The Parting Glass.

That’s a Scottish wrap. And a pint!

So. My first virginal Edinburgh Fringe is over (see my earlier post.) I’m sitting writing this in the Canon’s Gate Pub on the Royal Mile. And for the last time this year, I shall take in another, and the final, excellent ‘Late With Kate’. With the brilliant comedian and writer, Kate Smurthwaite.

I’ve not had time to process things yet, but I shall have a few pints to celebrate getting here, to the last night of the 2024 Edinburgh Festival Fringe!

Now I’m on the (much delayed) train home. I did have a couple of pints last night. Kate was excellent as always, as were her guest comedians, including Mr Meredith, who London Literary Pub Crawlers might remember from The Coach and Horses Pub in Soho, in the days when there used to be pianists on a Saturday night. We chatted about how I might revive my spoken-word event ‘The SpeakEasy Cabaret.’

I think the London Edinburgh Literary Pub Crawl concept is right, and the experience has grown over the month. I like that we can shine a light on how we are all writers – English and Scottish – and how English and other writers love (and hate) affairs with Edinburgh, and the lovely city has influenced their lives.

I’ve also become a fan of ‘Rabbie’ Burns, the Scottish poet. And might do something with that later.

If you came to the Crawl, please get in touch and tell me what you thought. I deliberately didn’t invite the press because it was a work in progress.

And as I left the venue earlier, one of the lovely staff who’d been on the tour turned round and said,

“Great show. We had a lot of fun. See you next year?”

That, to quote Hamlet, is the question!

The final, final Parting glass!

The last Literary Pub Crawlers – in Edinburgh. London next week!

And that’s a wrap! The final gang on the final 1st Edinburgh (not London!) Literary Pub Crawl wave goodbye.

It’s been a blast with some lovely people. The tour has changed over the month. I probably need to nail the script down now. Might there be a 2025 session?

Slàinte mhath!

@edfringe and @thepleasance #edinburghfringefestival

The Parting Glass.

On the way to the Final Edinburgh Literary Pub Crawl @thepleasance with @edfringe

It’s been a work in progress, a bit of a slog, but as with our @londonliterarypubcrawl I’ve met some fantastic people from around the world!

Cheers! Or should I say Slàinte mhath!

Really Good Exposure.

A clever and nuanced look at sex work and choice.

🍷🍷🍷🍷 🍷 5 out of 5 .

To be honest, as a man of a certain age, who works in theatre, I might have been a bit uncomfortable and self conscious going to see a show with such a ‘sexy’ appeal. The poster, the image of a scantily clad young woman and the by-lines all hint at a sexy, maybe even salacious experience. It’s the story of Molly, a fictional child star whose career has peaked by her late teens. She’s considering entering the adult film industry.

But of course that’s the whole point of this clever first piece, written and performed by former ‘child star’ Megan Prescott. And yes, she does get completely naked on stage, but for me, and I think most of the packed audience at the Underbelly Cowgate, it’s not a salacious moment. If anything, it’s a moment of horror, when our lead character Molly is loosely coerced into proving how ’committed’ she is to an acting role she’s auditioning for, by stripping off completely. “But it’s just a first audition” says Molly. “Panties too”, says the disembodied male voice. And we all shudder as she removes them.

It’s what makes this show so clever. The form and structure keeps the story fresh and relevant in a post me too world. There is a traditional strip, which comes early on and kind of gets it out of the way. I produced Peter Terson’s play ‘Strippers’ some years ago and it uses a similarly clever device. For the rest of the show, Megan is dressed in a sparkly bikini which, when she becomes a 6 year old talking to her Mom about joining a dance school, becomes a sort of metaphor for the whole story.

It’s also cleverly not sexist in any way. It’s not all predatory men, but all sorts of people who have agendas. It deals with some contentious issues, but importantly, never gets ‘preachy’ and is often very funny.

There is some clever sound by Hattie North and lighting and back projection by Rachel Sampley. Director Fiona Kingwell keeps the pace moving and uses some deft movement, although there are occasional sight line problems.

And Megan Prescott – in real life a former Channel Four ‘Skins’ star – is a not only a talented writer but a very good actor. Her adult dancing and childhood routines are completely believable.

Untimlately, this feels like it’s moved on the ‘me too’ movement. It’s about personal empowerment and choice. You should choose to see it.

https://tickets.edfringe.com/whats-on/really-good-exposure

Hamlet with Eddie Izzard

🍷🍷🍷  3 out of 5 cups of sac!

Full disclosure – I have adapted and directed two Shakespeare classics, including one called ‘Hamlet – Horatio’s Tale’ and I’d read some fairly poor reviews about this production. And as I wasn’t invited to the Riverside Studios Press Night (not important enough, loves, obs! 😀) I wasn’t able to access the extra depth that is often available then.

And to be honest, at the very start of the show, my heart sank slightly, when Izzard started that common and predictable one-person trope of hopping from one space to another to denote a new character. And her vocal definition wasn’t too good either. But, as the show progressed, she seemed to relax and her physicality with the characters became better – if still somewhat understated and lacking emotion.

To Hamlet virgins, elements of the story may not be completely clear, but the modern take on the script by Izzard’s older brother Mark, doesn’t grate. The vial of poisoned Hebanon for instance, becomes Deadly Nightshade which serves the story well enough. Although the direction by Selina Cadell is somewhat sketchy. Perhaps not surprisingly, it’s during the more comic moments that Izzard succeeds. Rosencratz and Guildernstien are portrayed by Izzards own hands and they effectively mine the comedy at various other points in the production. The sword fight near the end is possibly too long and undefined, but that’s a niggle. The set and costume are minimal but very effective – as is the atmospheric light and sound.

Izzard reveals her Fringe roots by coming on after the curtain-call asking for support.

So it’s not perfect and I can see why some of the more established media outlets and lovers of Shakespeare have not particularly liked it, but it is a theatrical experience and well worth a look. Apparently a tour is planned.

Image: AMANDA SEARLE.

Big Mitch Benn! In Edinburgh. With Kate.

The brilliant BBC Comedian and songwriter Mitch Benn was one of the acts at the brilliant ‘Late With Kate’ at the Canons’ Gate Pub. @thefreefringe @edfringe #pub #edfringe

It’s brilliant every night at midnight (apart from Tuesdays) with host Kate Smurthwaite, an acclaimed writer and comedian in her own right! (Have I Got News for You, etc)

And being on the PBH Free Fringe (well done, Soho musician and major advocate Luke Meredith!) it’s kinda pay what you want. Or can! I love that.