News & Reviews

About Us

Performers Area

Press & Media Area





Jul 2018
S M T W Th F S
22 23 24 25 26 27 28
29 30 31
Aug 2018
S M T W Th F S
1 2 3 4
5 6 7 8 9 10 11
12 13 14 15 16 17 18
19 20 21 22 23 24 25
26  27 28 29 30 31
 Kids Fest    
 All Shows
All Shows by Name
All Shows by Start Time


View Performers Biography


Venue:The Newsroom, 5 - 11 Leith Street Edinburgh EH1 3AT
Phone: 0131 557 5830
Links: Click Here for venue details, Click here for map
Ticket Prices: Free  
Room: The Downstairs Bar
AUG 2-26 at 15:45 (60 min)
Show Image

Written & performed by Chris Davis

Directed by Mary Tuomanen

Drunk Lion follows an alcoholic Lion who spends his days drinking into oblivion in a cantina, until he meets Chris, a young foreigner learning how to speak Spanish. The unlikely pair forge an intoxicated bond over life, love, and alcohol.

"...imaginative, free-flowing story-telling of very high quality."
- Wee Review ★★★★★

"...an excellent and thought-provoking show which makes a metaphor come alive."
- Three Weeks ★★★★

"...a potent success."
- Broadway Baby ★★★★

"...humorous as it is tragic, poignant as it is absurd..."
- New Orleans Defender

Click Here for Show Website
This Show on Facebook This Show on Twitter Video Link

News and Reviews for this Show

June 7, 2018  Theater Jones
Chris Davis' piece at the Dallas Solo Fest brilliantly dives deeper into humanity.
Chris Davis' piece at the Dallas Solo Fest brilliantly dives deeper into humanity.

by Teresa Marrero
published Thursday, June 7, 2018

Photo: John Pankratz
Chris Davis in Drunk Lion
Dallas — A celebration of solo performance is currently taking place at the Rosewood Center for Family Arts with a lineup of six artists in the fourth Dallas Solo Fest. One of these is Chris Davis, a Philadelphia native, who writes and performs his 55 minute solo piece, Drunk Lion, based on his three-year experience living with a Mexican host family in the lowlands city of Chiapa de Corzo, in the southernmost state of Chiapas.

He knew no Spanish upon arrival and his intent was to experience something vastly different from his hometown and to learn Spanish. And so this redheaded young gringo guy lands in one of the most remote areas of Mexico, bordering Guatemala. Chiapas is a state rich in natural resources but ranks among the poorest states in Mexico. It has had a long history of armed resistance to government corruption (take the neo Zapatista Movement of the 1990s) and abuse of indigenous Mayan peoples. Add to this a high incidence of machismo and alcoholism, and well, you get the picture.

Davis treads upon slippery ground in this piece, as his double personae, himself and the Mexican Drunken Lion, engage in a bilingual conversation in a lowdown cantina. (No worries, he repeats everything into English.) Playing a Mexican drunk (be he a metaphoric lion or not) can easily degenerate into unsavory cultural stereotypes, and to be honest, at first I cringed.

However, Davis does not fall into this pit, and the way he does it leads me to an analogy with another creature of the animal kingdom: the camel. While Chris begins portraying the Drunken Lion as, well, a drunken machista lion who says things like “a hole is a hole,” making an obvious reference to the female sexual orifice, he, as himself, then follows it with a sort of surreal deconstruction of the notion. That is chewed and regurgitated several times, each adding a more metaphysical layer of meaning until the hole becomes something that’s nothing short of an analogy for the meaning of life. In a hilarious twist of hyperbole, he does the same thing in the many Juanitas segments. Brilliant and hilarious. While the drunken lion is never anything more than this, Davis manages to not judge or moralize. He also frequently engages the audience in direct conversation.

Dressed down in a pair of torn jeans, gray high tops, and an orange T-shirt with “Jaguares” across his chest, his only props are a simple chair and three full bottles of Modelo beers, set up in a pyramid next to the chair. Directed by Mary Toumanen, a graduate of the Lecoq School of Movement Theatre in Paris, Davis’ economy of movement is one of the most interesting features of this performance. There is not a single clichéd movement in this piece, which is marked by high energy and wit. Click Here

Comment on this Show


 Website Design & Development by Craig Shaynak and Alex Petty

Sponsorship & Advertising About Us Press and Media Area
Kingswell Productions Laughing Horse Comedy Become a Free Festival Venue
Google+ Australian Festivals Brighton Fringe