This August the Edinburgh Festival celebrates its 70th anniversary. To mark the occasion, we have asked a plethora of performers about their personal Fringe experiences. Today Andrew Doyle, co-writer of the Jonathan Pie reports, accomplished playwright and, of course, a very fine stand-up.

CLICK HERE to read Andrew Doyle's answers to the Quick Quiz.

Andrew Doyle is performing 'Thought Crimes' at The Stand until 27 Aug.
With the Edinburgh Festival still in full swing we have more TW:TALKS podcasts coming your way direct from the Fringe. This week a former winner of a ThreeWeeks Editors' Award, the brilliant Yianni Agisilaou, who TW:TALKS about his many Edinburgh shows, from his first stint at the Gilded Balloon all the way to new show 'Pockets of Equality'

CLICK HERE to tune in and sign up for the TW:TALKS podcast.

Yianni Agisilaou performs 'Pockets Of Equality' at Edinburgh Festival 2017 at Banshee Labyrinth until 27 Aug.

Three recommended shows to see on Sunday 13 Aug...

The Nature Of Forgetting | Pleasance Courtyard | 12.00pm 
"Rarely does a work of theatre explore the inner mental world with the level of clarity and depth that can be found here", says our 5/5 review of this show. "Featuring no lines of substantial dialogue, the performers conjure images of filmic majesty, coupled with live music, to guide the audience's emotions".

Suspicious Minds | Pleasance Dome | 5.30pm
"A wry blend of humour, pathos and emotional honesty, with a refreshing sci-fi twist" is on offer in this theatre show, notes our review. "Eschewing clichés and obvious endings, 'Suspicious Minds' delivers a resolution that is fittingly satisfying". Go see it, I say.

Caleidocello | C too | 6.00pm  (pictured)
In this show, Peter Hudler "slaps and strums his cello like a contemporary guitarist", reports our reviewer. "His acoustic instrument had that rich, chocolatey resonance essential for a traditional solo repertoire - no electronics or gizmos required". The conclusion? "A welcoming performer, Hudler embraced his audience with his artistry and exciting repertoire".


Butt Kapinski (Kapinski Enterprises and The Pleasance)
Butt Kapinski, PI, and speech-impaired alter-ego of Deanna Fleysher, is on a mission. He's going to tell a noir story, a proper Chandleresque potboiler of dark nights and rain-slicked streets, and the audience is going to help. Stalking the stage with a glaring lamp mounted to her head, Fleysher weaves a genderflipped choose-your-own-adventure tale that is grotesque, obscenely tasteless, and an absolute riot. Fleysher is a virtuoso at the art of rolling with whatever her audience gives her, and the show feels as though it could unfold in any number of ways. One last thing: don't think skulking at the back will spare you Kapinski's spotlight. On this kind of night, nobody is safe.
Pleasance Dome, until 27 Aug.
tw rating 4/5 | [Jon Stapley]

Lost Voice Guy: Inspiration Porn (Lost Voice Guy / The Stand Comedy Club)
Lost Voice Guy is Lee Ridley, who delivers the audio content of his show through a communication aid, as his Cerebral Palsy makes him unable to talk. Following on from his 'Disability For Dunces' show, this latest offering feels more personal and focuses on a recent relationship. He weaves this around amusing but poignant observations, including being compared to the "super-human" Paralympians and the government's approach to people with disabilities. The highlight is a version of Bruce Forsyth's 'Play Your Cards Right', but throughout the show Ridley demonstrates an ability to laugh at himself and allows the audience to laugh with - and at - him. This makes 'Inspiration Porn' an entertaining and thought-provoking hour on how people with disabilities are seen by others.
The Stand Comedy Club, until 27 Aug.
tw rating 4/5 | [Richard Levinson]

Tim Vine: Sunset Milk Idiot (Bound & Gagged Comedy)
Tim Vine is one of the most consistent performers at the Fringe, and I could almost have written this review without even seeing his latest offering. You know what you're getting with his shows: a non-stop series of puns, with convoluted set-ups, home-made props and silly songs that will either make you laugh or groan. As ever, the pace never lets up from the moment Tim walks on stage with a large ice cream on his head. This won't appeal to everyone: if you don't like puns then this could be a painful hour. Although this year's show doesn't quite reach the heights of some of his earlier ones, he's still one of the best quick-fire comedians in the business.
Pleasance Courtyard, until 27 Aug.
tw rating 4/5 | [Richard Levinson]


Cathedral Lunchtime Concerts - Free (St Mary's Cathedral)
A classical xylophone and piano concert - how fortunate was I to choose today to attend a free lunchtime concert, because it's a different artist every time! Ian Munro (xylophone) and Gilmour Macleod (piano) are a real treat to listen to. J S Bach's 'Invention in D Minor BVM 775' was delicate and vulnerable - like a child tiptoeing - and provided a dramatic contrast to the sinister urgency of David Glynn's modern piece 'Toccata'. But, for me, the solo xylophone is at its best playing seaside variety-style light entertainment. That's what the final two pieces in this concert were; so when Simpson's 'On the Track' began its cheerful entrance I was transported to xylophone heaven. This really was a lucky dip!
St Mary's Cathedral, until 31 Aug.
tw rating 4/5 | [Louise Rodgers]

Misha's Gang (Russian String Orchestra)
Professional chamber music of the highest standard possible; this would not have disappointed even the pickiest festival-goer. The repertoire varies each time, consisting of popular works by famous composers, and today the program included Rossini, Dvořák and Richard Strauss. What really made the show for me was the solo double bass and orchestra piece by Bottisini, 'La Molinara'; the degree of difficulty was extraordinary, with lots of harmonics and playing close to the bridge - not a usual double bass part at all but rather written for a virtuoso. These Russian musicians played with verve, style and attack, most notably in Brahms' 'Hungarian Dance No. 5'. This concert was an unashamed crowd pleaser!
Space Triplex and theSpace @ Surgeon's Hall, until 26 Aug.
tw rating 5/5 | [Louise Rodgers]


The Chess Player (Theatre Omnibus - Massachusetts, USA)
At first, 'The Chess Player's opening seems wilfully obtuse: who are these characters? Where are they? When? Why stage a dialogue heavy scene with only one actor? But as the narrative unfolds - punctuated by self-reflexive breaking of the fourth wall - it accrues call-backs and references, themes begin to repeat and resonate, adding depth and meaning as it explores duality, imagination and the necessity of illusion. Single-performer shows always depend on the strength of the actor, and writer-performer Richard McElvain is superb here, shifting tone and character rapidly, eyes twinkling with humour one moment, staring hauntingly into your soul the next. The play's ending provides resolution, but leaves the audience with a mental and emotional hangover, one that hasn't left me yet.
C Primo, until 28 Aug.
tw rating 4/5 | [Andy Leask]

Gutted (The Conker Group)
This is a charming, comic solo show that shares the pain and difficulty of suffering from a debilitating, chronic disease. Drawing from her own experiences with ulcerative colitis, performer and co-creator Liz Richardson employs a playful tact to give a profound account of her journey. Richardson's acting is remarkable as she switches between a wide variety of characters, from the hospital staff to family members. This not only provides an interesting mode of storytelling but also shows the extent to which a serious illness can impact on the people around you. A screen often shows scenes involving food and family - the treasured images of a healthy and happy life. 'Gutted' is a wonderful story of resilience, wit and sentiment.
Pleasance Dome, until 13 Aug.
tw rating 4/5 | [James Napleton]

Morgan Stern (Company Of Rogues)
A competent but otherwise unexciting show, 'Morgan Stern' tells the story of one man's guilt, and the opportunity that arises for him to correct his ways. The one man performance features a character known only as "The Gent", who has remained trapped on our mortal plain for 221 years since his death. This is because he is the guardian and spiritual protector of a young boy named Morgan Stern who, like The Gent's daughter, has schizophrenia. Regularly jumping between The Gent's era and Morgan's, the play highlights the stigmas against mental illness over the recent centuries. The performance by Graeme Rhodes is committed and consistent, although the production as a whole is unconvincing. Ultimately, a diverting but uninspiring show.
C Primo, until 28 Aug.
tw rating 2/5 | [James Napleton]

Séance (Darkfield)
Outside Summerhall sits a seemingly unassuming white shipping container, but inside an immersive audio experience takes place. Just twenty people at a time take part in the séance, sitting either side of a long table with hands placed flat on the surface. With our headphones on, the door is closed and the lights go out: we are in total darkness. A voice is heard, but is the owner in the room too? For fifteen minutes, your senses are unnerved as you wonder what's real and what's not. When the lights came back on others were holding hands, so I suspect the effect varies dependent on your susceptibility to creepy cues. I'm apparently too rational to have been scared, but it's definitely an interesting experience.
Summerhall, until 26 Aug.
tw rating 3/5 | [Daisy Malt]

Box Clever (Nabokov and The Marlowe)
The story of a woman's experiences of abuse and life in a refuge was always going to be harrowing, but what was so surprising about this production was the unexpected moments of humour, wit and warmth. These are juxtaposed violently with the rage, the frustration, the impotence of a protagonist who is let down time and again by the very people and institutions who should be helping her. We watch her struggle with the demons of her past, with her abusive ex-boyfriend, with the other damaged women in the refuge and the faceless, uninterested bureaucrats. We don't merely watch this tragedy unfold on stage; thanks to the taut script and mesmerising performances, we feel it.
Roundabout @ Summerhall, until 27 Aug.
tw rating 5/5 | [Andy Leask]

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