Cathedral Choir Concert: Fauré Requiem (St Mary's Episcopal Cathedral Choir)
For once Gabriel Fauré's gorgeous 'Requiem' was upstaged in this programme of lovely French sacred music by César Franck's 'Panis Anglicus'. It was perfectly ethereal, truly "a still small voice" floating through the lofty cathedral. Louis Vierne's pleading 'Kyrie' from 'Messe Solennelle' was sung with the confidence and surety of those who knew that, as members of one of the UK's best regarded choirs, they would be heard! The 'Requiem', today accompanied by the organ, was a pleasing mixture of contrasting moods and disciplined musical textures delicately sung until the singers were required to express the drama of 'Libera Me' with its account of anguish, terror and uncertainty, before the singers entered paradise with the calm 'In Paradisium' and its promise of eternal rest.
St Mary's Cathedral, run ended.
tw rating 4/5 [Louise Rodgers]

Metamorphosis (Hijinx)
When I first read Kafka's 'Metamorphosis', the sheer creative audacity of the story blew my mind. This excellent Zoom-based adaptation from Hijinx does the same. There's a lot to unpack, with proceedings taking on a distinctly meta feel as we observe both an online adaptation of the story, and the writing and devising process. Unlike some other online offerings, the medium is part of the message here, an exploration of (dis)connection, inclusion and isolation. There's an interactive element - blessedly optional - and the structuring of both narrative and meta-narrative into chapters cleverly keeps the audience's attention - so easily lost in Zoom webinars! Layers of meaning and subtext accrue throughout the performance, which balances absurdity and existential horror (the new normal?) with grace and style.
Summerhall Online, until 29 Aug.
tw rating 5/5 | [Andy Leask]

The Revolution of Evelyn Serrano (Los Rivax Project)
Things begin to change for fourteen year old Evelyn Serrano when her grandmother moves in with her and her mother in Spanish Harlem. It's not long before her eyes begin to open to a whole new way of seeing her own community. Based on Sonia Manzano's award winning novel, and featuring incredible original music and songs by Sartje Pickett, Tlaloc Rivas's exuberant new play is an impassioned lesson on Latino heritage and the shaping of Nuyorican identity. From The Young Lords, a Puerto Rican activist group, to Evelyn's own family ties, the backdrop of unrest and revolution run throughout. Even so, this heart-warming play is crammed full of joy and hope, a testament to Rivas' writing and direction. An absolute must see.
Fringe Online, until 30 Aug.
tw rating 5/5 | [Bethan Highgate-Betts]

When Judas Met John (Brothers Broke)
A welcome return of this interesting show to the Fringe. This informal yet earnest folk club-like performance was not a tribute to either John Lennon or Bob Dylan, rather it was an exploration, with musical examples, of how Brothers Broke consider that these two artists influenced each other. As young men they had thinly veiled musical spats about plagiarism ('Norwegian Wood' and 'Fourth Time Around') but at least, unlike George Harrison, no-one was sued! There was no attempt to sound like Dylan or Lennon here, and this Irish duo's own arrangements gave integrity even when some of the points seemed debatable. 'Like A Rolling Stone' was a highlight; it was enjoyable to hear these well-loved songs in the company of fellow enthusiasts with the addition of something to think about!
theSpace Triplex, run ended.
tw rating 4/5 | [Louise Rodgers]

Sacred Arts Festival At St Vincent's: Olivier Messiaen's Quartet For The End Of Time (Calum Robertson, director and clarinet)
This year there was no familiar coughing or throat clearing during this impressive chamber concert; that alone was reminiscent of Messiaen's famous quotation, "Never have I been listened to with such rapt attention and comprehension", pertaining to the premiere performed before fellow POWs in Stalag VIII-A during WW2. The standard of playing was exceptional - another echo of that night in 1941 when all seemed lost. The balance of the instruments interpreted Messiaen's intentions well and the musicians moved together through the music precisely, conveying the end of time suggested by his difficult rhythms and tonal structures. Messiaen's "little servants of immaterial joy" - birdsong - provided the melodies and we left the chapel reminded why this is one of the most significant works of the twentieth century.
St Vincent's, run ended.
tw rating 5/5 | [Louise Rodgers]

Leo Kearse: Cancel Culture (Leo Kearse)
Full disclosure: I was never likely to find myself in total agreement with 'right wing comedian' and Reclaim electoral candidate Leo Kearse. First, the comedy. It's funny. Gags, story-telling, darkness, provocative observations and a liberal - libertarian, even - dose of filth, all well delivered. Some bits might well cross some people's lines: so be it. The polemic... hmm. Freedom of speech and the causing, receiving and indeed seeking of offense are live issues which it's right - and Kearse absolutely has the right - to critically scrutinise and there are some fair points. However, the tendency to wrap up various absurdities as what 'woke people' say in order to set up an army of straw men to be torn down kind of undermines the pretence of nuance. So no, I didn't agree. Totally. But, this is a comedy review, and there are enough laughs here that you could always go along and decide for yourself...
Laughing Horse @ Free Sisters, until 29 Aug.
tw rating 3/5 | [Bruce Blacklaw]

Paul Currie: Teet
We humans like to think we're evolved, but we're not really. There's a long way to go. For now, we suckle at the teat of mother nature whilst doing her and ourselves untold harm. That's the serious bit of Paul Currie's show, the rest is relentless, fun foolishness. Kind of a one-man sketch show with a series of props, pop song riffs and surrealism, there's a lot going on, to the extent that he has a 'set list' on the floor to keep him right. As he says himself, "been ages since I've done this. How do you even rehearse this shit?" Fair enough. It's up and down and sometimes on the edge of all over the place, but there's plenty of amusement to be had.
The Hive, until 29 Aug.
tw rating 3/5 | [Bruce Blacklaw]

Through Bush, Through Briar (Achy Bits Productions)
This earnest adaptation of 'A Midsummer Night's Dream' gets points for trying something different, transplanting the action to a forest under threat by a ruthless developer. There's an interesting use of space, filming in a forest, using trees as staging, but a lack of technical expertise reduces the effectiveness. There are issues, like inconsistent sound levels, sometimes muffled or with background noise impeding clarity. Some of the acting is a little 'big' for a recorded production, but this is easily forgivable, given the circumstances, and the company's energetic, youthful performances are charming. The play within the play and Bottom's overacting therein was the highlight... but then it always is, and most of the credit there has to go to Shakespeare.
Fringe Player, on demand.
tw rating 3/5 | [Andy Leask]

Hip-Hop Orchestra Experience (Ensemble Mik Nawooj)
Hip-Hop Orchestra Experience is Ensemble Mik Nawooj's Edinburgh Fringe debut and it doesn't disappoint. The California based hip-hop orchestra present five music videos from their new album 'Death Become Life', which seamlessly fuses hip-hop and classical. They've leant into the film aspect of this year's Fringe, with two exceptional young dancers' mesmerising performance punctuating the music's live recording. Filmed at the Asian Art Museum, the backdrop only adds to the gravitas of the pieces. There's a consistent flow to the performance that elevates the film above five separate pieces and creates a sense of a whole and complete piece. If you're into hip-hop, classical music or both this is a must see. It's a beautiful way to spend 30 minutes.
Season 4 - Online@theSpaceUK until 30 Aug.
tw rating 5/5 | [Bethan Highgate-Betts]

The Carole King And James Taylor Story (Night Owl Shows)
Order a drink, relax into the mellow vibe but come prepared to sing! Hannah Richards' yearning version of 'Will You Love Me Tomorrow' was followed by 'Natural Woman', a commission for Aretha Franklin. In addition to the beautiful music, these committed performers told great stories about good friends King and Taylor's complicated personal lives and stellar careers. After 'It's Too Late', Dan Clews switched from backing vocals to full on James Taylor - shut your eyes and there was the singer/songwriter himself! 'Night Owl', naturally, was a highlight; 'Fire And Rain' and 'You've Got A Friend' transfixed the audience pulling us into the visceral shared experience of live music and, as the man sitting next to me said, "That was worth coming up from London for".
theSpace @ Symposium Hall, until 28 Aug.
tw rating 4/5 | [Louise Rodgers]

Sounds On Saturday - Organ Colours 4 (Jordan English)
This entrancing organ recital programme, like the mighty Rieger organ itself, was a blend of old and new. The positioning of the instrument in the south transept gave a feeling of intimacy absent in many cathedrals and Jordan English's sensitive playing exploited this to the full. JS Bach's early 'Prelude And Fugue In C Minor BWV 549' dominated with its expressive resonance. 'Berceuse À La Mémoire De Louis Vierne' by Pierre Cochereau, touchingly based on the lullaby 'Dodo, L'enfant Do', gave an impression of light following dark. Herbert Howell's 'Master Tallis' Testament' was gently melodic and 'Evocation 1' by George Baker tranquil. However, the joie de vivre of Louis Vierne's 'Final (Symphonie VI)' interrupted the reverie and prepared our return into the jostling Royal Mile!
St Giles' Cathedral, run ended.
tw rating 4/5 | [Louise Rodgers]

Meet Astrid Lindgren's Pippi Longstocking (Wizard Presents)
Astrid Lindgren's 'Pippi Longstocking' has been translated into over 100 languages. So, how about the language of the stage? This one-woman show sees Sofie Miller take on the roles of narrator, Pippi, the boy and girl next door, and a host of other characters over the course of a genial storytelling session. A vintage flight case packed with props serves as set and stage, and there's just about enough audience interaction to prevent young minds wandering during what occasionally seem like slightly lengthy passages of narrative. Still, these are good stories, and Miller tells and acts them out engagingly. Overall, turns out that little is lost in translation.
Pleasance Courtyard, until 29 Aug.
tw rating 3/5 | [Bruce Blacklaw]

Comedy Club 4 Kids
Host and compere Eleanor Morton kicks things off with a bit of stand-up for kids. Relatable observational stuff, like "have you ever noticed how your parents are always tired" and numerous references to mummy and daddy's wine, before doing a bit of audience banter. Do your parents have any weird hobbies? Apparently mine is "being annoying"... The first act she introduces is Log, a two-person extended sketch which is honestly tricky to describe as anything other than a bit of a headfuck. Then Mister Fibbers comes on and does a short set of silly songs with some enthusiastic crowd participation. Now, I'm not sure I actually saw many kids laughing a lot but still, a pleasingly chaotic hour.
Assembly Roxy, run ended.
tw rating 3/5 | [Bruce Blacklaw]

Just These Please: No Worries If Not (Just These Please)
August traditionally heralds the great northerly migration of the sketch troupe. This year, though, there are only a couple in the Fringe programme. Just These Please are surely amongst the best of them. No, really - they are good. Smart transitions, whimsical highlights including the Last Supper, the Beatles and middle-class orgies, among many others, all interspersed with silly songs - including a memorable paean to the pillar in the middle of the venue - and clever gags. Not everything lands just right, and it's not just the orgies which come off phenomenally middle class, but still, well worth catching. (And I didn't end this with 'no worries if not'...)
Gilded Balloon, run ended.
tw rating 3/5 | [Bruce Blacklaw]

The Big Birthday Show with Magic Gareth (Magic Gareth)
Party hats on the tables on entry; the big, beautiful wheeze here being that everyone has had a birthday over the last year which has, to some greater or lesser extent, been rendered shit by COVID. Magic Gareth wants to make up for that. He's quite well placed, being a birthday party magician by trade, and translates all this into a show which is warm and funny, full of jokes (including some for the oldies), silliness, audience participation and, here and there, some properly impressive magic tricks. So, if you or yours have had a birthday in the last year or so, get along and see Magic Gareth and celebrate in merrily foolish style.
Pleasance Courtyard, run ended.
tw rating 4/5 | [Bruce Blacklaw]

The Garden Of Delights (Theatre Alba)
The gardens of Duddingston Kirk are a delight any time, even more so just now if you can get yourself along to this outdoor promenade play performed entirely in Scots. We are welcomed at the entrance by the Jester, who takes us back in time to a faraway land where, guided by him and the charming Fairy, we learn about the nasty Boggarts, who can't stand for anything to be nice, and so are setting out to pollute and poison the land. The young audience are conscripted to assist by discovering their senses, singing along and banishing the Boggarts. Along the way, there's a grumpy bear, a wonderfully revealed Kelpie and Mother Nature herself. All in, delightful.
Duddingston Kirk Manse Gardens, until 29 Aug.
tw rating 4/5 | [Bruce Blacklaw]