point. Not only that, but if he likes the cut of your jib (or more specifically, the speed of your answers), then a fizzy worm or Starburst is flung your way. Sweets and slapstick – what more could any child want? Well, possibly the same as the adult sitting next to them – a show which doesn’t rely quite so heavily on audience suggestions (non-stop poo on this occasion). But if freestyle storytelling floats your boat, then Clover is a very able seaman. (Kelly Apter) ■ Pleasance Courtyard, 556 6550, 21–22 & 28–29 Aug, 11am, £9 (£7). BELT UP’S OCTAVIA Confused quest in a war zone ●●●●●
Princess Octavia is on a quest to restore order to her war-torn land. In a tale inspired by Cornish folklore, she is guided on her way by sprites, witches and hobgoblins. Belt Up have won many fans (and an Edinburgh International Festival award) for their innovative, interactive storytelling but this is their first attempt at children’s theatre and, sadly, it shows.
The exuberance, imagination and undoubted talent of the young cast is let down by convoluted plotting and confused characterisation. Clearly, the aim is to immerse us in a magical environment rather than tell a straightforward tale but there’s simply not enough for a child audience to connect with (particularly at the lower end of the 5+ target age).
It’s a shame as the story touches
upon potentially powerful themes (war, sacrifice, reconciliation) but these never really come to life, and even the audience participation, usually one of Belt Up’s strengths, feels forced. (Paul Barnaby) ■ C soco, 08452 601 234, until 30 Aug (not 25), noon, £7.50–£9.50 (£5.50–£7.50).
HAIRY MACLARY AND FRIENDS Canine capers ●●●●● This is old-school children’s theatre in all the right ways. Based on Lynley Dodd’s hugely popular picture books, the show ticks all the kiddie boxes: audience participation that’s fun, but
Festival Kids
For everything you need to know about all the Festivals visit www.list.co.uk/festival ALICE IN WONDERLAND Fast-paced adaptation goes full throttle ●●●●●
This entertaining version of Lewis Carroll’s classic is an inventive blend of physical theatre, music, puppetry and pantomime. The three young Derby- based performers who juggle all the roles between them establish a strong and immediate rapport with their audience.
It’s a playful but surprisingly faithful adaptation. Maybe too faithful. It definitely helps to have read the book, and there’s perhaps too bewildering a variety of scenes and characters for the lower end of the 3+ target age. This attempt to squeeze everything in also results in a hectic pace that plays to the performers’ strengths but doesn’t always suit the material. It requires a gentler rhythm, and a less excitable Alice, to bring across the dream logic of Wonderland.
Still, this is a promising Fringe debut
from a company with a real flair for children’s entertainment, even if their high-octane style sometimes makes for a bumpy ride. (Paul Barnaby) ■ Gilded Balloon Teviot, 622 6552, until 29 Aug (not 19), 1pm, £8.50–£9.50 (£7.50–£8.50).
ANDREW CLOVER’S ALMOST FAMOUS STORY SHOW Free range storytelling ●●●●●
Nobody could ever accuse Andrew Clover of phoning his show in. The smart-suited comedian gives everything he’s got during this hour of high energy, low structure entertainment.
He’s the kind of man you would have killed for as an uncle when you were young. Full of silly chat and unafraid to get down on his hands and knees, or leap around the room to illustrate a
52 THE LIST 19–26 Aug 2010
WEE WILLIE GRAY Magical adventure for Burns’ wee boy ●●●●●
Robert Burns wasn’t known for writing children’s verse – and even when he did, he was economical with his words. So Foolish Notion (aka Andy Cannon and Wendy Weatherby) had their work cut out turning his six-line song Wee Willie Gray into an hour-long show. Written in 1795, the wee ditty suggests Willie is so small, he could fashion himself a new outfit from plants and flowers. From this, the storytelling and music duo have carved out a tale of castles, lochs, mermaids and Ghillie Dhus (fairies from Scottish folklore) as Wee Willie goes on a big adventure inside an old storybook.
As with previous Foolish Notion productions, there’s a lovely mix of words and music, plus Cannon’s animated style of delivery. Aimed at younger audiences than their last offering Oor Rabbie (ages 4-6), the audience participation is gentle and fun, with all of us encouraged to be spooky trees, sew Willie’s costume and sing the ‘magic note’. Inevitably, with such a short verse, there are some moments when the
‘padding’ is more obvious than others. But Canon’s ability to turn the simplest of props into something altogether different – in this instance a pair of oven gloves – and his engaging manner holds our attention to the last. (Kelly Apter) ■ Scottish Storytelling Centre, 556 9579, until 30 Aug (not 23), 10.30am, £7.50 (£5).
not humiliating; lively songs; a few ‘it’s behind you’ moments; and – best of all – actors dressed up in big fluffy costumes! Hardly anybody does that these
days, preferring to indicate a character through their acting rather sewing ability. But it’s fun to see five dogs covered in fur chase each other around the stage, or lie on their back looking for a tummy rub. Through storytelling and song, the company work their way through five of Dodd’s tales, aided by live music and a simple but effective set. Hairy Maclary won’t win any awards for innovation, but it will certainly keep you entertained. (Kelly Apter) ■ Assembly Rooms, 623 3030, until 29 Aug, 10.40am, £9 (£7).
PENGUIN Puppetry and song for young ‘uns ●●●●● Opening a bright, shiny package, little boy Ben discovers a penguin inside. But joy quickly turns to disappointment when the flightless fellow refuses to speak. Various attempts at persuasion are made, including a trip to the doctors, to no avail, until a drastic situation involving
a lion with a New Yoik drawl calls for emergency measures.
Adapted from Polly Dunbar’s picture book, by Dunbar herself and her company Long Nose Puppets, this show fails to engage in quite the same way as their previous superb work, Shoe Baby. Puppet Ben is utterly charming, so too the Penguin – but the guitar-playing narrator and his unnecessarily complicated song feels a bit like padding. While the pre- recorded vocals stop the performers living fully in the moment with the audience, rendering the moments of participation a little flat. (Kelly Apter) ■ Pleasance Courtyard, 556 6550, until 29 Aug (not 25), 11.20am, £7–£8 (£6–£7).