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Edinburgh Fringe is becoming a Jew-free zone

Edinburgh Fringe is becoming a Jew-free zone

Spectator2 days ago
Is the Edinburgh Fringe a Judenfrei zone now? With just a week to go before the Fringe kicks off, Jewish comedians are being unceremoniously cancelled. One venue has allegedly cited 'safety concerns' from staff, saying the extra muscle to deal with the threats to Jewish acts made them feel more unsafe. So instead of protecting Jews, you ditch them? What a shameful capitulation to the anti-Semitic mob.
Numerous Jewish-themed comedy shows have been binned at the Whistlebinkies venue in the city. Rachel Creeger, Britain's only practising Orthodox Jewish comedian, has been told her show Ultimate Jewish Mother is no longer going ahead. Jew-O-Rama was next for the chop. That's a comedy night that features a 'rolling line-up of Jewish and Jew-ish comedians'. It's been running at the Fringe for nine years. Not anymore. Seems funny Jews aren't allowed in 2025.
And now the host of Jew-O-Rama, Philip Simon, says his one-man show 'Shall I Compare Thee in a Funny Way?' has been cancelled at the Banshee Labyrinth venue. 'I am still processing the concept that in 2025 I can be cancelled just for being Jewish', says Mr Simon. We should all be processing that. We should all be asking how it is possible that at a comedy festival in the 21st century, Jews are being booted off stage.
The reasons given by the venues for their blitzing of the Jewish acts are ridiculous. They say it is not because the comedians are Jewish – I guess it is entirely coincidental that every one of the gagged comics is a Jew. No, it's because their bar staff said they would 'feel unsafe' in the presence of such acts and the beefed-up security Jewish performers tragically require in 21st-century Britain.
Listen, here's what you do with members of staff who say Jewish performers make them feel unsafe – sack them. Get those people the hell out of your establishments. To prioritise the emotions of pint-pulling Gen Z fainthearts over the artistic liberty of Jews is a grotesque betrayal of the freedom to speak and the equality of Jews. Extra security for Jewish acts should make you feel furious, not 'unsafe'. Furious that a Jew can't even crack a joke these days without requiring an army of heavies.
Philip Simon says he was told that his one-man show was scrubbed because his views on 'the humanitarian crisis in Palestine' do not align with those of the venue. What are his scandalous views? Well, he calls himself 'pro-Israel' and he has pleaded for the release of the Israeli hostages. Wanting Jews to be freed from the violent clutches of a neo-fascist militia is a cancellable offence now, it seems.
There's a neo-McCarthyite vibe to these venues' erasure of Jews who fail to toe the 'progressive' line on the Israel-Hamas war. Perhaps next year, to save time, the Fringe should check the thinking of every Jew who applies to perform. 'Are you now or have you ever been a sympathiser with the Jews still being held captive by Hamas? Are you now or have you ever been a believer in Israel's right to exist?' Answer carefully, Jew – your livelihood is on the line.
It really is that stark: Jewish comics are being robbed of income because Fringe venues are too cowardly to host them. 'We depend on performing for our livelihoods', said Rachel Creeger. And it's not just the Fringe that's rejecting Jewish acts. This is an 'ongoing problem faced by Jewish performers in this country', she says. 'We are being cancelled and often silently boycotted.'
These are the awful wages of the Israelophobic frenzy that has swept the cultural establishment these past two years. It's all the rage now to boycott Jews. Last month two shows by Radiohead's Jonny Greenwood and the musician Dudu Tassa were cancelled after threats were made against them. The problem? Tassa is a Jew from Israel. And we can't have that.
Under the left's bigoted regime of Boycott, Divestment and Sanctions (BDS), Israeli performers have been banned or booed and Jewish film festivals have been cancelled. Imagine thinking you're on the right side of history even as you obsessively make your life Israeli-frei; even as you agitate for the shutting down of Jewish film nights and squeal about feeling 'unsafe' because a Jew with a mic is telling a joke.
If a huge line-up of black comics were kicked out of the Edinburgh Fringe, we'd call it what it was. So let's say it here, too: it is heinous, intolerant and discriminatory to cancel Jewish acts at the behest of fragile bar staff or potential anti-Jewish mobs. It is the blackest mark against the Fringe that some of its venues would rather shut Jews down than take the necessary measures to let them perform safely and freely. Throwing Jews to the wolves – shame on you, Edinburgh.
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Kate Copstick: "The church of the clown has never been broader."
Kate Copstick: "The church of the clown has never been broader."

Scotsman

time21 minutes ago

  • Scotsman

Kate Copstick: "The church of the clown has never been broader."

Cabbage the Clown: Cinemadrome | Lina Sakoviča Our comedy critic Kate Copstick meets a wide-ranging cavalcade of clowns performing at the Fringe this year. 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... From court jesters and village mummers, via Pierrot and Pagliacci , through Grimaldi's circus rings strewn with the doors of exploded cars, it seems the clown in all its complexities has always, somewhere, been with us. Now though, the church of the clown has never been broader, and Edinburgh is offering communion with them all this year. Dan Lees created both the Malcolm Hardee Award winners The Establishment and The Flop and if modern clowning has a Grand Master, he would be it. Advertisement Hide Ad Advertisement Hide Ad 'I think clowning, maybe in its purest form, is an ability to take the simplest idea and make an audience laugh," he says. "Basically this is because we are not laughing at the idea but at the idiot who thinks it is genius. Someone clever said, 'a comedian tells a joke, a clown is the joke'. We laugh at the clown, and they are happy to be laughed at.' There is, nowadays, so much 'me' in 'comedy' that there is less room for those laughs. Look at the comedy programme and so many shows are about me and my diagnosis of something or other, me and my issues, me and my problems. For clowns, the audience is the thing, the laughter is the thing. Having spent some comedy time doing spots at The Stand, Mr Twonkey was persuaded, 'as an experiment', to do the 2009 Fringe. 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He also created the legendary single official performance of Twonkey's Custard Club which submerged the performance space, audience and performer in shaving foam, and destroyed his laptop. 'I hadn't thought it through,' he says. 'If people start enjoying it and laughing I have a tendancy to keep going until it all ends in tragedy." And that is my kind of clown. Elf Lyons: The Bird Trilogy | Elf Lyons Lady clowns are rarer. Or perhaps they just come in different forms. Elf Lyons cites Marilyn Monroe as having 'phenomenal' clown comic timing in many of her early roles, 'She used physical comedy because she wasn't given as many lines as her male co-stars,' says Lyons. Advertisement Hide Ad Advertisement Hide Ad The Fringe is showcasing increasing numbers of female funnies. Could the award-winningly hilarious 'Legs' of the Duncan Brothers have stood astride the Fringe in 2019 without the trophy-laden comedy talents of Julia Masli ? I suspect not. Julia is, of course, back in Edinburgh this year with Ha Ha Ha Ha Ha Ha Ha. As the title subtly indicates, it is very funny. Elf herself has been entrancing Fringe-goers since Swan in 2017, but it was not an easy debut. 'The constant critique from - often male - reviewers was that it was 'silliness for silliness' sake'. Now, in 2025, those same comments are directed at male clowns by the same publications but as praise, not criticism. Because for men, that kind of performance is allowed and we are so much more used to men being silly.' She is Gaulier trained, although, incredibly, not in clowning, and 'I would never say 'I am a clown' because I wouldn't have the audacity to, but I do say I use clowning. If someone says they're a clown, they should be able to make me laugh immediately just from being.' Advertisement Hide Ad Advertisement Hide Ad This is a high bar to set. 'I still think it's political for women to be silly," says Lyons. "It's still subversive when we do it, and that pressure can push us to have to reveal trauma or tragedy at the cliched 40 minute mark in order to show we have earned the right to be there. Which is ludicrous. If I want to be an octopus, let me be an octopus, I shouldn't have to have some tragic subtext to get there.' This is, she says, why women make stronger bouffons (dark clowns). 'They have more anger and more to say and more things to blaspheme against." Talking of which, Narin Oz – well known part-clown part-bouffon, who describes herself as 'an overexcited clueless child alien trapped in a sexy Turkish Cypriot adult body' is back in Edinburgh trying to reconcile her inner and outer selves in Inner Child(ish). And, in the tradition of suffering for one's art, in these days of rocketing accommodation costs, is planning to camp for the month. As is Fulbright scholar and queer clown Edu Diaz. Although not in a 'freezing in a tent' sort of way. Clowning and magical realism are his things and A Drag Is Born is his show. The story of a man of advanced age, abundant body hair, and limited talents, who becomes Carnival Queen. Advertisement Hide Ad Advertisement Hide Ad Typically, we wait ages for one truly queer clown show and then two come along. Self proclaimed 'tragic fool' Cabbage the Clown's drag-clown debut hour, Cinemadrome, comes on digital wings of eight million adoring online fans. 'A buffet of genres,' apparently. Look out for the popcorn. Dan Lees: The Vinyl Countdown, Greatest Bits!, PBH's Free Fringe @ Banshee Labyrinth, 10.10pm, until 24 August Twonkey's Zip Wire to Zanzibar, Laughing Horse @ Dragonfly, 8.15pm, until 24 August Elf Lyons: The Bird Trilogy, Pleasance Dome, 8pm, 12-25 August, Advertisement Hide Ad Advertisement Hide Ad Julia Masli: ha ha ha ha ha ha ha ha, Pleasance Dome, 11.15pm, 11-24 August, Narin Oz: Inner Child(ish), Just the Tonic at the Mash House, 4pm, until 24 August A Drag is Born, Zoo Playground, 6.05pm, until 24 August

Meet three comedy couples performing at the Fringe this year
Meet three comedy couples performing at the Fringe this year

Scotsman

timean hour ago

  • Scotsman

Meet three comedy couples performing at the Fringe this year

Ada & Bron: The Origin of Love Our comedy critic Jay Richardson meets three couples who are presenting shows together at the Fringe this year. 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... Ada Player and Bron Waugh Don't be surprised if you see Ada Player and Bron Waugh walking in circles around a park, conversing in silly voices. That's just how they create characters. They met while studying theatre at Bristol University, joined the sketch troupe Bristol Revunions, then moved in together, but only began shooting videos with each other during the Covid lockdown. Since then, they've co-created the Bafta-nominated Channel 4 sitcom pilot Peaked, starring Player as part of a love triangle; won a BBC Comedy Collective bursary and are sharing their absurdist character comedy showcase, Ada & Bron: The Origin of Love, at the Fringe. Advertisement Hide Ad Advertisement Hide Ad The couple's process is usually to 'start with funny voices, build the characters, ask what's the emotional story and then add the jokes' explains Player. Incorporating 17 relationships, their festival debut is 'a bit dark and twisted' but 'done in a really campy, over-the-top manner' Waugh adds. 'Every character says something sincere and different about love in quite a weird way'. Featuring affairs, werewolves, James Bond and dancing robots, it's 'a rollercoaster' Player suggests. 'But it's feelgood, it ends in joy.' Indirectly inspired by Aristophanes' theory of soulmates, via the Mika album of the same name, The Origin of Love also features their Revunions colleague Ed Lyness on piano. And the couple admit to a fascination with awkward 'third wheels'. 'I don't know why that is' Waugh confesses. 'Because we're in an insular bubble as a couple I guess, it adds danger and excitement. Player agrees. 'Because we live this duo dynamic, having a third energy shakes it up, really gives it drama. There's tremblings underneath all of our relationships. Whether that be a third person or just the outside world intruding.' Advertisement Hide Ad Advertisement Hide Ad Complementing each other, clown-trained Player 'can go on stage with no safety net and perform with nothing', whereas her film graduate boyfriend likes 'the story set', he doesn't 'ever waste the audience's time.' Waugh smiles. 'I'm more relaxed improvising with Ada though. I check my brain and we can just play in the moment.' Ada & Bron: The Origin of Love, Pleasance Courtyard, 11pm, until 24 August Marnina Schon and Micah O'Konis Couplet: Honey Honey Moon Moon When Marnina Schon and Micah O'Konis' wedding venue was destroyed by wildfire, they quickly began composing. 'There was this sign, 'Welcome to Farnsworth Park', behind it burnt out rubble. That's kind of funny' O'Konis reflects of the awful omen. 'We felt we should process it through a song.' Advertisement Hide Ad Advertisement Hide Ad Premiering Our Wedding Venue Burned Down at a firefighters' fundraiser in Los Angeles was 'delicate' Schon admits. Yet 'emotional'. Incorporating the Fringe into their trans-European honeymoon, Couplet, as they call themselves, 'workshopped' their debut and wedding concurrently. 'Which I wouldn't wish on anyone' Schon sighs. Classically trained musicians, they appear to have few boundaries onstage, bitching harmoniously about their couples counsellor. Yet dirty laundry is only aired on a 'lyric by lyric basis' Schon maintains. Writing their show, Honey Honey Moon Moon, 'I was pushing to go deeper, really reveal dark things about ourselves and get into a real fight in front of the audience' O'Konis confesses. 'But we quickly realised that's not fun for us and it's not fun for them.' Advertisement Hide Ad Advertisement Hide Ad Schon agrees. 'We don't want the audience to feel they should be getting paid as therapists. Even if we do make an audience member give us therapeutic advice at one point.' Recently described as the 'it couple of the LA Jewish/comedy/music/queer world', violinist Schon, pronouns (she/they), and guitarist O'Konis (they/them), 'unpack our intersectionality' in the song People Think We're Straight. 'The universe handed us a low point with the fire. But we got our happy ending making the wedding our narrative arc,' Schon relates. 'That actually made it a lot easier to explain our identities. Because planning a wedding, you're thinking about how much gender you include in the ceremony.' With Schon the more pessimistic 'performer-writer' with a 'musical theatre background' and O'Konis a more easygoing, 'writer-performer', 'a little bit more indie rock', their voices 'didn't sound so good together' when they began dating nine years ago. 'We didn't have a great blend,' the latter recalls. Yet over time they've prioritised the double act. 'And we've definitely merged.' Advertisement Hide Ad Advertisement Hide Ad Couplet: Honey Honey Moon Moon, Assembly Rooms, 6.25pm, until 24 August Joz Norris and Miranda Holms Joz Norris: You Wait. Time Passes. It isn't coincidence that Joz Norris' characters are darker and more intense since he got together with fellow comedy writer Miranda Holms. 'Neither of us are good at small talk' she admits. 'Storytelling, filmmaking, comedy, that's what I'm preoccupied by. I wouldn't find it easy being in a relationship with someone who didn't feel the same, who wouldn't just commit to silly things'. For the committedly experimental Norris, meanwhile, performing is easier 'knowing I'm accepted, liked and appreciated by someone who gets me. 'I've realised monsters, idiots, morons, braggarts and egotistical narcissists are what I find funniest. I can be the most flawed versions of myself and not need affirmation that I'm a nice person.' Advertisement Hide Ad Advertisement Hide Ad They met in early 2020, moved in together later that year and have channelled their combined energies into short films, Radio 4 sitcoms, hosting Eggbox, their comedy script showcase, and Norris' Fringe shows. There's some irony in his latest Edinburgh hour, You Wait, Time Passes, focusing on a character obsessing over his magnum opus while neglecting his loved ones. 'He's me if I really pushed the workaholism' Norris observes. 'Driving everybody away while slaving over something he believes is important, but is clearly just a waste of time.' However, it's Holms who confesses to being the 'perfectionist' in their partnership. With 'maybe a more visual, narrative brain … Joz is good at just getting stuff done, deciding that 'this' is the 'thing', this is how it's going to happen, and pushing through. 'We have very opposite ways of approaching comedy but we kind of meet in this happy medium of the two extremes.' Norris agrees. 'We've built a working language together. And being together, it feels like we have more licence to be creatively belligerent with each other'. Advertisement Hide Ad Advertisement Hide Ad Holms is credited as script consultant on Norris' show. And he reckons the abiding myth of the 'lone genius' comic is increasingly being challenged. 'I used to know so many whose girlfriends or partners were effectively working on their shows, in constant discussions about them, and they weren't credited at all. But I find it hard to make anything good without her eye, it always elevates it.'

Bebe Cave: Christbride
Bebe Cave: Christbride

Scotsman

time3 hours ago

  • Scotsman

Bebe Cave: Christbride

Bebe Cave: Christbride | Bebe Cave The actor and comedian waxes lyrical about her love of medieval aesthetics and her fascination with visionary female Christian mystics, a passion which informs her new Fringe show Christbride. 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... I first became bewitched by the romantic ideals of medieval girlhood as a teenager, when I watched The Princess Bride. Or was it when I was a little girl entranced by Aurora and her magical colour-changing dress in Sleeping Beauty? In fact, it might just have been when I advertised a particularly fetching pastel pink princess corset top with long trailing sleeves on Instagram. My sources may be shallow, but my desire runs deep. Oh, to be a young maiden, blushing and blooming, living in a turreted tower at the top of an old stone castle, sighing constantly, weaving tapestries at a spinning wheel by day and dancing at banquets by night. No responsibilities apart from being beautiful and god-fearing and breedable. Advertisement Hide Ad Advertisement Hide Ad A time when we didn't have to wade through thirsty Instagram DMs from men who think it's the height of romance to describe you as 'quite fit'. No, men back then in the good old days would joust to prove their honour to you! And ride on a valiant steed in a shining suit of armour for weeks, through rainstorms, fighting off dragons, just to catch a glimpse of you on the balcony, their lust satisfied by a simple kiss on your lily-white hand. These scenes conjured in the dark recesses of my brain make me want to throw my phone into a lake, and grow my hair so long it flows past my waist and tangles in the straps of my backpack. Except I can't throw my phone in a lake because that would be mental - all my stuff's on there! And my hair doesn't grow past my shoulders anymore, I should never have started highlighting my hair at 21. And my boyfriend isn't a knight, he's a stand-up comedian with a podcast. Not ideal! My perception of the medieval age, like many other delusional young women, is a rose-tinted and inaccurate one. It stems from misremembered snippets of childhood Disney films, a vague longing to sit somewhere with stained glass windows, and Taylor swift running into the middle of a field to kiss that comically handsome man with an open shirt in the 2008 music video for Love Story. Okay, so my current hyperfixation is anachronistic and potentially unfeminist - sue me! But it's not just me buddy. Why is there a cultural obsession happening at the moment, both online and in the real world, with the middle ages? Every day my algorithm presents me with montages of medieval inspired folk music, literature, television and pop culture. A filtered version of the medieval revival movement first popularised in the 1960s (think prog rock and colourful tights). It's like my own personal magic mirror, an aspirational reflection of the persona I'm trying to create. Advertisement Hide Ad Advertisement Hide Ad Chappell Roan cosplayed as a punky Joan of Arc at the VMAs, and runs around in a hennin (historical term for pointy princess hat) every chance she gets. The internet is chockablock full with medieval moodboards set to Golden Brown by The Stranglers, fashion trends are leaning towards the ethereal and whimsical, and everyone and their mum is reading some variant of erotic romantasy novel that involves being bedded by an elf king. My one-woman comedy show combines all of these interests of mine, but also attempts to pose a question: what would it have been like for a medieval girl who didn't want to follow the path of traditional romance? Christbride is the story of a teenage girl, Batilda Bigbum, who has aspirations of becoming a beloved patron saint, and escapes to live in a community of mystical nuns. At a time when marriage and motherhood were basically all that was expected of a young girl, to seek out a life of devotion, to become a mystic claiming you were on a conversational basis with God, was a hyper-independent and risky path to take. Very main-character energy. Jesus Christ might just be the perfect husband, he definitely doesn't leave his dirty socks on the floor (I've been told). Chappell Roan at the 2024 VMAs. | Getty Images for MTV I have been fascinated by the stories and lives of many medieval female Christian mystics like Margery Kempe, Catherine of Siena, and Julian of Norwich, all of whom broke convention, carved out autonomous lives for themselves, and lived fearlessly as visionaries. They were determined to seek out answers from the unknown, even if it cost them normal lives, steadfast in the belief of their ecstatic visions. I wish I believed in myself that much. Maybe that's why I've written this show. Advertisement Hide Ad Advertisement Hide Ad Though their world looked very different to the one we live in now, their spirit echoes through the centuries between us. They had the souls of storytellers, and I wanted to let their inspirational lives inspire me to make some live comedy. Visionary women passing on the baton. My own revelation! I hope they would be proud/not offended. Something about their choice to lead lives of harsh asceticism, and never compromise their own fantastical inner worlds, makes me think they would have thrived at the Edinburgh Fringe. Options were very limited for women back then, and I certainly feel lucky I have access to antibiotics and Netflix, but maybe my mystical daydreams have been stemming from a bit of jealousy. Maybe this medieval cultural interest comes as a response to our overstimulation. We have too many options, and screens, and debit cards and so we romanticise a simpler way of life. The grass is always greener! I love the vibrancy, whimsy and fantasy of the mid-century medieval revival culture, my current playlist is simply dripping in paisley and velvet (Gaudete by Steeleye Span may be the best song in the world?). The mood was one of storytelling and artistic flourish. It was grounded in reality and social issues but also had an element of the fantastical, with a lot of imagery around fairytales. I think the renewed interest partly stems from a sense of perceived innocence in this type of media: the music is played with real, often wooden instruments and sung with raw voices unaltered by studio equipment and synthesisers, the clothes are often handmade and embroidered, everyone's hair flows freely and life seems merry. It is very much based on authenticity and most importantly, connection. To the real world, to romance, to nature. Advertisement Hide Ad Advertisement Hide Ad It's basically the polar opposite to the life young people live now, a world dictated by fast fashion, social media and overconsumption. Perhaps we are craving this aesthetic that reminds us of childhood storybooks, and the safety that comes from those memories. I don't think we want to live the actual historical past, I think we just want to revisit our past lives. So come see my show this Fringe for a dose of nostalgic whimsical escapism.

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