Tuesday’s first show was at 12.45pm, this meant LAY IN! That was some good sleeping. I crept out of bed without waking and found a Sainsbury’s for some breakfast. I knew the kitchen would be limited but no toaster? No toaster? So I opted for croissants and fruit thinking at least it would be a healthy-ish start to an inevitable day of snacking and naughty food from trucks. I’m happy drinking instant coffee, Thom is not, so I stopped and got him a ‘proper’ coffee. Now, I’m not saying I’m a hero but that was rather cool of me. Best girlfriend ever.
I don’t know how it happened but yesterday was mainly comedy with a dash of theatre, today’s schedule called for heavy theatre with a chance of comedy. The first show was a Harold Pinter play called A Slight Ache. Kitson is Thom’s holy figure, mine is Pinter. You can keep your Shakespeare who may be able to paint cities with nothing but words, Pinter can use one word to change the whole atmosphere of a scene. I wish I could do that. This is why it pains me to say A Slight Ache at the Pleasance Courtyard was fine. Just fine. Don’t tell Thom I said that, we were in the early stages of our theatre vs comedy argument and it pained me to start on a bum note. Despite the two for one offers, it kind of sucks being there so early as nothing had really been reviewed yet or gained exciting momentum.
The croissants hadn’t quite satisfied so we devoured the first of many burritos before seeing our second play of the day: I Killed Rasputin by Richard Herring. I was not aware Mr Herring did such things but he’s written six! Five written and produced before 1999, according to Wikipedia, I Killed Rasputin is his first in 15 years so you can forgive my ignorance as I was 11 when his last play came out and I’d yet to develop taste. Judging from Herring’s attitude in his stand up and Leicester Square Theatre Podcast, or as the cool kids are calling it RHLSTP (RHLSTP!), I like to think he’s gone ‘this is a cool story, I want to share it’. That sense of fascination and fun comes out in the writing and direction of his surreal story of repetitive Monk killing.
In the beginning, Will Adamsdale was ‘that guy from Campus’, he then became the writer of one of my favourite plays: The Victorian in the Wall. I did not know Adamsdale history with Edinburgh, winning the Perrier Comedy Award in 2004 with his stand up show Jackson’s Way. Due to back problems, this was more of a sit down show. His 2014 Edinburgh show Borders is explorative; Adamsdale asks big questions but can’t quite answer them himself due to wonderfully original methods of distraction. They take on a life of their own, almost literally in this case, as the whole audience realise together that they too haven’t seen the little people from that banking advert in a while either. This show is hard to categorise, I want to call it Storytelling and I want to make that a genre, a bigger genre because it’s the best of all of the worlds; comedy, theatre, fiction, spoken word, poetry. It’s going back to our roots, gathering together and listening to an epic saga of writing an Edinburgh show on the train up.