Hello there. Welcome one and all to the very latest TW Daily - and an extra special welcome to all our new subscribers.

We're arriving a little bit later than normal today, because we've been busy, busy getting the Review Edition of the ThreeWeeks magazine out to you all.

If you are in Edinburgh, do look out for it and pick up a copy - it's the one with Richard Herring on the cover. If you're not in town, you can check the digital version here.

Inside you will find lots of great interviews, plus loads and loads of reviews. All the shows featured in the Review Edition are 4/5 and 5/5 productions - so every one is recommended.

Don't forget we will continue to publish a daily batch of reviews here in the TW Daily all the way to the end of the festival. So tell all your Fringe-savvy friends and colleagues to get signed up for all the latest ThreeWeeks coverage.


Caro Moses
Editor, ThreeWeeks Edinburgh

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 the one and only Chris Martin.

CLICK HERE to read Chris Martin's answers to the Quick Quiz.

Chris Martin performs 'The One And Only Chris Martin' at Laughing Horse @ The Pear Tree 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 Thursday 17 Aug...

Wild Bore | Traverse Theatre | 10.00am

"A joyous riposte to some dazzlingly inane criticism, interrogating the relationship between artist and critic in the patriarchal framework of contemporary theatre", with Zoe Coombs Marr, Ursula Martinez and Adrienne Truscott. Highly recommended.

Hear Me Raw | Underbelly George Square Gardens | 2.40pm

Another 5/5 show, this is "a one-woman whirlwind tour into the world of clean eating and control". Says our review: "Superbly written and fantastically acted, 'Hear Me Raw' tiptoes the line between laugh out loud funny and pure raw emotion".

Mental | Assembly Roxy | 5.05pm (pictured)
"Kane Power's mother Kim has bipolar disorder", explains our reviewer, "and in 'Mental' he talks about her and her illness – symptoms, treatments, possible causes – using keyboards, loop pedals and recordings to create mesmerising soundscapes that replicate the feeling of being out of control of your own brain". Interested? You should be. Go see!


JoJo Bellini: Crash-Bang Cabaret! (JoJo Bellini / The Stand Comedy Club)
Kink, car crashes, soulmates, cucumbers – a lot gets examined by JoJo Bellini, through a classic mixture of sexy songs and stories, in an hour that zips pleasantly by and will leave you smiling. It's got a delightful range to it – a moment of unexpected emotional tenderness moved one audience member to tears; the sequence with the aforementioned cucumber was so wilfully disgusting even the show's tech couldn't bear to watch; and when I was pulled onstage for the rousing finale I could see the enormous grins first-hand. After her debilitating car accident, Bellini was told by a doctor she wouldn't be walking by this point. Well, she's not only walking, she's dancing too, and it's inspiring to watch.
The Stand Comedy Club 2, until 27 Aug.
tw rating 4/5 | [Jon Stapley]


Arna Spek: Museum Piece (To The Moon)
Arna Spek is hiding 16,000 skeletons in her closet, back at the Museum of London where she works. In fact, as she'll tell you, there are lots of weird but wonderful happenings behind the scenes at London's museums that you probably had no idea about. Originally from the Netherlands, Spek makes dry, self-deprecating observations about London life and odd British behaviour from the perspective of a confused and bumbling outsider. The show also includes a preview snippet from a surprise guest each night. Her comic style is as fabulously quirky and awkward as her tales of medieval bananas, so make sure you don't miss the dancing dinosaur at this night at the museum.
Just The Tonic at The Caves, until 26 Aug.
tw rating 4/5 | [Stephanie Stapleton]

We Are Still All C*nts (Ashley Haden)
You might be a vegan, give lots to charity and think you're a pretty good person as far as things go, but chances are you're probably still a c*nt. Ashley Haden returns to the Fringe with his satirical political commentary on the shit unfolding around us. If you think the title of this show is offensive, then his jokes about rape, child refugees, paedophilia and suicide will probably emotionally scar you. Haden is like a drunk, tortured prophet of truth with his sharp, acute and, at times, strangely poetic musings on the state of the world and British politics. Deeply distasteful yet liberatingly transgressive, Haden delivers a set so dark you'll need to bring a torch.
Laughing Horse @ Southside Social, until 27 Aug.
tw rating 4/5 | [Stephanie Stapleton]

Brendon Burns And Craig Quartermaine In Race Off (Mick Perrin Worldwide)
Having met via Burns' 'Dumb White Guy' podcast, in which the comedian interviews people of different backgrounds, ethnicity, gender and sexuality to ask them "dumb white guy questions", he and Quartermaine have come to the Fringe to tell us about working and performing together in Australia. They may both be Aussies, but the men have led very different lives, with their show focusing on the social conditioning we all exhibit and experience on account of our race. They are a wonderful double-act: Edinburgh fixture Burns is a never-ending box of firecrackers, barely able to keep still, while Quartermaine is cool and collected. Their observations will give you something to think about and, most importantly, a huge amount to laugh at as they poke fun at one another.
Gilded Balloon Teviot, until 28 Aug.
tw rating 4/5 | [Daisy Malt]

Princes Of Main: New Year's Eve (Princes of Main)
We can agree that 2017 has been a pretty lousy year so far, so Princes of Main's idea to call it New Year's Eve early and sod the whole thing off does have a certain appeal. And so, it's an excuse for a party, and for a tight, expertly structured 50 minutes of sketches from an accomplished trio of performers. A loose narrative runs through the sketches as we count down to midnight, and the writing does an admirably economical job of tying everything together – things that seem like non-sequiturs tend to pop up again, among them a literal Chekhov's gun. Packing in some genuine surprises, the show manages to be a good deal more fun than the real New Year's Eve.
Bedlam Theatre, until 27 Aug.
tw rating 4/5 | [Jon Stapley]

Rachel Jackson: Bunny Boiler (Hannah Layton Management)
Rachel Jackson doesn't believe in the concept of "the one", yet she's still convinced that every man she dates is it. Anecdotes of tumultuous past relationships are laid bare as she recounts the men who got away – and it's probably for the best they did. From one toxic affair to the next, Jackson knows the mistakes and bad decisions she's made, but she doesn't learn. This overarching theme is easy to relate to, but with no filter and great comedic timing, the best 'Fleabag' style punches come when it's clear that she's had more bizarre experiences than most. With a personality that fills the room, Jackson reminds us that we all get carried away sometimes: we're all probably one false move from being a bunny boiler.
Pleasance Courtyard, until 28 Aug.
tw rating 3/5 | [Daisy Malt]


Acéléré by Circolombia (Circolombia in association with Underbelly)
Oh holy moly, this is circus to take your breath away! Reminiscent of Cirque Alphonse's outstanding 'Barbu', Circolombia's drama and attitude build an electric atmosphere that stuns the crowd with urban beats and contemporary acrobatics. A combination of singing, dancing and absolutely heart-stopping circus stunts, 'Acéléré' is a gritty, sexy show. Straight out of Bogotá, they are here to astonish with their swagger and apparent lack of fear. With a 13-strong troupe, at times it feels utterly frenzied as they leap through the air and swirl around the stage, while balancing acts that will absolutely blow your mind are achieved with incredible agility. This really is one not to be missed.
Underbelly's Circus Hub on The Meadows, until 26 Aug.
tw rating 5/5 | [Daisy Malt]


The Kingston University Brass Ensemble (Kingston University)
Matt Bell is a fine tuba player – and that's not all I learned during this concert from Kingston students and alumni; compositions by performers Ryan Sayce and Alex F Lopez stood up well amongst the covers. Chris Hazzell's 'Three Brass Cats' finale 'Borage' (a sound portrait of a party cat) really swung, and Gershwin's 'I Got Plenty O'Nuttin' was another well-executed foot-tapper. A Fantasia from Baroque composer Bassano appealed to me particularly and I enjoyed the contrast of styles. Geert Rigters sang two show tunes including 'Corner of the Sky' from 'Pippin' and displayed excellent teamwork with accompanist Kris Rawlinson. Varied and bold, this programme showcased the University's music department to good effect.
St Giles Cathedral.
tw rating 3/5 | [Louise Rodgers]

Pianologues (Will Pickvance)
Will Pickvance loves the piano and the piano loves him back - it's always been like that. He and the instrument are equal partners in this show, built around Schubert songs, that combines epic musical improvisation, hilarity and intimate storytelling The funniest bit, for me, was hearing 'The Trout' with doorbell interjections, and I adored it whenever he broke into boogie-woogie. I shouldn't tell you which dramatic Schubert song the autobiographical story is constructed around (spoiler alert: it's not about a fish) as it would ruin the ending. But the theme is Pickvance's realisation, as a child, that all families are different and then, as a man, that they are essentially the same. Bring waterproof pants and a hankie.
Summerhall, until 20 Aug.
tw rating 5/5 | [Louise Rodgers]

Cathedral Lunchtime Concerts – Free (St Mary's Cathedral)
Today in the daily concert series it was the turn of string orchestra Philomusica of Edinburgh, with French horn player Neil Mantle. The programme comprised of two early 20th century works composed within a year of each other – York Bowen's 'Quintet in C minor' and Peter Warlock's 'Capriol Suite'. In the ambitious 'Quintet', while the music soared, paused and supported the lovely solo horn part in all the right places, the intonation was a little suspicious. I felt the second piece – based on Renaissance dances – worked better for Philomusica: the dances skipped along entertainingly, displaying a strong folk song revival influence, and contrasted interestingly with the intensity of the more complex 'Quintet'.
St Mary's Cathedral, until 31 Aug.
tw rating 3/5 | [Louise Rodgers]


Godspell (Shotgun Theatre)
Exeter University's company Shotgun Theatre bring their re-imagining of 'Godspell' to the Fringe. It's not an easy musical to pull off - the parables can read more like a list than a completed story, and that's unfortunately the problem with this production. Often difficult to follow, the set up for each parable followed the same pattern, making the use of space repetitive. The gender-blind casting did make for a refreshing and welcome change, but often meant it was hard to tell who was who. High energy and high enthusiasm, the whole cast are powerful, talented performers with impressive range and abilities, but even that this isn't enough to save this confused production. Promising performances, but a less than promising adaptation.
Greenside @ Nicolson Square, until 19 Aug.
tw rating 2/5 | [Bethan Highgate-Betts]


An Act of Kindness (Rascal Theatre)
Working with the male mental health charity CALM, Rascal Theatre have produced a sweet play depicting a series of encounters between two strangers at a bus stop. Gradually, as our two protagonists get to know one another, we see the cracks that lie behind each of their facades, with the pressure Martin feels to "be strong" in the face of his mother's illness dominating proceedings. Beyond the skill of the actors, perhaps the greatest strength of the play is its understatement; it resists any temptation to overly artifice proceedings or to escalate things too far. Rather, we see the simple acts of kindness for what they are, and we respond to the sincerity, the honesty, that they show.
C cubed, until 28 Aug.
tw rating 4/5 | [Andy Leask]

The Accidental Adventures Of Sherlock Holmes (Tobacco Tea Theatre Company)
Frustratingly, I can see what the company were going for with this show: a silly farce with rapid fire gags, a plot that twists and turns, slapstick comedy and clever wordplay. All these elements are present, but ultimately it is less than the sum of its parts. 'The Accidental Adventures of Sherlock Holmes' commits the cardinal sin for a comedy: it's simply not that funny. Sure, some gags get a laugh, and there are some witty jokes, but too many fall flat, and there are long gaps where the audience sit, bored, waiting for the next laugh. It's hard to build momentum with an uneven pace, which is a shame, as there is definite promise in the premise.
C, until 28 Aug.
tw rating 2/5 | [Andy Leask]

Beadledom: Omega (Familia De La Noche)
On Omega-Shift, Deborah gets to work. Her tedious job, all fax machines and box ticking in a boring-looking office, is to remove people from the cosmos. Performer Dott Cotton is a likeable, quirky clown, comically animated as more and more deaths are processed and the work gets increasingly frantic. When she decides to break the rules and create a life herself, her feelings towards that life (in shadow puppet form) are genuinely touching. The partner to Familia De La Noche's 'Alpha', 'Omega' is by far the more entertaining of the two – the story clearer and more engaging. It (mostly) works as a stand-alone piece, though the parallels between the two shows are a large part of the charm.
Underbelly Cowgate, until 27 Aug.
tw rating 3/5 | [Gemma Scott]

The Great Ridolphi (The Last Great Hunt)
When unassuming family man Victor O'Meara receives a visit from Interpol detectives inquiring after his late father, famous magician the Great Ridolphi, he is whisked off on the kind of old-school, globetrotting adventure you'd dream of as a kid. Victor must find out the truth behind a great art heist, armed only with a suitcase full of seemingly random items bequeathed to him by his father (real name Harry, of course). Sole actor Steve Turner is a compelling raconteur, demonstrating impressive range as he takes on the multitude of characters Victor encounters. Just when you think you've got the measure of it, the show turns, unfolding into something stranger and more beautiful than you could have expected.
Underbelly Cowgate, until 27 Aug.
tw rating 4/5 | [Jon Stapley]

MANWATCHING (Royal Court Theatre)
A kind of 'Vagina Monologues' meets 'Mortified', this is a true account of one woman's sexual desires and experiences. The difference though, is that it's read by a man who's not seen the script until it's handed to him on stage. Each night a different comedian is invited to deliver the monologue. Tonight, Stuart Goldsmith performed like he meant every word, appearing totally unperturbed by the sometimes-explicit content. Taking place in the round, all eyes are on Goldsmith from every angle, but he uses the space with aplomb. There's a risk that a man reading an anonymous woman's monologue might seem contrived or gimmicky, but the humour and honesty shine through and it's actually a pretty powerful concept.
Roundabout @ Summerhall, until 27 Aug.
tw rating 4/5 | [Daisy Malt]

Adventurers Wanted: A 250-Hour Epic Tabletop Roleplaying Game (Total Party Kill! in association with Sweet Venues)
A slavering beast approaches, mandibles chattering. You steel yourself, gripping your dagger. What do you do? Such scenarios are commonplace in Total Party Kill!'s mammoth tabletop roleplaying game, a continuing story running 10 hours per day in hourly instalments. The atmosphere is relaxed – get a player ticket and get stuck in, or simply hang back as a spectator. The format means you unavoidably feel like you've wandered in halfway through a film – references abound to events you have no knowledge of, and in-group jokes will fly over your head. If you're familiar with tabletop games, then you've probably already got your ticket. If not, give it a try. It won't be quite like anything else you do at the Fringe.
Sweet Holyrood, until 28 Aug.
tw rating 3/5 | [Jon Stapley]

One-Man Apocalypse Now (Chris Davis)
One man, one jungle/conference room and one blow up mattress. Chris Davis' 'One-Man Apocalypse Now' is just that - him recreating the film 'Apocalypse Now' in 60 minutes. An accomplished performer, Davis brings dark comedy to even the grimiest parts of the story. With elements of dance, and playing music and dialogue from the film throughout, this is a multidimensional piece that will not let your interest waver – even if sometimes you're not completely sure what's going on! There are a smattering of laughs about the actors in the film, and some generally absurd moments, but if you haven't seen the film then this probably isn't for you, as the majority of the material comes from the re-telling.
Sweet Grassmarket, until 27 Aug.
tw rating 3/5 | [Bethan Highgate-Betts]

What Would Cathy Do? (40 Watt Pearl - Australia)

A foul-mouthed woman in filthy clothes confronts us. Don't you dare call her a junkie, she says – she isn't one. She's just been cast as one in a feature film, and is researching her role. Or maybe she hasn't. Fantasy, reality and delusion coalesce in this short one-woman show, set among the down-and-outs of Sydney. Skye Wansey deftly tackles Chris Arontsen's script, essaying the task of portraying a woman we're never sure we can trust, handling a broad emotional range with dexterity. It requires a tolerance for ambiguity, an acceptance that you're not getting answers to the questions it poses, and this does make it all feel a little threadbare. It's interesting, though. Moments will stick with you.
C Primo, until 28 Aug.
tw rating 3/5 | [Jon Stapley]

The North! The North! (Christopher Harrisson)
In 1985 a great chasm opened at England's centre, separating the north and the south and beginning a dark, terrifying story of monsters and despotic monarchs. Writer-performer Chris Harrisson bills his play as a "new myth", and it appropriately recalls such epic journeys as the 'Odyssey' while blending fantasy and contemporary reality in the vein of authors like Neil Gaiman or China Miéville. As his protagonist journeys to the heart of the north, Harrisson fearlessly tackles the task of portraying a rogue's gallery of creatures and oddballs. The production design is gorgeous – projected illustrations help set scenes and demarcate chapters, and I felt I could have become lost in the beautiful but unnerving soundscapes. An enchanting modern-day fable.
Summerhall, until 27 Aug.
tw rating 4/5 | [Jon Stapley]

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