Come in, sit down, thank you for coming.
The lights dim on a large space, cluttered with old suitcases and junk.
Swishtheatre’s new play at Venue 45 is lovely.
From the moment I walked into the theatre, I knew I was in for something a bit different with Particularly in the Heartland.
To Have Done With The Judgement Of Artaud.
The Cubic Man moves into his new home, just larger than a cubic metre.
You might think that a visual gag involving a woman with hair not dissimilar to that of King Charles II, dressed up as King Charles II might get old after a time.
Rather more brief than its advertised hour-long timeslot, Little Agitations’ production of ‘Crave’ (by Sarah Kane) thankfully replaces quantity with quality.
Following on from a string of Edinburgh Fringe successes in 2006 and considerable media buzz, my expectations for the Arches Theatre Company’s production ‘Pit’ were already rather …
With its poetic language and truthful performances, Night Time is one of the most professionally done Fringe shows I’ve seen in some time.
Watching a show at the Assembly Rooms (George St) ‘Music Hall’ is not quite like most Fringe experiences! Doors open half an hour before the start time.
I am not the first and certainly won’t be the last reviewer to write about Six Women Standing Against A White Wall at this year’s Fringe.
It is hard to know where to start in writing a review for Clipa Theater’s ‘Orpheus’.
Winner of the Cambridge Footlights’ annual prize for new comic writing, Coat arrives in Edinburgh on a wave of success.
Billed as a celebration of ‘decomposition’, Cabaret Decay Unlimited is an oddity of a show.
Theatre blackSKYwhite return to the Fringe this year, with a production as extravagant and unusual as ever.
Hamlet longs to escape his destiny to rule Denmark, dreaming of becoming an actor.