Doodle Pop (BRUSH Theatre LLC - Korean Season presented by AtoBiz Ltd)
Transforming the stage into a magical whiteboard (floor included!), 'Doodle Pop' combines theatre and clowning with multimedia and projection to create an innovative children's theatre show. The drawings on the whiteboard come to life, moving across the stage as easily as the actors do. On a practical level, the actors knowing exactly where to draw on the board for this to work is very impressive, and they integrate this technology very smoothly. However, there are moments where the physicality could have been further explored, such as a small dance moment which could have been expanded upon; instead they rely heavily on the multimedia - perhaps too much at times. Nevertheless, 'Doodle Pop' is an engaging and imaginative children's theatre production.
Assembly George Square, until 25 Aug.
tw rating 4/5 | [Natalie Holman]

COMEDY

Phoebe Robinson: Sorry, Harriet Tubman (AEG presents)
Phoebe Robinson establishes cred early doors with a couple of anecdotes about how she chaired book tour events with Michelle Obama. Said anecdotes wind up being a bit about flatulence (her own, not the former First Lady's, I should possibly stress), which sets the tone for a smart, occasionally filthy hour. Touring with Mrs Obama is one of a number of happy things that Robinson hooks her show on. She is a relaxed and engaging presence, inviting us into her world and sharing it intimately. Despite the show's title, there are politics in there, albeit worn lightly, and this is mostly warm, sharp and funny, even as we explore talc, balls, bottoms and much more besides.
Assembly George Square, until 25 Aug.
tw rating 3/5 | [Bruce Blacklaw]

MUSIC

Claude Bourbon: Medieval And Spanish Blues (Claude Bourbon)
Bourbon had a smoky, interesting voice with more than a hint of JJ Cale, and his delivery had a pleasing take-it-or-leave-it quality. It's not that he wasn't pleased to see his attentive audience but most of them were there for the guitar! Part of Bourbon's signature sound was to loop the end of phrases softly, echoing them over the next few bars of music but you can have too much of a good thing; it happened in every piece and without variation. He improvised on various musical styles and quoted directly from pieces including 'Fleur De Lis', 'Ne Me Quitte Pas', 'Rodriguez Guitar Concerto' and 'Shine On You Crazy Diamond', which injected the unexpected into this pleasantly individual hour of blues.
Acoustic Music Centre @ UCC, run ended.
tw rating 3/5 | [Louise Rodgers]

MUSICALS

Jesus Christ Superstar (Captivate Theatre)
Returning with one of Andrew Lloyd Webber's hardest musicals to perform, Fringe regulars Captivate Theatre take to the stage with 'Jesus Christ Superstar'. This was a challenging show for an amateur cast to undertake, but a special mention must go to Linzi Devers, whose rendition of 'I Don't Know How To Love Him' was beautifully sung. Throughout the show numerous cast members entered from the audience space and, while this worked for certain numbers, the constant moving of personnel from one side of the stage to the other via the auditorium was rather distracting. Overall, though, 'Jesus Christ Superstar' is an ambitious musical, here performed successfully by a promising young cast.
Gilded Balloon Rose Theatre, until 25 Aug.
tw rating 3/5 | [Natalie Holman]

SPOKEN WORD

Matt McGuinness: We Are What We Overcome (Ingenious Fools / Furthest From The Sea)
Though he describes himself as an inexperienced public speaker, Matt McGuiness produces an engaging spoken word performance here, interspersed with his own songs. He takes us through his "broken and fixed" childhood in Crosby, Merseyside, as well as the issues he's faced as an adult. In a moving tale he relates how the Anthony Gormley statues on the beach of his home town - and the way they remain upright in all conditions - inspired him in his darkest times, and he makes a plea to all to get professional help if required. The songs are well performed too, the highlight being the tender 'Everything Under the Moon' with which he concludes a touching and honest performance. His "rash decision" to perform at the Fringe was a good one.
Laughing Horse @ Sofi's Southside, run ended.
tw rating 3/5 | [Charlie Ellis]

THEATRE

The Canary And The Crow (Middle Child)
This autobiographical piece by writer and performer Daniel Ward is a vibrant explosion of gig theatre, filled with lyrical musings on the nature of growing up black in white dominated environments, as he recounts his experience of being awarded a scholarship to an Etonian-style grammar school as one of the few BAME students. His snooty, close-minded classmates and teachers are comically portrayed, making for deft satire that explores wider concerns about the levels of what we deem to be 'acceptable' racism. The musicality is particularly brilliant, fusing expressive cello and impassioned grime, scoring the underlying tension of Ward's experience as an outsider. Pulsating with fervour and force, this is storytelling at its most dynamic.
Roundabout @ Summerhall, until Aug 25.
tw rating 5/5 | [Amy Bonar]

Intolerable Side Effects (Claire Parry)
Claire Parry plays Diane - a rabbit trying to find love, yet suffering with the numerous inconvenient side effects of contraception. Exploring the topic of contraception through the eyes of a rabbit is certainly an imaginative idea, and one that stimulates the minds of the audience. Although this is a solo show, the additional character of Gary has the audience in stitches, as Parry switches between characters and puts on a sexy French accent. Unfortunately, throughout the show there are several transitions which are somewhat clunky, affecting the flow of the performance. 'Intolerable Side Effects' uses clowning and theatre in quirky and unusual ways to make some very important points about contraception.
Zoo Southside, until 26 Aug.
tw rating 3/5 | [Natalie Holman]

A Table Tennis Play (Walrus)
As this impressive first staging of Sam Steiner's play opens you are immediately thrown into a dark and unsettling place - a bomb shelter (the venue is ideal for this) full of disordered family memorabilia and memories. The play deals with memory, social awkwardness and the preservation of public image. Central to the play are the interactions between Mia (Beth Holmes) and Cath (Rosa Robson), which are tense and uneasy at times but oddly tender at others; illustrating the weird openness we often have with people we hardly know. Hanging over it all is the impending literal storm outside and the tragic family 'anniversary' inside, but the tension built up is released in the cathartic final monologue of this well-staged and well-performed play.
Underbelly Cowgate, until 25 Aug.
tw rating 4/5 | [Charlie Ellis]