If you were ever bored by the classics and never saw the point of learning about a lot of Gods on a mountain getting ordinary mortals to do ridiculous things for them, then make sure you take this chance not to let your children suffer the same experience and go and see Odysseus and the Really Freaky Monsters! Odysseus and the Really Freaky Monsters |  | The story starts as Odysseus crosses the seas of Ancient Greece to do battle with Troy. Ten years later, just as everybody is getting a little bit bored, Odysseus comes up with a cunning plan to use his faithful (pantomime) horse, Dobbinarus, to trick the Trojans into letting them into Troy. This production blends original script, music, movement and puppetry with a liberal splash of irreverent humour to produce a magical journey that will capture the hearts and minds of the children and parents alike. |
For it's not only a great title for an Edinburgh show, it's a fun romp through Ancient Greece that brings the rich and exciting adventure stories of Greek mythology alive for a new generation. Devised by the company and edited by Rebecca Russell, the story of Odysseus' quest not only contains the kind of great colourful characters, excellent puppets and silly jokes to keep the children enthralled, but there's also enough to entertain the adults, without their kids realising why they are laughing! If you can imagine a scenario where Troy is infiltrated with the help of a pantomime horse, a camp Hermes whose wings are killing him and a seven-headed Scylla monster who bears a remarkable resemblance to a certain female Scouse entertainer, then you get the general idea. And if you can chuckle at the thought of this Scylla making a none too bright Odysseus play Blind Deity to decide which goddess will help him on the next stage of his journey, then you will certainly enjoy this imaginative piece. Heroes
The original story is like one of those bad dreams where you really can't get to where you want to go. Odysseus spends years on the road getting diverted and distracted, and any recreation of the tale could drag on. But under the skilful direction of Phillip Reardon, the plot cracks on at a pace and our hapless heroes leap from scrape to scrape, with the help of three arguing goddesses and a great stage boat. Performance-wise, many of the actors show great versatility in playing a number of roles and it would be unfair to single anybody out for praise as it's a great team effort. But I have to mention Will Franklin, whose portrayal of the none too bright Odysseus included the kind of silliness that children love and the charm that adults will warm to. As the main character he has to really keep things moving and keep the audience interested which he manages with a lot of laughs - and a very revealing skirt! Different
Tidemark's second Edinburgh offering could not be more different. A quick warning first - if you want to be truly surprised by it, then please don't read on! Delicates and Smoke by Rebecca Russell are two monologues that deal with difficult subjects and show that you can never be sure what lies behind the eyes of seemingly ordinary people - unless of course, you are trained to spot the signs. And signs are what we are given throughout the two well-crafted pieces of writing, that expertly reveal bit by bit, the true nature of the characters. If you spot these indicators, you will see where they are heading. If you don't, the revelations will be more shocking. Delicates and Smoke |  | What turns a doting mother or loving son into a killer? Is is genetic, in-built, pre-determined or is there something lurking dormant inside everyone of us waiting to be triggered by a twist of fate? |
In both, there are devices that lull you into a false sense of security. The down to earth humour of a single mum in one, and a near naked man getting ready for a day's work in the other, are ordinary people that you can relate to, before the knife slowly twists and you realise that something more sinister may be going on. In Delicates, Moira is a mother who almost loves her kids too much and struggles to make ends meet, but her difficulties lie less in financial constraints than a mental disorder which could be a lethal form of child abuse. Rosemary Goodman has directed writer Rebecca Russell in this piece, which I found very moving. Her transition from wonderful observational wit to palpable pain is stark, and effectively introduces the audience to a subject that I am now keen to find out more about - Munchausen's Symdrome by Proxy. In Smoke directed by Jon Russell, Greg is a firefighter who so regularly puts his life on the line for others that he couldn't possible want to take life away as well - or could he? Roger Bartlett plays the troubled hero haunted by the demands of his late mother, and his ability to turn from genial to sinister with just a look in the eyes or a single word was quite frightening. Although, it has to be said, that once you've seen the first monologue, you kind of know that in the second, Greg will not turn out to be all he seems! Which is why before writing about this production I said don't read on if you want to be surprised! There may be a case for showing both pieces in isolation from each other if you want to gain the full effect of the second. But at the same time, putting them together shows how abuse, in whatever form, can be a perpetual cycle, from parent to child - and so on. And the lessons - we all need to open our eyes to other's suffering, but when you are specifically paid to do this, the job is difficult and the responsibility enormous. Are you taking a production to Edinburgh this year? Do you want to tell the world about it? If so, let us know by emailing threecounties@bbc.co.uk | 
