Edinburgh Festival 2010

September 21st, 2010

GEORGIANS ON GEORGE STREET  – This year’s festie, I saw an amazing production – Do We Look Like Refugees .  at The Assembly Rooms, George St.  Really fascinating performance style called “Recorded Delivery Verbatim Technique”. Actors recited text with earphones – repeating what they hear, copying not only the words but also every cough, stutter, hesitation.


DON’TCHA THINK ODETS IS GRRREAT!  Waiting for Lefty, The Pleasaunce – Conflict revolution from cacophonous continuation of its 1st performance by the Group Theatre in NYC 1934, when audiences had the last word by yelling back at the actors, “STRIKE!”.  In this production the performers tear down the 4th wall and call the audience to deeper response, ie reconsider the argument in the growing shadow of globalisation. The action is transferred to contemporary Britain – we punters are in attendance at Association of British Workers meeting to address substandard conditions at the plant, waiting for hero, Lefty (any relation to Godot?).  Some of the excuses for why workers shouldn’t strike, not to mention such gems as “I’d like to slap you in the mouth, sometimes” (Joe to Edna) and racial profiling do not at all date this play – defo makes you think. To describe content here as deja vu doesn’t even touch the sides.  Brilliant motifs such as floor littered by toothpicks thrown down by informers and racketeers and greco-choral entre-scene blasts of staticised, overloaded radio-hopping

Saw this and just loved it – Bette & Cavett – SUPERB!


I met Grant Smeaton as well. Can you believe he’s broke – I mean this guy was the toast of Edinburgh this year. Really felt I was there in the studio w Dick & Davis – Grant Smeaton is a shapeshifter of the loftiest order. The ads at station break were so Madmen marvellous too – including Henry Fonda and a 4 year old Jodie Foster for a ViewMaster ad, not to mention Ayds slimming chocolates. FUCK!

Feel compelled to write about my fave piece o theatre at this festie tho – Theatre with Teeth’s production of Photo 51 at The Zoo. I’m not even sure that this particular performance space within this complex is not haunted (a converted church – hmmm let me think….).   I was high as hell on a hash brownie and wandered in multi-texting, not realising that I’d based my Dr Francine Stein on the main character – real-life crystallographer Rosalynd Franklin. This play alleges that she was the true founding genius to postulate the construct of the dna double helix – not Crick & Watson. When I did my research at the WellCome Centre I just nearly heard voices that someone somewhere had sabotaged her findings and why was she just a person who became corporate consultant to those wonderful 50s style textile motifs. The resourceful heartfeltness of this production was just….. I was tryin not to sob out loud (again high as hell). Valerie Solanis was wiping my tears away I swear in that converted church/Celtic temple….. and the music was just amazing – the theatre bug bit my butt fer sure this trip.


Afters, en route to Meow Meow cabaret at Assembly on the Mound, I was tracing electrons in the shape of double helix infinity with my finger rather than texting (cue Close Encounters theme tune) 

Did a lil cabaret spot at the festie too, with my own engineered backing – COUNTRONICA had a preview. Will post up as soon as I receive the footage – love to lure cabaret fluff to me and then hit them with my grrrlilla theatre. People start twitchin and lookin round for the exit – but stay, probs to wait for the stripper. I also busked with guitar on the street a fair bit and bought myself dinner a coupla times.

Comin together through music

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