French Institute – Salle Emilienne Moreau-Evrard

Aug 4-5, 7-14, 16-27 (times vary)

The elegant French Institute was the perfect setting for this neo-classical dance performance choreographed by french born Constant Vigier to the electronic pop sounds of Christine and the Queens, and Perfume Genius. Christine and the Queens being the alter ego of Heloise Letissier, and the main inspiration for this 30 minute piece. Danced by three young ballerinas from the Royal Conservatoire of Scotland; Daisy Mullen-Thompson, Jessica Neilson and Nicola Scholefield. They are three young women faced with the pressures of modern life and their struggle to find their own place in a society that is bound by labels, conformity and expectations. Their fragility is expressed in the choreography beautifully, and the quality of dancing is extremely high. Much of the piece is on pointe; perfect pirouettes against the backdrop of electronic pop, with precise synchronicity that couldn’t be faulted. The mix of traditional and modern, made for a cool and refreshing performance that would be enjoyed by all ages.


The piece is choreographed to five tracks, which are centred around LGBT issues; Letissier identifying as pansexual, and Perfume Genius, a gay man who was subjected to homophobic attacks. The photo shoot piece, where the dancers are trying on clothes for a fashion shoot, actually refers to an experience Heloise had, where she had been photoshopped for a magazine piece, presumably to conform to a feminine ideal of beauty. In the previous track “ugly pretty” she sings of the mockery of being pretty, “without distraught there is no pretty”. The other pieces are about women in different places in terms of who they are. The dancers are juggling home life and work life while trying to figure out who they really are. Their youthful smiling faces mask the inner struggles that they are all experiencing as they journey through life; seeking equality, liberty, love and solidarity. A very enjoyable show, with great choreography, cool music and flawless dancing.


Sophie Younger


An Interview with Aletia Upstairs


Aletia Upstairs has been waiting for the Fringe to warm up to her satisfaction before she makes her deliciously grand entrance this weekend…

Hello Aletia, so where are you from & where are you at, geographically speaking?
Aletia: Hello Mumble! I am from Cape Town and I’ve lived in London for 11 years.

You are currently in the 4th year of your PHD – can you tell us about it?
Aletia: My PhD is close to its end now. It’s entitled ‘An Imaginative Exploration and Performative Manifestation of the Richard Demarco archive’. For this reason, over the last four years, I’ve spent a lot of time at the Demarco European Art Foundation at Summerhall and a lot of time with Richard.

As a performer, what are the key ingredients to your style?
Aletia: Vintage songs, cabaret songs, jazz and singing song-writing. One could say acting through song with visual engagement and audience participation.

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Last Fringe your ‘The Artist as Explorer’ went down really well – how did you find the experience?
Aletia: ‘The Artist as Explorer’ was a collaboration with Richard Demarco about his legacy. I wanted to create a piece about his legacy as it was my final practice for my PhD I am doing on his archive. My favourite part of the practice was using his words as lyrics for my songs. The fact that we got a five-star review for that was certainly based on Demarco’s involvement. The songs from ‘The Artist as Explorer’ have now been recorded and will be released as an EP by the end of this year.

What have you got for us this year?
Aletia: ‘A Queer Love of Dix’ which will be on at The Planet Bar, at 6pm on the 11-14th and 19th. It’s a brand-spanking-new show that I created over the last four months since Kevin Short (Shortcut Productions) asked me to part of his new Ed Fringe venture this year. The title was his idea. It’s a catchy one for the Fringe. Set in the world of expressionist painter Otto Dix, (Julia Berber – Anita Berber’s fictional sister) sings Weimar cabaret songs and relates the Weimar period to contemporary events. I’m also doing another show, called ‘Bilbao is not in Spain’, a collaboration with Doctor Woof, on the 15th to 18th at the Planet Bar, also at 6pm. This cabaret show is about living life as the authentic you.

How did ‘A Queer Love of Dix’ come about?
Aletia: The starting point for this show was a call-out from a London venue, with very specific criteria to create a show about Cabaret and the Weimar Republic, focusing on Jewish Composers, which I applied for, but it didn’t get selected. Kevin Short from Shortcut Productions, who was my venue captain when I did ‘Mata Hari’ at the Fringe in 2013, contacted me and asked if I wanted to be part of his Fringe Season at the Planet Bar. I actually said no at first! I had performed at the Fringe four times and enough is enough! Or is it? I told Kevin that I had written a very vague proposal based on the criteria supplied by the London venue and I already knew most of the songs. This kind of show is something that I had wanted to do for a very long time as it really fits my performance style, so he managed to talk me into it. He’s been a friend since we met at the Fringe. That’s one of the amazing things about the Fringe — you make great friends. The difficult part was writing the text which had to relate the events of the period of the Weimar Republic to contemporary events…and the character. Because this was such a last minute decision, the poster image is a Dix painting rather than an image of me. It was a new process for me – starting to work from the poster image backwards. Am I going to be her – Anita Berber? How am I going to work with this image and give it a reason for being there? Another challenge was the German accent. I studied German for this show. It helped me with the pronunciation, understanding the German lyrics and of course, the accent, but I also had to study the accent separately.

You’ve got 20 seconds to sell the show to somebody in an Edinburgh street, what would you say?
Aletia: If you want to hear good singing and wonderful music, find out how the Weimar Republic relates to our world today and sing along – in a German accent – to some classic cabaret songs, come see it!

A Queer Love Of Dix

Planet Bar

Aug 11-14, 19 (18.00)

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Monica Salvi: Mad Women In Her Attic


PQA Venues @ Riddle’s Court

Aug 7-12, 14-19, 21-27 (19.10)

Mad Women In Her Attic is the collective experience of Monica Salvi’s acting roles that she has accomplished in her career as an actress and singer. The Fringe has always offered artistic diversity and Edinburgh becomes saturated with talent. So that means the bar has to be pushed higher. Quite beneficially, her sho is staged in the fabu;lous 16th Century Riddles Court building, where madness could not be more at home or more entertaining.

Monica Salvi has a voice & vocal range that would melt even the hardest of shadows. Her powerful and heart-melting beauty perfectly compliments this professionally trained singing voice. Monica Salvi could sing a phone book and make it sound beautiful. This is what I loved about this performance, she could have played it safe, her voice would have been enough to ensure a financial success. But the muse and the gift do not come easily, & The thin line between genius and insanity is a line that all great artists walk.

Seldom few have explored that line quite so beautifully in a musical stage production. For people who have a touch of madness and are fearful of challenging their inner demons, the subject matter of this performance couldnae be anymore confrontational. All the aspects of a disturbed personality are represented and the bits that people normally shy away from apart from when undergoing extensive psychotherapy or electric shock treatment are celebrated. It is a performance of dark, entertaining beauty and is guaranteed to disturb and delight in equal measure.

Mark ‘Divine’ Calvert


Circus Abyssinia: Ethiopian Dreams


Circus Hub on the Meadows

August 8-12, 14-19, 21-25 (15.00)

Having enthralled audiences in 2017, Ethiopian circus company Circus Abyssinia is back to wow Edinburgh all over again. Created by self-taught brothers Bichu and Bibi Tesfamariam, they bring with them a cast of brilliant young performers from their circus school. The performance is directed by stage and screen director Cal McCrystal and portrays the real-life story of their dreams of being in the circus. In 2010, they went on to create the first circus school made by and for Ethiopians, and embarked on a wonderful journey to develop a stand-out show full of dazzling acrobatics, dance with a hefty twist of their own culture. The brothers are now resident in the U.K., and they have performed on BBC, ITV and Channel 4.

After a colourful and energetic showcase of acrobatic dance by the men and boys in the troupe, two young women in long braids and green catsuits arrived in a crab walk to deliver a mesmerising and stunning partner yoga dance. Handstands, crabs and scorpion positions flowed and combined, the gymnastic pair balancing on top of one another in increasingly mind-blowing ways. The juggling acts to rhythmic beats seamlessly upped the challenge to multitude of balls until you barely knew where to focus your eyes. Four girls in cute and colourful outfits expertly spun polka-dot cloths on all four limbs at dizzying speed, creating a kaleidoscopic effect of lost, drunken butterflies at warp speed. When a solo performer cheerfully stepped on stage with a single hoop, no one was fooled by its apparent simplicity. As more and more rings were spun simultaneously, it became Power Hoop in overdrive to a catchy Ethiopian sound-track. By the time she rolled us a cheeky spin just around the bun on the top of her head, the crowd went wild.

The whole show has a happy, feel-good family vibe, where everyone looks like they are genuinely having a great time. Girls in pink leotards converged to resemble petals on a tropical flower, but they are no means delicate. They climbed higher and higher into a statue of scorpion splits, looking almost casual, until they took it to a point that made everyone’s mouth drop open. With just ten minutes to go, the poles came out. In synchronised moves that must require ultimate human strength, the team of men upped the ante over and over again, in the finale of a show that had the audience up on their feet in well-deserved applause.

Lisa Williams


Kevin Quantum: Vanishing Point


Underbelly Bristo Square
August 7-26

A few years back, half-way through his PhD in Physics, Kevin McMahon had a life-changing moment. He starred on the Channel 4 show ‘Faking it’, where he undertook a 4 week training to become a magician, even training with magic duo Penn and Teller in Las Vegas. He quit the PhD, and, hey presto! went on to become Quantum, and as he jokingly proclaimed to the audience, ‘the most famous magician-scientist hybrid in the world’. After sell out runs at the Fringe over the past few years, there’s a buzz around the premiere of his new show, Vanishing Point, in Edinburgh this year.

‘Vanishing Point’ is a magic show with a difference, precisely because of Kevin’s solid scientific background. The wow factor starts with an impressive life-size harmonic pendulum that he made himself.  Kevin has a kind, friendly and comedic presence which means the selected audience members are more than comfortable to get up on stage and join in with his dazzling array of tricks. With what seems to be a very strong theme in this year’s Fringe, the show is about the power of invisible forces. It’s also a wry and urgent comment on our attention spans, distraction techniques and what influences us to give up our power and time to the internet giants. Apt then, that he uses a well-read book about the Bermuda triangle for some of his mind-bending illusions.

I don’t want to give too much away and spoil the fun. My fourteen year old and I greatly enjoyed the hour, and we are still trying to figure out how he might have managed to dupe us with his clever variety of magic. It’s a fun, family-friendly show that feels like a special night out, in a comfortable hall with great acoustics. Expect some good old fashioned tricks with a twist and breathtakingly curious illusions, leading to a spectacularly nail-biting finale, which wowed the crowd. Go along and be prepared to be dazzled; the 2018 winner of Best Magic Show at the Adelaide Fringe might well

Lisa Williams


Rosie Sings! Facts About Love


Fingers Piano Bar
4th – 28th 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.

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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


Djuki Mala


Assembly Theatre
6-26 August (16:10)

Djuki Mala are back to delight the Edinburgh Fringe after last year’s rave reception. This lively troupe of Aboriginal Australia dancers who hit the international spotlight with a viral video are now in their 11th year of touring. They come from remote Elcho Island in Arnhem Land in the north of Australia, and they are keen to share the story of their community and culture with the world. They asked us right from the beginning to clap and stomp as much as possible, to give them the energy to give their utmost. Sometime cultural performances to unfamiliar audiences that have no context can be problematic. However, the performances are interspersed between firstly an honest snapshot of the tragic history of how Aboriginal people have been treated in the past 200 years, after 60,000 years of a unbroken cultural lineage and then personal narratives from members of the community. It gives the audience a real appreciation of the importance of dance as not just to express hope and joy, but a vital means of survival, cultural expression and connection to the land.

To trance-inducing beats, the dancers mesmerised the audience with a homage to their ancestors, as they danced adorned in traditional paint. Rhythmic chanting accompanied energetic dancing as elder Margaret tells the story of how Djuki Mala came to be. Joyful and slightly cheesy hip hop poses to lively Greek music brings us to their original viral dance and the personal story of its origin. Joseph Bond, the producer, explains that their tour in itself is a political comment on cultural appropriation. So when the group bust out some Bollywood moves in gold turbans and matching shorts, with the Edinburgh audience considered, it begins to mess with our understanding of where the lines of cultural appropriation now fall. The backdrop of the narrative explaining Yolngu culture means that the experience can jump from a very sad, serious story straight to a hilarious spoof of Singing in the Rain in shorts and brightly coloured umbrellas, complete with cheeky expressions, winks and flirtatious waves.

The international influences sit firmly on a bedrock of traditional culture that they have fought supremely hard to keep since white colonisers first came to their island in the 1930’s. The reminders of the importance of knowing one’s culture grounds the whole performance, freeing the dancers to then bring on the humour to bring pure unbridled joy to the audience. They explained that comedy is a natural part of the culture, and even initiation ceremonies would include comedic impressions of animals like crocodiles. The rest of the show is a fun, spirited, personal take on a range of dances from Black American culture, from funk, Motown soul, hip-hop and Michael Jackson. All of their dance training has been the traditional community way, learning directly from the elders from childhood. They are exuberant, energetic and joyful. They stump up 100% of the funding for their tour, so do go and support them if you want to pick an uplifting and unusual experience during the Fringe.

Lisa Williams