Infectious, inspiring and captivating, this is a show not to be missed.
With a string of awards under his belt and a sell-our run at last year’s Fringe, The Boy With Tape On His Face is back by overwhelmingly popular demand. Only able to communicate physically and with the help of his hugely expressive eyes, The Boy (Sam Wills) performs what can only be described as a kind of speechless sketch show in a unique world where almost anything goes – and the more random, the better.
Through the many interpretations of his symbolism-heavy writings, Kafka’s inner-most self is most revealed not through his tales, but in his letter to his father. Adapted for the stage by director Mark Cassidy and performer Alon Nashman, Kafka and Son gives a unique and intimate insight into Kafka the man as opposed to Kafka the writer, bringing to life the letter that his father never read.
All aspects of this production are of a very high quality; there has clearly been a lot of thought, effort and time poured into it. While many of the references will go over the heads of those unfamiliar with Davis and Crawford, Baby Jane fans will be delighted by the irony and the horror, making this a must-see for lovers of the silver screen.
Insightful and alarmingly familiar, this is a powerful and highly topical piece of theatre. Originally written by Gogol and adapted for the Scottish stage by Catherine Grosvenor, the damaging potential of the banks is presented as ruthless, limitless and insatiably greedy, encouraging its customers to invest in ridiculous schemes and working its staff quite literally into the ground.
As is to be expected of someone with his reputation, Callow gives a sensitive and knowing performance, sometimes with specklings of humour, at others imbuing a feeling of helplessly inescapable sadness. Despite his physique being very unladylike, he quickly embodies his character to the extent that it is utterly believable that he is not just a transvestite, but really a woman.
This is one of those rare Fringe shows that has that magic of getting the whole audience in stitches, from teenagers right through to pensioners. Hugely talented and highly engaging, you have to pinch yourself to believe that this is Goldstein’s solo debut, and it’s impressive that under such circumstances he has the courage to present such a personal and bewildering account.
Back in the 90s, a birthday party wasn’t a birthday party unless the local magician made an appearance. Every trick was politely unremarkable, the same children were always picked to be the magician’s helper to the jealous horror of their friends, and the props were cobbled together at home with a couple of cheap magic shop must-haves thrown in. For all those adults now nostalgically lamenting their lost childhoods, fear not, for a survivor has been discovered: Piff the Magic Dragon.
Original, ingenious and a hell of a laugh, this is what the Fringe is all about. Lie, cheat and steal for a ticket, because this is the secret gem of the festival.