'BARK! The Musical... How The Little Dog Found His Voice' is "a musical homage to dogs and their endearingly human hearts" which has played to much acclaim in LA and made its UK debut at the Edinburgh Fringe this year.

Our reviewer loved the show, noting how "the choreography is laugh-out-loud funny and the witty songs have been carefully researched to reflect the realities of dog life". We needed to find out more! So I asked some questions of actor Dale Adams, who plays that little dog trying to find his voice in the Edinburgh version of the show.

CLICK HERE to read today's Chris Meets interview.

'BARK! The Musical... How The Little Dog Found His Voice' is on at C until 27 Aug. 
The Review Edition of ThreeWeeks is out now! Inside you will find interviews with The Apricity Project, Colette Redgrave, Egg, Faye Treacy, Neema Bickersteth, Patrick Eakin Young, Rosie Jones, Sid Singh and Victoria Firth. Plus 50 reviews - every one a recommended show - and a guide to past ThreeWeeks Editors' Award winners back at the Festival. Look out for the Review Edition available all around Edinburgh.

Find out where to pick up a copy HERE or read it all online HERE.
We're talking to people who perform or work at the Edinburgh Festival each year to get their perspectives on what performing or producing at the world's biggest cultural event involves, and top tips on how to get the most out of the experience. This time playwright Roxy Dunn.

Roxy began writing while at drama school and has since continued to develop her playwriting career while also working as an actor. In her current Fringe show 'Timmy' she is both the writer and one of the performers (alongside co-star Joz Norris, also pictured above), and has also co-produced the show via her own theatre company.

As well as her theatre work, she has also performed in various TV projects, and she and her writing partner are currently developing a sitcom together. We spoke to Roxy about her career to date and the ins and outs of staging new writing at the Fringe.

CLICK HERE to read today's TW:DIY interview.
Three recommended shows to see on Thursday 23 Aug...

Four Go Wild In Wellies | Dance Base | 2.10pm
First a top tip from the children's show programme. Summarises our reviewer: "Inclusive theatre company Indepen-dance 4 have come up with a gently enchanting little show about which everything - music, set, story, themes and length - is spot on for the target 3-5 age range. Lovely".

Pickle Jar | Underbelly Cowgate | 4.40pm (pictured)
Into the theatre programme and a 5/5 show at Underbelly. "As the layers of the story build, it becomes apparent that there is something darker emerging", reports our reviewer, "and when this is made clear it's an emotional punch to the stomach". Said review adds: "Although addressing themes of grief and consent, it's full of humour too".

Number, Please. | theSpace on North Bridge | 8.05pm
And some more 5/5 recommended theatre now. Our reviewer commends how this piece "updates the traditional spy film of the 1950s to include a female lead, commenting on the tropes of the genre from plot twists to femme fatales, and creating a show that is both hilarious and oddly nostalgic".

Great British Mysteries: 1599? (Great British Mysteries)
Within seconds of this show starting you know you're in safe comic hands. This two hander, set loosely in times of Tudor ("we've bought the costumes and we're going to use them") takes us on a surreal voyage, by land and by sea, against a backdrop of beautifully judged visuals. The quick-witted Olive, and her epically-slow-on-the-uptake companion Ted, are a pair of bungling witch hunters and the humour comes at you from every angle: absurdist, physical, musical, verbal. Will Close is outlandishly funny as the 'freak' Bishop with an unfathomable waistline, and Rose Robinson, with her cartoon voice and impeccably timed facial contortions, is a comedy natural. Sit in the right seat and you might get free cake, too.
Pleasance Courtyard, until 27 Aug.
tw rating 4/5 | [Geoff Mills]

Bennett Arron: I've Never Told Anyone This (Bennett Arron)
The biggest revelation in this supposedly revelatory show is the absence of revelation. Arron assures us everything he says is true, but his truth is not exactly earth-shattering - it's more like a wedding speech. He claims to have sought legal advice and permission, but the anonymity of his subjects and the lack of specifics makes you wonder why. Tellingly, the audience's confessions are often more daring. Another surprise is that rather than being full of gossip, large sections of the show are simply observational routines. He is an engaging presence, a master of the afterthought and a compelling storyteller, but the jokes distract from the facts, making it difficult to take the leap of faith required to fully invest in his stories.
Underbelly Bristo Square, until 26 Aug.
tw rating 3/5 | [Andy Murray]

Catherine Bohart: Immaculate (Chambers Touring)
In terms of things to talk about, Catherine Bohart has got the Holy Trinity - as the bisexual, OCD-having daughter of an Irish Catholic Deacon, she's the 'Father Ted' character that never was. Devoting equal time to each one of these areas, she explores the crossover between them. This isn't a sermon, however, more like a group therapy session, as she talks about her troubles and encourages us to share ours. It comes as no surprise when she mentions that her show has attracted several university professors - she is certainly an intriguing individual. Tightly written with some lovely turns of phrase, and performed in a friendly, chatty manner, this is a very enjoyable hour.
Pleasance Courtyard, until 26 Aug.
tw rating 4/5 | [Andy Murray]

Foil, Arms And Hog: Craicling (WhiteDucks and OTK)
These boys sure know how to make an entrance. YouTube sensations, they've clearly thought hard about how to make their sketches work in a live environment. Kicking off with confetti cannons and an impromptu guided tour of the venue, they progress to such delights as a guide to childminding, a running gag about fast food delivery, and some songs - including an excellent Gregorian chant as monks gone wild. It's apparent they are having as much fun as the audience, especially when they go off script and surprise each other with their improvisation. Admittedly, some of the sketches are stronger than others, but the overall hit rate is high, the ideas inventive and there is an unexpectedly satisfying conclusion. A triumph.
Underbelly Bristo Square, until 26 Aug.
tw rating 4/5 | [Andy Murray]

John Lynn: Addiction Diction (Live Nation / The Stand Comedy Club)
John Lynn would sound great on the radio - his voice calls to mind the late Terry Wogan, and would be perfectly suited to a late night phone-in. With a delivery reminiscent of John Bishop or Tom Stade, Lynn is an affable chap, with an easygoing charm that makes him a pleasure to listen to. He is also a fantastic storyteller, evidenced by the applause he receives after each one of these stories. Initially, the experiences he describes appear to have little or no relevance to the advertised subject; however, it soon becomes clear that he does have many addictions - including comedy itself. Whilst he occasionally drifts from the topic, there's still plenty here to keep you hooked, and leave you wanting more.
The Stand's New Town Theatre, until 26 Aug.
tw rating 4/5 | [Andy Murray]

Manhunt (Eggbox Comedy)
This sketch show about modern romance is brilliantly performed, beautifully written, and revels in the richness of language. There are fresh insights into dating too, as familiar themes are given contemporary and unexpected twists. Emm Downie has an impressively expressive face and comical eyebrows, while Leo Reich is an eccentric ball of fizzing, nervous energy. It's like watching a tense tennis match as the two bounce off each other - challenging and complementing one another, like all the best relationships. Crucially, they never take themselves too seriously, and aren't afraid to poke fun at themselves and their audience. Their characterisations are incredibly well observed, and there's even some silent comedy and musical interludes. Funny, sad and inventive - by the end, you will be completely seduced.
Underbelly Bristo Square, until 26 Aug.
tw rating 5/5 | [Andy Murray]

Mr Swallow And The Vanishing Elephant (The Pleasance, Nick Mohammed and United Agents)
It's a case of Mr Swallow and The Vanishing Voice tonight, but despite his hoarseness, the show must go on. "The elephant in the room", he quips, referring to the cage behind him, before treating us to a series of memory feats that would impress any pachyderm, including memorising menus and recalling the names of the entire front section of the audience. He fills time between tricks by dancing, performing extracts from musicals, and berating his assistants. This is an entertaining, jaw-dropping spectacle for all the family, rivalling Derren Brown at his best and filled with "how did he do that?" moments. Take a break from stand-up and treat yourself to this fantastic show.
Pleasance Courtyard, until 26 Aug.
tw rating 4/5 | [Andy Murray]

Natalie Palmides: Nate (Soho Theatre)
The first ten minutes of this show are among the most thrilling I've seen this festival. Palmides rides in on a motorbike and struts across the stage with an arrogant swagger, daring us to take her on. Despite sounding like Millhouse from 'The Simpsons', her character Nate is so compelling that we cannot look away. She commands every inch of the space, with a prosthetic appendage that would make Dirk Diggler jealous, though, Inevitably, the show sometimes struggles to maintain momentum due to its reliance on audience participation. The perfect guise for a dissection of modern consent, this is a clown show with a message - even if that message is open to interpretation.
Pleasance Courtyard, until 26 Aug.
tw rating 4/5 | [Andy Murray]

Norris And Parker: Burn The Witch (CKP and InterTalent Group present)
At the risk of getting burned at the stake, this is a show that is heavy on characterisation but light on laughs. A series of sketches, linked by a storyline reminiscent of the Salem witch trials, it is well performed and they're clearly having the time of their lives - showcasing a range of different accents, costumes and choreography. Some of the characters could have escaped straight from Royston Vasey and the overall eeriness is enhanced by musical backing from a deadpan keyboardist. The problem is that although it succeeds at being weird and unsettling, as a comedy, it's simply not funny enough. Norris And Parker are seemingly incapable of writing a joke without referencing a bodily function or sexual practice... witch is a shame.
Pleasance Courtyard, until 26 Aug.
tw rating 3/5 | [Andy Murray]

Pelican: Fisk (Pelican)
Quirky, hilarious and delightfully silly, this charming, semi-improvised comedy show doesn't disappoint. The set up is hilarious: a tennis match is corrupted when doubles champion Fisk is mysteriously shot, leaving his partner Hawk embarking on a mission to discover the truth. This narrative serves as the perfect frame for a chain of rip-roaring and ridiculous sketches. The use of physical gags was particularly funny, from slow-motion banana eating, to feeding each other strawberries with litter pickers. The stagecraft is sharp and highly energetic, with each actor quickly switching between different characters - from evil villains to jammy janitors - each with their individual quips and quirks. The clever wordplay and silly scenarios never fail to leave the audience in hysterics - I think we'll be seeing plenty more of these three.
Bedlam Theatre, until 27 Aug.
tw rating 5/5 | [Ella Dorman-Gajic]

Stuart Bowden: Our Molecules (NJC Presents)
What a supreme slice of intergalactic silliness this is. Despite being dressed in sheepskin, this character appears to be far from cuddly, and he risks alien-ating the audience with his abrupt manner. Speaking in a serious, humourless tone, he thankfully undermines this intensity with sheer ridiculousness. The songs are fairly basic - mantras repeated by a loop pedal, but halfway through the show he undergoes a complete transformation, singing us a beautiful song about loneliness. From then on, he becomes less like a visitor from another planet and more like one of us - adrift in the universe searching for fulfilment, and ultimately we realise that his quest is not too dissimilar to our own.
Underbelly Bristo Square, until 26 Aug.
tw rating 3/5 | [Andy Murray]

Tessa Coates: Witch Hunt (Berk's Nest in association with Curtis Brown)
This exploration of what it means to be human is like a thoroughly entertaining lecture, and Coates' anthropological studies have clearly been put to good use in an hour that is as fascinating as it is funny. The series of ideas presented at a million miles a minute makes it difficult to keep up at times, but pay attention and you'll be rewarded. She's an incredibly honest performer, revealing her anxieties about the ticking of her biological clock and the ridiculous restrictions Disney films impose on women. Audience interaction is minimal, although she handles interruptions in a delightful manner, dissolving into giggles when the room responds to her niche references. Charming and educational - even when you're not laughing, you're learning.
Pleasance Courtyard, until 26 Aug.
tw rating 4/5 | [Andy Murray]


Love Songs (Trip Hazards presents Alissa Anne Jeun Yi)
'Love Songs' is the true story of Alissa Anne Jeun Yi's quest to find love, and this animated and eccentric one-woman show immediately hooks you in. Relatable and uplifting, she involves the audience throughout, getting them to embody the other people in her life. The evocative storytelling is complimented by her natural flair for comic timing. But although the writing is engaging, there wasn't always a clear distinction between verse and monologue, and I wish there could have been more commitment to poetic form. However, this heart-warming piece sincerely explores significant moments, from cringeworthy crushes to the more harrowing moments in life, shining a light on the problems faced by many women when entering the world of sex and love.
Underbelly Cowgate, until 26 Aug.
tw rating 4/5 | [Ella Dorman-Gajic]

Other People's Teeth (Want The Moon Theatre)
What is the motive of a contract killer? This question forms the premise of this bizarre three-hander. More a character study than a full story, the play follows Joss, a contract killer who likes her job, though it's never quite clear why. Becky Downing, as Joss, convinces as a murderer, but I wasn't sold on her relationship with her boyfriend - the dialogue between them a strange mix of clichés and pseudo-philosophy. The other contract killer, played by Adam Walker-Kavanagh, is both well-written and well-acted; he's all smiles as he talks about the fun of sticking his fingers in other people's teeth. The play is entertaining as an action thriller, but I was never quite sure what it was trying to say.
C Aquila, until 19 Aug.
tw rating 3/5 | [Ela Portnoy]

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