Summerhall, theatre
Photograph: Peter Dibdin

Summerhall

The current king of the city’s arts scene, hosting performances of all shapes and sizes. Even when there’s nothing on, great bars and food are worth dropping by
  • Art | Arts centres
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Time Out says

As Edinburgh’s newest – and hippest – multi-arts venue, Summerhall has quickly evolved from its former life as the Royal Dick School of Veterinary Studies into a cutting edge performance space.

Year round it puts on a programme of largely avant-garde, occasionally political exhibitions, talks, music, theatre and dance, and film events – as well as functioning as a space for workshops and residencies.

It’s quickly emerged as the go-to for ground-breaking, thought-provoking work during the Festival, with shows performed in everything from the lecture hall-slash-theatre spaces, to site-specific works in basement corridors and tiny lifts. In lesser hands dubbing yourself as a ‘cross cultural village for innovators’ would sound a little, well, pretentious. But here, they largely deliver.
 
Geeks aren’t ignored either, with the addition of TechCube providing a space for technology start-ups to rub shoulders and develop their ideas.

Eccentricities from its former life as a veterinary school reside throughout what’s essentially a labyrinth of a building, from the odd bit of taxidermy on the wall and operating tables in the bar, to the much-loved Dissection Room.
 
Beyond its success an arts venue, it’s also establishing itself as a popular place to grab a coffee or a beer, and The Royal Dick Bar and Bistro, which was once the Small Animal Hospital at the school is fast emerging as great place to loiter in, largely thanks to a decent food menu. Across in the café, a decent cuppa is guaranteed, along with a regular exhibition of pop art posters, including work by usual suspects Robert Rauschenberg, Andy Warhol and more.

As an additional hoorah, they have a resident craft brewery, which produces Summerhall Pale Ale, brewed by Barney’s Beer.

Details

Address
Summerhall Place
Edinburgh
EH9 1PL
Transport:
Rail: Edinburgh Waverley

What’s on

Darkfield: Eulogy

3 out of 5 stars
This review is from the 2022 Edinburgh Fringe. Darkfield’s hallucinatory audio dramas are practically their own genre and I don’t think it’s totally unreasonable to say that if you’ve seen one before, you basically know what you’re getting yourself into with a newie. ‘Seen’, of course, is not the operative word: like predecessors ‘Seance' and ‘Flight’, ‘Eulogy’ takes place in total blackout conditions, inside a sealed shipping container, with the show prerecorded and relayed via headphones - a trippy audio drama relayed in disorientating binaural sound. There’s a twist with this one, which is that our headsets have microphones in them, and throughout the show we’re asked a series of yes/no questions about ourselves - it’s mostly at the beginning and I started to wonder if there had been any point to it, but it actually builds up to an extremely amusing twist at the end – it’s a throwaway gag, but it’s a good throwaway gag. Otherwise, it’s a traditional Darkfield adventure: that is to say, a batshit crazy story that involves us being entered into some sort of bizarre contest at a strange hotel, where we’re put under the charge of a ‘helper’ who seems to be tasked with taking us through a ritualistic series of actions that must be followed to the letter if we’re to succeed in the contest. We do not follow them to the letter… and things get very dark. The plots in Darkfield shows always seem to follow the vertiginously swirling logic of dreams, with abrupt changes in location...
  • Immersive

Darkfield Radio: Double, Visitors and Eternal

Blackout theatre specialists Darkfield are ever less escapable at the Fringe, with their shows Eulogy and Arcade coming back for runs at different venues this year. And then there’s Darkfield Radio: if we’re reading it right it’s so called because it’s a ‘pure’ headphones show and lacks any real set beyond a blackout. Which is fine really: the headphones plus blackout are the main bit of Darkfield shows, and this format actually allowed for ticketholders to choose one of three different pieces of the same 25 minute length (a bit like changing between channels at a silent disco). The pieces are Double, about the rare phenonomenon that is Capgras syndrome, wherein you think a loved one has been replaced by an evil imposter; Visitors, about why the dead find no comfort in the land of the living; and Eternal, about the price of endless life.
  • Immersive

Ordinary Decent Criminal

3 out of 5 stars
You don’t need to have seen the last Edinburgh Fringe monologue that playwright Ed Edwards wrote for comedian Mark Thomas to appreciate the new one. But if you caught 2023’s England & Son, it makes for a fascinating contrast with Ordinary Decent Criminal.  England & Son was the harrowing story of an ex-juvenile offender whose life is fatally poisoned right from the start by circumstances outside his control, not least the legacy of British colonial rule as passed down via his violent father. It was gaspingly intense stuff that confirmed that after years of increasingly theatrical solo shows, Thomas could indeed act. Personally, I found it a bit misery porn-y, but it was still impressive I’m not sure if Ordinary Decent Criminal is a reaction to England & Son so much as an acknowledgement that you can’t really make the same play twice. But while Thomas is again playing a criminal with the same accent, age and mannerisms as Mark Thomas, the title is not ironic. Frankie is a nice guy. Sure, he’s gone to prison for drug dealing. But it’s just a bit of weed, he’s never hurt anyone, has an activist background, a social conscience, and he cares desperately about his partner and her son. Edwards seems determined to avoid the miserable bombast of his last play For the most part it’s the story of one man’s journey through the British prison system. There’s a familiarity to the narrative if you’ve ever watched a film or TV show set in jail (Paddington 2 absolutely counts) as Frankie...
  • Drama

Paldem

Megan and Kevin are just pals; until a one night stand caught on camera makes them reconsider their relationship. This ‘anti romcom’ delves into the amateur industry – not uninteresting as an idea, but what makes it considerably more intriguing is that Paldem is the debut play from rising Brit star David Jonsson, known for Industry, Rye Lane, Alien: Romulus and more. He won’t be starring in the two-hander, though: Tash Cowley and Michael Workeye play the duo, while Zi Alikhan – who has worked on Industry – directs.
  • Drama

Mr Chonkers

4 out of 5 stars
A lot of things about Mr Chonkers remain unclear to me. For starters, the words ‘Mr Chonkers’ are never at any point uttered in this show from weirdy American clown John Norris, who solely introduces himself by his actual name. Is Mr Chonkers an abandoned pseudonym? The umbrella name for all of Norris’s shows, which aren’t in any way identified as being different from each other? I first heard of Mr Chonkers in 2022, when he played a midnight slot at Monkey Barrel Comedy, and I was basically too lazy to go to out that late – surely this isn’t the exact same show?? Whatever the case, this hour – either by Mr Chonkers or called Mr Chonkers – is a delight. If a run at Summerhall gives it a dollop of hipster cred then it’s worth stating for the record that despite moments of extreme weirdness, it’s a very funny show that’ll be entirely accessible to fans of the other Yank neo-clowns who have lit up the Fringe in recent years – think Natalie Palamides, Bill O’Neill and Courtney Pauroso. After a very strange opening section in which Norris comes out dressed as a faceless monk and sort of gestures at us oddly, he reveals himself to be an unkempt American who looks like he’d have fitted it well with any given ’80s cast of SNL. To say the show is really ‘about’ anything would be pushing it, but Norris’s persona is that of a near hysterical, on-edge performer with a deeply complicated relationship with his audience. Early on, the man sitting next to me is given a bell to ring if...
  • Solo shows

Philosophy of the World

4 out of 5 stars
At the beginning of their new show Philosophy of the World, the three members of In Bed with My Brother – that’s Nora Alexander, Dora Lynn and Kat Cory – shuffle on sheepishly to announce that they’re now so skint that they’ve been forced to write a commercial show with a linear narrative that will feature absolutely no nudity. This is all a lie (apart from probably the being skint part) and what follows continues the trio’s tradition of coming up with shows that actually sound like middlebrow-awards bait, but are in fact splenetic leftfield punk-rock conflagrations in which they take their tops off. So there was Tricky Second Album, their show ‘about’ the KLF burning a million, that was really a caustic takedown of the exploitative nature of the theatre industry. Most recently, PRIME_TIME at the Barbican was an assault on Jeff Bezos so frenzied that it didn’t concern itself with any sort of contextualisation or scene setting but just consisted of an escalating series of insults and murder fantasies – hating elevated to raw art.  Now they’ve (sort of) set their sights on The Shaggs, one of the all-time great musical oddities. Hailing from smalltown New Hampshire, the sibling trio’s domineering father was told by a fortune teller that his daughters would be in a successful rock band, something he chose to wholeheartedly believe. And so throughout the late ’60s and first half of the ’70s, Dorothy, Betty and Helen Wiggin were dragooned into becoming The Shaggs, who recorded a...
  • Experimental

No Apologies

3 out of 5 stars
On the face of it the question ‘was Kurt Cobain trans?’ is the very definition of ‘no, next one please’. But Emma Frankland’s new show No Apologies addresses the query with a mix of impish cheekiness and impassioned justification. And to be clear the question is not ‘did Kurt Cobain transition?’ or ‘what pronouns did Kurt Cobain use in private?’ but rather whether the Nirvana frontman’s various proclamations about wishing he was born female, wanting breasts, wearing dresses etcetera etcetera could be viewed as amounting to gender dysmorphia. Had he lived longer or in a different time, might this have amounted to something more?  Obviously this is one one level the stuff of very niche Reddit forums. Frankland is not the first to float the theory Cobain was trans, but it is essentially based on selective, academic readings of things he said in public, by people who didn’t actually know him.  Performing in a recreation of Nirvana’s MTV Unplugged set, wearing the same outfit Cobain wore for the recording, Frankland repeatedly tells us ‘he was definitely trans’. But it’s with a mischievous grin. Might have been – sure. Definitely – I think the twinkle in Frankland’s eyes puts paid to that.  But her yearning for Cobain to have been a fellow trans woman is the real point of the show. As a teenage Nirvana fan, none of Frankland’s celebrity role models or favourite musicians were trans: it was basically an impossibility back then, and is  hardly a crowded field now. If Cobain had...
  • Experimental
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