(4 / 5)

Why has it taken until now for someone to come up with this concept? Blending Norse mythology and huge viking-like people with wrestling, seems like a complete marriage made in heaven. What happens is complete engagement in the tale and real investment in the competition of wrestling. 

We all know that wrestling isn’t real. But that doesn’t stop wrestling fans from being involved in it like a sporting event, hollering and supporting their favourites and with the developing storyline alongside it. So, replacing the modern characters and stories,  this production brings well known names such as Loki and Odin, their stories from Norse Mythology and use it as the undercurrent for pockets of impressive wrestling on stage. 

I have very little knowledge of Norse mythology; a good amount of what I do know likely comes more from the Marvel universe. But don’t let that put you off if you are like me – it’s very easy to be invested very quickly in not only the story but the action. It’s clear that some in the audience do know this and/or are big fans of this production and therefore already have their favourites. The cheering and the booing all begin from the off and there’s already a buzz in the room for the action. Introductions are short but in keeping with the narrative and you quickly get used to the storyline, picking up on your favourites quickly. Accompanied by fantastic staging with, of course, the focal point being a wrestling “ring”, lighting, smoke machines and music blend to give a dramatic atmosphere and feeling of this mythical place. 

There are also funny bits, leaning into stereotypes of the characters and so at no point do you underestimate a character in being weaker because they are comedic or a bit of a coward because, despite the comedy or funny bits, they are just as fierce in the ring. And to say this – there is absolutely no sexism or misogyny, with the girl crush being so real. The women fighters have much stage presence, don’t shy away from fighting with the males and fully support the fierce norse women we hear about. We don’t know if we want to be their friend or be them. 

Mythos: Ragnarok is a spectacular night out. With an overall essence of theatrics through the narrative, the performances of different characters and choreography of the wrestling, it also balances nicely in evoking the competitive, sports/wrestling fans or making new ones with how fun and engaging each part is.

(4 / 5)

No Ed Fringe trip would be without a trip to the circus. On The Meadows, the Circus Hub is set up and therefore, in the big tent, we run away with the circus. 

The Revel Puck Circus bring us on a journey of slightly traditional circus, but with a fun and friendly atmosphere. There’s trapeze, acrobatics, jumping from great heights and even a disgruntled lion ,,, Fear not! They haven’t gone mad and brought back real animals but have an underlying developing narrative between our clown and a growing lion who has taken it upon itself to terrorize our clown as a “comic relief” between acts. 

Clad in summer shorts and shirts, our circus troupe don huge smiles, encourage the audience to holla and clap and at the same time, take on daring circus acts that weirdly look very easy (but don’t try it at home kids!). The ability to do this and at a high level of energy clearly takes immense skill, strength and communication and therefore the acts go without a hitch, become more daring as the hour passes and elicit roars of applause when completed. There’s enough jeopardy but accompanied with a laid back and a friendly atmosphere that this is awe-inspiring and exciting for all ages. 

In the gaps of acts and to help with the set up and, likely, a short break for the performers, we have the lion – clown narrative take place. This provokes chuckles throughout as this develops; the lion gets bigger and the accompanying clowning gets more interesting in the clown’s effort to escape the lion’s claws. It references an olden time circus where live animals are used but, while funny, is also clever in turning the story on its head and letting the lion be in charge. These moments as a “break” are useful in changing the intensity level, reducing heart rates and warming us up for whatever there may be next. Overall, with this included, the group are comedic and fun, equally making every part of their performance look enormously easy. 

The Revel Puck Circus: The Wing Shuffle is a modernised take on traditional circus, with a sunshiney and friendly approach. With skilled and dramatic circus tricks and a healthy dose of comedy, it has the right level of everything needed for a circus show for all ages.

(3 / 5)

“Enjoy the film!” – our first encounter with our Cinemadrome employee, Cabbage the Clown, with their simple nod to traditional clown jumpsuit and cute but tragic blue make up. Is it a show or are we just about to embark on a blockbuster?

Cabbage the Clown: Cinemadrome is a one person performance, dipping into commentary on queer culture, consumerism and the plight of an artist. Cabbage ping pongs through ideas throughout – there’s silly, basic comedy and slapstick, interaction with the audience and general “clowning around”. It provides silly humour from deep down, until we all begin to get real deep with Cabbage.

Using multimedia, the performance in interrupted by power point presentations with questionable graphics, clips from classic movies, triggering interpretive dance or skits including the degradation of a slurpy cup. The ideas and concepts are endless and jump into one another. Until we crescendo, from a failed relationship and notes of a struggling artist, Cabbage evokes Bouffon practices as they somehow rise dressed and moving (?) like popping popcorn, screaming through the soundscape. The 45 minutes of irreverent humour suddenly crashes into sadness and a stark reality of loneliness, the search for love and search for a purpose. But we couldn’t leave it there, a happy ending, quickly flipping through a new love story with an audience member, of quick change costumes and prompts leaves us happy, content but knowing this is only a dream.

My favourite part is the use of puppetry; created out of rubbish, Cabbage moves this creature seamlessly and creatively, almost lifelike. The creature is cute and lovable until he spouts his dark words of insults which only becomes draw-dropping. It’s clever in creativity and execution.

However, a good majority of the time stays at a similar level of slow, awkward down-time and at times, we lose the energy. When it’s good, it’s great but sometimes these dips become overwhelming in pause.

Cabbage the Clown: Cinemadrome evokes everything needed from this type of art; humour, a message and creativity. It just needed to keep the momentum going in those moments where energy dips.

(3 / 5)

As life goes on, it is becoming clearer that society is becoming lonelier, mental health is on the downward track, and its affecting the young and the queer community in a disastrous way.

Sweet Beef, with their show, Crying Shame, aims to bring this epidemic to light, using verbatim interviews mixed in an unreal cabaret, where we are reminded that, while we may be suffering, we are not alone.

While this sounds intense and deep, there are elements of comedy within, in a little bit of a bittersweet way. The characters are all clowns of some sort, with clown-like names, make up and crossed cabaret/circus outfits. They start out engaging us as any cabaret show: we have the compare, the introduction to different acts, they interact with us like friends and welcomed guests… but as time ticks on, it becomes more unhinged, the characters break down, it all goes wrong. There’s this philosophical approach to the production, almost starting with “putting on a smile” to engage us, but pushing us away as soon as things become too much and too real – it resonates, if not ambiguously.

The characters are each fully formed and so when they break, it is very clear that their clown facade has disappeared. However, some moments of chaos were almost too chaotic. Each breakdown seems to draw the other characters out and it becomes a little overwhelming, with competing voices and faces engaging you. The compare continues to keep peace until they themselves break and we get this beautiful moment of their reflection, of a slower and calmer analysis of loneliness. If there were more peppering of this, it would feel more poignant and not at a high energy level that felt a little hard to keep up with.

Crying Shame is visually beautiful, with a socio-political approach that is needed since the pandemic and in an ever downward spiral in our mental health system. It is an important and clever production, but needed a occasional change of pace to allow us to sit in our thoughts on the topic.