“Fiddler On The Roof” – 6^th February 2014

One of the biggest shows on television of the 1970s was Starsky and Hutch. In music teenage girls had the choice between Donny Osmond and David Cassidy and in this police drama they could either favour the blond ( later chart-topping), blue-eyed David Soul  or the darker, more serious Paul Michael Glaser. My wife’s teenage self was fervently in the latter group. Along with the late Pete Duell he saw her through the stressful teenage years.

Fast forward 30 plus years and her face on Christmas Day when she realised her former heartthrob was not only touring in one of her favourite musicals but was coming to Cardiff, was a picture. 

Even that didn’t match the delight when he actually appeared, receiving an old-fashioned round of applause from an audience that made this 50 something feel young. “Fiddler On The Roof” is one of the great musicals. Over 50 years ago this year Zero Mostel created the role of Tevya, a poor Jewish milkman in Russia at the turn of the 20^th century.

For me there are few better musical openings than “Tradition”. In this one number Jerry Bock and Sheldon Harnick explain Jewish life, past and present, although in Tevye’s eyes both should be the same.  Life, however is constantly changing and his first challenge comes from his oldest daughter, Tzeitel who wants to marry Motel the tailor for love rather than Laser Wolf for money and prestige. Whilst he comes to accept this arrangement he struggles to cope with his other daughters marrying a revolutionary student and then a Cossack.

This is a serious, heavy subject but the writing looks for the humour and the humanity in these situations. Here, Paul Michael Glaser comes into his own.  Amazingly, he played Perchick in the 1971 film, though he now looks like the perfect Tevya. He has always had a talent for light comedy and this quickly comes to the fore as he brings Tevye to life battling to come to grips as life changes around her. Unusually for musicals these are real people in real-life situations, so director Craig Revel Horwood needs actors who can sing. Also, in these days of budgeting restraints it is not possible to have a band so he prefers performers who can actually play instruments as well, a choice he made when we saw his “Chess”  a few years ago.

This made for a even more exciting evening with one of the highlights being Jon Trenchard’s version of “Miracle of Miracles” where he played his instrument in what shouls have been his singing breath break.

The ending is one of the most heart-breaking in musical theatre but in keeping with the Jewish philosophy they ultimately refused to be defeated and soon determined to try and remain upbeat.

Having seen and enjoyed “ Topel’s” Tevye revival in the West End in the early 1980’s I believe I loved this show more, or that may just have been watching my wife’s face as her younger self’s pin-up proved to be a great musical star.

This show is a triumph. If you have a chance to watch it on its national tour go. You won’t be disappointed.

THE WORLD'S END

THE WORLD’S END

Since living in Cardiff I have managed to see one play in Welsh, but only on a surtitled night. So, it was a first for me to watch a Welsh play in an evening there was no translation.

I can’t say I had high hopes for the show and only agreed to accompany Anne to the Sherman theatre to see “The World’s End” = “Fe Ddaw’r Byd I Ben” as it was more convenient than on a translated night?

Two American evangelists are convinces of the imminent end of the world leading Sarah to return to Wales to spend the remaining days with her family. At the same time her father kills himself (offstage) and we gradually discover that all the characters had troubles in some way.

Obviously not understanding the language was a problem. , but not such a disadvantage as I had been expecting. I knew that certain English words had no Welsh equivalent , “having a wank”, “pleasuring myself” etc and the scenes with the Americans were an unexpected bonus. However, it was generally quite easy to follow and the staging ( on two levels) was very impressive indeed.

It had been billed as a work in progress but it looked like the finished product to me. The acting was of a very high standard ensuring that the characters didn’t lapse into melodrama or caricature. For me, the star was Siw Hughes as the mother who had the audience roaring with unexpected rude speech and a hilarious drug taking scene. I lost a lot of the humorous lines but it was great watching the rest of the audience laughing hysterically.

For a new play it was quite long (over two hours) and definitely needs some trimming. They seemed to have a perfect ending with most of the cast standing on the kitchen table showing off their lovely Welsh voices in unexpected “Climb Every Mointain” and more traditional Welsh tunes but there were a few more plot explaining scenes to follow. That would be my only suggestion to change the final scenes and leave the audience with the visual memory of that table top moment.

Despite not understanding over half the dialogue I still enjoyed this play a lot more than many plays I had seen in English.

An unexpected delight.

THE PLAY THAT GOES WRONG

I first became aware of Mischief Theatre in 2013 when 1 saw & loved “The Play That Goes Wrong”last August. We laughed so loud and so long it was an obvious winner of DARKCHAT’s Best Shows award.

We therefore duly headed to Pleasance in Islington in December to see their follow-up “Peter Pan That Goes Wrong”. This, again, was enjoyable but I felt it occasionally struggled to sustain the full ninety minutes.

Although I was delighted to see that it had deservedly been granted a national tour I was apprehensive that it would be not be as tight as the hour long show. I therefore  didn’t book any tickets but was delighted when some friends had 2 spare tickets in the front row.

This is one of those shows that starts before the curtain rises with members of the backstage crew wandering amongst the audience and one unsuspecting member being ushered on stage to assist in various tasks.

The first half is basically the Edinburgh show. Co writer Henry Shields sets the scene of the potential shambles to follow with a highly enjoyable monologue as Cornley Polytechnic embarks upon ;”The Murder at Haversham Manor”.

We are now in true Amateur Dramatics territory. A clanky company puts on a clanky murder mystery and as you can guess from the title anything that can go wrong doe go wrong. I do think it helps if you have an understanding of what goes on behind the scenes in these companies. Having been involved in them myself I am fully aware of the potential pitfalls of dodgy props, dodgy actors, missed sound cues, missed lines etc.

This all sounds like genuine farce territory but in the capable hands of Mischief Theatre it became an art form. Belly laugh follows belly laugh and there is something comforting about knowing what is about to happen and hearing roars of approval from the audience behind.

By the time we reached the interval my chest was aching from having laughed so much and I wonder where we would go from here. I needn’t have worried as the insertion of a missing dog and a set on two levels ensured there would be no let up in the humour.

There is no point trying to list all the great jokes and set-pieces but my favourite is a ninety minute set-up for a 3 second music joke. I loved this show the first time I saw it but amazingly I enjoyed it more the second time and this time I have to say it is arguably the funniest show I have ever seen. There can be no higher praise than this.

If you missed it in Cardiff but have the chance to catch it omn tour don’t miss it. You will regret it forever.

The Silent Toy Soldier - The Weston Studio - Millenium Centre - December 2015

THE SILENT TOY SOLDIER

HIJINX THEATRE , WESTON STUDIO – MILLENIUM CENTRE , December-10-15

The run up to Christmas is predictably hectic with parties, present buying, food shopping etc. However, this reviewer always eagerly anticipates the email inviting him to the latest production from Hijinx theatre. I know that however stressed and tired I am entering the auditorium I know that I when I leave I will have been thoroughly entertained and I will walk out with a bounce in my step. It would be easy at this time of year to produce a simple crowd-pleasing show but that is not the Hijinx way. Their new director, Jon Darfydd-Kidd has taken ETA Hoffman’s tale “ The Nutcracker & The Mouse King” and given it that Hijinx twist. The plot revolves around a young baker turned into a wooden Nutcracker following a curse from the Queen of Mice. Not only does the Mouse King then declare war on the Nutcracker but the naughty mice start to kidnap the happy souls of Jamburg. Although he is not a soldier these folk expect the Nutcracker to protect them and when he refuses he is banished to with a variety of lively characters. But, he develops cunning plan. The joy of “The Silent Toy Soldier” however, is not the plot but the performance and the staging. The atmosphere of the piece is beautifully enhanced by talent musicians from South Wales University, Caerleon who also provide unexpected cameos. The plot may be a little complicated but two helpful narrators steer us through proceedings. One of the many joys of a Hijinx/ Odyssey show is that you can clearly see the enjoyment of the performers ( I must single out Blue Balmforth for his infectious enthusiasm throughout). Huge praise must also go to the design team who produced a large array of eye-catching costumes, not only adding colour and life to the stage but also clearly defining each character. In contrast to Mack & Mabel in the Main House “ The Silent Toy Soldier” does have a happy ending. As usual I left invigorated and now fully in the Christmas mood. I believe this is the 4th Hijinx show I have seen and even though my expectations are now quite high, this show excelled them. So, a big round of applause from me to everyone involved and I wish you all a happy festive period.

Reviewed by: David Cox

Shadow Boxing - 27th July 2013

One of the most innovative ideas in recent years has been the rise of site specific theatre. Take an audience out of cosy seats immediately creates an element of unease, anticipation and the feeling that you are part of an event.

Broken Souls opening production is an adventurous revival of James Gaddas piece "Shadow Boxing" which has appeared previously at the Edinburgh festival. The audience are coached from Chapter Arts Centre to Llanrumney Boxing club with a video of the classic fight between  Micky Ward and Alturo Gatti playing which certainly got us in the pugilistic mood.

Having been warned not to step inside the ring or stand behind a punch bag we were free to wander around the gym whilst Alex Harries burst in and tells his story. He is Flynn a talented boxer whose rise to the top is floored ( apologies for the pun) by a personal secret ( which came as a real surprise to me).

A good night at the theatre probably needs two of the three following, good acting, good writing and good production values. When you have all 3 you can feel very fortunate indeed which is what everyone who embarked on the journey felt. James Gaddas's script is tight and involving ( which you would expect from an actor) and impressively poetic.

This, however, is a play which solely revolves around the actor. This is no holds barred, in your face acting (literally). The actor has to be physically fit as we watch sweat pour off him as he unveils his punishing training regime. He must also be totally focussed as he weaves around the audience and trust me there are few more terrifying moments than when he talks directly in your face and makes unremitting eye contact with you. Fortunately, Alex Harries possesses all these attributes (including astonishing breath control) and made the complex Flynn come alive.

This is the joy of site specific theatre. When it works ( and it doesn't always) it gives you a personal connection with the actor and character you cannot re-create in the theatre.For a first production this was enthralling, innovative and a (literally) breathtaking show. Congratulations to all concerned.

Nat Luurtsema - 10th July 2013

More familiar from being part of sketch comedy troupe “Jigsaw” Nat is also pursuing a solo stand-up career.

As you would expect in July she is touring her Edinburgh show in preview form and duly arrived with notes, voice recorder and a bottle of water. It wasn’t a large audience on this hot Cardiff Wednesday but she quickly won us over with stories explaining why she is single and how she is coping in her 30’s.

This is personal insight territory especially when she explains in some detail her relationship with a comedian she names. Obviously, this is work in progress and doesn’t flow naturally yet but she has a good rapport with the audience especially when deciding whether our laughter was strong enough for her to drink her water.
A lot of modern comedy is anecdotal and can be quite bland. Tonight, however, I felt I was in the presence of an unusual personality who wasn’t worried about portraying herself in a less than favourable light. Funny and undoubtedly will improve by next month.

Head to Laughing Horse at the Counting House in Edinburgh and you won’t be disappointed. (And amazingly it’s free).

Matthew's Passion - 25th July 2013

Plays about sufferers of Asperger's Syndrome seem to come along like buses. Nothing for ages, then two arrive together. The big current London theatical success is the National Theatre's production of " The Curious Incident Of The Dog In The Night-Time", while the Welsh offering is "Matthew's Passion" which recently ran at the Sherman Theatre.

Matthew is a sufferer struggling to focus in the real world, instead showing more interest in birds, especially the migration habits of swallows. He lives in a stifling environment, his father being an-old fashioned vicar and his mother struggling to cope with her role as a vicar's wife. Desperate to encourage Matthew to connect with people they engage Martin a travelling musician. In true play fashion this decision has wider implications than they could have expected.

This isn't a play that believes in subtlety. Within five minutes of the start I guessed everything that would unfold and frankly found the first half dull and obvious. Increasingly I feel short plays should run without an interval but here I felt the break worked. It allowed the cast to inject some much-needed pace life into proceedings.

It helped that they finally gave the great comic actress Ri Richards a chance to show her talent creating some much-needed laugh out loud  moments. Immediately, though we are brought down to earth with a rivetting dramatic scene between Matthew's parents with Bethan Morgan hitting every emotional nerve possible.

Overall, I felt the playwright was wrong to centre the attention on a struggling marriage rather than concentrate on the more interesting subject of Asperger's syndrome and led to an evening where the acting was of a higher quality than the writing. I may be being unfairly critical however, having just watched and loved "The Curious Incident Of The Dog In The Night-Time".

The Scottish Falsetto Sock Theatre - 13th July 2013

Every year I make one mistake in booking over 100 tickets for the Edinburgh festival and in 2012 I booked two tickets to see The Scottish Falsetto Sock theatre forgetting I was now double-booked. Today,however, on a sticky, hot Cardiff Saturday I was happy to embrace the air conditioning of Chapter Arts Centre and finally catch up with the Sox.

The premise is simple,the show is two high pitched talking socks from a country whose capital is Edinburgh. Who knew?

July is a month where most performers hone their material in readiness for the Edinburgh festival in August. Some acts need it more than others and tonight's show fell into that category. This year's show is Sox In Space although a lot of time is spent exploring other genres, horror in particular. When we did head towards the astral plain the references were fairly generic.

But, what ultimatlely does an audience want? An hour of average comedy or a couple of moments of sheer brilliance. There is a lot ( perhaps too much) music but their parodies of David Bowie's "Starman" and Michael Jackson's " Earth Song" ( apparently his biggest hit, which I thought was Billie Jean) caused hysteria with DARKCHAT David and Anne. ( The latter hasn't stopped singing the former's song about a group of birds ever since).

The first 2013 DARKCHAT after the show caused a heated debate. One member called it " dull and boring" whilst two revelled in the 2 highspots. There is obviously plenty of work to be done but if they can tighten some of the more self-indulgent moments this can be another triumph for The Scottish Falsetto Sock Company.

Joe Lycett - July 13th 2013

Originally this Edinburgh preview should have featured Nick Helm. Sickness meant he was unable to attend and he was duly replaced by Joe Lycett. I suggest they couldn't have found a more opposite comedian if they had tried.

While Mr Helm is noisy, hairy, sweaty and in your face Mr Lycett is calm, collected and friendliness personified. Most Edinburgh shows have to have a pun title but for once "  If Joe Lycett Then You Should've Put a Ring On It" actually fits the bill.

This is a series of stories about how his life has changed by wearing a "Walrus ring" after being advised to harness his inner animal. Armed with this alter ego he has turned into a serial complainer (when justified) by email. Some of these tales are hysterical especially when large organisations get the joke and join in the fun. ( Who knew employees of the Sun had a sense of humour).

We are bordering on Tom Wrigglesworth campaigning territory here but Joe Lycett's indidivuality shines through and we can see why he has been nominated for Fosters Edinburgh Comedy Award Best Newcomer.

This is still work in progress in readiness for next month's festival but on this evidence he is definitely worth finding a place in your schedule for. You may even decide to create your own complaining alias.

Lloyd Langford - 3rd July 2013

If August is the month when comedy fans head to the Edinburgh festival ( other forms of entertainment are available), July is when comedians stage gigs to try out new material. The Cardiff comedy festival takes full advantage and previews can be seen throughout this month.

Starting the ball rolling was Lloyd Langford with "Galoot", defined as someone who is strange or foolish which perfectly describes his strange appearance ( check out his web-link below). Immediately the audience starts laughing and doesn't stop throughout the set. We discover why he hates Jessie J ( I'm sure you will too by the end), hear about other idiotic events and and why he has decided to take more chances with his life.
This is gentle humour although occcasionally he does unsettle you with an unexepectedly caustic remark.

After building up the show well he slightly falters at the end with a sexual anecdote I don't think fits into this
particular show. As he himself stressed this is work in progress so there is plenty if time to tighten this material before Edinburgh. Even so, this is still a highly enjoyable hour in its present form and can only get better.

So, if you get a chance to see Lloyd Langford on tour go.
If you get a chance to see Lloyd Langford in Edinburgh go.
If you get a chance to see any other preview shows (generally a lot cheaper than the finished product) go.
You won't be sorry.

The Bloody Ballad 19th September 2012

Every now and again I see a show I know little about. Tonight I was expecting some 1950's rock and roll style music and tales of gruesome events. That was virtually all I needed to know as I walked into the venue and was immediately transported into a mid-West diner with a band perfectly re-creating the 1950's sound.

We soon meet Mary, our host for the evening to explain the events leading to her blood-spattered state joint we were now locked in. This show is not for the faint-hearted as we hear about her molestation as a child, see her beaten up, not to mention a variety of bloody murders.

This sounds heavy and depressing but thanks to the writing and performances it is hugely entertaining and enjoyable. A question and answer session after the event emphazised how much impact Lucy Rivers had in the show which explained her extraordinary ease in dealing with this tricky material.

It was her performance as Mary which drives the evening. She rapports effortlessly with the audience drawing us into the events which otherwise would have left us cold and detached. She is strongly supported by all the cast, especially Oliver Wood who moves seamlessly from the infatuated lover to the cruel tormentor.

After the show Phil Mckenzie made the point that this show would be a big hit at the Edinburgh festival. As experienced reviewers ( for DARKCHAT) we agree completely. An extremely and unexpectedly enjoyable evening.

If you like good music, drama and something different head to The Bloody Ballads.

In The House - 20th April 2013

I picked this film because it happened to be on at the right place, at the right time. I came out exclaiming “Do the French ever make bad films?” I don’t see a lot of French films but I am never disappointed.

“In The House” revolves around a literature teacher who sets his class the innocent task of writing about their week-end. Unwittingly, this encourages Claude to tell his story about how he has finally managed to gain entry at the house of a schoolmate. These two pages of prose encourage a respectable couple to encourage this pupil to turn life into a novel. It is so fresh and inventive that it could be Woody Allen at his peak, a fact referenced when they are shown queuing to see “Match Point”.

Like the writing and directing the performances are impeccable. You know that Miss Scott-Thomas will produce another impeccable bored, middle-class woman but she is up-staged by Ernst Umhauer making his film debut as the troublesome youth. The revelation, however, is Fabrice Luchini who with one raise of his eyebrow in the opening sequence explains this is a teacher (during a headmaster pep talk) who has heard it all before and is clearly disenchanted in his job.

You could therefore clearly understand why he was intrigued by the raw talent of a pupil and was prepared to take unethical risks at help Claude became the writer he was failed to be.

Possibly you can accuse French cinema of being obsessed with middle-class life but when films are as classy as this, who cares. An unsung masterpiece.

Peter And Alice 20th April 2013

For ten years Michael Grandage oversaw excellent productions as Artistic Director at the Donmar Warehouse. He is now involved in 5 shows at the Noel Coward theatre, featuring the cream of British theatrical talent. Having seen the two previous West End productions of “Privates On Parade” I was more keen to see the only new play of the season “Peter And Alice” by John Logan.

Following on from the success of “Red” based upon Mark Rothko he has now turned his attention on the meeting of Alice Liddell Hargreaves and Peter Llewellyn Davies. These are the two real people that two of children’s literature favourite characters are based upon, “Alice in Wonderland” and “Peter Pan”.

This extraordinary premise is turned into a scintillating drama where the protagonists reveal the pleasures and pain of unexpectedly and unwillingly being chosen for immortality. The casting of Judi Dench and Ben Wishaw is truly inspiring. They both effortlessly recapture their youthful selves which led to their appearances in print as well as showing how each dealt differently with their unsought notoriety. The scene where Alice reaches her hand to claim the lost Peter is truly heart-breaking.

This is theatre at its best. Sensibly running at ninety minutes without a break it ensures the momentum built up is not deflated by the imposition of an interval. Oddly enough both performances and writer were involved in the most recent James Bond film “Skyfall”, but here we are in completely different territory.

The writers involved Lewis Carroll and James Barrie are both well played by Nicholas Farrell and Derek Riddell with Ruby Bentall and Olly Alexander impressively creating the bewildered “Alice In Wonderland” and “ Peter Pan”. But the evening belongs to the lead actors.Remaining on stage throughout Miss Dench belies her age with as good a performance I can recall seeing from her (and I have seen countless over the years). In contrast Ben Wishaw re-states his claim to be amongst the best actors of his generation with a welcome return to the stage.

There is a reason why House Full signs are showing outside the Noel Coward theatre. Grab a ticket while you still can.

Frankenstein - 3rd November 2012

If you ask about theatre in Stratford Upon Avon most people will mention the Royal Shakespeare Company. Right, but also wrong. If you want a large scale production of a Shakespeare play you should head to the recently refurbished Shakespeare theatre but, if, you prefer your entertainment more intimate, yet of a similarly high quality you should check out the "Tread The Boards" company, based in the Attic Theatre. They have been producing impressive versions of classic stories for many years, the latest being Mary Shelley's 'Frankenstein'.

Perfectly timed to coincide with Halloween you enter a small space and see a figure draped in a sheet on a slab. Immediately director John-Robert Partridge leads you to assume this is the monster then surprises you by unveiling Victor Frankenstein recovering on a ship having been rescued from the icy wastes of the Pole. We are now in flashback mode as he reveals the tale of how he appears in this wretched condition.

This adaptation is more truthful to the novel than most recent productions yet it seems obvious that you would want to use such great material. It  is truly one of the great stories showing the possible consequences of science meddling with nature. Two hundred years later and nothing has changed.

A good plot is a start and a director's vision can only take you so far as the success of a play ultimately revolves around the actors. Here, the "Tread The Boards" company are very fortunate indeed. All the cast are exemplary ( amongst the supporting roles Jennifer Hodges breaks your heart as the doomed Justine) but Mr Partridge is blessed with two outstanding performances in the lead roles.

Rich Bunn makes you understand the tricky title character, from inquisitive student, lover,obsessed scientist to horrified widower seeking refenge. Most horror films concentrate upon the monster as a pure figure of fear but he is actually one of literature's great tragic figures which Adrian Daniel Varney portrays beautifully.

The pacing of the piece is captured perfectly with the tale unfolding before us without any dull moments and just as impressively the director avoids any aspects of melodrama with all events seeming natural and realistic.

Last year I saw the Danny Boyle version at the National Theatre and I can honestly say I preferred this more intimate version. Obviously, they do not possess the resources of the subsidised London theatre but tonight proved that imagination is just as important as finances. The simple premise of plunging the venue into pitch darkness and allowing the actors to roam amongst the audience was truly terrifying.

Cox's Yard is in the process of being taken over and the future of The Attic theatre is uncertain. This is therefore the prefect time to discover Stratford's hidden gem and support this impressive company ( starting with Dick Whittington next month).You won't be disappointed!

NVA Speed of Light - 17th August 2012

In recent years the International Festivals brochure has included little to interest me. However, the moment I read about this concept I was tempted but I didn't book up until we arrived in Edinburgh and realised this was arguably the event of this year's festival.

Despite coming to 14 festivals over 26 years I have never yet climbed Arthur's Seat and so we chose to end this week's madness up this peak over-looking Scotland's capital. Naturally we took a chance on the weather and despite torrential rain the night before we picked a gloroius night to start our ascent.

We were warned that some parts would be strenuous and although I thought this was over-cautious Health and Safety speak, they were right. But armed with our light-sticks we headed ever upwards leaving the noisy chaos of a Friday festival night far beneath us.

This piece is several shows for the price of one. Firstly, it is an impressive work-out and after a week of indulgence ( including eating our weight in Indian food and downing a couple of bottles of wine just beforehand ) we felt we needed to. Secondly, with dusk falling the landscape was glorious and as we rose further the views of Edinburgh and beyond were spectacular.

Then there was the artisitic element of this show. The light stick was kept alight by the energy provided by previous walkers and runners and the flickering element at the top was generated by your own movements. Similarly, each stick was primed to release its own noise relating to your particular walking style and the resonances you created.

All this still isn't enough. As you walk along trying not to slip or slide off the path your eyes are constantly distracted by runners moving along the countryside wearing their own body lights. Whether you think they are ghostly figures, occasionally noisy as they cheer along, mad joggers or magical representations of the outdoor life etc you can make up your own mind.

Ulitmately, though this is a totally unique event especially as it was designed purely for Arthur's Seat as part of the 2012 Olympiad. I gather there are discussions with Rio De Janiero to adapt this spectacular for the 2016 Olympics. Let's hope they succeed.

For us, this was the perfect end to another astonishing festival.

Thanks to all concerned especially the group leader who always appeared just when I was about to experience problems and ensured I returned safely. Always a bonus at the end of a hectic week.

Hi-Kick -17th August 2012

Every year we try to see as many diverse shows as possible in our Edinburgh itinerary. We always like to select a dance piece but it is never easy knowing what to pick. So, for once I took the lead from the reviews and after seeing 5 stars scattered around I chose Seol and Co's "Hi-Kick" for our penultimate show.

This was billed as featuring "stunning dance and football" and it fully ticked both boxes. We meet some keen yet less than prolific footbalers having a gentle kick-around until they are out-played and outmuscled by a self-confident group of bully boys. Gradually, our underdogs improve their technique and have a final showdown against their less than gracious opponents. You don't have to be John Motson to guess how this ends.

This is an enjoyable show but at an hour it does outstay its welcome. The ability to control a football and invent rhythmic movement was impressive but there was only so much they could do with this format. They did, however, successfully connect with the audience ( today featuring a lot of children) getting them to clap along and even getting a couple of volunteers onstage to play keepy-uppy.

So far so predictable but I didn't expect this show to pull an emotional punch. So, when a female character ( whose catch-phrase had been " I love fotball")  remonstrated that "fighting not football! I got unexpectedly choked up as this seemed to encapsualte why I have fallen out of love with the game at the top level.

A great way to enliven a festival goers week!

SADFACES REMEMBER IT DIFFERENTLY - 17TH AUGUST 2012

After the strangeness of yesterday's shows ( see Thursdays reviews) it was surprisingly refreshing to return to watching comedy.

For the last few years 4 Sad Faces have been plying their sketch comedy trade in the Free Fringe. This year they have changed tack, dropping 4 from their name, adding Rosie Fletcher to their gang, moving to a paid venue (the Underbelly) and I think, most importantly, leaving the unconnected sketch comedy format behind.

Sad Faces " Remember It Differently" does what it says on the tin. It takes one narrative story but we see it from each of the performers perspectives. This allows for a lot of silliness, ridiculous accents and props and unexpected plot variations. Each of the talented performers is allowed their moment in the spotlight, but it is Jack Bernhardt with his boyish, confused optimism (often misplaced) and Rosie Fletcher's assertive, self-confident (often misplaced) personas that steal the show.

The only suggestion I would make for future improvement would be more audience involvement. The show we watched was quieter than the quality of the material deserved but getting a rapport with (at least) one member of the audience should immediately get them on the performers side and therefore more vocal.

This was my 27th show of this year's festival and naturally shows are beginning to overlap with each other. But, one of my over-ridding memories of the entire week was " The profit of Poundland" sequence. Comedy gold.

Well done to all involved, you have found your true niche. 

The Blind - 16th August 2012

A children's show about a huge vegetable, an acapella modern opera about a dying boy falling in love with the Moon, how on earth could I follow that? Well, how about an open-air virtually unspoken Polish dance show ending in a mini monsoon.

A few years ago we were impressed by a very physical Polish "Coriolanus" here and tonight we weren't disappointed. Although you can never take the Edinburgh weather for granted it is normally trying some site specific open-air performances.

Our first realisation that the show had started occurred when various performers rushed from the audience and began Central American style dancing. The tone of the piece soon changed following the intervention of military force and the use of tear gas. From here on the performers were generally restricted to moving either with white sticks or on hospital beds. This may sound odd, and indeed it was. What it never was, however, was dull!

The events may not have been easy to watch but it was always interesting and often beautiful. As it ended I stated I didn't really understand what was happening but I still loved it. A loud and ryhthmic soundtrack always gave something for your ears to feast upon while your eyes followed what was on show in front of them.

The performers were extraordinarily vibrant throughout the show and a cloudburst towards the end may have dampened the bodies of audience and artistes alike , but never their (or our) spirits. This is an outstanding antidote to being boiled alive in stuffy, sweaty, claustrophobic venues.

Moon - 16th August 2012

Well, what a truly Edinburgh day. After spending the afternoon trying to entertain lively three year old twins (including watching my first children's show) it was time to rush to another production.

Feeling hungry and thirsty we were surprised (to put it mildly) to be approached on the steps to the venue and asked if we were prepared to be on fire extinguisher duty for the evening. We are nothing if not game and armed with a carton of juice ( to quence my thirst and not to be used in case of fire)and a muffin we headed into the auditorium.

This being Edinburgh they were still tearing down the set of the previous show as we entered, naturally passing a perspriring Liza Minelli look-alike. After receiving our fire-fighting instructions my wife and I were duly placed at opposite ends of the theatre and despite this being a large and plush venue the first other audience member demanded to sit next to me in case she needed a quick exit. Later, I discovered in the kerfuffle that I had inadvertently knocked over my drink, not only causing a nice puddle of liquid to ooze from under my seat but ensuring that if any fire broke out ( it didn't) my area was already protected.

So, once my pre-show activities were complete I could finally concentrate upon the matter in hand. "Moon" is a modern piece of music by Gordon Hamilton, using a poem by Venero Armanno and sung by The Australian Voices, a group of male and female singers. Together they tell the story of Sam, a sickly boy, dying in his bedroom,but Diana, the Moon, sees him and falls in love. The ending could be sad yet somehow, here is uplifting as he finds peace, happiness and love.

At festival time Edinburgh as a 100 miles an hour city which never seems to sleep. As I know from experience it is easy to get caught up in the frenetic lifestyle. "Moon" is an increasing rarity, an oasis of calm and beauty amongst an increasingly noisy and mad world outside.

To be honest I am not a great fan of choral music but the sound they made, individually and collectively was truly wonderous to hear. They were helped by the musicality of the score but I must stress this wasn't just a treat for the ears. Sam's story was enhanced by screen projection and although most of the words was easy to follow, the visibility of the lyrics was a bonus.

The liveliness of the piece was also helped by placing the conductor in an aisle so his enthusiastic, physical presence was a additional piece of theatricality. The choir wasn't just restricted to static singing, using their bodies they helped to explain the action by movement, swaying, lying down and even writhing on the ground when the situation needed it.

The fringe is about taking chances. This one more than repaid our gamble. Even if you miss this performance in Edinburgh check their website as they are about to embark on a tour of the Kingdom, singing a mainly classical repertoire. I hope to catch them in October in Cardiff.

THE MILLER'S TALE - 15TH AUGUST 2012

Having watched a lot of comedy in the early part of the week it was time to look for some unusual drama. And shows don't come much odder than a Nigerian version of Geoffrey Chaucer's " The Miller's Tale", from his epic "The Canterbury Tales".

Classic drama transcends time and culture and, amazingly, this unlikely mix works incredibly well. African theatre is generally lively and their natural exuberance perfectly fits this 14th century morality tale of laziness, infidelity, the perils of marrying a young wife etc. This isn't a production where you can hear every word but this doesn't matter. You can easily follow the plot and most importantly, get carried away with the liveliness of the performers.

It disappoints me that each year people increasingly feel Edinburgh is just a comedy festival. This was a highly enjoyable show with 8 in the cast and (on the day I went) just 12 in the audience. So, if people want to experience something different to generic stand-up and experience what the real fringe festival is about head to C on Chambers street.

PS. I would love to see Overo Productions tackle another of Chaucer's tales next year.