In the afternoon, with Kate Copstick, I recorded the first in a revived series of Grouchy Club Podcasts with stunt-loving PR guru Mark Borkowski who is up here partly to find right-wing comedians who may appear in a series of TV shows on RT (Russia Today). Well, that is my spin on it. Really he is looking for anyone who is so original and different that they are unlikely to get onto the currently bland and unoriginal British TV channels. Mark, in performance terms, has a taste for the bizarre and the original. He is well worth a listen.
After that, I went to see Robert White’s show billed as a comedy opera InstraMENTAL which was – rather dauntingly for the first Fringe show I have seen this year – utterly brilliant. Robert won the Malcolm Hardee Award for Comic Originality in 2010 so can he be nominated again? Who knows? This unified show is so different it is not what he won for before and, unexpectedly, Kate Copstick’s voice turns up about ¾ of the way through. When I texted her about being in his show, it was news to her.
I had forgotten to take a photo of Mark Borkowski during the podcast recording, something I did not fail to do at Fringe Central when I was accosted by Narin Oz, who showed me a photo on her phone of her blue budgerigar in front of a blue painting created by Malcolm Hardee Award winning Michael Brunström’s belly.
Anyone present at the relevant Brunström shows will be aware this is not a joke.
Narin also showed me a photo of herself covered in mud and pointed out that her show #DirtyWoman includes copious amounts of real mud. She told me all her #DirtyWoman shows are being billed as ‘work-in-progress’ shows and, after the Edinburgh shows are finished, she will do previews in London of the already-performed shows. She said she reckons she may end up performing back in her mother’s womb. You maybe had to be there.
Later, I saw that infinitely-rare thing, an act that has arguably been made even better by going to see that Gaulier man in France. Admittedly, we are talking about the already-highly-talented Elf Lyons. In her show Swan, she is telling and acting out the story of Swan Lake in eccentric costumes with dancing and mime and ongoing spiel in a form of Franglais. It is difficult to do justice to it all in a written description but, in parts, it is a sort-of disguised stand-up show with a Gaulier veneer, a lot of movement and her personality making it sparkle. She was justifiably playing to a full room.
In the audience watching her was Juliette Burton, whose Butterfly Effect show was today and will in future be (it is getting heavily booked-up ahead) playing to full houses.
All of the above titbits are part of the joy of the Fringe.
But I also received an email today from an act telling me about their show’s director:
“I have paid (the named person) more than £2,000 over the last year to be director for my show and (the person) just told me TODAY that they won’t be coming up to the Fringe this year as if that’s the norm. They say their other clients who have shows here don’t mind. And I am even expected to pay an invoice for August because (the person) says they can direct my performance from London. It has really knocked me for six. This same person was here for my first few shows last year. I thought a director’s job was to sit in the audience early on to take notes. I worked really really hard doing various jobs to pay the director’s fees.”
Then, as I was about to post this blog online, Kate Copstick turned up at 1.00am (we are sharing a flat) saying she is due to review highly-esteemed musical act Die Roten Punkte for the Scotsman tomorrow night (well, tonight, in fact) – their opening night – but British Airways have lost all their musical equipment collected over many years and a very, very specifically-designed drum kit.
“British Airways,” Copstick told me, “don’t seem very concerned”.
Meanwhile, Die Roten Punkte are trying to borrow equipment and have arranged an emergency technical run-through at 07.00am.
The Edinburgh Fringe. Home of dreams and nightmares.