Thumbs Up & Recaps of Edinburgh Festival

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The Dark Philosophers

At the Edinburgh Festival in the past week, the National Theatre Wales and Told by an Idiot’s The Dark Philosophers, a bible-black but brilliantly funny adaptation of Gwyn Thomas – and Blind Summit’s The Table.
The Asian-themed international festival opened with Peony Pavilion, a ravishingly beautiful piece by the National Ballet of China.  Judith Mackrell praised its “rarefied language of colours, symbols and visions”. Response to the other big EIF openings has been more mixed – Wu Hsing-kuo’s one-man King Lear has got to be one of the worst evenings I’ve spent in the theatre for a good while – but our classical critic Tim Ashley was blown away by pianist Melvyn Tan’s performance of John Cage’s works for prepared piano.
On the theatre side, Tom Lamont has assembled his alternative festival awards – all the way from “Slickest response to a mobile phone interruption” (actor Russell Woodhead) to “Scariest pre-performance disclaimer” (Dance Marathon at the Traverse). Catch up with his other highlights here.

The above is a summary re-take/post from the UK’s Guardian. For the entire piece, click here. Below is a video of Brian Logan who explores different types of improvisation on the Edinburgh fringe, and takes a Chaucerian workshop with the ‘hard bardic’ group The School of Night. He meets the Phill Jupitus Quartet and finds improv breaking out of its Whose Line is it Anyway?

Below is a video of the centrepiece of the international festival’s opening weekend in Edinburgh: the National Ballet of China, which performed a sumptuous adaptation of The Peony Pavilion – a classic Chinese tale of love lost, then mystically regained. Adaptor and director Li Liuyi, choreographer Fei Bo and producer Zhao Ruheng talk to the Guardian’s AndrewDickson about the piece and the company’s tumultuous history, describing their hopes for the future of dance in China.

Photo Credit: Toby Farrow

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