Promising ‘a decadent and astonishing blend of sensational acrobatics, soaring aerial trapeze, operatic cabaret and tongue in cheek burlesque’, Rouge transfers to London straight off the back of its UK premiere for Underbelly at the Edinburgh Festival Fringe.
Three conspiracy theorists have gathered to unpick discrepancies and inconsistencies in the 1932 photograph ‘Lunch Atop a Skyscraper’ in Conspiracy.
Guided by a web app, participants have 80 minutes to earn as much money as possible by answering cryptic puzzles. They must choose what equipment to spend their cash on before returning to the meeting place.
Tom Hartwell’s play Before 30 is now making its way up to Edinburgh for a stint at the Festival Fringe prior to a one-off performance at the United Solo Theatre Festival in New York this November
Black Cat: Bohemia is a French-style cabaret show combining many exciting acts, including fire eating, aerial choreography and hula-hoop jumping. All of this is interspersed with lots of singing and dancing.
I booked my ticket for Penelope Skinner’s new play, Angry Alan, before the Fringe started and it has subsequently won a Fringe First Award which raised expectations – and it didn’t disappoint.
I walked out of Queens of Sheba feeling a bit teary in a kind of happy/sad/exhilarated way. It’s the first Fringe play I’ve seen that has evoked such a strong emotional response.
There is no doubting Killymuck’s powerful message, it is moving and tough but there is also love and laughter along the way.
Another classic drunken caper for the Shit-faced Showtime team, showing Dickens how it should’ve been done – just watch out for flying sausages…
The Little Mermaid is a tame show, neither hilarious or moving but gently soothing – childlike in form and function. Off-script jokes and commentary on the narrative choices would allow for a feminist retelling to thread through the work which, at present, is lacking.
Overall Peepshow is a thoroughly entertaining, often spectacular piece, just subversive enough and featuring a truly impressive cast of performers, who just leave you just enough time at the end to pick your jaw up off the floor on your way out.
Playing to a much more intimate audience in the Underbelly’s Spiegeltent this year, Australian company Head First Acrobats carefully adapts its relationship with the audience which is brought right up close to a whizzing cyr wheel and regurgitated tonic water.
Circolombia regularly put on an exciting and entertaining show and, true to form, this year at the Underbelly Festival their self-titled offering is exhilarating, fun and family friendly.
The long-running German production Soap makes a splash on the UK scene this year, performing in the round for the first time, and filling the Underbelly’s stylish Spiegeltent with bathtubs, opera singing, slick acrobatic bodies and classic clowning dressed down in swim cap and galoshes.
With a reworking of the dance routines by a choreographer and the sexualised gestures and motifs replaced by explorative circus skills, Soap will clean up into a subtly subverting show rather than a brash predictable one.
The Automatics song Monster is blaring over the sound system as the audience enters the space, a perfect reflection of the show; loud and steaming with energy.
Face full of spots, chin smothered in ketchup and an unsettling feeling that the B.O on the bus belongs to you – Tamar Broadbent kicks off her show with a side splitting musical number, ‘Having an Ugly Day’.
Another multirole play production at the Edinburgh Fringe, this time the star is simply a sponge. Bruce the Sponge and his network of porous friends are brought to life with an extensive range of character voices and a pair of white gloved hands.
Urgent: There is undeniable promise in The Last Queen of Scotland. It is told in a voice largely absent from the stage, and presents a story which seems to have been largely forgotten, but remains desperately contemporary in so many ways.
Direct from rehab, Ashley’s Liza is suitably glittery, lispy and pant-suited. This is not a subtle impersonation, but the receptive London audience certainly don’t want that.
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