Rated: Nae Bad by

“A production bursting with raw talent, featuring some of the finest vocals on Edinburgh’s amateur stage”

Editorial Rating: 4 Stars: Nae Bad

RENT is a searing rock musical from the 1990s that was only recently knocked out of Broadway’s top 10 longest running musicals of all time by Wicked. It follows the story of a group of friends dealing with love and loss against a gritty New York backdrop, and is loosely based on Giacomo Puccini’s opera La Bohème.

Local company Captivate Theatre’s version is a slick and minimalist endeavour, editing out many of the smaller roles and songs to focus more on the main characters themselves, rather than the community of artists they move within. Yet what’s lost in pulsing power in some of the bigger moments is made up for in subtle sensitivity and slickness elsewhere, making this a clean and refreshing take on a musical that’s been doing the rounds for decades. This stripped back approach also spawns some interesting interpretations in the musical numbers, such as Today 4 U, which is almost unrecognisable as a nigh-on a capella song, though somehow works within Director Tom Mullins’ overall vision.

Yet while the minimalist ideology of this production creates many unexpected delights, the main downfall of this show is the staging and use of space, which is far too small to effectively mount a musical of RENT’s epic stature – even with the cuts and styling carried out. Unfortunately, this results in too much awkwardness on stage too often, given how important movement and isolation are to several scenes. At times Mullins makes the action work well within the constraints – in Santa Fe and La Vie Boheme in particular, the scale of the choreography matches the music, space and overall mood, but more often than not, the overwhelming feeling is one of potential – how great this show could be in a venue where it could breathe and run free.

Despite this, this is a production bursting with raw talent, featuring some of the finest vocals on Edinburgh’s amateur stage. Megan Grace in particular delivers a real powerhouse performance in every scene and song as Joanne – not to mention nailing that riff in Seasons of Love. Alex Peters as Roger and Anna Macleod as Mimi combine to create some spine-tingling harmonies in their duet moments, and it’s a shame Grace Cowley doesn’t get more time to sparkle as Maureen after her raw and gutsy Over the Moon.

RENT will always be a fantastic show, and this slick and super-streamlined version is packed with highlights and the heart needed to make it soar. But I’d love to see it return with more depth and detail in a bigger venue to really be blown away.

 

nae bad_blue

Star (blue)Star (blue)Star (blue)Star (blue)

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Reviewer: Steve Griffin (Seen 19 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

Bowjangles: Excalibow (Gilded Balloon: 1-26 Aug: 14:00: 60 mins)

Posted in 4*, Comedy, EdFestivals, EdFestivals 2018, EdFestivals 2018 – Reviews, Gilded Balloon, Music, Rated: Outstanding, Theatre by

“I don’t think I’ve ever come across a more multi-talented group”

Editorial Rating: 4 Stars: Outstanding

Bowjangles are not your average string quartet. Indeed, they extend the well-known triple threat (performers who can sing, dance and act) to a fourth dimension by adding the musical string to their bow. (Sorry). And what’s more: they can do all four at the same time. Prepare to be amazed as these performers act out a dramatic saga while accompanying themselves (more than capably) on their instruments.

Excalibow is Bowjangles’ latest Fringe offering (marking the troupe’s 10th year together) and sees them embark on an adventure to find the magical bow Excalibow, which will enable them to become (ahem) the Lords of the Strings. Yes, the jokes and musical puns are that good throughout. It’s a fairly ridiculous story, that unfortunately come across as a rather hastily put together pastiche of fairytales, but the characters are fun and fantastical, and the ever-changing mood created by the performers and their instruments is nothing short of masterful. I don’t think I’ve ever come across a more multi-talented group in all my years of reviewing.

What really makes this performance special, though, is the chemistry and personality that ooze from this awesome foursome. They appear very natural onstage together, and are clearly very well-rehearsed and comfortable in being able to deliver this slick and energetic production. Their smiles never stop beaming, so even if the thought of watching an all-singing, all-dancing string quartet brings you out in a cold sweat, you’ll no doubt find yourself swayed into at least a grin by their charm and charisma.

For me, the overall structure and narrative of the piece is where it all falls a little awry, as the action chops and changes between many locations and subplots that it all gets somewhat confused – though the fun and frolicking nature of the performance makes this relatively unimportant in terms of overall enjoyment. Particular highlights include a snippet from a well-know ABBA song, and a comedic take on a certain moment from the film Titanic.

This is a show that’s bags of fun, packed with personality and great for the whole family (bar the odd naughty word which slips out). A definite for the shortlist as a welcome break from some of the harder-hitting shows out there.

 

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 2 August)

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THIS REVIEW HAS NOT BEEN SUBEDITED

FCUK’D (Gilded Balloon: 1-27 Aug: 12:30: 60 mins)

Posted in 4*, EdFestivals 2018, EdFestivals 2018 – Reviews, Gilded Balloon, Potterrow & Teviot, Spoken Word, Theatre by

“Hints of truly brilliant wordplay”

Editorial Rating: 4 Stars

There’s been a pleasing rise in popularity in spoken word and verse performances over the last couple of years, opening theatre up not just to new audiences, but also new artists who might previously have thought the medium too inaccessible for them. And what makes the Fringe so special is being able to experience stories of those that don’t normally get a stage. FUCK’D is one such verse piece, where a young man from an estate in Hull, who dropped out of school early, longs simply to stop his little brother being taken away from his broken home by the authorities.

Following their mother’s breakdown having being left by their father, the two boys must fend for themselves, and when the clipboarded do-gooders finally arrive in their shiny cars, the elder brother makes the split-second decision for them to both jump out the window and run for it. With no plan and less money, the journey they make is one of desperation, reflective of the plight of many such teenagers around the country today.

Niall Ransome’s script cleverly interweaves narrative drive with descriptive passages to tease out the background and develop the world the characters grew up in. A romanticised view of their home estate and its personalities nestles next to the tense escape scene, while reminiscences of rainy picnics are juxtaposed with hiding under a bridge, to add poignancy and personality. It’s artistic and moving with hints of truly brilliant wordplay.

George Edwards is the performer tasked with delivering this urgent tale, and he commands the stage with power and honesty. It’s a tough task to sustain the rhyme and mood for almost an hour, but this is a commendable effort, supported by a simple yet effective soundscape.

While the narrative and performance quality lacks some of the artistry and finesse of works by similar artists such as Luke Wright, this is a solid and capable outing that is almost aching with potential. It would be great to see a bit more pumping pace and extremes in mood to create more intensity – and while Edwards does very well to carry the performance, more dynamic changes and depth would really make this show zing.

A sterling effort, that with a bit more polish could become something very special.

Star (blue)Star (blue)Star (blue)Star (blue)

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Reviewer: Steve Griffin (Seen 2 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED