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A Knock on the Roof Traverse Theatre   The blurb is a useful summary for this one. “Mariam prepares for war. She knows that the army often drops small warning bombs on residential buildings in Gaza, giving tenants 5-15 minutes to evacuate before a rocket demolishes their home. She decides to train for the possibility of this "Knock on the Roof", frantically (and often humorously) practicing how far she can run in five minutes, and what she can carry to safety. Heartbreaking, gripping, and surprisingly comedic, this timely solo show directed by Oliver Butler premieres ahead of a highly anticipated Off-Broadway run in New York City.”   We sadly live in a time where it’s impossible to tune into any news reports without witnessing horrifying images of conflict and destruction whether it is Ukraine, Gaza or elsewhere. At some point we will being to encounter more of these stories of personal and political strife in out theatres.   Khawla Ibraheem is a playwright and actor from the occupied Golan heights, on Israel’s northern border; and in her own monologue “A Knock on The Roof “she plays Mariam, a young Palestinian mother living in Gaza with her four-year-old son when the Israeli assault on Gaza begins, following the Hamas attack on south Israel in October 2023.    On stage with nothing but a chair, Ibraheem delivers her monologue at a cracking pace but genuinely connects with each audience member through eye contact.   The show begins with the house lights up as Mariam draws the audience into her life. Her tone is light, confiding, funny. According to her, she’s a “cool mum”, not one to smother her son with worry.  She resists her mother’s pleas to go and live with the rest of the family. She can cope with the danger. We hear of Mariam’s daily life in Gaza: the power cuts, the sewage-filled sea, her four-year-old son’s inability to fast during Ramadan. Then the war begins, and we’re immersed in the terrifying and surreal reality of living under the threat of annihilation at any moment.   Her husband is studying in another country, her mother moves in, and Mariam begins to prepare. She practices a routine, using a pillowcase packed with books as a stand in for her son, a backpack of essentials, and running as fast as possible. How far can she run in fifteen minutes down seven flights of stairs and into the bombed streets of Gaza?  Soon she is training her mother – jogging around the living room. It becomes obsessive. Khawla Ibraheem embodies all her characters with confidence. It is a heart-breaking story which spins to an inevitable hellish and abrupt conclusion.    The entire story is utterly tragic and the monumental stress that individuals must live under in this kind of war zone is immense. It becomes normal for Miriam but for the audience it is edge-of-the-seat stuff. Lighting and sound contribute to a production ostensibly played on a bare stage. As things begin to unravel, we see opposing shadows on the wall.  It is eerie and adds to the chaotic tension.   Essential and necessary theatre. Ibraheem puts a face to the 40,000 Palestinians killed so far in a barbaric conflict.    Kate Gaul

Queens Summerhall   In “Queens” the historical figures Mary Stuart and Elizabeth I are two washed-up, undead drag queens. Together with Penthesilea and Valkyrie, they have been living a shared existence in Limbo for around 500 years. In the state of in between there were enough different sub- and parallel worlds for each of them to rule. Through an earthquake, the gates to the present now open. Confronted with their earthly past and in the face of unchanged patriarchal power structures, the idea of trying a joint regency suggests itself.   Anne Welenc celebrates her debut as a writer and director with "Queens". Previously, she was involved as an actress in transdisciplinary performance projects such as "All in" and "Traumgirl". "Queens" moves between opera, drag and drama and is based on critical feminist research into the queens Mary Stuart and Elizabeth I and their portrayal in German drama. In the blurb we are told: “It plays with their literary, historical and pop cultural heritage to allow new readings on the relationship between gender and power.” Trashy drag with an intellectual edge is the vibe. It lands like a wide-ranging survey of possibilities.  I found it fairly incoherent and because of that I am not 100% sure just how successful the work is and exploring its themes. But the costumes and makeup are excellent. The actors sing well – fortunately as it is billed as an opera of sorts. “Queens” comes to Edinburgh Fringe as part of the German Showcase and it’s always good to see what the Germans are up to! Kate Gaul

Nobody Meets Nobody Pleasance at EICC   The Jerzy Grotowski Institute has created a unique pop-up stage, “The Grotowski Institute Cube”, at Conference Square. From 3 to 24 August, this independent space is hosting as many as 51 events, including multiple screenings of performances that are the latest achievements of artistic constellations originating from Teatr ZAR.  The Cube is certainly the star of the show – it’s a beautiful structure with flexible bench style seating and is immediately evocative on entering. It is a technically sophisticated space and feels like an adult play-pen. “Nobody Meets Nobody” is one of three performances that you can see in container ‘the cube’. This is work produced and created under the influences of the Grotowski Institute, from their base in Wroclaw, Poland. This is a performance piece that asks you reflect on the essence of a relationship. Created through experimentation and improvisation if offers audience a chance to experience the methods of Grotowski’s laboratory theatre. “Nobody Meets Nobody “presents a man and a woman in what unfolds as a relationship drama.  Almost completely rendered physically (there are the occasional words) this is a very fraught hour of theatre.   The blurb tells us that this is “physical theatre of emotions. A man decides to leave his partner, but after a sudden accident, he never leaves their shared space. This tense situation results in an extraordinary shift in bodily impulses and their human relationship.” The production may be pointing to a bigger philosophy about relationships but that was lost on me.  The work is difficult to engage in and it can feel as though we are trapped as an audience especially when the action onstage becomes violent or at least suggests violence.  But then life is violent and relationships can be destructive. It is a binary male/female exploration and at its base level hasn’t much to contribute to our notion of coupling. This is another story about power and manipulation even in the most intimate moments. For the production of “Nobody Meets Nobody” chairs, rope ladder, a fan and pendant lighting are all suspended from the lighting grid.  Shadows can be manipulated to support the work of the two actors on stage.  The poetry of light along with the seering sound track is where the work is at its most satisfying. Kate Gaul

Antonios Revenge C Venues Alto Half Trick Theatre (NZ/UK) It is an unusual and ambitious idea to stage an adaptation of John Marston’s rarely performed Jacobean revenge tragedy. A play brimming with linguistic superfluity and spectacular gore, John Marston’s Antonio’s Revenge (1599) has been portrayed by critics as everything from a brilliant burlesque of revenge tragedies to a grotesquely overwrought literary disaster. While the play is, as the title might suggest, a revenge tragedy, the degree to which its author intended it to be seriously received as one is a matter of persistent critical contention. Part of this confusion lies in the play’s notorious excesses in language, characterization, and violence. The play’s bizarre ending is especially problematic: in the final act, Antonio and his friends not only torture and kill the villainous Piero, they also murder and cook an innocent child. Instead of being punished, however, these revengers are heaped with praise and offered rewards   Half Trick’s production of “Antonio’s Revenge” starts as it ends with plenty of bloodshed and murder. Bad guy Piero Sforza has murdered Andrugio and Feliche junior with plans to marry Andrugio’s wife and gain more power in the process but first he must take care of Andrugio’s son/ his soon to be son in law Antonio. Pervy, sexy and bloody this young cast make the most of the hour they have onstage keeping all the important plot points and key scenes intact. Five actors share eleven roles with complete costume changes.  It is quite a feat!  The cast are obviously enjoying themselves and this is a joy especially as this is a very late night slot at the Fringe (perhaps adding to the play’s spooky/horror feel). It’s not always 100% easy to follow but that doesn’t matter much. We get the gist.  Strong work from Courtney Basset as Piero. Juliet Gentle as Antonio is also credible. Hats off to Half Trick – a company to watch.   Kate Gaul

How I learned to Swim Roundabout   This production is the world premiere of an award nominated play exploring what grief, fear and resilience are for a young black woman who fears the water. Playwright Somebody Jones received a Paines Plough Playwright Fellowship 2023 and was a Women’s Prize Finalist 2021 with this play. “How I learned to Swim” is her debut play.It ’ s an amazing debut play.   This is a solo performance in the Roundabout Theatre at Summerhall. Performed by Frankie Hart presenting a wide canvas of characters from her central character, Jamie, to the tough swimming coach, horrible childhood friends and a loving family.   Jamie is 30 and cannot swim.  Why? There was that incident back in her childhood that instilled her with a powerful dread of diving into the water, not to mention the stereotype that Black people can’t swim. In “How I learned to Swim” we experience one woman’s swimming lessons and an expansive (and often unknown) world of aquatic Black history and myth. The play switches between the youth and adulthood of reluctant swimmer Jamie, who is haunted by her brother’s disappearance. Jamie’s encounters with her instructor and a spiritual guide are placed against a backdrop of history - including the “Middle Passage” of the transatlantic slave trade, the watery Afrofuturist world of American musicians Drexciya and the despicable legacy of segregated swimming pools in the US. So, this is much more than a play about learning to swim. It also explores inherited biases, grief and the importance of pursuing closure.   The setting is the edge of a pool and the combination of blues and greens in the art finish, the chrome ladder handle and the story of the play are extremely evocative.  You can really smell the chlorine!  The scenes are punctuated with imaginatively tingling sounds of waves, drips and water.  Our suspension of disbelief Is complete in that we often believe Jamie is actually floating in water whether it is in the pool or at the beach.   Swimming brings Jamie an increased sense of independence but playwright Somebody Jones emphasises the essentially communal properties of water itself, which will support Jamie if she has faith when easing herself into it.   This is a compelling and dense piece of theatre.  As a debut play it has incredible depth. Humour abounds, and Frankie Hart’s performance is charming if a bit shouty. It may sound like it’s good for you but it delivers its powerful political messages in a character driven work. Kate Gaul

Sawdust Symphony Zoo Southside   “Sawdust Symphony” appears at Edinburgh Fringe as part of the Made in Germany showcase.  This is an incredibly unique production, made with incredible skill and love and it is definitely in my top ten shows of the Fringe. Ever. It has been performed over 100 times already, so it is slick, elegant and witty. Three men Michael Zandl, David Eisele and Kolja Huneck take to the stage with a heap of wood, power drill, hammers, lathe and a bucket of strange looking goop to present this hard to classify but absolutely unmissable hour of clowning-circus-theatre-dance and a lot of sawdust. The three are circus performers from Rotterdam and have worked together many times.  Here they share their obvious love of creating in a number of ways. On an elevated stage of wooden floorboards, a host of tools, timber and elements to support the crazy antics are hidden from sight until needed.   They call it a symphony but for my money this has the scale of an opera.  The show begins with the gents competing with each other to build what becomes a small chair each using three very different methods. Drill, nails or wood glue.  Then they attempt to sit on these chairs. This is humorous and eases the audience into the show that become increasingly bizarre.  Trap doors, surprise entrances and incredible feats of catch and juggling ensue. Oversized nails pop up through the floorboards.  Hammers are juggled. A spinning top is whittled and then becomes part of a mechanism of something much larger. One artist who wears a dress-like costume over his pants becomes a whirling dervish with a Cyr wheel – the activities are hypnotic and beautiful. And serve to move away from the prosaic to the poetic.   The lighting is superbly golden and highlights the wood textures and colour. An evocative and eclectic soundscape underscores the non-verbal action. I would hate to be part of the team who have to clean up afterwards.  I am sure sawdust is found in the oddest of places long after the season has finished.   This is a celebration of DIY, or working at a human scale and of finding the joy in success and failure. On the company website we are told “This piece talks about the human desire to create: the process from vision to construction, the tragedy of work and the relationship between tools and humans. Obsessed characters discover and transform their space and themselves to take the spectator into a unique DIY experience. “Sawdust Symphony” is an intense dialogue between satisfaction, frustration and the smell of gasoline.”   This is a must-see for anyone in Edinburgh.  It’s family friendly and showtime is 10am.  Start your day on a high because this show hits the nail on the head. Literally! Kate Gaul

My Mother’s Funeral: The Show Roundabout   Kelly Jones’ play for Plaines Plough asks what happens if a loved one dies, and you can’t afford to pay for the funeral? Abigail is an emerging playwright under commission for a new play. She is anxious about the reception of her newest submission, “ Gay Termites in Space”.  Literary manager, Darren, assures her that her play is good, but he wants something different from a writer with her background. He urges her to write about what he thinks she knows best. And he wants it gritty, challenging and written from the perspective of someone who lives in a housing estate. The play begins as a satire on how the theatre industry treats working-class writers and the way it often gatekeeps the kinds of stories they can tell. The three actors in “My Mother’s Funeral: The Show” relish this story line and knowing laughs and groans from the audience suggest – sadly - the experience is not unique!   Abigail reluctantly delivers. The theatre company will pay a fee. You see, her mother has just passed away and Abigail and her brother can’t afford to pay for an oak coffin with brass handles like her mother always wanted; she can’t even afford to pay for the most basic funeral package. As an emerging playwright, however, she can turn her trauma into theatre in the hopes of acquiring a commission that will help her meet the funeral costs. It’s a bit of a long shot but no one is thinking clearly at this major life moment. Kelly Jones has created a touching portrait of the brother and sister around the loss of their mother. Abigail has taken control of organising a funeral while her brother smarts from the fact that he believes he was always second in his mother’s affections. Grief is on hold as Abigail desperately meets deadline after deadline from the literary manager and the actor on board to play the mum.  It is a funny play that has a strong emotional throughline. From playwright Kelly Jones: “Like most of my work My Mother’s Funeral: The Show” is inspired by something true; a relative passed away and we couldn’t afford a funeral. Naively, I hadn’t realised we don’t all get treated the same when we die. I’d been brought up with the old adage that death is the leveller between the classes. That is not true: dignity comes at a high cost and those with the least (as always) have to pay the most” Abigail is played by an energy fuelled Nicole Sawyerr. Her increasingly frenetic trajectory is both engaging and terrifying. Samuel Armfield is both the toffy literary manager and her brother. It is such a beautiful contrast in this double and with the change of a jacket and stance it is delightful to see Armfield’s work.  Debra Baker plays Abigail’s mum with grace.  She then doubles an actress who will play the mum in the showing. Baker gives us a masterclass.  This is a tight three hander plays seamlessly in the round.  Like all great plays we laugh and cry as it reveals many truths about the theatre industry, grief and the business of dying. Review by Kate Gaul

Gilbert and Sullivan's Improbable New Musical: ...and Helen theSpaceTriplex I have always been curious about the Coily Darts – an amateur company from Loughborough (UK) – who perform for a very short run in Edinburgh every year.  So, at 9.45am one morning I attended “Gilbert and Sullivan's Improbable New Musical: ...and Helen”.  It’s a terrific idea – telling the largely unknown story of the Helen Lenoir who is behind much of the success of G&S and the Savoy operas.   In an afterlife, Gilbert and Sullivan decide to acknowledge Helen Carte’s contribution to their legacy. They create a new comic operetta based upon her life, though Gilbert insists on adding a few plot twists! Helen Carte Boulter also known as Helen Lenoir, was a Scottish businesswoman known for her diplomatic skills and grasp of detail. Beginning as his secretary, and later marrying, impresario and hotelier Richard D'Oyly Carte, she is best remembered for her stewardship of the D'Oyly Carte Opera Company and Savoy Hotel from the end of the 19th century into the early 20th century. She was a visionary who also believed in the power of ensemble and insisted that chorus members have a voice at board level. She attended the University of London from 1871 to 1874 and pursued brief teaching and acting careers. In 1877 she obtained employment with Richard D'Oyly Carte and became his assistant and, later, business manager. She helped to produce the Gilbert and Sullivan and other Savoy Operas, beginning with “The Sorcerer” in 1877 and helped Carte with all his business interests. One of her principal assignments was to superintend arrangements for American productions and tours of the Gilbert and Sullivan operas. She married Richard in 1888. During the 1890s, with her husband's health declining, Helen assumed increasing responsibility for the businesses, taking full control upon his death in 1901. Although the D'Oyly Carte Opera Company's operations decreased after Richard's death, Helen staged successful repertory seasons in London from 1906 to 1909, establishing that the Gilbert and Sullivan operas could continue to be revived profitably; the company continued to operate continuously until 1982. “Gilbert and Sullivan's Improbable New Musical: ...and Helen” highlights Helen’s diplomacy (appeasing their many arguments), her sharp business acumen (ensuring the operettas’ longevity) and her vision in shaping modern theatre. Remarkable achievements for a Victorian woman and much to celebrate. The Coily Darts are not really writers, and the clunky release of information is an excuse to find appropriate songs from the repertoire to complete the story. A cast of 8 plus MD make for a good enough sound and the ensemble get to show off their energetic choreography even if it leaves many breathless at times. Occasionally the text is muffled, and the company needs reminding that attention to those consonants is essential.    Mutton chops abound.  Of course, it would be great to see these 4 central characters rendered in a more contemporaneous way but that’s not Coily Dart’s jam either. Being in an audience of G&S natives was a unique experience for this Australian.  You can never do better than the G&S plot twists and even in this story the baby swapping incident from  “HMS Pinafore” finds its place. Kate Gaul

Taiwan Season: Palingenesis Assembly Dance Base   “Palingenesis” by the Taiwanese D_Antidote Production is unlike anything I have ever seen.  From the press release: “Founded in 2022, D_Antidote Production is an aesthetically multi-disciplinary company dedicated to making work that isn't limited by form but for which the body is often the best vessel or vehicle for ideas and feelings. Drawing inspiration from both societal life and imaginative landscapes, the company wants to construct a creative mirror in which spectators might seek their own life remedies. The ultimate aspiration is to unite people and be a source of warmth.”    Three masked male bodies morph in and out of incredible shapes that are intertwined. Are they a primordial or intergalactic organism?  A waking dream? Or is this a meditation of the themes of rebirth and life cycle? Almost four years in the making, “Palingenesis” is inspired by the phenomenon of “rat kings”. When a group of rodents hibernates, their tails can become knotted together by blood, ice or faeces, so that, on waking, they must function as a single entity. Choreographed by Taiwanese Chuang Po-Hsiang this is an undeniable event and one that resonates long afterwards.   The masks stretch over the face completely. Large eyes cover the dancers’ features. Deprived of their senses, the three figures see, smell, hear and taste through skin, the collective skin of the beings they create from movement to movement. This show dismantles human shapes to create a greater one, made of individuals bound to each other like the ‘rat king’. Despite their identities being eroded by their masks and collective movements, some moments remain where individuality finds its way to emerge in the performance. Nonetheless, only together can the bodies move: choreographer Po-Hsiang Chuang suggests a reflection on individualistic societies and on the importance of community, which is possibly the only chance towards evolution and metamorphosis.   “Palingenesis” means regeneration and there’s a cyclical nature to this work. There is clearly a parallel, too, with human behaviour, but the thrill of this piece is witnessing something that looks as if it’s arrived from another world.       The sheer amount of sweat and athleticism is incredible.  When the bodies aren’t moving sensually around each other they are slamming onto the floor – multiple times. The narrative and cohesion of these dancers is truly phenomenal.  Supported but lighting to create a shadow play and add to the dreamlike (or nightmarish) quality of the work. The Taiwanese program at Edinburgh Fringe is diverse and worth catching as much of it as possible.  “Palingenesis” is one of these. Kate Gaul

Book of Dew Zoo Playground   Produced by Tide & Foam Productions; created and performed by Sid Ahang and Connor Lifson “Book of Dew” is miniature choreography of objects and the human body in an intimately staged performance at Zoo Playground. Tide & Foam Productions creates works of “theatrical speculation” across media. We are drawn to the magic of the uncanny and the delight of the unexpected. Their website tells us “Tide & Foam Productions is based on all three coasts of the United States. With our friends and collaborators, we develop projects in New York City, New Haven, Chicago, and the Bay Area. Lightweight, flexible, and low budget, our methods prioritize adaptable production designs that fit small spaces and facilitate intimate experiences.”   The audience enter a tiny room and are confronted with a wooden wall in which various hatches can open.  It is like looking at an oversized book.  The lights dim and the magic begins.  It is the story of a Spider, the moon and the dew.  Story telling devises include recorded voice over (Anna Zheng), fabric in water behind glass, intricate cut outs, light and smoke. Music is also employed in this part children, part grown-up’s tale (Sebastian Blue Hochman). Spider loves the Dew and wants to keep its beauty for herself. She spins a web in the cosmos to trap it so the moon can never go down and the dawn will never break. The Dew, however, only wants to feel the warmth of the sun and tries to persuade spider to let the moon go free. Through the performance we follow a visually poetic path of negotiation and final resolution. “Book of Dew” weaves a spider web of fantastical fragments: water droplets, a river in the air, glistening stardust – the dew of transient experience emerges and evaporates at sunrise.   The entire presentation is very delicate, dreamlike and I wasn’t looking for logical connections.  The two performers spoke to the audience at the conclusion of the show to explain that it is very new, and they are keen to hear from audiences about what worked and what didn’t. They handed around a very beautiful postcard with their details on it and how to get in touch. This kind of thoughtfulness and openness is a lovely quality reflected in the production.   The story focuses on the importance of taking responsibility for the bigger picture and the environment, over our own self-centred needs. It’s timely and delivered in a gently, quite way that is a much-needed sanctuary from the hustle and bustle of the Edinburgh Fringe. Take some time out and experience this tiny gem.    Kate Gaul

The Flock and Moving Cloud Zoo Southside   Scottish Dance Theatre presents a double bill of very different works both in style and atmosphere- “The Flock” choreographed by Roser López Espinosa and “Moving Cloud” choreographed by Sofia Nappi.  This is a spectacular program and if one was feeling a little jaded and worn out by many so-so offerings at Edinburgh Fringe then this program entirely reinvigorates. In both pieces the mere eight dancers have us imagine there are at least twice as many on stage. Choreographed by two leading female choreographers this is work that awakens the mind touches your heart.   Inspired by the migration of birds, “The Flock” takes ideas around bird formations as the dancers form a migratory V on the stage.  Working in strict formation the work suddenly surprises as pairs start moving slightly out of sequence and then return to the strict unison once more.  It is mesmerising.  The dancers wear contemporary clothes in shades of grey and blue on a completely white floor and back wall – it’s like a cloud (costume designer Lluna Albert).  The eight dancers eventually fall only to begin again in duos and trios in work that is acrobatic with bodies thrown around the stage. To end the piece the dancers reform as a group and in an exhilarating end appear to leap from the stage into the darkened wings. It was a high to end on after the hypnotic charm that guided the main choreography. Original music by Mark Drillich and Ilia Mayer. What follows is a 15-minute interval.  Watching the mechanists strip the stage of the white surrounds is worth staying in the house for.  They also work with precision and economy and before we know it the stage is a darkened abyss once more.   “Moving Cloud” literally bursts onto the stage.  If “The Flock” is about birds, then “Moving Cloud” is a euphoric high intensity study of humanity.  Apart from the energy it is the initial burst of white costumes that grab my attention (costume designer Alison Brown).  All wear something inspired by what I think of as Scottish folk wear and a cross between something more contemporary.  All have long woolly socks. As the company builds on stage, not every costume is white – there is a mustard shirt, a grey kilt, beige pants.  Visually this really is stunning.  Movement is fluid and expressive.  Sometimes in silence.    But the music!  Played by the band TRIP it is Celtic, loud, and beyond fabulous. As soon as the piece starts something happens to the audience – they are clapping and cheering.  Clearly this music taps into the DNA of the largely Scottish audience and it’s as if we are all hypnotised. TRIP are a Glasgow based outfit and unite the kindred Celtic traditions of Scotland, Ireland and the Isle of Man.  Their trademark sound celebrates the band’s roots in tradition, whilst showcasing contemporary cross-genre flare. Alongside original music composed by Donald Shaw, the final movement in the performance features their own compositions.   The dancers move as if inspired by the elements or sometimes the gestures are idiosyncratic, whimsical, humorous. A masterful program of two very different works. Utterly dazzling! Kate Gaul

Puddles and Amazons Summerhall   “Puddles and Amazons” is a storytelling show about a boy who eats an ice lolly when he finds out his mother’s died. He freezes internally, indefinitely, sentenced to a life of hot showers and steroid moisturising creams. A decade later, he falls in love. He thaws - and it makes a terrible mess. Writer, Performer and bedroom foley artist Guy Woods tells the story of a boy’s chilly adolescence. The work features live audio mixing, audience interaction, and quite a bit of water. As we enter the Demonstration room we are confronted with a child’s paddling pool, a bucket of water and an opaque hospital type screen, and some technical equipment.  Woods enters dressed in a swimming togs and pours a bucket of water over his head.  He’s about to tell us of a family tragedy and a fictional heart condition.  The water gets a special audience warning and all those with weak bladders look at the door.  But there is no turning back and we are here to hear. Piss is mentioned – a lot. Once Woods is dried and dressed, he introduces us to his foley – basically he will make sound effects using a loop peddle and this immediately transports us to the beach, for example or a school canteen.  Often the audience is called upon to make the initial sounds which he cleverly bends and plays as a scene setting device.  It’s a fun way to involve the audience and everyone is on board. Woods is a charming storyteller, and this is the coming of age story about a boy called Simon.  More critically I would say that the setup of the soundscapes takes time and occasionally my attention wandered, and I wanted him to get on with the story. Some of the most amusing touches are the sounds of a distant seagull, or footsteps crunching on an ice cream cone. There is a strong narrative at work, and we travel with Simon from boyhood through adolescence.  Having lost his mother at an early age he must make his way in the world with a strange condition of his own (you’ll have to go see it to find out more about that!) The structure is episodic, and we meet other characters along the way.  Simon’s dad, the twitcher, is memorable as the inarticulate and not so distant human being who is always trying to connect with his son.  This relationship adds emotional truth to the story and is the one constant – if terrifying – relationship that Simon has across his life. The writing has many strong images, identifiable relationships and surreal situations. “Puddles and Amazons” is a piece about grief and love. The title is a cute take on the English children’s adventure novel “Swallows and Amazons” which also involves a lot of water in its telling. Woods has fashioned a grand adventure of his own complete with whimsical touches, flights of fancy and a metaphorical thawing when the time is right. This piece is an amusing hour, and it is interesting to contemplate where Wood’s suite of talents might take him in the future. Review by Kate Gaul