50% LIABILITY // The Emslie Effect

Stripped down to its bloodless essentials, life is- give or take- a series of disjointed happenings, comings together and comings unstuck. There are birth pangs, there are death pangs. Big deal. John Emslie’s 50% Liability is a play that has something to say about all these things, plus one of those other elemental, everyday components: luck. Particularly, exclusively, bad luck.

In all honesty, it’s a show that deals exclusively with accumulated bad luck. How it stacks up, adds together and hardens into all that you’ve got. The genetic bad luck of being born, in a ‘scrawny’ (and Emslie makes this go a long, long way) frame ripe for the horrors of adolescence and high school, ripe for the bitter comic irony of becoming a male stripper in 80s Aberdeen (‘quite a conservative place’) having to carve out a niche hovering on the borderline of mutual humiliation for both stripper and client. Of all the petty, excruciating layers of incomprehension between the generations.

There’s not much in the way of linear narrative. But, for Esmlie, that’s sort of the point. He presents his life as a series of fluid, semi-connected catastrophes, each one more seemingly inevitable than the last. A broken neck in a slapstick occurrence at work, a near-death dream trip to Alaska, the use of his claims money to finance the show itself. In a sense, it’s a play that deals with how misery breeds misery and accumulates, as if by stealth. It’s a play that deals, blithely, with causality, with self-pity. With how it can take a whole lifetime to scramble clear of unpropitious beginnings. How that might be an impossibility in the end.

And finally, it deals with a kind of gallows hope. That even now, after a more than a lifetime's worth of ‘bad luck’, there’s the creeping anxious hope that ‘things can only get better’.

- FG

50% Liability played at C Venues - https://tickets.edfringe.com/whats-on/50-liability-1

Exotic Dancers: Gender Differences In Societal Reaction, Subcultural Ties, and Conventional Support- http://www.albany.edu/scj/jcjpc/vol10is1/bernard.html

Naked Ambition: The Truth About Male Strippers- http://www.independent.co.uk/life-style/love-sex/sex-industry/naked-ambition-the-truth-about-male-strippers-7820919.html

Chance: A Key Role in Life- https://www.uky.edu/~eushe2/Pajares/ChanceCanPlayKeyRole.pdf

EVERY DAY I WAKE UP HOPEFUL // Christian Talbot

It’s one the enduring footballing cliches, parked somewhere alongside “a game of two halves” and the absurdist non-sequitur “sick as a parrot”: “it’s the hope that kills you”. Like all good cliches it invites you to consider an alternative, a refashioning, a making new. John Patrick Higgins’ Every Day I Wake Up Hopeful is an attempt at just such a refashioning. 

Its cousin cliche is the idea of “snatching defeat from the jaws of victory”. The falling at the final hurdle when success seems assured. It’s the sense that no matter how propitious the current, no matter how favourable the circumstances, failure is as inevitable as night bleeding into day. Why bother at all? What if the goal that’s agonisingly fallen short of, night after night, is one that can’t be reversed? What if the ultimate, unrealisable victory is in self-annihilation?

For Higgins, and for Malachy (played with hangdog sensitivity by Christian Talbot) hope is the impediment. The current running throughout Malachy’s undistinguished life and his equally undistinguished prospective death (a blunt razor blade belonging to his dead father, a last meal of KFC and a litre of mid-range supermarket white wine) is a Beckettian belief that the only thing better than dying is never having been born at all. Yet it’s not clear that Malachy fully believes his own rhetoric. He stays alive, after all.  

There’s a bit of Larkin, too. For Malachy, as for Larkin, “life is first boredom, then fear”. In this instance, it’s a fear born out of being haunted at the noteless suicide of his much younger partner Skye (“a fucking stupid name, but she was Australian”). It’s a fear that his comfortable, undistinguished life isn’t a subversive comment on the fruitless vanity of others, but just a sad, flabby waste. It’s a suspicion fuelled by self-pity and acute self-knowledge. That’s what makes the play such an effective comment on suicide, its acknowledgement that humans are seldom rational actors, particularly in the matter of life and death decisions. In the end, as Malachy observes, “it’s the fucking hope that gets you”.

- FG

Every Day I Wake Up Hopeful played at Sweet Grassmarket - https://tickets.edfringe.com/whats-on/every-day-i-wake-up-hopeful

From Beckett to Stoppard: Existentialism, Death, and Absurdity- http://home.sprintmail.com/~lifeform/beckstop.html

The Silent Epidemic of Male Suicide- http://www.bcmj.org/articles/silent-epidemic-male-suicide

Existential Stress, Anxiety and Meaning Making in Your Life- http://www.healthyplace.com/blogs/anxiety-schmanxiety/2015/04/existential-anxiety-stress-and-meaning-making-in-your-life/

Have Men Been Let Down Over Mental Health?- https://www.theguardian.com/healthcare-network/2016/may/18/men-suicide-mental-health

The Mind in Solitude: An Interview With Claire Louise-Bennet- http://www.theparisreview.org/blog/tag/samuel-beckett/

A DREAM OF DYING // Fake Escape Theatre

Life is just a matter of appropriate planning. A good life is a well ordered life. The fullest life is the most neatly divided life. Birth, school (“with outstanding grades”), a lucrative job, a beautiful wife, a spacious suburban house, grinning suburban children, early retirement, grinning suburban grandchildren, a cheerful death and a well peopled funeral. It’s so simple, so simply broken down.

All that’s known of the ‘real’ Peter Bergmann is that he spent the last few days of his life in 2009 in the Irish city, Sligo. Every possible step had been taken to eradicate any clues relating to his identity. No tags on his clothes. No identification. No personal effects. No traces of a life. Even the name was an alias. It endures to this day, a mystery unresolved and apparently unresolvable.

Treasa Nealon’s script seeks to provide something approaching context to this strange, poignant tale. Lawrence Boothman’s performance as Bergman is pitched at a hypersensitive frequency, at turns vaudevillian, needy, broadly comic, shatteringly fragile and wildly allusive (there are strains of Yeats and Beckett throughout). 

As an audience we are treated to a spectacle at once manic and potentially hallucinatory. Boothman’s performance and multi-angled characterisation leaves it unclear whether the memories of family life and friendship are real or the projected fragments of an unhealthy mind. It plays with our ideas about self-determination and agency. The illusion of life being a simply ordered thing is supplanted by the realisation that the only real control we have is over our deaths. It’s not just a dramatic concern, but one that we deal with directly (and indirectly) in our society. It’s the question of the ‘right’ to die, and the question what significance an unexamined, ‘unmourned’ death has in comparison to conventional notions of dying as an event.

- FG

A Dream of Dying played at theSpace @ Surgeon's Hall - https://tickets.edfringe.com/whats-on/dream-of-dying

Loneliness Swallowed Me Up- https://www.theguardian.com/lifeandstyle/2010/may/28/emily-white-loneliness

Life-hating Loneliness- https://www.psychologytoday.com/blog/suffer-the-children/201303/life-halting-loneliness

Sense and Nonsense: an essay dealing with the ethics of schizophrenia research- http://www.sciencedirect.com/science/article/pii/S0920996498001285

 A short essay on the mystery of mental illness- http://noelbell.net/resources/world-mental-health-day-resources/the-mystery-of-mental-illness/

Self-Determination: A Buffer Against Suicide Ideation- http://selfdeterminationtheory.org/SDT/documents/2012-Bureau_SaLTB.pdf

THREE JUMPERS // Unearthed Theatre

A council worker watches on as a young man takes a running jump to throw himself off a bridge. He pulls back at the last moment. The young man, elegantly dressed, starts to converse with the dry witted street sweeper and the tone shifts. Things are revealed to be more complicated, as things often are.

Soon we are joined by two others and a queue forms at the bridge. A queue of suicides. They start to squabble and confer and details start to drip down to form a patchwork of connections. Unemployment, childlessness, the absence or death of love. The mutual connection through one female character.

Three Jumpers treats suicide as something more than just a one-off kind of ultimate madness, or a sudden burst towards self-annihilation. It shows the sometimes farcical, even grimly humorous faces of self-loathing and depression. It’s all in the conversation- after all, isn’t the absence of dialogue, the feeling that internal suffering is something to be born stoically and alone, that one of the biggest factors in suicide being the biggest killer of young men. It’s not that the conversations are flawless. They are often stilted and spiteful, yet strangely fluent in the way that desperate peoples conversations often are.

The play unfurls like a morality play without a moralising streak. Through its humor and subtlety it shows suicidal tendencies not as aberrations, but part of the complexity that constitutes being human.

- FG

Three Jumpers played at Greenside @ Infirmary Street - https://tickets.edfringe.com/whats-on/three-jumpers

Self-Determination: A Buffer Against Suicide Ideation- http://selfdeterminationtheory.org/SDT/documents/2012-Bureau_SaLTB.pdf

From Beckett to Stoppard: Existentialism, Death, and Absurdity- http://home.sprintmail.com/~lifeform/beckstop.html

An Essay on Influence in Waiting for Godot- http://www.samuel-beckett.net/Penelope/influences_resonances.html

Campaign Against Living Miserably- https://www.thecalmzone.net/

IT FOLDS // Junk Ensemble & Brokentalkers

At first, It Folds feels baffling, a blur whose beauty defies close analysis. It blurs the boundaries between life and death, making the ghosts of murdered children walk among their grieving families. It blurs the lines between truth and fiction, drawing on real-life stories of child abduction but muddying their details until they become universal. And most of all, it blurs the categories we place performance into. Its large cast mix dance, physical theatre, matter-of-fact monologues and disconcerting wit into a piece that creates a incense-heady atmosphere of its own.

Irish dance theatre company Junk Ensemble have collaborated with theatre-makers Brokentalkers to create It Folds. It has four directors, a nine-strong cast, and a choir who hymn the story, both on and offstage. These huge massed ranks of voices, seen and unseen, create a kind of surging community around the stories it tells. It’s a sense of community that’s hugely fitting for the subject of child abductions, and the way that they stir up mass hysteria, mass searching, and mass grieving in turn.

Through the ’80s and '90s, it felt as though every summer was marked by the story of a child who’d disappeared, and a tabloid hysteria that simmered on for months or years until its grim conclusion. Why do they hold such fascination? Some writers have put forward the idea that moral panic over child abduction was a backlash against feminism: the moral right's attempt to refocus attention on the nuclear family, with the child at its heart. Before the Catholic church was implicated in child abuse itself, it was a source of stability that emphasised the mother's role in protecting children from the outside world.

The religious imagery of It Folds emphasises the contradictory role of Catholicism in both nurturing and threatening children: an Irish priest briefs altar boys without his shirt on, but it's only when he skips mass that he's abducted. The damage done to parents, under new pressure to protect their children, is explored too. There’s a kind of surreal riff on the way that grieving parents have to perform their relationship for hordes of prurient outsiders: a man and a woman play two halves of a pantomime horse, but they stretch and pull in opposite directions, dragging each other to the floor.

The silliness of a pantomime horse might seem to be at odds with the grim subject matter of child abduction. But the seriousness of the performance is complexified, rather than undermined, by irreverent moments: like a murder ballad strummed on a banjo, or a beautiful hymn sung by a chorus of sheet-wearing ghosts. And the afterlife it imagines might not be sanctioned by any church, but something about its unified beauty lifts us to the heavens, all the same.

- AS

It Folds was on at Summerhall, 5-28 August http://festival16.summerhall.co.uk/event/it-folds/

More information on Brokentalkers' work http://www.brokentalkers.ie/

More information on Junk Ensemble's work http://www.junkensemble.com/

How ideas of stranger danger have changed the way children play http://news.bbc.co.uk/1/hi/8399749.stm

The influence of christianity on child abuse hysteria  http://www.nytimes.com/2015/08/07/books/review-we-believe-the-children-on-child-abuse-hysteria-in-the-1980s.html

SPOONFACE STEINBURG // Top Right Theatre

Spoonface knows that people in operas die beautifully and she wants to die beautifully too. Diagnosed with autism, and later terminal cancer, the child walks along silver linings in this hour-long monologue. Tackling the difficulties of development disabilities and terminal illness, Spoonface’s optimism never falters, as the backing track of Puccini’s ‘O Mio Babbino Caro’ lulls us into a romantic view of death.

More than 1 in 100 people in the UK live with autism, and they often have difficulty communicating and reading emotions. Because of this, Spoonface’s language is simple. Linear trains of thought are very clearly laid out, in order to prevent the world from being overwhelming.

In the periphery of Spoonface’s monologue is recognition of the difficulty of caring for an autistic child and how that is part of the reason for her parents’ split. While the common claim that 80% of autism families divorce was found to be false in a recent study, having an autistic child without doubt puts extra pressure on a couple. David Mitchell writes about telling people his child’s diagnosis. ‘The replies come quickly but read awkwardly: condolences are inappropriate in the absence of a corpse, and there aren't any So Sorry Your Offspring Has Turned Out Autistic e-cards.’

Named after her unusually rotund face, Spoonface tells us about her short life. Lee Hall, most famous for Billy Elliot, wrote this monologue for radio in 1997 but here Sasha Brooks performs as Spoonface in pyjamas, radiating innocence and vulnerability. Though covering desperately sad topics, this monologue tries to be optimistic, picking up on the positive parts of this life dotted with misfortune. Spoonface values her individuality, saying, ‘to be different is to be who you are’. Mitchell, too, is sympathetic to this idea, noting that gradually you discover that each child with autism ‘possesses its own singular beauty, its own life-enriching experiences.’

- KW

Spoonface Steinburg played at theSpace @ Jury's Inn through August 27 - https://tickets.edfringe.com/whats-on/spoonface-steinberg

Information about autism http://www.autism.org.uk/about/what-is/asd.aspx##Prevalence

A review of the original radio play http://www.independent.co.uk/arts-entertainment/dont-be-afraid-of-spoonface-1165152.html

Autism spectrum disorder http://www.nhs.uk/conditions/autistic-spectrum-disorder/pages/introduction.aspx

Autism’s effect on a family http://www.aamft.org/members/familytherapyresources/articles/08_FTM_3_18_22.pdf

Divorce rates of parents with autistic children http://www.telegraph.co.uk/news/health/children/7926161/Parents-of-autistic-children-more-likely-to-divorce.html

David Mitchell: Learning to live with my son’s autism https://www.theguardian.com/society/2013/jun/29/david-mitchell-my-sons-autism

CAMILLE // Kamila Klamut

History has painted Camille Claudin as 'Rodin's tragic lover' - a muse-turned-artist-turned-asylum patient, desperate and alone. But although her 10 year love affair with the master of French sculpture has defined her, she's increasingly recognised as an artist in her own right: the 70th anniversary of her death was marked with asignificant retrospective of her work at the Rodin Museum.

Polish artist Kamila Klamut isn't the first to bring Claudin's story to the stage. But her physical solo performance draws attention to the bodily indignities and torments she suffered after her brother committed her to an asylum. She adopts a low voice to explain his rationale, that she's bringing shame on their wealthy family's reputation. It's a frightening insight into a time when asylums were a form of social control, designed to keep people who threatened the social order out of sight - and mental health treatment within their walls was all but non-existent.

Flashes into Claudel's past reveal an unconventional, fierce woman: one who stepped out of a life of privilege to live as an artist making then-shocking nude sculptures, and who sought an abortion at a time where doing so was both dangerous, and seen as an unforgivable sin. But she was held back by a patriarchal art world: where her lover Rodin presided over a large workshop that could make over 300 bronze casts of The Kiss, her struggle to win wealthy backers meant she was restricted to cheaper materials, and her behaviour became increasingly erratic. Over 100 years on, it's impossible to interpret her true mental state. Was she too far outside of social norms to be allowed to live unchallenged? Or was she genuinely mentally ill, suffering from delusions of persecution by Rodin and the art world?

Klamut shrinks in on herself as Claudel's years in imprisonment pass, her letters ignored. She changes her from an expansive, wild artist into a petty, child-like being who quibbles over butter and greasy soup. But even in the asylum, her class buys her a kind of comfort: she is sent wine, and chocolate, and alcohol-soaked cherries.

The text of Camille is culled from Claudel's letters, meaning that the personalities of Rodin and her family are only visible from her own, increasingly desperate perspective. It is difficult to truly understand how she felt when her words are isolated from the context of the social world that lionised and destroyed her. But her physical suffering is intensely visible, as Klamut's contorted body becomes a visual representation of the oppression visited on Camille by both society, and the asylum that she was imprisoned in.

- Alice Saville

Camille was on at Summerhall, Edinburgh Fringe http://festival16.summerhall.co.uk/event/camille/

Kamila Klamut’s website http://www.kamilaklamut.pl/

An overview of Camille Claudel’s life and work http://www.musee-rodin.fr/en/exhibition/camille-claudel

Asylums as a form of social control, rather than sites for medical treatment http://www.academia.edu/894595/Getting_Out_of_the_Asylum_Understanding_the_Confinement_of_the_Insane_in_the_Nineteenth_Century

Rodin’s workshop, and the expense involved in being a sculptor http://festival16.summerhall.co.uk/event/camille/

5 OUT OF 10 MEN // Deep Diving Ensemble

Male suicide is at epidemic proportions, the leading cause of death for men between 20 and 34 in England and Wales, an undiscussed wave of futile waste. Like mental health provisions across the UK, support for young men has been eroded, and the new societies of the 21st century have less use for the strong, silent and stoic men still lionised by those who advocate ‘traditional values’ and roles. The idea of a man is changing, whilst the ideal takes time to catch up.
 
Sometimes it seems the most common place to see these statistics are when they are needlessly weaponised, used by clueless men’s rights advocates as evidence of feminist blind spots, without acknowledging the potential of gender equality to fix the underlying causes of the pain and suffering. Men who are told not to cry, not to express emotions, to sublimate their desires into unhealthy outlets and to never show weakness. Boys who grow up with stilted relationships to their own feelings, and shame with their inability to fix it. Remember how normal it is that boys are told to not act ‘like a girl’, to ‘man up’ or to be strong. That is a symptom of patriarchy too, an archaic set of rigid gender roles that fail to map on to the modern world.
 
In the physical theatre workout of 5 Out of 10 Men, these arguments are rehearsed through the story of a young man’s suicide. Its issues are raised simply and without special nuance, its central character a broad cypher for societal concern. It sits within a move towards cultural interrogations of maleness alongside gender in general, whether Grayson Perry’s All Man series for Channel 4 or the Southbank Centre’s BEING A MAN festival. 5 Out of 10 Men’s dancers take on the physicality of the ideal, the swagger of the masculine as well as the exhaustion of pressure. Like its character, it flags as it goes on, tiredness and sweat streaking the performers and wracking their bodies. At its end, the narrative has led only to the death of the young man, his fate set by the pressures placed upon him.

- Lewis Church

5 Out of 10 Men ran at theSpace on Niddry Street until August 27th - https://tickets.edfringe.com/whats-on/5-out-of-10-men

Deep Diving Ensemble: http://www.deepdivingmen.com
 
Samaritans Sucide Statistics Report 2016: http://www.samaritans.org/about-us/our-research/facts-and-figures-about-suicide/suicide-statistics-report-2016
 
Tony Porter: A Call to Men (TED):  http://www.ted.com/talks/tony_porter_a_call_to_men?language=en
 
Grayson Perry – Whither Big Balls?: http://www.newstatesman.com/culture/tv-radio/2016/05/whither-big-balls-grayson-perry-investigates-masculinity-better-anyone-else
 
Southbank Centre BAM Festival: http://www.southbankcentre.co.uk/whatson/festivals-series/being-a-man
 
Get Help with Suicide (CALM): https://www.thecalmzone.net/help/get-help/suicide/

THE ME // Sun Apparatus Theatre Company

On Saturday the 27th of August 2016, it was confirmed that Mbah Gotho was the oldest person in the world, after he produced documentation that proved he was born on the 31st of December 1870. When Gotho was born (145 years ago) Ulysses S. Grant was the President of the United States, Italy was being unified, and Charles Dickens had just died. Indonesia, the country of his birth, was a Dutch colony. He would have been 74 when World War 2 ended, and is still living now.
 
The ME is about ageing, and the quest for longevity. It’s about the very human desire to resist death and the value of the one life you’ll get to lead before it’s snuffed out. Its protagonists are chasing immortality and the promise of experiencing the span of history Gotho has. It’s a gentle satire of wellness and pseudo-science, of new-age fixation and hollow self-improvement. Melody, the insufferable character at the centre of the story abuses her maid Lita as she joylessly swigs kombucha, seaweed health drinks or whatever else, before an absurd sequence of events introduces her to an unhinged researcher of how-to-cheat-death. This scientist of dubious ethics makes vague references to planarian worms, a sci-fi trope found in everything from Star Trek to Swamp Thing to denote unknowable potential for regeneration. Her crazed experiments are vaguely reminiscent of Serge Voronoff’s monkey-testicle grafts, the Russian scientist whose placebo experiments later inspired the vicious revolutionary critique of Mikhail Bulgakov’s Heart of a Dog. Like many other plays, films and books, The ME suggests a denial of mortality is the dark underside of medical science.
 
The world will change and leave us behind. By the time death comes it might be greeted without fear, as the world we find ourselves in has changed beyond all recognition. A long life is not the same as a good one, as the characters in The ME discover. Who knows how the world will develop as we age? Might it end, or continue to change? During the still continuing life of Mbah Gotho the telephone went from a new invention to a ubiquitous tool. He was alive before the first petrol engine was created. None of us know how long we have, or what we might see.

- Lewis Church

The ME ran at ZOO until August 28th - https://tickets.edfringe.com/whats-on/me

The Sun Apparatus Theatre Company: http://www.thesunapparatus.com
 
Oldest Person in the World - http://www.independent.co.uk/news/world/asia/worlds-oldest-person-man-mbah-gotho-indonesia-145-years-old-a7213191.html
 
Planarian Worms: https://www.exploratorium.edu/imaging_station/research/planaria/story_planaria.pdf
 
Regrowing Heads and Keeping Memories: http://voices.nationalgeographic.com/2013/07/16/decapitated-worms-regrow-heads-keep-old-memories/
 
Serge Voronoff: http://www.atlasobscura.com/articles/the-true-story-of-dr-voronoffs-plan-to-use-monkey-testicles-to-make-us-immortal
 
What the World Might Look Like in 100 Years: http://www.realclearlife.com/2016/09/01/this-is-what-the-world-might-look-like-in-100-years/

TWO MAN SHOW // RashDash

There is a crisis in masculinity. Men can no longer be bearded, belching monsters, retreating to their man-caves at the merest whiff of emotion. Women are in charge now, and men now have to stop solving problems with their fists. They have talk to each other. They have to have feelings, damn it. This is the initial premise of Two Man Show – actually a three-woman piece. But, just as the title of the show misleads us as to the gender identities of the performers, the show itself tells us less about what it is to be a 21st century man, and more about what it is to be a woman.
 
Following a quick overview of how the patriarchy has ruined everything, we see women portrayed as goddesses, as muses, on pedestals, as voiceless figurines. We see women acting out the characters of two brothers, struggling to communicate about death and impending fatherhood, jaws and hearts hardened and set against each other.
 
Most of the show involves the two main performers and creators – Helen Goalen and Abbi Greenland – either topless or completely naked. It seems potentially gratuitous, titillating or desensitising. Then as women playing men, standing about in their boxer shorts in the morning, it seems fine. After all, men are allowed to walk around in just their pants, aren’t they?
 
It’s not the only ‘un-ladylike’ behaviour the audience is asked to confront. Women swear. We fight. We fuck. We make our own rules. We rule our own lives now, thank you very much. But does this mean we’re no longer allowed to be feminine? To use our power softly rather than screaming and shouting? Two Man Show speaks to the very heart of identity yet acknowledges that sometimes there are no words to say how we really feel.

- Dr Kat Arney

Two Man Show ran at Summerhall until August 27th - https://tickets.edfringe.com/whats-on/two-man-show

RashDash: http://www.rashdash.co.uk/

Thoughts from RashDash about on-stage nudity and playing men: http://www.rashdash.co.uk/thoughts/two-man-show-week-four-diary/

Time – The Crisis in Masculinity: http://time.com/4339209/masculinity-crisis/

Ms Magazine – Empowering Femininity: http://msmagazine.com/blog/2014/07/28/empowering-femininity/

(I COULD GO ON SINGING) SOMEWHERE OVER THE RAINBOW // FK Alexander

The volume of this work is at the level of trembling clothes. An affective noise that moves bodies and governs the internal rhythms of an audience to match its ritual of dialogue balladry. The singer is standing in a washed-out strobe aurora with a mic lead coiled in her punk rock grip, hand-in-hand with one from the crowd. The crowd let it lull them into a meditative state.

Noise is often a subtle charming of our unconscious reactions, whether the drip-drip of an irritating tap or the hollow roar of a train-journey tunnel. It holds and releases insides and surface, quivering and dimpling and pushing you back, fading into the background with time but rearranging you as you stand. It bathes and heals and envelops your stresses, leeching it back through vibrations that heal. FK Alexander enters into eye-contracts of healing interaction flanked by the two noisy sentinels of her co-performers. For an hour after entering you stand, sit or shuffle in the space at the limit of aural endurance, until leaving into the shocking quiet. It’s sound as a weapon targeting isolation, and sound as a healing force, bridging bodies in the room.

The work is a cover version of a performance moment, a reinterpretation of a numbingly repeated song to convey the hurt and poignance of the final performance of an aging star. Clattering drums and odd discordance augment the familiar Hollywood build to a transcendent moment of cathartic release. The formality of dressing, undressing, and holding hands acts out a serenade as an engagement. When Judy Garland died of an overdose of barbiturates in 1969 it was an overstimulation to the point of limit. The noise here is an overstimulation, but one that heals as much as that other destroyed. (LC)

(I Could Go On Singing) Over The Rainbow ran at Summerhall Basement until August 28th - https://tickets.edfringe.com/whats-on/i-could-go-on-singing-over-the-rainbow

FK Alexander: https://www.artsadmin.co.uk/artists/fk-alexander

A History of Using Sound as a Weapon: http://motherboard.vice.com/read/a-history-of-using-sound-as-a-weapon

Sound Healing: http://qz.com/595315/turns-out-sound-healing-can-be-actually-well-healing/

Come On, Feel the Noise (Paul Hegarty): https://www.theguardian.com/music/2008/nov/10/squarepusher-paul-hegarty-noise

Clip of Judy Garland’s Final Television Performance: https://www.youtube.com/watch?v=CJhHPTBjzac

The Second Summer of Hate: Noise Rock Now (The Quietus): http://thequietus.com/articles/19966-noise-rock-2016-reviews

Okishima Island Tourist Association Shoot: http://www.kovoroxsound.com/OKISHIMA%20ISLAND%20TOURIST%20ASSOCIATION%20-%20SHOOT.html

1 LAST DANCE WITH MY FATHER // Njambi McGrath

It's not just African AIDS statistics that Njambi McGrath carries around with her; she bears the generational physical and mental scars of Kenya’s colonial past. Teresa Mays recent political wrangling to scrape The Human Rights Act seem unsurprising when Njambi offers an African’s insight into the systematic extermination of the populations of Kenya and DRC by European Imperialists. It's the West's inability to see the hypocrisy in lecturing Africa Nations on human rights that has recently led to Gambia withdrawing from The Commonwealth.

Njambi manages to cover a diverse and vast range of topics during her hour on stage including The Wealth Divide, Donald Trump’s seemingly imminent Mexican wall, Oscar Pretorius and Guantanamo Bay. But all these topics are used as humorous asides to her starling account of surviving her father’s emotional and physical abuse. Njambi makes light of his regular brutalities as she strays from current events into autobiographical territory. She stresses her father was surely a feminist as he maintained all females should obtain a good education but then describes how he beat her to unconsciousness after learning she had an abortion.

1 Last Dance with My father is a story of survival, on first impression Njambi’s survival of her father, but as the narrative progresses we learn that Njambi’s father was an orphan of a Kenyan resettlement camp, found suckling the teat of his dead mother. His death begins a journey of understanding and forgiveness, a personal parallel to South Africa’s Truth and Reconciliation Commission.

Njambi challenges our perceptions of Africa and its people while maintaining a western discourse on current political events such as The Brexit and even manages to get a gasp from the audience on suggesting that Nobel Prize winner Malala Yousafzai is probably a cunt.

- Lucy Orr

1 Last Dance with My father is on at 14.30 at Laughing Horse @ Espionage (Venue 185) until August 27th. Wheelchair Accessible Toilets.https://tickets.edfringe.com/whats-on/1-last-dance-with-my-father

Mau Mau uprising: Kenyans still waiting for justice join class action over Britain's role in the emergency -Thousands of elderly people claim mistreatment, rape and torture by colonial forces http://www.independent.co.uk/news/world/africa/mau-mau-uprising-kenyans-still-waiting-for-justice-join-class-action-over-britains-role-in-the-9877808.html

Domestic violence is biggest threat to west Africa's women, IRC says https://www.theguardian.com/global-development/2012/may/22/domestic-violence-west-africa-irc

Leslie Dodson: Don’t misrepresent Africa https://www.ted.com/talks/leslie_dodson_don_t_misrepresent_africa

4D CINEMA // Mamoru Iriguchi

Mamoru Iriguchi’s moving planes of flat projection are a visual signature, a recurring technique constructed through a wacky series of contraptions that disguise their sophistication. In 4D Cinema the footage projected onto them are used to question time itself, the ability of a subject to define their own home and the biographic responsibilities of the performer and audience. The nature of memory is as much its subject as Marlene Dietrich, both in what the audience remember of themselves as they were fifty minutes younger, and in thoughts of how your memory will survive after death.

It is apt that this questioning of memory happens through a screen. There is constant media speculation on the consequences of modern humanity’s deferral of the responsibility of remembering onto external devices. No longer do our brains contain sets of memorised phone numbers or addresses, they're filed away as discrete pieces of digital information accessed through a screen or a cloud. Iriguchi’s work highlights the risk that this trust of the screen might come to dominate our own memories. Believable biographical material is delivered through screen and authoritative speech, causing a brief cognitive dissonance with my vaguely recalled pop cultural history. Was what was said about Dietrich true, whether played forwards or back? Can I trust my disbelief without a surreptitious Google?

As the performance finishes, the last thing the audience see is themselves reversed in moving image, a playback of themselves entering unaware into the space. It’s a riff on self-perception and its communication, on the marketing of ourselves as a central concern, the modus operandi of social media and advertising, subcultures, clothing and rep. Like the mirror stage of Lacanian psychoanalysis, the point at which a toddler locates themselves in the image in the mirror, video documentation shows the subject to itself as something others see. In 4D Cinema our image is reflected back to a later version of ourselves, through an unaware entrance, and the ramblings of a reticent historical subject.

- LC

Mamoru Iriguchi - http://www.iriguchi.co.uk/About.html

How the Internet Inhibits Short-Term Memory -http://www.medicaldaily.com/information-overload-how-internet-inhibits-short-term-memory-257580

Digital Amnesia: Real or Not? -http://www.techtimes.com/articles/65431/20150709/digital-amnesia-spreading-due-to-internet-and-smartphone-use-or-crass-marketing-ploy.htm

Metaperceptions: How Do You See Yourself? -https://www.psychologytoday.com/articles/200505/metaperceptions-how-do-you-see-yourself

The Mirror Stage –http://www.lacanonline.com/index/2010/09/what-does-lacan-say-about-the-mirror-stage-part-i/

Mamoru Iriguchi/Lewis Church Interview (Exeunt) - http://exeuntmagazine.com/features/between-the-genres/

HERO WORSHIP // Sonic Boom

Hero Worship deals with comics as a coping mechanism and is the latest in a series of monologues by admired writer-performer Kenny Boyle. Cyberpunk clothing and a utility belt are instantly familiar from the comic Kick Ass as is our hero, a 21st century everyman working in a SUPERmarket. His main enemies are probably familiar to all of us and go by the names of anxiety, depression and uncertainty.  Using imagination to escape the mundane is a central theme in hero Worship but it’s stressed, that the complexities of real life are what make us who we are and build our personalities. Boyle reiterates though out the performance that it’s everyday moral choices such as caring for an animal or falling in love that make us truly powerful. 

Just like Batman and Superman our hero is an orphan and troubled by childhood loss. By becoming The Flash he suggests his imagination lets him run so fast, that death and pain become insignificant. Boyle uses spoken word filled with rhyming references to a vast comic universe to transcend reality, but this doesn’t stop him bringing us violently down to earth with a powerful description of a physical attack.

During the performance Boyle points to members of the audience and assigns them powers: these aren’t telekinesis or invisibility, but empathy and commonsense. Hero Worship consistently asserts that men in tights and robot fights can do wonders to bolster self-confidence and self-awareness.

Comics preserve the tradition of visual storytelling vital to humanity. More recently, they have become a literary platform that pushes traditional narrative boundaries by addressing a whole spectrum of physical and mental health issues, ranging from body shaming and feminism to LGBT rights. These days graphic novels have a lot to say. At the end of the performance when our hero is unmasked and the therapy is complete. He has escaped the escapism and been assured by his new found love that she didn’t need saving; just for him to be there, a partner in life’s daily fight.

To be continued…(LO)

Hero Worship is on at 13.30 at C venues – C (Venue 34) until August 29th. Wheelchair Access, Level Access -https://tickets.edfringe.com/whats-on/hero-worship

 Welcome to Bitch Planet - the comic that's reimagining feminism: https://www.theguardian.com/books/2015/mar/06/bitch-planet-comic-feminism

The Rise of Superhero Therapy - Comic Books as Psychological Treatment: http://www.thedailybeast.com/articles/2014/02/17/the-rise-of-superhero-therapy-comic-books-as-psychological-treatment.html

The effect of comic books on the ideology of children: http://psycnet.apa.org/journals/ort/11/3/540/

The visual magic of comics - Scott McCloud: https://www.ted.com/talks/scott_mccloud_on_comics?language=en

DOLLY WANTS TO DIE // Lung

Playtime is over, and now that they’re on their own Dolly and Mister Bear can get back to their foul-mouthed ranting, drug-taking, suicide-attempting day. Dolly wants to die, and she is quite clear about that.

Over the 45 minutes of the piece, we look on as Dolly attempts on her own life in ways which range from immolation to asking an audience member to smash her china head with a gigantic (on the scale of a doll) dildo. Helen Monks’ (Dolly) performance of the character’s more or less surreal suicide attempts resonates with that of Maria de Meideros as Karenine Battavia in the 1996 film News From The Good Lord. 

Dolly Wants To Die doesn’t directly explore the contentious topic of assisted suicide - but rather the difficulties faced by Generation Y within a saturated job market, leading them to move back with family (and their childhood toys) as they are not able to find work at the end of their education. 

In both cases, that of the film and Dolly Wants to Die, the darkly comic repetition of the character’s failure to die points to questions of agency. While Dolly has been around for what she deems to be long enough, doesn’t have any internal organs and “no pension plan in sight”, she doesn’t find the help to die when and how she chooses.

Where medicalisation could be seen to promote longevity over quality of life, and in the austere contexts of cuts to disability allowances, our relationship to end-of-life choices is changing rapidly. Debates around assisted suicide ought to be nuanced, and opening up uncomfortable conversations around death and dying is a useful starting point to making considered decisions for ourselves and our loved ones.

- Leo Burtin

Dolly Wants To Die is on at 16.10 at Underbelly Cowgate until August 28th. Hearing Loop available - https://tickets.edfringe.com/whats-on/dolly-wants-to-die 

Internet Movie Database entry on News from the Good Lord: http://www.imdb.com/title/tt0116081/ 

Article on the medicalisation of dying: http://www.bmj.com/content/324/7342/905.1

Information about Atul Gawande’s Being Mortal: http://www.goodreads.com/book/show/20696006-being-mortal 

Information on Liz Carr’s Assisted Suicide the Musical: http://notdeadyetuk.org/assisted-suicide-musical/ 

Guardian Article on cuts to disability benefits: https://www.theguardian.com/society/2016/mar/29/employment-and-support-allowance-the-disability-benefit-cuts-you-have-not-heard-about