Coffee-Table Notes

It was Groucho Marx who wrote how 'I don't want to belong to any club that will have me as a member'. Marx quoted his resignation letter tendered to Milton Berle's private members showbiz haunt, the Friars Club of Beverley Hills, in his 1959 autobiography, Groucho and Me. Immortalised in this way, Marx's words tapped into a form of wilful outsiderdom courted by would-be geniuses ever since. Even outsiders, however, have to belong somewhere, as three very different Edinburgh Festival Fringe shows look set to demonstrate this year. In The Red Shed, Mark Thomas presents a loving homage to the forty-seven foot wooden hut that forms the Wakefield Labour Club where he cut his stand-up teeth. In his play, The Club, Ruaraidh Murray sets up a fictionalised account of life in The Tardis, the Clerkenwell-based railway arch turned 1990s hedonist's hang-out, where Brit-artists rubbed up against great train robbers, Boy George was on the decks and absinthe was all the r

When Tim Crouch brought his show The Author to the Traverse Theatre in 2010 as part of that year's Edinburgh Festival Fringe, his dissection of the right to be offensive onstage provoked several walk-outs. While this was in part a conscious provocation for such a reaction, the fact that Crouch's then teenage daughter Nel was ushering the show gave things an extra edge that neither have forgotten. “I used to have all these irate members of the audience going 'This is appalling',” Crouch senior remembers, “and Nel had to stand there, and all she probably wanted to say was 'That's my Dad.'” For Nel Crouch, it is the very first Traverse performance of The Author that she remembers. “About a third of the audience left,” she says. “I've no idea why that was, because it was never that many again, but there is this plant at the start of the show who walks out, so that sort of invites it, and then if people do it means the show is kind of working.” Six ye

Assembly Roxy, Edinburgh Four stars Out of the darkness, thirteen Syrian women line up wrapped in a multitude of coloured robes and head-scarves. Speaking in their own language, they become the chorus of Euripides' battle-scarred tragedy, The Trojan Women, telling of fictional peers robbed of everything they had by battles not of their making. This is just a prologue, however, for the series of real life testimonies that come from the frontline of the war these women fled from, seeing refuge in strange lands in what they repeatedly call 'the boats of death'. Over a brooding minimalist underscore, each woman takes it in turn to read letters, to their parents, children, brothers and sisters they left behind. Delivered directly to the audience, the women's' experiences are still raw, and there are moments when you fear they might not get through it. As their words are undercut by more passages from Euripides, however, the women gain strength from Hecuba, Androma

Horse McDonald was in a recording studio in Cornwall when the seriousness of telling her life story onstage kicked in. The Lanark-raised singer/songwriter had just had a two-hour Skype session with writer and actress Lynn Ferguson, her long-term friend and artistic peer, who was turning Horse's true life tales into what has become a one-woman theatre show performed by McDonald called Careful. With Ferguson in Los Angeles where she now lives, such transatlantic brainstorming sessions had becoming part of the creative process for Careful, and this session had tapped into some of the more painful areas of McDonald's story. Hyped up on adrenalin and the emotional anxiety of revisiting her past, McDonald's asthma kicked in, and a whole lot more besides. “I was having flashbacks,” McDonald says midway through explaining the roots of Careful, which runs throughout August as part of the Gilded Balloon's Edinburgh Festival Fringe programme. “There are a couple of stories

Pitlochry Festival Theatre Four stars A storm may be brewing over London's Docklands at the opening of the third play in Alan Ayckbourn's Damsels in Distress trilogy, but that's just a hint of the explosion to come when Justin and Julie-Ann attempt to host a dinner party for their respective parents to announce their engagement. As they prepare, hints of trouble ahead are already apparent, both through Yorkshire lass Julie Ann's highly-strung brittleness and the phone calls from Justin's already pickled mother. It is only when ex lap dancer and gangster's moll Paige Petite literally drops onto the balcony from the penthouse suite upstairs, however, that things really start cooking. What follows once the parents arrive is a devastating portrait of turn of the century Britain riven by a north-south and class-based divide, where the only thing that's on an equal footing is a destructively cloying patriarchal conformity. Director Richard Baron navigates

Botanic Gardens, Glasgow Four stars The dressing up box sitting at one end of the Kibble Palace is telling about the latest venture put together for the fifteenth anniversary season of Bard in the Botanics. As a clock ticks behind it, here, after all, is the laid out apparel of dress to impress immortality designed for a life destined to be unlived. After remaining monogamous to Shakespeare's collected works for so long, the Bard in the Botanics company have been tempted by his contemporaries for a new strand dubbed Writing the Renaissance. If setting out its store with Christopher Marlowe's unhinged and altogether wilder play than most of Shakespeare's canon is a statement of intent, the future should be nothing if not lively. This is especially the case if Jennifer Dick's relentless ninety minute adaptation for three actors is anything to go by. Here Adam Donaldson's bookish Faustus chalks pentagrams either side of a Pandora-like box that sits dead cent

When Edinburgh International Festival director Fergus Linehan announced his first programme in 2015 would include a gig by FFS, a collaboration between Glasgow-sired art-rockers Franz Ferdinand and post-modern music hall duo, Sparks, it was a headline-catching statement of intent. While previous EIF programmes had featured the likes of rock and roll poetess Patti Smith performing alongside minimalist composer Philip Glass, here was an event rooted in Scotland's DIY pop underground which had subverted the mainstream. This year, Linehan's contemporary music programme has been developed further. Glasgow instrumentalists Mogwai performing a live soundtrack to Mark Cousins' film, Atomic: Living in Dread and Promise. Former Arab Strap vocalist Aidan Moffat will perform alongside Where You're Meant To Be, Paul Fegan's film that follows Moffat's journey in song around Scotland. Moffat's performance will take place in The Hub, where Chemikal Underground records