I spoke to Cheong-euy Park to find out more about his career, about this year's productions, and what we can expect from Choin Theatre in the future.

CLICK HERE to read today's Caro Meets interview.

'Spray' is on at Assembly Roxy from 5-26 Aug. Listing here. 'MacBeth' is on at C South from 5-26 Aug. Listing here.

COMEDY

Alice Snedden: Absolute Monster (Berk's Nest / Avalon)
A televised outburst in her native New Zealand provides the backdrop to Alice Snedden's stand up show examining moral certainties. After a slightly flat start she teased and probed her audience with beguiling hypothetical situations and delightful asides. The show reached its peak in her dissection of the anatomy of a recent affair, bringing her narrative skills to the fore as she mused on the ways the affair has eroded some of the rock solid certainties of her upbringing. Her dramatisation of a conversation with her analyst was beautifully done, though towards the end of the show her delivery became a little rushed. Snedden has successfully woven her experiences into a wise and engaging show.
Pleasance Courtyard, until 25 Aug.
tw rating 4/5 | [Charlie Ellis]

Olaf Falafel: Knitting With Maracas (Olaf Falafel)
Olaf Falafel is a self-confessed idiot. He likes to milk an introduction, he likes a good whirl and he sweats buckets during this effervescent performance. It's safe to say his shows are rammed with eccentric, absurdist behaviour, if a little predictable at times. 'Knitting With Maracas' doesn't actually feature such a prop, but it is prop-heavy, which massively aids the Swedish comic's stupendous exhibition of crowd interaction. If this show wholly relied on these exchanges with the audience, then Mr. Falafel would probably be onto a winner. Instead, he attempts to interject daft one-liners, muting an audience that had been unanimously laughing only 30 seconds previously. Still, you can't fault his ambition and charisma.
Laughing Horse at The Pear Tree, until 25 Aug.
tw rating 3/5 | [Kieran Scott]

Jo Bor: The Story of Walter and Herbert (Joe Bor)
This deeply moving piece of storytelling recounts the friendship between Joe Bor's grandfather (the town planner Walter Bor) and the actor Herbert Lom. Bor was prompted to tell the story as an apology for ignoring his grandfather in his youth, and to commemorate the Holocaust victims whose stories will never be told. He skilfully interweaves sound recordings, video and extracts from his grandfather's unpublished memoirs. The use of a vintage typewriter is a nice touch, while the videos of Bor's father's tongue-in-cheek put downs of his son's efforts are a real delight. As an antidote to the overactive cacophony of much of the Fringe, Bor offers a gentle, humorous meditation on friendship, family and the Jewish experience in the 20th century.
Underbelly George Square, until 25 Aug.
tw rating 4/5 | [Charlie Ellis]

Ross Smith: Crying/Shame (Ross Smith)
Ross Smith begins by admitting that he has no material, and it takes him a while to warm up. The concept behind the show is theoretically genius, yet the struggle to captivate the audience from the off creates uncertainty. But the Northamptonshire native eventually reveals his scrupulous wit, slowly organising his anecdotes about close family and growing older and producing some award-worthy one-liners. His reluctance to do a Fringe show this year is demonstrated in his moments of hesitation, but his exemplary comedic prowess gives instant gratification. Existential crisis at home or existential crisis on stage? By 25th August, Smith will be telling his agent that it would have been ridiculous to have missed the Fringe.
Just The Tonic at The Tron, until 25 Aug.
tw rating 4/5 [Kieran Scott]

Róisín And Chiara: Get Nupty (Róisín And Chiara)
Róisín O'Mahony and Chiara Goldsmith ask one of the oldest, simplest and most complicated questions in history – what is love? Their infectiously enthusiastic, absurdist show puts a decent amount of effort into answering this and a lot of effort into not really bothering, and in both cases is a lot of fun. While packed with surreal sketches and ridiculous characters, the show still allows plenty of space for the duo to riff off each other – something that they do extremely well. Wedding veils are worn, audience members pulled up for dates and different approaches to love are explored, the delightful digressions keeping the show flowing even as it haphazardly travels in all different directions.
Heroes @ The Hive, until 25 Aug.
tw rating 4/5 | [Jon Stapley]

DANCE & PHYSICAL THEATRE

YUCK Circus (Underbelly/YUCK Circus)
Armed with serious acrobatic chops and a playlist absolutely stuffed with bangers, YUCK Circus have arrived from Australia to show Edinburgh a bloody good time. Underbelly's Circus Hub continues an outstanding programme with this truly talented septet, who are as comfortable cracking jokes as they are standing on the tops of each other's heads. Even among all the acrobatics there's plenty to relate to; if you've ever been trapped talking to a man so awful you'd rather drive a nail up your nose than listen to another word – well, it's circus, you see where I'm going with this. The obligatory aerial section is the hands-down standout, though with excellent choreography and a great sense of humour, the hour never lags.
Underbelly's Circus Hub on the Meadows, until 24 Aug.
tw rating 4/5 | [Jon Stapley]

MUSIC

Cello On Fire (Peter Hudler)
Viennese virtuoso Peter Hudler could have been described as a stunt cellist, when he positioned his cello sideways across his lap and played it like a guitar - a marvellous piece of theatre but be careful of that spike! Hudler adapted his technique with each new piece, particularly when he played the hectic bluegrass piece 'Black Run' with a fiddle sound – an enjoyable highlight in this programme of surprising cello discoveries. Debussy's contemplative 'Syrinx' was from the more familiar classical concert repertoire; it's usually a flute solo but he adapted again to give a woodwind nuance to his playing. This wasn't for cello purists but it was exuberant and well suited to the adventurous spirit of the Fringe.
theSpace Triplex, until 24 Aug.
tw rating 4/5 | [Louise Rodgers]

Cathedral Lunchtime Concerts – Free (St Mary's Cathedral)
Unsettled by the sticky Edinburgh weather? Collect your thoughts in the cool of St Mary's Cathedral with a month of free concerts to enjoy. Today was the turn of The Meteyard Piano Trio from Leamington Spa, with a relaxing programme of early Debussy, Frank Bridge in playful mood and a brace of Tangos. The tone of the piano, violin and cello together was pretty and well balanced - nicely suited to the carefully chosen repertoire, while the players had that good humoured familiarity that puts a chamber music audience at ease. Only the phrasing could have been bolder, accentuating the stylistic features that made each piece different from the rest, but it was nevertheless an enjoyable hour of good music.
St Mary's Cathedral, until 31 Aug.
tw rating 3/5 | [Louise Rodgers]

Sing Me A Song: The Robert Louis Stevenson Show (Neil Adam And Judy Turner)
A 'Treasure Island' of a show, the songs were Neil Adams' settings of Stevenson's poems, illustrated with original photographs and a warmly narrated, insightful biography. The Australian duo drew out the easy, conversational style of the poems in folk arrangements for guitar, fiddle and ukulele, neatly avoiding any tartan and shortbread type clichés that can creep into shows about Scottish people. 'Escape At Bedtime', concerning Stevenson's sickly childhood, came alive in the musicians' hands, communicating wonder with no trace of self pity. Touching, compelling and humorous, their clever use of apt quotations, photographs and pithy anecdotes drew out the mixture of wit and pathos that characterised Stevenson's life, impressing upon the audience his great appetite for travel and adventure.
Scottish Storytelling Centre, until 11 Aug.
tw rating 4/5 | [Louise Rodgers]

Renaissance Music From Scotland And England (Byrd International Singers)
Singing unaccompanied polyphony and weaving separate strands of music into a coherent whole is the early music equivalent of a circus high wire – if you make a mistake there's no safety net and everyone notices! Yet amateur singers from all over the world came to a summer school and after a week of rehearsals accomplished this beautiful concert. The direct plainchant quotations in John Nesbett's 'Magnificat' were particularly well sung and the tenor section of the choir were authoritative, moving and accomplished. This seldom performed repertoire was deftly navigated by the choir and conductors, the occasional slips only highlighting the beauty of the rest of the music and showing how much courage it takes to sing these lovely pieces.
St Giles Cathedral, 2 Aug.
tw rating 3/5 | [Louise Rodgers]

THEATRE

Beep Boop (Crowded Outlet / Something For The Weekend)
An amazing physical comedy exploring technology's centrality to modern life, in which Richard Saudek wholly embodies the role of a neanderthalish Mr Bean, whose obsession with technology causes violent withdrawal the moment he tries to divorce himself from it. Although billed as a one-man show, the true brilliance comes from the double act between Saudek and his onstage digital Foley artist (Nora Kaye). The concept of putting technology almost literally centre-stage is very intriguing, and it posits important questions: how important is technology and what would the show be without it? The curious contradiction between subject and form only serves to deepen the questions the play asks. A delight for anyone who appreciates physical comedy and sheer stagecraft.
Assembly George Square, until 25 Aug.
tw rating 5/5 | [Will Norris]

Crybabies: Danger Brigade (Crybabies in association with PBJ Management)
To call this show absurd would be a gross understatement. Set against the backdrop of WWII, the play follows our three improbably named protagonists on an adventure behind enemy lines that's part-Python, part 'Dad's Army', and part 'Indiana Jones'. Their mission: kill a deranged Nazi scientist – what's not to love? With its fourth-wall-breaking, multi-rolling, madcap comedy it promises laughs from start to finish. There's no doubt it is at times unpolished, but this type of comedy profits from having an edge to it, and the cast's talent clearly shines through. While the dark and nonsensical humour won't be for everyone, for those who like their comedy on the wacky side, this is right on target.
Heroes @ Boteco, until 25 Aug.
tw rating 4/5 | [Will Norris]