Russel Peters is the Lizard King, he can do anything COMEDY Russell Peters - Comedy Chameleon *‘kttt Keen/y observed cultural comedy
As you’ve probably already gathered by his name, Peters is a Canadian Indian. Exactly. And so begins 80 minutes of keenly observed comedy focusing on cultural differences and racial stereotypes, but taking in everything from gender observations to social commentary along the way. Chameleon is an apt description for this engaging comedian, as he transforms himself effortlessly into representatives of various nationalities and, somewhat disturbingly, species. There’s barely time to recover from one perfectly-timed comedy assault before he hits you again, leaving you weak and vulnerable to the next onslaught.
Peters interacts a lot with his audience, out of what seems to be a genuine interest in their lives, as opposed to a mere device to get from one part of the set to the next. He delivers his material with a smile on his face and a glint in his eye, material which should really be offensive, but somehow isn't. Although having said that, there was one family there who will no doubt be suffering from the emotional fallout of their encounter with Mr Peters for years to come. A true master of his trade, this is one chameleon that won’t be fading into the background.
(Kirsty Knaggs) I Russell Peters — Comedy Chameleon (Fringe) The Comedy Store, Assembly Rooms (Venue 3) 226 2428, until 28 Aug, 7 7.45pm, £9/£ 70 (£8/£ 9).
THEATRE Masque bk Sch/ock horror
Blue Beetle Productions’ idea of midnight tribute to the works of Edgar Allan Poe conjures up Gothic images of a misty, candle-lit performance, oozing with the nightmarish, often surreal atmosphere of the master of the macabre. High expectations aside, what Masque actually amounts to is an unsuitably tongue-in-cheek, 'Reduced Shakespeare Company’-style show that condenses five of Poe’s most popular spine-chillers to such an extent that all the ghoulish intensity of the original texts is lost without trace. Masque is an utterly inexplicable waste of a fantastic opportunity to bring a much-needed spookiness to this year’s Fringe. Poe must be spinning in his grave. (Olly Lassman)
I Masque (Fringe) C, Chambers Street (Venue 34) 225 5 705, until 27 Aug, midnight, £6.50 (£5.50).
COMEDY Celtic Comedy Ceilidh *id' Craic-ing idea, but a ceilidh cul-de— sac
The Gilded Balloon has frustratingly missed the mark with their latest nightclub alternative. The cosy Studio setting provided an intimate atmosphere for comics to bond with the audience (and more frequently trade insults with hecklers), while the variation of three acts and a stand-up kept the bedraggled punters entertained till 2am. But there lay the problem. Oatcakes, the evening’s ceilidh band, were charged with filling the ensuing two hours, and with no ceilidh tuition or room to dance, most people toddled off home. The Comedy Ceilidh has the potential to be a fantastic night out, but would be so much better if dancing and music alternated with comedy.
(Maureen Ellis)
I Celtic Comedy Ceilidh (Fringe) Gilded “a e,
culminates in lies and mistrust. Excessively girly and somewhat limited in its premise, Fault/ines does, however, showcase able performances from Harriet Carmichael and Claire Gibson, and the impressive stage direction allows us to see the break-up consecutively from both perspectives. The character development is, however, lacking and while it’s our duty to support nascent playwrights, Brunton currently is not giving us a great deal to work with. (Catherine Bromley)
Fault/ines (Fringe) Edinburgh University Theatre Company, Bed/am Theatre (Venue 49) 225 9893, 77, 79, 22, 24, 26 AL 7, 70.30pm, £5.50 (£4).
MDSICAL . Kids In America irk
The Kids are not alright
A musical comedy set in the 80s is a fine idea, as there is much to deride about the decade that style forgot, and it produced some pop classics. But Kids In America, which traces the fortune of Frank, a musician making a soundtrack for a Hollywood movie, does not work. The clothes and dance moves raise a titter and the cast are earnest, but it does not mask the fact that their performances are laboured. Not only is the singing of varying quality, and the script lame, but the tissue-thin plot exists only to fill the gaps in-between the dodgy musical turns. Disappointing. (Dawn Kofie)
I Kids In America (Fringe) Eat My Shoe, C Venue (Venue 34) 225 5 705, unti/27 Aug, 77.20pm, £7.50 (£4.50).
COMEDY THEATRE
Thigh Armor For The Gods This Is Our Youth it ** 1" * Reagan-era teens test the Straight-jacket comedy boundaries of friendship
Farcical comedy is one of those genres that, unless based upon a foundation of intelligent and witty writing, and a confident, vibrant performance, risks degenerating into a juvenile state of, well, farce. Thankfully the talent at Fresh Blood Theatre are well up to the job, delivery an outstanding performance that elevates what is often a puerile, slapstick style way above the depths of infantile gratuity. Painfully funny and never predictable, this extrovert foray into the Woody Allen-esque misfortunes of a neurotic office worker has moments of comedic brilliance, but, more importantly, refreshes a genre badly in need of a good slap in the face.
(Olly Lassman)
I Thigh Armor For The Gods (Fringe) Fresh Blood Theatre, C, Chambers Street (Venue 34) 225 5507, until 27 Aug (not 78, 20, 22, 24, 26) 77.30pm, £6.50 (£5.50).
People whose lives revolve around drugs can be notoriously dull, so a play focusing on habitual pot- smokers has its work cut out. Kenneth Lonergan's play revolves around spoilt college kid/drug dealer Dennis and his loser buddy Warren. Set in early 805 New York, there are plenty of music and stylistic references which ring true, and the goldfish kept in a blender adds an inspired insight into the mind of its owner. But while the actors give it their all, the characters grate too much to be sympathetic. Their search for meaning and emotional connections just doesn’t have the humour or soul to fully engage the audience. (Louisa Pearson) I This Is Our Youth (Fringe) Festival Theatre USC-USA, Drummond Community Theatre (Venue 25) 558 9695, 78, 22, 25 Aug, 70pm, £5.
Balloon (Venue 38) , 226 2757, until 28 ‘ Aug, 77.45pm, £9 ‘ (£8).
THEATRE Faultlines it Relationship drama not fully fledged Childhood friends Amy and Kate have reached the end of the line. Having gradually grown apart, this short drama from Edinburgh University fourth ‘ year student,
Elizabeth Brunton, examines the disintegration ‘ of their ' I childhood ‘ fantasy that
History repeating with the Kids In Anierica
58 THE UST FESTIVAL GUIDE 17—24 Aug 2000