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Fearful of being spooned into submission by “Prince Charming types”, strait-laced Scottish government employee Gordon heads to Berlin to attend Berghain’s infamous fetish night Snax, accompanied by his occasional lover Cumpig, and Cumpig’s husband, Manpussy. Solidarity also features in James Ley’s celebratory Ode to Joy (How Gordon Got to Go to the Nasty Pig Party) (Summerhall, ★★★★): a raucous, cum-stained love letter to friendship, literal arseholes and the European Union. If you feel pinned to the ground, let me unburden you. Exploring themes of addiction, parenthood, queerness and power, She/Her’s monologues brim with generosity in their form and content: if you cannot speak who you are, sing it. Created by Nicole Ansari-Cox and produced by her husband, Succession star Brian Cox, the show is a loving, expansive proof of practice in shared vulnerability. I’d initially approached She/Her (Assembly George Square Studios, ★★★) with some trepidation given the current “war on woke”, pronouns have unfortunately become deeply contested territory. The Belgian waffle truck in George Square is back! God, I love those waffles, just as I love sitting in the back of Assembly Studio One at two in the afternoon, weeping a little as eight women from different parts of the world sing a traditional Yoruba chant. The sun is shining, the streets are packed. Photograph: Murdo MacLeod/The Guardianīut hey: who wants to be that person at the party? As someone who lives in Edinburgh and works in the arts, it feels traitorous to feel entirely pessimistic at the fringe’s return. ‘Brims with generosity’: She/Her at Assembly George Square Studio One.
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