Underbelly, Bristo Square
Aug 20th – 27th (13:15)

Summa Sedes Non Capit Duos

A comedy/play called ‘Ringer’ for me conjures up images of risqué jokes, so I made my way to this show ready for what may come. Performed at Underbelly’s Bristo Square you go down stairs to tiled corridors. The square is a must see for getting in the swing of what the Edinburgh Fringe has to offer; this outstanding play is one such thing. ‘Ringer’ is a brainchild of Hughie Shepherd-Cross, it is his 5th at the Fringe that has been written respectively, and the term of its name wasn’t as bleak as I thought.

The triangle shaped room buzzed in full capacity as the play began. Fabian Bevan and Hughie have got together for a great performance, and as they gandered onto the stage the suit’s they wore were soon to undress to the sight of a man in a white vest. Fabians stuntman character looked like something in the 50’s when film was a big force in the world, Enter Hughie as a manic PR.

The joke was that Hughie’s manicness seemed to be caused by the fact that he was manic. And having absolutely no idea what was to come Fabian’s character was one without a clue. And to a stage rampant with action a hilarious direction exhumed into the play.

With the gusto of this very fast paced performance the plot exploded with the death of a prevalent actor. This lead to problems for the PR who was perplexed at the size of the predicament he was left with. He met with Fabians character and was struck by the idea that he looked a lot like the star and thought could you please play the part because you look exactly like him.

Only after great anxious consideration Fabian finally agrees. The story starts and reflections began in an all out theatre so consuming to watch. Catching us in a world of intrigue it was impossible to put down, Hughie makes for experimental writing a fresh and invigorating story for the love of acting.

With ounces of show stopping, meaning full and endearing intensity the story lit up the great little sized stage. Was there Shakespearian wit, coming out in some of its more ironic moments, moments of pivotal plot making? A man for whom so much happened, a man who we saw whipped into shape by a Hughie Shepherd-Cross willing to try anything to save face. Making the most of this play was easy and I felt an audience truly engaged.

A very jovial and light performance commenting on the life of theatre with a formidably honest sense of humour and jokes from a place of sincerity; two actors in their prime and writing that makes you feel cool.

Daniel Donnelly