Thursday, August 27, 2009

"Kursk" - Edinburgh Fringe 2009

It takes something a bit special to get us on the road to Edinburgh after 8pm on a weeknight - and something even more special for us to be arriving home in Glasgow several hours later without grudging the journey. But at 1am, we stumbled through our front door glad we had made the effort to see "Kursk".

I'd loved the concept of this show since reading reviews of its London run - long before I knew it would be appearing at Edinburgh. Staged in a partially mocked up submarine the audience are invited to take a wide view from a raised metal gangway or find a place to stand or perch at ground level and be right in amongst the action.

Despite the title, the focus of the play isn't really the Russian submarine which sank in 2000 with the loss of all 118 souls on board. In fact it's 60 minutes into the 90 minute runtime before the Kursk gets more than a passing reference. Instead the submarine we are find ourselves on is a British vessel - with a mission to monitor Russian navy wargames and the Kursk in particular. And while we witness the events that befell the Kursk at a distance, and there is a short consideration of whether our sub could offer assistance (but thereby revealing its presence in the area), our only real connection with those on board the Kursk is the knowledge that its crew is almost certainly little different from ours. A fact the British crew are all too well aware of.

But it isn't the staging or the true life horror that makes "Kursk" noteworthy. It's the characters that Sound&Fury and Bryony Lavery have created. Yes they fall into convenient stereotypes: the jack-the-lad, the prankster with his own worries at home, the inexperienced young captain, the aspiring poet and the proud new father, but it's the relationships between these broadly sketched characters that works so well. There is a genuine sense that these guys have spent time with each other and while they throw around the banter, this is very much a brotherhood.

Of course, a large part of that success is down to the performances from the five strong cast. It must be a difficult space to perform in, as the acting needs to be able to withstand close scrutiny from the audience in the immediate proximity while remaining sufficiently broad for those viewing from across the room (or even without a direct sightline).

"Kursk" is a truly immersive piece of theatre - both physically and emotionally. Best show we saw at the Fringe this year.

Kursk runs at the University of Edinburgh Drill Hall until Saturday 29th August.
Image used with permission


Monday, August 24, 2009

"White Tea" - Edinburgh Fringe 2009

"White Tea" by David Leddy and Fire Exit/Tron Theatre at the Assembly Rooms featured high up on our list of Fringe shows early on, as "Sub Rosa" remains not just a highlight of 2009 but one of our favourite shows of all time. And as we'd just returned from Japan and visited many of the same places, this Japanese influenced and based tale had a particular resonance.

Probably due to that recent trip I felt incredibly rude walking into the white clad room with its floor covered in tatami mats wearing my shoes - I had to actually check if they wanted our shoes off. However the audience participation was limited to donning paper kimonos and drinking the tea we were served at the start.

Set in a small intimate stark white space at the Assembly Rooms the performances of Gabriel Quigley as Naomi and Alisa Anderson as Tomoko are supplemented by projections of Japan onto the four walls as we follow the 2 women who despite their different cultures and backgrounds end up sharing a very intimate and personal journey. Naomi, the adopted Scottish daughter of a Hibakusha is summonsed reluctantly to her mother's bedside by Tomoko, her mother's nurse. Visiting her mother's homeland for the first time the three women involved in this tale are fleshed out in front of us. Although the history and culture of Japan are the framework on which this tale hangs, it's very much a story about mothers and daughters; of family expectations and secrets.

Like "Sub Rosa" we're treated to a production that is beautifully lit and devised, and memorable in many ways. However it lacked the magical quality that made "Sub Rosa" so wonderful. Perhaps it's because Naomi, for all her sadness and confusion, is difficult to like and any sympathy you feel for her story has to overcome that. I felt that only at the end was I actually getting to know the real people behind their facades.

"White Tea" continues at the Assembly Rooms until August 31st then tours.

Image used with permission.


"The Last Witch" - Edinburgh International Festival 2009

This first bit is confusing so please pay attention at the back... "The Last Witch" by Rona Munro is being staged by the Traverse Theatre Company and directed by Traverse Artistic Director Dominic Hill - but isn't being staged at (major Fringe venue) the Traverse Theatre. Instead it's part of the Edinburgh International Festival and is being staged just round the corner at the Royal Lyceum. Everyone got that? As a result of this combination it's very much a flagship piece for both the EIF and the Traverse so there's a lot of interest in this one...

Next, a bit of housekeeping. While it usually falls to me write up our thoughts on the shows we see, it's only after Waldorf and I have compared notes. And we've always had the policy that if she's enjoyed a show considerably more than I have, she'll be the one to put pen to paper. Now, "The Last Witch" has caused a significant division of opinion this evening, but as Waldorf prefers to take her time over things, we might have to wait a while for her thoughts ("White Tea" comments now one week and counting). But given the short run and likely interest in the production we'd rather not keep you waiting - so I'll do my best to fairly reflect her thoughts on the show.

I'd avoided reading much about the play in advance but Rona Munro has cleverly taken things down a less obvious route than I expected. Set in northern Scotland in 1727 it focuses on Janet Horne who finds herself accused of witchcraft, but this isn't a familiar tale of hysteria and paranoia. Here Horne is a self proclaimed witch who boasts of her abilities to her daughter and neighbours. Being essentially a wee wifey with a big mouth she quickly had Waldorf very much on side, but for me it killed any sympathy I had for the character there and then - in my book if you talk yourself up like that with a load of nonsense you have to be prepared for the consequences if you run into someone daft enough to believe you (or use your ramblings against you). My liberal sentiments were pricking my conscience that this could be an allegory for those in the present day who talk themselves up as extremists and then find themselves at the sharp end of terrorism charges, but I still felt nothing as she burned.

Waldorf liked Munro's biting dialogue, but it didn't always work for me. I thought the sparks flew in the scenes between Janet (Kathryn Howden) and local Sheriff (Andy Clark) and also in the moments between daughter Helen (Hannah Donaldson) and Nick (Ryan Fletcher) but for much of the rest of the time I found the dialogue seemed to drag on - with too much standing around waiting for characters to finish. Waldorf didn't feel this was a problem and particularly liked the dynamic created between the three female characters - Janet, Helen and neighbour Elspeth (Vicki Liddelle)

For a production that has clearly had a lot of time and effort thrown at it, I didn't think it was particularly put to good use on stage. In fact I reckoned that it could have been staged just as effectively in the Traverse's small studio theatre (albeit without the same size of audience). The on-stage musical accompaniment seemed out of place and the video elements and soundscape were unimpressive. And don't get me started on the use of the fluorescent strip lights!

In Waldorf's book this was an enjoyable evening but for me it was decent at best - certainly not deserving of its flagship status.

The Last Witch runs at the Royal Lyceum until 29th August and their website indicates all performances are currently sold out.
Image by Robbie Jack used with permission


Thursday, August 20, 2009

"Love But Her" - August 2009

It’s easy for us to rattle on now and again that we treat all performances equally and that we make no allowance for youth or inexperience, but sticking to this policy must make for posts that are at times unpleasant to read – they can certainly be unpleasant to write. And despite strong performances, so it may be here I’m afraid. SYT Production's revival of Lara Jane Bunting's “Love But Her” will certainly get pleasing rounds of applause and comments about what ‘these young people have achieved’, and it would make for a perfectly passable church hall show at the Edinburgh Fringe but no one is going to rave about it...

My heart sank during the opening moments of the show as the cast paired up for an awkward shuffle straight out of ‘social dance’ classes at school. From Scottish Youth Theatre's “high profile, high quality performance group" I was expecting something either safe but brilliantly done or something with a real edge to it. This was neither, and comes across as a conflicted piece of theatre – unable to throw off a seeming need to incorporate Burns’ work, despite its inclusion damaging what could have been a powerfully dark examination of our national poet. And it’s such a pity because the show definitely has its moments.

Katrina Innes as Burns' long suffering wife Jean brings the tragedies of her life, including loss of several children, sharply into focus, while convincing the audience why she still loves her wayward husband. It’s a stirring performance with some beautiful vocals. Phil Napier as Burns is a brooding presence and his interactions with Innes are where the real interest lies. His moments of tenderness are rare and the contempt and frustration directed at Jean would meet many people’s definition of domestic abuse. And with Napier’s intense performance he really gives the impression he might well send Jean flying across the room with the back of his hand. But not to worry, we’ll soon a have another song or bit of humorous banter with the neighbours.

On their own the moments of humour work well too – particularly from Anna Schneider and Craig Steele. Kirstie Steele does well as daughter Betty and provides much of the show’s vocal accompaniment while Nathan Byrne as Davie Wilson provides an interesting dynamic with his unrequited love for Jean. The show has several set pieces that really hit the mark – Jean’s fears for her dead children’s plight in hell is a real tug on the heartstrings and the moments when Jean and later Burns are haunted by voices from the past make for striking theatre. But the play never gels as a whole.

I try to avoid comparing shows but having seen Nonsense Room’s brilliant (if slightly red, red rose tinted) tale of the life of Burns and his women only last week at the Fringe it’s impossible not to. “Ae Fond Kiss” created a wonderful feeling of charm while not ignoring the harmful impact Burns had on many of those around him. It incorporated some of his work in a manner that felt cohesive rather than here where it’s often interrupting the narrative flow. I’d urge all those involved in “Love But Her” (and anyone else who wants to see a great show) to get across to see “Ae Fond Kiss” before it ends its run. I suspect it’s exactly the ‘safe but brilliantly done’ show the SYT were aiming for – and if not, it should be. But if they are aiming for the edgy, and there’s enough in “Love But Her” to suggest this, they need to commit to it wholeheartedly. Not merely hints at the darkness, tempered with light. The cast have shown they are capable of delivering in challenging roles – it’s up to the SYT to select higher quality material for them to work with.

"Love But Her" is on at the Brian Cox Studio in the SYT's Glasgow building on Friday 21st August, and then has dates in Irvine and Stirling the following week.


Wednesday, August 19, 2009

Thoughts on the Fringe

Some of you may have noticed that we haven’t quite thrown ourselves into the spirit of the Fringe as much as we have in previous years. There are a number of reasons why this is the case. Some are circumstances particular to us in 2009 while others are potentially of wider interest...

Returning from a two week trip to Japan at the start of August was energy sapping and it’s taken a bit of time to shake off the jetlag. And with another trip planned for September it’s left us limited in taking leave from our day jobs and conscious of the cost of our Fringe trips. Despite receiving Fringe Press Accreditation we’ve stuck to our year round policy of paying for all tickets – although as anyone attending Edinburgh knows, the ticket costs are just a small part of the overall expense.

But costs aren’t what has limited our trips – at least not directly. The trouble is we just haven’t found enough shows to really 'grab' us this year and frustratingly many of the ones that did pique our interest seemed to take place at the same time. In previous years we’ve happily filled days with four shows booked in advance and if time permits picked another one or two on the day. But this year we would have been coming through for two shows we really wanted to see and having to take chances on another three or four. Or we could have wasted time and money by coming through day after day for a single show in the afternoon or evening but that isn’t really a viable option especially as the T***works and parking problems make an after-work drive through a risk for any show starting before 8.30.

And I’ll be honest, I’m a bit tentative about putting this next bit in writing but I’m going to say it. I found Edinburgh rather unpleasant this year. Perhaps it’s the contrast from spending time in the restrained atmosphere of Tokyo but the drunkenness of Edinburgh on Saturday night at 9pm was troubling – it felt more like Glasgow at closing time. Walking around the Cowgate there was a feeling that areas of the city were a powderkeg that could go off – and the frequency of passing police vehicles with their blue lights flashing and sirens wailing did little to suggest otherwise. Depressingly I felt the need to advise a work colleague that if she was thinking about heading through for a show or two it might be best to go midweek.

It certainly felt more drunken than previously but perhaps it’s down to a change in the balance of those wandering the streets that has made the less welcoming elements more visible. Despite talk of increased ticket sales, on the days I’ve been in Edinburgh this year venues have felt quiet. Underbelly on Saturday night is the only time I’ve felt a place to be busy in the way that it has in previous years. There aren’t the same numbers of groups handing out flyers – even the Royal Mile and the drag outside the Pleasance haven’t been their usual nightmare to walk through.

And though I’ve seen some brilliant shows (Ae Fond Kiss, Certain Dark Things and The Unravelling) I’m really struggling to build enthusiasm for our next trip through on Sunday. So is it just me or are things different in Edinburgh this year?


Monday, August 17, 2009

"Mark Thomas: The Manifesto" - Edinburgh Fringe 2009

We always enjoyed Mark Thomas' brand of comedy activism when he was a regular feature on Channel 4 so we were delighted to get the chance to see him live in Edinburgh. But this isn't just an Edinburgh Fringe show - Mark is touring it nationally with a 2 week stop in Edinburgh. At each performance the audience is asked to submit policy idea and the most popular suggestion each night will be added to a manifesto which Mark will campaign to have implemented. Doesn't exactly sound like great material for generating laughs - but you'd be surprised what people come up with...

And to prevent any possibility of a poor audience resulting in a poor evening's show we also get a run through the highlights of suggestions from earlier shows on the tour and tales from some of Mark's other campaigns. He fizzes with energy and engages with the audience - both as a group and as individuals and benefits from an understanding of a Scottish audience and in particular the Glasgow/Edinburgh dynamic.

When we start running through our audience's suggestions it's surprising how varied they are. From old school political/class war stuff (the abolition of private & grammar schools) to the bizarre (a compulsory curry once per week). In the end we settled on a proposal that we should hold a national bring & buy/bake sale every Tuesday with a future expansion to include global trade.

To some extent how much you enjoy the show will depend on how you are disposed to Mark's brand of politics, but even if you are only partly convinced by the politics his slick comedy style will carry you along a fair distance.

Mark Thomas: The Manifesto runs at the Stand until Tuesday 18th (£12) and stages a meeting with MSPs to discuss The Manifesto proposals at the Pleasance on Wednesday 19th (free but ticketed)

Image used with permission.


Sunday, August 16, 2009

"The Unravelling" - Edinburgh Fringe 2009

That Mulberry School for Girls and playwright Fin Kennedy have received a Fringe First award for "The Unravelling" is an extraordinary achievement but it came as no surprise to us. For the last two years they have produced charming pieces of theatre full of energy and humour and we told you weeks ago this one would be worth seeing - so no excuses for those of you who missed out on tickets in the rush once the award was announced.

Set in a fantastical fabric shop located near their East London home we meet three daughters challenged by their mother to weave enchanting tales to determine which of them should inherit the shop. The cast command the space brilliantly and the audience are instantly captivated by their tales. The whole cast are hugely impressive appearing completely comfortable on stage, but a special mention for Rabia Begum as the eldest daughter who brought a particular sparkle to the role. Each tale is stylishly performed with the help of some wonderfully creative props and costumes, but the tales are not as slight as they may at first seem. In the best tradition of fairy tales there are lessons to be learned. An absolute joy to watch.

Sadly the company won't be performing at next year's Fringe but "The Unravelling" is a fitting way to finish for the time being. It's been a privilege to watch their three shows and we look forward to them returning to Edinburgh before too long.

The Unravelling has completed its run at The Space @ Venue 45
Image used with permission


"Certain Dark Things" - Edinburgh Fringe 2009

After the success of last year's "How it Ended", You Need Me have returned to Edinburgh with a new tale of sexual and cultural repression set in the Basque region between 1959 and 1971. It's a stunningly beautiful piece of theatre where movement, singing, music and soundscape are exquisitely combined. Sooner or later the company are going to come up with a show that will absolutely blow people away and will be THE piece of theatre that Edinburgh is talking about. But I don't think it will be this year - not quite.

For despite the powerful performances from the cast the story itself is a bit of a let down - if you strip away the Basque setting we'd seen it all before. I know I wasn't alone in my thoughts, as while waiting for the second half to begin another audience member commented that it felt like a soap opera dressed up as something more. And frustratingly what is used as a final 'reveal' would seem to me a much more intriguing focus for the piece as a whole.

Nevertheless, this is a must see show for those who like their theatre to come with an artistic flair that is so often lacking at the Fringe. Put any doubts over the plot to one side and just enjoy the theatrical magic being woven before you. Despite its flaws this will be one of my highlights from this year's Fringe and You Need Me will be the first company I look for in next year's programme.

Certain Dark Things runs at Underbelly until 30th August (no performance on Monday 17th).
Image used with permission


Tuesday, August 11, 2009

"A Clockwork Orange" - Edinburgh Fringe 2009

Rounding up a full day in Edinburgh was a late night performance of "A Clockwork Orange" at C by EatTheBaby Productions. At just over the hour I was interested to see how they would manage to interpret the book (or the film if you prefer) in the time constraints and solve the staging difficulties of showing Alex and his droogs ultraviolence.

What you get is a production that gets all the key elements in, but with jumps in the narrative that leave you slightly bewildered. We spin from Alex's cocky casual violence; the events leading to his arrest and to his incarceration; the application of the Ludovico technique and all that results from that. However by trying to tell everything you lose the clarity of the tale and the depth of meaning. I'm unsure how much you would have followed if you had come to the show without having some context, particularly given the Nadsat which makes txt spk seem almost intelligble.

It's a difficult dilemma when adapting a well known work for the stage, but given the limited time I firmly feel that some liberties needed to be taken with the adaptation to bring a focus to the piece.

There is certainly an energy about the performances, and the ensemble works well - especially as most have multiple roles. The violence was well executed and choreographed, but the scene changes weren't smooth enough and helped take kill the pace. I did enjoy it, but felt disappointed more hadn't been done with a work that cries out for a stylish and clever production.

"A Clockwork Orange" continues at C until 22 August at 22:00

Image by Adam Levy. Used with permission.


Monday, August 10, 2009

"Barflies" - Edinburgh Fringe 2009

Sometimes at the Fringe, even as low down the critical food chain as we are, you do definitely have the feeling that what we say here can make a difference to a show. But on other occasions, as with Barflies, shows come with such a reputation (and limited audience capacity) that they are sold out almost before the Fringe has begun. The question then becomes whether or not the show lives up to its reputation. Well yes... and no.

Firstly we need to cover a bit of full disclosure here. On the afternoon we saw the show it encountered technical difficulties and had to be halted for a good five minutes while they worked on the electrics and it then proceeded with a very limited lighting set-up. Unfortunately there's no way for us to measure the impact of the lighting but the delay did act as a significant disruption to the flow of the piece despite the best efforts of the cast. The second item I need to disclose is that I definitely fall within the category of people our lead character rails against - those boring sods who never let themselves go crazy. And lastly, I don't find drunks amusing. So please bear those factors in mind as you read on.

Based on the stories of Charles Bukowski, site-specific specialists Grid Iron are staging their show in the Barony Bar. Okay, so it's perhaps not as 'out there' as a former jute mill or international airport, and yes, this being the Fringe there are theatrical events taking place in many of Edinburgh's bars but I think this is the only one where they take over the bar entirely (although the bar is closed the ticket price does include a complimentary drink!).

Our 'hero', Henry is an unashamed drunk and would be writer and is brilliantly portrayed by Keith Fleming who holds court at the bar for pretty much the entire 75 minutes. While making a case for the merits of at least an occasional lost weekend the production doesn't hide from the consequences of the addiction - both in the violence meted out by Henry and the direct impact it has on some of the other characters we meet. The women in Henry's life are played by Gail Watson with performances that should see her being lauded in much more significant places than here. Her instant transformation between so distinct characters at times is truly remarkable.

But for me, character and amusingly fantastical tales aren't enough and I never really connected with the show (possibly for the reasons noted above). And given how directly I felt previous Grid Iron shows have spoken to me that has to go down as a disappointment. Your mileage may vary.

Barflies runs at the Barony Bar, Broughton Street Sunday to Thursday until 31st August - Tickets pretty much like gold dust.
Image by Douglas Jones used with permission


"Ae Fond Kiss" - Edinburgh Fringe 2009

Not being really much of a Burns fan I was a little unsure about seeing this one, but fortunately this isn't so much about Robert Burns the Poet as Robert Burns the Man. Simon Beattie & Bruce Strachan have written a delightful piece of theatre that puts the character of Burns front and centre while incorporating extracts of his work and many of the characters they feature. At turns genuinely funny and powerfully moving it is always thoroughly entertaining.

Allan Scott-Douglas brings the required charm and charisma to Burns and has a real presence as he carouses the stage while Gilchrist Muir excels in a number of roles - including a fantastic turn as Burns' landlady Annie Wilson. The remaining cast all get moments to shine amongst their multiple roles - Alison McFarlane transitioning effectively from young love to long suffering wife Jean; Jennifer Macdonell displaying an impressive vocal talent as his tragic Highland Mary and Rebecca Bradley portraying the conflict in Nancy as she is torn between her husband and Burns.

Music and song is an integral part of the show and the whole cast contribute their talents along with live music provided by Jemma Capaldi on piano and Emily Sinclair on flute. And while some may question the location of the show at the Scottish Mining Museum just outside Edinburgh, the wonderful acoustics of the Powerhouse quickly justify it - very few Edinburgh Fringe venues would stand up to comparison. It may not have the instant draw of Nonsense Room's usual home at Rosslyn Chapel but it's a marvelous choice of location and in fact the museum itself looks so interesting from the small part we saw we hope to return for a visit post-Fringe.

Amidst a Fringe programme that seems to have more than it's fair share of misery and realism, NonsenseRoom have created a show they intend people to enjoy - and I doubt there will be many people who will leave it without a smile on their faces.

Finally, a couple of bits of practical advice. The Museum is about 20 minutes by car from Edinburgh city centre (in good traffic conditions) and around 30 minutes by bus but it is well worth the effort (and you could easily spend that long walking across the city from venue to venue). The other thing you need to note is that although the Fringe website has the runtime as 75 minutes, the night we attended it ran to 100 minutes and I suspect that's the normal runtime so bear that in mind if planning further shows afterwards.

Ae Fond Kiss runs at the Scottish Mining Museum until 29th August with tickets costing £10. There are no Saturday performances with the exception of a Special Evening on the 29th which costs £25 and includes tour of the museum, cast and crew Q&A and a post show buffet.


"Pinocchio" - August 2009

From the opening moments in Stephen Greenhorn’s version of Pinocchio for the Scottish Youth Theatre at the Tron there is no mistaking that it harks back to Cullodi’s dark original rather than the familiar Disney version. And as the show progresses the light relief provided by the Fox and Cat (an effective Andrew McCormack and Viki Leech) is the only brake on the bleakness as we hurtle towards what can only be described as a pretty horrific conclusion.

It isn’t a horror without meaning – indeed the message is every bit as horrific as the final act – and it does leave the audience with something to think about. But from a narrative point of view it’s largely too little, too late as what has preceded it is frequently sketched without any background or detail. For example, it’s clear from the Blue Lady that Pinocchio is of some huge significance but I never got any explanation as to why. And while I’m unsure where to apportion responsibility for the twin (and at times triple) Pinocchios on stage between writer Greenhorn and director Kenny Miller, it was a decision that, although not confusing, adds nothing to the piece and just left me asking “Why?”.

But if the adult professionals have perhaps not quite hit their marks, the same can’t be said of the performers. There are no weak links here and all those on stage give strong performances - both as individuals and in the ensemble set pieces. Our main twin Pinocchio’s (James Ringer Beck & Scott C Miller) carry the show well with great support from Michael J Warne as Gepetto, Chanelle Buchan as the Blue Lady and Lewis Harding as Green. There's also good use of movement that brings a real style to the production.

SYT have again put together a polished piece of theatre and I respect that they are tackling difficult shows with something to say - even if at times it's uncomfortable to hear. But I do wish every so often they'd do something a bit more cheery and let the audience share some of the fun they are obviously having.

Pinocchio has now completed its run at the Tron.
Image used with permission


Friday, August 07, 2009

Edinburgh Fringe 2009 - Index

Today marks the first day of this years Edinburgh Fringe and on Sunday we'll be making our first trip through of the year. We've just returned from two weeks in Japan so to be honest we're struggling a bit to finalise our plans - and it may be we won't manage to see quite as many shows this year as we have in the past, but at the moment we're still hoping to fit in around 30 in total. Here are some of our Fringe tips and a round-up of our current plans...

Our Fringe 2009 Preview

Fringe Good Food Guide

Tips for Fringe goers

Shows we'll be seeing/have seen... (Updated throughout August)
Ae Fond Kiss (Review now posted)
A Clockwork Orange (Review now posted)
Barflies (Review now posted)
Mark Thomas: The Manifesto
White Tea
Gagarin Way
The Last Witch (technically the EIF)
Certain Dark Things (Review now posted)
King Arthur
The Unravelling (Review now posted)
An Ofsted Inspector Calls (sold out on the day we hoped to see it)

Djupid (The Deep) - reviewed April 2009
Rebus McTaggart - reviewed Fringe 2006
My Grandfather's Great War - reviewed Fringe 2009
The Year of the Horse - reviewed Feb 2009

Other Fringe Review/Comment sites
Three Weeks
Edinburgh Festivals
Onstage Scotland
Edinburgh Festival Punter
A Local's Guide to the Fringe
Fringe Guru