Marquee – Laughing Horse @ Bar 50
Aug 1 – 25, 20.00

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Byron Bertram took command of the Laughing Horse @ Bar 50 marquee the minute he stepped out in front of us. In fact he bellowed at us, not in an angry British way, more in a Canadian large personality way. As we sat in the half-filled tent he cajoled us into participation in his laughter, but also in the general uproar, which would be a good word for describing his set. He took us on a journey into the extremes of his over-active mind and imagination, confessing to having a mental deficiency and being on meds, with a burgeoning pride and reality.

Bertram knew his material was comedy adamantine, taking great relish in the fact as he stood full square before us with a great smile in his eyes – he almost didn’t have to say anything and we were splitting our sides with laughter. It got better by the second, ranging from mocking modern culture to quips about his beloved mum, a great character. He joked about alcohol, made comparisons between the police in Canada and Britain, pointing out the politeness of the police here, having no need for guns but instead deploying social skills to enforce order on nights out in towns and cities. When he would scream into the microphone, he wasn’t being a diva; instead it was all part of his charm.

To his credit he was no jovial Santa personality, it was his seriousness about comedy that began to set him apart as a stand up. He even received positive heckling. His idea for the title Passport and Prozac was influenced by his extensive travelling and Prozac being the medication he was on. He was unsympathetic towards today’s PC society, but it was enough to mention it rather than rip it apart, though he would have been more than capable if he’d wanted. But, with a preference for very clever wit and a delivery to die for, Byron’s lack of airs and graces made him a pleasure to watch, listen to and feel improved by, all the while crying tears of laughter. It’s definitely shows like this that make the Festival for me, shows which step out of time and give weight to the theory of time flying when you’re having fun. This was an enthralling and masterful performance from a great traveller from Canada. Well worth an hour of your time.

Daniel Donnelly

Pleasance Dome – King Dome
2nd – 25th August (19.00)

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I found myself in a queue with pen and cards being distributed to launch the platform on which the latest episode of Doctor Who shall be played out. Our little grey cells are jump-started into action, and already we are being entertained by way of collaboration and audience participation. To have the chance to set the scene and location is a thought-provoking and ice-breaking experience – it is impossible to stay insular while from among the chatter, absurd and quirky ideas seep out from an awaiting crowd. By the time the throng has ascended the Pleasance Dome’s stairs and taken their seats, a feeling of exciting anticipation was felt – an electrifying atmosphere akin to waiting for the latest ride at Blackpool or Alton Towers. It’s just magic.

Equally as entrancing are are the performances of each and every member of the cast. There are five actors who gel better than superglue, and give so generously to each other that the results cannot be anything other than superb. Such ability to think so fast and adapt at extreme speed to each others’ ever-changing dialogue is such a treat to witness, even if you are not a Dr.Who know-it-all. Last night’s performance was brilliant. Exciting music accompanied searchlights as their beams danced about the stage in front of an azure tardis. Then the cast entered and immediately high-fived the audience – genuinely thrilled to be performing to a packed house.

The beauty of this production is the variety of plots they will go through – every time different – and the challenges the cast face with such hilarious trepidation linking Dr.Who to his new location. Our performance was ‘The Demon Knitting Cult’ set at Hogwarts with Harry Potter and his mates Ron and Hermione delivering banter that fully embraced the mathematical Dr Who’s mannerisms and lingo, while still keeping it surreally Hogwartian. Terrible timing malfunctions caused Dr.Who to land in London in our time and witness the Gherkin being pelted with thousands of owl-delivered letters leading him to Hogwarts and the antics there, where professors and students alike were unravelling at the speed of light (more or less!). You get the idea! Thoroughly recommended!

Clare Crines

Assembly Roxy
August 12-13, 15-25 (20:00)

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For several months now, the future Mrs Law and I have been discussing our media-barrage induced apathy over current political affairs. Her tactic has been to hide in a ‘News Nuclear Bunker’, avoiding as much as possible the daily onslaught of wearyingly unsurprising gaffes, ‘offensive quotes’, and doom laden headlines. Generally a political animal myself, I have taken to rationing my intake of anything ‘B word’ related.

So it was with not without trepidation that I decided to dive head first into Lolly Jones’ political cabaret spectacular, feeling optimistically rejuvenated after several days of non-Fringe related R&R. As a positive portent, upon first reading the promo material for the show I noticed a tingling of excitement deep in my belly at the prospect of seeing Nicola Sturgeon and Angela Merkel burlesquing on stage together. Could this be the Epsom Salts tonic I needed to cure me of my malady? Well actually, if we’re talking ‘tonics’ then  Buckfast would be a far more suitable analogy for this mini masterpiece than Epsom, but more of that later.

Crash! Angela Merkel is a Bond style Techno Villain! Bang! Nicola Sturgeon is a dusky 60’s club singer, wooing the audience with her cheeky one liners!! Wallop! Theresa May is, well, VERY Theresa May.

The old equation tells us that ‘Tragedy multiplied by Time equals Comedy’, and Lolly Jones uses this to deliver a show that I felt gluttonous to consume. The audience is treated to a 1930’s Berlin style Revue of the last 4 years in politics with exquisitely cheeky choreography, costume changes galore, spectacular lighting effects, and lip synching to recordings of our ‘glorious leaders’ during the moments which have shaped the Britain we live in now. To add a massive cherry to the top of this already heavily laden cake of visual delights, it is soundtracked to perfection. En Vougue’s classic ‘Never Gonna Get It’ is deployed like satirical semtex at just the right moment, and applause, laughter and cheers cascade around the room when it is dropped.

Then, there are the performances. Jones herself is one of the most talented impersonators I have ever witnessed live. Her facial contortions to uncannily recreate the mannerisms of the main political players is a joy to watch. The beat perfect lip-synching to the politicians’ interviews, and speeches, is faultless, allowing the audience to escape from the sucking vortex that has been the political landscape of the last 4 years, and instead spend time with the people at the heart of it. One wonders if Theresa May, were she to be present in the audience herself, would finally discover the self-awareness which was so sorely lacking during her ill-fated premiership.

Lolly is ably supported throughout by 2 backing dancers who are in effect the Chorus of this Greek Tragedy, taking on ‘minor roles’ such as Donald Trump and Mrs Mays other half with aplomb equal to our main star. It would be massively remiss of me not to mention the most important character in the show though, Babs Jones. Lolly opens the performance by lip synching to a recording of her mum discussing her thoughts on Brexit, and we are treated to excerpts of this throughout. It is cut and timed perfectly, to convey the shifting public moods over these last years. The disillusionment, confusion, and despair that has come to characterise us as a nation. It is this interjection of the ‘reality’ of the events in people’s lives which prevents the whole piece sliding off into polemic. Instead Lolly allows us simply to observe history unfolding in front of us, laying bare the catastrophic folly, hubris, and pride present in the current British political system.

I could go on for pages, such is the sheer precision and attention to detail present in every aspect of this unique, instant Fringe classic, which had the audience on their feet for a standing ovation at the end. Instead, we’ll get back to that Buckfast analogy. ‘I Believe in Merkels’ was indeed the (Buckfast) tonic that both myself, and the usually satire-phobic Future Mrs Law needed. Just like Scotland’s other national drink, it renders you temporarily incapable of conscious thought, delirious, and high as a kite. The only thing you do know is that you’ve forgotten all your troubles, you feel f@@king brilliant, and you really, really, want some more.

No matter whether you’re a Leftie, a Tory, or an Inbetweenie, you owe it to yourself to see this show. It’s the political panacea that everyone in the UK should be prescribed.

Ewan Law

Bar Bados
  August 12-24 (12:45)

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A List of 100 Things That Unreasonably Annoy Me is a perfectly accurate, does-what-it-says-on-the-tin description of Jeroen Bloemhoff’s Fringe offering for 2019. He spends his hour setting off and letting out his rage at all those everyday occurrences that bother him. we discover along the way that Jeroen is quite put off by slow walkers, bicyclists, ukulele players and avacados, to name just four. A List of 100 Things…, then, is pure observational humor, with Jeroen being angry at just about everything he observes.

So today I actually had to turn away about 20 people for my show, A List of 100 Things That Unreasonably Annoy Me. While I am flattered, I hate to disappoint people that aren’t my parents. So if you want to come see the show, make sure to be there on time! (I recommend 12.30) See Joeron’s Twitterfeed

The day I attended the show was fully packed, Jeroen having to turn about 20 people away. This got the atmosphere started really well and it seemed Jeroen was going to have a great performance. But for me, around 15 items into the list the energy level dropped as we realized there were still 85 more. He tried to keep the energy up by having the audience pick numbers from the list, but it just made the set a little clunky and seemed unnecessary. The audience was still laughing throughout, but the fast start made the rest of the show seem stuck in the mud.

Jeroen did have interesting things to say about letting out his anger out, and not just being positive all the time. He made me think about allowing myself to get annoyed, because pretty much half of everything is annoying. Jeroen’s jokes were funny, and really the room was laughing throughout the show, but I just think it could have been better with such an eager crowd.

Michael Beeson

Just the Tonic at the Caves
Aug 1 – 24 (17.20)

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I love the layout of Just the Tonic at the Caves; it’s like entering some kind of military HQ – a perfect venue for a courageous comedian. Enter Jim Campbell with his new stand-up show, lovingly named “Beef”. Setting the scene, Jim told us about his anxiety and depression at the state of his life. He didn’t seem to be too upset about the world at large, however, asking us to understand and join him in his depression, wanting us to be relaxed and, well, weird. He eased us in to his weirdness with some smaller jokes, but as his own confidence and stature grew, so did the material. It was clear that this was a performer who totally knew his stuff, seeming not to even need to take a breath between sentences.

Was he using the stage as a kind of therapy? A way to answer the voices in his head; which made him mock and doubt his ideas? A way to cope with the fact that life was nowhere near where he thought it would be, with no wife, no car, and a burning desire to take a rerun and do it all again, a maddening proposition in itself. He continually asked the audience if they too had voices or; wishes for a life’s rerun. This rhetoric and the way it was delivered was hilarious. Especially when he referred to the history of his infamous Campbell ancestors; who’d been the “baddies” at Glencoe. Was he in fact trying to find a way to overcome the family curse? I have a feeling that Jim Campbell enjoyed the venue as much as I did – it was, as I said, a perfect fit for him and his raw comedy.

Mental health issues seem to be increasingly being addressed at the Fringe, with comedy at the head of what is almost a movement of its own. Are we glad to see awareness raised or is it just because we love to laugh at misfortune? With a comedian like Jim Campbell you were never quite sure, and I don’t think that he was either! What I am sure of is that this guy’s punchlines will keep you entertained for the full hour as he shares his struggles to find inner peace.

 Daniel Donnelly

Laughing Horse @ The Pear Tree
Aug 11, 13-25  (16.05)

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Energetic, naturally and naughtily charismatic, Morgan takes his audience on a cruise through the uncharted waters of life as he knows it. Not quite 30 and warm up for Graham Norton, Morgan has the ability and skills to make a conversation based on his local pub resonate with the punters. Touching on topics of sexuality, masculinity and the British inability for males to compliment one another without losing their street cred, why can’t the average bloke be nice? Why can’t a guy compliment a women without being weird? Taking Weatherspoon’s beer garden to new ‘binstopian’ levels, and challenging the political situation, ‘…the rise of Fascism in Europe…that’s not coming back,’ he is as astute as he is comical.

If you see one freebie this fringe, make this the one if you want an hour of belly-hurting chortles, a few shocked gasps and the experience of feeling lighter and brighter having an hour of Morgan mundane mania.

Be sure to get there early as it’s first come first served.

Clare Crines

Underbelly, Bristo Square
Aug 10-11, 13-25 (15.10)

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In her show, Romantic, Flora Anderson humorously explains that from her middle-class upbringing in Islington, she gained a posh accent, a private school education and an excruciating awareness of her privilege. She came out of university believing she could become like her heroes Keats, Wordsworth and Byron, but when she came back to London she found that her artistic goals might be only romantic fantasy. Now she is balancing her opposition to the horrors of capitalist society with her need to be able to pay for housing.

I found Flora’s story very relatable, being born into a similar economic and social status. I found it interesting to know that other people are feeling torn between the romantic artist’s life and the reality of surviving when rent is £1000 a month. Flora does a great job of baring her soul to her audience and she has important things to say. Her jokes are good, but not hilarious. She seemed a little nervous at times, but this added a little charm and I believe she will become more confident as the Fringe continues. In her closing section, she taps into some creative spirit which tied the whole hour together and impressed me.

The tension between privilege and art was the theme I walked away from Romantic thinking about. I have actually noticed this tension as an overall theme at Edinburgh Fringe 2019. It seems all of the middle class comedians are trying to come to terms with their privilege. Is it right for us to be having a laugh while others are living in oppression? Flora Anderson can’t answer that question, but her show offers an intelligent and funny take on the tension a lot of us are feeling right now.

Michael Beeson

Imagination Workshop – Hanover Suite
Aug 8-25 (20.00)

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Edinburgh warmly welcomes the sexy and stylish trio known as The Dots. Three diverse and completely different characters provide comedy caberet with a glamorous flair. A desperate Dot Helen is eagerly looking for two wannabe sidekicks, and by jove does she find them. Take three marshmallows, sprinkle them with glitter, and toss them in tumble-dryer for an hour and hey presto, you have The Dots! Courageous, strong-minded and determined, these independent women cascade onto the stage like a powerful waterfall. They have only one thing in mind, to steal the show. With more energy than a electricity grid they are here to entertain, but Helen can only pray that these two new stooges make the grade.

Like an overflowing glass of wine the laughter just keeps spilling over the edge into the laps of the audience. The Dots take us on a well-written, face-paced and gritty musical journey. Battered and bruised, Helen is falling apart but is determined to finish the show, so unwillingly allows Macey her time in the spotlight. Not a good idea!! With the sweetest singing voices, this is a heart-warming and intoxicating, chic experience that caresses and teases you at every turn. Having laughed more than a pack of hyenas, The Dots had me in stitches from start to finish.

Raymondo Speedie

The Hanover Tap
Aug 1-25, 13-25 (13.15)

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I love it when a show launches a smile onto your face & just leaves it sitting there for the duration – like yoga for the mouth muscles. Last year the Mumble had the delight of seeing Canadian musical comedy duo, Death Ray Cabaret & found them to be quirky sorcerers indeed! At the same their mate, Anesti Danelis, was an Amused Moose finalist. Roll on 2019 & of course I had to go & check out Anesti’s return for those aforementioned reasons – he’s supposed to be quality & I now find myself a fan of Toronto’s ley-line meetings of musical comedy minds.

Anesti Danelis is like, good, so good. A well-deserved finalist & a master of his craft. The eloquent clarity of his singing voice & the lucidity with which he presented his ‘stories’ combine into a bouquet experience, like walking through a country garden draped in blossoms in the morning. The stories aren’t quite so floral as my metaphor, however, they are all wee lantern-lit snippets into his world, where he accidentally says ‘incest’ in a candle-shop & instructs his landlord he has turned into an actual bird to avoid paying his rent.

Myself & the audience were completely enamoured by the pretty flawless songs, among which are scattered buzzing one-liners & clever philosophical epigrams such as ‘how come children are the future when they ruin our hopes & dreams.’ Of the songs, I loved the playground jazz of ‘What Do Men Really Like,’ & of course the song which probably got him nominated for those Moose-antlers in the first place – Goats. I swear down, this IS the funniest song I have EVER heard; a surreal journey on a violin that combines Greek folk music with whatever psychedleic drugs Anesti was on at the time he created the number.

Damian Beeson Bullen

Just the Tonic at The Mash House
Aug 10-11, 13-25 (15:15)

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It is impossible not to like Ollie Horn, what a cool geezer, who has just had the good life-fortune to spend a few years in the Japanese islands, a travelogue of which he has moulded into a Fringe show for 2019. This is in itself a wonderful idea, for Japan is barely reached by we British, & Ollie gives an excellent account of being there in actual person. ‘It was so clean,’ he recounts about his first arrival in 2014 on a whim, ‘that I didn’t want to be the one to fuck the place up.’ This line captures the quintessence of the show, a clever guy clearly out of his depth, to whom the twists of fate were to deal an interesting card… he was to become a TV presenter. His remit was to assist the state-funded manipulation of mainstream media to glorify the anti-degenerate, Living Japan, which had him at one point denying that the UK had kites!

With shoulders thrusting forward like an upright werewolf,  Ollie is an elegant & energetic orator who can also keep a straight face through his funniest jokes – I noticed that, he’s got all the hallmarks of a pro. He is also a master of the Byronic digression – but for me there was just one digression too many. When he sets up the return to Britain he should have just kept going, the handbrake was on for the run up to the finale. But before then I’d had a fascinating & funny time. Ollie is definitely the real deal for those interested in Japan – there were Japanese speakers in the audience who got all the injokes & stuff – & we also learn of the concept of Ikigai (生き甲斐). This is the harmony one obtains from work & life – getting paid for something you enjoy doing. It seems that Ollie’s stint in Japan had taught him that stand-up, of all things, was his calling, & I sense today those kami who originally took him under their wings will be smiling with supreme satisfaction.

Damian Beeson Bullen