Helena Snider interviews the minds behind ‘Sex Education’

I was lucky enough to meet with the writer and director of a new production entitled, ‘Sex Education’. With such an intriguing title, I wondered which category this would fit into at the fringe: was it a comedy? A play? A part-lecture? All of the above? Well, the answer is that ‘Sex Education’ is a comedy set in a school. It explores teenage relationships and the ways in which the current generation is learning about sex. But for many of the characters, sex education is the last thing they’re worried about: one of the students needs to boost his grades to get into University; another is trying to avoid being suspended. We get to know them all and what’s important to them, whilst they practise putting condoms on carrots. The play, then, follows Rebecca, a gap-year student and aspiring teacher, who decides to go back to school to shadow some lessons. She observes a sex education class. Questioning the manner in which sex is being taught, she convinces the teacher to adopt a radical and daring approach.

The topic of feminism in relation to sexual relationships is clearly important to both writer and director. Cressida Peever, the writer of this bold new production, explains what inspired her to write the play: “I feel that we still live in a society that perpetuates sexism. For me, secondary school was the place that I learnt to conform to gender stereotypes because it was easy. I feel that drama is a great way of making a subject accessible to a wide audience, and it has a way of sticking with you long after the play has finished, keeping the conversation going.” Philipa Lawford, the director, believes the play’s main appeal is its ability to be comical without trivialising serious topics. While she was initially drawn to the play “because it is very funny. Cressida’s writing is really sharp and witty and the dialogue feels very natural”, she also points out that the play highlights the fact that, “according to the current government guidelines for sex education, schools are only required to teach about the male orgasm, not the female one, and discouraged to promote the idea of having sex for pleasure.”

I ask whether the pair felt a level of responsibility to tackle the gender-stereotyped way in which sex education is often taught. Cressida says, “I don’t think schools promote misogyny, but many don’t challenge it, which is just as dangerous. Of course, there are fantastic teachers already obliterating gender-stereotypes every day. But at the same time young people today are exposed to sexual content at a very early age, and many get their sex education first from the internet and pornography, much of which has a sexist – even misogynist – lens.” It’s clear that the aim of the show is not only to induce laughter but also to start a conversation about the matter. As Cressida says, “schools and parents alike should encourage their children to challenge everything; to be curious and questioning and never accept information blindly.” This play is a great first step in that direction.



Helena Snider

Radio: “We wanted to look at the shadows that lie beneath everyone’s lives”

Daniel Mahoney interviews writer/director Archie Thomson and producer Emma Irving about their production ‘Radio.’


Firstly, what is Radio about?

Archie Radio is about six students and their last day in their university house. Clustered around the kitchen table, it all seems like a recognisable vignette until a forgotten radio at the back starts spewing secrets to people who were never meant to hear them…


Where did the inspiration for this story come from?

Archie: From two places, really. I happened across a great short film called The Gunfighter, in which the traditional voiceover becomes another character who is set on provoking revelations about the inhabitants of a Wild West town. I couldn’t help but wonder what the malicious voice would expose if it came on in my own student house. Secondly, the rise of technology is affecting our generation in ways that are unprecedented. The idea of constant surveillance, of a generation obsessed with how they look to the outside world, is more apt than ever. We wanted to look at the shadows that lie beneath everyone’s lives.


Radio is a story told from a student perspective – Do you think its themes will resonate with a wider audience?

Archie Of course! A lot of the play is about intergenerational conflict; the radio excerpts are almost always the voice of an older person giving their opinion on students. We like to think it’s not just a window into a modern day student house, but also a snapshot of the tensions between this generation and those that have come before it. It has been fascinating discussing the play with people of different age groups after the performance, because the morality in the play in particular does seem to provoke very different reactions from people of different ages. I should think it would be interesting for older people to see what young people think they think, as well as just the opinions of young people themselves.


Was it a challenge for the actors to manage and make natural the shifts in tone a black comedy like this demands?

Archie There is no doubt that halfway through the play there is a shift from light-hearted student humour to something far more serious and sinister. To manage some of the very difficult issues that we touch upon requires a great degree of sensitivity and flexibility, but they seem to be handling it well! Part of that comes from the fact that the process behind this show was a very collaborative one. Many of the lines belong to the actors, born out of the rehearsal room, and so they all seem to own their parts in a way that is quite unusual.


Obviously a focal point of Radio is, well, the radio! In a story you’ve stressed is very much about modern life, was it a deliberate choice to centre the story around a somewhat dated technology rather than something more up to date?

Archie Yes, it was a deliberate move. The radio was an original harbinger of change in the technological revolution, but it’s also in some ways a relic. It therefore seemed appropriate to have a radio – as opposed to, say, an Amazon Alexa – as the voice of the older generation criticising modern day young people. It also makes it eerier, because it’s something that never seems a completely natural part of its surroundings.


Radio is an ambitious production, performing in Somerset and London as well as here at the Fringe – What have been the challenges of organising something on this scale?

Emma We actually might be taking it to Oxford and Manchester too, depending on our reviews! The biggest challenge with anything like this is trying to raise the funds, of course; the cost of accommodation alone for a 10-strong cast and crew for 3 weeks of the Fringe is pretty hefty. We were extremely lucky to be given very generous support from OUDS, Thelma Holt Ltd, numerous Oxford colleges and from the Vice Chancellor of the university, without which the tour wouldn’t have been possible. Of course, it can also be a challenge to make sure every performance is as good as the last, but I think the fact that we get big laughs every evening spurs the cast on. Oh, and the endless health and safety forms are a nightmare.


Any profits the production makes are going to Stem4, a mental health charity – Can you tell us a bit about what they do and why you chose to support them?

Emma Stem4 are a truly exceptional charity who focus on early identification and intervention with teenagers. They support not only sufferers themselves but also their families and local communities. One in three students at Oxford use university mental health services on a regular basis, and there are a series of indicators throughout the play that the characters are struggling to cope with the pressures of early adulthood, so it seemed like an appropriate charity for us to support.


Finally: If the radio was to reveal something about you, what would it be? 

Archie Fortunately for me, I didn’t live near any fields of wheat or angry farmers growing up, so I have nothing that damaging to be revealed. But, I must say I’m very glad that it isn’t in my kitchen…


Daniel Mahoney

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The Recipe for a Perfect Fringe Experience – Genevieve Cox


For the Chefs:

  • 3 fabulous organisers
  • 8 fantastic in-housers
  • 4 fun out-of-housers


For the day events:

  • Lots of energy
  • A map to locate the many tiny venues and side-streets of Edinburgh
  • A sense of humour – especially for children’s shows
  • A notebook
  • A pen (maybe a few spares too!)
  • EFR jumper


For the evenings:

  • Lots of energy (again!)
  • A big ‘family’ meal to re-fuel
  • Alcohol
  • Time to write-up the two reviews of the day
  • Sleep!



For the Chefs:

    • Take one huge frying pan
    • Heat up to the highest temperature
    • Add all the ingredients
  • Mix well with plenty of energy
  • Serve up the stir-fry of individuals, all combined to produce a whole new group of great friends!


For the day events:

  • Don your EFR jumper (and try to maintain despite the heat of some ‘oven’ temperatures in smaller event-locations)
  • In a bowl, pack up your pen(s) and notebook and map
  • Locate the perfect space on the work-surface in the kitchen to begin work
  • Add energy, enthusiasm and dedication into the bowl
  • Stir well and allow all the ingredients to mix and be absorbed
  • Watch it settle
  • Lay to one side – ready to add to the mixture for the ‘Evening’


For the evening:

  • In an oven dish, heat up the big ‘family’ meal and serve the alcohol – this is now ready to serve
  • As a side-dish add an offering of energy
  • Collect the dish of previously-prepared ‘day events’ and put on table with other two main dishes
  • In a separate pot, pour some ‘time’ liquid and place on table too
  • Serve all together in a help-yourself buffet-style: oven dish, side-dish, bowl, pot – with a selection of plates for people to serve themselves
  • After serving and indulging, your guests should be able to produce the ultimate reviews before indulging in the final stage of the day: sleep!


Tips and Warnings:






The Recipe For An Ideal Fringe Show – Stephanie Young

Over the course of my five visits to the Edinburgh Fringe Festival, I have cultivated a Screen Shot 2015-08-24 at 14.37.55particular theatrical taste. It is not unlike that of a highbrow 6 year old (I am 21). So, here are some of the key ingredients I look for in a performance at the Fringe…

1. A good pitch How else do you expect to put bums on seats? Your show has been months, years, in the making, now is your chance to sell it to me! If all you can do is wave a flyer vaguely in my direction, I’m probably not going to come.

2. Tears Both of laughter and of sadness. Yes… I expect to be reduced to both… in the space of an hour. I like a show which propels me between emotional extremes; it’s cathartic.

3. A dash of audience interaction We cringe when a performer approaches us but really we are just being coy; secretly we love the spotlight and can’t wait to tell our friends about ‘that time where I had to propose to an actor on stage while he shoved cheese and onion crisps in my face and everyone threw plastic spoons at us…’ And if we genuinely are shy, it’s fun seeing the guy next to us suffer.

4. Puppets Seriously though, watch me as I become more emotionally invested in a little wooden figurine than real-life human beings.

5. A few drops of political/social satire A well-written jab at the government never goes amiss, especially when it is related to arts funding (um, hello, government, did you miss the major artistic phenomenon happening around us right now and its huge economic prosperity?)

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6. One cool venue A church cloister, a taxi, a shed, a 100 year old anatomy lecture theatre, a purpose-built Spanish prison cell

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7. Physical Theatre. Why not perform some physical theatre in said cool venue? Ok so you’ve got no budget for an exciting set, don’t whine about it, get creative and use your bodies to make it instead.

8. A lot of polish Not for your shoes, for your acting. Whether you’ve trained at Lecoq or not, you ought to adopt a professional approach to rehearsing and performing your show. Slick performances make for impressive theatre. Don’t be lazy.

9. Multimedia/technology Just to mix things up a bit. One show this year had a robot… A real robot! Clearly you need to be keeping up with the times. Live music would also be a sensible ddition.

10. One self-referential joke about acting in a production at the Fringe. Just throw one in somewhere. http://blog.edfringereview.com/2015/08/25/the-recipe-for-an-ideal-fringe-show-stephanie-young/ http://blog.edfringereview.com/2015/08/25/the-recipe-for-an-ideal-fringe-show-stephanie-young/ http://blog.edfringereview.com/2015/08/25/the-recipe-for-an-ideal-fringe-show-stephanie-young/ http://blog.edfringereview.com/2015/08/25/the-recipe-for-an-ideal-fringe-show-stephanie-young/ http://blog.edfringereview.com/2015/08/25/the-recipe-for-an-ideal-fringe-show-stephanie-young/ We love it when things get a bit ‘meta’.

Include a few surprise ingredients along the way and you have all you need to make my ideal Fringe show.

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It’s not too much to ask… right?

‘The King and Queen of the Universe’: Thea Hawlin in conversation with Tom Powell

NR 13-07-19 012 (1)Tom Powell arrives with tadalafil a hurried apology, ‘sorry we’re late… I was watching the last part pet online pharmacy canada of their dance class’. The ‘they’ in question are Powell’s cast for his new show, ‘The King and Queen of the Universe’ a new and original adaptation of a Kurt Vonnegut short story, the only one of its kind. Like proud parent, both he and Leyla Mclennan – the show’s producer, begin to tell me just what a feat this dance class is generic pharmacy for non-specialists: ‘they started off on You Tube videos and worked up’. From the very start it’s this kind of dedication that strikes me most about Powell lexapro weight loss and his team and http://viagraonline-pharmacyrx.com/ the show they have created.

Starting from a chance encounter with a Kurt Vonnegut short story ‘over a year ago now’, after a few months Powell realised he was ‘still thinking about this one story’. The story in question, ‘The King and Queen of the Universe’ struck him as ‘a succession of really beautiful theatrical

images’ a sequence that became unnervingly but happily ‘stuck’ in his head. ‘This young couple dancing, the surprise in the park, then what happens viagra cost online when the police burst in and take them…it

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http://evelinecaronphoto.com/2013/08/08/buy-brand-viagra-no-prescription/ seemed to me very much that they were scenes already formed within the short story’. Undaunted by the task of transforming Vonnegut’s prose to stage Powell instead felt an ‘overwhelming drive to write it’, a drive that took him into direct contact with The Kurt Vonnegut Society who gladly backed his ambitious plans for the short story. Vonnegut is an author who has produced hugely popular fiction and film; what is unique about this show is that it offers a new and often unrecognised perspective on a world-famous author.

NR 13-07-19 083Powell’s fascination with Vonnegut’s story comes not only from the beauty of his prose, but also its contemporary resonances. ‘I mean if you’re looking for a decade that’s analogous to our sildenafil dosage forms times the 1930s has so many parallels it’s kind of uncanny…

an echo of where we are now’. However, can cialis be split rather than forcing these parallels, Powell instead sees the relationship of the work with the audience as nexium one of invitation rather than dictation. ‘It creates an interesting space for thinking and provoking audience reactions’, forcing people to draw parallels themselves, rather than pushing connections onto them.

Powell relocates Vonnegut’s 1932 Chicago to 1932 London, para que es celebrex yet he assures me that they’re ‘making the parallel work’. The transition brand name drugs online pharmacy is one that took ‘a lot of hours’ of conscious effort and research to pull off, and inadvertently highlights even more resonances with our time, as for instance http://sildenafilcitrate-rxstore.com/ Stanley’s character as a Polish immigrant, which remains for Powell ‘well placed’ in 1930s England. This new position creates pleasing ricochets that question ‘what it is to be British or part of society’ acting as both a ‘touchstone for the play and for the time’; ultimately and most importantly for Powell: ‘it makes sense’.

Powell notes J.G Ballard’s comment that: ‘Vonnegut has looked the discount viagra pills world straight in the eye

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short, is confidently described by Powell as summing up Vonnegut’s entire ‘ethos’. Despite appearing as merely a ‘depiction of a strange event’ Powell revels in how Vonnegut is able to manipulate this, leading a reader into ‘a whole world of insight about how people live’.

Mclennan, the show’s producer, notes how in the online archives the show is the very first recorded Vonnegut adaptation to ever be performed at the Fringe. Powell

recognises the importance of this moment, describing it as a ‘great privilege’ to work with Vonnegut’s original material. When writing the piece he remembers how he was assured that it was important enough in its own terms to deserve a bigger stage, meriting ‘a different platform’ from world select pharmacy coupon http://genericcialis-onlineon.com/ a dominantly student

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scene. He laughs: ‘It’s a step up for me but a step down for him’.

NR 13-07-19 113Ultimately, for Powell, this is a step up into, not fame or fortune, but a different kind of ambition: ‘to do this kind of thing not for money, but for all of timesumo suits for sale canada, for the future’. With a prospective place at Goldsmiths for an MA in performance writing for Powell, the future seems set. Ruling the universe may be a little out of reach, but the stages at the Edinburgh lexapro generic festival? http://www.stephanierouchphotography.com/hoq/cialis-rush-delivery Only pharmacy jokes time will domain tell…


Thea Hawlin

We have another opinion on ‘Yellow Pears’ by Swept Up Theatre

I want to be able to love ‘Yellow Pears’ with its eccentric characters and whimsical story and its loveable creators, Rose Mcphilemy and India Crawford, who asked us to tell

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people about the show only if we liked it. Yet, although it is a perfectly good-natured show, ‘Yellow Pears’ is lacking in narrative and comedy.

What story there is is led by the assortment of weird and wonderful props that litter the stage. From these objects, including, crucially, generic equivalent for nexium a pair of yellow pears, springs a tale of friendship, betrayal and reconciliation. Mcphilemy and Crawford have big imaginations; the devised piece revolves around Raz’s market stall, which, on principle, never sells anything, generic lipitor persecuted by a barrage of regulations from The Ministry, which holds great parties but online viagra also works its employees into the ground.

The fantastical world of the play is matched by the beautifully constructed set. canada pharmacy Raz’s ramshackle stall, held together by bits of string and bunting, takes on real emotional significance with the plot. Itsy’s office is also strikingly suggested by two pink telephones and piles of black paper representing rules.

Rose Mcphilemy plays Raz endearingly, as a chronically shy individual whose life is touched by friendship. India Crawford is her match as Itsy, desperate to prove her business experience. The costumes are trazodone with prescription impressive, from Raz’s bowler hat to Itsy’s eccentric wardrobe of reflective cycling jacket, cardigan and diamante bumbag. However, the indian pharmacy larger-than-life http://www.stephanierouchphotography.com/hoq/levaquin-sale characterisations do start to grate after a while, particularly

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and costumes is aesthetically pleasing and stimulates the imagination, the show unfortunately lacks substance. ‘Yellow Pears’ sits on the fence and does not really commit to anything in particularinflatable water game. There is some physical comedy but this mainly involves a silly dance routine and exaggerated physicality. There are some moments that made me smile, such as an extended discussion on whether Itsy could laminate a trout, and Itsy’s cialis generic online job interview with Raz, but there is no extended comic through line. There are even moments that approach satire on our target driven, health and safety obsessed culture http://pharmacy-genericrx-online.com/ but they are cut short before they have made a point. The plot is simple, but the ending confusing.

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There is something very innocent, almost naïve about ‘Yellow Pears.’ The innocence is, at times, heart-warming but often seems a little out of place.

YP production shot 2






Hannah Greenstreet

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3pm at Zoo until the 26th August.

Anything But Idle – Idle Motion bring Turing and Borges to the Edinburgh Fringe


Thea Hawlin talks to Idle Motion’s Creative Director, Paul Slater.


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Idle Motion are a company that are anything but idle. Beginning ‘as essentially a school group’, over the past six years they have carved out a striking profile as a contemporary and original devised ensemble, taking inspiration from companies such as Complicite and Kneehigh. Juliet Stevenson, the company’s patron, is a firm believer that

‘at the heart of all theatre lies the concept of ensemble’ and sees the group as taking this idea ‘as their inspiration’. They ‘don’t set http://busystreetsocial.com/wsp/40mg-nolvadex out with a formula’ and yet are able to create moving and inspiring pieces of theatre that span decades and bring together generations.

Ensemble celebrex dosage is at the core of Idle Motion: ‘It’s all collaborative’, declares Paul Slater the Creative Artistic Director enthusiastically, ‘all highly collaborative’. Slater is a fan of plural pronouns, throughout the time I spent talking to him he used ‘we’ more naturally than ‘I’, a testimony to his striking humility, reminiscing about the ensemble’s formation by students merely ‘dusting off’ their old drama teacher—a notion that seems unthinkable when in person Slater is so full of energetic movement. He rejects the idea of himself as a prime mover, however: ‘I wouldn’t describe cialis myself as somebody that just stands there and tells everybody else what to do. generic cialis online All I do is open things and unpick things a little bit ordering erythromycin more and then that allows us to create more work.’

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Yet this process of ‘unpicking’ has resulted in striking success at the Fringe and elsewhere (the group recently finished their British Council http://busystreetsocial.com/wsp/canadian-pharmacy-cialis tour of China). ‘Idle Motion appeals to people on lots dukoral online pharmacy canada of different levels. We call ourselves a physical visual theatre company—which in a way can put some people off’ says Slater, emphasising how annoying it can be when viewers

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pigeonhole the genre, expecting ‘a rolypoly every two seconds’ or a piece that is performed in an ‘abstract language’ beyond comprehension. Is it? The answer comes simply: ‘Well no. What I like to think about Idle Motion shows is that at their heart they have really sensitive human stories. And it’s those stories that are the vehicle for the big visuals that we like to have. Often people have described Idle Motion’s work as like sitting in a cinemabouncy castles for sale, because we rely quite heavily on sound, we integrate lots of projection, and the way we move between stories and narratives is like film cutsinflatable camping tents. So for example in ‘That is all you need to know’ (the

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Bletchley Park piece) you’ll be thrust into the middle of the war and the 1940s, then almost in an instant—He http://voicesnotviolence.com/voc/motilium-ordering clicks his fingers—you’ll be taken to the Bletchley Park community who are planning the bunting in the 1980s’.

Idle 1

These severe transitions appear in a number of their shows, viagra & skin cancer with a split narrative contrasting modern and historical being a familiar feature. When asked if this is a deliberate move Slater responds, amused, ‘things kind of happen…there is no formula’. He emphasizes the spontaneous nature of the theatre the group create, ‘what we do is devise stories around material, so when we were looking at Bletchley Park, the second narrative is the story of the Park itself and how it was nearly bulldozed in the 80s and turned into a supermarket. And we didn’t actually realise this until we went [there],so angered by it, so frustrated by it, that actually something that was so central could be so easily forgotten.’ It was the moment when he realised ‘that this story needs to be told’. For Slater, by the end of the devising process the final show is merely ‘pulling the best threads of that material’ – a movement that reveals multilayered narratives almost unconsciously.

However, sildenafil kaufen the research that goes into the company’s devising process has increased dramatically, with That is all you need to know coming out of over two years of intensive and immersive research—a change from the ‘very tight’ three week span for

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their first show. ‘One of the things I’ve learned as a theatre maker is that you can’t just pluck things out of the air very quickly and hope drugs without prescriptions canada that you’re going to have something meaningful, it’s got to be an investment. You’ve got to invest, one: your heart into it, and two: your time, to make sildenafil generic sure you know the subject matter backwards, make sure that you understand it and the people’s stories that you’re telling and then hopefully what you present on stage is something that’s heartfelt and that people warm to.’

Idle 3

And gabapentin it certainly seems like people have warmed to the company; the group have been lauded with rave reviews, particularly for their ingenious

use of props. In some pieces we can spot ‘prop motifs’ like the reappearing books in Borges and I (a show that is itself reappearing this Fringe), or the Vanishing Horizon’s multipurpose suitcases. Slater reveals filing cabinets will feature in their most recent venture: ‘I said I want to see 100 filing cabinets onstage’. Sadly only four have made

their way to Edinburgh but Slater assures me it feels like a hundred ‘from the number of things that come out from them!’

Although literary inspirations feed into a show such as Borges and I Slater reveals how the smallest everyday things make it into the company’s work: ‘some of the dialogue of The Seagull Effect actually came from overhearing a couple arguing on a train’. This feedback between stage and world is echoed in Slater’s own interactions between his role as Company Director and Head of Drama at canada pharmacy colleges a local state school. The contrast between these roles, daunting to some, is something that Slater enjoys, relishing celebrex 200 mg both the ‘credibility’ his teaching gives him and the wider ‘playing field’ that

the school allows for creating

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idle it may seem, is everywhere, and he advises: ‘keep your eyes open to everything because the theatre isn’t just about what you’re seeing on the stage but what you’re seeing in the world around you.’

Thea Hawlin



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Need to Know is on at Zoo Southside from 2nd – 24th August, and Borges and I is playing ten thuoc nexium 40mg at the Pleasance Courtyard from 19th – 25th. Tickets are available from www.edfringe.com.


Ready for some jazz hands? The Oxford Gargoyles

oxford-gargoyles-jazz-a-cappella_31554The Oxford Gargoyles Jazz A Cappella The past few years have seen a surge in interest in a cappella in the UK, with films such as Pitch Perfect helping to popularise the genre. For the uninitiated, the term ‘a cappella’ doesn’t just mean singing without instruments, but pharmacy canada jobs denotes a style of vocal music typically featuring effects, such as beatboxing, and is increasingly accompanied by choreography and showmanship. Step out onto the Royal Mile during the Fringe and you’ll find it near-impossible to avoid. Impossibly perky students dressed in colour co-ordinated outfits dominate the busking stages whilst cialis blog thrusting flyers at passers-by, and rival groups serenade unsuspecting individuals on the street. Whilst it http://cialis-tadalafil-onlinein.com/ would be generic pharmacy easy to assume this is a relatively niche care boutique viagra entertainment form, student a cappella is weirdly ubiquitous at the Fringe, and competition is viagra covered by insurance to fill up venues grows stiffer by the year.

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no strangers to this unexpectedly competitive generic celebrex scene, arriving uses buy viagra for viagra in Edinburgh in just over a

week to begin their eighth consecutive year performing at the Fringe. The black-tied jazz a cappella group from Oxford University are hoping

to capitalise on the successes of the past year. Fresh from being crowned BBC Open Choir of the Year, the group’s recent activities have included recording their eleventh album, Musical Statues, and touring the USA.

oxford-gargoyles-jazz-a-cappella-25017-300I had the opportunity to watch their fifteenth anniversary concert earlier this year, where they previewed cheap generic viagra several of the viagra generic viagra in canada arrangements that will appear in their Fringe show. The Gargoyles’ repertoire ranges from arrangements of pop, canada pharmacy soul, jazz standards and the occasional Disney number. Headed by Musical Director, Rebecca Sharp, their hour-long show interweaved intricate scatting with witty choreography whilst making use of their impressive soloists. Rejecting the temptation to simply transcribe songs, note for cialis 5 dosage note, from their original forms, the real appeal of the Gargoyles is their focus on jazz and musicality. It is not uncommon for their arrangements to split into twelve-part harmony and their songs, both jazz standards and pop alike, are underscored by rich jazz harmonies and

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As a student group, a cappella necessarily needs to flagyl tablet is used for be slotted around the demands of degrees and the Gargoyles face the annual challenges of a large turnover in membership. Henry de Berker, the Gargoyles’ publicity manager, notes that the annual change in personnel

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The Oxford Gargoyles Jazz A Capella, Edinburgh Festival Fringe 2He continues, “For us, the Fringe represents a great opportunity to cipro medication bring our music to thousands of people who have amitriptyline online come to the festival looking for something fresh and exciting that will impress them. We all love getting out and talking to people about the show, and there’s nothing better

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people you’ve met on the mile sat in the audience.”

The group are celebrating their fifteenth anniversary by bringing back some of their best arrangements from previous years, such as the beautiful And So It Goes (check out the video below) as well as premiering brand new ones. Energetic, musically impressive and refreshingly different, xenical weight loss results the Gargoyles are one to watch.



Anjali Joseph, Marketing Manager of edfringereview.com.


The Oxford Gargoyles are performing at C Venues from the how soon does cialis work 31st July to 17th August at 2.20pm.

2,500 years of political philosophy in just over an hour and a half…A Theory of Justice: The Musical

408640_152858578197926_1082345706_nI have a

theory. Or rather, I had a theory – that “musicals” with the tough-sounding language of philosophical academia

in their titles were best left to fresh-faced, eager philosophy students who would scurry along to the theatre with lined paper and spare ink cartridges to take notes on this new-found fountain of knowledge.

As it turned out – this was a terrible theory.

Esteemed philosopher John Rawls has a much better theory – a theory of justice. Or at least he will do by the end of this musical: one hour and forty minutes of catchy songs, infectious enthusiasm and unflinching comedy.

Seeking inspiration for a self-defining philosophical frame-work (and a jolly ending to a jolly bactrim without prescription musical), Rawls accidentally embarks on a romping trail though the history viagra purpose of ideas, meeting the jazzed-up versions of an all-singing, all-dancing Mill, Locke and Rousseau, to name but a few. He is hounded by an buy tadacip online equally intellectually ambitious Robert Nozick, played by a suitably evil Luke Rollason. (The will-he/won’t-he drama of Nozick attempting to find his own philosophical theory before

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Rawls does is about as close to plot tension viagra 50 of 100 mg as this joyous riot of a production gets). Rawls also seeks the aptly named love of his life, Fairness. Played by Rosalind Isaacs, the heroine’s pensive soprano solos add an edge of refinement to the resounding chorus of belting voices, which are well-suited to the stage of musicals.


I first saw A Theory of

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be found stumbling out the Oxford Playhouse into the bitter February air, eyes sparkling and voices raised http://cialisonline-cheapstore.com/ in the umpteenth chorus of “I have a theory/ a theory of justice”.

The stage had been beautifully decked

out to point towards each historical era of canada online pharmacy Rawls’ travels, a set which reached its pinnacle cheapest antabuse of achievement when a bewildered hero stumbled across Plato and Socrates lounging among Greek columns, expounding ideas to a delightfully toga-adorned society of three. The trio’s particular buy levitra online line of camp hilarity is just one of the many highlights that we look forward to in recurring scenes.

Of course a new audience, a new setting and a couple of google searchviagra levitra uses replaced cast members mean that A Theory of Justice will be viagra a different experience in Edinburgh to the production that was first rolled cialis generic versus brand name out in Oxford. Yet I am convinced that the highly competent directing of Esme Hicks will ensure another roaring triumph. I even have another theory – that the changes http://pharmacyrx-canadaonline.com/ in the performance justify my skipping merrily off to see the musical all over again.



Georgina Wilson