Even the most ardent conservative/republican would surely admit that this is a highly accomplished, virtuoso performance, stunning in its execution. The left-leaning majority of contemporary theatregoers will think it is simply brilliant. At just under 90 minutes this is the longest show I have seen at the Fringe, but each moment is so thoroughly considered and expertly crafted that at no point did I glance at my watch.

Ideally located in Summerhall’s Demonstration Theatre, the piece is comprised of a series of verbatim recreations of public speeches stretching back to Socrates, but mainly from more recent history. A video monitor displays the names and dates of these, which are progressively erased after they are delivered. This sets up an interesting guessing game, and also provides a means of orientating ourselves within the overall structure. A long table runs across the front of space with a variety of microphone types equally spaced upon it, the solo performer, Valentijn Dhaenens, moving between these to provide each speech with distinctly different audio effects. The quality, precision and ingenuity of the audio effects is highly impressive, providing a cleanness and exactness that perfectly augments the chameleon-like virtuosity of the performer. There are some genuinely amazing vocal and physical transformations as the character and intent of each orator is recreated before us in a variety of languages. I was initially concerned that the split focus between the performer and surtitles provided would prove a distraction, but the majority of pieces are in English.   Musical interludes punctuate the structure, often created using live loops to build up rich choral harmonies. These include a craftily ironic rendition of ‘I want to live in America’, Kurt Cobain’s ‘Hello’, and the last piece, ‘Nature Boy’, the final lines of which provide a subtly effective conclusion to the show.

The content and style of the speeches chosen are juxtaposed to provoke a rich abundance of associations and reflections that should leave spectators with plenty to talk about afterwards. Whilst the piece is very open to interpretation in this way, there is a distinctly critical stance towards American foreign policy. This is perhaps most clearly evident in the juxtaposition of Goebbels’ rallying address to the women of Germany, which seems dignified, astute and persuasive when placed in counterpoint to the rabid exhortations of General Patton that all the cowards should be killed so that America can breed a nation of brave men. There is a wonderfully witty recreation of a jovial right-wing Belgium politician’s address to an American audience, and an excellent collage of George W. Bush quotes, including his statement that America had been attacked ‘by evil itself’. By contrast, perhaps the most eloquent and measured speech comes from Osama Bin Laden, as he sits cross legged on the table top giving a simple history lesson that provides a clear explanation of his motivations. For me the most interesting consideration is that every one of the orators depicted surely spoke with deep commitment and belief in the causes they espoused, and their speeches might best be judged in relation to their effectiveness on the audience for whom they were intended. Overall, Bigmouthis a highly effective marriage between form and content that is technically accomplished, beautifully structured and deeply intelligent.