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Scotsman
4 days ago
- Entertainment
- Scotsman
Fringe theatre reviews: The Quiet Earth Beneath A Highly Suspect Murder Mystery
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... The Quiet Earth Beneath ★★★★ Summerhall (Venue 26) until 25 August Writer and performer Casey Jay Andrews has carved out a niche on the Fringe for thoughtful, poetic storytelling, and this year occupies the larger space of the Summerhall Dissection Room, which she makes cavernous by the addition of a single ghost light. That's appropriate because The Quiet Earth Beneath is preoccupied with caves, in general and in particular. The specific caves in question are Porth Yr Ogof in the Brecon Beacons, which manage to be both popular with beginner cavers and one of the most dangerous cave systems in the UK. Caves in the show come to represent what lies beneath, from buried emotions to the Underworld itself. Advertisement Hide Ad Advertisement Hide Ad Andrews' narrative shifts between anecdotes from her own experience of caving and the story of a woman named Sienna, travelling to a Bed & Breakfast near Porth Yr Ogof where she and her former lover stayed regularly. Returning is a kind of ritual, an attempt both to make her loss feel real and get some closure from it. As Andrews speaks, musician and composer Jack Brett creates a live soundscape, a kind of concept album for the show. How do we get closure, these days, she ponders, in a society where there is so little ritual? What happens if you need to gather up the broken pieces of something, put them together and understand them before you can let them go? Generally wise and thoughtful, here she does occasionally sound like a self-help book. Structurally, the show feels a little uneven. There's a long preamble about rituals and why we need them before the story takes over. A segment about people who go to the Underworld to attempt to bring someone back doesn't feel fully realised. Yet this is still vintage Andrews: beguiling, empathetic, insightful, and with the bonus of a genuinely nail-biting finish. Susan Mansfield Dots at the Space | The Space Dots ★★★★ Studio at theSpace @ Niddry St (Venue 9) until 19 August Of the abundance of one-woman shows on offer to watch at this year's Fringe, Dots by Annie Cheung is not one to miss. Vulnerable, honest, yet also hilariously funny, Cheung skilfully takes her audience through the traumatic experience that is becoming an adult, as she recalls her journey on Earth so far. Advertisement Hide Ad Advertisement Hide Ad Moving from Hong Kong to London, abandoning her law degree to study acting, and maintaining her chastity until marriage, Annie Cheung has navigated many challenges. On stage, she speaks back to her internal thoughts, trying to find the source of her current depression and thoughts of suicide, and subsequently leaves loving herself a lot more. Annie's depression is high functioning, in which often, she is able to push on through everyday life, ignoring her unwell state of mind although occasionally, it does come back to bite her. Dots is a journey of self-discovery, uncovering the personal causes of depression to cast them aside, and finally uncover selfhood. The performance is immersive and intelligent, utilising only a chair and a collection of balloons to construct palpable worlds, from evacuations at Kings Cross tube station, to promiscuous nights spent with men after divorce. This, of course, is made possible by Cheung's invigorated performance; she is loveable, and carries great stage presence, yet often, her delivery of speech to an unknown presence, likely her depression, or depressive thoughts, does become arbitrary. The best theatre inspires its audience to reflect on their own life, in response to what is presented before them. As Annie Cheung's Dots gives insight into one woman's challenging experience of life thus far, an audience may join her reflection to consider the challenges of their own lives, and even leave feeling a bit better off, as we've all successfully made it this far alive. Róisin McMullan A Highly Suspect Murder Mystery: The Betray-tors ★★★ theSpace @ Surgeons' Hall (Venue 53) until 23 August Advertisement Hide Ad Advertisement Hide Ad You're best advised to take friends or make friends in this interactive mastery where you have to identify the murderer. A contestant in a very thinly disguised version of The Traitors has been found hung, drawn and quartered. The gameshow's remaining participants are all possible perps — and with names Trey Torous and Hugh Dunnit they're Highly Suspect, a Cumbrian company who have finessed this format into a series of popular shows. The character's names give you an indication of the script's humour — a catalogue of groan-worthy puns — while the real invention is saved for the clues. Splitting the audience off into teams, the proficient cast present you with a folder of evidence, predicated on codes, clues, crosswords, and puzzles. It's murder as a parlour table-top game where kids have just as much of a shot at finding the culprit as criminologists. The team element is key as no individual has enough time to study — so if you're expecting to be passively entertained, you're out of luck. The cast do well interacting with the audience to ensure no-one is ever truly stuck and it's good, fun change of pace even if the correct solution ultimately eludes you. Rory Ford King Arthur's Body ★★★ Greenside @ Riddles Court (Venue 16) until 23 August Part mystical healing ritual, part over-the-top sex pantomime (if that's even a thing), King Arthur's Body is - let's dare to suggest - an experience unlike any other you're likely to have had. Gandalf-like Merlin raises the young Arthur in the ancient ways, but when the time comes to withdraw a sword from a stone and produce a progeny, the newly crowned King finds himself unable to choose between luscious Guinevere and hot knight Lancelot. So - well, you can guess the rest. Not that US-based Faerietale Theatre's production leaves much to the imagination, as clothes are shed and fantasies indulged. It's a show of high camp, unapologetic double entendres and also deep belief, as sexual and gender fluidity are celebrated and held up as practical means of healing the world - whether ancient or modern-day. Advertisement Hide Ad Advertisement Hide Ad Writer Mountaine Jonas provides stentorian alliterative declamations as a string-bearded Merlin, while Jacob Reid is an eager, athletic and increasingly free-thinking Arthur, and Jenna Emilie Jaffe as Guinevere knows exactly what she wants. Don't expect fresh revelations about one of England's historical heroes, but for a provocatively queer and deeply silly rethink of age-old legend, King Arthur's Body offers plenty to stimulate and excite. David Kettle Tell Me Where Home Is, I'm Starting To Forget | The Space Tell Me Where Home Is (I'm Starting to Forget) ★★★ theSpace @ Surgeons' Hall (Venue 53) until 23 August It's quite fascinating the sway that The Wizard of Oz continues to hold over queer culture. It's inspired any number of solo autobiographical shows (both straight and gay) and while New York actor Michael DeBartolo happily only refers to it sparingly, it doesn't seem wholly necessary. That said, DeBartolo does look quite fetching in his sparkling ruby sneakers and it's perhaps a useful comforting touchstone in this 'comic monodrama' — an autobiographical piece that addresses some darker aspects of the gay experience. It's particularly unfortunate that DeBartolo's first encounter with a gay man on film is Dylan Baker's pedophile character in Todd Solondz's movie Happiness. If there's trauma here, it's lightly — but not insensitively — handled and you're never too far away from the next laugh. DeBartolo is an engaging storyteller, charting his development from the first inklings that he might be gay to a series of 'unhealthy infatuations' with men — often straight —that have a tendency to turn either abusive or tragic. Advertisement Hide Ad Advertisement Hide Ad The Oz references seem a vestigial trace of an earlier draft that haven't quite fallen away yet but DeBartolo still holds your attention. Rory Ford Supermarket 86 ★★★ theSpace @ Surgeons Hall (Venue 53) until 23 August The year is 2007, and when a blizzard hits upstate New York, five teens are trapped in a supermarket overnight. In this lovable locked-room comedy, Supermarket 86, they discover they are connected to one another in ways they had not expected. 'Maybe we can bond?' quips one, and sure enough, after the store generator goes down, a bottle of vodka and red party cups appear, and they begin a game of Truth or Dare. The script impresses with its self-referential humour – 'Who are you clarifying this for?' 'Give the people what they want.' 'You couldn't make this up.' – and its sharp yet wholesome characters, who are simultaneously capable of quick-witted comebacks, and singing Puff the Magic Dragon by heart. Each of them is experiencing growth and change differently, and this allows for a range of emotionally complex perspectives onstage, with the space holding multiple, often conflicting, viewpoints at once. Themes of queer love and heartbreak are especially powerful, as the five become increasingly trusting and willing to tolerate vulnerable truths. However, while its circular narrative structure provides a satisfying conclusion, the play's final moments require an injection of energy to sustain each character's individual storyline, particularly as tensions are spotlit and resolved.
Yahoo
04-06-2025
- Business
- Yahoo
18 Elevated Zara-Style Pieces That Are Flying Off Amazon Shelves — Starting at Just $9
Zara's summer collection is particularly swoon-worthy — especially the tops, blouses and dresses. But if you're on a budget, there are alternative spots to get a similar look for less, like say, on Amazon. After all, a few pieces at Zara can easily turn into a thousand-dollar venture. Luckily, we found some stellar Amazon picks that won't break the bank, starting at just $9. There is a wide selection of linen-looking tops, silky button-up blouses and billowy dresses that scream "old money" on Amazon right now. We rounded up 18 of the best, most Zara-looking pieces to give you an effortlessly put-together look wherever you go. By the way, several picks on this list are on sale, so snap them up fast! 1. CEO Energy: This double-layer chiffon blouse comes in endless colors and patterns, giving you a millionaire aesthetic. 2. Silky Satin: You'll want two (or three) of these chic button-front blouses with a plunging V-neckline and a classy lapel collar. 3. Yacht Wife: Stripes, cap sleeves and knit materials are a few telltale signs of a yacht wife aesthetic. Give all the signals in this comfy tee! 4. Halter Tank: Everything about this high-neck tank is classy. It features bow tie, pleated detailing and a luxe-looking material. These 18 Tummy-Hiding Sundresses Channel a European Boutique Aesthetic for Less 5. Layering Essential: Look no further for a fitted cap-sleeve top that makes your waist and arms appear slimmer. 6. Pretty Princess: Embroidered material and ruffle sleeves make this cotton top a must-have for brunch, barbecues and everything in between. 7. Classy Grandma: Button-front sweaters are ultra-trendy for transitional temps and cool summer nights. However, the gold buttons definitely give this pick an elevated look. 8. Trendsetter Alert: Puff sleeves, a relaxed fit and a creamy beige hue are just a few highlights to love from this sophisticated knit top. 9. Modest Lace: This lace-embellished shirt pairs beautifully with a tank top, white jeans and strappy sandals for everyday errands and dinners alike. 10. Hamptons Boutique: Hey there, Miss Confident! This knee-length dress looks expensive with its embroidered material and banner hems. 11. Classy Act: Get ready to be the center of attention while wearing this solid-colored short-sleeve maxi. It has puff sleeves and a billowy, tiered skirt that flows nicely as you walk. 12. Everything Outfit: Look no further! This simple and dainty dress is perfect to throw on when heading to the office or patio parties. 13. Swiss Dots: This ultra-flattering mini dress has lantern sleeves, a square neckline and designer-like ruching. Hidden pockets are just a bonus. 14. Center of Attention: Don't be surprised if heads turn. You'll look model-tall and extra expensive in this sleeveless satin maxi. 15. In Tiers: We're grabbing this versatile stretchy tank maxi in two colors (with a third in the cart). 16. Delicate Era: Give your upscale aesthetic a boho twist with this flutter-sleeve midi. 17. Tummy-Hiding Design: Have you ever seen such a flattering dress? This casual mini has a front tie detail to discreetly cover your midsection. 18. Wedding Guest: Ruffles, pleats, bows, oh my! This cocktail dress will have you glowing from the inside out. Channel European Style in These 17 Loose Blouses That Are Surprisingly Under $20 Us Weekly and Yahoo have affiliate partnerships. We receive compensation when you click on a link and make a purchase. Learn more!
The Guardian
05-05-2025
- Entertainment
- The Guardian
Paul Kelly's Post at 40: the album in which a future star found his voice
In 1984, Paul Kelly packed up his few belongings, borrowed his father-in-law's Holden and made the 13-hour drive from Melbourne to Sydney. He had barely a dollar in his pocket and no place to lay his head. Don Walker, who was taking a breather from the music business after the breakup of Cold Chisel, offered him a temporary refuge in his Kings Cross double-storey terrace. He had a white grand piano in the front room. Not quite 30, Kelly wasn't even on his last chance. In industry terms, he was done. He'd made two failed records with his band the Dots, long since disavowed. Michael Gudinski dropped him from Mushroom and washed his hands. Still, the grand piano called. Inspired by a Lovin' Spoonful song, Never Going Back, and Robert Johnson's From Four Until Late, a sad goodbye-to-all-that song tumbled out on the keys. It was From St Kilda to Kings Cross. Kelly played it to Walker when he came home. 'You've got your own thing now,' Walker told him gruffly. For Kelly, it was a watershed. 'I'd found my own little patch of ground, was hoeing a row nobody else was,' he reflected in his memoir, How to Make Gravy. Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning The song would open his third album, Post, released 40 years ago this month. The album didn't chart. But it recouped its smell-of-an-oily-rag recording costs, paid off Kelly's debts and provided the launchpad for everything that followed. After dossing with Walker, Kelly moved in with Dragon's keyboard player, Paul Hewson. Hewson had songwriting fingerprints on that band's big early hits, April Sun in Cuba and the notorious Are You Old Enough? Hewson and Kelly swapped songs and stories. Both addicts, they occasionally went out and scored. Kelly was unsteady on his feet, but his confidence was growing. Guitarist Steve Connolly and drummer Michael Barclay soon followed him to Sydney. Barclay wouldn't end up playing drums on Post, though. The songs were spare and haunted, supported only by Barclay's high-harmony singing and Connolly's beautifully understated leads. Usually, he just added minor embellishments to the vocal melody. The trio gained a residency at the Strawberry Hills hotel in Surry Hills. The Sydney rock scene was obsessed with the ghost of Radio Birdman; all raised fists and leather jackets. Standing in front of such an audience with an acoustic guitar and no drummer took some nerve. Many of the songs on Post dealt with addiction and its consequences. On the first side were Incident on South Dowling, White Train and Blues for Skip, a lyrical description of writer's block featuring a shiver-inducing lead break from Connolly. The second side further blurred the line between art and autobiography. There was Adelaide, an ironic kiss-off to Kelly's old home town (which annoyed his family), and Standing on the Street of Early Sorrows, a song to an adolescent crush named Julie. There was also (You Can Put Your Shoes) Under My Bed, which rhymed 'spastic' and 'fantastic'. A music publisher in Nashville thought the song had potential, in the hands of the right country singer, if only Kelly could change that line. Sign up to Saved for Later Catch up on the fun stuff with Guardian Australia's culture and lifestyle rundown of pop culture, trends and tips after newsletter promotion He never did. Not because he thought it sounded any better back then than it does now – it just stuck. 'You get a lot of bad or boring rhymes pass through your mind while you're writing and you do your best to weed them out, but sometimes an awkward one muscles its way in, hunkers down under the song-skin and won't be removed for love or money,' he wrote in his memoir. And there was the final track, Little Decisions, a homily that celebrated the virtue of putting one foot in front of the other in hard times. Kelly's voice was simultaneously at its world-weariest and warmest: Work a little harder Keep your mind on death Get your things in order Take a deeper breath Shortly after recording was complete, Paul Hewson left Dragon, then at the height of their success courtesy of the album Body and the Beat and its massive single, Rain. He died of an overdose on 9 January 1985. Without a deal, Kelly began shopping Post around. Michelle Higgins, Gudinski's trusted PR at Mushroom, locked herself in the Sebel Townhouse on Mushroom's credit card until her boss re-signed him. Gudinski relented, releasing Post on a Mushroom subsidiary, White. The album's title alluded to the series of farewells embedded in the songs: to St Kilda, to Adelaide, to the Dots, to drugs (though that would take a while longer), to Kelly's first marriage, and to Hewson, to whom the album was dedicated. On release, Post was a stiff. Kelly's then-manager, Stuart Coupe, wrote in his book Shake Some Action that Gudinski's reticence seemed to have been vindicated: 'To all intents and purposes, Paul Kelly had delivered his third commercial dud.' But word spread, and better times were ahead. Connolly and Barclay would form the core of Kelly's new band, the Coloured Girls (later renamed the Messengers). With them, he would re-record full-band versions of four Post songs for his next album: the sprawling Gossip. That album would take Kelly from the margins to the mainstream. Post, though, was the essential backstory. It's the album on which Kelly found his voice – the one that established him as arguably the foremost Australian singer-songwriter of his generation.
