Edinburgh Fringe Diary: Day 3 

Fringe Awards 2018

Fringe Awards 2018

I start the day by heading to the Fringe First Awards at Pleasance Courtyard. The weekly awards recognise new work at the Edinburgh Fringe and The Scotsman have been hosting the awards since 2004; they continue to be the most important awards at the Fringe.

Jason Donovan took time out of his short festival appearance to help present this morning’s Fringe Firsts. Summerhall and the Traverse have each won six awards this year, which is kind of remarkable.

Anyway, rules for the prize were simple. It doesn’t pretend to cover all genres – it would celebrate theatre, as theatre tends to suck in the best bits of other genres anyway.

Many congratulations to all the winners and nominees.

A quirky tale themed around extra-terrestrial sightings, Lights Over Tesco Car Park offers up the perfect theatrical fit for Oxford-based Poltergeist Theatre’s inimitable melancholy. These bright young things have crafted with charm and humour a simple but multi-faceted interactive show that works so superbly on so many levels. The whole thing is staged with infectious youthful seriousness; really enjoyable.

The production is staged with visual sophistication and is emotionally engaging. But, watching this playful study of outsiders, I too felt a sense of alienation. Clever stuff.

I head off to the Pleasance Cafe to have a chin wag with Lyn Gardner. We have a mint tea and discuss several shows that we have both seen. Gardner has been here all month: writing a daily blog for The Stage, participating in podcasts, reviewing for The Independent and seeing up to six shows a day.

She’s kind of amazing.

Clown Show About Rain explores the unpredictable nature of mental health. Clowning, beautiful visuals and physical theatre, this is a quietly enjoyable hour. A poignant piece that borders on the saccharine yet still contains some subtle theatre magic thrown in – there’s a vibrant dance scene with mops and the cast deserve an award for their facial expressions. Not awful.

I’m not quite sure how I ended up at a show about about a woman who has vaginismus, which is a fairly brazen set up. But Skin A Cat at Assembly Rooms, is a clever and frank drama. Isley Lynn’s comic play about one woman’s sexual identity was certainly an eye-opener.

Actually, the moments that do feel a little commonplace here are vastly outweighed by moments that allow uniqueness to shine through. A story that compels its audience towards strong feeling but keeps spectators at a distance. Worth a look.

David Greig’s expanded revival of Midsummer – originally a Fringe two-hander in 2008 – is inexplicably at the Hub for the International Festival. This spirited chamber musical is a thing of joy. It occasionally feels like hard work, though.

There are strong performances from Henry Pettigrew and Sarah Higgins, with a supporting on-stage band delivering a sweet soundtrack. But the dissonance between the forgettable songs and a man having a midlife crisis amidst a haze of hangovers is just too jarring to work. It goes on a bit.

I ended the night at Summerhall with Mark Fisher (The Guardian) chatting about life, Fringe fever & other things. Such fun.


Edinburgh Fringe Diary: Day 2

Edfringe Diary -Day 2
Edfringe Diary -Day 2

Edfringe Diary -Day 2

What’s worse than


Pippin without an interval. The Stephen Schwartz musical, originally directed by Bob Fosse, ran for 2,000 performances on Broadway. In London, it managed only 85.

This turgid youth-led production manages to be relentless and unforgivably off-key: the vocals are all over the place and the costume looks like someone has raided a clothing bank. Do you know what, this musical is not bad if you like this sort of thing, which I don’t and you probably don’t either. But still.

The whole thing seems like a massive ball-ache to be honest.

Ambitious themes pay off for Strictly Arts’ and Camilla Whitehill new play: Freeman at Pleasance Courtyard.

The piece explores the link between racism and mental health in a vibrant, uplifting, major-key 60 minutes. Regressive views on race are still dangerously pervasive. But this cast just clobber you.

Freeman can’t help but serve as a rallying cry, but it is more than a clarion call. It’s an exciting theatre thing. I.e. quite simply, totally good.

The End of Eddy opened this week at the Edinburgh International Festival ahead of its run at the Unicorn and Dublin Theatre Festival.

This slick coming of age two-hander is analytically adapted from the autobiographical novel by Édouard Louis. The two wide-eyed performers, Alex Austin and Kwaku Mills, work in tandem to deliver a profound and deeply moving 90 minutes that examines class, bullying, identity & homophobia. It really spoke to me.

Overall, a thoroughly intelligent, inspired and good-natured piece of theatre. A festival highlight for me.

Carl Woodward and a Drag Queen

Carl Woodward and a Drag Queen

Prom Kween in the Piccolo Tent is actually quite good, you know. The best zeitgeist satirical comedy in this year’s set of hopefuls, anyway. It feels basically like a show about becoming a drag queen. The subject is enticing: our hero Matthew wants to win his High School Prom and ends up competing against the stereotypes associated. A satirical and anarchic 60 minuted ensues.

The Ru-Paul inspired production doesn’t work quite as well as it should but this is a solid piece in a fun sort of way. It has a talented ensemble cast in teeny shorts, and who slip in a second from America hillbilly to Cher and reflective to wigged-up and glam and there are some real laugh out loud moments, but more light is required.

You better werk, etc.

A fun day.

Here is a photo of me with a drag queen. You’re welcome.


Total Theatre Awards 2018 winners announced

Total Theatre Awards

Since 1997, the Total Theatre Awards have been recognising innovative and artist-led performance at the Edinburgh Festival Fringe.  The winners of the Total Theatre Awards 2018 have been announced. Over the course of this year’s Edinburgh Festival Fringe 29 peer assessors, comprising of artists, producers, programmers, curators, critics and academics assessed 461 shows across the first 11 days of the festival, from which a shortlist of 22 nominated shows was announced on 16 August 2018.

Following this, the nominated shows were viewed by a panel of 22 judges who have awarded seven awards across five categories – one Total Theatre & Theatre Deli Award for an Emerging Company / Artist, two awards for Physical/Visual Theatre, one Total Theatre & Jacksons Lane Award for Circus, one Total Theatre & The Place Award for Dance, and two awards for Innovation, Experimentation and Playing With Form. One Significant Contribution Award is also presented.

Speaking about the award winners, Co-Directors Jo Crowley and Becki Haines said;

Total Theatre continually and rigorously re-evaluates what performance is and what it can be by championing artists who are committed to innovation. The shortlisted artists and winners in 2018 have all built upon our understanding and articulation of this. The Shortlisted and winning shows evidence the creative potential that can be found in providing space for visionary artists and theatre makers to create without censors, and to share their voices directly and unfiltered to an audience.

Total Theatre Awards is not alone in identifying underrepresented practitioners and voices in this festival and is moving forward on tangible steps with partners, to explore how they  might provide resources and opportunities to better support and develop the artists, critical voices and leaders who are not a part of the conversation at this point.

The  details of all the winners below

The Total Theatre Award Winners 2018 are:

Total Theatre & Theatre Deli Award for an Emerging Company / Artist

Cock, Cock… Who’s There?
Samira Elagoz in association with From Start to Finnish (Finland)


Physical / Visual Theatre

Another One

By Lobke Leirens and Maxim Storms
Vooruit, Arenbergschouwburg, Big in Belgium, Richard Jordan Productions, TRP, Summerhall (Belgium)


Chaliwaté Company and Focus Company (Belgium)


Total Theatre & Jacksons Lane Award for Circus

Casting Off
Sharon Burgess Productions and A Good Catch (Australia)


Total Theatre & The Place Award for Dance

V / DA and MHz, in association with Feral (Scotland)


Innovation, Experimentation & Playing with Form

Natalie Palamides: NATE
Soho Theatre (England/United States)


Pussy Riot: Riot Days
One Inch Badge (England/Russia)


Significant Contribution Award

Le Gateau Chocolat



Fringe Diary – Day 1: Edinburgh, I am amongst you.

I land at Edinburgh International Airport and hopped on a tram and to my utter delight was greeted by critic Matt Trueman who had spent 3 days in the Hebrides. We discussed shows and various other things and it came to light that he still hadn’t seen Mamma Mia! Here We Go Again…

“What!?,” I say – in disbelief.

He smiles.

“But Matt you’re the only person I know who could intellectualise Mamma Mia! (Matt recently appeared on a Channel 5 documentary chatting about the ABBA jukebox musical).

Actually, I did offer to take Matt to the cinema to see the film. But I won’t hold my breath.

Anyway, Edinburgh in August plays host to a vast amount of theatre and culture. But it’s the quality of the experience that counts for both industry figures, critics and residents, not the 3,000 plus performances. For me the Fringe is like Christmas and as Lyn Gardner put it recently: “Edinburgh Fringe is a great time to stock the larder for my theatrical year.” Truly.

My first show was Chris Goode’s sell-out site-specific show for Dante Or Die: User Not Found. This charming piece takes place at Jeeliepeace Cafe and is performed by Terry O’Donovan. We are handed headphones and a smart phone while Norah Jones plays.

It has something to say about memory and mortality and how we manage our social media footprint when we depart this world.

User Not Found could bring immersive theatre back from the dead. (I’m not usually a fan). Being simultaneously life-affirming and death-focused, however, is a tough act for any theatre-maker, but O’Donovan more than manages it. Beautiful.

European Citizen Popsong

European Citizen Popsong

Following the success of five previous seasons, Big in Belgium season at Summerhall always manages to produce some theatrical gold. Unfortunately, European Citizen Popsong is terrible.

This show doesn’t need any encouragement to be a preachy, right-on bore. Potentially, this could be a charming and cutting show that is bold enough to dish out stick to everyone, not just Brexit and Euroceptics and then progress to stage two of its development as a musical-comedy show: making it funny.

I walked out after 40 minutes.



In a terrific stroke, Geoff Sobelle‘s HOME is a quirky installation-slash-art-slash-theatre piece involves assembling a two-up, two-down house. It also involves unprepared audience members as co-performers.

A UK premiere at the Edinburgh International Festival this year, yet the show itself swarms with contradictory life. Much of it is terse, fuelled by low-key suspense and playful imagination. It’s a slow fragmentary show about an over-populated society.

I didn’t love it, though.

As late nights go, sticking All We Ever Wanted Was Everything in a 11.30pm slot – for one week only – Roundabout @ Summerhall is pure genius.

Middle Child’s forensic gig-theatre show is a heroic full-on piece of work that examines youthful dreams beautifully. The raucous live music and the lives it puts on stage, and the way you listen to dialogue. There is a sense of urgency and striving to bring about change in Luke Barnes’s engaging and ambitious play. All We Ever Wanted… makes you feel you can do anything. Everyone should sample it.

Edinburgh is amazing.

Headlong in association with Birmingham Repertory Theatre present Meek by Penelope Skinner 

MEEK by Penelope Skinner Credit and Copyright: Helen Murray

Penelope Skinner’s mysterious new play, Meek, opens at Birmingham Repertory Theatre from 4 – 8 September following its première at the Edinburgh Festival Fringe in August. A haunting vision of ruthless state control, tense friendships and one woman’s determination not to be broken, Meek is a tale which reflects on our own fraught times.

In a society where private lives become political and freedom of expression is not an option, Irene finds herself imprisoned.  As tales of her incarceration spread overseas and her growing exposure becomes a threat, she is forced to make a brutal decision. 

Penelope Skinner says of Meek:

On a small-scale, it is a story about friendship, faith, shame and betrayal. On a wider-scale, it is about the ways in which spirituality can be co-opted for political gain, and the impact of that on our personal freedoms.  It is also a play about love.”

Penelope Skinner is an award-winning writer recognised as one of the UK’s leading voices in contemporary theatre.  Her theatre credits include Linda and The Village Bike for the Royal Court andThe Promise for Donmar Warehouse. Penelope is Winner of the 2011 George Devine Award, the Charles Wintour Most Promising Playwright Award at the 2011 Evening Standard Theatre Awards. She was also nominated for the 2012 Olivier Award for Outstanding Achievement in an Affiliate Theatre.

Amy Hodge, Associate Director for Headlong, directs Meek and the cast is Scarlett Brookes, Shvorne Marks and Amanda Wright.  It is designed by Max Jones with Lighting design by Zoe Spurr and Sound and Composition by Melanie Wilson.

Listing information

4 to 8 September 2018, 8pm.  2.30pm matinee on Sat 8 Sept.

The Door, Birmingham Repertory Theatre
Tickets from £10

Box Office:  0121 236 4455

Rose Bruford College hosts Fringe event for artists and theatre makers



  • Researching your Practice will include a discussion with industry leaders followed by a chance to network and share experiences with others
  • It will take place in the Lower Church at Summerhall, beneath the Upper Church space Rose Bruford College is running throughout the Fringe, staging a variety of performances and events
  • The evening will also offer an opportunity to find out more about Rose Bruford College’s postgraduate courses offered in collaboration with major international institutions and theatre companies

6pm, Monday 20th August, Lower Church, Summerhall, EH9 1PL

As part of hosting a space within Summerhall for the duration of this year’s Edinburgh Festival Fringe Rose Bruford College of Theatre and Performance is putting on an event to encourage theatremakers to make space for research in their practice.

Designed to foster a culture of curiosity in creating work, practitioners are invited to come along to listen, celebrate, exchange, share practice, learn from and enjoy the company of other artists grappling with the same issues of research and development. The evening’s programme will include a discussion with industry leaders (with further details to be announced) as well as networking opportunities.

Attendees at the event will also be able to find out more Rose Bruford College’s newest international postgraduate courses. Offered in London, Berlin, USA and Moscow, the courses include opportunities for students to work in collaboration with leading companies such as Told by an Idiot, and with training schools including LISPA in Berlin, Moscow Arts Theatre and the National Theatre Institute (NTI) at Eugene O’Neill Centre in Connecticut.

In the third year that Rose Bruford College has hosted a space within Summerhall, the programme for Rose [email protected] Church combines performances by established international companies with graduate and student companies. This year, theatre professionals performing at the Fringe are also invited to attend movement warm-up sessions held daily in the venue at 9.30amled by practitioners including Gabriel Gawin (Song of the Goat), Niamh Dowling (Head of School at Rose Bruford), Magda Koza, Company of Wolves, Bertrand Lesca and Nasi Voutsas.

Speaking about the event, Niamh Dowling, Head of School at Rose Bruford College saidResearching your Practice is about fostering a culture of curiosity. Whether that be through working with your company, having a mentor, collaborating with others or finding the right postgraduate programme. This event is an opportunity to take the time and the space to consider how to move into unknown territory, investigate, reflect, train, research and have those exciting, inspiring, difficult and challenging conversations. The Edinburgh Fringe, which brings together national and international companies and practitioners in one place, feels an ideal place to start some of these discussions.”

To register to attend the event, email Niamh Dowling on [email protected] or text 07779668390 leaving your name and number of tickets.

For more information about Rose Bruford’s postgraduate programme, visit


Casting announced for Nigel Slater’s Toast at Traverse 2018

Following its recent critically acclaimed world premiere at The Lowry, casting is announced for the Edinburgh Festival Fringe run of the stage adaptation of Nigel Slater’s best-selling memoir Toast, playing as part of the Traverse Festival 2018 from Tuesday 7 – Sunday 26 August.

The Edinburgh cast will be Sam Newton (The Curious Incident of the Dog in the Night-Time, UK Tour) who will continue to play ‘Nigel Slater’, alongside Lizzie Muncey (Twelfth Night, National Theatre) as ‘Mum’, Marie Lawrence (Murder in Successville, BBC3) as ‘Joan’, Mark Fleischmann (The Cherry Orchard, National Theatre) as ‘Dad’ and Jake Ferretti (The Curious Incident of the Dog in the Night-Time, Apollo Theatre/National) as ‘Josh’.

Vividly recreating suburban England in the 1960s, Nigel Slater’s childhood is told through the tastes and smells he grew up with.

 From making the perfect sherry trifle, waging war over cakes through to the playground politics of sweets and the rigid rules of restaurant dining, this is a moving and evocative tale of love, loss and…toast.

Originally commissioned and produced by The Lowry for Week 53 festival, Toast is written by Henry Filloux-Bennett and directed by Jonnie Riordan. The production will play as part of the Edinburgh Festival Fringe from Tuesday 7 to Sunday 26 August, at the Traverse Theatre – a powerhouse of vibrant new work and a champion of creativity and new writing.

The author of a collection of bestselling books and presenter of nine BBC television series, Nigel Slater has been the food columnist for The Observer for 25 years.

His memoir ‘Toast – the Story of a Boy’s Hunger’ won six major awards, has been translated into five languages and became a BBC film starring Helena Bonham Carter and Freddie Highmore.


Nigel Slater’s Toast

Traverse Theatre, Edinburgh

Tuesday 7 to Sunday 26 August 2018

(excluding 13th & 20th)

Times vary – please visit website for full details.

Tickets: From £15

0131 228 1401

Middle Child head to Fringe with new show, One Life Stand

One Life Stand Credit Jazz Harbord
One Life Stand  Credit Jazz Harbord

One Life Stand Credit Jazz Harbord

Middle Child will return to the Paines Plough Roundabout this August with a new gig theatre production: One Life Stand, written by Eve Nicol with music by James Frewer and Glaswegian band, Honeyblood.

When we can have sex whenever we want, with whomever we want, why settle for a normal relationship? With the promise of fresh excitement just a swipe away, is Kat’s long-term lover really her lifelong dream?

One Life Stand is a late-night search for intimacy across a city obsessed with sex and screens, where the expectations of lust and the limits of love are ever-changing.

It’s writer Eve Nicol’s first professional commission and the latest production from the company behind All We Ever Wanted Was Everything, which sold out the Roundabout at the Fringe in 2017 and picked up three awards, including The Stage Excellence Award for Marc Graham’s lead performance.

One Life Stand will be performed at the Paines Plough Roundabout at Summerhall (Venue 26) from 1-26 August, except Tuesdays, at 9.45pm.

The production stars Tanya Loretta Dee (Boots, Offside) as Kat, Edward Cole (Ten Storey Love Song) as Kit and Anna Mitchelson (Weekend Rockstars) as Momo, who will all perform original music written by James Frewer and Honeyblood throughout the show.

Eve Nicol is a playwright and director from Glasgow who has worked with the National Theatre of Scotland, Lyceum Theatre, Edinburgh and Tron Theatre, Glasgow. She is the artistic director of Heroes Theatre, with whom she’s created theatre for fields, festivals, pools, pubs and stages across Scotland. One Life Stand is her professional debut as a writer.

James Frewer is a composer and musical director who has worked with Middle Child on seven previous productions, including Weekend Rockstars, I Hate Alone and All We Ever Wanted Was Everything and Mercury Fur.

Honeyblood are Glaswegian duo Stina Tweeddale and Cat Myers, whose 2016 album, Babes Never Die, was described by The Skinny magazine as “peppered with catchy choruses and heroic riffs… with sing-along moments galore.”

Tickets are on sale now at for £14 (£12 concessions).

Cast and Crew

Kat – Tanya Loretta Dee

Kit – Edward Cole

Momo – Anna Mitchelson

Writer – Eve Nicol

Music – James Frewer and Honeyblood

Director – Paul Smith

Designer – Natalie Young

Lighting Design – Jose Tevar

Sound Design – Ed Clarke

Production Manager – Emily Anderton


Taiwan Season 2018 at Edinburgh Festival Fringe

Sun Son Theatre
Sun Son Theatre

Sun Son Theatre

For the fifth year in a row the world’s biggest arts festival features a showcase of dance and theatre direct from Taiwan

In 2018 the Taiwan Season returns to the Edinburgh Festival Fringe for a fifth consecutive year with some of the best live performances being made on the island today. Drawn from an open call to practitioners of all art forms in Taiwan, and carefully curated by the key Fringe venues Dance Base and Summerhall, the season spotlights dance and theatre via a quartet of meaningful and uniquely entertaining productions:

*In Once Upon a Daydream (Summerhall, Aug 1-26) a bouncy, colourful but lonely single female blurs the line between real-life and her highly active imagination.

*The Delusion of Home (Summerhall, Aug 1-26) is a strong, original documentary-style depiction of local contemporary life refracted through one of Shakespeare’s greatest tragedies.

*In Bon 4 Bon (Dance Base, Aug 3-26) four real-life brothers take to the stage in a fresh, literally moving story of memories and mangos.

*Ancient cultural practices receive a dynamic and sensitive new spin in the evocative dance trio Varhung – Heart to Heart (Dance Base, Aug 3-26).

[Please note: no shows on Aug 6, 13 and 20.]

Taiwan Season 2018 warmly invites audiences to experience a range of ideas, emotions and flavours in a hand-picked sampling of some the most stimulating contemporary performances from Taiwan. Whether the tone is playful or dramatic, and based in bubbly fantasy or stark reality, these four shows embrace a gamut of creative impulses, varied settings and complex themes: urban and rural, tradition and modernity, the individual and society, public and private, home and homelessness…

Taiwan Season 2018 is produced and managed collaboratively by Tai He Arts Production Co., Ltd., Taiwan and Step Out Arts, UK and funded by the Ministry of Culture, Taiwan. 

Taiwan Season 2018: four works showcasing the best of Taiwanese creativity.





Once Upon a Daydream by Sun Son Theatre

Venue 26: Summerhall TechCube 0 / Time: 14.40 (45 mins)

August 1, 2: £5 / August 3-5, 7-12, 14-19, 21-26: £8 (£6)

£25 family ticket

Box office: 0131 560 1581 / Suitable for age 5 and above

Sun Son Theatre, returning to Summerhall after its success in Taiwan Season 2017, welcomes you to enter a light-hearted world of live action and hand-crafted animation.  Originally created by visual artist/actor Wan-Chun Liu, this disarming show is a 21st century urban fairytale where the line between real-life and fantasy is sweetly blurred and dreams can come true. It introduces us to a single woman – buoyant and colourful, but also bored and lonely – who returns home after work every day to a world of the imagination. Hand-drawn film imagery conjures up home as a safe but possibly confining place of salty tears and sugar water, bathroom karaoke and a mermaid alter ego who isn’t at all as ugly as she might sometimes feel. Come and let your own imagination – and spirit – run free.

Director: Chong-Leong Ng

Concept, animator, actress: Wan-Chun Liu

Actress: Hui-Yun Chuang

Actor: Wei-Loy Chang

Composer, musician: Ivan Alberto Flores Moran, Zi-Yin Chen

Founded in 1998, Sun Son Theatre is a unique musical and physical theatre from Taiwan. Imbued with the company members’ expertise in acting, music and dance, its collectively-created performances explore the primal power of the moving body and live sound. Utilising both modern and traditional aesthetics, the work ischaracterised by an organic and unified energy free from racial and cultural boundaries.


Heart of Darkness [Summerhall 2017] is a terrific piece of ensemble theatre that even on a second viewing left me wanting more.’


The Delusion of Home by Our Theatre

Venue 26: Summerhall TechCube 0 / Time: 15.55 (50 mins)

August 1, 2: £5/ August 3-5, 7-12, 14-19, 21-26: £12 (£10)

£38 family ticket

Box office: 0131 560 1581 / Suitable for age 12 and above


The Delusion of Home is a strong, sometimes bitingly witty and original documentary-style depiction of everyday life in the Chiayi area of southern Taiwan, refracted through one of Shakespeare’s greatest tragedies. Oyster farming and Taoist funeral rites are as much of a touchstone as King Lear in Our Theatre’s character-driven study of displacement, poverty, homelessness and the search for meaning and renewal. Live performance and projected photographs of the declining villages of Taiwan’s southern coastline are skilfully integrated to illuminate sometimes harsh human truths.

Original Concept: I-Tseng Chuang and Lan-Chuan Yen
Director: Jhao-Cian Wang

Playwright: Cheng-Ping Hsu

Music design / musician: Chun-Yuan Ko

Actors: In-Ta Chen, Pen-Chieh Yu and Cheng-Ping Hsu

Established in 2015, Our Theatre is the first performing arts group for  contemporary theatre to be officially established in the greater Chiayi area. In choosing Chiayi as a base, it intentionally distances itself from metropolitan areas. Focusing on folk culture and common people, the troupe is devoted to developing productions from a southern point of view. Our Theatre has produced approximately twenty works in different styles. It began by adapting   Western classics in ways that fit local moods, and usually with a humorous touch. In recent years, however, it has been experimenting with a new generation of Taiwanese-language works in the Minnan dialect. By doing so it strives to set a new direction for the development of art and culture in Chiayi. At the same time, it is constantly aware of the question of how theatre can connect with people and society.

‘Rich in experimental flavour and brimming with local colour.’ Taiwan Panorama



Bon 4 Bon by Chang Dance Theatre and Eyal Dadon

Venue 22: Dance Base / Time: 17.00 (35 mins)

August 3-5: £11 (£9) / August 7-12, 14-19, 21-26: £13 (£11)

Box office: 0131 225 5525 / Suitable for age 8 and above


Collaborating with the prize-winning Israeli choreographer Eyal Dadon, four real-life brothers take to the stage in a literally moving story of memories and mangos. The result is a smart serving of fresh, engaging dance by a sparky young Taiwanese company that’s plainly ready to take on the world. Founded in 2011, Chang Dance Theatre produces only one work per year. Premiered in 2017, Bon 4 Bon is the first in which the siblings perform together using material that arose directly from improvisations centred round their individual experiences of being related. Featuring a soundtrack that includes tracks by Paul McCartney and Bon Iver, this is a touching and humorous look at the slippery rhythms and habitual behaviours of family.


Choreographer: Eyal Dadon

Company manager / performer: Chien-Hao Chang

Artistic director / performer: Chien-Chih Chang

Resident artists / performers: Chien-Kuei Chang and Ho-Chien Chang

Chang Dance Theatre was founded in 2011 by four brothers, all graduates from the dance department of Taipei National University of the Arts. The company combines the coherence and cohesion that comes from being siblings with the collaborative assistance and insights of creative partners from different

‘Dancing bodies able to execute precise movement and deliver poetic imagery.’ Reg’


Varhung – Heart to Heart by Tjimur Dance Theatre

Venue 22: Dance Base / Time: 18.15 (50 mins)

August 3-5: £11 (£9) / August 7-12, 14-19, 21-26: £13 (£11)

Box office: 0131 225 5525 / Suitable for age 8 and above


Taiwan’s premier indigenous dance-theatre company presents a richly-patterned, open-hearted performance in which private feelings are always on the verge of being made public. Both physically and emotionally charged,Tjimur’s work embraces a bounty of intoxicating, artfully expressed sensations. Working in close collaboration with the company’s founding artistic director Ljuzem Madiljin, in-house choreographer (and sibling) Baru Madiljin and three dynamic dancers bring ancient Paiwan cultural traditions up to date. They know that every human heart holds profound secrets. Their appealing, fine-tuned awareness lends the unique personal and tribal impulses of Varhung – Heart to Heart a distinctly universal resonance.


Artistic director: Ljuzem Madiljin

Choreographer: Baru Madiljin

Dancers: Ching-Hao Yang, Ljaucu Tapurakac and Tzu-En Meng

Founded in 2006, Tjimur Dance Theatre is the first contemporary dance company dedicated to the indigenous Paiwan culture of Taiwan. Through its explorations of this living cultural heritage, Tjimur has created a unique style of dance that represents the modern body aesthetics of contemporary Paiwan people. The company also works with different performing artists and groups from Taiwan and abroad, collaborations which help to develop original dance forms and innovative production models that link Paiwan culture to the world.

‘Deeply touching…The passion is palpable.’ The Scotsman on Kurakuraw – Dance of the Glass Bead