Leo Reich

COMEDY of the issue comedy

With his debut solo hour Literally Who Cares?!, Leo Reich has marked himself out as a young comedian to watch. Megan Merino finds a comic in total control as he tackles all manner of Generation Z conundrums

comedy•comedy•4 STARS

It may be this 23-year-old’s debut solo Fringe show, but Leo Reich has managed to craft a jam-packed hour full of high-octane stand-up, interspersed with songs and sketches, that dig deep into the psyches of Gen Z-ers. What’s it about? This question could be answered with the title of the show itself, as Reich dances around the idea of creating something meaningful and ideologically driven that puts all of his minority statuses on the line, building himself into the perfect 21st-century victim.

From high-school bullies to first long-term relationship woes, a lot of introductory ground is covered, but the young comic’s firm grasp on satire and commitment to his on-stage persona make clichéd stories feel fresh and surprising. Reich’s signature joke equation starts with an earnest thought (‘I want any queer people in the audience to know that when you’re queer, that’s totally normal’) until the punchline (‘but when I’m queer, that’s special. Do we see the difference?’) marks an arrogance that should be insufferable; instead it has the (admittedly young-skewing) room in stitches.

Although overly intellectualising Literally Who Cares?! would be to miss the point completely, Reich manages to walk the tightrope of criticising certain sensitivities and self-obsessions associated with his generation without ever stumbling into stale wokebashing arguments. His sporadic breaks to read from a (clearly prematurely written) memoir, which later develops into a fictionalised version of a memoir, and later still a screen adaptation of the fictionalised version of the memoir, shows an innate self-awareness that elevates the show from a series of Gen Z buzzwords to thought-provoking social commentary, with Reich as the protagonist in every cautionary tale. ‘The other day I read a really terrifying two-thirds of a headline,’ he says, before admitting he wants to be an activist, he’s just ‘not sure what for’.

Reich’s lack of pandering to the audience gives him authority and control. He barely stops to take a breath, never mind explain terms like echo chamber, top and bottoming, and The Bechdel Test to anyone unfamiliar with these concepts. Instead, he raises the bar and asks us to meet him there, using techniques clearly inspired by comedians like Catherine Cohen and Rose Matafeo (one of his songs is about sleeping with people who hate you and he ends with an uptempo dance routine). However, this impressive debut hour sufficiently sets him apart from his contemporaries and makes him a comic to watch.

KAI SAMRA NATIVE lllll

Kai Samra had sworn off the Edinburgh Fringe, after his 2019 debut earned him a clutch of four and five-star notices but failed to lead to much broadcast work or career progression. The allegations that this young Asian stand-up makes against the comedy industry suppressing his talent are pretty shocking. But his readiness to air them is indicative of someone who’s not bothered about pointing the finger at blinkered liberals, having already gone toe-to-toe in an interview with the thuggish Tommy Robinson, former English Defence League leader.

Although Native is steeped in Fringe writing craft and structure, from the arguably too neat way it draws its disparate threads together, it’s nevertheless compellingly gritty too. Samra has been in and out of homeless accommodation (even at the height of his success as a comic and in a guitar band of some pedigree) and relates his tale with a class agitator’s brisk urgency, storytelling nous and clear-eyed cultural analysis. His sense of injustice is stoked by Malcolm X but also by the legacy of his Indian grandfather, a man who died before Samra was born, but whose life story and the challenges he encountered make even the comedian’s strife pale by comparison.

Score settling abounds in Native. But the comic rises above it too, sharing his experience with a cool wit, self-awareness and knack for distilling racism down to its baldest, most unpalatable parts. Still seemingly more likely to land edgy documentaries than a television sitcom or stand-up showcase, Kai Samra is at least keeping himself in contention for some of the cash and profile of the ‘ubiquitous’ Romesh Ranganathan. (Jay Richardson)

n Pleasance Dome, until 28 August, 8.30pm.

TWO HEARTS

WE’RE PREGNANT AND THE BABY IS MUSIC lllll

Two Hearts are certainly an acquired taste, to put it lightly; they can be a shock to the system if you aren’t expecting such a tongue-in-cheek show. Co-written and performed by partners Laura Daniel and Joseph Moore, their personas can be a little grating at first, but they win over the crowd by sheer force of personality. By the end, this comedy pop duo’s crude entertainment has the whole audience roaring with laughter.

Their back-up dancers, as well as their outfits, are incredible; a particular highlight is the costume for the Great Pacific garbage patch, as well as the ‘fat pants’ which are hugely relatable for anyone who experiences PMS. However, the dialogue between their song and dance numbers (inspired by the likes of Dua Lipa and Taylor Swift) can sometimes feel redundant due to a lack of narrative arc.

Littered with references to NFTs, OnlyFans and Johnny Depp, Two Hearts try hard to respond to what’s current. Their ironic lyrics swing between hilarity and downright obscenity (a brilliant song about the gender pay gap is shortly followed by one which shockingly refers to a new-born baby as a ‘fugly slut’). While their satirical edge isn’t especially sharp, they make up for it with genuine comedic chemistry. (Rachel Ashenden) n Assembly George Square, until 28 August, 8.50pm.

RICHARD BROWN

HORROR SHOW lllll

Dark comedy is an ideal accompaniment to righteousness, allowing comedians to inflict maximum damage on their targets without collapsing into preachy rhetoric. Richard Brown is more than aware of this in Horror Show, ploughing through maudlin material like he’s picking off a list of enemies. Few topics are left off the table in a set as virtuous as it is funny, tackling cancel culture, Facebook’s privacy settings, veganism and more, with prerecorded skits sprinkled between stand-up segments.

They’re talking points that Ricky Gervais would feast on, but Brown is a breed that’s increasingly rare in mainstream circles of comedy: a genuinely left-wing perspective that imbues grim gags with humanism and empathy, much like the similarly under-appreciated Michael Legge. His sinister approach to humour isn’t for everyone but, as an outsider who clearly views populism with disdain, that’s the point. For the lucky few who share his misanthropic mindset, this is a comedy goldmine. (Kevin Fullerton) n Monkey Barrel Niddry Street, until 28 August, 9.35pm.

LOST BOY lllll

A story tinged with grief probably shouldn’t elicit this many laughs, but there’s something warm and welcoming about Sarah Keyworth’s comedy. There’s a sadness to the set, underpinned by the recent death of her friend and joke-writing partner Paul Byrne, whose presence is felt in many of the stories and anecdotes. But a witty retort or unexpected punchline always waits just around the bend to elevate the mood again, courtesy of a new girlfriend that often gets idioms endearingly wrong and unwanted attention from a priest’s daughter as well as Bulgarian removal men.

Callbacks are welcomed by the audience like familiar friends, including frequent references to her therapist’s £1-per-minute rate which puts the ticket price into perspective. Keyworth’s strength is pulling in an audience and making them like her; this show is a masterclass in just that. Even her ’worst joke of all time’ (about a mango) goes down well, despite not actually being a good joke; but that’s the point and there’s the charm. There’s also a bit of spectacle at the end, which ties the whole narrative together and ends the show on a gloriously triumphant note. (Suzy Pope) n Pleasance Courtyard, until 28 August, 5.40pm.

SEANN WALSH

IS DEAD. HAPPY NOW? lllll

When comedians get telly work, their stand-up often changes, with routines suddenly populated by stories of celebrity encounters. For Seann Walsh, things were somewhat different. Instead, after being invited onto BBC’s Strictly Come Dancing, he was photographed kissing his married dance partner and all hell broke loose.

Walsh has already addressed the fallout from that incident (both in terms of loss of work and the effect on his mental health) but this Fringe outing, four years on, finally sees him in a much better place. He’s more settled, back gigging again, with just a hint of TV work too. As it weaves about between his journey and the back story of his addict father, the hour is energetic, confessional and doesn’t miss the opportunity for a gag. Plus there are nice diversions into the crowd to berate people for being too organised (or even too sleepy). One thing is for sure: he’s certainly ‘back’. (Marissa Burgess) n The Stand, until 28 August, 10pm.

PICTURE: MATT CROCKETT

PICTURE: JOSEPH LYNN

ALEX KEALY

WINNER TAKES ALL lllll

Describing himself as ‘middle-left’ on the political spectrum, Alex Kealy is a contemplative comedian with an old head on young shoulders. In Winner Takes All, he breathlessly remonstrates with the state of the socio-political landscape as currently occupied (and ravaged) by Big Tech. Google, Uber and Facebook (Meta, if you must) all enter his sights, and he has a simple solution for us all to help turn the tide: abstain.

Of course, Kealy knows it’s not as simple as us all switching off our phones and walking everywhere, and he has real prowess when it comes to examining apparent contradictions such as the disparity between privacy and convenience. He also has some shrewd observations about relationships, many of them borne from his own perceived inadequacies (he recently split from his girlfriend and the break-up clearly still rankles). He’s open about his struggles with mental health, culminating in a wonderfully graphic routine about the side effects of a manic episode he experienced during his last Fringe. And it takes some skill to segue from a story about anal sex into the Tories’ infamous ‘levelling up’ agenda.

Among all the philosophical musings, he has a number of stand-out gags, including the dissection of a complex text message exchange which takes a surprising turn. There’s no letup in Kealy’s delivery; from his energetic opening, he maintains a breakneck pace all the way through to a finale in which he proposes an ingenious solution to global warming in a manner that’s guaranteed to keep all but the most ardent right-winger on his side. (Murray Robertson)

n Monkey Barrel The Hive, until 28 August, 4.15pm.

LAURA DAVIS

IF THIS IS IT lllll

With humility and relatability, Laura Davis holds a mirror up to the comedy industry before turning it on herself. She reflects on her 15-year career and puts the world to rights, teetering on the line between self-indulgence and introspection. You’re either firmly in the ‘preach sister!’ camp or off to the right, and for this sell-out performance, she had the audience firmly in her palm, refusing to hold back.

The show takes a few beats to warm up, reflecting on some dark times from the last two years, then building momentum with an inspired re-enactment of online reviews for sunset lamps, a sauna story about climate deniers and a memorable parody of LinkedIn posts and CEO bees. Her performance peaks with a big reveal, complete with duct tape. It’s a show with a handful of surprises; anymore would be a waste.

Davis covers a lot of ground, touching on climate change, cancel culture, consumerism, capitalism and feminism. Her surface-scratching pub rants are well crafted; an intricate tapestry, weaving back delightfully to early observations and naturally back-referencing punchlines to take jokes a bit further. Her likeability is unquestionable (it’s clear to see why she has scooped some major comedy awards) with her pent-up energy released in what seems to be a cathartic delivery of truth-telling. However, instead of a crescendo, the show unfortunately fizzles out without a clear end or obvious direction of travel. (Zara Janjua)

n Monkey Barrel Carnivore, until 28 August, 4pm.

JOSH JONES

WASTE OF SPACE lllll

There’s a delightful skittishness to Josh Jones as he delivers his Fringe debut. The Mancunian comedian energetically paces a stage that’s frankly much too small to contain him. He claims that his agent suggested he clean up his act, but if that’s the case, then lord knows what he was like before. Waste Of Space is full of astonishing revelations from an unpredictable comedian who seems to have a pathological need to share.

Jones attempts to ease the audience into his more shocking routines by laying the groundwork with some material about his perpetual clumsiness and difficulties at school. Every so often he’ll unexpectedly enter an almost psychopathic state for a fraction of a second to express the unvarnished thoughts of his subconscious, and the effect is simultaneously sinister and hilarious. He employs this device with remarkable discipline and it’s a quirk that certainly singles him out from his peers.

Jones never stops to consider the implications of his misadventures, admitting himself that his show is uncomplicated, but this is a solid introduction to an interesting new voice. The thought of one day seeing him ‘unsuppressed’ is particularly intriguing. (Murray Robertson) n Pleasance Courtyard, until 28 August, 8.30pm.

LIAM FARRELLY

GOD’S BROTHER-IN-LAW lllll

The moment Liam Farrelly steps on stage, it’s obvious he’s from Glasgow. His repertoire is thoroughly Glasgow-centric with all the observations and jibes about the city we’ve come to expect: nobody eats fruit and everyone’s got rickets. The material might be fairly straightforward (think the Catholic church is full of paedos and a bit of good-natured sectarianism) but the speed and slickness with which Farrelly delivers it makes it seem as though he’s been honing the craft for decades. Except that’s impossible: he’s only 21. No sentence is wasted and each arc comes with a solid right hook of a punchline. Callbacks to his mad mate Sharkey are particularly welcome. There’s no time for a lull or a moment without someone laughing somewhere in the room and he chucks out swear words like they’re sweets. The ending, featuring complaints from a religious American man about the show itself, feels a little tacked on, but that’s probably because he only added it during the Fringe’s first week. (Suzy Pope) n Just The Tonic Nucleus, until 28 August, 7.10pm.

LIFE OF THE PARTY lllll

Sikisa Bostwick-Barnes welcomes you to her house party, where stand-up is punctuated by dance breaks: this fabulous hostess has got moves. Sikisa is great at introducing her friends and acting out their conversations, integrating laughs with impactful discussions around racism and immigration. She treats the accusation by one friend that she is ‘a bit of an Oreo’ very cleverly throughout the routine. Funny stories about her mother are an example of Sikisa’s skill at building and defusing tensions.

Accompanying slides make an effective visual dimension. This certainly helps when discussing a fuckboy who likens himself to a mongoose and it helps add to the party vibes. Audience engagement, while fun, feels a bit forced and rehearsed. The interactive game based on the Life In The UK test has a lot of comic potential, but confident spontaneity was lacking here.

A class hostess, committed friend, immigration lawyer and a top dancer, Sikisa is without doubt an impressive and attractive individual: ‘I’m basically the man my mum wants me to marry,’ she observes. The performance is concluded with a ‘this is me’ speech which, while certainly not there for a laugh, is powerful and consistent with much of the show. (Rosanna Miller) n Pleasance Courtyard, until 28 August, 8.25pm.

SCHALK BEZUIDENHOUT

I’LL MAKE LAUGH TO YOU (LIKE YOU WANT ME TO) lllll

Schalk Bezuidenhout recounts his time growing up in 1990s South Africa as the ungainly son of a disappointed ‘rugby dad’. He describes his adversity on the athletics field in a little too much detail using florid Afrikaans terms, many of which connect with a large South African contingent in tonight. Also in the audience, inexplicably, is a six-year-old child, and it’s to Bezuidenhout’s credit that he addresses this matter early on and makes some comic hay of it.

The story of his early years isn’t exactly awash with incident. Much of it is broadly inconsequential and his exuberant style belies a dearth of action or insight. Some material on 90s internet porn, while fitting with the story, is obviously well out of date; and without sufficient context, his cultural references can be rather esoteric. Bezuidenhout himself is pleasant company but he needs more substantial material in order to break through. (Murray Robertson) n Gilded Balloon Teviot, until 29 August, 7.40pm.

CATHERINE BOHART

THIS ISN’T FOR YOU lllll

Having recently come out of a long-term relationship, Catherine Bohart’s latest hour is an emotional vent about being dumped during the toughest year in modern history (in the midst of the deepest, darkest days of lockdown). In her equivalent of a heartbreak album, Bohart expresses fear of being single in her 30s and attempts to practice introspection, putting her ongoing trauma on the line.

Following several successful Fringe runs and regular TV appearances, Bohart already has celebrity status. However, she doesn’t rely on this when stepping out on stage, instead opting to settle the room with her likeable nature, making the audience believe they’re catching up with an old friend. The strength of This Isn’t For You lies in good storytelling, with funny post-break-up tales involving a particularly loyal dentist, an awkward moment at Sara Pascoe’s birthday party, and her loose friendship with Jameela Jamil.

The high-profile nature of the latter two jokes struck gold with the crowd, leaving other gags bereft of starriness. Observations about spending time with family, her mother’s obsession with her partners and receiving unhelpful advice from friends get an approving giggle, but never roaring applause. After a tough couple of years, this may not be Bohart’s finest hour, but with her skill and consistency, there is still enjoyment to be had. (Megan Merino)

n Monkey Barrel, until 28 August, 3.20pm.

The comedy fun is cranked up for this second half of the Fringe with a viral sensation and a rising Scottish star while an Edinburgh institution receives a makeover

OLAF FALAFEL

The surrealist joke-teller par excellence is back with Stoat, a show featuring levitating fruit, mindreading mic stands and ducks chucking out insults like there’s no tomorrow. n Laughing Horse @ The Pear Tree, until 28 August, 3pm.

OLGA KOCH

With her new show all about sex and sexuality, the former Best Newcomer nominee is no mere stand-up stripling now and this year might just be a turning point for her. n Monkey Barrel, until 28 August, 7.35pm.

CHRISTOPHER MACARTHUR-BOYD

The rising star of Scottish stand-up covers his eyes, takes a deep breath and utters Oh No as he considers the end of the world. In a funny way, though, obviously. n Monkey Barrel Carnivore, until 28 August, 6.20pm.

LATE’N’LIVE

The notorious multi-act late-nighter has been rebooted with an all-female hosting roster while it isn’t quite as late as it once was. Less chaos doesn’t mean that this legendary night won’t be dripping in intrigue. n Gilded Balloon Teviot, until 29 August, 11.30pm.

MICHAEL SPICER

We all know him as the guy who did those viral videos in which he poked relentless fun at, mainly, Tory politicians who were messing up royally during the pandemic. But now Spicer comes out of his room to give us a live performance. n Assembly George Square Studios, 19–28 August, 3.40pm.

COMEDY HIGHLIGHTS

Olga Koch (and bottom from left), Catherine Cohen, Jamali Maddix, Michael Spicer

PICTURE: MATT STRONGE

CATHERINE COHEN

After scooping the Best Newcomer prize in 2019, the acclaimed cabaret-comic has returned with a work-in-progress that is in far better shape than some people’s fully formed hours. n Pleasance Courtyard, until 21 August, 9.40pm.

JAMALI MADDIX

Not that long ago, the Hate Thy Neighbour host was threatening to quit stand-up for good, but we’re glad he’s keeping it going as he brings us a short run of his King Crud. n Pleasance Courtyard, 25–27 August, 11.20pm.

PICTURE: EVAN MURPHY PICTURE: MATT CROCKETT

DANCE

GRANHØJ DANS

There’s something about Ravel’s Boléro that entices choreographers. Perhaps it’s the slow build, or that crashing crescendo? Either way, numerous dance works have been set to this iconic orchestral masterpiece, so you’ve got to change it up if you want to stand out. With nine dancers and eight cellists live on stage in BOLERO: EXTENDED, it’s safe to say Palle Granhøj, artistic director of Danish company Granhøj Dans, is doing things a little differently. (Kelly Apter)  Dance Base, 23–28 August, 7pm.

It’s been many years since companies like Casus, Circa and Gravity & Other Myths began bringing pared-down, intimate performances of strength and beauty to the Festival, replacing the big-top circus tradition. You’d think by now that the Fringe would have seen it all, and that coming up with small-scale circus that is genuinely original would be an impossible task.

Enter then Brave Space, with its dream-like atmosphere and inventive ideas, one of which involves the audience helping to build the big top itself: a gossamer-thin silk structure under which we all crowd to watch most of the show. We’re also invited to hold hula hoops for one performer and hoist another to the top of the tent. There are heart-stopping moments too, including Sarah Tapper’s balancing act, walking across giant metal poles held by the company.

But what really stands out is the angle with which we are invited to view duo trapeze. We lie down and look up, as feet away, Hayley Larson and Rachel Webbermen contort into exquisite shapes. It’s dizzying and unforgettable. These innovative staging ideas, however, can only be experienced by the able-bodied, and those with no fear of intimacy with strangers or mobility problems. To see the show from a regular vantage point would miss its finest effects. It sets a divide between audience experiences and asks of us more than just bravery. (Lucy Ribchester) n Underbelly Circus Hub, until 27 August, 11am.

FREEDOM BALLET OF UKRAINE BALLET FREEDOM lllll

Ballet Freedom burst through the boundaries of traditional ballet, with a sensual and surprising contemporary piece that’s guaranteed to keep audiences on their toes. In the midst of ongoing war in their homeland, the famous dance company have travelled from Kyiv to perform in Edinburgh, with male cast members having to secure special permission from Ukraine’s minister of culture to be here.

An adaptation of their previous show, Boudoir, the performance portrays a group of suave and suited individuals (perhaps cabaret dancers). We view the show as a series of disconnected interactions between the characters; from lustful duets with passed-out damsels to an erotic sequence featuring balloons, the audience never quite know where they stand. The same could be said about the show’s choreography; at times, we are entranced by the dancers’ contagious passion, then there are moments when we’re almost underwhelmed. But free from the rigidity of classical ballet, the company create a mostly entertaining evening of sexual slapstick comedy. (Rachel Cronin) n Pleasance At EICC, until 28 August, 9pm.

CIRK LA PUTYKA RUNNERS lllll

Roll up, roll up, for a circus show that’s guaranteed to forever alter the way you see circuses. No clown-cars, bored lions or trapeze action here: Czech company Cirk La Putyka may be highly skilled performers but this is a much more artistically dynamic dance-piece than might be expected. Thoughtful, often beautiful and speaking the international language of kinetic ‘wow’, this largely non-verbal performance should appeal to anyone with imagination.

The talking point here is the runner itself: a long, large conveyor belt, big enough to hold the entire cast at once. They can sit, stand, run, jump and dance on it; they can even ride a bicycle on it or turn cartwheels inside a hoop. Balls of all sizes and shapes are introduced, resembling planets as they spin magically above the belt.

‘I’d always dreamed of being a human cannonball’ remarks one performer who displays astonishing agility here. But Runners is more than just a show-off physical theatre piece; it’s a wonderful theatrical metaphor for life, the universe and everything, and which deservedly brought a standing ovation from a rapt audience.

There’s something hypnotic as an optical illusion about the treadmill, and the gleeful abandon with which the performers fling themselves around. Runners is the definition of a break-out Fringe hit: it’s dynamic to look at, has easy to grasp metaphorical strength and is as engaging as a live-action cartoon to watch. (Eddie Harrison)

n ZOO Southside, until 28 August, 8.30pm.

DREAM (LE) PAIN lllll

It’s pleasing that a show so quintessentially French should also feel so perfectly Edinburgh. (Le) PAIN features fresh baguettes (as in ‘cooked right in front of your eyes’ fresh), idyllic French village life and tales of the trials and tribulations of a fourth-generation baker. There’s also circus, nudity, bagpipes (the French ones), audience participation and an entire section about poo: it seems the Auld Alliance is alive and well.

There’s a sense of memoir and simple story-sharing that wouldn’t feel out of place on a Book Festival stage; this is narration rather than acting, which makes some of the early switches into a more theatrical style feel a little jarring. That it works (and it does work) is down to the skills of baker-cum-circus performer JeanDaniel ‘JD’ Broussé, who narrates his life story with good-natured charm and honesty, interwoven with a masterclass on the magical properties of flour, yeast and time. As the show develops alongside his dough, the sights, sounds and smells all come together to create a compelling piece that defies categorisation.

JD is intensely likeable; the audience roots for him from the start, and when he breaks down the walls between JD the boulanger and JD the performer, it becomes clear there was only one way this story could ever have gone. Baking’s loss is our gain, as is a timely reminder that running away to join the circus is not only a proper life plan, but it’s one worth breaking a few baguettes for. (Jo Laidlaw)

n Assembly Roxy, until 28 August, 4pm.

LOST IN TRANSLATION HOTEL PARADISO lllll

Hotel Paradiso is circus theatre for children that manages to be impressive and entertaining for accompanying adults, a delightful fusion of mesmerising acrobatics and slapstick comedy. Astute grown-ups can observe a plot to go with the circus tricks; two mean bankers in pinstriped suits challenge Carmelo the concierge and his team to prove within a day that their hotel is a viable business, or else face eviction.

Short farcical sketches and enchanting dances trigger squeals of laughter and delight. According to the youngest judges, not much can be funnier than a chambermaid left dangling from a chandelier she was dusting, which is the cue for an aerial hoop act. Children get a sense of a story taking place without needing to follow it. Each character is unique and has their own spectacular circus act. Thankfully, there are no sinister clowns; the baddies here are convincing, yet funny rather than scary. (Rosanna Miller) n Underbelly Circus Hub, until 27 August, 3.20pm.

SADIQ ALI THE CHOSEN HARAM lllll

Sadiq Ali seamlessly fuses circus, dance and storytelling in this duet performed with Alexandre Duran Davins. The Chosen Haram is never punctuated by audience applause, not because the skills don’t warrant it (they very much do); but when Ali hoists himself upside down on the Chinese pole, or plunges from the top to the bottom, he does so with such intense immersion in his character it seems like the most natural way in the world to express himself.

This boy-meets-boy tale tells of the knotty relationship between a Muslim and a party animal as they navigate romance, chemsex and faith. Both Ali and Davins are wonderful physical performers, but Ali has a particular feel for using the pole to create an unusual image: he grasps it with his knees and prays, and suddenly our world is turned on its side. Or he makes his body into a minaret between two poles. His stagecraft is strikingly creative too; you will never look at rice the same way again.

It’s a wild, powerful journey, and it would have been nice if it had found a little more resolution at the end. But in both its subject matter and the way it’s performed, this is a groundbreaking production. (Lucy Ribchester) n Summerhall, until 27 August, 9pm.

Another set of delights in the worlds of dance, circus and physical theatre as we welcome aboard some circus veterans, an ancient street tradition and an R&B

Liz Lea performs a rich and rouge dance-theatre work which is as fierce as it is fearless, as she retells the story of a journey from illness to recovery. n Dance Base, 16–28 August, 2.50pm.

REBEL

Gone but far from forgotten, the life and music of David Bowie is hailed in this circus tribute to the star man who died six years ago. n Underbelly Circus Hub, until 27 August, 5.30pm.

AN UNTITLED LOVE

Acclaimed choreographer Kyle Abraham’s new work is all about culture, family and community, accompanied by an R&B score as an unforgettable party evolves in front of our eyes. n King’s Theatre, 20 & 21 August, times vary.

LE FLANEUR

Across town, an old tap dance ritual is performed in accompaniment with a musician. Among the spots being visited are Portobello Promenade, Scotsman Steps and Water Of Leith. Check press, as they used to say, for details. n Various venues 23–28 August, times vary.

MUSE

FLIP Fabrique is another troupe of modern circus performers who feel like Fringe veterans by now and with Muse, they consider the question of what it means to be a woman. n Assembly Hall, until 28 August, 5.20pm.

Samsara (and bottom from left), Humans 2.0, Red, Rebel DANCE HIGHLIGHTS

HUMANS 2.0

The circus legends that are Circa are back with an all-conquering explosion of light, sound and jawfalling acrobatics featuring towers of humans and bodies leaping through the air. n Underbelly Circus Hub, until 27 August, 6.35pm.

SAMSARA

East and West clash against each other as Aakash Odedra and Hu Shenyuan dip into various dance traditions to create something powerful, unique and magical. n Lyceum Theatre, 18–20 August, times vary.

PICTURE: NIRVAIR SINGH

PICTURE: LORNA SIM PICTURE: MATT TURNER

FILM

HALLELUJAH

In the tower of songs constituting Leonard Cohen’s discography, ‘Hallelujah’ sits at the top for its sheer ubiquity. Children have cried to it while a CGI ogre traipsed through a wood; Jeff Buckley found fame with his tender cover of the song; and the original version is emblematic of Cohen’s darkly languorous style, unwinding with delicate precision. From directors Dayna Goldfine and Dan Geller, Hallelujah: Leonard Cohen, A Journey, A Song uses the melancholic mega-hit as a springboard to explore the miserabilist poet’s life, delving into extensive excerpts from his archive to create a comprehensive overview of a prolific career. (Kevin Fullerton)  VUE Omni, 17 August, 3.50pm; Filmhouse, 20 August, 4.50pm.