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Empty set no.18

Image by angus mcdiarmid

David Greig's Midsummer -- the funniest and most enjoyable thing I've seen at the fringe this year. Granted, I appear to be right in the centre of its demographic, as it's about 35-year-old people in Edinburgh and I'm a 35-year-old person in Edinburgh (although I'm not experiencing the early-onset midlife crisis that the characters suffer from), but it's so imaginative and energetic that anyone would like it. And it's got songs, too!

The Guardian says:

Helena is a divorce lawyer having an unhappy affair with a married man. She drinks too much and feels empty inside. Bob was the golden boy at school who lost his shine as he grew older. His plans of being a writer have come to nothing and now, as his 35th birthday looms, he tells untruths for a living on the fringes of Edinburgh's criminal fraternity and reads Dostoevsky to cheer himself up.

When Helena and Bob meet in a bar, they embark on a weekend of life-changing transformations in which the city of Edinburgh itself is like the ensnaring and liberating Athenian forest of Shakespeare's play.

Fragile and funny, but never just cute, Midsummer is that rare beast: a romantic comedy that has a good head on its shoulders as well as a huge heart at its centre. Punctuated by wistful, wry songs full of geographical co-ordinates and maps of the heart, it is emotionally underpinned by the thrilling possibility that we can take our own lives in hand and reinvent ourselves. Even the ticket machine in the Castle car park, where the drunken Helena leaves her vehicle, dispenses philosophical wisdom. Its neon sign flashes: "Change is possible."

Like the lost lovers in Shakespeare's Dream, Helena and Bob discover that what they think they want and what they really want are two entirely different things. The magic here is not external (although a Japanese rope bondage session in a fetish nightclub plays its part) but comes from within.

David Greig and Gordon McIntyre's heart-hugging play is sprinkled with its own fairy dust and works its alchemy as much on the audience as it does on its two protagonists. It may be slight â€" which doesn't matter in a festival context, but may well do beyond. Nonetheless, it is an exhilarating theatrical journey, beautifully structured and carefully paced by director Greig, and acted with a mix of hang-dog charm and sassy repartee by Cora Bissett and Matthew Pidgeon. Real life isn't like a Hollywood movie here: it's tough and messy; it rains; people get hot and sweaty; the sex is rubbish and love is anything but easy.

All that reality ought to be too much to bear, but you float out laughing as if you've just swallowed sunshine on a spoon. It's Edinburgh's triumph, but the rest of the country deserves a taste. (Lyn Gardner)

Traverse, 7.30pm until 30 August

Easy Riders Raging Bulls




Image by itomi

How the sex 'n' drugs 'n' rock 'n' roll generation saved hollywood. By Peter Biskind.

Amazon.. and it's done! :) lo cercavo da tempo, in italiano non l'ho trovato o non esiste proprio mi sa.. arrivato in tempo per le ferie!






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