#Review of Joni Mitchell – Take Me As I Am. performed by Rainee Blake #TakeMeAsIAm @EdFringe #RaineeBlake #JoniMitchell #music

Joni Mitchell – Take Me As I Am
By Rainee Blake

Rainee Blake is passionate about Joni Mitchell and reels you in to compellingly share her passion!

Be transported to a night in 1976 in Take Me As I Am. An excellent chance to explore and listen to the stories and songs of Joni Mitchell through the smooth, compelling and sometimes nuanced performance by Rainee Blake.

Take Me As I Am invites the audience to view Joni Mitchell, or this version of her, just as she is, sometimes in thought, other times happy and free and at times, vulnerable. Rainee Blake, throughout the show compels you to lean in and listen. There’s an intimate feel about what she has created, making you care about Joni and also brings warmth.

The construction of the show feels a bit like a gig, which is fun. Rainee appears with great stage presence, playing her acoustic guitar that leads to her singing songs from Joni Mitchell. The passion for this music artist truly comes across in this one-woman show that takes place after Joni returns from a solo road trip across America, just before releasing the album, Hejira.

It is pleasing that Both Sides Now offers a fun opportunity to join in. The only thing that I suggest that as August goes on is perhaps a screen behind Rainee with the words of at least the chorus on it. It became apparent not everyone around me knew the words, which was very unfortunate as it’s a lovely collective moment in the show that just feels right.
She also asks the audience for a song too. She doesn’t hesitate to play, showing how talented she is as the request is live, the choice of song doesn’t feel pre-planned.

Other songs are California, Woodstock and seamlessly changes guitars from acoustic to electric and also picks up the dulcimer. Each instrument is deftly played and with passion and a nuance that goes with the songs she sang at this time.

There are tender, vulnerable stories that are interjected throughout. They add depth and provide knowledge and a certain amount of understanding of Joni. The audience hear of her meeting Leonard Cohen, relationships and more… Each told with care and authenticity.

At the very end, Rainee Blake treated everyone to one of her own songs. It felt inspired by Joni Mitchell and yet was completely original and very listenable.

Whether you are an enthusiast of Joni Mitchell or just exploring who she is, this is a show that gives a great overview and is worth taking a chance and journey back in time and taking her as she is.

Check out more details on the Fringe website here: https://www.edfringe.com/tickets/whats-on/joni-mitchell-take-me-as-i-am

#Review of Krapp’s Last Tape By Samuel Beckett, Directed by Stockard Channing, Acted by David Westhead – Assembley Rooms – Assembly Roxy until 31st Aug @edfringe #review by Lou. @KrappsLastTape #StockardChanning #DavidWesthead #theatre

Krapp’s Last Tape
By Samuel Beckett
Directed by Stockard Channing
Starring David Westhead

review written by Louise Cannon – Bookmarks and Stages

Krapp’s Last Tape is intensely powerfully acted and directed. It’s one to watch!

Silence! You can hear a pin drop… The silence, the set, it creates a unique atmosphere that pulls you into Krapp’s immediate world of solitude even before a word is uttered and before his past is delved into. It’s a powerful moment and gives time to truly soak up the set which sits at almost juxtapositions, quite a mess around the table, yet certain things are in more exacting places. Then there’s a tape machine which becomes like a second character, even though, essentially it is a one man show, played by David Westhead who is expertly directed by Stockard Channing.

There’s a specific tape that Krapp is searching for, but not until he’s had his banana. He likes his bananas. Every movement, look and word is meaningful and perfectly timed between the reflective tapes as he looks into his past and as he sits at his table in present times.

You see the tape reels turn, almost hypnotically as his life story pieces together, with the acting on tape and in-person is strong, holding the audience entranced. There’s a tension, that’s only given relief to with timely banana eating and the comic way the word spool is said. In saying that, it all fits neatly together and works well. It becomes a bit of a collective process in a way that we, the audience are listening to the tape in real time just like Krapp. It brings an interesting atmosphere. The actor would’ve heard it countless of times, but it’s skillfully acted as though he is hearing, like us, for the first time.

The directing of the play makes it all feel natural, attentive and helps draw you in with curiosity, even when the actor is off-set but you can still hear him. It all adds to the mysterious compelling nature of the play.

Krapp’s Last Tape has been played by many a well-known actor over the years and still, it remains relevant. The themes involve reflection, romance, growing older, grief to name but a few. We all have times of some reflection and this goes quite deeply for Krapp as he looks way back. It’s a fascinating tale to tell that holds poignancy and emotion. You feel his slight elation and the deep despair oozing out into the auditorium as he hears his younger self in audio-diary form. It’s captivating to watch the reactions from David Westheadfrom the beginning to the end.

At the end of some performances is a Q&A session with both David Westhead and Stockard Channing, who are both approachable and answer questions in a way that’s both expertly attentive and fascinating. I thank them for answering my question, David Westhead in-particular on this occasion about how he feels when playing Krapp. He gave real insight into the character and the play itself. I thank them for the photo below, others were taken by a professional photographer.

They talk about how it’s all about the text and notice the shoes on David Westhead’s feet, they have a purpose. They talk about how their friendship and how they became to be doing Krapp’s Last Tape and so much more… I don’t want to give too much away on this special moment. Attend and you will discover some wonderful stories.

Stockard Channing is an Academy Award Nominee who is known for acting in Greece, The First Wive’s Club, Practical Magic and more…

David Westhead is multi-award-winning actor known for acting in the Royal National Theatre and the Royal Shakespeare Company and more…

Check out the show here: https://www.edfringe.com/tickets/whats-on/krapp-s-last-tape

Assembly Roxy – Upstairs at 1:25pm. 5th -31st Aug – 65 mins,

Admirably, post the basic expenses, they will make a chunk of change for the charity, The Wembley to Soweto Foundation. You can check that out here: www.wembleytosoweto.com

#TheatreReview of The Shawshank Redemption the play, 2026 Tour on now 5 stars of Powerful Acting Excellence #Review by Lou @JoeMcFadden @BenOnwukwe @BillWard @TheShawshankPlay

The Shawshank Redemption

Adapted by OWEN O’NEILL & DAVE JOHNS
Based on the novella Rita Hayworth and Shawshank Redemption
by STEPHEN KING
Directed by DAVID ESBJORNSON

Welcome to the inmates of The Shawshank, a maximum security prison in the US where both the prisoners and officers are corrupt. The play is absolutely amazing, based on Stephen King’s novella that also won 7 Academy Awards in film. Whether you have seen the film or not, you won’t be disappointed by this stage play. The richness and atmosphere on stage is even more absorbing and transfixing. Every actor is highly convincing in telling the story of what happens within those oppressive walls where bullying and sexual assault occurs, which is creatively and sensitively performed without lingering too long.

The narration is strong, giving a sense of what prison life is like for the inmates before it’s fully played out, interjecting at key, emotional parts throughout. At times the tension is palpable and other times a bit lighter. The light and dark of the play makes it soar and gives the prison a sense of reality.

Andy Dufresne, played by Joe McFadden is a banker, who becomes friend with prison fixer. Red, played by Ben Onwukwe and things start to look better for him. Warden Stammas, played by Bill Ward, bullies him and exploits his accountancy talents, prompting him to hatch a cunning plan.

Joe McFadden has terrific stage presence and plays Dufresne with much conviction exuding from the stage to the audience. The way he acts, showing shades of light and dark is highly convincing. He makes you truly care about Dufresne and to develop a desire to cheer him on.
Brooksie, played by Kenneth Jay is a strong performance of vulnerability.
When Ben Onwukwe and Bill Ward they also command your presence in their captivating narratives.

These are the actors who command the stage in a way that you don’t want to take your eye off the stage, not for a second. The emotions flood into the auditorium. It’s easy to engage throughout and get intrigued by everyone’s story in The Shawshank prison.

All of the actors gave strong performances as they show the bonds and the hardships and rifts. It feels a very together company of actors.

This creation on-stage of The Shawshank Redemption is one that’s hard to forget and one that you won’t want to miss.

You can book tickets here:
https://www.kenwright.com/productions/shawshank-redemption-2025-2026-tour/

About some of the cast

Joe McFadden‘s numerous television credits include PC Joe Mason in Heartbeat, Raf in Holby City and, of course, winning the 2017 series of Strictly Come Dancing. Theatre credits include 2:22 A Ghost Story, The Rocky Horror Show and Agatha Christie’s The Mirror Crack’d.

Ben Onwukwe boasts a 30 year stage career including leading roles with the RSC and the Royal Court, and eleven years on TV as Recall McKenzie in London’s Burning.

Book Tickets On The Website Here: https://www.kenwright.com/productions/shawshank-redemption-2025-2026-tour/

#Review by Bookmarks and Stages – Lou of Glass House #EdFringe @GreensideVenue #Theatre @SandCastlesProductions #EdFringe25

Glass House

Review written by Bookmarks and Stages – Louise Cannon

Set on a bus, Glasshouse is a palpable, powerful play that creates an intriguing, palpable atmosphere on a bus.

The bus is caught in a storm and what ensues is evocative and thought provoking. From the outset it has an intriguing, slightly eerie feel as the rain hammers down. On a small stage, there is great attention to detail to make the seats look like the cast are on a bus, right down to what people are wearing, including the driver.

From the bus being plunged into darkness, to getting some light, the audience are introduced to the passengers and a rather intriguing storyline as unexpected events unfold when the bus comes to a sudden halt.

It’s worth mentioning before events change further, there is a rather agile dance routine from one of the passengers, which gives the play a bit of a lift, with exaggerated movements as though they are on a bus. There’s also a bit of humour in that and in some of the dialogue.

Conversationally, between all the passengers, it feels natural. The writing and acting is skilful to keep it this naturalistic and not purely monologue in nature, although later there is a particularly powerful monologue where you get more insight to a passenger, that works particularly well, both feeding into the story and addressing the audience.

If you were on a bus, looking in, you’d see all sorts of people conversing with each other, some listening and others occasionally talking a little over each other. There are also crossed wires, a noticeable glance here, a touch there, creating rising tensions throughout the play, which all becomes quite palpable. This is strong, convincing acting by this young group of actors.

What happens next is even more powerful as the intensity ramps up a gear as decisions to be made as to what to do about a homeless person who is on the bus, but is ticketless. The play at this point has then changed into one that’s quite thought-provoking. It makes you question what you would do in this situation.

This is a group of young actors who are ones to watch for now and hopefully into the future. The quality of writing and acting are great now and will only increase further. The potential is huge for these students. I’ve seen students perform before and this group are one of the more exciting and I can’t wait to see what their future holds.

The Edinburgh Fringe Festival is the place to see them until and including 23rd August at Greenside Venues on George Street.

Find out more details and how you can get your tickets here: Glass House

Synopsis

Sandcastles Productions

Glass House explores the grimy underbelly of the human beast with unwavering intimacy. A boundary-pushing mocku-theatre piece, the play involves pre-recorded interviews with its ‘real-life’ characters as they share their renditions of what happened on the night of February 14th, 2011. The play uncovers how, on a night of unrelenting rain and flooding in the countryside, a stand-off between a stubborn bus driver and a houseless man who can’t afford a ticket slides into a mire of tension and social conflict.

#Review by Bookmarks and Stages by Lou of The UnderNeath @Cvenues #EdFringe #TheUnderNeath

The UnderNeath
By The Rainbow Room Productions

review written by Bookmarks and Stages -Louise Cannon

What lies in the UnderNeath and what is it? This play gives the perfect chance to find out, in what is an intriguing piece of new writing, which is thought-provoking and makes you ask similar questions as to what the people in-front of you are asked and query themselves.

There’s a certain air of Life on Mars, in that everyone may not be alive and no one, except Neath, knows what’s going on. There are hidden secrets and confessions to be made in what is a mysterious holding room.

The play carries an interesting concept of having one person, Neath, who is 1000’s of years old and is the only one who knows what’s going on. The others are baffled and some, to begin with, don’t remember what happened. The play toys with the characters psychologically as they dig deep for their back stories and into what their deepest regret is to see if they can be released or not from the mysterious place they find themselves in. It’s strength was how each character dealt with their predicament. That’s where the real psychological impact lies, rather than totally in their stories alone. This is fascinating, but I felt a little more of the power of the human condition vibe.
Intriguingly, the room itself, almost becomes a strong, powerful character as you wait to see what happens next and what hold it has on its captives.

It is thought-provoking and well acted in the formation of the actors who give a convincing performance whilst telling their stories and being baffled by what’s happening to them.

You can find out more here, if you dare to go to The UnderNeath

#EdFringe News – the Space UK Venues Announce New Shows for Edinburgh Fringe Festival 2025 @theSpaceUK @edfringe #Theatre #Drama #Music #Musicals #Cabaret #Comedy #Dance

theSpaceUK Announces Over 100 New Shows on Sale for Edinburgh Festival Fringe 2025

There’s even more reasons to be excited this April as theSpaceUK adds over 100 new shows to its 2025 Edinburgh Festival Fringe programme, now on sale at www.theSpaceUK.com.

From powerful new writing and gripping drama to outrageous comedy, magic, musicals, and cutting-edge physical theatre, the latest additions promise something for everyone. Book your tickets now and be part of the Fringe’s most dynamic venue!

Drama & Theatre
Tackling big themes with wit and urgency, The Pornstar Martini Effect: A Bartender’s Guide to Not K*lling Yourself at Christmas (52 Theatre Co.) follows two bartenders confronting harassment, gender dynamics, and identity on Christmas Eve. Meanwhile, dark comedy A Play About Feet (Find Your Feet Theatre Company) takes audiences on a chaotic journey through love, ambition, and questionable life choices.

History and myth collide in 1 King, 2 Princes and Shakespeare’s Lie (Slade Wolfe Enterprises Limited), where Richard III returns to challenge history itself in an electrifying solo performance. Elsewhere, Waiting for Elvis (Plush Tiger Productions) imagines a chance meeting between a young Elvis Presley, Agatha Christie’s Margaret Rutherford, and an eager fan in a Scottish airport lounge.

For those who wonder what happens after “The End,” After Shakespeare (Slade Wolfe Enterprises Limited) weaves a fresh narrative for four of Shakespeare’s most iconic characters, blending historical research with original storytelling.

Music & Musicals
The life of Vincent Van Gogh takes centre stage in Vincent: His Quest to Love and Be Loved (Wêla Kapela Productions), a moving mini-musical exploring the artist’s passion, pain, and relentless drive to create.

Meanwhile, corporate satire meets song in You’re Fired! The Musical (McPhilemy and Pozzuto), a razor-sharp look at ambition, success, and the personal cost of capitalism, as one hopeful businessman competes for his big break.

Rocky Horror and Beetlejuice fans won’t want to miss Ghosted! A New Musical (Makena Margolin and Hayden Kline), a riotous blend of comedy, music, and paranormal mayhem following a grieving best friend’s attempts to summon a ghost—only to be haunted by a mischievous spirit.

For a dose of romance, My Sweetheart and Me (Suntree Productions) transports audiences to a Northern Irish bar in 1969, where love and laughter unfold through intertwined love stories.

Cabaret & Comedy
Scottish absurdist comedy takes centre stage with This Play Sucks! (Sean Tennant), a wild, vampire-infused caper that sees two Highlanders hatch a half-baked plot to kidnap a reclusive lord—only to find themselves in way over their heads. Over in the apocalypse, 4’s a Crowd (Or What Not to Do When Stuck in a Bunker During the Apocalypse) (The Fiascoholics) delivers a fast-paced, side-splitting farce about five survivors, four shares of food, and one impossible decision.

Award-winning stand-up Diya Shah? Diya Shahn’t (Diya Shah) brings sharp observational humour to her Fringe debut, while Abby Denton: My Favorite Loser (Abby Denton) makes the case that a forgotten Cuban postman from 1904 is the world’s greatest role model.

For fans of the absurd, End of the World FM (Kevin Martin Murphy / Wandering Artist Collective) follows a lone radio host broadcasting into the void as he grapples with the end of days. Over in cabaret, Closure Cabaret (Maria Ansdell) sees lovelorn emcee Razmatastic bringing her exes to the stage for one last (unwilling) performance.

Dance & Physical Theatre
Scotland’s lost percussive dance traditions take the spotlight in Deiseil: Dancing in Time (Alison Carlyle and Amy Geddes), a captivating blend of live fiddle, Gaelic song, and powerful movement directed by Gerry Mulgrew.

Award-winning Korean theatre company Theater Sangsangchangkko presents I Woke Up One Morning and Had Become AI, an exhilarating physical comedy about two brothers transformed into artificial intelligence.

Blending magic with personal storytelling, Hidden Powers (Angus Baskerville) offers a mind-blowing exploration of neurodiversity, while Sauna Boy (Dan Ireland-Reeves) delivers an unflinching and powerful drama based on real events inside a hidden world of sex, survival, and friendship.

Tickets for over 280 exciting Edinburgh Fringe shows are now on sale at www.theSpaceUK.com. With a programme that spans theatre, comedy, music, and dance, there’s something for everyone at this year’s fringe season.