This blitz through dates, relationships, marriages, kids, divorces and funerals is a joyous and occasionally moving romp.
Ray Shell is a delight, as ever.
Francesca Millican-Slater is a delight.
Jo’s Burke Shire is inhabited by a series of dysfunctional misfits: all very well-acted but sometimes lacking in good jokes.
Urinetown is both bleak and brilliant.
It’s impossible not to have a good time at Little Shop of Horrors - the music is so uplifting, the characters so fun and the story so oddly compelling.
Walking under a wooden doorframe to enter the ‘venue’ (which was not quite the summit, by the way) before sitting on a patch of grass atop a volcano whilst a man sings about th…
Doctor Brown’s ability to communicate and interact with the audience silently despite his understated facial movements and body language is commendable, particularly when compare…
Rudyard Kipling’s Just So Stories are fanciful tales that will delight.
Piper Theatre Productions’ Edinburgh Fringe debut is utterly captivating.
Bent is an arresting and difficult play, both for the audience and for the performers.
This show offers a wide variety of acts that are sure to excite and amuse all the family.
Samba Sene performs a set mixing African styles with his velvety vocals, managing to get the whole audience on their feet.
Martha Reeves is spellbinding.
Pam Lawson’s tribute to Doris Day takes the audiences on a chronological journey through Doris Day’s movies.
Anyone looking for Phill Jupitus’ stand-up, please look elsewhere.
There were many moments in this show where I really wanted to enjoy it.
Alex Holland and Ben Barker present a show on manliness, providing a clichéd but amusing take on what it means to be a man from two self-professed ‘unmanly’ men.
Spank is the perfect late night comedy show.
Yianni’s optimism and trademark nerdiness combine for a show that is refreshingly devoid of cynicism.
Künt and the Gang is undeniably shocking, offensive and infantile.
Vicky Arlidge is a charming and talented musician whose songs about motherhood and marriage are pleasant and fun.
Amongst the general hubbub as the audience left the show, the snippets I overheard were ‘That was hilarious’, ‘I can’t believe he said that’, and simply ‘WtTF’.
Pot Of Dreams: Look At Me returns to Club Rouge for its third year, offering a look at the club’s dancers in their own words and images.
It’s hard to tire of variety shows such as this, particularly when they are pulling in consistently excellent acts ranging from the highly acclaimed Boy with Tape on his Face to …
Wardens takes a rather ludicrous premise and stretches it out to a full hour which lacks plot, humour and originality.
Best of Burslesque is a constantly changing variety night showcasing the wealth of risque acts at the Fringe.
From the moment you walk into the room, the mood is set.
Anil Desai is a very personable and talented impressionist.
Morgan and West’s ‘time-travelling magician’ show is a wonderful premise with the occasional funny moment and well-executed magic trick.
A Doctor Who musical can so easily be terrible: too cliche-ridden or too bogged down in obscure Doctor Who references.
I have never seen a perfect sketch show, and the Cambridge Footlights provided no exception.
Wiping the sweat from his forehead, Aidan Roberts announced ‘And… tubular bells!’ A sudden burst of light brought the bells into view, like a heavenly apparition.
Diane Spencer is one of the most exciting comics on the Fringe.
Company Man is a joy to watch, with professional clowning and circus skills woven into the stories of office workers.
Felicity Ward is back after last year’s award-winning The Hedgehog Dilemma, and has proven herself a gifted and confident force to be reckoned with.
The Trench is an evocative, claustrophobic tale of a soldier in World War I.
The Fringe doesn’t offer many opportunities for a bit of a breather, which is why Neal’s Yard Remedies have created a Festival Chill-Out Zone for the duration of the festival.
Sitch N’ Kink’s Munch is a whirlwind of characters, revelations and sensations, blurring the lines between theatre and spoken word.
Ray Shell’s cabaret debut is a rollicking, gossipy, exuberant affair, zooming through musicals and pop hits from his glittery career.
It’s hard to sell a play with anti-nostalgia sentiments to a nostalgic crowd, but this is exactly what Shang-a-lang ends up doing.
The main phrase that springs to mind throughout this montage of musical sketches is simply: middle-class.