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I am the Boss Assembly Piccolo   0471 Acro Physical Theatre from Taiwan presented one of my top ten favorite works  from last year’s Edinburgh Fringe, “Duo” – which I also have the pleasure of revisiting in Adelaide earlier this year.  “Duo” is for adults.  This year I am pleased to have seen their offering for years 3 and above, “I am the Boss”.   The company founded in 2020 by Sun, Cheng-Hsueh and Hsia Ling, the troupe is one of the few circus troupes in Taiwan that specializes in stacking acrobatics and is dedicated to using the unique body aesthetics of acrobatics to create visual images that defy gravity and turn the theatre into a world of imagination. Stacking is what it says – humans piling higher and higher into the air via each other. 0471 Acro Physical Theatre started with small-scale experimental performances. In 2022, the troupe embarked on the “Research Project on the Training System of Stacking Techniques”, which aims at bringing more diverse circus arts to Taiwan by developing stacking acrobatics through training and innovation and creating artistic and commercial performances.   In “I am the Boss” three acrobats play siblings left home alone.  Games ensue and things go crazy. Set in a familiar looking room with a couch, cushions and table on which are places familiar objects – bags of sweets, popcorn, family photo and so on. There are food fights, pillow fights, fight fights – a done through acrobatics and high energy fun.   The three, dressed in cute pyjama looking costumes, battle for dominance.  They fight and make up, feel guilty and start fighting again.  All the kid emotions are on display.  Popcorn gets spilt. The work is charmingly choreographed to a continual soundtrack and when the performers are not at ground level cartwheeling and flipping, they fly high in the air, balance on each other and do other amazing super-human feats!  It is thrilling for the younger audiences and adults alike.   The company have devised some appropriate audience participation too. It’s all voluntary of course.  In the circus tent in which they perform the cast can access the audience easily and stage a chase around the house complete with bubble blowing guns.  Some members of the audience get to play with the bubble blowers and one youngster is taken on stage to become part of an acrobatic trick.  This is all competed seamlessly proving that physicality communicates to all ages if intentions are clear. The audience are deliciously delirious by the end of the performance.    I can’t imagine anyone not loving 0471 Acro Physical Theatre’s “I am the Boss”.    Kate Gaul

Little Squirt Summerhall    Winner of Best Cabaret and the Edinburgh Touring Award at Melbourne Fringe 2023, and three Green Room Awards for Outstanding Production, Outstanding Writing and Outstanding Direction, “Little Squirt” is written and performed by Darby James with direction and dramaturgy by Casey Gould.  Darby James is a storyteller and songwriter originally from UK, raised in Canberra and now a resident of Melboune.   “Little Squirt” is billed as a comedy cabaret about the process of sperm donation featuring all original songs by Darby James. To be honest I wasn’t sure this show would be for me.  Did I really want to spend 60 minutes hearing a man talk and sing about the process of wanking into a jar?  How wrong was I?!  Darby Jones and his collaborators have crafted a gorgeous hour of exploration and provocation – all set to pre recorded music – around the ethical, practical, philosophical and existential questions surrounding procreation.  Basically: should we be having children?   Dressed as a sailor (seaman – yes, the show is full of puns!) he is stranded on a small island of his own confusion – his moral purgatory – as he ponders this unanswerable question. What starts off as a ‘Why not?’ answer to a Facebook advert for donors becomes a journey of exploration into what it means to be a father (given that he will likely never meet his offspring), whether indeed he wants to be a father in the first place, doubts about why he is doing it in the first place (is it selfish? is it generous?) and ultimately, given the state of the planet, whether we should be bringing children into this world at all.   Darby James has mountains of charm (not to mention superb talent) and he effortlessly moves from speaking to singing.  The show is funny and sad and has some tear-jerking moments. “Little Squirt” is performed in the Anatomy Lecture Theatre and thankfully this is one show where the sound levels match the tricky acoustic.  It is a top-class production all round!   It's an edge of your seat hour as Darby goes through all the physical, psychological, medical and emotional testing which leads to his ponderings on legacy, impact and joy. Yes, joy.  Will children born into our current world experience real joy? As a donor he can leave a letter for his potential offspring and Darby generously shares this fragile document with us as we reach the climax of the show. We are left with a powerful revelation which (I hope) will spur further productions.    I anticipate “Little Squirt” will have a longer life in Australia and if it comes to a theatre near you – GO!   Kate Gaul

Lost Connection Summerhall    Seed Company’s “Lost Connection” is part of the Taiwan Season at Edinburgh Fringe.  It is another example of the brilliant and inspired work in the season that encompasses mainly physical work. This is a European premiere.  We are warned in the blurb that  in “Lost Connection” the content surrounding connection to digital phones and devices creates a self-absorbed, pressure-cooked state of being which could be both exciting and distressing.  Four dancers over forty minutes explore the connection we have to our phones. Phone -like devices are clutched in the dancers’ hands – they are extensions of humanity.  It is hypnotic and beautiful. Choreographer Wen-Jen Huang begins the work with dancers lit only by their phones. It is clever and poetic.  This is the phenomenon of phubbing – paying more attention to your mobile than the people around you. The quartet of dancer’s hunch over their phone, are led by it, drained by it, excited by it.  Often, they are zombie-like and the shadowy lighting emphasises this quality of the connection.   They fight to get closer to a device. Once the phone is discarded the dancers retain the shape in their hands. The costuming is in dark greys and greens, hair is coloured purple and blue – a lot like the light coming off the devices.  The dancers wear incredibly stretchy tops, and it is with these garments that they partner. Often obscuring heads and faces they climb all around each other.  It is invasive and spooky – reminding us of the anonymity of the internet, and in particular social media. There is something strangely forbidden, dangerous about the power in our hands.   The soundtrack gives nothing away – we cannot penetrate these individual’s thoughts or inner lives. The imagery shows us lost opportunities for human connection as the dancers deftly weave in and around each other.  It is hypnotic.  And I guess that’s the feeling we get from the digital device.  “Lost Connection” is superb dance, and its content and message are salutary. It is well documented that digital devices increase isolation and loneliness and yet as the houselights rise at the end of the show the audience grabs for their phones and are led out face down into the day. Kate Gaul

The Hidden Garden Summerhall Negare C Venues Acquila   Both productions are at Edinburgh Fringe as part of the Luxembourg Selection.  The beauty of attending the Edinburgh Fringe Festival is sampling the range of works from cultures that we rarely if ever connect with.  These two short dance works are both intriguing.   The Hidden Garden   “The Hidden Garden” blurs the lines between dance, physical theatre and visual art, this powerful and humour-filled solo, performed Jill Crovisier, explores human preoccupation with utility, power, control and perfection.   Jill Crovisier’s choreography finds its inspiration within the world from its cultural, social and political aspect using a multidisciplinary practice . On a square of artificial grass, a woman appears holding a large bunch of flowers. She then moves through a series of scenarios that might take place outside – for example, a woman relaxes in sunglasses, at another time she brings herself to climax while rubbing herself on the grass (was she supposed to be a dog here, I don’t know), finally she becomes entwined with and under the grassy blanket. I think the piece is speaking to boundaries and the limits we place on and around ourselves.  When, in fact, we need to become more engaged with our (natural?) surroundings. The work underneath the grassy carpet plus the combination of lighting and sound to support the movement created a surreal and almost absurdist world. There is no doubt that the movement is skilled, and it became hot sweaty work. Probably one for dance afficionados but at only 40 minutes in length was amusing and engaging. Negare   Another choreographic solo immerses us in a poetic universe of a character who plays with his identity, transforming it to align with his wishes, fears, and dreams.  Luxembourg-based Z Art Company presents “Negare”, choreographed by Giovanni Zazzera. As the show begins, choreographer, Giovanni Zazzera, greets the audience in the foyer at C Venues. He introduces himself and engages in a brief description of the origins of the work. This piece is part of a triptych composed of three fragments: “Credere”, “Negare”, and (“di) sperare”. Each segment lasts between 25 to 45 minutes and can be performed individually or as a complete set. The works explore themes of human beliefs, self-perception, and the process of building identity.   We move into the room and take our seats.   The dancer, Alexandre Lipaux, is already in position, sitting on a box atop a piece of what looks like golden silk. He begins to eat a carrot. He then stuffs his shirt with pieces of rolled clothing that are placed around him on the floor.  He became huge and then stands to dance. The performance is a mix of ballet and contemporary dance with elements of physical theatre. We are offered carrots to eat.  He eventually swathes himself in the golden fabric, stands on the box and becomes a tall goddess fully masked. Lipaux dance style is beautiful, fluid and hypnotic.   “Negare” is Italian for "denial”. This piece speaks to who we are and how we present ourselves to the world. The blurb tells us “Negare” challenges the audience’s preconceptions, provokes thought about the impact of others’ perceptions, and delves deeply into the dynamics of denial and self-acceptance. It’s a thought-provoking work that encourages contemplation about the essence of individual and shared identity, showcased through the absurdity and authenticity of this character.”  Mmm – it’s all beautifully metaphoric and over the 30 minutes duration in the peculiar space of this makeshift theatre it is magic.   Review by Kate Gaul

The Chaos That Has Been and Will No Doubt Return Summerhall Chalkline Theatre Company present this tight three hander by Sam Edmunds.  It’s noisy, boisterous, political, charming and very human.  Set in the early part of this century this is a coming of age play mainly about two unnamed 16-year-old lads in Luton. It charts the events of preparing for a house party, the purchase of appropriate alcohol, dressing right, the flirtations and the aftermath of a nasty night. Olatunji Ayofe and Elan Butler play the best mates and are joined by Amaia Naima Aguinaga in a range of supporting characters.  They are all excellent actors and have energy to burn. If there is one criticism of the production, it is that it is very shouty and as the words echo off the hard walls of the Demonstration Room it is very hard for the text to be entirely legible. Even harder when audiences are encountering the accent for the first time as well. It takes around 30 minutes to attune the ears and that is a shame because the language is rich and exciting.    The set consists of a couple of boxes that slide around the floor and a larger box that has doors and cupboards from which things appear.  Constantly moving these elements adds to the energy of the piece and the cast are forever popping up and over the levels.  It is all very colourful and has a kind of cartoon choreography.  The directing and movement is super tight and lighting and sound support each choice in order to amplify the action.  But it’s not all one note. It surprises when, at the heart of the party scene, a flirtatious encounter between two characters leads to a first kiss and is represented by the pair touching palms.  It is perfect and a restrained moment of tenderness before the play’s violence erupts.   The play’s political and social commentary is embedded in the dialogue between the boys who make observations about the townsfolk – debt changes the way people carry themselves and how can they ever be free of the just getting by? Life can change on the spin of a dime, and we encounter three tough, vulnerable young people. Our main narrator played by Olatunji Ayofe lives with his single mum, a nurse who works nights, and he has ambitions to go to university and give her a better life. There is no future in Luton.  The odds are stacked against these kids but it is clear the playwright loves his subjects and imbues the play with a heartfelt hope.     Along the way we even learn a little of the history of Luton as a hat making town and the origins of its unique accent. “The Chaos That Has Been and Will No Doubt Return” is a favourite with younger audiences and those who can identify with the characters and audiences who love crafted language and sassy dialogue in a play that has something to say. A good night in the theatre! Kate Gaul

Show Pony Summerhall We all know what they do with old horses.   Berlin based Still Hungry contemporary circus outfit chose to work with the ever-groundbreaking Bryony Kimmings on “Show Pony”.  As Bryony says, “I make mind-blowing multi-platform art works to provoke social change, babes!!” Still Hungry tells us, “Three mothers Romy, Anke and Lena reunited after long years of friendship to create a piece far from classical circus. Their work is fresh, feministic, and powerful. Strong images and a good sense of humour makes their work truthfully touching and highly amusing.” I just had to be there!   “Show Pony” laser beams into the questions that will come up for everybody working in the arts (particularly onstage) and importantly three female acrobats: what happens when a performer is no longer needed?  Should the women continue their career paths or just give it all up?  This show does not present answers – it’s too clever for that.  But it knows what questions to ask!   The three artists behind Still Hungry, Romy Seibt, Lena Ries and Anke van Engelshoven remain outstanding physical performers despite being well past what is considered in the circus world as their prime time. Romy specialises in daring feats on the vertical rope, Lena is a contortionist, and Anke spins and spins in the straps. They are role models; superheroes and this show is an hour of contemplation and inspiration.   Across the hour we journey back into each performer’s past and discover how they made the choice to join circus, and what their individual aspirations were. When did they feel they “made it”?!  Old photos and flickering videos create a world of wonder. There is something so beautiful about seeing each performer as a child or teen from old photos and film. Every life is a mystery. The invincibility of youth gives way to more sobering realities.   The women describe to us the rules of the circus – defy gravity and look lighter than air, be young, be pretty, wear as little as possible on stage, never be out of breath, never have personal problems, never be injured. Women must be sexy on stage, right?! And what about motherhood, health and well-being?  Safety check everything on stage twice! Rules can be great to live by but where are the new rules when these no longer apply?   Lena, the contortionist regales the sexual connotations surrounding contortionists and the endless male fascination with her hyper flexibility. Nobody asks her long-term clown partner if he is funny in bed!   These women are not one trick ponies. There is plenty of wow factor in “Show Pony” as these women still HAVE IT!  There are many sobering moments, but everything is leavened with lashings of humour along the way.  The final section which is pure clown as each woman presents a different vision of possible future for them.  We never know what our destinies will be, but one thing is sure in the minds of all three - they face the future together.   A beautiful, thought provoking and inspirational hour!    Kate Gaul

Aidan Sadler: Melody Voodoo Room This isn’t a review but more of a thank you note. The Show must go on! I was excited to set out to the gorgeous Voodoo Room in the New Town of Edinburgh to catch “Aidan Sadler: Melody” an original queer cabaret. The blurb tells us that Aidan Sadler will “springboard through the top steps to surviving the apocalypse with 80s-inspired synth-wave melodies. Expect musings on the price of a meal deal, the art of living in the moment and a deliciously scandalous encounter in a shipyard. With electrifying original hits you'll be humming to “Armageddon”, Melody finally answers the highly anticipated question: 'will it ever stop?'” A couple of audience reactions posted online suggested it will be a night of great singing, costumes and choreography with bucket loads of provocative thought. In a large cabaret room, it becomes clear that the audience numbers - there are 9 of us – are possibly a little too small a group to get the vibe happening.  Aiden Sadler takes to the stage for their first number proving they are an entertainment force to be reckoned with. This is a show that delivers queer joy and razor-sharp observational comedy.  They then stop the show and offer us a choice – “Melody” continues as created or we switch things up and have a chat.  The group opts for the chat.  Aiden Sadler then puts the mic away and sits on the edge of the stage.  With charisma to burn and generosity galore they turn the spotlight on the audience. Everyone has a chance to introduce themselves and we get to know a banker from London, an environmentalist from Edinburgh, a pianist/magician and partner from both Poland and Oklahoma, some local burlesque artists and a couple of travellers who are heading to some exotic island for a many-years delayed honey moon.  And of course, an Australian. Ah the fringe – hey?!  Aiden assures us that they are a super successful professional artist with loads of great reviews and that the other show “Big Gay After Party” is going off.  But a combination of venue, timing and all other alchemical things beyond and artists control at Edinburgh Fringe have bought us to this moment.  It’s quite magical.  We get an original song all about non-binary joy to give us more of a taste from the actual show. Aiden Saddler believes in the power of yes.  A big part of his show is a riff on an impending apocalypse, and we all get to decide how the world ends.  I love the way they recalled many of the details we all spoke about and then improvised these details into a finale song – including how we imagined the world to end.  They say people arrive at the theatre as individuals and if the show is great, we leave as a community. Aiden Sadler, thanks for making us all feel welcome and giving us conversations to savour and a night to remember. You had to be there! Kate Gaul

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