Category Archives: Venues

+3 Review: Albatross (Paradise in Augustines. 5 -28 Aug. Times vary. 1h35m.)

Posted in 4*, EdFestivals 2016, Other, Rated: Nae Bad, Theatre by
Image: Andrew Brilliant/Brilliantpictures Inc.

Image: Andrew Brilliant/Brilliantpictures Inc.

” .. full-on theatrical broadsides”

Editorial Rating:  4 Stars: Nae Bad

Inbound from Watertown, Boston, MA, the Albatross has landed. Samuel Coleridge’s fantastic and ghastly Rime of the Ancient Mariner is rewritten and adapted for the stage by the Poets’ Theatre. It’s an expansive work that barrels along with bits of Pirates of the Caribbean about its rigging but where it matters, down on its spar strewn deck of a stage, it’s sound and faithful enough. It owns, as does Coleridge’s greybeard, ‘strange power of speech’ and compelling presence.

Despite water, water everywhere this is more wrap-around than immersive. You don’t sink into the Mariner’s story but Benjamin Evett, co-writer and solo performer, fastens it upon you and won’t let its folds drop until he’s done, which is how the poet would have it anyway. Evett’s acting is impressive, possessed by character, because there’s only penance left for an Irish American who knows he has ‘done a hellish thing’. He starts as a grouchy, foul-mouthed and dirty sailor and stays that way because he’s immortally cursed to tell his phenomenal tale. He holds his audience with his ‘glittering eye’ (and occasional insult) as he himself is held by his demons.

We’re told for fancy’s sake that the old sailor met Coleridge once, in Bristol, and mocked his lilting verse. You’ll hear the ballad quatrain in Albatross but in only in key snatches. The narrative shape of the ‘Rime’ is still there but is considerably amplified, particularly in Part 1 where the dastardly Black Dog, privateer at large, shanghaies the Mariner, chases down a treasure galleon and chews off noses. The visuals, sound and SFXs that accompany this action are full on theatrical broadsides with the Mariner hauling ropes, hoisting sails and … corralling penguins.

Nevertheless, Albatross would be serious about depicting a ‘soul in agony’, which is a must-have for any treatment of Coleridge’s poem. This is where Evett is most tested and where co-writer Matthew Spangler must have reached for words. I’m slightly surprised that they did not make more of the dice game between Death and Life-in-Death (a dead ringer for Lady Gaga?) and of its glaring image making. However, in our day and age the questions are as existential as they are Christian and it’s the philosophical open season when the Mariner snarls a reply as to ‘Why?’ Why, for Heaven’s sake, did he shoot the bird? Was it, God forbid, for fun? There is the prayerful close, which is good, but I was a little sorry to hear of a ‘zombie crew’ and not ‘this seraph band/Each one a lovely light’. No matter. If not for the Mariner, times are still a changing for the rest of us and this is a fullblown modern production in which caution is thrown to the to the wind.

 

nae bad_blue

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

Reviewer: Alan Brown  (Seen 11 August)

Go to Albatross at Paradise Green & at Poets’ Theatre

Visit the Edinburgh49’s Other archive.

+3 Review: Rory O’Keeffe – Monoglot (Pleasance, Aug 16-29 : 16.45 : 1 hr)

Posted in 4*, Comedy, EdFestivals 2016, Pleasance, Potterrow & Teviot, Rated: Outstanding, Stand-Up by

https://laughoutlondon.files.wordpress.com/2016/08/rory-okeeffe.jpg?w=750

 “Monoglot? Perhaps. Monotonous? Certainly not.”

Editorial Rating: 4 Stars Outstanding

Most comedy shows I attend sober don’t begin with a five minute monologue by the empty mic. But then again, Rory O’Keeffe is anything but conventional. Through a tightly packed hour, he mimes, gurns and grins his way through a wonderfully punny routine based on the vagaries of language.

O’Keeffe himself looks like he should be a comedian. His boyish charms and the energy of his movements reinforce his sheer youth, but the confidence and the jokes are of a far higher calibre than one might expect for such a young man. Each ridiculously cartoonish movement was comedically precise and utterly free of inhibition, which cannot be said for many of his compatriots. If nothing else, this show would get a star alone for the sheer fearlessness with which O’Keeffe seeks to make a happy fool of himself. Despite his considerable vocabulary, it appears “inhibition” is one he hasn’t learnt yet.

But, luckily for all of us, his jokes definitely keep up with his own frenetic pace. Make no mistake: this is a downright clever show. As someone who loathes seeing a punchline coming, I might as well have been blindfolded in the dark. From the broad launching point of “language”, O’Keeffe manages to wring out a surprising variety of jokes – and, when I attended, flexed some serious improv muscle when it came to hecklers. Some of the best gags of the show were created on the spot, and it’s a real hallmark of quality on O’Keeffe’s considerable wit.

However, sometimes even the most runaway wit must be reined. A very distinct section which rounded off the show, whilst extremely impressive, wended a little too long, as often did a few of the foreign language jokes. That is not to say that O’Keeffe doesn’t manage to make unknown tongues funny, and far from it – but despite his skill (at least, for a self-professed monoglot) it’s always trumped by his own inventive observations about our shared mother tongue.

As far as hidden gems go, Rory O’Keeffe is a comedy diamond. Tucked away behind labyrinthine Pleasance as he is, he’s worth more than price of admission and job of seeking him out. Monoglot? Perhaps. Monotonous? Certainly not.

 

outstanding

StarStarStarStar

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Reviewer: Jacob Close (Seen 14 Aug)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Gobsmacked! (Underbelly George Square,

Posted in 5*, EdFestivals 2016, Music, Rated: Outstanding, Underbelly by

“These guys should be selling out arenas…the best show I’ve ever seen in Edinburgh.”

Editorial Rating: 5 Stars:  Outstanding

With their own set and taking the stage in individual black and white outfits to reflect their own personalities, Gobsmacked! look every inch the “cool” a capella group, and their opening number – an energetic rendition of Queen’s Don’t Stop Me Now – shows just how much they mean business.

The group’s arrangements – all by former Sons of Pitches star Jack Blume – are quite poppy by nature, allowing each member of the group to have their moment as lead vocalist, with plenty of supporting lines and balance, despite there being just seven members. Throughout the show there are blends and mash-ups aplenty, especially the closing medley, which somehow managed to link over 20 pop songs into one cohesive number, and every arrangement is just as rousing and unique as the last. This is a show that just has quality at every level.

Many a capella choirs these days claim to have slick choreography to accompany their singing, but few I’ve seen have come close to this group’s overall visual presentation with movement, drama and tableau so effortlessly working alongside their singing. In particular, the mash-up between Gnarls Barkley’s Crazy with Adele’s Rolling in the Deep depicts a relationship break-down, jealousy and attempts to move on in a perfect combination between flawless singing and creative staging.

It’s almost impossible for me to pick any standout moments, as the show is all so polished in wow-factor, but award-winning beatboxer Ball-Zee’s solo section midway through the performance left me genuinely gobsmacked for about ten minutes, and in a sea of up tempo numbers I can’t not mention the beautifully stripped back rendition of I Will Wait. If, midway through the show, I was worried that Gobsmacked! might be leaning a bit too much towards the pop-dance genre, this song went a long way to demonstrating the variety and depth of music that this group can more than capably deliver.

I suppose I should attempt to highlight areas of the performance that didn’t work as well, but the only very slight blemishes I noticed were that a couple of the performers seemed a little less flamboyant and stage-aware than their choir-mates (though we can’t all be divas), and it was a shame that some live vocal looping was used in a couple of the songs (though only the really keen observer would notice this). Otherwise, for me this show is as close to perfection as you can get.

After this performance Gobsmacked! are now my absolute favourite a capella group in town – these guys should be selling out arenas. I honestly think this is the best show I’ve ever seen in Edinburgh.

outstanding

StarStarStarStarStar

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Reviewer: Steve Griffin (Seen 14 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Don’t Panic! It’s Challenge Anneka (Summerhall: 5-28 Aug: 14.50: 1hr)

Posted in 4*, EdFestivals 2016, Rated: Outstanding, Summerhall, Theatre by

“A beautiful and emotional journey”

Editorial Rating: 4 Stars: Outstanding

Much like deviser and performer Sophie Winter, I was also a huge fan of the TV programme Challenge Anneka in the 90s, so I couldn’t miss the chance to see a show featuring my favourite presenter from yesteryear. As the audience enters, Winter embodies her heroine – complete with bright jumpsuit, blonde wig and bumbag – welcoming us to the performance and offering treats. It’s a great way to set the tone as one of comfort, support, nostalgia and togetherness.

The piece follows the story of Holly – someone who suffers from anxiety – and we learn what brings it on and how it affects her and those around her. Anneka soon arrives on the scene to help restore Holly to her former happy self, and her challenge unfolds throughout the performance. Winter plays every character throughout the piece, showing great dexterity in capturing personas of people we can all relate to, including the boss who doesn’t listen, the doctor who uses too much technical jargon and the mum who tries to help buy doesn’t really understand.

The performance uses a lot of video, played through an oversized TV on stage, which, as well as demonstrating the level of care and attention put into this piece, allows Winter (as Holly) to react to these characters, and for us to see and feel these reactions close up. Holly comes right into the audience at times, showing her to be just another person like us, and it’s really engaging to see her honest and personal accounts and every side of suffering from anxiety.

I have to say that structurally I did get a little lost and at times I couldn’t quite tell when or where the action was taking place. But this a show where narrative is far less important than the beautiful and emotional journey we are taken on. The overall soul and spirit are absolutely intact and it is a real joy to experience.

As Winter points out at the end, there is no grand resolution to Holly’s anxiety, and that it may well be with her for the rest of her life. Drawing parallels with Anneka Rice’s challenges, the overall message of the piece is that just because a first big step is achieved, that doesn’t mean that the problem is solved. Ongoing support, nurturing, care and hard work are still required, and I think it’s right that this is highlighted, as it shows a real connection and openness with the subject matter.

An important an enjoyable work, on a highly topical subject matter. Please go and see it.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 14 August)

Visit the Summerhall  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Dreaming under the Southern Bough (theSpace @Niddry St, Aug 05 – 13 : 10.55 : 50 mins)

Posted in 3*, EdFestivals, EdFestivals 2016, Other, Rated: Nae Bad, Theatre by

 “Consistently charming and fun to watch”

Editorial Rating: 3 Stars Nae Bad

If asked for which playwright 2016 marks four hundred years in the grave, you could be forgiven for answering “William Shakespeare”, rather than Ming dynasty writer Tang Xianzu. And with Fringe Shakespeare productions soliloquizing on every street corner, it’s almost refreshing to celebrate another famous, dead bard.

Telling an Alice-in-Wonderland-esque tale of transformation, reflection and po-faced absurdity, Dreaming under the Southern Bough follows the story of a veteran soldier gone to the dogs. However, a chance encounter with retainers from the Kingdom of Ants thrusts him into a world of royal intrigue, prophecy and war.

This is a performance which hits its stride when the surreality really hits the fan. As the plot goes into full swing, it’s hard not to be charmed by the performances at play: drunken retainers, pantomimic warlords and purer-than-thou royalty make for an experience which, whilst somewhat eclectic in terms of energy, is consistently charming and fun to watch.

Even with minimalistic lighting, stage and props, the atmosphere of classical mysticism is heavy even with the seemingly lightest of touches. Incorporation of the original Chinese in particular lends this production an often enthralling sense of place and context, adding significant substance to what in other hands may have been flimsy and unconvincing. Although the scenes taking place in the “real world” seem strangely jarring and stiff, the prose and flow of the writing feels right at home as soon as things hit microscopic.

The strongest aspect of this adaptation is the original writing, and it is a significant shame that the edition presented to Edinburgh is abridged – it would have been far more gratifying to spend more time amongst the follies and twists of the Ant Kingdom, rather than the emotionally unsatisfying ersatz-grit of the modern day bookends.
Despite its flaws, Dreaming under the Southern Bough is a pleasant and entertaining way to spend a lazy mid-morning. Whilst its denizens may be ants, it’s clear they’re standing on the shoulders of giants.

 

nae bad_blue

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

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Reviewer: Jacob Close (Seen 12 August)

Visit the  Other archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Elf Lyons: Pelican (Voodoo Rooms, Aug 5-28 : 19.50 : 1hr)

Posted in 4*, Comedy, EdFestivals 2016, Other, Rated: Nae Bad by

https://i0.wp.com/static.wixstatic.com/media/d6333a_4e35550fa3104999ad420a1236578246.jpg

“A smörgåsbord of comic delights “

Editorial Rating: 4 Stars Nae Bad

Generally, I tend not to trust people whose names are actual words. So, phonetically speaking, Elf Lyons wasn’t starting from a point of strength. However, after a fantastically absurd hour of screaming, tortured analogies and jokes about the French, I realised that perhaps it’s worth a change in policy.

Returning to the Edinburgh Festival, “Pelican” is a show (as Lyons puts it) about wishing her mother was dead. As far as thematic linkages go, it’s a doozy, and links in neatly with a smörgåsbord of comic delights pulled from Lyons’ bohemian life.

Elf Lyons’ greatest strength is immediately visible from the moment she steps on stage. The Philip Gaulier school is lucky to have such a talented clown among them  – “cartoonish” does not do her justice: she has an almost fey energy to her, leaping and waving around on stage with strength unsuggested by her slim frame. Even when the occasional joke falls just short of the chortle line, her ostensibly boundless enthusiasm manages to nudge it across.

But, luckily, these scattershots are few. Far from allowing what is obviously a precocious wit to wither beneath her energy’s long shadow, it positively blooms. Much like her namesake, Lyons is far more of an opportunist than it may first appear, and an wonderfully unexpected sting after a few lighthearted puns definitely goes a long way. It’s not often that I’m surprised by a joke’s direction, but I’ll be damned if I wasn’t more than once during her short hour of comedy.

However, like many comedians, Lyons appears not to trust the quality of her own wit. Some jokes far outstay their welcome, when perhaps the beginning third would have been enough to coax a belly laugh from the audience. Her punchlines, though wonderfully clever, are delivered with more clarity than it appears she realises.

My usual recommendation for free Fringe shows is that you can’t go wrong: win or lose, nothing lost. But this is a show which deserves every penny it earns. The only reason against ticketing it is the possibility that someone will lose out on witnessing such a talented performer. Elf Lyons is certainly one to watch – though, don’t make the same mistake I did, and sit almost directly behind the pillar.

 

nae bad_blue

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

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Reviewer: Jacob Close (Seen 11 August)

Visit the Other archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: 2044 (Greenside @ Infirmary Street, 5-20 Aug: 11.30: 50min)

Posted in 3*, EdFestivals 2016, Greenside, Rated: Nae Bad, Theatre by

“Twists, turns and tensions aplenty to keep the audience on their toes”

Editorial Rating: 3 Stars: Nae Bad

I’m normally wary of anything that describes itself as dystopian, as I have found that many such works (across all art forms) often struggle to create a world believable or compelling enough to hold my attention. 2044, however, is an intriguing and thoughtful piece, and while a little far-fetched, makes some very interesting conjectures on the future – made all the more timely given the current political landscape.

An independent Scotland, spurred on by a new right-leaning political wave, has developed extremely hostile relations with England, and when floods batter the English coastline, many “southerners” seek refuge north of the border. But, given the political situation, only one member of each family is allowed in – provided they meet the required standards of health, age and skills required for work.

It may seem reminiscent of various events in history, but the situation is presented with a very current and engaging interpretation. The script centres on two such refugees, and their struggle to follow the rules, lest they be seen as a burden on the country’s resources and be punished accordingly. The plot is structured in such a way as to slowly unfurl the background, giving hints at what’s to come, in quite a gripping story. Indeed, the craft and writing of this piece in terms of narrative development are spot-on, there are twists, turns and tensions aplenty to keep the audience on their toes.

Unfortunately though, at times it’s all a little bit melodramatic, and would benefit from a bit more development and depth to allow for greater variation in tone. Every scene feels like yet another “woe is me” announcement, and while intriguing plot developments, it is quite an intense 45 minutes and should really be a longer piece to give itself time to develop and unravel.

Because of the intensity of action, the acting also suffers somewhat. The constant chopping makes it quite frantic and one dimensional, and while some great subtlety is shown by Megan Matheson-Adams as Maria, the cast never feel like they fully hit their stride so the performance falls a little flat. I don’t think it helps that a couple of the monologues are quite forced and obvious, when a more creative way of communicating that information could be found.

Overall, a really commendable effort, particularly with the writing, but not quite the finished article yet.

nae bad_blue

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

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Reviewer: Steve Griffin (Seen 12 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: One Day Moko (Gilded Balloon: 5-29 Aug: 15.45: 1hr)

Posted in 4*, EdFestivals 2016, Gilded Balloon, Theatre by

“A wonderful performance that really deserves to be seen.”

Editorial Rating: 4 Stars

My third review of the day, and my third on the topic of homelessness is really quite a mystery – for the first few hours afterwards I had no idea what to make of it. One Day Moko follows the life of a young homeless man through the encounters he has with others and inadvertently, or perhaps on purpose, says very little about homelessness itself.

Moko is a charming character, who, rather than asking for money, simply asks for requests of songs he can sing. Indeed, it appears this is how he survives. With the thick skin homelessness must give, he’s not afraid to ask direct questions of the audience, and those of us with that stiff British upper lip who might normally just walk past a homeless person are unable to in this experiential performance. It’s confrontational, but in a really charming way. Be prepared to chip in to help make this show come alive.

Stylistically it’s very clever – absorbing, hard-hitting, and unlike anything I’ve ever seen before. It’s a shame that narratively it seems somewhat incomplete. Moko tells various stories of people he meets or observes throughout his day, from Margaret who likes her coffee on a Saturday morning, to James who is bored of his relationship with his girlfriend but doesn’t know how to tell her, and many others. The storytelling is animated and engaging, though we only get teasing snippets – perhaps in reference to the snippets a homeless person may overhear as people walk past. Only James’ story is returned to and developed throughout the piece, and though for the audience it’s not clear why this one gets so much attention, I’ll admit the subtlety may have been lost on me.

While it’s teasing not to know more of each story Moko begins (one feels that they will tie together or thematically link in some way), there are some commonalities identified and shared by Moko, giving an intriguing outsiders’ perspective as to how the “other half” live. One of these is the importance of communication and saying what’s on your mind, perhaps a lesson Moko himself has learned, but sees the normal working person fail at so often.

At times this piece is achingly awkward, but it’s also utterly compelling. Tim Carlsen’s charisma, surprisingly impressive singing voice and physicality make Moko a really likeable and naiive character that it’s genuinely sad to say goodbye to at the end. It’s a wonderful performance that really deserves to be seen.

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

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Reviewer: Steve Griffin (Seen 12 August)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Axis of Awesome (Gilded Balloon, Aug 12-24, 26-28 : 22.30 : 1hr)

Posted in 4*, Comedy, EdFestivals 2016, Gilded Balloon, Music by

https://i0.wp.com/static.comedyfestival.com.au/2016/season/media/show/662/662_cropped_730x412.1452903771.jpg

“A bastion of dependable and hideously entertaining Fringe entertainment.”

Editorial Rating:  4 Stars Outstanding

My first contact with Axis of Awesome involved, like many other teens, me being glued to my computer screen as they rocked the hell out of a 360p feed on youtube. Now, a decade on from their founding, it’s clear that Fringe veterans Jordan Raskopoulos, Lee Naimo and Benny Davis are still soaring like a Birdplane even beyond the glittery lights of the LCD stage.

Whilst this review (as always) will attempt to avoid spoilers on the specific content of the show, let it not be said that the Axis does not begin on a high note. Their song “Elephant in the Room” is a fantastically witty product of self reference, and completely sets the tone for the rest of the show: heartfelt warmth, with a heavy dose of cynicism thrown into the mix. The quality of songs on display is very strong indeed: from rap to Bastille parodies, the musical nouse at play is almost unfalteringly good, save for a few sharp high notes in the group’s (often extremely) surprising vocal range. Davis in particular, despite his unofficial position as comedy whipping boy, continually proves he could go finger-to-finger with the best of them on the keyboard without missing a beat.

Between songs, the group’s clearly close dynamic is on full, glorious display. Though some of the skits felt a little low energy as the show warmed up for its final quarter, the inter-Axis fraternity outshines any qualms in terms of pure feel good factor. In an industry where so many horror stories abound of band members who cannot stand one another, bands like this one are increasingly rare. But even more rare, and all the more difficult, is for bands not only to stay friends through the rigours of long term performance; but also to keep that ember of their original intent and feeling alive.

But sat in an audience of hundreds, I might as well have been in my childhood bedroom again, eagerly clicking through links as the screen blinked out into the cathode-tinted night. The same thrill of discovery, the same laughs, and the same joy. And I think this illustrates what exactly makes this trio of modern day troubadours so compelling. It’s not their (considerable) musical skill, lyrics or even stage presence. They’ve gone through many changes over the years (the most obvious being that Lee is now bald), but Axis of Awesome’s greatest asset is that, at their core, they’ve remained wonderfully consistent. This is a show which has a little of everything: comedy, tragedy, horrifying mask props – all wrapped up into a neat bundle by music which will be stuck in your head harder than a sniper shot.

This is a show that proves, despite the ever-changing face of the  festival, Axis of Awesome remains a bastion of dependable and hideously entertaining Fringe entertainment.

outstanding

StarStarStarStar

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Reviewer: Jacob Close (Seen 10 August)

Visit the  Pleasance, Potterrow & Teviot  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: The Six-Sided Man (Assembly Roxy: 3 – 29 Aug. 1150. 1hr10m)

Posted in 4*, Assembly Roxy, EdFestivals 2016, Rated: Nae Bad, Theatre by
Gavin Robertson (l) & Nicholas Collett (r). Image: Assembly Roxy & Company Gavin Robertson

Gavin Robertson (l) & Nicholas Collett (r).
Image: Assembly Roxy & Company Gavin Robertson

“love its deadpan humour … the whole 4* performance of edge and ease”

Editorial Rating: 4 Stars:Nae Bad

You just know that you’re in expert hands when, to the exact beat of ABBA’s The Name of the Game, the dice are twice shaken and then thrown. Except they’re not, you just believe that you heard the rattle and saw the throw  …. and reckoned the fateful consequence. This is artful, practised, theatre.

The Dice Man appeared in 1971 and became a cult classic. The Six-Sided Man is its stage face, written and adapted by Gavin Robertson and first performed at the Edinburgh Festival in 1987. It’s back (by popular demand?) with Robertson himself playing The Patient and Nicholas Collett as The Psychiatrist. If they could, they’d be spokes on a roulette wheel; as it is they circle around each other, betting each other’s life on the throw of the dice, or die, which is an unfortunate pun.

The reason being, you see, is that the dice are liberating, freeing you of restraint and conformity by determining a single course of action that is irreversible. ‘Should I go out of the window four storeys up?’ becomes, on the throw of a 3, ‘I must go out of the window’. And where there is mortal risk there has to be sweet reward: roll a 6 and it’s the other guy who goes head first. The Winner Takes It All.

But that’s to jump the gun (with just the single bullet in the chamber, of course). The Patient comes to the Psychiatrist with his problems. The doctor is brisk. “Show me”, he says and the rest might be such weird stuff as dreams are made on but you’re not too sure. In fact – if that’s not too loaded an entity – there’s nothing quite so substantially awful as dog poo on your shoe on a first date.

The cure is that the predictable need not be endured or suffered  Yet the dialogue, alongside the high quality of the mime, voice and movement sequences, is unemotional and wary. No great shakes, you might say, but then you realise that there’s a face off here, with neither character prepared to raise the stakes until he’s as certain as he can be that he has the stronger hand. Knowing Me, Knowing You plays on.

The Dice Man was published under the name of Luke Rhinehart. In August 2012 ‘he’ announced his own death. Some believed it, some didn’t. It was a spoof but it allowed Luke to write his own valediction: ‘If you’re comfortable in the selves you’re rolling along with’, he wrote, ‘then roll on. Most people aren’t.’

You’ll roll with The Six-Sided Man and love its deadpan humour and admire the whole 4* performance of edge and ease but you’ll wonder where it’s going; at which point you’ll feel distinctly uncomfortable. Take A Chance on Me? You bet.

nae bad_blue

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

Reviewer: Alan Brown  (Seen 8 August)

Go to The Six-Sided Man at Assembly Roxy.

Visit Edinburgh49’s  Assembly Roxy archive.