Edinburgh 2023 - Last Day

The plan was supposed to work, in theory: check out of the accommodation at 10 am, drop the luggage either at their storage or at the station, then move on to watch shows for the whole day, ending with a late Friday one. Because, my assumption was, the strong cabaret shows will be at the weekend mostly, so I will get to see a weekend evening. 

Of course, it didn't work quite as planned: neither the reception nor the train station luggage facility weren't open past 11 pm, which already killed the mood for the evening. Besides, there seemed to be a lot less circus and cabaret this year, everything backing down in front of the comedy that is slowly encompassing all territory like a zerg swarm.

And the Kaye Hole was sold out pretty much as it was announced. The learning here is that next time I visit as a tourist I should do early train with early afternoon arrival, then leave with the late evening train, rather than the early morning. Of course, circumstances will differ next year, but we'll go with the best guess, as always.

Another bit of learning about the number of shows one can possibly see in a day. At a push, I think even 11 might be possible, if you have the endurance. But also, if it's more than 9 shows, they will have to be chosen by location and convenience rather than by the actual show. Digesting what one sees and actual digesting of food are also important elements of the day, so the run for quantity might eat into the quality of the experience. Hence, I conclude, the ideal number of shows to be seen in a day as a tourist is 6-7. Having said this, I only hit 5 on my last day, sacrificing the morning to sleep and the evening to the safety of getting to London in time and with my luggage intact.

Long Long Long Live (13.40, Infirmary Greenside, V236) - The first on the day was an invitation from Pili Vergara from LatinX. And it looked like the most interesting proposal for the slot, so there I was, in the tiniest venue I've seen at this year's edition. 40 seats, but crammed in a tiny room, with the stage barely 2 x 2 m, and performers being at audience's toes most of the time. Still, Pili and Dangerosity have done a great job, once I got into the show - which was quickly - I forgot about the venue. The concept is interesting: a modular show, different scenes approaching the same themes from different angles. It works, and it can be quite innovative in the 3-millenia field that theatre is. What I saw was entertaining, with very exacting direction and great pace. My main objection is that the modules have to be supported by a central skeleton though, which was missing here. We need to understand the relationship between the characters, and we need the characters not to change once we understood where they sit in relation to each other, otherwise it gets confusing. I would also aim to give them a resolution and, if at all possible, even more of a set-up. So the experience was positive, but as it is, the show will have a short shelf life. They do want to keep working at it though, and that's great!

Scaredy Fat (16.05, Pleasance Dome, V23) - This show came recommended by Leanne, who I trust because I liked her show Two Fingers Up last year, and because I programed her show at Barons Court. Unfortunately, Scaredy Fat failed to deliver. The intersectionality here is gay, fat & Irish, so a solid premise to talk about bullying, emotional abuse, sexual awakening and sexual identity and how these translate into rural Ireland. Scaredy Fat is trying to do it, but it gets lost somewhere on the way. Excess projection, some delving into drag, just enough to throw us off the story, but not enough to take us into drag show territory, and a lot of classical horror movies that we don't necessarily understand what they're doing there other than "I like them". It's weird, because it looks like the show has a solid team behind it, and I'd think one of them saw how neither here nor there it is. But maybe it's just a matter of taste. Maybe I'm just not gay enough to get it. It has happened before.

Amusements by Ike (17.40, Pleasance Courtyard, V33) - I know Ike from the best improv show I've ever seen, the Vegas Nocturne in 2015. I've befriended him on Facebook and I saw a bit more of his absurdist, deadpan humour, which is highly endearing. The show was sold out, so I took a punt, which occasioned the best interaction with the box office girl, who just plain sold me a ticket, staring across these 'sold out' shenanigans as mere rumors. And I'm very very glad I got to see Ike, this is an amazing show! Stand up comedy, yes, for lack of a better name, but the way stand up should be. With the biographical elements incorporated in the humour, set up to amuse and entertain rather than a stream of consciousness story of my life show, Avital! Ike is incredibly charming, his writing is smart and his delivery is super-funny. And, again, I got to play a little part, asking for a volunteer from the stage. You have to see it to understand. Although you won't be able to at this year's festival, as the show is now truly sold out. And I'm so glad Ike has done so well, I hope to see him more on this side of the Atlantic!

Runaway (20.05, The Space, V53) - I met Zuzana on the street and she seemed quite downbeat about how this festival has been. Shame. I saw the show in London. I did love it, but wasn't planning on seeing it again at the festival. But a ticket is a ticket, so I went it to swell numbers more than anything. Glad I did though. 8 in the audience, which is not amazing, but by no means the end of the world. Actually a decent number for the Fringe. Now, whether due to fatigue or to disenchantment, Zuzana didn't have the same energy that blew me off my feet at Drayton Arms. It's the same show, so still solid writing, excellent performance. and I'm glad to see that the audiences seem to have enjoyed it. But it's in the little beats, in the extra breaths, that the show has lost some pace on the performance I've seen. I hope Zuzana does it in London, and doe a proper run of it. Because it's important! The experience of a foreigner, the experience of an Eastern European, of a young woman in a strange new land, all important topics, and the show covers them very well. It's inspiring, really. When you see it, see it!

Mythos: Ragnarok (21.20, Assembly Roxy, V139) - strong recommendation from another Zuzanna, West End Evenings. To the point that I had to promise I'll see the show. It's theatre & wrestling! Cool, no? More than that, Mythos: Ragnarok does not rely on the wrestling bits, or does not make much of the fact that it brought together two types of shows which I doubt anyone thought to combine before. No no, Ragnarok is here to tell us a story, a solidly put together timeline of Norse mythology. Compiling a series of myths written across centuries into a coherent piece of theatre is already an impressive achievement, but M:R doesn't stop here: Costumes are brilliant, choreographies are fantastic, and the fights are downright spectacular, to the point that the whole audience was gasping, and gasping often. Not to mention, performances are brilliant. You wonder how they do it, getting a few kicks in the ribs, then standing up to deliver a perfect monologue, with dimension, intensity, humour, and leave space for the audience, too! The actor playing Loki, especially, outstanding! The perfect show to bring a child at a vulnerable age (8-16) to. They will fall in love with theatre forever, and will forever yearn for that oh so ungraspable combination of interesting subject matter, well crafted story, clear writing, high production value and believable acting. Well, Mythos: Ragnarok have found it! This is West End material if I ever saw any. I just hope a producer takes a risk. Oh, and looking forward to seeing Mythos: Olympus. They have opened themselves to it big time.