Pleasance Dome

August 1st– 12th, 13th-26th (23.00)

Material:  Delivery:   Laughs:

This was my first comedy of this year’s festival and like most people I was spoiled for choice and didn’t know who to go for. Luckily I had a friend in the know and he recommended the Lampoons. I really did not know what to expect and was going In blind so to speak. I was also taking my mate from out of town so was really hoping this was a good one! The space was very intimate, with about 10 rows on either side right I front of the small stage. We were presented with 5 doors and not much else really so I quickly realised that these guys were going to be relying heavily on their material and wit, the show was either going to be tragic or great.

The general plot is an adaptation of the 50’s B-movie titled ‘The House on Haunted Hill,’ when a few rather odd characters are invited along to spend the night in Vincent Price’s haunted house. Each character is superbly played by the actors who have to use all of their acting skills and abilities to rig the characters to life. The full show was weirdly wonderful and had both myself and my fried enthralled in what these lunatics were going to do next. There is everything from oversized pickles to crazy ghost cats to keep you entertained. There is also a good level of audience participation which only adds to the hilarity.

This could well be the most ridiculously bizarre late-night show at the fringe; a thumpingly hilarious non-stop Comedy-Horror
Read the full interview…

There seemed to be a lot of improv involved as the show evolved, giving the actors the freedom to ‘run with it’ and lots of opportunities to let their imagination run wild and the patter flow between everyone. The pace of the show was pretty fast and there were a few hilariously funny parts that had some of the audience in absolute hysterics including myself and my friend! I can see this show running on and on – comedy genius would be a fair comment and absolutely mental may be another! This show is one of the best things that I have seen in years and I would advise everyone to take a punt on these guys – you will not be disappointed.

The show works perfectly in this small theatre, as you can see the whites of the actor’s eyes and every facial expression. It is rare that everyone in a show is amazing, & the truth is these guys actually are; Ollie, Adam, Tina and Josh will have you on the edge of your seat as you watch a master class in silliness!

Mark Parker

Martin Willis and Phil Lindsey are best mates, & from their incessant banter great comedy has been born & given a name — LOOSE BRIE

Hello Martin, so where are you both from and where ya at, geographically speaking?
Martin: So I’m from St Albans and Phil’s from Aylesbury, both commuter towns in the home counties. Although, if you mean where am I from from, I’m half Indian. It’s a look often confused for literally any country in the warmer western world. And where am I at? Currently the desk in my bedroom of the flat we share with our comedy heroes, David McIver and Steph Browne.

Hello Phil, so when did you first realise you could make people laugh?
Phil: I’d say around about my fifth gig.

Why stand-up?
Phil: Because I wrote too many knob jokes to make it in theatre. Genuinely though, I started as a playwright, but then comedy seemed like a more open system with endless opportunities to workshop material. I can write a sketch about a man who’s addicted slugs on Sunday and perform and rewrite it three times by Friday. And, importantly, I don’t have to convince an actor or director that slug addiction makes sense. I just have to convince Martin, which is easy because he’s up for anything.

How did you get into comedy, Martin?
Martin: By following the stringent application processes of various London open mics. Previous to that I lived in Madrid, where I dabbled in improv and dipped my toe in stand-up for two gigs, the second of which was wonderful and the first I don’t wanna talk about.

How did you meet Phil?
Martin: We became buddies in the Shakespeare Society at Goldsmith’s College in south London. We were in two plays together in The Society, the first of which was a gender-swapped Twelfth Night and it was wonderful, the second was a queer Romeo & Juliet adaptation which I don’t wanna talk about.

Where & when did the idea for Loose Brie originate?
Phil: We first properly worked together in 2011 when Martin was in my play, Winfamy (“Makes the pits of hell look like a glamour disco” – Broadway Baby). Then we didn’t do anything for a while because Martin ran away to Spain (I’m over it). In 2014 we made some horrible little films together (took them down from Youtube because: horrible). Finally, in late 2015 Martin bullied me into trying stand up for the first time. By January 2016 I’d moved into his flat, we’d formed Loose Brie, and our fates were sealed.

As besties, what do you guys do when you’re not working on comedy?
Phil:  Sit together in glorious silence.

You guys were in Edinburgh two years ago when we ‘laughed a lot.’ What have you got for us this year?
Martin: This year we’re going to solve every single problem in the entire world, everything from grief and relationship disputes to hiccups and sketch comedy. There’s a chance that it’s harder than we thought it was going to be, solving literally everything, and there’s a bigger chance still that it’s all away of covering up the genuine issues that we have with each other in our real life as best friends and flatmates.

That seems quite a very wide selection of materials – is there anything that does NOT get joked about by you guys?
Martin: Yeah, we tried to do more big-P political stuff this year because audiences kept asking us to solve brexit, but it’s just too real and not all that fun in our voice. Instead, we pack a short but pretty horrid period of nudity, which more or less emotes the traumatic experience of thinking too much about current politics anyway.

Would the show appeal to non-Brits at the Fringe & why?
Phil: It’s a highly physical sketch show, but all the context for the disgusting/distressing physical stuff we do is in what we say. It’s a much darker show without the words. So, to answer your question: yes.

How is director John-Luke Roberts handling everything?
Martin: Oh, he’s great. I’m surprised he took us on at all after our first preview, which was a genuinely horrendous experience for literally everybody involved. But his notes are great, his moustache is great, and he’s letting us mess about onstage at both ACMS and his Terrible Wonderful Adaptations, which is great.

You’ve got 20 seconds to sell the show to somebody in the street…Hey guys!
Phil: Are you looking for something to do later! No sweat! But if you change your mind – no, I know but if you do change your mind though, our sketch show ‘Loose Brie Solve Everything’ is one of the Independent’s Picks of the Frin – okay, okay, I’ll – look I’m just saying it’s a great, big, weird, moving unforgettable show that I think you’ll really – sorrysorry I’ll go please just – ow – not the face – please – no please stop…

Loose Brie: Solve Everything

Laughing Horse @ The Newsroom

August 6-12, 14-26 (19.30)

Stand 4
Aug 2-26th (15:35)

Material:  Delivery:   Laughs: 

Nick Revell has a lot to say – and I’m pretty sure most of it is complete nonsense. The premise of the show is basically how his Dream Catcher got broken. Along the way we are introduced to a host of celebrity cameos featuring everyone from Gwyneth Paltrow to Vladimer Putin and taking us from the pretentious Hipster bars of North London to the frozen tundra of the Bering Strait. His brand of nonsense is something to behold and his imaginative tangents are as entertaining as they are baffling. I can’t say that I got every reference, but those that did seemed to be appreciating them fully. But I don’t mind things going “Over my head” a little at times. It’s just refreshing to see a comedian, or any artist for that matter, being true to themselves and not trying to dumb down their material to reach a broader audience. The references I did get were certainly witty and sharply observed. All of this was helped along considerably by the likability of Mr Revell and his unwillingness to conform to comedy show norms of insulting the audience or telling people what gruesome celebrity he resembles. He did mention his pet cat, but that was only to win a bet with his mates so that can be forgiven.

Want to hear a bonkers story this afternoon? Lasts an hour, feels like twenty minutes. Sex, violence, a talking bear and classic 70s disco.
Read the interview…

What made his gibberish also engaging was the conviction with which he delivered it. Great surrealism should always be on the cusp of being believable. It is known as the suspension of disbelief. And this comic did that with great aplomb. Even when describing Vladimer Putin’s homosexual arse going on a hedonistic rampage in Berlin I was almost there with him. Mr Revell is certainly a cleverer man than me and surely that’s whom enjoyable entertainment should be delivered by. If I think I can do it myself I’ll just do it myself. If I think that there’s no way I could do that I sit back, pay my entrance fee and enjoy the ride. Much of his imagery will stay with me for a long time and I’m positive I must have learned something. Maybe not strictly accurate information but certainly the hold you can have on an audience when you steadfastly refuse to compromise your integrity or intelligence or imagination to appeal to the “Made in Chelsea” generation. Long may you jabber nonsense Mr Revell and long may your uncompromising anarchy reign!

Victor Pope

Pleasance Courtyard
August 6-26
18:00

Material: Delivery:   Laughs:

Evelyn Mok has an unusual, languid stage presence that augured well when she first came on to stage. Those who are familiar with her past material will know her jokes revolve around personal themes of identity and body image while growing up Swedish of Chinese parentage, resulting in some heavy self-doubt as a result. This show dips into that same well. There were certainly some golden nuggets, but a full hour without quite enough material ended up feeling patchy and too drawn out, especially towards the end when the show really began to lose its momentum. The experience ends up being one part comedy and two parts confessional, which some people will find refreshing, but it won’t be every comedy aficionado’s cup of tea.

There were some stand out jokes that were genuinely funny, and the middle part of the show was well structured and tied up neatly together. She was able to make us laugh at the absurdity of being at the harsh end of the ‘bamboo stick’, that had come all the way from China, like a sick and twisted family heirloom, and certainly a contrast to her Scandinavian schoolmates’ liberal parenting experience. Her lacklustre and awkward dating experiences after coming relatively late to the game made us laugh too, blaming God for not listening to her heartfelt prayers for a good shag.

Mok uses the time for some serious political observations such as the lack of women abusers in the #MeToo movement. She squeezed some comedic material out of asking us to imagine our female ‘national treasures’ like Maggie Smith being sexually aggressive to young men, because the idea seems so incongruous and unfathomable. Little digs at the white middle class punters were received gracefully, as she poked fun at racist ideas of Chinese people and British colonialism. She teased that white people were to blame for creating a situation where Black Barbie is the cheapest one in the Swedish store. It just created an even greater identity crisis when her penny-pinching father brought the unwanted doll home as a gift, minus all the cool accessories that White Barbie or even the panda that Asian Barbie came with. She could have really gone to town with some of this material, like her being a cheap Asian fetish for 50 year old white men who can’t afford a Thai bride. She certainly has potential, and once she fleshes out her act and makes the most of her material she could be a very refreshing and important figure on the comedy circuit.

Mok tested us with a sideways joke about Jimmy Saville and the audience visibly shivered. She impressed upon us that she loves to make her audiences uncomfortable. However, at this point the bated breath in the room belied a fearful anticipation that things were going to descend into unnecessarily murky and uncomfortable waters. The jokes began to thin out more and more and the monologue became more like a rambling, unedited confessional on Oprah. Yet by this stage in the proceedings, the audience had warmed to her personality, bravery and vulnerability. Only the cruellest of punters would think of heckling her at this point, so everyone perhaps felt compelled to be respectful and listen to her circulating some needed air around some of her most painful childhood stories. Being open and honest about difficult subjects will help us all. It all lightens up again with ridiculous nonsense just before the end, but I won’t spoil the experience of her quirky ‘special song’.

Lisa Williams

The Caves
Aug 2-12th to 14-27th (11:20)

Material:  Delivery:   Laughs: 

I’ve always loved Shelley’s sonnet, Ozymandias, written in competition with Keats in the unofficial London literary salon ran by Leigh Hunt. And so does Jacob Hatton. Jacob also loves comedy, & doing comedy, he really is quite a natural performer. What Ozymandias has to do with his comedy I quite never worked out, but I hardly cared as I was too busy being swept along by Hatton’s funniness like going on one of those proper smart waterpark flumes in Greece.

The main crux of the show is Hatton’s youthful obsession with becoming the Pope, which he clearly has never quite got rid of, for the neurosi surrounding such childhood dreams are now manifesting in the young fellow’s performance art. I think Hatton would have made a brilliant drama teacher; he’s just so on the ball & scatty at the same time, it’s buzzing to watch.

Ozymandias is based on our endless desire to be GREAT, to want people to know us and know about us. It explores what that means, why we want it and why ultimately, it’s a profoundly useless thing to really want from life.
Read the full interview…

There is also a gameshow-host lurking somewhere in the psyche of Mr Hatton, & one is immediately warmed by his incessantly silly patter & his quality audience interaction/participation. I mean, getting an entire sobriety-swarming room harmoniously Gregorian chanting before noon is quite a feat. Thus, at the end of the day, or rather the start of, Ozymandias is a wee, endorphin-milking titterfest that will set you up for a grand day at the Fringe, no end.

Damo

Fingers Piano Bar
4th – 26th August (16.20)

After last night’s musical Hip-Hop adventure at Sketchy Beats it was 5am this Morning that my head hit the pillow. I was home by 2am, but couldnae stop writing. I awoke with sun streaming through my window, &  with a smile knowing that today Divine would have the opportunity to take in the mesmerising beauty of “Rosie Sings”. It was a beautiful Saturday as I strolled into town. The city was heaving with smiling faces, even the beggars were doing a roaring trade. Everyone was happy. The Sun did indeed have its hat on. So I hurried my pace coz I didnae want to miss my date to see Rosie perform. Its been a year since her beauty graced my life. Last year’s show was one of Divine’s 5 Star recommendations. So I was eager to see just how the show had matured.

I entered the venue to the songs of Duffy and Amy Winehouse. This put me in the mood immediately. I love them both and was happily singing along with my pint of water, with ice and lemon. Rosie walked on stage and my heart melted. Her blond ringlets complimenting her beautiful face, beautiful teeth and smile. Her lovely white and flowery dress and diamante Heels. Her beautiful singing voice. It is only when she speaks that the true Rosie comes to life. This girl loves sex, avoids alcoholics, but is ok with ketamine. A packed Fingers Cellar Bar, instantly warmed to Rosie’s enlightening comedy and genuinely hilarious tales.

As I said earlier, Rosie is gorgeous in a classic 1950’s kind of way. As a singer, she is easily on par with Duffy and Amy Winehouse, which was perfectly complimented by the brilliance of her pianist and musical director, Doug Price. This Bbby really makes the Piano sing, complimenting Rosie’s vocal range, reproducing classics in a very satisfying way indeed. Behind the mask of every clown, there is a genius. Rosie’s genius is her singing voice, everyone was thrilled by this. The unique and classy bit was her song, sung in about twenty different languages. It is the International Fringe, so there is a bit in this show for Fringers of every nationality. Rosie has a big heart and wants to include everyone.

Its also part of The Free Fringe, so there is nothing to lose apart from an hour to the talents of Rosie. As I left the venue, I got all tongue tied and blushed like a schoolboy. Thanked her for the performance and tripped on a step, falling flat on my face. It was just like that sketch from Only Fools And Horses, where Dell is getting the come on from two ladies in the bar, he leans on the bar and its been lifted up by the bartender while Del Boy wasnae looking and falls flat on the floor. I was too embarrassed to continue our conversation. Oh well, I know that with Rosie’s talent and seeing as she is a local now I am pretty sure I will Hear her amazing voice again soon.

Mark ‘Divine’ Calvert

Sikisa “Twix” Barnes and Adrian Tauss have teamed up for the Fringe. The Mumble thought we’d find out why…

Hello Adrian, so where are you both from and where ya at, geographically speaking?
Adrian: Hey Mumble, So I grew up in Switzerland, the original Brexit. And Sikisa is from Barbados via Brixton. So naturally we got on instantly. We both live and perform in London.

Hello Sikisa, so when did you first realise you could make people laugh?
Sikisa: I think I’ve always been able to make people laugh just because of my personality and always trying to make people happy, but I didnt realise my potential properly until 4 1/2 years ago when I started gigging on the open mic circuit

So Adrian, how is the Swiss sense of humour compared to the British?
Adrian: We’ll there isn’t one. Switzerland is to humour what Britain is to Ice skating. Although there is actually a small but popular English speaking scene in Zurich now, where I occasionally gig.

So Sikisa, I know Brixton, I used to go raving down the 414 club! Anyway, I can imagine in such a cauldron of life there is a lot of material to draw comedy from?
Sikisa: Yes I like to use my settings and surroundings as a backdrop for my comedy. I like to talk about subjects that people can relate to but from my point of view.

Which comedians inspire you, both old skool and on the scene today?
Sikisa: I grew up watching great British sitcoms and sketch shows featuring Victoria Wood, Dawn french, Jennifer Saunders, Harry Enfield and was in awe of what they did. As I got older I discovered more Amercian comedians such as Wayne Brady, Katt Williams and Kevin Hart. But I love watching strong women on stage so upcoming comedians such as Desiree Burch, Micky Overman, Thanyia Moore, Heidi Regan and Helen Bauer inspire me to just keep doing what I do.

You’re quite a wandering Diva across the London Comedy Circuit, what is the scene like?
Sikisa: Wandering?? lol! I wouldn’t call myself a diva – my friends call me that – mainly because they believe I am a powerhouse of talent – whether I agree is a different story. The comedy scene is amazing. There is so many different talent on the scene who are all individuals and I have been privileged to have shared a stage with many of them. It’s an exciting time in comedy because we are being recognised more for being smart as well as funny.

So Adrian, How did you get into stand up?
Adrian: I loved stand up and always wondered if I could be good at it. And who knows, maybe I will one day.

What are the key ingredients to a good joke?
Adrian: For me, It’s an original point of view and a flavour of your personality. Genitalia and farts never fail though.

You’ve just been working with Rachel Weisz & Timothy Spall recently, what’s the back story?
Adrian: I occasionally get work as an actor and I remember working with some amazing actors, who I’m pretty sure don’t remember working with me. I was cut out of some high caliber stuff though and Tom Hiddleston once asked me to take my top off. But you’ll have to come and see the show for the story behind that.

How did you meet each other?
Sikisa: I met Adrian when he started coming to the Cavendish Arms in Stockwell to perform at Comedy Virgins. I work at the pub and have done so for ten years and I had just started doing comedy. At first I was wondering why he never brought me a kebab (because I thought he worked in one for a while) and then we got on very well.

Where did the idea for the show originate?
Adrian: To be honest, we both just really wanted to do a show together and the ideas followed. Also, since Sikisa is winning competitions and has been signed by an agent, so I thought I should capitalise on our friendship and ride on her coattails of success.

Can you describe in a single sentence the experience of performing at the Fringe?
Adrian: It’s summer camp for all the weirdos.

What is it about performing live you love the most?
Sikisa: I love being able to interact with audience members and seeing their reactions to my jokes. No audience is ever the same. I also love being about to have a platform to have freedom of speech so i can say whatever I like really

You’ve got 20 seconds to sell the show to somebody in the street…
Sikisa: Do you ever learn from your mistakes? or do you like enjoying making mistakes! Come and see this show where me and Adrian talk about things we should have learnt about but we cannot guarantee that they are going to help as we are rubbish with providing answers. It’s well worth it just to see Adrian talk about piegons and me try to prove I’m better than Beyonce

We Should Know Better

52 Canoes, Grassmarket

August 4-19 (20.15)

Apex Hotel Grassmarket
Aug 2-7, 9-14, 16-21, 23-26 (13:10)

Material:    Delivery:   Laughs:  

Have you ever seen a comedian and thought, “If I had a pint in a pub with this guy, we’d be friends.” Well, today I just met my new best mate Andy Onions; a high-energy X-Generation comedian and genuine nice guy with undeniably shit-hot PowerPoint skills. This is an ideal show to pop into after a few drinks with friends, but you’d better start the session early as his Apex Grassmarket show starts early (1.10pm).

If you want to see a stupid man in Hawaiian shirt with a big screen run around with computer games and singalongs and super happy fun times. Maybe this is for you
Read the full interview here…

A tipsy lunch with Andy Onions is a marvelous way to begin a day of enjoyment & pleasure-seeking at the Festival. Andy is all fun; a mix of hyper-genius Robin Williams with a hungover Jack Black. His show, PowerPointless, rolls relentlessly on a tsunami of laughter, all guided by a PowerPoint presentation which took hundreds of hours to create. Here we have wonderfully silly quizzes such as ‘Hipster or Hungarian’ & ‘Name That Spoon,’ alongside among many other nuggets, plus a dash of Street Fighter nostalgia, all weaved together with endearing, whirlwind speed storytelling and spot-on observations.

Andy Onions is like a stick of genius dynamite on repeat as he befriends the room with glimpses into his childhood, relationships, love of football and work-a-day life, and we’re in on all the jokes. An hour with Andy Onions is never a dull moment, and I left wanting more. His unabashed silliness coupled with smart and creative insights are definitely not to be missed, & his mastery of the modern art of power point presentation seemed to me as if it were Caravaggio with a projector. Also, & this is rare during the Fringe, I was chomping at the bit of enthusiasm all the way through the show so powerful is Andy Onion’s performance & his non-stop preternatural montage.

Emily Beeson Bullen

The Place Hotel
Aug 5-14 (22:30)

Material:    Delivery:    Laughs:  

Death Ray Cabaret is a real-life couple observing life through the medium of comedy songs. They are Canadian & they are also an intensely satisfying experience, especially after a beer or three before their 22.30 slot. They are to be found just beyond the extremely serendipitous terrace at the Place Hotel, an oasis of neo-modern calm worth experiencing in itself – it is only open to the public during August. Add to this the two performers you’d most want to find yourselves in a train carriage with at the start of a 12-hour journey, & a fine Fringe night is on the cards.

I have already told my band mate he needs to see this show – he is an excellent pianist – & this is pretty much what I told him. ‘O My God Roy, I saw the this duo from Canada singing some tunes, like, they were proper funny, & the keyboardist, swear down, her fingers were simply twinkling all over the shop – she was superb.’ This lady is called Jordan, whose electric blue eyes gazed into the distance as she sang the quirky, catchy, well-crafted tunes alongside the infinitely amenable Kevin Matviw. That they have the occasional soft marital nit-pick only adds to the warmth.

Canadians spend most of their time looking out the window at snow or listening to the howl of wild dogs chasing a deer under a stark, moonlit night. As a result, the mind wanders and Canadian humour can be pretty dark and absurd. My limited experience in the UK suggests that British audiences aren’t afraid of that stuff, but they appreciate the cleverness of a good one liner too.
Read the full interview here…

Its caramel comedy this, each tune is poetic & melodic, arrowheads fleck’d with the Flight of the Conchords as we hear lines along the way such as ‘the first escape room was the woman’s uterus’ & have a bangin’ rave down the library. The time, the location & the quality of the gig all invite a visitation this Fringe. Its free, so you’re not gambling your cash, but sitting down to experience such lucid comedy songcraft & performance after, & with, a beer is a fine antidote to the endless streams of comics & improv & wotsits paraphernaling all over Edinburgh. Its also difficult to negate the effects of Jordan’s beaming pearly smile at the end of the each song. She – & Kevin – clearly enjoy what they do, & so, almost certainly, so shall you.

Damo

Assembly Roxy
Aug 4-12, 14-26 (19:15)

Material:  Stagecraft:  Performance:   

This auditorium has to be my favourite to date. It’s called The Assembly Roxy and it is Roxy by name and Roxy by nature. The seating was a steep slope just like you find at the grandest theatre, except that the Roxy is a fraction of the size, offering great cosiness and intimacy.  As the lights darkened and the musical began, a booming voice introduced the tale of Thor and Odin in Asgard, a great city where the Norse gods abide. There is a tree there, a golden apple tree, which holds the power of their immortality. It is well protected and is the most sacred thing in the heavens of Valhalla. The Giant race who live in one of the nine realms and are perpetual enemies of Asgard know all about the golden apple of immortality.

But this is not a traditional telling of this ancient story. In the initial scene, the inhabitants of Asgard wore funny American football guards in place of what would normally be golden armour. Odin, the Asgard king (Bob Harms), wore a hilarious boxing outfit with his name written where the belt would be. There was an immediate dynamism, both obvious and subtle, between the traditional story where the comedy was understated, and full-on funny. It gladdened me to see and hear all of the story that I myself have an interest in, and I took no offence at the comedy that complimented it so well.

Thor (Harry Blake, also the author), he of the hammer and mighty strength, was depicted not as a warrior, but as being enamoured of poetry, love and flowers. The show even goes so far as to suggest that he was attracted to another man, and they share a kiss, something to outrage the traditionalists! Tradition was further subverted when we saw Thiassi (Laurie Jamieson), general of the Giant army, threaten war between the worlds, then promptly sit down to play the cello. In fact all the players moved easily between various musical instruments, making the music itself almost like a powerful entity in its own right.

In its own charming way, the final insult to fans of the myths was when instead of being a male actor, the half-Giant Loki was played by Alice Keedwell, a woman with an angelic voice. When Alice sang Loki’s lyrical blues, it was as if it were the most serious play in the world and made us forget we were watching a comedy.

This show was full to the brim of loud, brash, almost alarmingly forceful detail, including energetic battles and a troop of tap dancing trolls. The writing is top notch and the production incredibly well put together, set in front of a cosmic planetary prop that took up the entire back of the stage. The talented cast played their parts to perfection, constantly interacting with the audience and drawing us further and further into the ancient tale. Odin moved with uncanny ease between being a powerful god and adopting a more humble demeanour. And Thor, in his cheap golden jacket, was thwarted by the contrast between his warlike image and his own poetic nature.

The story is one of the oldest on the planet, the well-known Vikings had these visions of gods, Asgard, Valhalla (where they believed they could go if they lived well enough, mostly to be a good warrior) This musical could be described as playing with the whole idea. The coy understanding behind the work is something greatly to be enjoyed. In the end it was Loki who was at the heart of the plot, with the destruction of the golden apple tree of immortality movingly revealing in the final scene a special aspect of her character. This production was engaging right from the whirlwind beginning; developed to perfection, charmingly low budget, crowd teasing, crowd pleasing, spectacular amalgamation of theatre at its very best. If you don’t believe me come in and see it for yourself!

Daniel Donnelly