Whenever I hear Queen songs on the radio, I often say that I love that band. I call them ‘the second-best band in the world‘. Most people who don’t know me take the bait, ‘Oh. What’s the best band in the world?’ ‘Blondie, of course’, I reply as if it could be anyone else. Naturally, as a huge Blondie fan, I was drawn at once to the Night Owl production of The Blondie Story.
Reine Beau. Picture by David Kerr.
Reine Beau and her backing band give a storming performance of many of Blondie’s best-known songs. They launch the show with a high-octane version of Atomic. The band perform in front of a huge screen. The screen illustrates Reine’s narrative with album covers, old pictures, and video clips of memorable moments in Debbie Harry’s career. I learned some things I didn’t know before. Debbie once worked as a typist for the BBC in their New York office. The song Denis was not original to the band but a cover of a Doors song. Debbie was the first white woman to have a hit rap song, Rapture.
Reine Beau knows how to fire up her audience. We were clapping, foot tapping and singing along with her. Some folks even got up to dance to Sunday Girl and Maria in the space beside the stage. According to Reine, Debbie Harry is the ‘coolest woman ever’. I wouldn’t dare to disagree. With this performance, Reine Beau comes pretty close to the original for a new generation. She brings her own interpretation. If you can’t get to this wonderful rip-roaring showcase of Blondie’s talent, then follow Reine’s advice. Dig out those old Blondie albums. Sing and dance to them at home.
Amid the background noises of feet walking up and down corridors and nearby doors banging, we meet Jack. He’s waiting for his brother-in-law to take him out for the weekend to his sister’s house. This is a regular routine. He goes to Edna’s one weekend, and Lottie’s the next. While waiting for Sam, he recalls how he ended up in this ‘dark and sticky place’. It is Nettley, the ‘looney bin’ for soldiers.
He’s been institutionalised for fifty-odd years. Bit-by-bit, he reveals more of his past. When he was fifteen, his mother told him about the murder of the heir to the Austrian throne. He also learned about the evil machinations of the Kaiser. According to his mum, he was a madman who had to be stopped. There would be a war soon.
Jack’s brothers enlisted in the Leicestershire Regiment. He wanted to do his bit for the King and the Empire. He also wanted to make his parents proud of him. He wasn’t a coward. He bridled at his parents’ insistence that he work out his engineering apprenticeship until he reached 19. So, he gave a false name, lied about his age, enlisted in the regiment and headed off to France.
At Ypres, ‘Wipers’, he met rain, rain and more rain, and mud. Tasked with delivering a message, he fell off the duckboard and became stuck in deep sucking mud. Then the incessant shelling began. He was unable to move as men died all around him.
Stephen Wale spent ten years researching this one-man play. He brings the story of his late uncle to life. Gradually, he unfolds the sheer horror of Jack’s transformation. Jack changes from an enthusiastic underage volunteer in search of adventure to a shambling wreck of a man. He becomes a demobilised soldier gone berserk from the horrors he’d seen. Jack has been shut away in a mental institution since 1922 after he was caught breaking shop windows.
Closed away in Nettley, he’d seen the rise of Mussolini and Hitler. He’d also saw news of another war and the emergence of rock’n’roll music.
This play offers a poignant, timely warning today. War fever is heightening. Politicians and newspapers are talking up war. They are putting ‘boots on the ground’ to stop another ‘mad Kaiser’ in Moscow, Beijing or Tehran. Those boots are filled with human beings. Jack reminds us that we ought not to forget the Fallen. We also need to remember the Damaged. These are the old soldiers who suffered enormous mental trauma. They were shamefully shut away, institutionalised and robbed of their pensions. Will we ever learn?
Counter Culture jumped at the chance to interview comedian and writer Katie Folger. Katie was performing her one woman show, Getting in Bed with the Pizza Man at the 2024 Edinburgh Fringe.
Katie Folger
We talked to her about the show and her future plans.
What inspired you to create Getting in Bed with the Pizza Man?
Well, a number of things! I think the show is a product of an amalgamation of influences on my life over the years. I think a primary one that I like to talk about is when I was 20 and had the fortune of essentially crossing paths with Robert Redford, if you don’t know. At my university and through a very fortunate series of events, he became my mentor for about six or seven years when I was quite young. And Bob actually was, we were sitting across from each other like this at a dinner. And my first dinner I had with him and he was really the driving force encouraging me to write my own work.
Yeah, because I was. I was young. I was you know, charismatic girl, which often, you know, if you have a knack for anything artistic or especially for me and for performance, be an actor, be an actor. And I was, but I was always interested in writing, even as a child. And and he was really like the first major person in my life, obviously, by someone so esteemed and brilliant. And he told me. I know you can act. I don’t even think you act. You’re a genuine person. What I want to hear is your voice. And so that really was the major first part in my desire to make my own work. Then my program at school was also a heavy influence of new work. That was the focus of the program. And so there was like a whole, it was called the New Work Festival. And so it was so special, the university would dump a ton of resources into it. So I was also a part of so many new plays.
And yeah, that was like those were kind of the seeds. And then this I’ve been writing behind the scenes are really my whole life. I have stacks of journals just full of terrible writing. And then eventually, you know, sometimes you hit on something and over the years, of course,
if you write everyday, which I do just for me, you get better. And so I wrote this story. It was it would. I’m very much inspired by a trip that I had taken to Denver, actually. Three summers, or yeah, three summers ago now. It was right during the pandemic and 2021, ’cause the vaccines had just come out, so people were seeing travel again. And I had a really, I think when I first started performing this play, I was a little bit more cheeky about whether it was true or not true. And I think now I’m sort of like later in the life cycle of the show. So like, it is very much based upon a series of events that happened that were quite strange.
And all of the, you know, the end of the show with the pizza ,all of that is like happened. And so when I started telling this story to friends, they were like, You should do something with this.
That was really odd. And so, yeah, I’ve always, as a writer, been most inspired by telling my own stories. I’m not as much of like a, like a fantasy writer or even like, I would say my preferred genre is memoir-style fiction. Just because I would say the main reason for that is because again, a primary influence for my work is sharing my, my uninhibited opinion and perspective from my, from a, from a female perspective. And and within as much detail as possible. And so when I wrote this story, that’s all I was trying to do. I wasn’t really writing a comedy. I just wrote a story. And then when I read it to people for the first time in November 2021, people laughed the wholetime. That was like, interesting. Yeah. So those are kind of some of some of the seeds of influence.
And then I’ve also, I got really excited about solo shows about three or four years ago. Just as a poem, I felt like it seemed scary to me. And I, as a human and as an artist, have always been interested in that, which kind of scared me. Yes. And so, yeah, I wrote this in the short story. I had a best friend read it and she was like, Katie, you’ve always wanted to do a one-woman show. I feel like this could work. And so that’s kind of how it all started.
One of the aspects that I found very impressive was, you know, the physicality of your performance.
Thank you. Yeah.
Do you have some kind of dance background?
Yeah. And what’s funny is, so obviously, as we saw, this show had no tech, no sounds, no lights. The full version of the show, which I think I had mentioned that night, has all of the bells and whistles. Yes. Ihave had this microphone version of the show built for a while just so we could easily travel the show. This wa sthe first time.
Because I had received some feedback. Everybody was like, why don’t you? Because the physicality was not in this version of the show. And I was like, well, if I’m coming to Fringe, it’s one of the people, a lot of people say it’s one of the most enjoyable parts of the show and like surprising. So I built it. I built it into the show, you know, just those shitty theatre chairs on the stage. Like that was a lastminute plan, but.
Yeah, I have a background in dance. I started. I was a dancer well before I was an actor. I started dancing at the age of two and I was primarily a dancer. I mean we were I was in four to five hours of dance after school every day for 14 years. I was on the dance scene.
You can tell.
Thank you. But and then but it’s kept up with me because I’m also so I transitioned from dance. Well, I started acting that kind of took my focus and. But I’ve been doing yoga for like very like I’ve been practicing it very dedicatedly for now. How old? Yeah, 16years. So since I quit dancing, I transitioned onto yoga. And so, yeah, you can kind of see all of those influences in in the show.
I do yoga myself. Oh, nice.
I’ve done it for years. I keep trying it. So it keeps me good.
Yeah. Yeah, it’s very good. It is good.
So, you know, you talk about sort of personal relationships and sexual relationships and it kind of, I suppose there’s a, kind of, a theme of identity there. You know, there were a lot of young women in the audience when I went there.
There were.
What do you think that they draw from the stories?
I think for me, as a young woman, like I said in the show, I think kind of like a main thesis statement is that as a woman, you’re never taught that sexuality or sex is more real, especially in like a more Western conservative mindset, patriarchal society. I think that’s the main part.
I think so many young women in this society and and there’s so many French shows that in their own ways actually talk about these things, which I think only underscores the universal nature of of You know, this theme of of the fact that obviously we’re in a patriarchal society and that, you know, women are objects to be desired. And so if you’re desired, then yes, OK, I show up in this thing and I ain’t getting you what you want. But I think with my show,
I I say this a lot when I talk to people about the show. I have a great friend who says the art that we write is the medicine that we need. And so for me, as you can see, like I was just, I was processing and for years processing these like. these grander themes and trying to flip the script of my own life and and kind of take the reins of my experience. Because really for so many years I was just kind of floating like a feather, just like the character in the show, you know, and and trying to figure out what sexuality and relationships meant to me. And it’s funny, like I feel that This show really helped me process a lot of those things.
And And I really, since I wrote the show, my life has changed quite a bit. And now, you know, I’m in I’m in a really happy relationship. And it’s like now it’s interesting because, like, I feel like the first iteration of this was what are my physical needs? What do I really feel like physically? And now it’s what do I think emotionally? What do I think about marriage? What I think about all of these expectations, what I am to be a woman, emotionally.
So anyway, like it’s constant, constant learning.
Do you journal?
Oh, yes. Yeah. Yeah, every day, pretty much.
I mean, My opinion is that most people aren’t too reflective. about what’s going on in their lives. They’re so busy living lives.
Yeah.
That they don’t have time to pause and reflect on it.
Sure, sure
And I mean, it did come through very strongly that you had taken out time to sort of think about relationships.
Yeah. I came across very strongly. Almost too much time.
And, you know, obviously what you’ve said there, there is a serious theme toit, but your show is also very, very entertaining.
Thank you.
It’s also to a certain extent what an old fashioned word we would use is “racy”. I think that is the word. Yeah, I’d use. Yeah. How do you balance all that and get the balance right in that?
Well, I think a huge piece of finding that kind of like that like. walking that tightrope of, you know, going deep into the core with it, and also staying light is with my collaborator and director of the show, Matrix Kilgore. Matrix really helped shape the really–
Second opinion.
Yeah, so the musicality of the show, and, you know, there are these– They’re honestly my favourite moments, and it’s when when you– like, people laugh when You like totally flip what you were doing. That gets a laugh. So, you know, my favourite moments sometimes when I’m performing are when I’m hanging out in a more serious space with the audience and I can feel like, you know, we’re all, they’re really watching me and I can see everybody’s eyes and then I cut it into a completely different tone and then everybody laughs. That’s really fun. But I think, you know, I think that’s I I think. You know, there is that craft to it. But I think for me as an artist, that is my sweet spot. It’s I’m not just, I’m not a surface level comedian. I’m not like ha ha jokes, jokes, jokes. I’m also not just sort of. I mean, I am funny, but I’m also, I think I’m only funny because it’s just kind of. It’s observational humour.
Yes. Yeah. I think you send that in your review, which I really appreciate it because it is. That’s what I and it’s from your own experience. And obviously if people, I suppose everything’s had certain experiences in their life, but similar if not the same. So, you know, people can relate to it as well.
Exactly. And is this yourfirst time in Edinburgh?
Yes. . Oh, my gosh. I I absolutely love this festival. Yeah, I was. I’ve been kind of saying, I feel like I came on a blind date with friends. Like, I’ve never been. I didn’t know what to expect. I just booked things ahead of time and had people help me. Didn’t even really do that much research because I didn’t have time because I’ve been touring the show in the States all year and in order to even have the funds to come and do this. And there are so many times, ’cause it’s so expensive to come do this. Yes, it’s things. And it continues to be more expensive and little things come up. And there were a lot of times where I tried to talk myself out of doing this, ’cause even before getting here, it’s been a really challenging year, a really rewarding and like successful year for me, but the most challenging alongside that, those wins and like the recognition, it’s been so hard.
To, like, pull this stuff off independently. And so, yeah, there were a lot of times where I wanted to bail on fringe for those tired. Yes. And because I’m also producing the show, I’ve had, of course, help. But I am the primary force that is driving this. It’s not just creative. I’m I’m producing.
And yes. And I’m so glad that I didn’tbail. And I can think, I can completely attribute. the continuation of this to my loved ones and my team. Yeah. My publicist in Austin, my director, my boyfriend, my family, my best friend.
You got them all working.
Yeah, well, they were all like, No, like, you have to go do this. And And my manager too. And so I’m I’m in love with stuff. Like me and my, I have like seven really close friends here and also my boyfriend and he and I just feel like this is one of the most special things we’ve ever done and it’s so inspiring and healing.
Do you think you’d come back next year?
I’m, I’m, yeah, like I’m. I would absolutely consider doing this again. I I think it’s definitely in my wheelhouse. I can also see the benefit of like continuing to come back. Yeah. I think I, now that I’ve done it once, I can, I now know what not to do. Yes. And what to do. I did not know what to do. Like, I made some big mistakes in coming here, namely in where I put my money and where to invest resources that I worked really hard to have and I put them in some of not the best places. So, but yeah, regardless, I think, like, I came here and I’ve achieved what I set out to do. pretty much after the opening night, so I’ve just been having fun ever since.
So, I mean, if you’ve if you’re a writer and a performer, you’ve got a lot of choices about what you might do next.
Yeah.
What are your plans going forward?
Yeah, so I think… I mean, it’s sort of maybe cliché at this point, but a major reason I would even, like Ed Fringe was even on my radar was the Phoebe Waller-Bridge Fleabag. My show is much different than Fleabag. I mean, there are adjacent themes, but it’s really like, I call it the Fleabag model of coming and doing work here, getting some eyes on it, getting some recognition, and taking it to rank a series. And I’ve had a series concepts that I’ve been ideating One for several years and I have a bunch of notes on my iPhone of like, yeah, all of these different episode ideas. It’s a comedy. It’s yeah not quite like maybe I could have an episode that in my it’s a manuscript, but it’s more so the tone and the type of character. And who would she do that with? Yeah, yeah, I so I’m deeply embedded in the often film theme I have been for. I guess, 14 years now. And I have a– I’m such a heart for grassroots development. I think that’s very much within the ethos of the community, largely, I would say, inspired by Richard Linklater, if you’re familiar with him, and all of the people around him. I kind of wrote– those people are kind of like my mentors. Umm I kind of rose up in the scene, like Rank, Linklater, and some other filmmaker. that are in his generation, they were kind of the people that grew me.
And so I’m really interested in kind of carrying the torch of making within the community, but then also like bridging the community into higher earning tiers and also more, more eyes, larger audiences. Austin is very much an indie film scene. Yes. So yeah, I have like I really wish and have fantasized about creating a project that activates and engages my community while also calling in like the dream would be to have a bunch of people within my community cast or working on it, but then also getting key. Yeah, providing work to the community and so on. But then a few higher profile comedians who, and I’ve even been hereat shows this week and watching people, and I’ve been like, oh, that would be a good person. Oh, you’d be a good person to have like write with me or to have in the show.
Yeah. But I have these amazing managers now that I got through the show, and I feel like they came on to my team for one of the main reasons that we can develop this show and sell it, hopefully by next year, and like the actual show,
Would you try Netflix?
Yeah, yeah, like a streaming service would be the goal. Yeah. Yeah
Because they do a lot of comedy.
Yes. And I and I want this one. I I obviously would love to be in it. I want it to be more so about like a community of friends, the actual show. So more than one storyline. Yeah. Iwant it to be like a group of people.
Yeah. Yeah And. What’s the kind of, how would you say the audience have reacted to everything?
You know, I always kind of maybe this is a bit self-deprecating. I’m always like, no one’s ever going to come out to me and tell me they don’t like it.
I know people who would.
Oh, really? OK, good. I will say from my perspective, I’ve been observing my audiences and everybody’s really engaged and leaning in. Nobody’s dragging over their phones. My boyfriend was standing outside of the theatre, like he didn’t go watch the show that night and he was watching people come out and he was like nervous ’cause he was like, and he said that they all were saying how phenomenal and amazing the show was.
Yeah, yeah Thank you very much for this interview. It’s much appreciated.
“Back to Black: The Music of Amy Winehouse” stands out as a poignant tribute to the late, great singer-songwriter.
The show is performed at theSpace @ Surgeons’ Hall. It is a journey through the soulful and turbulent musical career of Amy Winehouse. Reine Beau, the star of the show, embodies the spirit and voice of Winehouse. Her performance is both powerful and delicate. Her energy is infectious and impressive, captivating the audience with her great vocal range and versatility. Beau’s stage presence is magnetic. She’s not only a remarkable singer but also a great dancer. She makes every moment of the show electrifying.
As the audience entered the venue, they were greeted by Beau’s own music. This set the tone for the evening and showcased her talent as an artist. Her original songs are a testament to her artistry, blending seamlessly with the tribute she pays to Winehouse.
The Night Owl Shows band complements her with a mastery of the music. It feels both fresh and respectful to the original works. The setlist includes hits like “Valerie,” “Rehab,” and “Back to Black.” Each song is rendered with a raw emotion. This emotion captures the heartache and joy embedded in Winehouse’s lyrics. The show doesn’t shy away from the more sombre aspects of her life. It provides a narrative that is as much a celebration of her music. It is also a reflection on the struggles she faced.
Audience members have described the experience as unforgettable. They praise Reine Beau’s “incredible soulful and heartfelt renditions.” They also commend the “perfection” of the band. It’s a show that doesn’t just play the music; it makes you feel it deep in your bones.
For those who remember Amy Winehouse as a modern legend, this show is a must-see. It’s a reminder of the talent that was lost and the music that lives on. “Back to Black: The Music of Amy Winehouse” is a fitting homage. This tribute is for an artist who changed the landscape of music. It’s a performance that resonates with the spirit of the Edinburgh Fringe Festival itself. The performance is vibrant, emotional, and utterly unforgettable.
“The Accused” is a gripping piece of theatre that delves into the complexities of truth and perception. Set in a courtroom, the audience embarks on a journey through the trial. It follows the fate of an individual whose future hangs in the balance. The play masterfully intertwines elements of drama and suspense. It keeps the audience on the edge of their seats. They are presented with twists and turns that challenge their preconceived notions of guilt and innocence.
The production’s strength lies in its ability to engage the audience, not just as spectators, but as active participants. The innovative staging allows the audience to feel as though they are part of the jury. They weigh each piece of evidence and testimony presented. This immersive experience is further enhanced by the stellar performances of the cast. They bring depth and nuance to their roles.
The lead actor delivers a powerful performance, portraying the accused with a raw vulnerability that evokes empathy and introspection. The supporting cast is equally impressive. Each actor brings authenticity to their character. The stern prosecutor may be asking the questions. Alternatively, it could be the defence attorney fighting for justice. The witnesses’ testimonies are pivotal to the narrative.
Some members of the audience act as a jury to decide guilt and innocence. I had this opportunity and it really made me think about the nuances of the play.
The set design is minimalistic yet effective, creating an atmosphere that is both intimate and intense. The use of lighting and sound design adds to the tension. Subtle cues underscore the emotional beats of the story. My only criticisms are that the threepenny opera style vocal at the start is not carried through. Like many other shows at the Fringe, the sound production could also be improved.
“The Accused” is not just a play; it’s a thought-provoking exploration of the judicial system and the human condition. It challenges the audience to consider the fallibility of memory, the influence of bias, and the weight of moral judgment. It’s a show that resonates long after the final curtain call. It leaves viewers with questions about their own beliefs and the nature of justice.
“The Accused” is a testament to the power of live theatre and its ability to provoke conversation and reflection. If you have the chance to catch this show, do not hesitate. It’s a compelling experience.
“Bouncers and Shakers” was a riotous exploration of gender roles. It was set against the backdrop of a typical weekend night out. The performance was a masterclass in role reversal. The female cast members embodied the quintessential ‘laddish’ men, complete with manspreading and crude banter. Meanwhile, the male actors took on the roles of women prepping at the hairdressers. They also played women getting ready at home for a night out.
The humour was sharp and unapologetic. The actresses delivered their lines with a comedic timing that had the audience in stitches. They captured the essence of machismo with a playful edge that was both satirical and endearing. I really enjoyed the cocktail waitresses sarcastic comments about male customers predicting what they would say or do nex
The men, on the other hand, brought a delicate balance of humour and authenticity to their portrayals of women.
The show did more than just entertain. It held up a mirror to the audience. It reflected the pre-night-out rituals that are familiar to many. The shared experience of drinking at home and at pubs was a relatable touchstone. People did this to avoid the exorbitant nightclub prices. Many could relate. It resonated with the crowd. The routine was a nod to the communal aspects of socializing. It also highlighted the lengths we go to in order to enjoy a night out without breaking the bank.
Musically, the show was a journey through time, with hits from Sister Sledge to Wham! providing a nostalgic soundtrack for the older audience members like me. “The Only Way Is Up” seemed to be the unofficial anthem of the night. The song encapsulated the uplifting spirit of the performance. The dance routines were a highlight. The male cast members showcased their impressive skills. They infused their movements with a comedic flair.
The young cast brought an infectious energy to the stage, their enthusiasm palpable and their talent undeniable. It was a performance that didn’t take itself too seriously. Yet it managed to deliver a poignant message about gender expectations. It provided insight into societal norms.
“Bouncers and Shakers” is a performance that managed to be both uproariously funny. It was thought-provoking, leaving audiences both entertained and reflective. If you want great music, you will love this show. For fantastic dancing and a very funny look at gender differences, “Bouncers and Shakers” is the show for you.
“The Billy Joel Story” stands out as a poignant tribute to one of America’s most iconic musicians. The show is performed by the talented (and unexpectedly humourous) Angus Munro and the award-winning Night Owl Shows. It takes audiences on a journey through Billy Joel’s life and music. The journey has a special focus on his working-class roots and the realism that permeates his songs.
For me, one of the most compelling aspects of the show is its exploration of Joel’s connection to the working class. This is particularly clear through songs like “Allentown.” This track delves into the struggles faced by the people of Allentown, Pennsylvania. It covers the decline of the American manufacturing industry. It resonates deeply with audiences. It’s not just a song. It’s an anthem that captures the resilience and determination of a community grappling with economic hardships.
The performance of “Allentown” is both moving and evocative. It brings to life the sense of hope amidst challenges. Joel so masterfully expressed this in his lyrics. It’s a reminder of the power of music to show the realities of life. It also highlights the strength of the human spirit.
This grit is also present in “Captain Jack.” Joel has described it as an anti-drug message. It highlights the emptiness and futility of using drugs to escape reality.
Equally engaging is the portrayal of Joel’s poppier side with “Uptown Girl.” Despite its catchy melody and upbeat rhythm, the song still carries the essence of Joel’s storytelling. It paints a picture of love across social divides. It’s a testament to Joel’s versatility as a songwriter. He has the ability to craft hits that are both entertaining and meaningful.
The show also offers fascinating insights into the creation of “Piano Man,” Joel’s signature song. Learning about the song’s origins and seeing stills of the bar where Joel, under a pseudonym, drew inspiration for this classic adds a layer of intimacy to the performance. These elements offer a deeper connection. It’s as if the audience is invited into Joel’s personal narrative. They witness the cynicism and humour that often underlie his work.
“The Billy Joel Story” is more than a musical tribute. It’s a narrative tapestry that weaves together the threads of Joel’s life. It combines his music and the stories behind his songs. The anecdotes shared by Munro are complemented by a fitting slideshow. They offer a chronological arrangement that paints a vivid picture of Joel.
“The Billy Joel Story” at the Edinburgh Festival Fringe is a must-see for fans and newcomers alike. It’s a show that celebrates the music of Billy Joel. It also honours the stories and experiences that shaped his songs. This show blends nostalgia, storytelling, and top-notch musical performances. It is a standout experience. It captures the essence of the Piano Man’s legacy.
“I Love You, You’re Perfect, Now Change.” is a delightful musical, full of insight and fun. It was packed when I went to see it and rightly so. This production was brought to life by the talented Wolverhampton Grand Theatre group. It has been a highlight of the festival. The production captivates audiences with its insightful and humorous take on the complexities of modern love.
From the awkwardness of first dates to the challenges of marriage, this musical navigates through the stages of relationships with wit and warmth. This musical navigates through the stages of relationships with warmth. It also covers the nuances of life’s twilight years. The show’s structure is akin to a series of vignettes. This allows for a dynamic and fast-paced exploration of love’s many faces. It avoids the trap of a singular narrative. Instead, it celebrates the universal experiences that bind us all.
The cast, comprised of four incredibly talented actors, delivers each scene with a perfect blend of humor and heart. Their performances are vocally impressive. They also resonate with the emotional depth required to bring such relatable stories to life. The musical numbers are catchy, moving, and often hilariously on-point, echoing sentiments that many in the audience can identify with.
The show has been praised for its entertainment value and the quality of performances. Some have noted that the inclusion of queer representation, although appreciated, seemed somewhat tacked on. Despite this, the overall message of love in all its forms remains a powerful and central theme of the production.
“I Love You, You’re Perfect, Now Change” at the Edinburgh Fringe 2024 is a must-see. It’s a show that not only provides laughs and levity. It also offers a mirror to our own lives. It reminds us of the beauty and absurdity of love. Whether you’re single, coupled up, or somewhere in between, there’s something in this musical for everyone. It is a testament to the timeless and ever-evolving nature of relationships. So, if you find yourself at the Fringe, do yourself a favour and catch this gem of a show.
“99 Red Hot Kitties and a Cockatoo,” a burlesque extravaganza that is the talk of the town.
408 words, 2 minutes read time.
The show’s artistry was nothing short of fantastic. The performers were adorned in dazzling and sexy costumes. They moved with a grace and precision that captivated the audience from start to finish. A particular highlight , for me, was the innovative use of LED hula hoops. This added a dynamic and mesmerizing element to the performance. The skill and creativity displayed in this act were truly admirable and showcased Daiquiri Dusk’s dedication to her craft.
The audience reactions throughout the show were fascinating to see. There was a palpable sense of excitement and engagement in the air. Each act drew cheers and applause. There were even some sexy growls! The number of younger women in attendance was impressive. This reflects a growing interest in the burlesque scene among a new generation of theatre-goers. This demographic shift suggests a bright future for the genre, with fresh perspectives and enthusiasm.
The troupe from Dundee, Marvelesque, a body-positive burlesque group based in Dundee. delivered a powerful message of body positivity. Their performance showed how burlesque can be a platform for celebrating diversity and self-love. The confidence and joy exuded by the dancers were infectious. They left a lasting impression on the audience. This highlighted the importance of inclusivity in the performing arts. It also showed the positive role inclusivity can have in fostering new perspectives. Tequila Diamond, a teacher, choreographer, and performer known for her passionate performances also performed individually.
There were many performers and I’ve just highlighted a few. You certainly get your moneys worth at this show.
Complementing the dazzling performances was the comedian who served as the master of ceremonies. Their good-natured banter and witty interactions with the audience provided a seamless transition between acts. The humor was well-received. It added a layer of warmth and familiarity to the evening. It ensured that the energy levels remained high throughout the show.
“99 Red Hot Kitties and a Cockatoo” was a triumph of the Edinburgh Fringe 2024. It was a celebration of talent, creativity, and empowerment that resonated with a diverse audience. The show is a testament to the enduring appeal of burlesque and its ability to evolve and inspire. If you have the chance to catch this troupe in action, it’s an opportunity not to be missed.
Reviewed by Pat Harrington
Till the 24th of August 2024 You can buy tickets here
The Edinburgh Fringe is a festival that thrives on the unexpected, and Matt Forde’s “The End of an Era Tour” is no exception. Forde, a seasoned political comedian, has returned to the Fringe with a show that is as much about resilience as it is about satire.
Forde’s journey to the stage this year is nothing short of remarkable. After a diagnosis of cancer at the base of his spine and major surgery, his presence at the Pleasance Courtyard is a testament to his determination. The show begins with Forde walking on stage, supported by a walking stick, and humorously explaining his situation. It’s a powerful moment that sets the tone for the evening – one of humor intertwined with human vulnerability.
The show itself is a rollercoaster ride through the current political landscape. Forde’s ability as a former Labour advisor shines through as he lambasts Rishi Sunak and the outgoing Tories, while also sparing some jibes for the SNP to acknowledge his Scottish audience. His impersonations are a highlight, capturing not just the voices but the mannerisms of political figures with impressive accuracy. His take on the new Prime Minister is particularly noteworthy, as is his portrayal of Trump, which oscillates between hilarity and horror.
What stands out in Forde’s performance is the lack of malice. Even when poking fun at political figures like Lee Anderson or Nigel Farage, there’s a sense that it’s all in good jest. This is comedy that appeals to a broad audience, akin to a Guardian op-ed with a generous helping of humor.
Despite the political barbs, there’s an underlying current of optimism in Forde’s show. His gratitude for the NHS, which he credits with his ability to do, serves as a reminder that not everything is bleak. In a time of political turmoil, Forde’s show offers a space for laughter and reflection.
For those who appreciate political satire delivered with a personal touch, Matt Forde’s “The End of an Era Tour” is a must-see at this year’s Fringe. It’s a show that celebrates the power of comedy to discuss the serious, the power of the human spirit to overcome adversity, and the enduring importance of the NHS. Forde may joke about the end of an era, but if this performance is anything to go by, his era as a top political comedian is far from over.
