Reviews

Millicent Saare is an ‘old hand’ at Fringe shows and, once again, turns her hand to a new 60-minute show by partnering with Jemma Allen, and Rosie Russell to present Fringe Foundation supported Bi-sexual Intellectuals. A word of caution: it is a 15+ rated show for a reason as the themes and language are very much for an over fifteen, and possibly under 60 audience. It is also a show for those who are proudly feminist and feminist supporters.

There’s a whole lot of copper pipe on the stage, deliberately shaped into frames, and adorned with rails, bicycle wheels, a handful of tin cans – and a gong. The show’s writer and performer, Miranda Prag is worried about time: at the start, it’s how little she has; and what she has, how it is filled; and why when it is filled with the spontaneous requirements of the day, it inevitably makes her late for her meeting.

In 1916, the famous-but-now-retired detective resurfaces to attend the funeral of his friend, Watson, returning to Baker Street to resolve ‘the last act’.

Nigel Miles-Thomas is Sherlock, every English enunciation defining Holmes’ precision and emotionless deduction – until he admits he misses things; misses people; he misses his friend Watson! These cracks in his armour are small, yet significant, and Miles-Thomas has the nuance to show them without radically changing the established character.

There’s not a lot that will throw the utterly brilliant, outrageous and hilarious burlesque performer Damien Warren-Smith off his game. His onstage personality has a kind of disarming innocence, cheekily crossing boundaries as though he didn’t realise they existed, and then basking in the embarrassed delight of the audience he’s dragged out of its comfort zone. That naughty toddler character might come across a little insecure, which contrasts with his physical comedy, which is strong, controlled and comfortable.