"Hairy Maclary & friends" - August 2016

Although Lynley Dodd’s Hairy Maclary stories have never been among Miss Ritz’s favourites, we had good reasons for taking her along to Nonsenseroom’s “Hairy Maclary & Friends”.  Their shows for grown ups at Rosslyn Chapel were highlights of our Fringe trips for many years, and Waldorf had seen their “Hairy Maclary” show with some friend’s little ones a few years back.  So we knew this would be high quality stuff.

Unlike so many character based shows for children, this one doesn’t take the puppet option (with the exception of Zachary Quack the duck).  As well as the two human characters, all of the dogs (and cat) are performers in costume.  Being so used to similar shows operating with very small casts I was initially incredibly impressed by the impossibly quick changes the performers were making - until it dawned on me that this is a full company of seven actors – which eventually allows all of the canine friends on stage at once.   For years I’d mocked one of the little ones (old enough to know better) that had accompanied Waldorf previously for asking at the end “Were they real dogs?” but I have to admit that from more than a few rows back both Hairy Maclary and Muffin McLay are pretty convincing!  And the set is also several cuts above the usual efforts – with some very cleverly created obstacles and an ingeniously designed multi-purpose picket fence. 

It’s a charming show to watch as a child or adult – in part of course due to Dodd’s writing and characters – but also because of the framework that holds the stories together.  Miss Plum and Sam Stone the Butcher act as our narrators and keep the youngsters in the audience fully involved while calling back to old school panto routines to boost the nostalgia factor for the adults.  Our Miss Ritz really enjoyed it, but I do have to issue a little parental warning about the show.  At two-and-a-half, Miss Ritz can be a sensitive little soul at times and she found Scarface Claw a little on the scary side. She also gets quite emotionally involved so had a couple of quiet tears rolling down her cheek when (spoilers ahead) Schnitzel von Krumm lost his comfortable old basket.  Of course the biggest tears of the afternoon were when she didn’t want it to end, but fortunately the cast recording CD made for an acceptable substitute (and we felt was well worth the £10 we paid for it).  And although photographs were not permitted during the show, at the curtain call we were encouraged to take pictures which Miss Ritz will enjoy looking at later.

Nonsenseroom have made an amazing success of this show with several runs at the Fringe and UK and overseas tour, but I still miss those summer evenings at the Fringe and their freezing cold Christmas shows at Rosslyn. The Hairy Maclary tour has now finished but info on future tours will available on the Nonsenseroom website.  They also have a new show at this year’s Fringe – The Shark in the Park. 

Theatre needs 'Games Makers'

First off, let me be absolutely clear.  This post is in no way a criticism of Front of House staff at the theatres we attend - they've never been anything other than welcoming and helpful.  And we've also seen how effective they can be when needed. But recent months have convinced me that they might be missing a trick somewhere along the line...

Back in July and August we were fortunate enough to see a number of events at the Olympics and one of the elements that made London so special for those few weeks was the contribution of the 'Games Makers' (for the sake of simplicity I'm calling them all Games Makers but I'm also including the large numbers of staff from London Transport etc. in this).  This volunteer army helping spectators in venues and around London were given one of the loudest cheers of the evening during the Olympic Closing Ceremony and have been widely praised for their efforts.  I can't claim to be an expert on these things, but to my untrained eye the reason the Games Makers made such an impression was their willingness to engage with spectators - to chat about the Games, to take photos or just share a moan about the weather.

I'd pretty much written off the undoubted success of the Games Maker role as a transient magical bubble that was lost with the ending of the games, but on Friday night I witnessed something very similar... in Glasgow.  We were going along to see some of the UCI Track Cycling World Cup at the new Sir Chris Hoy Velodrome and as we'd been advised there would be no visitor parking we'd opted for the free shuttle bus from Glasgow City Centre.  As I waited at the bus station for Waldorf to join me, the SPT staff organising the services were chatting away to those in the queue, giving helpful advice for the return bus schedule and talking about the event.  They even offered to hold the bus a minute or two if needed as Waldorf was running (literally) slightly late.  On arrival at the Velodrome a number of hosts in Games Maker style uniforms were greeting people and offering assistance, and later, while waiting for our return bus after the event we had a lengthy conversation with some G4S staff about how the event had been going.

We've seen approaching 400 shows over the last six years and I could count on one hand the number of times we've actually been engaged in a conversation about theatre by front of house staff.  And off the top of my head I can only think of two occasions where it was more than a passing comment - once by a young usher waiting to go in to the Citizens Circle Studio and once by staff at the Pleasance during the Fringe.

Of course, theatres and companies make other efforts to connect with their audiences - the Tron staff mingle at 'Patrons' events, Nonsenseroom chat away with audiences after their 'Special Performances' at Rosslyn Chapel and Rapture often greet people on their way into the theatre. Cumbernauld Theatre also tried hard with an 'Arts Ambassadors' scheme while the National Theatre of Scotland run their 'Social Media Calls' and often hand out audience comment cards.  But that leaves a huge number of missed opportunities where audiences simply arrived to a welcoming smile and left with a flyer for another show.  There's no shortage of moments before house doors open where greetings could be exchanged and shows promoted - "I think you'll really enjoy this, I've seen it three times and am still laughing each night", "If you like this you might like XXXXX which is on next month", "Did you see their last show?  Wasn't it amazing?".  We don't think many people working front of house in theatres are there just for the money - they have a love of theatre and that passion should be cut loose and encouraged to be passed on to audiences.

It's a cultural change but it's one that can be made, and one that I think could make a difference.  Other places already seem to do it.  I'd noticed a while back that checkout staff in Asda were noticeably chattier than any other supermarket - it was almost impossible not to find yourself chatting to them. "Oh those must be new, I'm going to have to try them myself", "Have you tried the Honey flavoured ones of those?"  So much so, that I'm convinced they've been trained that way - and it's not just in one store.  Admittedly at first I found it a little odd, but actually I've come to quite like it.  It's the same thing that elevates a restaurant where the waiting staff have tried all the dishes and can happily make recommendations - "The Cheesecake is delicious but is quite heavy - if you prefer something lighter the Lemon Mousse is always popular."

So, all the theatres out there, the next time you have a meeting with your front of house teams, maybe you could ask them how they would feel about interacting a bit more with audiences.  I'd like to think at least a few of them are just waiting for a bit of encouragement.  Some people will no doubt be sceptical about such an initiative, and in fairness I can't really blame them.  I would never have thought that London's Games Makers would make a difference.  But they most definitely did.

"Handling Bach" - Edinburgh Fringe 2011

Forget any assumptions you may have made about a play based on a fictional account of a meeting between composers Handel and Bach. A meeting that never happened. The most important thing you need to know is that Paul Barz's play (translated by David Bryer) is a comedy. And a very funny one at that. Music lovers will undoubtedly get more out of the piece, but we know even less about music than we do about theatre, and we enjoyed this immensely. Having had the misfortune to encounter the stage version of "Yes, Prime Minister" recently, it was a joy to see something here that approaches the charm and wit of the original TV series. Think of Handel as Sir Humphrey, Bach as Jim Hacker with Handel's deadpan servant Schmidt as Bernard and you'll get an idea of the show's tone.

But it would be a mistake to dismiss it as inconsequential gentle humour. For part of the second act, the laughs take a back seat as Handel and Bach's initially polite chat develops into a 'frank exchange of views'. There's also a very contemporary discussion on the value society places on art and artists; and of the nature of celebrity.

James Bryce makes Handel a larger than life character, but it's clear there are layers to him that Bryce skillfully strips back as the evening progresses. As Bach, Simon Tate gives a wonderfully subtle performance: much of it with mere glances, while Andrew Dallmeyer completes the cast as Schmidt and is in danger of stealing just about every scene he's in. Bruce Strachan's direction in-the-round ensures a lively pace for what could otherwise be a rather sedentary piece and makes great use of Rosslyn Chapel's acoustics.

As the play takes place over a dinner shared by the characters, we advise eating beforehand to avoid becoming too envious as they tuck into a veritable feast. A post show enquiry revealed that this is prepared for each performance by Mike Osborne & Cathie Owen; and that although most was exactly as it appeared, what had been passed off as 'oysters' on stage was in fact a rather less appetising alternative.

Seeing this show from Nonsense Room does require a bit of effort due to its location outside of central Edinburgh, but there is a good bus service and it can be combined with a visit to the chapel during the afternoon and a meal nearby before the evening performance.

Handling Bach runs at Rosslyn Chapel until Saturday 20th August

Edinburgh Fringe 2011 - First Picks

As always with our Fringe previews, what follows shouldn't really be taken as recommendations - while some of our choices are based on experience with the companies, many are simply shows that we think might interest us based on the blurbs in the Fringe Programme. Your mileage may vary.

But before we get to that, we do have reviews already for a couple of productions that are now being revived for the Fringe. We adored the Citizens "One Million Tiny Plays About Britain" and Mark Thomas gave us an entertaining and thought provoking evening with his "Extreme Rambling". The Tron's "Casablanca: The Gin Joint Cut" was a fantastic night out and should feature near the top of anyone's list of must-see shows.

We've managed to put together quite a considerable list of shows - it was so much easier than last year when we found the pickings to be rather on the slim side. The downside of that is that with so many shows it will be harder than ever to schedule them all - and budget will certainly play a part too. So sadly it's inevitable that while we'd like to see all these shows, some will be 'lost along the way'.

We'd wanted to see Dundee Rep's production of Dennis Kelly's "After the End" but couldn't schedule the trip to Dundee, so it was good to see them taking it to Edinburgh. We also missed Fish and Game's "Alma Mater" at Scotland Street School last year so it's another show we're hoping to fit in - we love its idea of using technology as part of the performance.

We like the sound of "Commencement" with its schoolgirl revolution while the Comedian's Theatre Company are always worth seeing, so "Cul-de-Sac" is high on our list of shows to fit in.

Having given us "Sub Rosa" and "White Tea" in recent years we're more than willing to indulge David Leddy - even if his 'innovative meditation' in "Untitled Love Story" sounds a little outside our comfort zone. Similarly You Need Me have been pushing our boundaries since we first saw one of their shows three years ago. After a year's absence we're really looking forward to seeing what they have in store for us with "Death Song".

Long time followers of our Fringe coverage may have noticed that any show describing itself as "darkly comic" will catch our attention - but woe betide a show that doesn't live up to that billing. The first of those shows attempting the equivalent of a chocolate fondant on Masterchef is "The Ducks" which looks at youth unemployment. "Pushing up Poppies" set in a WWI trench also attempts the task, but should benefit from having Kieran Lynn as a writer - I've really enjoyed some of his other plays.

While for many Fringe-goers (and the press critics) the Traverse is their main hub for the first week, previous bad experiences and high ticket prices make us wary of booking up. But "The Golden Dragon" with its promise of "whisking you away from your local takeaway to East Asia and back" is enough to convince us to take a chance.

The prospect of "Handling Bach", a show about a fictional meeting between composers Handel and Bach wouldn't normally get a second glance from us, but Nonsenseroom have more than earned our trust over a number of years. As always with their shows out at Rosslyn Chapel we particularly recommend booking up for one of their 'special evenings' on Saturdays 13th & 20th which include a light buffet and tour of the Chapel. The Chapel is a bus trip out from the city centre but the effort should be well rewarded.

I've been wanting to see Fin Kennedy's play "How to Disappear Completely and Never Be Found" for several years so I'm delighted to see The Outsiders staging it - so much so that we're prepared to break our usual rule of avoiding anything in a 'hotel venue'.

We've enjoyed a few of Mike Maran's storytelling shows over the years and we're looking forward to seeing his tale of the Italians who made their home in Scotland in "Italia'n'Caledonia". A different take on immigration/integration also caught our eye in the shape of "Rose" which focuses on the struggle between 1st and 2nd generation middle eastern immigrants starring father and daughter Art & Keira Malik.

A comedy based on a search to cast a dog in a film could well be awful but something about "Lights, Camera, Walkies" makes us want to give it a chance. Similarly unusual is "The Tour Guide" which appears to take place on an open top bus around the city.

"The Monster in the Hall" was a big hit for the Citizens/TAG last year and it's great to see them taking it to the Traverse, but unless we can take advantage of a 2 for 1 offer that whole "Traverse ticket price" thing might be a problem. Of course, the Traverse isn't the only place where prices can make us think twice about a show - Steven Berkoff's "Oedipus" at the Pleasance is another show with higher prices than we'd like. Also at the Pleasance but with a much more attractive price tag is "One Under" - a tale set on the London Underground from PartingShot.

Cumbernauld Theatre's "Viewless" is set around a witness protection programme and as we enjoyed their previous take on "The Wasp Factory" we reckon this is worth a look. Of course when it comes to relying on a company's reputation few shows are in better standing than "What Remains" from site-specific legends Grid Iron. But seriously - at up to £19 a ticket we're already left wishing we'd booked up before the 2 for 1 offer sold out.

And rounding up the shows that Waldorf and I plan on seeing together is "The World According to Bertie" - an adaptation of an Alexander McCall Smith novel.

But that's only the beginning, we've each got shows that we just can't persuade the other to see, so we've got our individual lists too...

I'm not sure that "Antony and Cleopatra" would normally make my list, but I've enjoyed reading director Claire Wood's Play Thing blog on her efforts to put it together, so I'd like to see how it turns out. "Dust" seems certain to gain plenty of publicity with being set on the day of Margaret Thatcher's death and featuring Arthur Scargill (as a character - not the real one!). Staying with politics/history (although going a little further back) is "The Trials of Galileo". I'm also hoping to see "Remember This" from Edinburgh University Theatre Company as I really enjoyed their "Wild Allegations" last year.

Rather unusually, and possibly inspired by her new Edinburgh based job, Waldorf has managed to find herself a substantial number of shows she hopes to see on her own. It remains to be seen just how many of her ambitious list can be fitted in to long lunches or early finishes (and she may wait for early reviews). Realistically I'll be amazed if she manages more than a handful and god knows when she'll get round to writing them up, so if these are your shows please don't count on a review you can use. Anyway, here is what caught her eye...

Bawbees and Ducats or A Funny Thing Happened on the Way to the Piazza
The Boy James
Bluebird
Can't Stand Up For Falling Down
A Dish of Tea with Dr Johnson
The End
Even in Edinburgh / Glasgow
Find Me
4.3 Miles from Nowhere
Free Time Radical
(g)Host City
The Girl Who Thought She Was Irish
Go to Your God Like a Soldier
The Historians
I, Malvolio
Ink
The Laramie Project
Laundry Boy
Me, Myself & Miss Gibbs
Minute After Midday
The Mourning Party
One Thousand Paper Cranes
Private Peaceful
Release
Simon Callow in Tuesday at Tescos
Taketh Me Away
The Toll
Your Last Breath

And do feel free to let us know what your tips are...

"The Apprentice" - Edinburgh Fringe 2010

Nonsense Room have been part of our Fringe-going since 2006 and have produced delightful shows year after year. Part of the attraction is their venue, the stunning Rosslyn Chapel, and never more so than this year where they revive their show based on the chapel itself. Theatre just doesn't get any more site specific than this.

The legend goes that an apprentice stonemason completed an intricately carved pillar with a design that came to him in a dream while the master mason was abroad seeking inspiration. As he had intended to carve the pillar himself, the master mason was somewhat less than pleased on his return. Writer Simon Beattie has filled in the gaps with a tragic love story that left me feeling how I always think I should feel when watching Romeo & Juliet - but never do. The sense of being made to choose between love and loyalty really hits home here, and unlike Shakespeare's pairing there's no sense Beattie's tragic couple have brought this on themselves. However, this emphasis on the tragedy leaves little room for the humour we've become used to in Nonsense Room's shows and Waldorf in particular missed the lighter tone.

But for me, the accomplished script and performances more than made up for the required shift in our expectations - and in truth as we knew the legend we should have been prepared for something rather darker. As the apprentice mason, Marcus, Rhys Teare-Williams has to carry much of the show on his shoulders and makes an impressive job of it. Colin Moncrieff delivers a remarkably intense performance as Vincenzo the master mason while Alison Macfarlane makes Megan's relationship with Marcus charmingly believable. Beattie's dialogue and fine performances from James Bryce and Catherine Owen as Sir William and Lady Sinclair make their characters three dimensional and elevate them beyond the plot devices they could easily have been.

There are some lovely moments of direction from Bruce Strachan - particularly a dance sequence by Marcus and Megan and the final confrontation between master and apprentice. The accompanying musical score adds much to the production and of course, the setting is sublime.

I'm unsure if 'enjoyable' is quite the right word for such a sad show, but it's certainly a beautiful and moving piece of theatre.

The Apprentice runs at Rosslyn Chapel in Roslin until Thursday 19th August
Please note that Roslin is some distance outside of Edinburgh city centre and make appropriate travel arrangements.
Image by Peter Searle used with permission.

Edinburgh Fringe 2010

And so it begins...

Today is the official start date of the Edinburgh Fringe - although many shows have been previewing for some days. Our first visit will be Sunday, when we plan to see "In Memory", "That Moment", "Spring Awakening" and then either "Imperial Fizz" or "Honest" depending on timings. Our plans for later in the week are still sketchy but we will be seeing "Sub Rosa", Alan Cumming's cabaret show "I Bought A Blue Car Today" and "The Apprentice" out at Rosslyn Chapel between now and next Saturday (details and links on our Fringe Preview).

We'll have our first Fringe reviews posted on Sunday night or Monday morning but we've already posted our thoughts on Grid Iron's "Decky Does A Bronco" which has been touring for a while before its appearance in Edinburgh. In the meantime here are a few links that may be of interest...

Our Fringe 2010 Preview

Our tips for Fringe goers

Theatre Ninjas is a new website/iphone app that has been created to allow performers to distribute free tickets. It's early days yet, but it looks as if it may have a good number of shows participating. The exact method of securing the tickets varies from show to show (and some sound like they have the potential to be problematic) but it's certainly worth a look. We'll give it a go on one of our trips and report back on how well it works.

We'd also point you in the direction of other sites that will be providing Fringe coverage. Do let us know if we've missed any..
Three Weeks
One4Review
Broadway Baby
FringeReview
Edinburgh Festivals
Onstage Scotland
Edinburgh Festival Punter
A Local's Guide to the Fringe
Fringe Guru
TVBomb

Edinburgh Fringe 2010 - First Picks

We spent Sunday night working our way through this year's programme for the Edinburgh Fringe which launched at the end of last week. Surprisingly (and disappointingly) it didn't take us anywhere near as long as it has in previous years and if truth be told we found it pretty slim pickings. Usually we end up with a huge list that gets narrowed down to forty or so shows we plan to see but this year we found it a struggle to reach thirty. There's no guarantee we will see all of them once we have taken into account time/location and then scheduled them across a few day trips through to Edinburgh, but here are the shows that have caught our eye so far...

NonsenseRoom return to their home at Rosslyn Chapel and we're looking forward to finally seeing their show based on the Chapel's "Apprentice Pillar". In addition to 'normal' performances of "The Apprentice" there will also be 'special evenings' on the 7th and 14th of August which include a light buffet and tour of the Chapel and are well worth paying the extra ticket price for. NonsenseRoom have a second show at the Fringe - "Hairy Maclary & friends" based on a series of popular children's books - we won't be seeing this one ourselves but have no hesitation in reccommending it based on all their previous shows.

Next up is boxing based "Beautiful Burnout" from the National Theatre of Scotland and Frantic Assembly which comes with a cast that includes the usually impressive Ryan Fletcher.

"Blackout" from ThickSkin is inspired by the story of a Glasgow young offender waking up in a jail cell, and its description as "a 45 minute smack in the face" gained our attention.

David Leddy's "Sub Rosa" established itself as one of the greatest pieces of theatre we've ever seen when we saw it at the Citizens last year. With its site-specific nature we're not completely sure it will translate quite so well to its new location - but what is certain is that we're looking forward to finding out!

The Citz has its own presence at the Fringe with "The Girl in the Yellow Dress" as part of the programme at the Traverse but we might wait and catch that one when it reaches the Citz in September.

Those of you who have followed our Fringe tips in previous years will know that anything described as "darkly comic" is likely to catch our interest, and "Honest" from the Royal & Derngate Theatre duly did so. The fact its tale of a man in the pub determined to tell the truth, no matter what, is staged in a local bar also adds the novelty factor often required to stand out from the crowd.

"Imperial Fizz" could easily have got lost amongst the thousands of shows in the programme and defining itself as a "surreal, intoxicating comedy" risked it ending up on our blacklist. But the involvement of performer David Calvitto who impressed us so much in "The Event" was enough to convince us to give it a go.

I'm a little worried that Waldorf's selection of "In Memory" may turn out to be a total tearfest but it sounds like it has the potential to be a powerful piece of theatre - and on a more shallow note I'm a sucker for an interesting publicity photo.

Another of Waldorf's picks is "The Interpersonality Workout" which appears to be an amusing take on corporate training but I tend to think the reality of these events often takes them beyond parody. But hey, it has the advantage of being free, so why not?

Despite how it might appear at times we don't spend our time sticking pins in the Fringe programme to choose shows, and quite often we'll place a lot of trust on the basis of what we've seen a company do previously. Dogstar Theatre's "Jacobite Country" was an easy pick on that basis - despite its somewhat bizarre blurb. We really enjoyed their award winning "Tailor of Inverness" and are also pleased to see it getting another outing at this year's Fringe.

"Jacob's Ladder" from Pocketful Productions promises to be "a twisted comedy about religious politics, social position and sexual immorality" - more than enough to get itself added to our list.

An office romance doesn't sound particularly promising for a comedy, but then, writer DC Jackson is responsible for some of the funniest shows I've seen in recent years so "My Romantic History" at the Traverse is a must see for me.

This next pick is an interesting one as I saw a production of Louise Welsh's play last year that proved intriguing and frustrating in equal measures. Our review prompted some intriguing revelations about the play/production that makes me want to have a look at this new production of it. Warning - trust me that "Memory Cells" is a show worth seeing, but I'd really suggest going into it cold. Don't go looking for any reviews of it and whatever you do don't go searching out our one.

Sex trafficking appears to be quite a popular topic this year and while Emma Thompson's Executive Producing role on "Fair Trade" seems to have generated a fair amount of publicity, we don't think we can face two shows on the matter in a single Fringe and have opted for Cora Bissett's "Roadkill" based on the fact that pretty much everything we've ever seen her involved in as actor/director has been nothing short of brilliant.

Yes, we know that the Fringe tends to throw up a lot of self reverential and self indulgent shows full of theatrical in-jokes that are totally unfunny to 90% of the audience, but for people who see as much theatre as we do it's hard to ignore a show that doesn't take theatre too seriously. And we hope we don't fatally damage any credibility we may have established over the last four years when we book up for "A Slacker's Guide to Western Theatre".

Simon Callow has built a reputation as a real draw in Edinburgh with his Dickens based show and this year his performance in "Shakespeare:The Man from Stratford" is bound to attract an audience. But given our long-standing year round policy of declining press tickets it's a bit of a stretch for us to justify ticket prices of £20 plus for a single show when we could be seeing three others instead. Maybe if we can sort our schedule and time off to take advantage of the 2 for 1 offer on 10th August...

Euthanasia is always an issue that I'm interested in seeing being dealt with by theatre and "6766" sounds like it's going to rush in where others fear to tread. This is quite possibly the show I'm most looking forward to this year.

Few words divide our opinion on a show's blurb more than 'moving' - it seems to be a magnet for Waldorf and sends me scurrying for some comic relief instead. So I think she'll be on her own for "Speechless" despite the involvement of Sherman Cymru who brought us "Deep Cut" last year.

I'll also be ducking out of seeing "Stationary Excess" for different reasons - it lost me at "Imprisoned on an exercise bicycle..." but Waldorf's still keen.

Of course there are just as many shows that I'll be left to see on my own - including "Stitched Up" which claims to be a "bitterly comic take" on Mary Shelley's Frankenstein. Its timeslot might be tricky for us to schedule but it sounds like it might work as a funny conclusion to a day of more serious shows.

Another show likely to cause us scheduling problems is the EGTG's version of "The Tempest" as it takes place on a barge down in Leith. But it's not just the venue that piqued our interest - we enjoyed their version of "Tiny Dynamite" a couple of years ago and director Claire Wood's blog provides an interesting insight into the production process.

I had nearly marked "That Moment" in my copy of the programme and then didn't as it wasn't quite enough for me to make the effort to see on my own and I knew it would be too hard a sell to get Waldorf to come along. So I was pleasantly surprised when we compared our picks to find that it had made it onto her list. Perhaps it's another show that's benefitted from the whole 'theatre eats itself' vibe.

But she's back on her own again for what sounds like a 'choose your own adventure' type performance in "Threshold" from 19;29. I'm a little cautious about this kind of stuff (terrified I'll miss a turn and wander off and get lost!) and the note that 'price includes a bus ticket' doesn't help matters.

We certainly wouldn't be rushing to see another "Hamlet" at the Fringe but SEDOS' "The Tragedy of the Prince of Denmark" might be an intriguing look at the play's events from a different viewpoint.

Waldorf's hoping to see "Tunde" but a 'powerful drama' about modern day child trafficking sounds a little too close to 'moving' for me...

How workers in a call centre cope when faced with a natural disaster isn't really an obvious choice for me - especially as the blurb says it's "funny, poignant and moving" but somehow I still want to see "20:20 Vision". Maybe it's my mother's 'end of the world' fixation coming through...

"The Typhoid Marys" true-life tale of 43 women confined in a psychiatric hospital for being carrier's of typhoid seems unlikely to provide a comfortable afternoon but sometimes those are the shows most worth seeing.

The Fringe often features shows that deal with a personal journey or triumph over adversity and Waldorf has picked out "Unshakeable" from the programme. Paul Betney's performance based around his diagnosis of Parkinson's Disease sounds a little too 'personal' for me - I prefer my shows more 'at arms length' but it sounds very much Waldorf's cup of tea.

We have very few hard rules about things that we won't see at the Fringe but "Ups and Downs" has managed to persuade us to break one of them. We've learned that shows in hotels are considerably riskier than those in other venues and in fact we can't think of a show we've seen in one that would gain anything like pass marks. But KDC Theatre's show about a group of the newly dead as they await judgement is the kind of thing we like to see at the Fringe so we're taking a deep breath and giving it a chance.

"Two couples explore the threat of honesty and our perverse need for it" sounds like typical Fringe stuff and wouldn't normally warrant our attention but "While You Lie" is written by Sam Holcroft whose "Cockroach" has the distinction of being one of only half a dozen or so shows that have genuinely changed my opinion about something important. And the fact it's on at the Traverse is generally a measure of quality... and provides a nice excuse to eat at the nearby "Spirit of Thai" restaurant.

Surprisingly, it wasn't the "slick, dark and very funny" that got "Wild Allegations" onto our list, but rather a hint at the play's format/structure. In any medium I tend to enjoy things that provide alternative views of the same events or any kind of 'he said'/'she said' situation so it was the mention of "parallel but conflicting tales" that grabbed me.

"a site-specific, interactive shopping experience" was enough to send me running in the opposite direction but I wasn't surprised to see "Your Dream Wedding" from Anything Bloody Goes on Waldorf's list.

That's all we have from the 'Theatre' section of the Fringe programme but we like to dabble in the 'Music' and 'Musical' sections too. As soon as we heard Alan Cumming was bringing his musical show, "I Bought a Blue Car Today", to the Fringe it was top of our 'hot ticket' list. And we'd enjoyed his performance in "The Bacchae" so much a few years back that we don't even grudge paying £20 a ticket. We're amazed there are still tickets available for his 3 night run but don't wait too long to book up.

We're also hoping to see "Spring Awakening" and I'll see "Fresher" if it can be slotted around a day's schedule.

And that just about concludes our tips for now, although we may add shows to our list once we get more details about shows such as cast etc. It's also unlikely we'll be able to see all these shows as past experience suggests there will be time clashes and distances between venues that will prove insurmountable given the relatively short amount of time we can spend in Edinburgh.

We are always open to suggestions for other shows to see, but if you're planning on e-mailing us about your own show, please do so as early as possible. We always get a few e-mails each year in the middle of the Fringe asking us along to see shows that sound fantastic but we simply can't rearrange our plans at short notice. And with that in mind I had made a mental promise that I would go along to see the first show that sent us a press release after the programme launched - so although it wouldn't have normally been on our list, is technically in the 'Comedy' section (which we haven't quite got round to yet), and is in a hotel venue, I will be going along to see "Dildon't".

"A Christmas Carol" (NonsenseRoom/Meanwhile Theatre)- December 2009

Given our low tolerance for uncomfortable theatres, you may well be wondering what on earth made us decide to drag ourselves through to the outskirts of Edinburgh on a foggy night to sit on church pews in a chapel so bitterly cold that it requires hats, scarves, gloves and blankets. But experience has shown that NonsenseRoom's show's are worth suffering for, and "A Christmas Carol" is no exception.

With a cast of two, it's very much in a storytelling format and it feels very contemporary. Not 2009 contemporary, you understand, but 1843 contemporary - when Dickens wrote his classic tale. It's not difficult to imagine a show very similar to this being staged by an acting troupe in the grand drawing room of a stately home to the local landed gentry and their families. And I'm sure they would have loved it as much as we did. Whilst some may say 'old fashioned' we'd prefer to describe it as traditional family theatre at its best.

Andrew Warnock as Dickens/Scrooge and Stanley Pattison as Bob Cratchit (and just about everyone else) have an fantastic rapport and instantly connect with the audience. Their storytelling techniques may be low-tech but they are imaginative, creative and beautifully executed. Dickens, in particular, sounded and looked like he had stepped out of the 1840's, to the extent that it was quite disconcerting to hear Warnock speak in his own voice in a short post show Q&A.

For a show that is so much fun and gets plenty of laughs, its message of goodwill is strongly present and there is also a real feel of the impact poverty can have. Pattison's performance at Tiny Tim's graveside was utterly heartbreaking - Waldorf shed tears. But it was also nice to see an adaptation that gives Scrooge an additional reason to change his ways and hints at the rewards his redemption may bring.

NonsenseRoom and Meanwhile Theatre Productions have created a show full of wit, heart and charm. A joy from start to finish.

A Christmas Carol has completed its run at Rosslyn Chapel but will be at the Scottish Mining Museum at Newtongrange on 13th & 14th and then at East Kilbride Arts Centre from 17th to 19th December.

Christmas round-up...

Now that we’re almost into December, I guess it’s time for us to do a round up of the Christmas shows that will be appearing at theatres near you shortly...

Firstly, congratulations to the Citizens Community Company on selling out all performances of this year’s “Wicked Christmas” subtitled “Cinder’s Revenge”. It’s a real testimony to the standard these guys have achieved over the last few years that tickets are in such demand - but next year we’d really rather they waited until we have booked up before selling out! In the main theatre at the Citz is “Cinderella” but as it sounds a little too close to a full-on panto I think we’ll be giving it a miss. Same goes for the Kings and the Pavilion which stage “Aladdin” and “Pinocchio” respectively. The Arches have a show aimed at younger audiences with “Little Red Riding Hood” and we’re hoping to acquire a three-year-old (and his parents) to take along to that. We’ll also be seeing “Ya Beauty & The Beast” at the Tron as part of their Patrons Scheme while out in Glasgow’s west end Oran Mor have staged a real coup and have managed to get panto legend Andy Gray on board for “Another Christmas Carol.”

Another version of “A Christmas Carol” is being staged by Nonsense Room out at Rosslyn Chapel just south of Edinburgh. It’s been a real part of our Christmas build up in recent years, and as always we recommend paying the extra and attending their ‘Special Performance’ on Friday 11th December which includes a light buffet and post-show tour of the Chapel. But do wrap up warm – hats scarves, gloves and blankets are a must for this – and we’re really not kidding!

In the centre of Edinburgh we’ve made a habit the last couple of years to attend the Lyceum’s Christmas show and it hasn’t disappointed. However, this year it’s "Peter Pan" of which I’m not a huge fan, and with the National Theatre of Scotland planning a production of the show in spring/summer 2010 I’m not sure I can bring myself to see two in such close proximity. Alternative options include the promise of swashbuckling adventure with “Zorro” at the Traverse and an impressively cast “Corstorphine Road Nativity” at the Festival Theatre. And the Kings in Edinburgh provides “Robinson Crusoe and the Caribbean Pirates”.

Of course we won't be seeing all of those! We will be seeing "Another Christmas Carol", "A Christmas Carol" at Rosslyn Chapel, "Little Red Riding Hood", "The Corstorphine Road Nativity" and "Ya Beauty & The Beast". But do post your comments here and let us know how you get on with any of the other shows...

"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.

Edinburgh Fringe 2009 - First picks

Since the Edinburgh Fringe Programme was published last Wednesday we've been working our way through it trying to make an initial selection of shows. While there's still plenty of time before it starts officially on Friday 7th August, tickets went on sale on Monday and we always try to get some of the more expensive shows booked up as part of the 2 for 1 offer many shows operate on the first Sunday/Monday. So here are the shows that have caught our attention so far, and a round up of some of the ones we've already seen that are being revived at this years Fringe...

Usually the first place we start when planning our opening weekend is the Traverse, partly because it can usually be relied upon for quality and also because its shows can be at the more expensive end of the scale. But this year we've been rather underwhelmed with their offerings and as things currently stand we won't be booking up for any of the Fringe shows at the Traverse this year. That may change as more info comes out and we get a better feel for the shows - at the moment details are sparse in the Fringe Programme and their website has no info at all. Perhaps this lack of a 'must see' show is a knock-on effect of the Traverse' involvement in the Edinburgh International Festival where they are staging "The Last Witch" at the Lyceum (which we will be seeing). There is one exception to our lack of enthusiasm for the Traverse Fringe Programme - "Midsummer (A Play with Songs)" which is being brought back after huge success towards the end of last year. Like just about everyone who saw it we adored it and anyone who wants to see a feelgood show has to fit this one in.

We're also having to come to terms with the loss of what has been one of the highlights of recent years at the Fringe. Due to work being undertaken at Rosslyn Chapel, Nonsense Room are unable to stage their show there this year and have decanted to the Scottish Mining Museum just outside Dalkeith with two shows. We'll be making an early visit to "Ae Fond Kiss" and may try to see "Treasure Island" later in the month. Even without the added attraction of a visit to the Chapel, Nonsense Room have proved to us over the years that their shows are always worth seeing.

But making up for those elements missing from this year's Fringe is the return of site specific specialists Grid Iron. We've not seen their work at previous Fringes but their shows "Roam" and "Yarn" both provided us with some fantastic theatrical memories. We've already booked up for "Barflies" at the Barony Bar and given the reputation this company has tickets will go quickly.

We like to dip our toes in the Comedy section of the programme and having enjoyed his campaigning TV shows we've booked up for Mark Thomas who is putting together a manifesto based on suggestions from his audiences. Sadly there's no new Rebus McTaggart show but there is a short run of the original show that we enjoyed so much.

Over the last two years with "Mehndi Night" and "Stolen Secrets" Fin Kennedy and Mulberry School have proved that a 45 minute show can pack in just as much as a three hour epic, and we're expecting something equally as delightful with this year's "The Unravelling". And another school group who we'll be seeing is Feltonfleet's "An Ofsted Inspector Calls".

The highlight of our theatrical year so far has been "Sub Rosa" and the driving force behind it, David Leddy, has two shows in Edinburgh this year. He has transferred his audio based show "Susurrus" and located it in Royal Botanic Garden, as well as premiering his new Japanese themed show "White Tea".

At last year's Fringe we enjoyed You Need Me's "How It Ended" despite it being located in the Dance and Physical Theatre section of the Programme. This year they return with "Certain Dark Things" which sounds similar in tone and style.

A week or so ago I read a review of "Kursk" down in london and thought it sounded fantastic so I was delighted to discover it as I flicked through the Programme. Unfortunately there seems to be a problem with booking tickets for the show at edfringe.com. Hopefully this is just a temporary glitch and not a sign of a more serious problem with the plans for the show.

It's a book I've always had a lot of time for, so we've booked up to see EattheBaby's take on "A Clockwork Orange"
over the first weekend. But some other shows inevitably have to wait until later in the month due to scheduling issues, one of which will be Gregory Burke's "Gagarin Way" by the Comedians Theatre Company.

I think that's covered all the shows that we're immediately booking up for, but as well as our weekend trips through together, I'll be doing a few midweek visits on my own - flexitime permitting. Here's a quick run through of some of the other shows I'm hoping to fit in:
EGTG's version of "Antigone", Michael Frayn's "Audience" and a political take on Arthurian legend in "King Arthur".

Other shows appearing at this year's Fringe that we saw in the last year include - "The Year of the Horse", "Djupid (The Deep)" and "My Grandfather's Great War"

But there's still plenty of gaps to fill and we'll continue to follow up on some of the website links provided in the Programme and see what else grabs our interest. And of course we're always open to suggestions...