Festival Reviews

THE real delineation of that awkward step from childhood to fully-fledged adult status used to arrive on Christmas day.

Not stooped at 5am in front of a pile of pressies and a tangerine from Santa, but at the dinner table, that moment when you went for the sprouts and discovered that they're not really globs of giant's snot after all but quite tasty veg.

From there the adventure continued in a whirl of driving lessons, exams and fumbled dates.

In an era of Grand Theft Auto, teen-pregnancy and microwave burgers, however, coming of age in Britain is now more likely to involve a three-litre bottle of cider, a bus stop and some thieved solvents.

Yet, for all the bravado of getting off with Gaz at the back of the bike sheds, kids are kids. They're still full of the same mischief, humour, vulnerability and surprises that every other generation before has supplied. It's this wide-eyed zest for life that really stands out in School of Comedy, a riotous Bar Mitzvah for the country's next generation of top comedians led by Son of Rambow star Will Poulter.

Aged between 12 and 16 the group of eight perform-ers put on a very adult show. Mixing the professionalism of experienced actors with the fresh energy and enthus-iasm of new performers, there's slightly too much talent in the room for their own good, particularly from Poulter who stands out for his cheeky demeanour and adult mannerisms.

The show is entertaining enough to drive even the most seasoned comedian to make a date with the green-eyed monster.

Comprising children from two London schools, the group have already made a name on Youtube and appeared late night on BBC 3 with a raucous skit about a Jerry Springer style chat-show.

Their live performance is just as sharp as any TV clip, featuring some painfully well-drawn characters, like an arguing couple looking for the loo. Others answer questions we've never dared ask; what exactly does the plumber do while we're out?

But then the C word creeps in. And, let's face it, no matter your age, it ain't big and it ain't clever.

With it comes difficult questions about what is really going on in front of the audience; entertainment or exploitation of vulnerable youngsters?

The show's producers are keen to point out that the sketches are created and developed by the kids themselves.

Indeed, the subject matter is close to any teenager's heart; sex, pretentious parents and swearing. Yet, it is the job of the adults in charge to supervise teen-agers and set parameters - this doesn't seem to have happened. Director, Laura Black, has been quoted in the past as saying: "The whole thing with Edinburgh is that you've got to have a story or a slant to sell your tickets.

"If I just brought kids up and got them to do a couple of gentle sketches, then everyone would be like, 'It's a school play, I'll go and see the adults'. So I knew I had to do something a little bit different. But I don't think it's too shocking."

It seems sad that Black has such little faith in the children's talent that she indulged their adolescent curiosity about sex and bad language, rather than challenging them to step away from the stereotypes in their show and really embrace what kids have in abundance - imagination.

Until Sunday.

Beyond Breaking Glass

Universal Arts Theatre, George Street

*****

BY NELL NELSON

HAZEL O'CONNOR smashed onto the punk scene with her punk movie Breaking Glass and album of the same name in 1980. More than 25 years later she is back on stage – looking much the same – a shock of white-blonde hair, dressed in black, distinctly gravelly voice and stoked energy.

She relates her story from broken home in Coventry, dancing in Beirut and, with no affectation, meeting and performing with 80s icons Iggy Pop, George Michael, David (Dave) Bowie and Duran Duran. Then came the down-hill spiral of record company exploitation and a series of financially damaging law suits, followed by a skin cancer scare in California which led to her rebuilding her life in Ireland.

O'Connor shares the stage with harpist Cormac De Barra who demonstrates the versatility of the harp from creating sound effects of bombs falling in Beirut to beauty and resonance in her signature song, the hauntingly beautiful Will You. At the end of her set, she invites the audience to sing "Walk on, walk on, beyond the broken glass' – her anthem for now: living and getting on with life.

O'Connor paints an engaging and absorbing story of a young, talented but exploited musician. But she still retains her passion and energy with no regrets about the past – and if there are scars from the jagged edges of broken glass, they have now healed.

Run ended.

66A Church Road

Traverse Theatre

****

BY NELL NELSON

IT'S as if you are in the pub with Daniel Kitson and he is telling you about his recent love affair. It was love at first sight for Kitson, endeared by the doors with empty glass panes, the light switches that worked in tandem, the front door buzzer that didn't ring. After six years, when the affair ended, he had to acknowledge that they would never grow old together.

Kitson's love affair is with his house – 66A Church Road – and it is as real to him. He sits on stage surrounded by suitcases which he can manoeuvre to illustrate his love of sash windows and grudging acceptance of dodgy light switches in this clever and funny monologue.

His house is full of memories – he cried, laughed, kissed and loved in this house. Kitson explores the relationship and the importance of 'home' which everyone can identify with, and the acknowledgement that love does not always last forever, even if it is bricks and mortar.

Until Sunday

Big Jessie's Bag of Drag

Gilded Balloon, Teviot

***

BY BRIAN D MORGAN