Not hard to be macho man

0 Natalie as Nate explores contemporary sexual politics

reminded, Nate is less unreconstructed than he initially appears and less oblivious to the shift in sexual relations since #Metoo, asking

for consent before intimately touching people. There’s an element of lip service here though, as Palamides deliberately crosses personal boundaries, the tension and sense of mischief palpable as this diminutive, semi-naked woman draws a man from the crowd and goads him into wrestling her, a gender inversion of Andy Kaufman’s infamous shtick.

Rejected in love and leaning on a borderline homoerotic bromance, Nate struggles to articulate feelings that are essentially pure, just a little bit degraded and awkwardly expressed. An adult art class and his teacher Mrs Jackson seem to offer a glimpse of redemption. But the final act is particularly troubling, with Palamides alternating between the two roles, affording Nate plausible deniability in his actions and an unsettling conclusion of sexual equality. Still, the fact that Palamides so capably wrings laughs and surprises out of a narrative that’s both as timely as it is dark, is testimony to her abundant skills as a theatrical provocateur. JAY RICHARDSON

Until 26 August. Tomorrow 6pm.

If you’re starting to feel that your Fringe needs more of a Scottish flavour, this new musical charting the life of Robert Burns offers reimagined versions of his classic poems, as well as insights into the episodes that may have inspired them.

Created by Rod Grant, head teacher of Edinburgh’s Clifton Hall School, along with composer Martin Franssen, the piece mixes the unselfconscious charm of an amateur theatre group with the professional polish of BBC award-winning traditional Scots singers Claire Hastings and Hannah Rarrity.

Kieran Bain is very watchable as Burns, and while the energy is clearer than the words in a high-octane version of Tam O’ Shanter, a particularly melodic version of A Man’s A Man For A’ That is beautifully performed.

A live band would certainly add to the mood, as the songs become the highlight in a piece where acting abilities are mixed but warmth and enthusiasm is unlimited.

The conflict between Burns as a womaniser and political radical is touched upon, but glossed over in a somewhat simplistic way. However, as a champion of the Scottish people, he’d certainly be proud to bring this many together, both on stage and in the audience.

SALLY STOTT

Until tomorrow. Today 7pm.