Edinburgh winds down this weekend (or at least the fringe part does; the official festival still has a week to go). I did it early this year — I was there for the first week of the fringe — so there’s a lot of stuff that buzz has got attached to since I left, or hadn’t opened before I did, but have I really missed anything? The truth is that Edinburgh is very much a testing ground, and most good work that gets noticed there will re-surface elsewhere, sometimes sooner rather than later.
Already London transfers are on the cards for Anthony Rapp’s Without You and Blink, which moves to the Menier Chocolate Factory and Soho Theatre, both from next Wednesday (August 29).
Three shows seen at the Traverse also have an immediate afterlife: Simon Stephens’s Morning, which comes to the Lyric Hammersmith from September 5; Mark Thomas’s Bravo Figaro!, a play about his father rather than a straight stand-up, coming to the Tricycle from September 10-22; and Chris Goode’s Monkey Bars (which comes to the Unicorn as part of a national tour from September 25-30).
The good news in Edinburgh is that you can, of course, tick them off far faster than in London — you’d need for nights to see that lot. In Edinburgh, you could have seen them all in a single day. As it happens, I saw the first two in Scotland, so I’m ahead of myself a bit for a change.
And for producers, it’s an opportunity to try out these shows — and gain good critical attention — before taking them on to a further life. It will surely be helpful for Anthony Rapp’s short London run, for instance, that he arrives in town already with Libby Purves’s rapturous five-star review behind him.
Lyn Gardner has been filing brilliant daily Guardian blog from the fringe — I wonder just when she has time to write it, let alone cover so much ground that gives her the material for it, not to mention the planning that it all takes to cover that ground, too. But that’s why she’s so utterly brilliant at what she does; I’ve called her the queen of the Edinburgh Fringe before, and she truly comes into her own at this time of year.
It’s the eagerness of her pursuit of new discoveries, her wide frame of reference from having come to the fringe for so many years, and her still undiminished enthusiasm that make her stand out. She confessed earlier this week, “At this stage in the festival I feel as though I’m done on my knees. But the fringe is like childbirth. Often agony at the time, but it doesn’t stop you from doing it again the following year.”
Lyn also speaks to people — plenty of them. Sitting in front of her at one show in Edinburgh the week before last, I heard her quizzing the person next to her about shows she’d seen. But actually the only person you need to speak to, or at least listen to, is Lyn herself. And here’s exactly why: as she also wrote this week, “For me, and for producers and artistic directors, the fringe is as much about potential as it is about finished work. So it’s a chance to see artists such as Jenna Watt (whose Flâneurs is small but tempting at Summerhall), and companies such as Sleepwalk Collective (Amusements is well worth seeing), RashDash and the Flanagan Collective, that make it well worthwhile. As a producer said to me the other day, coming to the fringe is like filling the larder; if you don’t come, later in the year you realise the cupboard is bare.” I’ve not heard of any of companies till Lyn brought them to my attention, and now they’re on my radar. My own critical larder clearly needs restocking.
It is at this stage of the fringe myself that, as well as clocking the companies like the ones above that I missed, I also chalk up the list of shows I missed that I wish I’d seen, if only I’d had another week (or three) in town. No doubt some of these will find their way to London (or elsewhere) in due course; I’m already keen to catch Monkey Bars and Mark Thomas’s Bravo Figaro!, though I think I can give Simon Stephens’ Morning a pass. (I had a ticket to see it at the Traverse early one morning, too, but passed then; partly from exhaustion and the need to spend the time writing instead. But as always, if miss one Simon Stephens play, there’s bound to be another three along any minute).
But I’m particularly sorry I missed:
Mies Julie, the South African version of Strindberg’s Miss Julie which sounded revelatory and the Australian circus show Knee Deep (though I’d just seen the amazing Empire at the Spiegelworld tent in New York, so felt a bit circus Spiegel-ed out), both at the original Assembly Rooms on George Street, and both of which had been recommended by Lyn Gardner and everyone else I read, too. (Here are The Stage’s must-see reviews for Mies Julie; and Knee Deep
Mess, a theatrical exploration of anorexia at the Traverse, which seems to have divided opinion: Lyn Gardner objected that it “succeeds in making anorexia all pink and fluffy”, but a few days later also wrote, “Love it or hate it, it’s undoubtedly generated some of the most interesting and perceptive writing on theatre from Daniel B Yates for Exeunt here and from Andrew Haydon here. Agree with them or not, both pieces of writing are a reminder that long-form criticism beats star-rated reviews every time.”
Dirty Great Love Story, which sounds like this year’s Midsummer (the David Greig musical from the 2009 fringe), at the Pleasance, and Some Small Love Story, enthusiastically reviewed by The Stage’s Nick Awde, at C Nova.
Beulah, another new musical at C Nova; Lyn Gardner tweeted that it was “a little too sweet for me but confirms this young company as one to watch.”
Cabaret star Lady Rizo at Assembly George Square, which I heard good word-of-mouth about, supported by The Stage review by Honour Bayes. Yesterday she also won the inaugural Edinburgh Fringe Cabaret Award, presented jointly by Time Out and Soho Theatre.
Review of the week: And here’s one I’m (almost) sorry to have missed, but reading the review makes me feel like I was there — Brian Logan, reviewing David Hasselhoff’s solo show at the Pleasance Grand this week, wrote: “All would seem a straightforward ego trip, were the Hoff not giving his audience what they want - and who could resist his transparent eagerness to make us happy? In a shambolic hour, he ushers scores of audience members onstage to limbo dance, then punts beach balls into the crowd to summon the spirit of Baywatch. The best - or most bizarre - is saved until last, when Hasselhoff undertakes the Proclaimers’ local favourite 500 Miles. Just one hitch: his costume change was rushed, his kilt isn’t fastened properly. It keeps threatening to fall down; his dancers try to help, but can’t; the Hoff, distracted, forgets his lyrics. No one present will forget the sight.”
I'll never forget how the casting of The Hoff badly skewed the production of Peter Pan in Wimbledon... The audience were going wild for him as Hook, chanting away every time he took to the stage...
Unfortunately, when it came to the moments after when Hook poisoned the medicine and Peter came to drink it - only to be warned by Tinkerbell not to, prompting Peter to ask the audience whether he should drink his medicine - they all spontaneously chanted, "down in one! Down in one! Down in one!"
Mies Julie and Knee Deep are both excellent productions. I was lucky enough to see both. But I must point out that NEITHER are at the orginal Assembly Rooms on George Street. Both are Assembley Theatre productions (now completely seperate from the Assembly Rooms) and are at different venues
In 114 cases of chest ST - T mapping and clinical observation , relationresultEpileptiform variable range ,dynamic change ,small fan Terrier mount discovery and through the T wave ring Delta on R solution fflf coronary artery lesions provide objective number, are summarized such as divination :1 data and method 1.
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1 coronary artery involvement :in 100 cases with electrocardiogram changes in patients with F ,measuring ,according to coronary in surface projection found affected coronary branches ( see table) .
The number of cases of Xiao .. ,schedule disease coronary heart disease cor cardiomyopathy high heart disease RHD acute myocardial infarction 39ll32321713l42l total of 10041014920538 in the 1 branch of coronary artery involvement statistics ,left circumflex in 77 cases.
Right coronary artery in 67 cases, anterior descending artery in 49 cases .But in the actual case to the right coronary artery and circumflex branch left the involved simultaneously in the first place, right coronary artery is involved less alone .
Discussion on measurement of coronary heart disease 3 3.1 55 cases of hospitalized patients with coronary heart disease :pathogenesis ,Deng Shu Feng 40 years old accounted for 2 ,41 ～ 49 years old13% .
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3.3 lung · ;disease on 7 cases of pulmonary heart disease mapping .Visible mainly involving the right coronary artery and left anterior descending and right thing ,to enlarge the main relevant .
In 3.4 hypertensive heart disease in 15 cases of high Xinbiao test, 14 cases were in right coronary artery and the left circumflex and involvement .There were 1 cases involving the left branch alone ,the eye with left ventricular hypertrophy .
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Found coronary occlusion in 3 cases, anterior descending artery 2 cases ,right coronary artery in 2 cases ,right coronary artery and left circumflex and occlusion in 1 cases .Mapping can not only understand the area of infarction size ,severity ,coronary occlusion ,if part of daily continuous mapping ,can also be r solution lesions of the dynamic change, evaluation of efficacy ,prognosis , can also be found on routine ECG cannot discover small infarction .
3 ,7 using the mapping for coronary angiography mapping can clearly reflect the extent of the lesion, whereas the use of any coronary artery lesions of domination ,to determine what coronary artery occlusion or blood disorder hair .
Through 100 cases of mapping ,to explain the problem of uJ, present in coronary angiography and isotope scintigraphy has not been popular, is available for mapping instead of is worth discussion .
3.8 patients in the control group of 10 patients with preexisting cardiac disease ,but no routine electrocardiogram change and 4 cases of normal mapping ,abnormalities were found ,illustrate the mapping has the same specificity .
Electrocardiographic mapping as a non-invasive method ,it has the equipment requirements is not high ,can repeatedly check and immediate results etc. It not only R solution .If a continuous lesion ,measuring dynamic changes during observation ,evaluation of efficacy .
Estimation of prognosis ,but can be found in conventional electrocardiogram cannot be found a small area of infarction and initial identification of coronary lesions in .In the coronary angiography and isotope scintigraphy has not yet universal situation.
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