
Baby Reindeer and Fleabag team's next show is nothing I expected
I expected Francesca's next trick to embody her last name like the predecessors: something dark, twisty and uncomfortable. But Ohio, running at the Edinburgh Fringe right now, is nothing of the sort.
Toe-tapping, chest-pounding folk music is not a genre I can usually abide by. So when a hugging couple (I could sneak a glimpse of them backstage from my spot) beamed onto the stage with a guitar, I sank in my seat – worried at how a crowd in Scotland would receive a hippy-clappy American hour.
Silly me. Far from it: Ohio turned out to be a heartwarming, raw, and deeply personal story of Obie-winning indie-folk duo Shaun and Abigail Bengson, as told by them. Light-hearted release cut through any threat of a saccharine toothache like a jug of peppermint mouthwash. Phew.
Ohio tells the story of Sean's degenerative hearing loss and his journey away from God, told through song, poetry and theatre.
As his deafness progresses with the story, syllables are left off on-screen captions, and the sound of their voices blur into a microphone, imitating his ordeal in that moment.
It's one of the most powerful depictions of a disability I've ever seen on stage, putting us into his shoes without shoving trauma down out throats (as the Fringe quite likes to do these days).
While Baby Reindeer tackles a big, crazy story, Ohio is a no less honest expression – but tackles human struggles, and finds beauty and hope within and despite of them.
Through song, this duo express themselves like no one is on the receiving end: there are no rigid choruses, verses and genre conventions, but a meaningful, spine-tingling sound. One poignant moment is the duo's song for Mrs Wean, who helped Sean hear past his tinnitus as a child, told through his gravelly and beautifully strained vocals, and a genuinely brilliant melody.
Meanwhile, Abigail's voice is nothing like I've ever heard. It's a yodelling, entrancing cross between Joni Mitchell, Dolly Parton and even, dare I say it, Enya. Her vocals and chants, recorded and played back during the show, are as eerie as a viking war cry and convey messages of longing, sadness and hope in a single note. More Trending
Sean's reading of his dad's final ever sermon as a pastor before his deafness took hold of him, like it will eventually do to him, made me cry. I'm left wondering when Sean's last show will be. When will be his last Neil Young or Bob Dylan listen before the little hairs that give life to his ears lay their weary heads?
But if the spirit of Ohio is genuine – which I believe it is – then I have hope that this remarkably talented couple will find beauty and meaning even when the performance is over.
Ohio will be ringing in my ears for some time.
Ohio is on at The Edinburgh Fringe at Assembly Roxy Upstairs for the rest of August at 3pm. Tickets here.
Got a story?
If you've got a celebrity story, video or pictures get in touch with the Metro.co.uk entertainment team by emailing us celebtips@metro.co.uk, calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you.
MORE: I watched a woman orgasm on stage and it wasn't even awkward
MORE: 'My comedy show is usually illegal – I can't wait to let loose in Scotland'
MORE: EastEnders' Michelle Collins reaches out after fan collapses during her performance
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Graziadaily
44 minutes ago
- Graziadaily
The Princess Diaries and Wednesday Season Two Crossover No One Saw Coming
If one of the new Wednesday cast members looks eerily familiar, it's probably because you've seen her before. Heather Matarazzo, who joined cast of the hit Netflix show for season two, is best known for playing Lily Moscovitz in the iconic noughties franchise The Princess Diaries – aka Anne Hathaway's character Mia's right-hand woman. She's back on our screens in the spooky series that follows the life of Wednesday Addams where she plays Judi, an employee at the nearby Willow Hill Psychiatric Facility. With rave reviews of Wednesday after part one dropped, it's worth catching up if you haven't already. Heather Matarazzo and Anne Hathaway in New York. (Photo by Jim Spellman/WireImage) Heather is an American actress from Oyster Bay in New York. She has recently joined the cast of Wednesday on Netflix which has gone down a treat with Princess Diaries fans. Aside from playing the iconic best friend, Lily Moscovitz in The Princess Diaries and its 2004 sequel (and hopefully the reboot which is currently in the works), Heather also played Martha Meeks in Scream 3 and Scream. She made her acting debut at the age of 12 by starring in Welcome to the Dollhouse , which earned her an Independent Spirit Award. No stranger to mysterious characters, Heather now stars as a psychiatric ward worker in Wednesday. After a break from acting due to feeling 'cast aside' by the entertainment industry, Heather landed on her feet with her new role as Judi. In 2022, the actress posted on X: 'I feel at a loss because I feel I have done THE WORK for a long time with no complaint. I have taken the disappointments, the rejections, etc., and maintained that rejection is redirection. I have had continual FAITH in the Universe, but today something broke.' She continued, 'I've given my life to acting for over 30 years and am done struggling just to survive. I just need a win. A life-changing win. Cause this ain't it.' Then along came Netflix and Tim Burton... Yes, Heather is married to her wife, Heather Turman. They live together in Michigan after moving from Los Angeles. 'I just love it here so much,' the actress said of her new home on TikTok. 'There's such an abundance of nature, and everyone's just been so incredibly kind.' You can keep up with Heather and her latest acting adventures on @heathermatarazzo on Instagram and @heathermatarazz on TikTok. Nikki Peach is a writer at Grazia UK, working across entertainment, TV and news. She has also written for the i, i-D and the New Statesman Media Group and covers all things pop culture for Grazia (treating high and lowbrow with equal respect).


Scotsman
an hour ago
- Scotsman
Edinburgh Fringe Comedy reviews: John Tothill
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... John Tothill: This Must Be Heaven Pleasance Courtyard (Venue 33) ★★★★☆ Thanyia Moore: August Upstairs at Pleasance Courtyard (Venue 33) ★★★☆☆ Alison Spittle: BIG Monkey Barrel 1 (Venue 515) ★★★★☆ Ben Pope: The Cut The Box at Assembly George Square (Venue 8) ★★★★☆ Cat Cohen: Broad Strokes Pleasance Courtyard (Venue 33) ★★★★☆ John Tothill's gorgeously louche character could have us spellbound whether he had a strong story to tell or not, but, good gracious, does he have a humdinger of a tale in This Must Be Heaven. Last year he funded his Fringe run by taking part in a medical experiment that gave him malaria – and plenty of material for that year's show, The Last Living Libertine. But a few days into the run he developed crippling stomach pain which he tried, like the jolly-old pro he is, to ignore. Advertisement Hide Ad Advertisement Hide Ad John Tothill: This Must Be Heaven | Contributed The symptoms worsened and it turned out that his appendix had been obliterated, causing intra-abdominal sepsis that could have killed him. The poor man was hallucinating with it and could barely move. His description of the ordeal is wrapped in a velvety bundle of whimsical flourishes, in which he touches upon everything from the Margate Crab Museum's devotion to destroying the bourgeoisie to the ways in which his love of indulgence is hindering his goals. After several playful teasers, he tells us about Edward Dando, an unapologetic Victorian oyster glutton and thief. This was a man, declares the foppish Tothill, who was free; who truly knew himself. It's deliriously fun being in the company of someone who wears his learning with such playful elegance, every sentence and gesture delivering a big laugh. He's like a devilish cocktail of the best elements of Oscar Wilde, Miles Jupp and your favourite naughty friend whose persuasive 'Oh, let's have one more, darling,' leads to you calling in sick the following day. Advertisement Hide Ad Advertisement Hide Ad It was also during the Fringe – two years ago – that Thanyia Moore ended up in hospital. Well prepared and supported, she was excited for the debut show that she'd been working towards for years, and she was going to 'Usain Bolt' it. But her pregnancy (she was in the first trimester) started going wrong almost immediately, and what followed were frustrating medical interventions, a necessary trip back to London, cancelled shows and a heartbreaking emotional response. Thanyia Moore: August | Rebecca Need-Menear Moore, an assured and charismatic presence with a persuasive style of storytelling, has taken time to process what happened and how she reacted at the time (blocking her loved ones, for example, after telling them what had happened), and, despite the sadness of her story, she's always in control of the mood. We're left with a clear-eyed insight into the myriad ways in which people react to losses such as this, underpinned by a comfortingly logical acceptance of statistical probability of unviable pregnancies. And, as she puts it, the comedian's curse is that 'We don't have a bad day; we have material.' Advertisement Hide Ad Advertisement Hide Ad Alison Spittle's medical problems were life-threatening. In BIG, her finest show to date, she describes how a cellulitis skin infection triggered by a fall turned into septicaemia, which then caused her organs to start shutting down. And in true millennial style, she started having a panic attack in hospital because she didn't have the capacity to reply to everyone who'd sent her messages of concern on Instagram. A gifted storyteller with an irresistible turn of phrase and a true gift for comedy, she has some important things to say about fatphobia – from amusement parks and clothes shops to outright cruelty during a moment when what she needed was empathy. The day Adele slimmed down was her 9/11, she jokes, and, sadly, Spittle almost feels as if she has to justify the medical reasons behind her own significant weight loss. 'I became fat so I could destroy the NHS from within,' she quips, partly in response to a well-meaning but ignorant suggestion from a family member that she lose some weight. And while, politically, Spittle had claimed her space, the sleep apnoea, pre-diabetes and cellulitis all had the same cause and she didn't really have a choice but to go on weight-loss injections. People develop their own forms of armour following traumatic experiences, and Spittle trusts us with a brief but courageous insight into something that happened to her when she was very young. BIG is a beautifully crafted piece of work – as important and funny as it is radical. Advertisement Hide Ad Advertisement Hide Ad Ben Pope's need for surgery wasn't an emergency, but his problem was causing discomfort. Like one in 100 people with penises, he had phimosis – an excess of foreskin. As with an Amazon delivery, there was too much packaging, he jokes. But although he covers, with great wit and gentle, instinctive charm, the process of deciding to 'Marie Kondo' his body, entertaining interactions with medical experts and the ensuing pain (gosh, but there's a horribly vivid simile to look forward to), The Cut seems really to be about the value of communication and love. On one level, there's the conversation his girlfriend instigates about his intimate problem (and some funny-cos-they're-true observations about how ill-equipped we are linguistically to compliment a penis), while on another he shares insight about his relationship with his father, who lived with Parkinson's over the past decade of his life. In order to help his dad continue to do things he loved, Pope, a man who's clearly as generous as he is self-deprecating, would facilitate the older man's interests in a way that appears to have brought them both emotionally and physically closer. There's nothing mawkish here, though: it's just a beautifully constructed and communicated slice of life that also happens to be funny all the way through. Advertisement Hide Ad Advertisement Hide Ad The term 'main character energy' could have been invented for Cat Cohen, who's made a career out of her dramatic self-obsession. It's a trait that might be tiresome in less boldly talented hands, but delivering it via comedy cabaret packed with some extremely candid personal information, she's a true star of our age. Cat Cohen: Broad Strokes | Dev Bowman At the age of 30 the American discovered she'd had a stroke (though it's hard to determine exactly when it happened), caused by a hole in her heart. Having been a lifelong hypochondriac who will forever be outraged by having been called a 'normal girl' at stage school, she felt not only vindicated by the medical revelation, but thrilled about the attention it would deliver. Sure, she had to cancel a Fringe run and European tour for the surgery and she makes artful sport about the fact that she hates not to be in control, but she certainly gets a lot of mileage out of it and the adoration from her largely millennial audience seems absolute. All shows run until 24 August


The Herald Scotland
an hour ago
- The Herald Scotland
Vital support for Fringe stars of the future under threat
The UK and Scottish governments will be asked to secure the future of the Keep It Fringe Fund before the end of the year. Read more: However it is understood the at-risk initiative may have to be scaled back dramatically or could be shelved completely unless significant funding can be found. The Fringe Society, the arts charity which oversees the event, has been inundated with more than 2275 applications to help meet the costs of putting on shows at the last three festivals but has only had funding to approve support just over 400 to date. The Edinburgh Festival Fringe has been running since 1947. Picture: Jess Shurte The fund was launched in 2023 by Fleabag star Phoebe Waller-Bridge - a former award-winner at the festival - when her charity donated £50,000 for a pilot. At the time said she wanted to support acts who would not otherwise have the chance to bring work to the festival. The first year of the initiative, which was match-funded from donations to the Fringe Society, supported an initial 50 bursaries. Phoebe Waller-Bridge launched the Keep It Fringe Fund three years ago. (Image: 2019 Invision) The Fringe Society was able to extend the fund for another two years after securing permission from the UK Government to transfer £1m it had been pledged for a project to create a new headquarters in a former school building. At the same time, Succession star Brian Cox launched a dedicated US Keep It Fringe Funding to help bring American artists and companies to the event. The initiative is aimed at acts who do not have an existing profile at the Fringe and face financial 'barriers' to taking part in the event. Acts demonstrating 'the greatest need and the boldest ideas' are said to have been prioritised by the panels of independent assessors who score the applications. The Fringe Society has seen growing demands for the bursaries, with an initial 677 applications in 2023, 749 last year and 850 for this month's festival. There is uncertainty over whether the UK Government will continue its support of the fund, even though it has just unveiled its first official partnership with the Fringe Society. The deal is expected to raise the global profile of the Fringe, which is featuring more than 3800 shows from 63 countries this month, and see the festival take part in efforts to promote 'the best of Scotland' at future trade missions, ministerial visits and other overseas events. The Fringe Society has struggled to secure Scottish Government funding in recent years after having applications to arts agency Creative Scotland rejected. However it is hoped that a one-off Scottish Government grant of £300,000 announced earlier this year will lead to further investment being secured by the society. Fringe Society chief executive Tony Lankester said: 'The Keep It Fringe Fund is a work in progress at the moment. 'We are going to be talking to all of our funders, donors, patrons and corporate partners to see how we can replenish the fund. 'The beauty of the Keep It Fringe Fund is that there is a simple, straightforward, transparent process. There's no smoke and mirrors. 'We are putting together an ask to the Scottish and UK government, which will include the UK Keep It Fringe Fund. We would like to secure funding for at least the next three years. 'It's hugely important that it continues. We know the difference it is making to individual artists. For a lot of them, it really has made the difference between them being here and not being here.' Scottish Secretary Ian Murray told The Herald: 'The Keep It Fringe Fund is a really important initiative and has been really successful. 'It has put money straight into the pockets of artists to be able to bring their shows here. That is something we want to support. 'A key part of the new strategic partnership we have signed with the Fringe Society is to make sure we can make the festival as accessible as possible. 'It is hugely expensive to put on a Fringe show and those costs are going up all the time. 'The beauty of the Fringe was to allow fledgling artists to come to Edinburgh and show the world what they could do. 'If the costs of doing the Fringe becomes so expensive for fledgling artists and means they cannot bring their shows here it will mean the big guys just clean up. 'There is a real Fringe that it would turn the world's best cultural ecosystem event into just another place to see the top shows. That's the main thing we have to guard against. 'It's really important to make sure that the Fringe is affordable and accessible. 'There are big discussions to be had about housing, rents, travel and how much it costs to put on a Fringe show. They are all things that will be having discussions with the Fringe Society about.'