Ihsane review – Sidi Larbi Cherkaoui leads us from brutal tragedy to euphoric harmony

Assembly George Square, Edinburgh The US comic’s troupe tell the tale of a special guest’s romantic encounter, in this case Travis’s frontman – but their incoherence makes for a scatty if fun show It’s a lovely format for improv: a special guest tells David Magidoff the story of some romantic (mis)adventure from their past, and Magidoff and pals turn it into an extemporised musical. Shades of Improbable theatre’s tender and funny Lifegame, many moons ago – although Making Love is more knockabout than that. Between musicians and improvisers, US actor and comedian Magidoff assembles no fewer than nine bodies on stage. It’s a lot, populating the stage with a surfeit of comic ideas, occasionally at the expense of the affaire du coeur that Travis frontman Fran Healy has offered up as raw material. Magidoff is a Travis fanboy; he has Healy sing two songs, and gets starry-eyed about it, before the show proper begins. In conversation, the genial Healy then volunteers a droll story of teenage infidelity, a drunken tryst with a girl from another part of Glasgow, which he wrongly thinks will insulate him from discovery. The improvisers, led by Magidoff, then take over, goofing into being several scenes in which young Fran and his pal cop off with two Protestant schoolgirls, then must face the music when their misdemeanour is exposed. At Assembly George Square, Edinburgh, until 23 August All our Edinburgh festival reviews..

On its anniversary, the author of a new book about the album explains the complex legacy and masterful musicianship of the 1986 classic It was the summer of 1984 and things weren’t going well for Paul Simon. The year prior, a blockbuster Simon and Garfunkel tour ended in bickering. Meanwhile, even though the 1980 single Late in the Evening reached the US Top 10, Simon’s last two albums had not sold very well, and his marriage to Carrie Fisher was starting to unravel. In the midst of all that the 43-year-old folk icon was steadily working on building a beach home out on the far end of Long Island. Many of Simon’s pilgrimages from Manhattan out to Montauk were soundtracked by a bootleg tape of accordion-heavy mbaqanga, a South African music style with jazz rhythms and bright guitar chords, he had received from a friend. It was on those drives that the seeds of Graceland, the crown jewel of Simon’s discography, were planted. “Many of us, in that day and age, found a moment of self-reflection – of being able to go deep inside ourselves – when we were in the car on these road trips,” said Ashley Kahn, whose new book, Days of Miracle and Wonder, follows the gestation process of Graceland. “If it wasn’t the radio, it was cassettes.”..

Led by a stellar cast of gen-Z newcomers, Alex Ullom’s directorial debut is an expertly crafted nightmare about a road trip gone wrong Time loops often feel like the movies’ favorite zany stylistic trick: Bill Murray plotting to win Andie MacDowell’s heart, a college student solving the mystery of her own grizzly murder, or as a ruse for Anne Hathaway to face off with a T rex. The excellent new indie horror film It Ends takes a different approach with its nightmarish depiction of a carful of friends stuck in an endlessly repeating day. It’s less of the moony japes of Groundhog Day or Palm Springs than an arthouse spin on the Prometheus myth, with the unfortunate souls of the film cursed not with death but with the torture of eternal life. After helping their friend move into a new apartment, a crew of aimless twentysomethings take a late-night drive to get food, but after GPS leads them deeper and deeper into a desolate forest, it’s clear that they have lost their way. When they pull over, they are set upon by a group of people that look eerily similar to them – young people who are dressed like they stepped out to the corner store and couldn’t find their way back. “They look scared,” one character says with a pained expression. “Why are they scared?”..