The Strange Case of Doctor Dillon

THE Camden Fringe returns for its 18th year with more than 320 productions taking place at 23 different venues across north London. The festival was established in 2006 by the supportive and indefatigable Michelle Flower and Zena Barrie, and the line-up of shows is impressively wide-ranging including stand-up comedy, musicals, physical theatre, new writing and dance.

• Witty and crude, Stephen Portlock’s tongue-in-cheek comedy doesn’t shy away from the bawdy details of life as a middle-aged, blind, obsessive compulsive. Portlock (and his remarkably silent dog Hamlet) has the audience in stitches. Whatever he lacks in “whiz-bang mobility”, Portlock makes up for in hilarious tales of his daily life as a Camden local. From the dangers of acronyms and electric cars to audio porn and identity politics, Portlock covers all bases. His self-deprecating humour and the intimacy of the Etcetera Theatre is ideal for audience participation – it feels like having a giggle down the pub with family. Stephen and Hamlet: Blind and Mad is also at the Museum of Comedy. MB

Stephen Portlock [Stephen Portlock]

• “Wherefore art thou Romeo?” Juliet asks herself. Then onto the Lion and Unicorn’s minimalist stage walks her friend Rosaline. She’s come from a party she describes as “a pile of w**k”. The friends switch between Elizabethan and modern language as they discuss two boys who have declared undying love before discovering they are both talking about the same one: Romeo. Rosaline and Juliet, written and performed by Lily Roberts and Lara Lawman, is a witty exploration of a love-disrupted female friendship. Roberts perfectly captures Rosaline’s manipulativeness and glee, while Lawman brilliantly depicts a gauche Juliet convinced she can be her match. EG

Black Velvet

• At the Old Red Lion, Christina Knight’s graveyard drama, Black Velvet, is an affecting debut. Llew (Charles Ison) is visiting his mother’s grave when he encounters 17-year-old Aofie (Knight), who is also grieving the recent loss of her mum. She’s sleeping rough and hungry. They chat and discover that they have more in common than they first thought. Both actors give heartfelt performances, but the shift in emotions and mood are occasionally abrupt and Eamon O’Flynn’s production would have benefited from less volume and a more measured pace. LP

• Nadia Jackson’s play shines a light on the life of photographer Dora Maar (Faye Ziegler), muse to Pablo Picasso (Jeremiah O’Connor). Maar Dora peels back the creation myth behind Picasso’s The Weeping Woman, and reveals how Maar’s passionate pursuit of photography was quashed by Picasso’s narcissistic yearning for control. Spiky Saul’s production at The Cockpit immerses us in their world: an artist’s studio, complete with both their works, an intricate balance of light and shadow like a moving photograph captures their dynamic tension. Ziegler’s playful portrayal cleverly juxtaposes the unsettling intensity of O’Connor’s performance. Warmly recommended for art-lovers, feminists, and anyone seeking a truly human story. Also at the Courtyard Theatre. MB

Coffee Break

• Described as “a metaphysical comedy” Bruce Kitchener’s Coffee Break, at the Hen and Chickens, is a contemporary Waiting for Godot. Lu (Emily Breach) and Jo (Ezra Dobson) are in a café, waiting for a coffee that never arrives. Jo is cross about a recent encounter with a cyclist. As they wait for something to happen, Jo wonders if they are in an escape room. Lu imagines they are on a beach. Kat Kitchener interrupts the pair in various guises (receptionist, nurse, policewoman), but fails to enlighten them. The play has potential but is let down by repetitious dialogue and a predictable ending. Erratic lighting also distracts. LP

• Cloud Quinn’s The Strange Case of Dr Dillon at Camden People’s Theatre examines the life of the world’s first female-to male transsexual, Dr Michael Dillon. A medical genius, Dillon pioneered some of the early hormone treatments in the first half of the 20th century. On a stage consisting of a screen, table and chair, Quinn portrays Dillon as a person of dauntless intellectual energy and creeping vulnerability as he lives his life first as an Oxford student and, finally, a Buddhist monk in India. Opposite Quinn, Kay Eluvian effortlessly switches between 12 other parts, including a pioneering surgeon, sympathetic naval officer, and Dillon’s subconscious. EG

• Last year, Lourdes Fernández’s flamenco show Orígenes proved a highlight of the festival. In Flamenco-Electro, Sydney musicians – guitarist Mike Rizk, Peter Micos (percussion and guitar) and Michael Hewett (synth and percussion) – are joined by local dancers Alexea Norman (contemporary) and Angela Alonso (flamenco) at the Courtyard Theatre. Rizk takes us on a journey from traditional flamenco through to the modern blending of flamenco beats with electronica, using synthesisers, loopers, drum machines and percussion. It feels like a workshop, rather than a polished performance, but the guitar- and foot-work are impressive. LP

• At Theatro Technis, Where We Meet is a charming audio-based dance installation. In semi-darkness we encounter three dancers. As they move, we hear their “inner thoughts” through our headphones. As we walk around the space we can choose which performers to engage with, and are invited to participate in gentle, relaxing movements and yoga breathing. In just 30 minutes, Unwired Dance create a lovely, dream like state. LP

• The Camden Fringe runs until 25 August. For the full line-up and details of times and venues see camdenfringe.com