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Edinburgh Festivals Diary – Day 4 

Edinburgh Festivals Diary - Day 4

Sunday 20 August 

Edinburgh Festivals Diary - Day 4

Edinburgh Festivals Diary – Day 4

I was happily queuing for ‘All We Ever Wanted Was Everything’ at Summerhall yesterday evening.

‘You’re a disgrace,’ said the boyfriend of a young lady who was in a play I didn’t think was very good.

‘Pardon?’, I asked, puzzled.

‘I watched you at the play the other day and read what you wrote. You call yourself a Theatre Specialist! You’re disgusting’, he replied.

‘Oh! The misogynistic, offensive & borderline homophobic play?,’ I said.

‘It isn’t offensive, you’re a disgrace’, he snapped.

‘Look, I’m more than happy to discuss the play and what I wrote about it after this show?,’ I said.

‘Nah mate. You’re a disgrace,’ he mumbled and stomped off.

The whole encounter was as classy and as subtle as orgy night on Love Island. I’ll try not to lose any sleep.

Very sad. (Translation: not particularly sad because it is, after all, only theatre.)

Sunday was a punishing day. It started at The Pleasance Courtyard: Kafka and Son. The relationship between Franz Kafka and his father is put under the microscope in a solo show that tested my patience. For me, this play falls carelessly into the dreaded theatre deadzone of “lovely but a bit boring”. I just couldn’t emotionally connect with this show. Not awful.

At lunch time I went to the shops and picked up a Matcha Face Mask and a small bottle of New Zealand Sauvignon Blanc. There is a God!

Worklight Theatre’s new show Monster finds Joe Sellman- Leava once again surfing the rollercoaster of the sixty minute mixed-metaphor as he is simultaneously Patrick Stewart, his girlfriend and Mike Tyson calling the shots in the front, rather than the back, seat. His new show examines masculinity in a searingly honest and autobiographical way. Worth a look.

‘All We Ever Wanted Was Everything’ really floated my boat. Middle Child’s gig-theatre show is a life affirming call to arms at the Edinburgh Fringe and really feels like a shot in the arm. The dissection of consumerism and capital culture. Luke Barnes’ play sensationally looks back and ahead at Broken Britain. Outstanding stuff!

Later that evening I head up to The Hub for cabaret star Meow Meow’s take on ‘The Little Mermaid’ for the International. This is a wickedly funny and entertaining 70 minute show that was the perfect way to round off the week. Meow Meow makes performance art with a sensibility that makes you want to head out in search of a dancefloor. (See if any of your friends are around before you go out, though, it’ll be rubbish by yourself.)

‘Tough crowd tonight?’, I said

Seiriol Davies and Carl Woodward

Seiriol Davies and Carl Woodward

‘Bloody Sunday audiences… Pretty bleak crowd tonight‘, said Meow Meow herself, fresh off the stage grazing on wasabi and clutching a half-pint of beer in the after show bar.

‘Well, quite. I had fun though! I thought you did a great job, for what it’s worth’, I smiled. Seriously, What a woman.

The night finished at 5am on the steps by the Edinburgh castle with Seiriol Davies.

Far too much white wine was consumed, I can’t remember much else to be honest.

Note: Fringe Fatigue is setting in – thank God there is a bath in my hotel room. Let’s see what joys tomorrow will bring.





Menier Chocolate Factory stages first major London revival of Barnum



The Menier Chocolate Factory today announces the first major London revival of BarnumGordon Greenberg’s production opens on 5 December, with previews from 25 November, and runs until 3 March 2018. The production goes on sale to supporters of the Menier on 31 August, and to the general public on 11 September.

Barnum tells the story of P.T. Barnum, the Greatest Showman on Earth, who combines razzle-dazzle with charm and brass to sell “humbug” to cheering crowds. A joyful and moving musical portrait of the nineteenth century’s greatest show-biz legend, Barnum is a colourful, dynamic spectacle full of circus, side-show legends and heart.

With music by Cy Coleman (Sweet Charity and The Life), lyrics by Michael Stewart (book writer of Hello Dolly! and Mack and Mabel; and co-adaptor of 42nd Street), and book by Mark Bramble (co-author of 42nd Street and director of the current revival), this Tony Award-winning musical premièred on Broadway in 1980.

Gordon Greenberg directs. He co-wrote and directed the Broadway stage adaptation of Irving Berlin’s Holiday Inn at Studio 54 for Roundabout Theatre Company and Universal Pictures Stage Productions, Guys And Dolls (Chichester Festival Theatre, Savoy Theatre and Phoenix Theatre), Working (59 E 59 in New York – also adapted), Jacques Brel Is Alive And Well… (Drama Desk, Drama League, Outer Critics Award nominations – also adapted), Johnny Baseball(Williamstown), Tangled (Disney), Blue Sky Boys (Capital Rep.), Luck Be A Lady  (Asolo), Pirates! Or Gilbert and Sullivan Plunder’d (co-creator, Huntington, Paper Mill, Goodspeed, MUNY), Band Geeks! (also co-writer, Goodspeed), The Baker’s Wife (Paper Mill, Goodspeed), 1776 (Paper Mill), Floyd Collins (Signature), Yentl (Asolo), and Half A Sixpence(Goodspeed).

Listings Information                                                                                                                                      Barnum

Venue:                                 Menier Chocolate Factory

Address:                              53 Southwark Street, London, SE1 1RU

Press performance:         5 December at 8pm

Dates:                                   25 November 2017 – 3 March 2018

Times:                                  Tue – Sat 8pm, matinees Sat and Sun 3.30pm

Box Office:                          020 7378 1713 (£2.50 transaction fee per booking)

Website:                              www.menierchocolatefactory.com (£1.50 transaction fee per booking)

Tickets:                                 Prices vary, as below from discounted preview tickets to premier seats. With the emphasis on ‘the sooner you book, the better the price’:

Prices from £35.00

A meal deal ticket includes a 2-course meal from the pre-theatre menu in the Menier Restaurant as well as the theatre ticket.


Twitter: @MenChocFactory

Princess Diana commemorated in Royal Vauxhall’s 20th Anniversary UK Tour

Royal Vauxhall, UK Tour. Photo by Phil Harris
Royal Vauxhall, UK Tour. Photo by Phil Harris

Royal Vauxhall, UK Tour. Photo by Phil Harris

In 1988, Freddie Mercury and Kenny Everett reportedly helped Princess Diana escape the pressures of palace life by dressing her in drag and smuggling her into London’s notorious gay pub: the Royal Vauxhall Tavern. Twenty years after her untimely demise and based on real accounts, Royal Vauxhall commemorates Diana’s death by reliving the night of her life.

As the princess, the clown and the rock king sing, drink and dance together, their wild night unfolds as the weight of responsibility and the spectre of AIDS looms over them.

Now the stuff of urban legend, details of the trio’s night at the Royal Vauxhall Tavern first came to the fore in the 1998 autobiography of Cleo Rocos: the longtime collaborator of Kenny Everett. Royal Vauxhall irreverently opens up this infamous evening as three high-profile friends explore their sexuality, their mortality and the claustrophobia of Royal family life.

Royal Vauxhall was developed and first aired at the Royal Vauxhall Tavern, the celebrated gay pub where this notorious event purportedly took place, and one of the few iconic gay cabaret venues still standing. The show was written partly in response to the widespread closing of iconic gay and gay friendly pubs and clubs in London and around the country. It explores the need for safety and sanctuary for minority communities, as well as for famous people who need a place to hide.

Royal Vauxhall stars international musical comedy sensation Carrie Marx as Princess Diana (The Segue Sisters, Arthur Smith Sings Leonard Cohen), cabaret favourite Joe Morrow as Kenny Everett (Café de Paris, Bungabunga) and the Edinburgh Spotlight Best Cabaret Award-winning performer and MC Desmond O’Connor (BBC Radio One’s Fun and Filth Scott Mills: The Musical).



Ballet Black to return to Theatre Royal Stratford East this November

ballet black isabela coracy and jose alve
ballet black isabela coracy and jose alve

Ballet Black Isabela Coracy and Jose Alves in captured by Martin Lawrance photo bill cooper

Theatre Royal Stratford East today announced that Ballet Black are to return to the theatre this November with another triple bill and as part of their new partnership with the company which launched last year.

 In this latest mixed bill, Artistic Director Cassa Pancho commissions bold choreography once more, blending the classical and contemporary, narrative and abstract, for her ballet company comprising British and international dancers of black and Asian descent.

 A four-hander characterised by intricate detail and propulsive energy, Captured ebbs and flows to the fiery emotion of Martin Lawrance’s edgy choreography, set to a Shostakovich string quartet. First premiered in 2012, Captured was an instant audience and critical success.

French choreographer, Ludovic Ondiviela, presents Dopamine (you make my levels go silly), a beautiful pas de deux about love, lust and passion with an original score created by acclaimed British composer, Fabio D’Andrea.

 South Bank Sky Arts Award-winner Annabelle Lopez Ochoa turns a popular fairy tale on its head, as Red Riding Hood is given a surprising twist – the Wolf might just regret messing with Red Riding Hood!

 Theatre Royal Stratford East                                                                                                                       Listings

Gerry Raffles Square, London E15 1BN

 Wednesday 8 November – Saturday 11 November, 8pm

 Box Office: 020 8534 0310



Facebook: theatreroyalstratfordeast   

Twitter:[email protected]

Charlotte Wakefield to play ‘Polly’ in the national tour of the Watermill Theatre’s acclaimed production of “CRAZY FOR YOU”.

Charlotte Wakefield
Charlotte Wakefield

Charlotte Wakefield

Jamie Wilson and Gavin Kalin have announced that Charlotte Wakefield will play ‘Polly’ in the national tour of the Watermill Theatre’s acclaimed production of “CRAZY FOR YOU”. Charlotte joins the previously announced Tom Chambersas ‘Bobby’ and Caroline Flack as ‘Irene’. ”CRAZY FOR YOU” opens at the Theatre Royal, Plymouth on 17 August 2017.

Charlotte Wakefield made her West End debut as Wendla in “Spring Awakening”, for which she was nominated for an Olivier Award. She played ‘Maria’ in the critically acclaimed production of “The Sound of Music” at Regent’s Park Open Air Theatre receiving nominations for Best Actress in a Musical at both the Evening Standard and Olivier Awards. Her other theatre credits include Sophie in “Mamma Mia!” in the West End, Truly Scrumptious in “Chitty Chitty Bang Bang” and Laurey in “Oklahoma!”, both on national tour.

Tom Chambers

Tom Chambers

Tom Chambers created the role of Jerry Travers in the West End musical “Top Hat”, for which he was nominated for an Olivier Award for Best Actor in a Musical. In 2008 he won the 6th season of “Strictly Come Dancing”. He can currently be seen in the hit BBC drama “Casualty” and his other TV credits include “Holby City” and “Waterloo Road”. His recent stage credits include “Private Lives” and “White Christmas” in the West End.

Caroline Flack

Caroline Flack

 Caroline Flack won the 12th season of “Strictly Come Dancing” in 2014. She currently presents  ITV’s “Love Island” and her previous presenting credits include “I’m a Celebrity…Get Me Out of Here NOW!” and “The Xtra Factor”. She has also presented “The X Factor”. Prior to presenting, Caroline trained in musical theatre.

The cast is completed by Arthur Boan, Daniel Bolton, Hollie Cassar, Neil Ditt, Kate-Anne Fenton, Cristopher Fry, Stacey Ghent, Matthew James Hinchcliffe,  Kieran Kuypers,  Kate Milner-Evans, Emma Jane Morton, Kate Robson-Stuart, Ned Rudkins-Stow, Seren Sandham-Davies and Mark Sangster.

High energy, high kicking and gloriously glamorous, “CRAZY FOR YOU” is the ultimate feel-good musical with a fabulous score from the Gershwin brothers’ songbook. Mistaken identities, plot twists, heartbreak, happiness and a wealth of memorable tunes, including I Got Rhythm, They Can’t Take That Away From Me, Nice Work If You Can Get It and Embraceable You, all feature in this exhilarating celebration of the great Broadway musicals.

 “CRAZY FOR YOU” is directed by The Watermill’s Artistic Director, Paul Hart, with musical arrangements by Catherine Jayes (The Color Purple, Broadway)It is choreographed by Nathan M. Wright (High Society, Old Vic) and is designed by Diego Pitarch (The Addams Family). Lighting design is by Howard Hudson (In the Heights) with sound design by Tom Marshall (Legally Blonde).

“CRAZY FOR YOU” has Music and Lyrics by George Gershwin and Ira Gershwin, Book by Ken Ludwig, co-conception by Ken Ludwig and Mike Ockrent. It is inspired by material by Guy Bolton and John McGowan. “CRAZY FOR YOU” was originally produced on Broadway by Roger Horchow and Elizabeth Williams. Original Broadway Choreography by Susan Stroman.

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Edinburgh Festivals Diary – Day 3

Edinburgh Festival Diary -Day 3

Saturday 19 August

Edinburgh Festival Diary -Day 3

Edinburgh Festival Diary -Day 3

My Saturday morning began at the Traverse Theatre for Zinnie Harris’ beautifully devastating ‘Meet Me At Dawn’. Harris’ gorgeous play for the Edinburgh International Festival is a take on the Orpheus and Eurydice myth and sees two women washed up on a beach after an accident at sea. At first I thought I was in for a Waiting For Godot sequel – with all the flourishes you’d expect from a Beckett piece. However, the play evolved majestically, is extremely beautiful and by all accounts ‘worth a watch’.

I made my way up to the EIF Hub with some cookies for the press manager and her team.

‘How are you all?’, I asked mischievously.

‘We’re doing fine… Over half way now,’ she responded.

‘Shall we eat the cookies?’ I asked.

We did.

I did some writing over lunch and ended up sitting next to a classical music critic.

‘Have you seen The Divide?’ I asked.

‘Oh yes,’ he replied. ‘I don’t want to talk about it!’

So there we are.



I made my way to Summerhall with anticipation to Selina Thompson’s ‘Salt’. A play that tackles Europe’s involvement in the slave trade with an iron fist. (This play is fucking great). Genuinely political, satirical, provocative, innovative and completely brilliant. A decadent, astute theatrical triumph and I loved it. This one woman show deserves all the praise.

As Saturday afternoon wore on and the streets filled with boozing, I found myself at The Space on Niddry St for ‘Penthouse. Sober.

A play that started off better than I could have expected and ended up being far worse than I could ever have feared. The blurb says it offers ‘an insight into the world of bankers and the pressure they face that can lead them to take their own lives’. It is clumsy in the handling of the subject matter, though, and in dealing in outdated stereotypes will leave you in a state of delirium. Depressing stuff, but what can you do.

By the end of this 38 minute fiasco (advertised: 55 mins) I wanted to jump off the roof. It’s not very good, i’m afraid.

(Yes I know it’s not polite to dwell on awfulness but know your enemy and all that).

My evening ended at the Churchill Theatre for ‘Krapp’s Last Tape’. Barry McGovern’s performance at Church Hill Theatre confirms him as the leading interpreter of Beckett. This haunting play examines age and memory and lasts less than an hour; ideal.

Overall — a good(ish) day.

Plenty of food for thought, readers.

Note: According to my pedometer I did 18, 535 steps (12 kilometres)



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 Edinburgh Festivals Diary – Day 2 

Friday 18 August


I started the day at the Pleasance for The Scotsman’s Fringe First awards – a ceremony recognising outstanding new writing premiered at the Fringe.

The winners are announced each Friday morning. The last time I was in this particular venue, somebody stripped to a thong and sang ‘I Wanna Dance With Somebody’. Anyway, there was plenty of coffee and thankfully the crowd (journo/media types) remained clothed for the duration.

The second group of 2017 winners are as follow:


How To Act 


A Super Happy Story (About Being Super Sad)

The Shape of Pain



(Congratulations to all the winners!)

Rendered Retina / HTWAH

My first show of the day was ‘Form’ by Rendered Retina Theatre Company at 10 Dome. Rendered Retina is made up of the extremely talented Tom Mangan, Alex Mangan & Jordan Choi. As well as the show being wonderful on its own merits, ‘Form’ was good and the crowd reacted quite positively to it, ie they were engaged and laughed in the right places.

Having known the lads for several years, it was exactly how I’d expect it to be: a polished performance, attention to detail, all ‘on point’. Rendered Retina were recipients of the LET Award 2017 and selected to receive a performance slot at the Pleasance, a cash injection of £1000 plus industry mentoring from Les Enfants Terribles. Well done, boys!

I spent the afternoon at my rather nice hotel, mostly hydrating and arranged to meet a friend.

‘Why are you watching that?’, said Lyn Gardner.

‘Aaaaghh!’ I cried, wrestling the tickets out of my pocket. She laughed.

We compared schedules and had a cup of tea.

Later I got chatting to a friendly lady called Annette. We talked about shows and I shared my schedule concerns.

‘Be ruthless’, she said.

‘How so?’, I asked.

‘Your time is limited here — if you have a bad feeling or word of mouth about a show – don’t go. Time is too precious.’

‘Right you are’, I said.

Perhaps this is news to you, but How To Win Against History’ is back at the Fringe. Unfortunately for them and their PR, all their attempts at creating a buzz –  the giant colourful posters, Oberon Books publishing its first musical score, social media blitzing etc – have been generally ignored, which is a shame.

I am of course employing sarcasm for ironic effect because this show is all everyone’s talking about. This musical about a cross-dressing Marquess is certainly at home at Assembly George Square Gardens.

How To Win Against History is astouding and Seiriol Davies is a genius.

Note: I went to bed early with a Moroccan Mint Green Tea with Rose. Bleak.

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Edinburgh Festivals Diary: Day 1 

Day 1 – Thursday 17 July 

Royal Mile

Royal Mile

Edinburgh is right in the middle of celebrating the 70th anniversary of it’s world-famous festivals, the Scottish capital has rightfully become known as the world’s best festival city.

What better time to turn up and get involved?

With my luggage dropped off and a ham sandwich partially consumed I decided to start my Edinburgh odyssey. As is tradition, I wandered through the Royal Mile. The anticipation was high: would I witness three actors kissing while dressed as nuns? Would a performance artist reveal their pregnancy live on the cobbles? Would a comedian frighten a defenceless civilian? Anything is possible.

Whatever was about to happen I had a feeling that there would be surprises (ideally involving Quentin Letts and a glitter canon, but this is just a pipe dream of course).



My first show was at Bedlam Theatre: a gorgeous, 90 seat theatre housed in a former Neogothic church at the foot of George IV Bridge for Seanmhair‘. Director Kate Wasserberg’s production has a sinister aesthetic beauty while the remarkably gifted performers avoid the easy path of desolation. It was a total joy to witness this stunning coming of age story set in 1950s Edinburgh. In every respect, though, Seanmhair is a puzzling production but one that warrants a visit. Cardiff’s The Other Room is not messing around with this one, offering direction from Kate Wasseberg, Hywel John doing the writing bit, neon light strips and opaqueness throughout and, as a result, a renewed sense that — hey, do you know what — Fringe theatre might be alright after all.


Butt Kapinski

Butt Kapinski

Later, a volunteer at the Pleasance Dome Press Office tells me: “Go and see Butt Kapinski; it’s amazing… I went twice.” So I did just that. Kapinski is a cod-detective, a ‘comedy character’ that doesn’t make any sense, but is often engaging. The meta-theatre interactive piece packs a pretty entertaining punch and Deanna Fleysher’s alter-ego relies on the audience *a lot* for LOLs with mixed results. (I’m sure the Pleasance volunteer is a really nice guy and that’s all I have to say about this episode.)


With an abundance of choice in a connected theatre ecology, you’re likely to be influenced by blogs, friends or word of mouth. It’s probably worth pointing out that both Fringe and International Festival have plenty to offer. You should never believe that theatre-going has any rules and if there are any rules, you should break them all.

Note: I ended the evening with a large glass of Pinot Grigio.


Producers celebrate the ongoing success of ‘Big in Belgium’ at Summerhall

£¥€$ by Ontroerend Goed (c) Michiel Devijver

£¥€$ by Ontroerend Goed (c) Michiel Devijver

£¥€$ by Ontroerend Goed (c) Michiel Devijver

Following the huge success of the four previous seasons at Summerhall which have included the award-winning Us/ThemOne Hundred Homes and The Great Downhill Journey of Little TommyBIG IN BELGIUM producers Big in Belgium, Richard Jordan Productions and Theatre Royal Plymouth are celebrating a fifth year at the Edinburgh Festival Fringe and Ontroerend Goed today winning a Fringe First for £¥€$ (LIES).

Each of the shows in this season featuring some of the most significant theatre companies from the Flemish part of Belgium have previously been very successful on the European mainland and are now presented for the first time to Edinburgh audiences, some translated and adapted, ready for breaking new grounds in English-speaking territories.

This year BIG IN BELGIUM is also presenting four of its productions within a brand new theatre space adapted for them within Summerhall in association with RBC/Upper-Church.

 Richard Jordan, the UK based Producer of Big in Belgium said, ‘Over the past five years Big In Belgiumhas secured an important position on the Edinburgh Fringe affording audiences the chance to discover some of Belgium’s most exciting theatre artists and productions.  For the artists and companies taking part there is the opportunity to gain a valuable international audience for their work by appearing at the world’s largest arts festival, often leading to further local and international touring and co-productions.  When my colleague David Bauwens and I started Big in Belgium five years ago we had no idea of what would happen in the UK with Brexit.  The season has become an example of the vital role the arts is paying within the country’s current climate, where such sharing if ideas and community has never been more important.’

 Simon Stokes, Artistic Director of the Theatre Royal Plymouth said, ‘The Big in Belgium season allows us to meet and collaborate with key Belgian artist and companies – Belgium being a particularly insightful and challenging artistic leader just now across all the arts disciplines.  It provides a refreshing opportunity to hear a variety of new voices reflecting European traits, styles and concerns.’

Old boyfriend photos, emails, texts, audio recordings and poetry. Struggling with her love life, Julie Cafmeyer experiences orgasms, despair, rejection and heaven. In an intimate setting, and with you the audience, she strives to create a genuine connection. A show that is both vulnerable yet utterly fearless, giving an insight into the heartaches that we all share. More than just another coming of age story, Bombastic Declaration of Love redefines what theatre can be as we are taken along on a journey to find out what it is that we all define as love.

Can art really save the world? Belgian theatre-maker and performer Enkidu Khaled’s award-winning show Working Method is a unique form of creative interaction. His audience is complicit inanalysing and simplifying the complex process of making theatre through artistic expression and reflection. A workshop and a performance all in one, Enkidu combines participatory actions with his own history, emphasizing the power of imagination and during the performance, analyses and simplifies the complex process of making theatre.

Three years ago, Suzanne Grotenhuis won a prize at the Belgian Theatre Festival with her first solo show. The money was meant to be spent on making a new show but realising she couldn’t afford this, bought a plastic ice skating rink and a pair of white figure skates with the money instead.

On Ice tells the story of why a young theater performer decides to buy an ice-skating rink. Why the ice skating rink somehow forms the solutions to a broken heart.

Its a story of loneliness, of bravery, and of complete absurdity.

Multiple Fringe-First winners Ontroerend Goed invite you to get under the skin of the well-to-do, the 1%, the super-rich, the ones who pull the strings, the faces we never get to see when they return to the Fringe with their latest production, £¥€$ (LIES).

For one night, you can take their chairs. You call the shots. You’re in the centre of our economic system.  You shape the course.

And who knows, you might make the world a better place, more fair, more responsible,

because you’ll do things differently, for sure.

 Mireille & Mathieu unpack their paraphernalia at a flea-market. The objects and toys they pick up turn out to be bursting with stories. These little scenes, sometimes gentle and poetic, but more often cruel and comical, follow each other in quick succession. ARM is an introduction to Flemish humour: uncomplicated, excessive, nuts, and surreal – a performance bursting with delightful absurdities, original finds and hilarious scenes about love, violence and playing in its broadest meaning.

 Timeau De Keyser, Hans Mortelmans and Simon De Winne – together known as Tibaldus are one of Belgian’s most exciting and innovative young theatre companies, producing work that is fierce, surprising and thrilling. They have joined with five other actors and dancers to create a bold and radical contemporary reworking of Witold Gombrowicz’s (‘The Shakespeare of Poland’) ground-breaking masterpiece Ivona, Princess of Burgundia the story of a royal family and its household which loses its grip when Prince Filip suddenly becomes engaged to Ivona.

Julie Cafmeyer – Bombastic Declaration of Love

Enkidu Khaled – Working Method

Suzanne Grotenhuis – On Ice

Ontroerend Goed – £¥€$ (LIES)

Mireille and Mathieu – Arm

Tibaldus – Ivona, Princess of Burgundia


Venue:                                                Summerhall, Summerhall Place, EH9 1PL

Julie Cafmeyer

Bombastic Declaration of Love      4 – 27 August at 10.30 (11.30)

(not 7, 14, 21, 28 August)

 Enkidyu Khaled

Working Method                               4 – 13 August at 15.45 (17.00)

(not 7 August)

 Suzanne Grotenhuis

On Ice                                                 4 – 27 August at 14.30 (15.45)

(not 7, 14, 21, 28 August)

Ontroerend Goed

£¥€$ (LIES)                                        4 – 27 August at 18.30 (20:00) and 20.30 (22.00)

(not 7, 14, 21, 28 August)

Mireille and Mathieu

Arm                                                     4 – 27 August at 16.25 (17.15)

(not 7, 14, 21, 28 August)


Ivona, Princess of Burgundia         15 – 27 August at 15.45 (17.20)

(not 17 August)

Box Office:                                        0845 874 3001




 Cast announced for new British play “Gate” by Artemis Fitzalan Howard at the Cockpit theatre, London