Tag Archives: Edinburgh Fringe

Director – Lucy, Lucy and Lucy Barfield

written and performed by Lucy Grace

at Pleasance Below, 3rd-29th August

Narnia doesn’t exist. Lucy’s just realised. She’s 26.

She’s still reading The Lion, The Witch and The Wardrobe. If the adventures of heroine Lucy Pevensie can’t help, then perhaps C. S. Lewis’s dedication to his god-daughter, Lucy Barfield, holds the key to another wardrobe.

Following 2015’s Garden ‘quietly revolutionary’ **** (Scotsman) Lucy Grace searches for the lives of Lucy: past, present and fantasy.

Unpicking a life less documented Lucy, Lucy and Lucy Barfield, is an intimate show about holding on to adventure, falling through the cracks and finding your own way back.

Tickets here.

“Men in the Cities” by Chris Goode

at the Traverse Theatre, Saturday 9th August 2014

It feels odd to say of an oft-described “experimental” theatre-maker, but Men In The Cities is perhaps the most novelistic and literary piece of theatre I’ve seen this year. In the same vein as Mark Haddon’s A Spot of Bother or Jonathan Franzen’s The Corrections, Goode’s monologue follows the lives of a number of people – specifically men in this case – over the course of the same period of time. We catch glimpses of lives, snatches of personality. Masculinity undergoing crisis, and masculinity undergoing breakthrough.

Rehan, Rawalpindi, Jeff, Tom, Graham, Toby, Ben, Matthew, Rufus, Dale, Brian. Continue reading “Men in the Cities” by Chris Goode

“Horizontal Collaboration” by David Leddy

at the Traverse Theatre, Thursday 7th August 2014

Before I read Andrew Haydon’ review of Horizontal Collaboration, I had no idea it was based on a pre-existing narrative, let alone one with such a rich history of adaptation and appropriation. When watching David Leddy’s new play, I was entirely responding to this particular story as if it were the first time I’d ever heard it. Yes, I picked up the odd quote or intertextual reference, but this was a narrative which was falling on fresh ears (blame my cultural ignorance). I presume this is the case for lots of people in the audience, but I have no stats to verify that so it’s impossible to know. Either way, this is a poetic, sparse piece of writing which reaffirms Leddy’s ability to get inside our skulls and twist them about a bit. Continue reading “Horizontal Collaboration” by David Leddy

“Oh My Irma” by Haley McGee

at Hill Street Theatre, Wednesday 14th August 2013

*Originally written for A Younger Theatre*

Young women committing acts of violence on small animals seems to have become a bit of a running motif throughout this year’s festival. After the grotesque ending of Phoebe Waller-Bridge’s Fleabag comes Haley McGee’s Oh My Irma, which features a similarly damaged young woman who ends up taking out her anger on a similarly unsuspecting victim. But though the themes are similar, there’s enough that this piece does differently to make it an interesting watch after the former’s brazen honesty.

“I did it,” announces our narrator at the top of the piece, paralysed with stage-fright and angry that the techies have ruined the opening. Continue reading “Oh My Irma” by Haley McGee

“The Bread and the Beer” by Tristan Bernays

at Underbelly, Cowgate, Wednesday 14th August 2013

*Originally written for A Younger Theatre*

I haven’t seen anything on the publicity for Tristan Bernays’s The Bread and the Beer that suggests this is a piece attempting to understand English identity, but in the context of other shows considering the act of the Union, it comes across as a lone voice considering England specifically. A raging, passionate poem-come-ballad, it creates and subverts mythologies, placing them in the modern world like a one-man Jerusalem.

This tale is of John Barleycorn, a legendary figure in this throbbing, romanticised version of London. Continue reading “The Bread and the Beer” by Tristan Bernays

Stars in My Eyes

This Twitter conversation happened on 12th August 2013 (I can’t work out how to embed the whole thing, so this is a link to it): https://twitter.com/MarcusRomer/status/367028584818671616

Now, I didn’t directly take part in this conversation, but seeing as the brilliant Eleanor Turney was my editor for my time in Edinburgh and I was pounding out reviews for A Younger Theatre, Romer’s thoughts certainly hit a bit of a nerve.

The tweet which really rankled me was this one:

Now, I didn’t give any show five stars when writing for A Younger Theatre this Fringe. This wasn’t due to timidity or being scared to nail my ideas to the mast – Christ knows I do that often enough anyway. Continue reading Stars in My Eyes


at Zoo, Tuesday 13th August 2013

*Originally written for Culture Wars*

Whales, pirate radio, God, sound waves and political protest all appear in Fine Chisel’s Dumbstruck. Contemplating communication and the way in which we process ideas, this is a messy, inventive and original show which speaks to heart and head simultaneously. And though it doesn’t feel quite finished, there’s an honesty and warmth of storytelling that make it a fascinating piece.

The show, devised by the company, focusses on Ted, a scientist working alone in a hut monitoring sounds omitted from the ocean. Continue reading “Dumbstruck”