Edinburgh Fringe theatre and children's shows reviews: Margolyes & Dickens: The Best Bits + more

Jennifer Robertson - Kyte Photography

Margolyes & Dickens: The Best Bits ★★★★

Pleasance @ EICC (Venue 150) until 15 August

“If you don't know who I am then what the fuck are you doing here?” asked Miriam Margolyes, in lieu of introducing herself. It’s a simple reminder that for all her experience and undoubted talents, a great deal of current affection for the elder Margolyes is because there’s something entertainingly transgressive about hearing a well-spoken 83-year-old swearily speak their mind.

Despite Charles Dickens (England's greatest writer, in Margolyes’ opinion) sharing equal billing here, the advertised aspect of this one-woman show where Margolyes expands upon her love for his work is only the first half of a 70-minute performance.

A very enjoyable half-hour-and-a-bit it is too, as our host reads favourite excerpts, including Pip’s memories of Miss Havisham in Great Expectations, Scrooge’s awakening from A Christmas Carol and an amusingly sexually suggestive piece between Mr Bumble and Mrs Corney in Oliver Twist.

These were all beautifully enacted, reminding the huge audience of Margolyes’ still-impressive vocal powers as an actor, as she created casts of characters before us. There were snatches of comedy (Fagin had a “gift for combining evil and comedy, just like Donald Trump”) and commentary, for example her brief assertion that “Dickens had a problem with women, which probably stems from his mother”.

The second half was a straightforward Q&A session, in which an assistant read out questions sent in by QR code and Margolyes gave as frank answers as might be expected on politics (she admired Nicola Sturgeon but is scathing about Trump and especially Netanyahu), the most difficult actor she ever worked with (it was Glenda Jackson) and her favourite orgasm.

A tale about her Dover holiday cottage being used as a drug-smuggling drop without her knowledge was very funny, but also revealed the point that she’s taking “every opportunity to earn every red cent I can”, suspecting that she and her partner have care bills incoming. In which context, her ongoing passion and mental vitality are an inspiration.

David Pollock

CHILDREN'S SHOWS

Rosie and Hugh's Great Big Adventure ★★★★

Pleasance Courtyard (Venue 33) until 18 August

Rosie and her best friend Hugh the hedgehog are desperate for the summer holidays to continue in this delightful musical featuring catchy music and lyrics by CBeebies' Nick Cope.

Bringing to life the characters that exist within the world of Nick’s songs and story by Victoria Saxton, this uplifting adventure is high quality in both the performances and production.

Rosie the intrepid youngster who is about to start a new school, is played by Alice Vilanculo who brings both a determined spirit and a level of accurate insecurity. Andy Owens plays loveable Hugh, who is a positive and supportive presence, despite his prickly exterior.

Their desire to be together takes them on a quest to find potion ingredients in the depths of the forest, which is creatively represented by large screens of trees and fallen leaves, designed by James Button.

The adventure turns into a journey in which the pair discover courage, kindness and hope. Each encounter they have allows them to discover through actions how to be brave, make friends and push themselves out of their comfort zones.

The quirks of each animal they meet, such as the tap dancing, bicycle riding dragon, is heightened, either in actions or in words, to promote individuality and encourage the young people to embrace what makes them who they are.

Live music is played by three multi-talented actor-musicians, Katy Ellis, Offue Okegbe and Scott Brooks. The trio play a variety of instruments on stage including an accordion, violin, ukelele and more, bringing an energy and liveliness to the piece. Audience members are encouraged to dance and sing along, with the cast performing simple moves and actions that everyone can follow.

We all want our holidays to last that bit longer but the story ends on a hopeful note, emphasizing that endings make way for exciting new beginnings. Young people will be left with a feeling of hope and optimism ready to embrace their next adventure, just like Rosie.

Suzanne O'Brien

THEATRE

Napoleon's 100 Days ★★★

Paradise in The Vault (Venue 29) until 17 August

Andy Dickinson is no stranger to telling a good story and in his latest work, he takes on the fascinating story of Napoleon Boneparte’s dramatic return to power.

It follows the turbulent Hundred Days, the period covering Napoleon’s escape, his defeat at Waterloo and the second restoration of King Louis XVIII. In Dickinson’s humorous telling, Napoleon is advised by a Mancunian friend - whose advice may have helped if he had been listened to - and is accompanied by a dog named Fido.

Although the performance space is small, Dickinson commands the stage with an undeniable presence. His storytelling is supported only by a microphone, Napoleon’s iconic hat, and a sparingly used projection screen that displays famous quotes, providing moments of light laughter and marking shifts in the narrative.

Dickinson’s delivery is quite dry and maintains a similar tone and rhythm throughout. He does move around the space, get animated at points and take on different characters – most notably Napoleon – but it all remains quite controlled. Moments where he speaks in French and then offers translations are particularly funny.

It will undoubtedly appeal more to those with an interest in Napoleon as some parts would benefit from pre-existing knowledge, but if you are just looking for a good story, then this will suit.

Suzanne O’Brien

A Montage of Monet ★★

Greenside @ George Street (Venue 236) until 17 August

This reminiscence of the highlights of Claude Monet’s life and art by veteran playwright Joan Greening ls sensibly enlivened by a constantly changing montage of the works being discussed projected onstage.

Otherwise, it’s a rather dry monologue that sticks to the known historical facts about the father of impressionism that declines to colour outside the lines.

Stephen Smith as Monet copes well with the rather pragmatic script but the young actor is somewhat hobbled that he’s tasked with playing a man in his 80s — and not entirely convincingly either, although the impressionistic old age make-up is a nice touch.

Rory Ford

Pali and Jay’s Ultimate Asian Wedding DJ Roadshow ★★

Assembly George Square Studios (Venue 17) until 25 August

Welcome to the twentieth best Asian wedding DJ outfit – in Southall.

They may only feature on the fourth page of Google but old school Pali has plans for his small but dedicated business, recruiting his puppyish nephew Jay to do all that modern social media stuff. Jay has aspirations of his own but they don’t involve putting in a hard shift.

There is a sweetness and a big heart to this show and it is easy to root for these wrangling relatives. However, the storyline and execution stray into sitcom cliché and the humour is at best mildly amusing.

Fiona Shepherd

Loose Lips by Lucy Frederick ★★

Laughing Horse @ 32 Below (Venue 442) until 25 August

This free show enthusiastically welcomes the audience, as new business recruits, into the world of office gossip, where Jackie (Robyn Perkins) and Jill (Stephanie Laing) spill endless tea on everything from secret wives to secret lives.

The actors give solid performances and the integration of pre-recorded actors on a television screen is a welcome addition that enhances the workplace setting and fuels the gossipers even further.

However, the piece meanders without much joy, tension or resolution, leaving the gossip feeling rather inconsequential. While the ambiguity around the business creates some humour, the comical elements at other points could be pushed even further.

Suzanne O'Brien