Long Live Mr Fruit Salad. Heroes The Hive, 4. Gradually, a bass note of melancholy sounds louder in the mix, as Norris starts riffing on bereavement and existential angst. An hour-long piece with six dancers in everyday clothes and trainers, it earnestly attempts to confront the incomprehensible certainty of non-existence. Dance is so often about youth, but Lloyd-Jones offers some thought-provokingly mature alternatives.
In one particularly effective sequence, a single dancer prepares, with jittery intensity, for a series of balances and turns, each time crashing to the floor. AW Read the review. Scream Phone Gilded Balloon Patter Hoose, 5pm, until 26 August All-female trio Swipe Right infuse new blood into the fringe parody musical with this show, in which a sleepover of three teenage girls the Beaver Babes quickly turns sinister.
Then the phone rings, and things turn get a bit darker.
It might not be very scary, but Scream Phone is spiky, spunky and smart. Four Woke Baes Underbelly Cowgate, 5. Enter Emma: a gorgeous, intellectual writer on sex and free love, camping alone in the woods and now obliged to share riverside space with Des and his bros. Her radical honesty picks apart the little lies that bind their band together. Parakeet Roundabout Summerhall, 5. So what direct action can be taken when councils lop down precious trees? Superstar Underbelly Cowgate, 5. That one of those siblings is Chris Martin of Coldplay might add to the intrigue but little alters the stakes.
Wren is an easy actor to like and she makes you feel her minor-league demon is worth wrestling with. Taking the advice to write what you know, she tells her not-really-showbiz story of childhood pantos and movie bit parts as a way of coming to terms with herself.
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Her show sets out to resolve it. Harouni pulls off with supreme smoothness and control an autobiographical hour on her Staten Island upbringing and on the road accident that almost paralysed her for life. Sarah Keyworth: Pacific Pleasance Courtyard, 5. But from a new angle: this one draws on her relationship with fellow standup Catherine Bohart, in which Keyworth finds herself defaulting to the traditional male role.
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Daddy Drag Summerhall, 5. Gradually, uncomfortable facts spill out and erode the crumbling facade of the character Josephine has created. The costume is dismantled as the truth starts to emerge. Crystal Rasmussen Underbelly Cowgate, 5.
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It charts the life stories of Crystal — a Romanov who fled the Bolsheviks to be raised by wolves — and their alter ego Tom, a gender nonconforming boy in Lancashire. They meet; they help one another; they become one — with costume changes and powerpop cover versions en route. The glamorous aspirations sometimes chafe against the lo-fi staging, and Rasmussen writhing semi-nude in a paddling pool brings little to the party. Performing with transfixing economy, Rheingans appears to be weaving a romantic tale of sweet-natured relatives and idyllic childhood memories, but stitched into her narrative is a darker strand.
Co-written by Liam Hurley, this is a show that celebrates family and nature and packs a fierce political punch.
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So far, so normal. But Adamsdale will never do a normal show, and FaceTime demonstrates what a skilled operator he is.
What starts as domestic standup ends up being more like a Roald Dahl short story. Oddly, in Snare he gets almost no comic mileage from the drums themselves. The comedy comes when he leaves the drum stool to tell an almost certainly fictional tale of his seduction by a drum teacher, a story he embellishes with prerecorded voiceovers and a keen ear for a gag. It sounds odd on paper, but he makes a pleasingly offbeat hour of it. Tom Parry: Parryoke!
He charts his journey from being someone who went to more music festivals than weddings, to the complete opposite, from guzzling drugs to guzzling canapes. Earlier this year he got hitched himself. There are no duff routines — everything is there for a reason. Who Cares Summerhall, 6.objectifcoaching.com/components/journal/rencontre-avec-joe-black-streaming-hd-vf.php
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It is heartbreaking at every turn. Detailing how easy it is for young carers to slip through the net, Who Cares paints a picture of our government going round with scissors and cutting bigger gaps for them to fall through. Young carers deserve attention, money and recognition. Supporting this humane tear-jerker of a play is a start.
Civilisation Underbelly Cowgate, 6.
Quietly audacious in form and timing, this strange and beautiful piece produced by Antler refuses to abide by the normal rules of storytelling. She character is oblivious to the three dancers who invade her space. They move wildly to music we hear only some of the time; the moments of silence are like held breath. I could watch for ever.
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Tom Rosenthal: Manhood Pleasance Courtyard, 6. Step forward Tom Rosenthal with an hour-long diatribe about his own diminished equipment. The show packs a rhetorical punch and has laughs, too. Rosenthal takes a risk getting so het up on the subject, , but het up he gets, leaving the conceit of the redundant foreskin in shreds. Not everyone shares his views and he takes care to attack circumcision itself, not the cultures that practise it. Pops Assembly Roxy, 6. Josephine and director Ali Pidsley are unafraid of silence, painting as much with pauses as with words and shaking off the baggage of familiar, sensational depictions of what addiction does to families.
Tiny twitches, glances and strained smiles say more about their relationship than any volume of words could. Toyko Rose Underbelly, 6.
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The old Etonian he never fails to mention it has always been a fine joke writer and constructor of routines, with an identifiable, if familiar, persona — that of the Hugh Grant-alike awkward toff, dressing up his enfeeblement in decorous gentility. Graham just needed to let rip a bit — and he does so here if only a bit , with a bigger-hitting set on new parenthood. Kai Samra: Underclass Pleasance Courtyard, 7pm, until 25 August How do you prosper in a world rigged against you from the start?
Sophie Duker: Venus Pleasance Courtyard, 7pm, until 24 August Duker is a fast-rising standup who runs the Wacky Racists club night, and her full fringe debut is adroitly pitched somewhere between autobiographical calling-card and show with a big-hitting theme. We meet the pansexual comic with daddy issues and a lack of brown-skinned role models. Sex Education Summerhall, Techcube, 7. He is a mischievous storyteller in a diamond-studded wedding dress, and this is an achingly funny, filthy and tender confessional. But his funny and surprisingly open mum is the real star. It is in one moment empowering and exhilarating, and in the next, full of rage and despair.
This is not an easy show to watch, but one that dives deep into grey areas many others are afraid to explore. Though tinged with sadness and shame, Love Letters is a buoyant comedy about pleasure. The Afflicted Summerhall, 7. Was it pollution, mass hysteria, demonic possession or female teenage angst?
All it would need to be a bigger fringe cliche is a few musical numbers. It comes with a full-hearted performance from our host — call her not Ishmael but Casey Jane Andrews. She bewitches an audience of 20, huddled around lantern-like lights, in a performance that will sweep you away.
Hot Shame is the title of a book he displays stage right, mordant readings from which punctuate the hour. Suffice to say, the embargo lasts about a minute and a half, in a show that delights in upending expectations and scrambling modes of comedic presentation. Phil Wang: Philly Philly Wang Wang Pleasance Courtyard, 8pm, until 25 August Wang is back with a new no-messing, harder-nosed attitude, along with excellent jokes including some choice one-liners.
If only more history lessons were like this. Armed with acerbic wit, an extraordinary poker face and a bag of interval snacks, she takes us through a highly participatory alternative history of the greatest hits of womankind. Traumboy Summerhall, 8. Traumboy is as much about identity and appearances as about a misunderstood occupation.
The delivery is more Jack Dee. Davies bosses us about schoolmaster-style, takes apart the lyrics to Busted songs and fails to perform his autobiographical musical about child abduction in a carpark. One or two gags are over-explained, and it gets a bit scrappy towards the end. So why is she still single? One man in the audience is grilled about his sex life and obliged to mime oral sex on stage. This is a woman who loves sex, loves glamour, loves herself and wants the world to know it.
If this roof-raising performance is anything to go by, they soon will. In the closing stages she weighs up how to be hopeful for your kids at a time of climate crisis.
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