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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 It is clumsy in the handling of the subject matter, though, and in dealing in outdated stereotypes will leave you in a state of delirium.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)




The Naked 80s George Square Gardens – Spiegeltent Palais Du Variété 3-16 August

The Naked 80s: a brand new show by The Magnets
The Naked 80s: a brand new show by The Magnets

The Naked 80s: a brand new show by The Magnets

A cappella sextet and vocal harmony super-group The Magnets has returned to the Fringe in 2017 with the premiere of a brand-new show: The Naked 80s. The first themed show for the six-man sound machine, The Naked 80s is the ultimate 80s mix tape from The Magnets, who will be honouring the decade of synths, big snares and even bigger hair with just their voices alone.

Like Pitch Perfect with shoulder-pads, this fast-paced, shape-shifting nostalgia-fest motors from Madness to Michael Jackson, Toto to Tina Turner as The Magnets revisit the music that inspired them. Audiences can revel in all-vocal revivals of classics such as ‘Careless Whisper, ‘Eye of the Tiger’ and ‘Push It’, as they’ve never heard them before. Expect gobsmacking beatboxing, vocal gymnastics, and heaven-sent harmonies demonstrating the sheer versatility of a cappella performance, effortlessly switching scene with inventive choreography and lashings of audience- engaging charm.

The Magnets are a must-see act on the international circuit with a reputation for outstanding festival appearances from the Adelaide Fringe to Glastonbury. The group has performed more than a decade of hit Edinburgh shows, and are celebrating their 22nd anniversary this year. 2017 Fringe performers include sensational beatboxer and UK loop-station champion Hobbit (Beatbox Collective), Duncan Sandilands on bass, high tenors Michael Conway (Jersey Boys) and Damion Scarcella (Flying Pickets), with Matthew McCabe (Gobsmacked!) and the lone Scottish Magnet, Callum McIntosh (from Montrose) singing in the mid-range.

A cappella was hugely popular in the 1980s, with The Flying Pickets, The Housemartins and Bobby McFerrin topping the charts with all-vocal hits. The genre is once again in the spotlight thanks to movies such as Pitch Perfect and spin-off BBC show Pitch Battle, the success of US chart-toppers Pentatonix, and any number of viral a cappella YouTube clips. Consistently one of the biggest selling music acts at Edinburgh Fringe, the success of The Magnets has helped to inspire a new generation of a cappella groups to perform at the Festival, which is now unofficially one of the largest a cappella festivals in the world.

Touring internationally throughout the year, The Magnets have recently returned from tours of China and Australia. They are regularly featured on TV and radio, with appearances on Comic Relief, BBC Radio 1 & 2, MTV, and the popular TMobile ‘Welcome Back’ advertisement, as an a cappella flashmob. The band has supported artists such as Blondie, Bryan Adams and Tom Jones and performed private shows for heads of state, supermodels and royalty, including the Queen, Elle Macpherson, Sir Tim Rice and Sir Ian McKellen.

“All thriller, no filler!” ★★★★★ Adelaide Advertiser

“A sonic phenomenon you have to see and hear to believe” ★★★★ The Guardian

“…a cappella singing straight from the gods… The Magnets are the epitome of cool” ★★★★ Edinburgh Evening News

Web: Web: Twitter: @themagnets

The Revlon Girl comes to Park Theatre following acclaimed run at Edinburgh Festival

The Revlon Girl
The Revlon Girl

The Revlon Girl

Following a critically acclaimed and sell-out tour across Wales last year, The Revlon Girl will come to PARK90 in September after a run at the Edinburgh Festival which is supported by The Arts Council of Wales. Written by composer and writer Neil Anthony Docking, The Revlon Girl is a poignant, heart-breaking and tender new play which explores a terrible episode in Welsh history and tells a story of amazing courage, hope and humour.

Set eight months following the death of 116 children during the Aberfan Disaster of 1966, The Revlon Girl tells the real life story of a group of bereaved mothers who met every week above a local hotel to talk, cry and even laugh without feeling guilty.

At one of their meetings, the women confided how much they felt they’d forgotten about themselves but were too afraid of being judged frivolous to do anything about it. So together they arranged – secretly – for a representative from Revlon to come along one night and give them all a talk on beauty tips.

The Revlon Girl is directed by Maxine Evans, with set design by Eleri Lloyd; lighting design by Chris Barrett and special technical effects by Dan Travers.

Charlotte Gray plays Sian. Her theatre credits include: The Light of Heart, Under Milk Wood, Alan Aykbourn’s Season’s Greetings, A Small Family Business, Taking Steps, A Child’s Christmas in Wales, Pygmalion, The Suicide, An Inspector Calls, The Hub and A Write to Rock (for Theatre Clwyd, Cymru), The Gut Girls, Never Fear Love? (Velvet Ensemble) along with A Red Threatening Sky (Foolish People), A Night on the Tiles (Grassroots Productions), The Tree and The One Sea(Atomic 80 Productions Assembly Rooms). Television credits include: Alys (series regular 1&2), Caerdydd, Afel Druig (S4C) and Stella (Tidy Productions).

Antonia Kinlay plays Revlon. She is currently filming Career of Evil for HBO/BBC. Theatre credits include The Suicide(National Theatre); A History Of Falling Things (New Vic Theatre); Bad Jews (Theatre Royal Bath); Molière (National Theatre Studio/Finborough); The Eternal Not (National Theatre); Arden Of Faversham (The Globe); When Did You Last See My Mother? (Trafalgar Studios); Lady Anna: All At Sea (Park Theatre); The Three Lions (St James Theatre); Arms And The Man (Theatre Clwyd); Mr Whatnot (Northampton Royal Theatre); As You Like It (Theatre Clwyd); Carrot (Theatre 503). Film & Television Credits include: Emmerdale; Mi High; Consuming Passion; Doctors and Broadside.

Michelle McTernan plays Marilyn. Michelle provides the voice of ‘Nib’ in the animation series Bobinogs (BBC). Theatre Credits: The Three Night Blitz, (Joio Productions/ Swansea Grand); Macbeth, Merchant Of Venice, Buoy, Fall Out 84(Pontardawe Arts Centre); Barren (October Sixty Six Productions); Bara Bread (Theatr Gwalia) Granny Annie, Trivial Pursuits, Erogenous Zones, (Grassroots); Flesh And Blood (Sherman/Hampstead Theatres); The Oystercatchers (Swansea Grand/Sherman Theatre); Blue Remembered Hills (Torch), Under Milk Wood, Rosencrantz And Guildenstern Are Dead(Clwyd Theatr Cymru); Twelfth Night, Cymbeline, The Merchant Of Venice (Ludlow Festival). Television & Film: Stella (Tidy/Sky1 HD); Rain (Tornado Films); The Healers (Pooka Films); Midnight (Nowhere Fast); Dr Terrible’s House of Horrible, Tales from Pleasure Beach (BBC); Light in the City (BBC Wales) and the feature film Very Annie Mary (Dragon Pictures).

Bethan Thomas plays Rona. Credits include Channel 4’s Hollyoaks, Linda in the West End production of Blood Brothers, Kitty in Charley’s Aunt (Ian Dickens Productions); Beyond Therapy, Mother Courage, Under Milk Wood, Merchant of Venice, Comedy of Errors, Midsummer’s Night’s Dream, Twelfth Night as well as the Duchess in The Duchess of Malfi. Bethan’s film credits include Be All And End All, Sawn off Santa, Don’t Walk, Hermit, Love Me Love My Dog, The Harmion Tale and, for the BBC, Dear Nobody.

Zoë Harrison plays Jean. Zoë trained at Guildford School of Acting and her theatre credits include The Sound of Music (London Palladium), The Circle (Oxford Stage Company), What a Wonderful World (Lyngo Theatre Company) and Blondel (Pleasance, London). She co-wrote and co-starred in BBC Radio 4 comedy series Jason Cook’s School of Hard Knocks. TV and film credits include EastEnders, Two Doors Down, Doctors (BBC) and Neil’s Party (Twothreefive Productions. Zoë can currently be seen as Young Maria in the feature film Never Let Go on Netflix, and as Rob Brydon’s wife in the P&O cruises commercials.

Director Maxine Evans studied classical acting at the Guildhall School of Music and Drama and has worked as an actor, writer, series editor and director in television, film and theatre. She directed Without a Song or a Dance (short- listed Best Director at the Cork Film Festival) Nuts & Bolts (ITV/RTS Award winner) and Rain (a Feature Film Musical also by Neil Anthony Docking) while her writing/series editor credits include Coronation Street, Crossroads and Nuts & Bolts (ITV). She continues to develop new writing for theatre (Goat Street Runners and Who’s Coat Is That Jacket?) and has recently directed a new comedy entitled Storyline. As an actor Maxine appears regularly on television- most notably in BBC’s Call The Midwife and A Song For Jenny and as the indomitable ‘Rhian’ in Sky 1’s hit comedy Stella.

Neil Anthony Docking is a British writer, composer and producer, and has worked in press, radio, film and theatre. Whilst studying music at the University of Westminster he became a columnist for The Guardian and received a BFI Animation nomination for Best Score for Psyche Engine (narrowly missing out to Nick Park’s Wallace & Gromit). His writing credits include: Station Road (BBC Radio Drama), The Throne Room (original play for radio), Bay College, Casualty (BBC), Nuts & Bolts, Crossroads, Emmerdale (ITV1) and has been shortlisted for the BBC Dennis Potter Screenwriting Award. He has written, scored and co- produced the original independent British feature film musical, Rain; written and directed TVCC(Channel 4) and most recently wrote and produced Storyline, an original comedy for online broadcast. The Revlon Girl is his first play for theatre.

Box office: 020 7870 6876*


The Revlon Girl

Venue: Park Theatre, Clifton Terrace, Finsbury Park, N4 3JP

Dates: 19 Sep – 14 Oct 2017

Press night: Wednesday 20 September

Running Time: 90 minutes

Performances: Tue – Sat Evenings 7.45pm, Thu & Sat Matinees 3.15pm

Parents & Babies: Wed 4 Oct 13.00 £15

Prices: £14.50 Previews / £18 Full / £16.50 Concessions/ £13 Child/ £10 Young Patrons
Booking: / 020 7870 6876

*10% telephone booking fee, capped at £2.50 per ticket.


Letters To Morrissey, produced by Edinburgh’s Traverse Theatre Company, coming to HOME Manchester 12-16 September 2017

Letters to Morrissey
Letters to Morrissey

Letters to Morrissey

Award-winning actor and playwright Gary McNair makes his second appearance at HOME on Tue 12 – Sat 16 September 2017 with touching new show Letters To Morrissey, produced by Edinburgh’s Traverse Theatre Company.

Directed by Gareth Nicholls, the theatre’s associate director, Letters To Morrissey follows up McNair’s Edinburgh Festival Fringe First hit A Gambler’s Guide to Dying, which featured in HOME’s Orbit festival in 2016.

McNair’s affectionate one-man show is the final part of a trilogy of often darkly comic works drawing on the joys and struggles of growing up in working class Scotland, explored through letters written to The Smiths’ front-man Morrissey at the turn of the millennium by a conflicted teenager from the outskirts of Glasgow.

It’s 1997. You’re 11. You’re sad, lonely, and scared of doing anything that could get you singled out by the hopeless, angry people in your home town. One day you see a man on telly. He’s mumbling, yet electrifying. He sings: “I am human and I need to be loved, just like everybody else does.” This guy gets it. You become obsessed with him. Later, when you need someone, you write to him. A lot.

Fast-forward to today, 20 years on. You find those letters and ask yourself: “Has the world changed, or have I changed?” Letters To Morrissey is about confronting the worst thing you’ve done – and hoping that you can still be good person.

Coming to HOME direct from this year’s Edinburgh Festival, where it world premiered at the Traverse Theatre, Letters To Morrissey considers our human desire to be understood, and about finding potentially false kinship in an icon you don’t actually know.

@home_mcr #LettersToMorrissey


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THREE TALES OF LIFE AND DEATH-US comedy stars in three one-act plays at Assembly

Three Tales of Life and Death

In the world premiere of Pulitzer/Tony Award nominee Craig Lucas’s (Prelude to a KissAn American in ParisAmelie) zany and touching new play, THREE TALES OF LIFE AND DEATH, three stories collide in a world of voyeuristic theatre critics, bartenders with too much spirit and mysterious strangers looking for love in the afternoon.

In Phase 1, Love and Life, critics provide live commentary as the a couple make extra-marital love for the first time and the son of an overly anxious woman reflects on his mother and her tendencies to worry….,

In Phase 2, Death, as a bar tender is closing up for the night, a mysterious stranger walks in…

In Phase 3, Afterlife, in two separate scenes, two spirits encounter each other in Limbo and grapple with their former lives and what comes next.

Making their Edinburgh Fringe debuts, US comedy legends Richard Kline (of the US sitcom Three’s Company) and Pamela Shaw (Swingers), perform these three one-act plays directed by Manhattan Theater Club’s Associate Director Hunter Bird.


Venue:                        Assembly (Front Room), 54 George Street, Edinburgh, EH2 2LR

Dates and Times:      3 – 26 August at 15.50 (not 6, 9, 15, 22 August)

Running Time:          65 mins

Tickets:                      £6 on 3 & 4 Aug

                                    £11 (£10) on 5, 6, 10, 14, 16, 17, 21, 23, 24 Aug

                                    £12 (£11) on 7, 8, 11, 12, 13, 18, 19, 20, 25, 26 Aug

Box Office:                0131 220 4348



Lost instruments throw Otto & Astrid’s Edinburgh Fringe run into chaos

Otto & Astrid – Eurosmash! blue smoke – credit Andrew Wuttke

German band Die Roten Punkte have been left stranded on the opening night of their Edinburgh Festival Fringe run after British Airways lost all their musical equipment in Canada.

The duo, consisting of brother and sister Otto and Astrid Rot, travelled with the airline from Winnipeg to Edinburgh on July 30but discovered on arrival that their set of custom-made drums and electric guitars had not made it onto their connecting flight from Toronto.

Drummer Astrid Rot contacted Toronto Airport’s duty manager Andy Joseph, who found the instruments and supervised them being put on a plane to London, but British Airways have now told her they do not know whether they arrived at Heathrow Airport.

She said: “He (Joseph) personally went with his little legs and found our instrument and put them on the plane to London. But now we’ve heard nothing for another 36 hours.

“Why can’t they get here from London? I could have walked there and got back with them by now. How can I rock out and make noises with no drums?”

The pair are now scrambling to find alternative instruments in time for the opening night of their show Otto and Astrid: Eurosmash! which is on at the Underbelly Cowgate from August 3-27.

Otto said that they are using equipment that had been gifted or lent to them in order to get ready for opening night on Thursday, but their instruments have been custom-made for their performance.

“We are determined for the show to go on”, he added.

They have posted a video on their Facebook page pleading with anyone at Heathrow Airport to search for their lost equipment.

Yesterday BA suffered a systems crash that affected check-in and luggage systems at both Heathrow and Gatwick airports, although a spokesman said the issue was now “resolved”.

It comes after an earlier IT glitch in May, which BA admitted was responsible for a “significant” number of passengers left without luggage.

This is the third time Die Roten Punkte have performed at the Edinburgh Fringe, the world’s largest arts festival, after being nominated for the Time Out and Soho Theatre’s ‘Best Cabaret’ award for their last run in 2013.

They first played at the Fringe in 2009, where they were nominated for a Total Theatre award and The List proclaimed them “set to be bigger than Jesus.”

Die Roten Punkte have supported Amanda Palmer on tour and have built up a cult following during their years performing together since they were children.

The Edinburgh Fringe celebrates its 70th anniversary this year and runs at venues across the Scottish capital from August 4-28.

Die Roten Punkte

  • Die Roten Punkte (The Red Dots) are “Berlin’s prince and princess of art rock and Europop”, Otto and Astrid Rot.
  • They return to Edinburgh with their first full show in four years with songs from their new album Eurosmash! This is their fourth full studio album, having released critically acclaimed albums in 2006, 2008 and 2010.
  • Their 2009 Fringe debut Super Musikant (Super Musician) was nominated for the Total Theatre award, while their 2013 show Kunst Rock (Art Rock) was nominated for Best Cabaret at the TO&ST – Time Out & Soho Theatre Award.
  • “Hilarious, outrageous. Set to be bigger than Jesus” (The List), “A beautifully grotesque, glam-rock punk-pop riot of a gig” (Fest mag), “The perfect musical comedy act and there is something there for everyone – it should not be missed” (Broadway Baby).


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Edinburgh Fringe, Tago Korean Drum, Interview: “Our music is very sexy, intense, and sophisticated!”

TAGO Korean Drum II live
TAGO Korean Drum II live

TAGO Korean Drum II live

TAGO return to The Fringe 2017 with a new show which follows their enormously popular and successful Fringe debut last year.

‘FYI’ TAGO means ‘lighting up the world by beating drums’ and this young ensemble achieves it with a spectacular mixture of Korean traditional instruments – from gigantic drums to small percussion instruments – spiced up with extravagant martial arts movement.  TAGO’s performances are a masterful display of thrilling percussion and precisely choreographed movement that has wide audience appeal.

TAGO Korean Drum II live shot 4 players

TAGO Korean Drum II live shot 4 players

TAGO – KOREAN DRUM II is one of a collection of Korean shows at the 70th Edinburgh Festival Fringe supported by Korean Arts Management Service (KAMS), an affiliate of the Ministry of Culture, Sports, and Tourism of Korea. The collection, which consists of MEDEA on media, Behind the Mirror, TAGO: Korean Drum, Mind Goblin and SNAP is part of Korea/UK 2017-18 presented by the Korean Cultural Centre UK, a year-long cultural exchange in partnership with leading British cultural institutions, set to bring the best of Korean art to the UK.

I thought it would be nice to talk to TAGO master drummer Kim Si-Won. I was right. It was quite nice.

Here is what happened.

Hi! Can you describe TAGO KOREAN DRUM?
TAGO master drummer Kim Si-Won:  Our music is very sexy, intense, and sophisticated!  Korean drums play an important part in traditional Korean music; it’s an art that has been passed from generation to generation for hundreds of years.  In TAGO we harness our traditional music with a more modern touch combining traditional Korean instruments – from gigantic drums to small percussion – with some exciting martial arts moves!  And we wanted to break the assumption that all drums are round so we’ve built a square drum and put strings and a wooden keyboard on it so it takes four of us to play it!

Performers are always busy rehearsing, preparing or performing; how do you relax?
That’s a good question Mr Carl!  We actually practise for 3-4 hours a day because you have to constantly develop strength and technique to play the drums…but we love to find new places to eat, drink and relax.  Edinburgh has some great bars and we’re looking forward to trying out some malt whiskies.

You recently took part in the London Korean Festival. How did audiences respond?
It was absolutely amazing!  We performed a 30 minute set against a colourful backdrop and the audience were dancing and cheering.  The Kensington Olympia venue is gigantic and the sound of our drums was perfect for the big acoustics.  They also had lots of Korean food stands so we felt right at home.  We signed lots of autographs too and did many selfies with audience members.

What do you consider your greatest achievement?
Performing abroad, definitely!

How would you like this show to be remembered?
As a big, exciting and sexy show!  Also we would like people to enjoy the sounds of the different drums and percussion instruments, some of which you can only see if you come to Korea.

What do you like most about the city of Edinburgh?
The people are so friendly and the beer is great!  When we performed for the first time in 2016, we didn’t realise there were so many shows on – some of our Korean friends are here with their own shows – magic, illusion, dance, music – and we’re hoping to go and support some of them.  Last year we had to buy umbrellas…

TAGO Ho-goon Hyun on the big drum photo by Young Kyong

With the costs of putting on a show – what would be your advice for other international companies that want to bring work to Edinburgh Festival Fringe?
Don’t pack too much!  We send our biggest drums in advance and we take the smaller items on the plane with our luggage.  We could easily bring more then end up not playing them all – so, rather than have a big choice of instruments, we perform a specially designed international show that we know we can deliver.  If you try to pack everything, you can easily run out of money.

What is the Korean Arts scene like?
Really vibrant and diverse. The art of drumming has been around for centuries and you have to be very dedicated to train for many years before you can perform professionally.  Drummers usually started training intensely from the age of 10.  The K-Pop scene is huge now – Korean pop music – and young audiences are moving away from traditional art forms which is why our show is a combination of old and new.  Also the phenomenon of magic and illusion shows is very new to Korea and very popular and the Korean National Ballet (since 1993) is also very cool with people who like ballet.

What do you think audiences enjoy most about your work?
I think people really dig the huge sound of the drums – the sound really fills any performance space and it’s exciting to experience.  I think they also like our combination of drumming and martial arts moves – it’s a really hard thing to learn but very satisfying when you hear the audience cheering!

Are there any shows you are looking forward to seeing?
We are hoping to check out some comedy shows – we didn’t have chance last year – so we’re going to try and see Kwame Asante who we hear is a doctor as well as a comedian and our friends in the Korean magic show Snap which is also very funny.

 What is the most rewarding part of being a performer?
Being up there onstage with my friends is the best – we all met at university and set up Tago nearly 15 years ago.

Curious Directive announce full casting for Frogman

Traverse Theatre

Full casting has been announced on curious directive’s Frogman which opens at the Traverse Theatre, Codebase, as part of the Edinburgh Festival.  A hugely ambitious, coming-of-age thriller, Frogman is told through live theatre and 360 film in Virtual Reality.

The show will open in Edinburgh before embarking on an 8-date UK tour to Brighton, Plymouth, Cambridge, Oxford, Bath, Warwick, Norwich, and Hull with further dates to be announced.

Tessa Parr plays Meera and will be performing live on stage.  The cast also includes voice work from Sarah Woodward as DCI Fiona Webb, Johnny Flynn as Douglas Clarke, Anna Procter as Cathy Selbourne, Kate Shenton as Jen Philips and Russell Woodhead as Ryan Willis.

The VR cast features four non-professional young actors from schools in Brisbane, Australia.  They are Ava Ryan (aged 11) as Young Meera, Indiah Morris (11) as Lily McCullen, Sol Castanho (11) as Shaun Jacobs and Milla Webb (13) as Ashleigh Richardson.

The Great Barrier Reef, 1995.

Meera is eleven. It’s her first sleepover. Strawberry Dunkaroos, Sega Mega Drive and coral fragment analysis descends into torch-lit storytelling from sleeping bags.

Lights off. In the corner, Meera’s aquarium is beginning to glow. Outside over the reef, the Frogman hovers looking for the traces of a missing child.  The annual coral bloom is due, creating an underwater snowstorm. Time is running out.

Frogman is a multi-sensory show which submerges the audience deep into the Great Barrier Reef and carefree summers of long ago.  Blending youthful nostalgia with a dark sense of haunting unease, the show captures that yearning to return to purer days, real or imagined and the pain at the realisation that those days are gone forever. Nothing can ever be the same again.

Fusing live theatre with 360 film, Frogman blurs the lines between reality and fiction, the physical and the virtual.  It will be performed to an audience of 30, who will each be given a VR headset to experience new ways into storytelling in a theatre environment.

Directed by Artistic Director and Founder Jack Lowe, the show has been three years in the making and Lowe has worked alongside specialists in marine biology from Hull’s Deep Aquarium, coral reef scientist Jamie Craggs (Horniman Museum), Sebastian Hennige (Heriot-Watt) and Creative Technologist Ed Greig (Deloitte Digital)

Jack has assembled an exceptional team including Linbury Prize winning designer Camilla Clarke and Tony award-winning sound designer Peter Malkin (The Encounter).

The creation of Frogman has included underwater film shoots in Australia and Indonesia and was made in close collaboration with schools from Hull and Backbone Youth Arts, Brisbane, a leading Australian experimental youth theatre. Together they have created the show exploring themes of childhood, parenthood and the impending coral reef bleaching on the Great Barrier Reef.

Founded in 2008, a Norwich-based company, curious directive is widely recognised for risk taking and genre-pushing theatre.  The company are double Fringe First winners and their previous work includes PioneerThe Kindness of StrangersAfter the RainfallOlfactoryBinaryExoplanets and Your Last Breath.


 4 to 27th August 2017

Traverse Theatre (CodeBase) Edinburgh

Tickets: 0131 228 1404


5 to 9 September 2017

The Old Market Brighton

Tickets: 01273 201 801


19 to 23 September 2017

Theatre Royal Plymouth
Tickets: 01752 267222


27 to 29 September 2017

Cambridge Junction, Cambridge
Tickets: 01223 511 511


2 to 6 October 207

Oxford Playhouse

Tickets: 01865 305305


7 to 11 October 2017

The Egg, Bath

Tickets: 01225 823409

16 to 19 October 2017

Warwick Arts Centre, Warwick

Tickets: 024 7652 4524


22 to 29 October 2017

Norwich Arts Centre

Tickets: 01603 6603352


1 to 11 November 2017

Hull UK City of Culture 2017 – venue to be announced


Further dates to be announced