Equally under strain, and equally impressive in performance terms, is Brian’s wife Sheila (Emily Stanley), whose natural and entirely unaffected delivery creates the perfect pacing for Smith’s comedy. With this duo at the helm the role-plays retelling Joe’s difficult infancy are effortlessly performed and truly a delight to watch.

It is hard to go far wrong with such a wonderful script. Peter Nichols’ writing is poignant in its portrait of a family under strain, whilst being provocative in its investigations of wider attitudes towards disability and the taboos which still exist. Despite a few minor outdated references, this play is capable of delivering laughter and heartache in equal measure with every performance.

Fortunately this cast are up to the task of such a demanding play. Indeed Natalie de Rose’s physical performance as the wheelchair-bound Joe cannot be overlooked: in the most challenging role of the play, de Rose’s portrayal is accurate, consistent and highly moving. With such strong performances in its favour and the undeniable quality of its script, this production deserves to draw a crowd – audiences will not be disappointed.

Who: Close Up Theatre: A Day in the Death of Joe Egg
Where: Greenside Theatre
When: 16:20-18:20; 22nd, 24th, 26th, 28th August

The characters brought to life by Willbond and his co-stars, Jim Field Smith and Katy Brand, are fantastically funny. Each one is fully formed with their own verbal peculiarities, questionable motives and occasional forays into insanity. In front of a bare stage, the entire focus is on the characters – the only props to be seen are a lab coat, a chair, a Russian pistol, 2 grey wigs and a pair of dodgy Miami Vice style shades. All this is tied together with a clever narrative which draws the audience even further into the wacky, though strangely familiar, world which the characters inhabit.

This show was a hilarious and highly efficient way of using 3 comedians and 1 hour of time at the Fringe. Which only leaves me with one nagging question…. does Patrick Stewart really cost the same as a spaceship???

And once you’ve been through the fire of that with Burke, you’re more than happy to join him as he works his way around the audience, and around the world at the same time. Not having a strict script of a plot to follow, Burke can simply let his natural instinct drive the show forward, which he does with a skill that’s almost impossible to see. It helps that he see the humour in almost everything. For example, a roundabout in Johannesburg, go on, work with that and get a laugh.

Confident, quick-witted, and genuinely funny, Burke deserves to sell out every night.

Starting with the assault course of the Royal Mile, Gemma and Paul take on the countless retellings of Shakespeare in different situations (here we have it as a Western, Romy-Ho and Juliet), childrens theatre, improv (see above), poetry readings and stand-up comedy. None of the sketches go on for two long, and while some work better than others, there’s not a single misfire in the hour.

Strangely, there’s no sly digs at Jimmy Carr, which seems to be a feature of every other Fringe show, but that’s not a bad thing. The Beginners Guide to The Fringe is a breath of fresh air. A light comedic touch from two people who know where there strengths lie means this is one guide that veterans as well as beginners should search for.

There’s no backstage antics, no look at the dysfunctional group, this is simple the show that fictional group “Triangle” could have lifted direct from the early seventies, the era of Rick Wakeman, Jeff Wayne and Kate Bush - pioneers of storytelling through the medium progressive rock, dance, leotards and coloured gel filters. At Moonjourney’s heart is Maggie, one of the last free humans now living in solitude on the planet Neutron. Her exile of three hours is broken by Mike and Holgar, who convince her to return and free the Earth. But (there’s always a but, preferably encased in sheer white lycra) the transmat spatial vortex thingy isn’t working as planned, and could take them anywhere.

There are a million touches in here from a whole heap of artists and musical influences - it would be fair to say that Alice Lowe (the writer and lead performer) knows her Wuthering Heights references. If this was 1979 then I’d be applauding a perfect prog rock concert. But it’s not, so what we have is a deadly serious recreation of the times, that (if you want to laugh) is absolutely, delightfully perfect. All it needs a twin LP 12inch vinyl available as you leave the auditorium and the journey will be complete

Ravenhill’s 45-minute monologue brilliantly projects the complex anxieties surrounding global terrorism into the glossy and glib world of film. Product exposes the theatricality behind the new language and imagery of terrorism emerging in today’s society, particularly peddled by tabloid scaremongers.

Setting the scene for his young star, Ravenhill describes Mohammed’s ‘dusky frame’ and Amy’s ‘abattoir conversion’ apartment. He walks through the camera angles and warbles the potential soundtrack, wonderfully undercutting his script’s most dramatic moments. Such touches bring roars of laughter from the audience and it is clear from this response that Product is achieving its aim: such subject matter cannot be given the Hollywood treatment; terrorism on celluloid makes for a generic spectacle, filled with blockbusting action and special effects.

This whole production should be placed in quotation marks: it functions perfectly as a comedy and critique, scoring top marks in both categories. Laughing at a topic usually reserved for grave, fearful discussions should not create a repentant audience: it should reveal to us exactly how much we are being made fools of by investing in the farce outside the theatre.

Who: Mark Ravenhill and Plaines Plough: Product
Where: Traverse Theatre
When : 21:45-22:30; 16th – 28th August (except 22nd)

Being deliberately in the style of the Z-Grade TV shows, it’s almost impossible to fault the individual stories. The limited staging, garish costumes and constant re-use of the same actors enhances the similarities rather than distracting from them, and lends a warm and friendly charm to the anthology.

With such staples as the extinction of the dinosaurs; parents employing mind-altering machinery on their wayward children; a planet of hand puppets; and a delightful slice of time travel at the end that could, given the Fringe’s occasionally dabbling with experimental theatre, last all night, Science Blast Off Theatre is a gentle enough afternoon show that could easily bury itself into your brain and wake you at 3 in the morning as one of the concepts leaks out and turns your perceptions on their head.

Such a premise obviously requires an enormous suspension of disbelief from the audience, and clever use of lighting and powerful music help signal to the audience the beginning and end of Griff’s episodes. But our investment in the action on stage largely derives from the strength of both Palmer and Cowan’s performances. Cowan in particular is astonishing as Jack: not only does she convey the physicality of a troublesome toddler, but as a figment of Griff’s imagination shifts her performance into pure malice.

Palmer manages to show Griff’s mental instability through the simplest actions: questions about his wife’s day turn into an interrogation; begging for forgiveness he grips her arm until she cries out in pain. Such moments build up a palpable tension, which in conjunction with the unpredictability of Griff’s mood, keeps the audience gripped in fear for Lydia, whose rational character is eclipsed by Griff’s obsessions.

What is most powerful in this production is that our empathy is split between both parties involved. Lydia’s frustration as Griff denies there is a problem is felt by every audience member; yet, the hopelessness of Griff’s own situation cannot fail to provoke pity. This is a strong all-round production which qualifies it for dealing with such evocative subject matter as well as its likely nomination for a Fringe First.

Who: Andy Jordan Productions: Hush
Where: Pleasance Dome
When: 12:40-13:40; 4th-29th August

The content of the monologue is coherent and believable: Valentine has been mentally scarred and inhibited by a previous violent sexual encounter involving drugs and an older woman. As such he has remained a virgin, but thinks about sex all day, every day, and is in the process of obtaining a mail order bride. The disgust and fear with which Valentine recalls this incident is the highlight of this performance and luckily heightens its credibility.

Unfortunately the length of this piece is perhaps too much to ask of both performer and audience. Its languid pace and the tangibly hesitant acting become almost unbearable and are only relieved by the aforementioned episodes. Though to a certain extent these features could be explained away as part of Valentine’s demeanour and as representative of the lifelessness of his home and his existence, these excuses are not sufficient to entirely absolve this production of its undeniable flaws.

Who: Act Provocateur International: Valentine’s Day
Where: C Electric
When: 11:00-12:00; 4th-29th August (except 14th)

As a piece of historical investigation this show is certainly appealing as it gives a new dimension to a man, largely only known by name. Original footage from Kennedy’s assassination and 1960s America suggest that this company have really done their homework. Despite its billing as a musical, this piece’s focus on one character gives it greater depth.

Unfortunately, the humour which is pledged rarely appears and the songs occasionally seem to be at odds with the subject matter (though their hillybilly style is in keeping with Oswald’s Texan roots). This is by no means a heavy piece: it is light-hearted entertainment, but the hysterical tagline with which it is advertised is an exaggeration. Perhaps this is no bad thing as this show functions perfectly well without the comedy, and again perhaps with a few of the slightly incongruous musical numbers eradicated.

Dodgy American accents aside this show should appeal to fans of conspiracy theory and modern history, as well as those who are keen to see an alternative perspective on the American Dream. What makes it work is the unusual topic under the spotlight which cannot be accused of unoriginality, and so distinguishes this production from other musical offerings on the Fringe.

Who: LHO: Lee Harvey Oswald – The Musical
Where: C Electric
When: 15:00-16:20; 4th – 29th August (except 14th)

I challenge anyone going to see the Ladyboys of Bangkok not to spend the first half an hour wondering what the hell it is they are doing. It takes a while to get used to: a strange mix of cruise boat and school dance show entertainment, performed by men, the majority of who can only be described as stunning. This is the purpose: to dazzle, if not through glitz and glamour, then through a suspension of disbelief that these men do indeed possess the necessary male chromosome.

There is no questioning, however, that this is a real crowd pleasing show. Men from the audience are persuaded, hardly kicking or screaming, to join in with the fun, whilst female viewers happily provide the dance routine to the Village People’s YMCA. This is where the show’s success comes from, as the more the audience give, the more the performers seem to respond.

Releasing my inhibitions, although thankfully not enough to leap on stage, even I found myself clapping along. The Ladyboys certainly show the extent of what is available during an Edinburgh August. This is bold, brassy, unabashed entertainment at its best and is sure to keep audiences cheering for more, however, strange that may seem.

Who: Urban Circus Ltd: Ladyboys of Bangkok
Where: Meadows Theatre Big Tops
When: 19:00-20:40 & 21:15-22:55; 5th August – 3rd September

With deadpan delivery Aisle 16 storm through the history of poetry, modernising, abbreviating and injecting their own boyband slang along the way. The result is certainly ‘edutaining’: a delightful mixture of academic humour and scorn for the triteness of popular culture, performed at a pace, and punctuated by the groups own lyrical improvisations.

As much as this group mock the literary world it is clear that they were paying attention in class: jokes on Roland Barthes are few and far between in comedy school. The attention to detail and intelligence behind this show marks it out as something different and entirely worthy of a Fringegoer’s money and attention. The idea that this is a seminar is never deviated from, as the use of slides and hilarious lecture handout testify.

Aisle 16 are confident and have tapped into a vehicle for their humour which compliments them. In ‘Poetry Boyband’ they present a faultless comic performance which shows originality, flair and vast potential as a formula for future Festival successes.

Who: Aisle 16: Poetry Boyband
Where: Pleasance Courtyard
When: 16:40-17:40; 3rd-29th August (except 15th)

The making of this play is in Bridge’s careful dissection of a family apart but together. The stilted back and forth of a failing marriage is conveyed wonderfully by Gill’s wife (Katie Hartwill), whose acerbic demeanour is the same whether looking at curtain catalogues or faced with a knife to the throat. Gill’s (Jack Wharrier) obsession with money is placed in a dynamic opposition with the mysterious Mac, who is not concerned with the material but seems to talk in riddles which muse upon the abstract.

Mac is played with a dark intensity, appearing at times half-madman, half-genius. Bridge clearly sees this character as a mouthpiece for the overarching themes of the play and indeed forces at work in the universe. Whilst this is largely successful – of particular note are the poetic speeches similar to Jostein Gaarder’s work – at times Mac’s monologues can sap the audience’s strength a little, as this is quite a long piece for a Fringe debut.

But as a thinking man’s play this piece should be praised for its provocative themes and ambition, which are handled well by an impressive cast. Bridge has injected an element of chaos into a seemingly sterile scene – the family home – and through this manages to bring new life and new ideas to the Fringe stage.

Who: Mouse on the stair: Call of the Stranger
Where: C central
When: 19:00-20:30; 6th-28th August (even dates only)

The choice of material certainly makes a refreshing change from the Brechtian theatre which is usually taken to the festival. Aside from the story of ‘The Jewish Woman’ which could be deemed too emotional by the Brechtian purists amongst us, there is on the whole a close following of Brecht’s method making this a performance of which the playwright himself could surely not fail to approve.

Although keeping to Brecht’s notion that the theatre should not be a spectacle, this production is undeniably impressive in terms of its cast and the material covered, as well as the clarity with which key elements of Brechtian theory are conveyed to the audience. Indeed the audience are clearly the focus of this piece and their presence is not neglected for a second.

Such a challenging and rewarding show could well be the antidote to the reams of so-so naturalist theatre with which the Fringe is swamped. Unfortunately as the run has now ended solace must be sought elsewhere.

Who: Brentwood Theater Company: Brecht on Brecht
Where: Augustine’s
When: Run finished

Almost every line is from Lucas’ scripts. There’s no ad-libbing or re-imagining of scenes (aprt from some required improvising of the episodic crawls), and every line has the correct inflection, tone and stress jsut right. And the whole thing sounds like it;s running at x1.2 of real speed as it all sounds just a bit manic. If it could be throttled back to 40 minutes, then maybe it would feel 100% right… but you’d loose the frentic sense of fun it delivers and the fast set changes.

Ah yes, the sets and props. Much like Ewan McGregor performed most of the current trilogy in a green room, the cast here work with some staging blocks and black curtains, letting the audience fill in the bl;anks in their mind. The props, on the other hand, are as inventive as an episode of MacGyver. You will believe that you saw a fleet of X-Wings on the stage, you will be astounded by the appearance of Darth Vader’s Tie Fighter, you will be anticipating the carbon freezing chamber scene… no they’re not school chairs, bread packing crates or someone playing musical statues. It really is Star Wars. In Thirty Minutes. And in this edition, Han fires first.

At the end of the day, Hill’s material is incredibly predictable. He’s simply himself on stage, a bitchy camp twenty-something chatting to you as if he’s putting the blue rinse through your locks. Except the bleaching days are over, and he’s a man of the stage, always looking to put on a performance.

If Hill is your cup of tea, then this is going to go down a treat. If you’ve caught him before and he left you non-plussed, then best avoid him and move on to someone else. Never seen him before? He’s a confident performer, and the show delivers the laughs, but it’s nothing different to his 5 minute slots on TV (just longer). Craig Hill is a safe bet at the Fringe, but there’s nothing to make him stand out. Apart from possibly the black leather kilt.

The overriding theme from this play is that Burton did it his way. If he wanted something, it was his. If that meant that everyone around him was going to disagree strongly with him, so be it. Burton’s life doesn’t need re-appraised by today’s media, because they never truly appreciated what he was when he was alive. He was the one to knock down, even in the obituaries.

As time goes by, people look back at Burton and see a strong chartacter, one who was determined, and who always lived on his own terms. This play, a last-minute replacement only now going into the printed Fringe listings, is already hitting audiences of 50 every night on word of mouth alone. It deserves not only to sell out, but to sell out and go onto bigger and better things. If there’s a hidden classic at this year’s Fringe, this is it.

The farcical humour of the situation works well, building nicely as Stuart’s protests repeatedly fall on deaf ears. Film clips recreating Stuart’s forays into the outside world invert our expectations in a Kafka-like manner, as it becomes apparent that the only normality offered is that within the confines of his flat.

However, the generic rendering of the family’s customs and behaviour despite the intended humour with which it is performed smacks of xenophobia. Similarly as understandable as Stuart’s objections to his new lodgers are, the portrayal of asylum seekers as quite literally taking over the country cannot be separated from its prejudiced connotations.

In terms of performance this is a capable cast, with strong shows from Shaban Arifi and Geir Kjelland. But this overshadowed, as it is hard to see how this production can be meant as a positive statement when it seems to actualize the latent fears held by so many of the general public. If its black humour is intended to show the unlikelihood of such a situation ever occurring then the piece still acts a message to placate the members of our increasingly ‘nimby’ society.

Who: Act Provocateur International: F***ing Asylum Seekers
Where: C Electric
When: 14:00-15:00; 4th-29th August (except 14th)

Acts of brutality are chillingly choreographed: silence as a woman is brutally raped creates a dream-like effect, as victims scream but cannot be heard; fighting is transformed into waltzing as Beethoven’s music envelops the scene. The movement on stage is mesmerising, almost hypnotic, alluding to the mind-altering therapy which Alex will later receive and similarly subverting the audience’s reactions to such ordinarily abhorrent behaviour.

This is a demanding and physical performance by a cast who never leave the stage and who function as inanimate props and scenery in addition to their character roles. The energy which this brings to the stage adds to the almost Bacchanalian orgy of violence portrayed, as both audience and performers become engrossed in the intense physicality of this piece.

Sharply produced and incredibly compelling this performance is a must-see for the Festival. The company’s rendering of Burgess’ masterpiece is impressive and should most certainly be used as a benchmark for the very best theatre that the Fringe can offer.

Who: A Clockwork Orange
Where: Gilded Balloon
When: 16:00-17:00; 3rd-28th August (except 16th)

Within the show the three comics take on roles as teachers playing ‘good cop, bad cop’ with a primary school troublemaker; war veterans reciting inappropriate limericks, and a chat-line lover for a lonely housewife. Each scenario is so different from the last that the audience is kept guessing as to where the next laugh will come from, and are handsomely rewarded for their efforts.

The show’s humour is just dark enough to appeal to the seasoned Fringe goer and varied enough to engage the attention and amusement of a newcomer. This is comedy which does not portend to be something it is not. It is light entertainment, simply packaged and aimed to gain laughs, but with enough extra to give it the edge on other sketch shows.

Who: The Lost and Lonely Rebels
Where: Smirnoff Underbelly
When: 16:20-17:15; 4th-28th August (except 15th & 22nd)

“Do you have a script? Because this is getting tiring.”

Reminding us that this would not be a show of her father’s comedy, Rain Pryor’s warning was only too apparent as she lost her train of thought and struggled to fill the ensuing silence as her father would easily have done.

Scripting issues aside Pryor’s first Fringe nerves began to fade as she confidently recreated the highs and lows of her life as the black and Jewish daughter of late comedy giant Richard Pryor. Unfortunately, for much of the show there was a sense that ‘you just had to be there’ to find the situations relived amusing. As interesting as an insight into her childhood is, this show was not billed as ‘An Audience with Rain Pryor’ but rather a stand-up show, and the audience were left wondering as to whether there was sufficient fodder to meet this end.

Pryor’s character comedy was perhaps the strongest element of the show as she brought to life some of the most influential people in her life, in particular her black militant mother trapped in a white Jewish woman’s body. Most successful were the words in Pryor’s stories which related childhood experiences common to all – teasing at school, sneaking out of the house on a Friday night. These moments helped Pryor to recover from dismal turns such as an extended cheerleading song, in the face of which a bemused crowd sheepishly participated.

In the opening lines of her show Pryor gave warning to those that had come to see a replication of her father: “Perhaps you should go out and buy one of his DVDs. That way you won’t be disappointed.” Unfortunately on the back of her performance this can only be seen as wise advice.

Who: The Parker Entertainment Company: Rain Pryor – Fried Chicken and Latkes
Where: Smirnoff Baby Belly
When: 20:00-20:55; 4th-28th August (except 15th)

Some of the “Top Things in the World… Ever” Amos glosses over (Number 69 being nothing more than a raised eyebrow and knowing smile), while others are expanded into full on 5 minute vignettes. I suspect that Amos has a full 4 hour show, with something for each entry. On the night, he reads the audience and decides what will work that night, and what will fail. Apart from allowing him to keep himself and the show fresh throughout the four weeks of the Fringe, it also showcases Amos’ best talent - audience interactions (and yes, that is one of his top things ever).

Amos manages to pull four characters out of the audience and intertwine them in his act. All in good nature, but casting them with different voices of his won, and bouncing them off each other. Now maybe the comedy gods will gift you one good volunteer in the audience, but Amos effortlessly worked four out of the 175 strong sell out crowd. They enjoyed it, we enjoyed it and the whole show purred along like a sports car in the outside lane of the M6. Of the stand-ups at the Fringe I’ve seen so far, I’d say Amos was top of the must see list.

Not the most obvious choice for a stand-up show, but Buxton knows how to play to his strengths. Pavel’s alcohol induced hallucinations undoubtedly recall The Adam and Joe show and are a good reminder to Channel Four executives of what they are missing. Buxton’s (and perhaps the general public’s) view on the schedule is made even clearer by Pavel’s animation ‘Tiny TV Boss’: a baby who barks, ‘Give me more Jimmy Carr!’

Animations and film clips intersperse Pavel’s anecdotal ranting and give the audience an opportunity to relax. Pavel’s frequent tirades against laughter leave you unsure as to whether laughing is allowed – perhaps it is outlawed here as well as in Pavel’s homeland. But the more Pavel tries to deny humour the funnier he is, and the harder the audience will find it to resist.

If it’s straightforward stand-up you are after don’t come here. This is developed character comedy – Buxton is Pavel, from the beard it has taken him months to grow in preparation to the heavily intoned accent. But if you do end up here don’t be afraid to laugh; you’ll find it very hard not to.

Okay it’s not really The Simpsons - while the cast of the hit Fox show have attended the Fringe (five years ago), MacHomer’s performance is through one man, Rick Miller, who’s doing every single voice, all the acting, and his only aide is a TV/Projector behind him which helpfully shows the backdrop scenes and character drawings of Ned Flanders, Mayour Quimby and all the rest to help the audience.

Until I got to University. Every pub call on the first night of Fresher’s Week lead to a mystery thing called a Ceilidh. Which sounded okay, if a little weird. And after about thirty seconds, I realised that I knew all these dances. Intimately. And I could lead any other fresher around a Dashing White Sergeant. Intimately…

Nowadays though, there are much more gentle ways to introduce the young (and young at heart) to the joys of Ceilidh’ing, and this afternoon Children’s show at The Bongo Club is one of those ways. While it’s labelled for three and up, it’s a great introduction for any age.

The key to any good Ceilidh is to have a good band, and a caller who can relate to the audience. Opening up with a traditional Gay Gordon’s, which has three major “parts” for the dancers, all the children in the hall (including my three year old!) were flying around the floor as if they had been doing it for years. Moving on to Circadian Circles and a Virginia Reel, which have a bit more complexitiy, was pain free and very plesant. Mix in a few traditional Scottish Children’s singalong songs, and you have a great afternoon out. As I said, I think that it’s just as suitable for adults who want to have a go in a very realxed, gentle atmosphere.

Imagine a beat poet reading in a steady tone of voice, measured against a metronome set up for a dirge… who’s just finished a truckload of cannabis. In his own words, Anton is attempting to push the audience, to see how far he can take them

It’s certainly different, and far away from the regular comedy you would expect at the Fringe. It’s much more performance theatre than out and out laughs, if memory serves there wasn’t a single traditional scripted joke throughout Pick’s act. Probably the hardest thing to cope with is when Pick has to interact with the audience. The very measured tones that are employed in the show isn’t maintained when asking about someone else’s cat. After focusing so hard to get in the right place for the monologue, to be pulled out with a different tone of voice makes it even harder to get your head back into appreciating the scripted areas.

There’s a good character performance in here, but it’s not quite the finished product. Anton Pick is in town for nine nights only (until this Saturday), so if you’re looking for something more than just someone telling jokes in a cellar somewhere, he might be worth thinking about - but be warned it’s not going to be to every tastes.

The set at the Pleasance One is spartan to say the least, but the kids didn’t seem to mind. The costumes more than make up for the lack of props. Everything’s a bit tatty, but that’s dwarfed by the sheer exuberance of the three perfomers. That carried over to the audience too, and right from the start all the parents (well, most of the parents) were singing along - with old favourite Ye Cannae Shove Yer Granny Aff The Bus proving very successful - as was the standard “who can sing louder” challenge being between the parents and the kids. The parents sang really loud but the kids were declared the winners. I was a little put-out by that!

The show itself has very little plot, though the flyers placed on each seat advertising The Happy Gang tour starting in October for the same show mentions characters not in this one-hour Fringe show, so I suspect we’ve watched a condensed version. There are lots of songs, a bit of dancing and the chance for a couple of hand-picked kids to go up on stage and win some prizes. My one year-old loved the bright lights and music, my three year-old was a bit nervous but soon settled in and sang along. My friend’s five year-old was utterly swallowed up by it and practically leapt onto the stage shouting, “look behind you!” when the beastie appeared.

Pleasance One is up a flight of stairs with no lift, but the staff are more than happy to help take buggies up. Buggies have to be folded and stored outside the theatre, and after the show had been left in the upstairs foyer right next to The Happy Gang merchandise stall and in the way of the toilets - not the easiest of places to reclaim your buggy from pile of thirty buggies, while people are trying to get to the toilet and kids are clamouring for badges, DVDs and flashing wands. And this is after having to queue in the courtyard right next to an ice cream stall!

All in all though, it’s a good show. The kids love it and it’s not too painful for the adults. But someone should tell Spatz he shouldn’t wear white pants with a dark purple kilt if he’s going to burl around that fast…