Tag Archives: Underbelly Cowgate

The Hitchhiker’s Guide To The Family @ The Underbelly Cowgate (Edinburgh Fringe Festival 2015) Review

Four exciting new productions are at the Edinburgh Fringe Festival this year thanks to the 2015 IdeasTap Underbelly Award. IdeasTap and Underbelly work hand-in-hand to showcase a diverse season of original work from young, emerging UK talent; one of which is Ben Norris‘ new one-man show The Hitchhiker’s Guide To The Family.

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CELL @ The Underbelly Cowgate (Edinburgh Fringe Festival 2015) Review

The production of CELL is in collaboration with puppetry-focused companies Smoking Apples and Dogfish. The project started in 2012, and after performing at a number of theatres such as Greenwich Theatre, Incoming Festival and the New Diorama, it was nominated for a Peter Brook Festival award in 2014.

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Much Further Out Than You Thought @ Underbelly Cowgate (Edinburgh Fringe Festival 2015) Review

“You don’t have to be six feet under to be buried”

Much Further Out Than You Thought is a powerful one-man play from the MolinoGroup which looks at the devastating effects of PTSD in soldiers. image

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Whiskey Tango Foxtrot @ The Underbelly Cowgate (Edinburgh Fringe Festival 2015) Review

The White Belly in Underbelly Cowgate is the perfect setting for Crookshank’s autobiographical play focusing on her time serving in the Royal Air Force. The audience are guided into a ‘bunker-looking’ venue as Rebecca Crookshank, who both wrote and performs the piece, topically instructs spectators to “sit up straight” and “get in line”.
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Where Do Little Birds Go? @ Underbelly Cowgate (Edinburgh Fringe Festival 2015) Review

The stage is set, a night at Winston’s Nightclub featuring platform stages, pendant lights and a draped glitter curtain, all alluding to the revolutionary century of the 1970’s. A girl enters taking her place on the stage, we ponder upon this beauty as the lights arise, its show time. Beautifully presented for Underbelly Edinburgh Fringe, Camilla Whitehill impresses audiences with her award winning play Where Do Little Birds Go?

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Tether @ Underbelly Cowgate (Edinburgh Fringe Festival 2015) Review

Creatively presented for Underbelly Edinburgh, Lost Sock Company engages with its new writing, current interpretation of the sporting industry whilst analysing the concept of fulfilling your individual hopes and dreams. This production of Tether written by Isley Lynn is both realistic, creative and visually engaging.

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The Eulogy of Toby Peach @ The Underbelly Cowgate (Edinburgh Fringe Festival 2015) Review

Toby Peach is reciting his own eulogy. Or rather he is reciting his own anti-eulogy, a refusal to give in to the threat of cancer and a celebration of his life. This is a deeply personal show, written and performed by Toby himself about his experience of being diagnosed with the disease as a young man. Strange then that I came away feeling slightly frustrated, having expected to have a more emotional response to what is on the face of it a moving story of survival.

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Rebounding Hail @ The Underbelly Cowgate (Edinburgh Fringe Festival 2015) Review

Rebounding Hail is full of original ideas and an entertaining narrative. Telling the story of a girl living through fiction, Disparat Theatre’s debut show is a unique and timeless tale.

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Bruce @ The Underbelly Cowgate (Edinburgh Fringe Festival 2015) Review

Bruce is essentially a square sponge, a little bigger than a human head, with a slit two-thirds down creating the crease for a large, gaping mouth. He has circular ping-pong ball eyes, in an expression of ambiguous surprise. His life force is comprised of the actors/puppeteers Tim Watts and Wyatt Nixon-Lloyd, who are part of Weeping Spoon Productions, based in Perth, Australia.

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My Beautiful Black Dog @ The Underbelly Cowgate (Edinburgh Fringe Festival 2015) Review

You know as soon as you enter into the world of My Beautiful Black Dog – where Brigitte Aphrodite welcomes her audience members in sparkly shorts and even more sparkly platform heels – that this is going to be a distinctive and very personal performance. From the outset Brigitte addresses her crowd directly, and continues to respond to them throughout. At times it feels like a party rather than a production, but that seems to be half the point. Because the more intimately we connect with her, the closer we come to understanding the very real origins of Aphrodite’s show.

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