Dogstar Theatre Company at the Edinburgh Fringe

The award-winning Dogstar Theatre Company, based in the Highlands town of Inverness, is about to begin touring its two most recent Edinburgh fringe shows throughout Scotland, starting in September. The first, The Tailor of Inverness, is a sensitive, moving and, at times, traumatic story of one man’s journey from his home town in Poland through many years in the Soviet work camps to finally arriving in Scotland and creating a new life for himself as a tailor in the eponymous town. The production, which was first performed on the Fringe in 2008, winning a Fringe First award in the process, was written and directed by Matthew Zajac, who also plays the lead role of the pine furniture maker. The play is actually based on his own father’s life, infusing the script and Zajac’s performance with a genuine raw emotion that only a strong link to the subject matter can bring.

At the other end of the theatrical spectrum is Jacobite Country, an anarchic, wild and comic production about a male stand-up comedian who moves to London and sells out before returning north to his Scottish home town to face his relatives and friends. The play is innovatively performed by an all-female cast and was written by Henry Adam and directed by Matthew Zajac, making its debut at the Udderbelly at the Edinburgh Fringe this year. Featuring live music, gags and unforgettable characters, the show was well-received in Edinburgh, earning a three-star review from The Scotsman newspaper.

Dogstar are touring both shows throughout smaller Scottish venues, taking in Aberdeen, Glasgow, St.Andrews, Orkney and the Isle of Skye. The company has just announced the good news that it has managed to secure funding for its next production in 2011; an adaptation by the young Scottish writer Kevin McNeil of the black comedy Heaven’s Honey, a novel by Torgny Lindgren. Look out for this new play from one of Scotland’s most cutting-edge theater companies in spring 2011.

Nusrsing Lives

OOH Matron! – The world of medicine has proved a rich vein of dramatic material for centuries. From the intense doctor’s dilemmas as in AJ Cronin’s The Citadel, to the soapy lives and loves of medical folk as in TV’s Dr Kildare to the knockabout farce in the Carry On films – not to mention the high-octane incidents a-plenty from the likes of Holby City, and Casualty – health dramas continue to engage, challenge, thrill and entertain across the genres. I’m sure it’s inspired more than a few of us to look at a career in the medical profession and there’s nothing like real life from which to create the funniest and most moving moments for humankind, which is what Vamos Theatre has done with Nursing Lives.

The Worcestershire-based company has taken the stories of nurses working at the Worcester Royal Infirmary and turned them into a heart-warming and uplifting production which serves as a real tribute to the profession and all those in it. Via the central character of Rosie, we follow the progress of a young trainee who embarks on her nursing career, just as Britain pitches into maelstrom of World War II.

With her we not only experience the trials and tribulations of falling foul of matron, we laugh with her at the jokes played by her fellow nurses, we sigh as she falls for her soldier sweetheart and we watch, gripped, as she wrestles with ethical dilemmas over the use of the latest super drug – penicillin.

Although the production uses actors, they sport full-face masks, which is a little bizarre when you first see it – but it works and the whole affair is a mix of puppetry, dance and song with music helping to evoking the 1940s wartime era in spades.

It’s a visual treat during which you’ll laugh, you’ll cry but most of all you’ll love it – whether you’re eight or 80.

Nursing Lives is touring until April 2011. Details can be found at www.vamostheatre.webeden.co.uk

Next up I'll be talking about my friend's insight into Lifestyle Change coaching and how it can be beneficial.

Theatre-Cirque de Légume

My main experiences with theater are amateur dramatic versions of Shakespeare plays from school but it is a medium I have long been fascinated by. The Edinburgh Festival has always been an event to go and take in the atmosphere and laugh at the shows- the bizarre array never ceases to intrigue me. This year I wanted to go see the show ‘Cirque de Légume’ which has had great reviews described as two clowns, a chair and some metal boxes containing truly unusual vegetables including the Magical Carrot and the Leek of Power(?!) not to mention the fabled Onion Strip Tease!

What I want from a show is humour and charisma and a show as outrageous as this promises me both- their maxim is that by playing with simple, unappreciated things it shows the audience their inner beauty-even with vegetables! Therefore, if you appreciate the show (and I know I would), then you may be able to apply their concept to other areas in your life and remember that inner humour/beauty that can be found in anything.

The novelty of this idea is contrasted by the duos’ take on the style of Cirque du Freak and Cirque de Soleil circus show, with fantastic make-up, costumes and prosthetic noses the show is a 50 minute spectacle they describe as ‘mayhem’ where two ‘idiots’ attempt to show the audience the ‘hidden beauty’ within their act.

It seems a relief that a concept so childish can still make people smile-they are a favourite of the critics and in the theatre circuit they seem and individual and entertaining act that can’t possibly fail to make even the most serious person laugh.

One worry of mine is that unique as this act is how they might expand on their set and keep abreast of the audiences as in this time and age something that specialised has a limited shelf life before other acts that perhaps aren’t as outwardly kooky as Cirque de Légume but have a wider variety to offer the audience.

Christ on a bike – he’s back!

Review of Richard Herring: Christ on a Bike – the Second Coming at the Edinburgh Fringe

Richard Herring, the sweet, naïve one from 90s comedy stalwarts Lee and Herring, returns to the Fringe with a reworking of his favourite solo show. Discussing life as an atheist with a Jesus obsession, Herring picks apart the more ludicrous elements of the “Greatest Story Ever Told” without anyone being offended enough to walk out; a rare example of charm in an era of shock comedians.

But there is no denying there are ludicrous elements to the Jesus story; none more so than the passages Herring focuses on for much of the second part of his show, a childish, yet hilarious, review of some of the names of Jesus’ supposed descendants. A list that includes the wonderfully named Booz, who Matthew thought needed to be named Booz of Rachab, “so people didn’t confuse him with the other Booz” - good call.

Herring’s knack for the verbal tangent is as strong as in the days when he and comedy partner Stewart Lee had their own TV series, stories meandering away from their initial subject taking the audience on a strange new journey every night. Not all of these diversions are a complete success, but enough hit the mark to keep the punters laughing through the weaker sections.

Herring has tackled a variety of controversial subjects in his Edinburgh solo shows over the years, including one about the reactions he faced when he grew a Hitler moustache, but despite the subject matter this rarely feels like a risky topic. Herring shows respect to those in the audience who, through a show of hands, admit to believing in Jesus as the son of God and even manages a warm, fuzzy ending that had me leaving the venue not only amused, but with a happy smile too.

There are enough changes from Herring’s original Christ on a Bike show to tempt those who feel they may have seen everything before, though the structure and concept is essentially the same. A show that’s definitely worth a “Second Coming”.

Love Bites by Ignus Fatuus Theatre Company

Love Bites is a modern “in your face” drama by Ignus Fatuus Theatre Company about a couple, Stephen and Claire who are doomed to a depressing and borderline abusive relationship.

The production values for this fringe production were good and the staging was crisp and effective, however the characters were so difficult to sympathise with that it was quite unpleasant to watch. The dialogue had potential for comedy and it’s possible that the playwright was intending to satirise the bland and chauvinistic personality of Stephen.

Unfortunately however because the character of Claire was so pathetic one was unsure as to who we were laughing at and it all became slightly awkward. Stephen constantly berated Claire for gaining weight and because he didn’t get his comeuppance and Claire showed no sign of strength or intelligence ever, the whole thing felt misogynistic. I think the playwright may have intended the TV chef to be expressing Claire’s inner feelings of rage towards Stephen, but if this was the case then we needed to see at least a glimmer of this in Claire’s dialogue and performance. The references to industrial lubricants also went totally over my head. It’s a shame the production was flawed because there was potential in the theatricality of the script and there were moments which were visually effective and visceral.

One particualry effective moment was when the TV chef tips a salt cellar over Stephen’s head and the salt cascades down as he continues to eat, completely oblivious to the salt falling off his hair and on to the floor. However, the playwright needs either to steer clear of gender stereotyping and get a handle on how couples (and in particular women) actually speak, or if he is attempting to parody stereotypes then this needs to be better executed.

The idea of a TV chef commenting on the action was effective and provided some much needed moments of dark humour but some re-writes and dramaturgy are necessary for this play to fully develop.

The Green Room, Etcetra, Camden London

The Green Room brings backstage to the audience with an insightful look into the pre-stage preparations of four actresses, swamped in the strewn mess of costumes and dresses, make-up and wigs, they moan, bicker, dream and reveal the joys and woes of their rollercoaster love lives. Meet Truda, Klara, Lisa and Marie, starry-eyed hopefuls taking to the stage in a small repertory, living the dream and dreaming there was more to life.

This witty comedy, written by Arnost Goldflam and translated from Czech to English by director Eva Danicková puts life under the microscope, but the only infestation is hopes of a better role, in work and play. It doesn’t tell us anything we don’t already know. The sense of humour is there from start to end, but only falls out in fits and starts, most notably when the deadpan Lisa, brilliantly portrayed by Pamela Parry, tramps on in the third act dressed as a flame. It seems her not so glamorous acting career has taken a turn for the worse. As if she wasn’t angry and bitter enough in the first place, raising her voice to the end of her sentences to vent her frustration.

Karen Burton as Truda plays a thirty-something trying to keep things together on stage whilst suffering the torment of a collapsed marriage behind the scenes. Burton casually flicks through the emotions of her tortuous journey with natural ease and demonstrates accomplished talents as a comic actress with precision timing.

So too, Amy Simpson, superb in the role of Marie who, when we first meet her sweeps in with the buoyancy a winning goal in the last minute of the cup final would give you, only to slump like a fan of the losing team by the end.

Then we have the fly-by-night Klara, a hapless day-dreamer played by Kara McLean with the energy of a dance troupe. She breezes round the stage, powerful, sprightly, sweeping from the chest of drawers on the right to the flowers on the left, always with a smile, yet still shows enough of Klara to tell us her pipe dreams are full of hot air and her prayers will go unanswered.

So all in all, the girls do The Green Room proud. If only the male writer had been as convincing. But then, man’s failure towards the fairer sex is a fundamental point of the play.

The Green Room will be running in the Etcetra in Camden until Sunday 26th September.

Glass Eye Theatre’s production of “The City and Iris”

I recently went to see Glass Eye Theatre’s production of “The City and Iris” at the Zoo Roxy and was very impressed. This was a lovely production following the journey of dowdy young Iris who developed a neurosis about her eyesight after being advised to wear glasses by someone working a locum doctors job in her town for a minor eye condition at a young age. The story is illustrated by a lovely ensemble that plays anything from ducks in a pond to work colleagues at the library where Iris works. The storytelling is sweet and inventive and while there is humour to be mined in Iris’ geeky manner this never tips over in to caricature. At all times the phrase “simple yet effective” rings true and the performers rely on nothing but themselves to tell the tale. Instead of recorded music the ensemble use their own unaccompanied voices to fantastic affect and while the technique of an actor becoming the sounds of a radio has been done many times before, it was executed very well indeed here. The cast are all Jacques Le Coq trained which is evident from the fantastic physicality and sense of ensemble which exists at all times. However on occasions their training is a bit too evident. For example when illustrating a crowded tube train, I felt that I had seen this many times before by Complicite or the like. This is a minor quibble of course and I’d hope that as the company develop they find their own distinctive language and perhaps avoid such classic Le Coq tableaus, as I feel that they are certainly a company with a long future in front of them. This was a sensitive, warm and skilful production and I left the theatre feeling uplifted with the calming tunes of the ensemble going round and around happily in my head.

All American Girls

Directed by Layon Gray, “All American Girls” presents a story of racism and betrayal set in 1945 Chicago. This was during the era of World War II, when many men were shipped off to fight for their county. At this time period, women were chosen to help keep the spirit of baseball alive. The show portrays an African-American baseball team of women who call themselves the Red Diamonds. They are scheduled to take on a team of white women known as the Rockford Peaches. The trouble begins in Act I, when the coach goes missing.

The play is dependent on the many flashbacks offered regarding interactions between the Red Diamond players and their coach. They feel she has not really left on her own will, despite the letter of resignation that is found to be from her. Arlene A. McGruber plays the part of Coach Hicks, who provides a motivation performance in the first act, but then her attitude and personality traits for her character do a 180 degree turn as the flashbacks unfold throughout the show.

It seems some of the clothing and language used in the theater presentation were overlooked as needing to be set in 1940’s America, even the roller banners and adverts seem a little bit off. A skirt worn two inches above the knee is one scene does not reflect the common attire for women of that time period. Also, Mari White, the Cover Girl model who plays the role of a young student reporter interviewing the team regarding the disappearance of their coach, uses language that an innocent young college girl would not typically use back in the day.

As a recipient of an NAACP Award for Best Play, “All American Girls” is currently being performed at the Actors Temple Theatre in New York City, New York. The show times are currently being conducted on Wednesday and Thursday evenings. Tickets range from $36.50 to $39.50 for this show.

The Age of Arthritis - London Fringe Festival Review

Nestled into the comfortable confines of the stylish Bridge House Bar I wasn’t entirely sure what to expect from tonight’s performance. Settling into a cosy high-backed chair around a circular wooden table, a plush carpet underfoot, and with only a smattering of other audience members, the setting felt more like a Sunday lunch than a show for the London Fringe Festival.

But that all changed when David Savage took to the mic. Dressed in jogging bottoms and a t-shirt that read Molly and Friends for Dementia, to look at Dave you wouldn’t think he’d drive a turbo-diesel Honda Civic. Maybe their eco-friendly insight hybrid, but not a turbo - he’s 66! Even though he is confused by the car’s security system and gets ignored by passersby when locked inside with the alarm blaring. Still, give him a third off on his travel rail card and he’d rather catch the train any day – even if his journey is spoilt by people talking into their mobile phones in the quiet carriage!

With an insight into growing pains, the medical profession and the depressing attitudes of today’s youth, Savage has the issues and the witty on-liners of Victor Meldrew and Alf Garnett, and though he lacks the conviction – or perhaps the confidence – to tackle his subject matter with both barrels, he certainly has plenty of ammunition within his arsenal. For someone new to the game, at times Savage was right on the nozzle, and other times way off the mark.

Making his comedy debut and swigging on his “spitfire” beer, Savage swiftly regales us with hilarious stories of his life and shares his amusing – and poignant - observations about the deterioration of the modern age and for this writer his performance summed up the first ever London Fringe Festival – great potential, not quite polished.

Comedy review-Dara O’Briain

‘Life literally abounds in comedy if you just look around you.’ Mel Brooks, something we can all agree to in some way. Dara O’Briain has been on the circuit for years but has come to the public eye in his participation in comedy shows like Mock the Week and QI where his ad-lib rapier wit is a refreshing addition to the shows’ banter.

Watching his live shows is a delight. The difference between him and so many other comics is his style relies heavily on the audience’s input and bouncing amusing ideas off them. The entire show would be a shambles if the audience didn’t play along but they come along knowing what they are in for- and they are never disappointed. His timing is impeccable and picking on members of the front row extracts information from each with well practised questions and derides the person but never humiliates.

Probably from his years’ experience, O’Briain can play the room exceptionally, quick amusing thoughts on several subjects always including the audience including religion (a favourite) and an array of embarrassing situations (hotel room service etc) that start with the audience input and then O’Briain builds on the ideas to a hilarious, ridiculous climax that has them all in stitches even if some haven’t entirely followed him to the end.

O’Briain’s comedy is surely one for all with such vibrant charisma and delivery that is infectious, I can’t help crying with laughter at the ridiculous notions and succinct and perfect phrasing of things that make me realise I have never thought of in that way, highlighting the underlying absurd rules and regulations that we encounter in our everyday lives. His presentation skill and bright, cynical humour will stay with you after the gig and making you crease up with laughter again and again.

If there is one thing to say about O’Briain is that his comedy is relevant- whatever he says that you found funny yesterday will be hilarious tomorrow and even funnier the following day as it has a timeless quality that doesn’t only pick out the cracks but finds the childish, simple idea that is universally funny.

The Bizarre, the Beautiful and the Busty - London's Alternative Fringe Festival

As part of the Fringe Festival that launches in London for the first time on 1st August 2010, the Alternative Fringe will also be lighting up the capital’s performance venues with a special blend of the bizarre and the beautiful, the sizzling and the seedy.

The new addition to London’s summer calendar promises to thrill and inspire show goers with all kinds of oddball entertainment and titillating shenanigans. A jam-packed schedule will see the city buzzing with a host of alternative acts performing music, cabaret, vaudeville, burlesque, experimental theatre, live art, circus and street performance.

The month long celebration of fringe theatre involves a total of 52 shows in 31 venues concentrated into four zones of the city – in the centre of both the West End and the East End, together with Camden and Islington in the North, Battersea and Vauxhall in the South. You can also expect to find numerous street performances and other unusual activities around the city centre, particularly in Convent Garden, Trafalgar Square and near the London Eye. Or why not strap on some brooks running shoes and go for an adventure with Sockmob, a fascinating guided walk giving an insight into the lives and story’s of London’s homeless.

The festival officially kicks-off with a Finger In The Pie Cabaret Showcase on Sunday 1^st August at the infamous Madame Jo Jo’s and features the best of the alternative fringe. With an overwhelming choice of shows to choose from, it might be a good place to start! To boost the Alternative Fringe the Wam Bam Club at the Café de Paris on Coventry Street is lending its support and will be hosting an explosive cocktail of comedy and burlesque on consecutive Saturday’s from the 7^th to the 28^th August.

For more information about the London Fringe Festival and the Alterntive Fringe Festival details are available in Time Out, the Fringe Festival brochure or by visiting their websites at http://londonfestivalfringe.com and http://www.alternativefringe.co.uk/Home.html

Review: Buxton Fringe Festival

Buxton Fringe Festival started in 1980 and has been run concurrently with the most popular and renowned Buxton Festival. High profile literary composers will hold seminars and talks, and international operas will take the center stage in this event.

The festival is growing from strength to strength every passing year and now has a professional and respected image. There is now a colored brochure, multiple pvc banners hung out to advertise shows, prize money and reviews for all shows. Many promising artists take this event as a warm up before they appear at Edinburgh Festival Fringe.

The festival also provides stages to performers and artists alike in a number of venues. Dance, music, drama, comedy, poetry, exhibitations, film, and magic are just some of the forms that have appeared in this joyous and keenly-awaited event. All the genres are accepted and encouraged.

The Fringe Committee refrains from undertaking selection, financing, censorship or selective promotion of the events held. In 2009, over 500 events featuring over 140 entrants were showcased in the event.

The fringe festival is a proud member of and was recognized by British Arts Festival Association.(BAFA). the festival is a charity event and is run by generous volunteers. The belief here is that art belongs to people, not only to the elite. It involves both the audience and the artist making it an inclusive show. Artists are provided with a receptive environment to showcase their talent and this comes at a low cost compared to other events. Artists are also encouraged to experiment and take risk in order to bring out their best.

The audience at this event is encouraging and enthusiastic. The artists can perform anything they feel like. No selection is made before an artist goes live in front of the audience for a performance. As per rule, this event doesn’t promote any special interest of any artists.

Improvisation Technique

I’ve been improvising in various different forms for many years but I learnt my favourite improvisational technique with a playwright called Iain Heggie. The initial purpose of Heggie’s improvisations was to teach basic acting techniques, but in my opinion they taught me as much about the nature of improvisation itself. The way one of his improvisations worked was as follows.

1) Each character in the scene (usually just two initially) would have an objective. This was something they really wanted and needed.

2) Each character was then given an obstacle to make it harder for them to achieve their objective.

3) A time pressure was added to raise the stakes and create a sense of urgency.

Heggie decided on the character’s objectives, obstacles and situations which he wrote on sheets of paper which the improvisers memorised briefly and secretly before the scene started. Because Iain Heggie is a playwright the scenes are well structured and (if you follow the impro rules) they play out very successfully. Also a lot of comedy usually comes from the conflict between characters even without the performers having to try at all. By following the objectives and genuinely trying to get what you want out of the other character you remain in the moment and the scene is fresh, funny and enjoyable. It also stops you from playing emotional states which personally I can’t stand and I think is incredibly self indulgent. Also the improvisations are not about gags or stealing the limelight as each performer’s attention is focussed on each other in an attempt to achieve their objectives.

This style of improvisation is really exhilarating, not least because the information is kept secret from each other so genuine surprise and shock often occurs. The time pressure keeps the pace and the energy up and I fully recommend it as a technique.

Get ready for the Fringes!

The harsh winter is finally fading away, Spring is blooming all around us and my mind is turning to all things ‘Fringe’. As a theatre lover, and sometime performer myself, I love theatre and there is nothing that appeals to me than the experimental, often part improvised, work that abounds at Fringes. That’s not to say that I have anything against big theatres and epic productions of the classics from Shakespeare, Chekhov, Brecht and the like but in my opinion seeing something that is completely new is an exhilarating experience.

We have now crashed into the Fringe season itself which kicked off this year at Brighton, from 1^st to 23^rd May, and will be followed by the fringe festival of Buxton from 7^th to 25^th July and finally the king of all fringes worldwide at Edinburgh from 6^th to 30^th August. Alongside these well established fringes will be local fringes covering the length and breadth of the United Kingdom with notable events due to be held in Oxford and London.

As a performer at the Buxton Fringe myself this summer, I will be performing my soon-to-be-award-winning poetry show, I am especially looking forward to the huge variety of theatrical performances that are on show in this beautiful Derbyshire town this summer. And that, in a word, is the key to the appeal of a fringe: variety! Whilst the larger regional theatres stick rigidly to the classics and a regular smattering of Alan Ayckbourn farces, anything goes at the fringes, some shows are even performed in storage units! Shows that I am particularly looking forward to seeing at Buxton this year include:

Shakespeare’s Guide To Women (Whose Shoes Theatre) - a drama about Sheakespeare encountering problems with the women in his plays, like Shakespeare in love with a wicked twist.

The Ring Of Stones (T-Chi Productions) - a musical centred around the terror that fell over the infamous ’plague village'of Eyam, near to Buxton itself.

The Inconsistent Whisper Of Insanity (Black Box Theatre) - a startling new play by the upcoming Manchester playwright Ian Moore examines how a man pieces together fragments of a life that he’s lost, performed by Fringe specialists Black Box.

For the traditionalist there will be modern, fun interpretations of Shakespeare as well as revivals of past Broadway hits, but to me the shows above are the essence of what makes a fringe great! There are no excuses this summer, head to Edinburgh or head to Buxton, hit the fringe and broaden your theatrical horizons!

Fringe Review: Accidental Death of an Anarchist

The Theater production “Accidental Death of An Anarchist’ written by Dario Fo, an Italian Nobel prize winner and directed by Ben Landler has the right combination of wit, politics and self conscience. The script is filled with never-ending fun and opting for this play is an entertaining and enjoyable pastime that will keep a person engaged for a few hours, which is a nice change because normally when I watch a theatre show with a name as pretentious as this I find myself thinking about all the things I have to do the next day and which Kilburn flats and houses for rent I like.

The storyline deals with an anarchist who suddenly dies by plunging out from a police tower. The outcome is tantamount to accidental suicide that turns out to be an ambiguous term. After a short while a manic enters the scene for questioning. She is known for her successful and elaborate disguises and her mind blowing intelligent schemes. The main story focuses on the decision of this woman who decides to emulate the high court judge to resolve the mystery of that fateful night and to find out the reason that led to the mysterious death of the anarchist. She takes this to be her biggest challenge and whatever follows in the commotion is a drama that slowly exposes deceit, truth and ultimately the downfalls of the political system.

The role of the maniac has been well essayed by Ronni Thomas Osbourne. She has a very demanding role and successfully does justice to it with a great physical spot on and applaudable comic timing. She stands out from the rest of the cast who though act well do not have the same potential as her.

The play has one interval that starts at the right time and the direction has a pretty strong appeal. The script has been well written and it also works very well for the audience. The production is a very enjoyable piece that will keep the audience fully engaged and also entertained for long hours at a stretch.

Edinburgh Festival Fringe

Those involved in the fringe society of the performing and visual art world know all about the Edinburgh Festival Fringe . Hosted annually in August in Edinburgh, Scotland, Edinburgh Festival is the largest of it’s kind in the entire world. Those that attend can enjoy strolling through the arts and crafts market or take in the different performances throughout the day. There is no other place to see musicals, dance, opera, theatre, children’s shows, comedy shows, exhibitions and amazing musicians.

In 2009, the Edinburgh Festival boasted the largest turn-out ever. If you are a street performer interested in becoming a part of this entertaining festival there are currently spaces available for 2010. Clear your calendar for 6-30 August which is the current time period for the 2010 festival. There are multiple types of performers that are accepted at the festival. There are those that are members of the Fringe, street performer positions, Buskers, Living Statues, Balloon artists as well as other spaces for those that specialize hair braiding, face-painting or the like.

Not a performer but want to work the festival anyway? There are numerous ways to help out and get paid. Currently there are five different types of positions open with a number of the positions requiring up to four people. There are openings for Street Event Stewards, Fringe Central and Events Deputies, Fringe Central Supervisors, Arts Assistants and Fringe Central Stewards. These jobs involve a variety of responsibilities from creating a safe environment for festival goers and performers to coordinating the events and acts so that things run smoothly and on time. Those interested must be prepared to work in a fast-paced and high-stress environment.

Whether a member of the arts community or simply someone fascinated by a variety of arts and artists, this is festival worth attending. Mark your calendars for the 6-30 August of this year for a trip to Edinburgh, Scotland for this one-of-a-kind festival. There is little chance that you will be disappointed as this festival has taken place since 1947. It has grown in professionalism and size over the last sixty-three years, that’s almost enough to make anyone reconsider their ski hotels trip in favour of the fringe this year!

What about the witches of Oz?

Everyone has seen the Wizard of Oz but did you ever wonder where the wicked witch and the good witch came from? If you have not read the book wicked chances are you are missing out on the best back-story ever. When I read that they had turned the book into a theatre production I had to go see it. Knowing the back-story behind the witches of oz made me feel even more attached to the original story. Seeing the story brought to life in theatre was a fantastic experience.

The theatre version does not let you down even after reading the book. The run time was two and a half hours with a 15-minute intermission. Although that may seem like a long time to be sitting there you will hardly notice the time as it flies by. The musical was very fluid and did not make me feel like I was just waiting for any part of it to be over. They managed to change the normal storage unit of the theatre stage into a wonderful, magical environment. When it was finished I was sad to see it end.

I really think I could have sat and watched it again. If you have children that loved the wizard of oz you may want to consider taking them as well. You should just make sure they are over the age of eight. Younger kids do not seem to have the patience to sit through something that is this long. I also know that in the theatre I watched the performance in there was a minimum age for entry.

You should check with your local theatre that you are attending before purchasing tickets to be sure they are available. There were quite a few children at the show I attended and they seemed awestruck staring at the stage. Watching wicked can definitely be an event that the whole family will never forget.

Chicago is a musical worth seeing

Chicago is one of the greatest musicals ever released. It keeps you on the tip of your toes with the suspense of never knowing what is coming next. It is the story of some women who are for the most part murderers. It focuses on a specific women to begin with. It tells her story about how she killed her husband and shows her trip from her home to jail. She hires a lawyer who gives her all of his attention while she is in the limelight. As soon as the light shines on someone else he turns his back on her, and she is left trying to put the perfect c fold into her own laundry again.

While in jail the lady meets some other amazing women. When you first meet them you are entranced with their beauty. These women are stunning and captivating. Their voices are amazing and their dancing is beautiful. They sing and dance their stories across the stage with elegance. The women are featured in jail and tell how and why they killed the people they killed. The sing and dance while they explain. There is one woman that clings to her innocence saying that she did not kill anyone. The rest of the women admit to killing and do not apologize or regret their actions.

There is a lot of drama in this musical. There is a famous woman who is locked up with the star. She offers to match up with the main character to be a duo so they can both be famous. She helps her to get the light back on her so that the lawyer will help her. In the end the musical is very good. You will feel for these murderers and in some ways may even side with them. You get to see it from another light and get some laughs, cries, and understanding from this musical.

Scaramouche Jones - Delicatessen Theatre

Enclosed in the intimate confines of the Delicatessen Theatre, Scaramouche Jones (Tom Daplyn), a 99-year-old clown pours out his heart and regales us with his fascinating life story and his ‘strange destiny.’

It’s the eve of the Millennium and subsequently the hapless clown’s 100^th birthday – and he believes he is about to die. Having had his umbilical chord cut with a fishmonger’s knife exactly a century ago, we hear the tragic tale of how the death of his prostitute mother, the ‘chief attraction’ of the knocking shop, was killed by a client, leaving him an orphan at the age of six. From there he is sold into slavery and taken to Africa before being thrown in Prison in Italy. Having being made to dig mass graves during the holocaust, he finds himself on the shores of Wales, where he adopts his surname, Jones.

Justin Boucher’s masterful script is expertly portrayed by Daplyn, with undying energy, comic timing and gripping pauses, superbly blending humour with sorrow. Expertly painting the picture of neglect and the fight for survival, the actor makes the most of the limited space to vividly explain the colourful life of Scaramouche, an orphan boy born that lives through a torrid century fraught with two world wars, political atrocities and countless inventions, including the controversial introduction of the lbw rule in cricket and the introduction of locum jobs for doctors in psychology wards.

Director, Jonathan Constant should also be credited for a wonderful performance and the invention of such profound imagery, intelligently using props, such as curtains, a silk veil and a hool-a-hoop to transform the stage from one setting to another.

Scaramouche Jones is a poignant look through history and with startling insight reflects how the weak are subjugating by those in power. World events share parallels with life of the unfortunate Jones, a lost soul who didn’t laugh until aged 51. The powerful message is not only apparent throughout history, but evident in our own times and, one would imagine, in the future, thus the tragic tale of Scaramouche Jones will remain forever timeless.

Ralphie May is very funny but also very vulgar

Ralphie May is a hilarious comedian. He will have you rolling in the isles as he does his stand up routine. When he first gets on stage he will act as though he is tired. He will probably be a little lackluster. But, once he gets into his routine, it is nonstop laughs.

Ralphie talks about things in day to day life that are funny but often not seen to be. He talks about us allowing ourselves to be ripped off and how he does it too. He makes you laugh at your self for the ridiculous things that we do on a daily basis and consider them to be normal. We run around and buy coffees that sometimes cost as much as a coffee pot. We know they are expensive yet we still get them.

He is very controversial. Nothing is off limits with Ralphie. He talks very detailed about sex, to the point of describing permanant laser hair removal (cringe). He does not hold back at all. Make sure that you are prepared for foul language and visual images that are burned into your brain. His work does borderline vulgarity. He tiptoes on the line of taking it too far. There are times when he may make you feel uncomfortable because his sexual topics are very thorough and may make you feel dirty. This is the point of his show. He wants to be unique and take his show to the extremes. He completely and totally succeeds in his goal. Taking your mother or mother in law to see Ralphie May is not suggested. You may feel very uncomfortable when you are sitting across from them and he begins talking about self gratification. All and all Ralphie May is a very funny comedian. You just have to get past his crudeness and you will be laughing your butt off.