The cliche of so good it’s impossible to describe is never more apt than in The Tom Tom Club. Think of it as a modern day ‘urban circus’ and you’re close to what’s on show here. From a record scratcher on the raised podium at the rear, to a human beat-box, by way of a mad drummer that puts Animal in The Muppets to shame and four of the most athletic (and well toned) gymnasts at the Fringe - mix that together with a slice of showbiz and you have one of the most entertaining hours that is possible to find at the Fringe

It’s such a high energy show that the audience, even with a huge range of ages and I suspect musical styles - were clapping, cheering and dancing away in their seats. I honestly believe that if this was in an open venu, or a nightclub there would be a lot of dancing going on.

It’s a wonderful display of human skill, all round, and I dare you to come out of the show without a smile on your face, and the beat spinning round your skull.

Edfringe.com Link: The Tom Tom Club.

Just over an hour of the life and music of Woody Guthrie does not begin to cover how important Guthrie was to the common American, but it is a testament to the skill of the cast and crew of Woody Sez that this small selection of music, deftly weaved through the high and low points of his life, is so entertaining, powerful, and heart breaking.

The band deftly switches instruments with ease between songs, while these beats are used to gently place the music in context . This bookending of each piece, alongside the excellent vocal and musical talents of David Lutken in the lead role (ably joined by Darcie Deaville, Andy Teirstein and Helen Russell) lifts this piece of theatre above the multitudes of biography jukebox shows to something with a genuine emotional core.

From the first beat to the final coda, the relevance then, and now, of Guthrie’s works drives the quartet to one of the stand out musical performances of the year. Recommended without hesitation.

Edfringe.com Link: Woody Sez.

In 1847 Dr. Hoffmann published his view on that which children’s literature should be. shockingly educational.

Eager to see how such pedagogical insanity could be adapted to a politically correct present, I ran to see this show, book in hand. Introduced by a recording of the original German, the five young actors delivered the verse over an ironically childlike interpretation of the action. childlike? yes, the first sight of them was most surprising, as they chose to wear costumes that are much closer to those of a British panto on speed than to Hoffmann’s original illustrations. white shirts with neon dots, high-vis, and a dazzling UV light, supporting Tim-Burton-esque reactive clown makeup. The delivery had streaks of genius to contrast the choice of attire, such as Little Suck-A-Thumb’s bleeding hands being renditioned with a red light and a stream of salt, followed by the triumphant use of balloons under a coarse jumper to shrink poor Augustus (who was oddly played by a girl) as he refused to eat his soup, and popped slowly to his emaciated death.

My opinion of the show may have been tainted by the fact that i had the book in my bag, and was familiar with the original illustrations, which excite me greatly. thus, expectations not met, so I reluctantly feel that i would offer them five stars, but only out of ten.

EdFringe.com Link: Struwwelpeter.

– Tobias Feltus

Probably the most surprising thing is that ‘The Socks’ are performers in their own right - a sort of brash, internet version of Abbott and Costello, with all the wit, wordplay and wisecracks that you’d expect. Never seeing their manager until the curtain call at the end allows the socks to occupy and dominate centre stage for an hour of film and theatre spoofs, Shirley Bassey numbers, and a cringe worthy biblical reinterpretation of “The Guinness Book of British Sitcoms.”

It’s hard to get over just how effective this show actually is, but it really does sum up the Fringe. A cramped venue, with little air conditioning, a show witha lot of heart, and a genuine debut live performance. While they continue to be a popular couple on YouTube, in the flesh (ahem) the Socks prove they have the legs to become superstars.

Edfringe.com Link: The Scottish Falsetto Sock Puppet Theatre

One of the most important things for any Fringe show is to have a name that grabs the casual browser, sums up the play, and drags them into the theatre - and Debbie Does Dallas The Musical certainly does that. Based on the plot of one of the seminal porn movies from teh seventies, the plot that held that movie also holds this piece together as well, but in a style that’s more Carry On / Seaside Bawdy humour than in out and out flesh. This year’s Fringe is gearing up to have a lot of male tackle out, but the only tackle here is with the American Football jocks.

The plot - Debbie Benson has a scholarship offer in Dallas (and a job offer to be a Dallas Cowgirl cheerleader), but needs $475 and 25 cents to get there. So she, and her friends, pick up some typical jobs for high school girls to earn the cash - but soon discover their bodies have more potential than their C.V’s.

To be honest, lifting the plot out of the context of the film and placing it in a theatre makes it a touch creepy, especially as the lead character is ‘convinced’ to sell her virginity for $10,000. In this day and age, the casual acceptance of all parties to this just left me feeling a little bit off kilter. And the final two songs see a massive change in attitudes in the characters motivations and goals with no reason at all why - the plotting redhead cheerleader suddenly decides it would be a good idea to help Debbie? Everyone is cool with everyone else? All is well in the world?

It’s a spirited production, with a great title and an obvious visual appeal, but in the end I was left hoping for something more challenging and appropriate to this day and age.