There’s a tight partnership between Scottish folk musicians Sandy Brechin and Ewan Wilkinson that is immediately apparent in this gig.
Let’s get the obvious joke out of the way first: this show is certainly value for money.
It begins in Kubrick fashion, with a giant gimp face in space accompanied by Strauss’ celebrated Also Sprach Zarathustra, implying the stratospheric status the gimps have achieve…
You can often judge a comedian by their interactions with the audience.
Fringe regulars, Puppet State Theatre Company return to tell the allegorical tale of Elzéard Bouffier - the titular man - based on a book by French author Jean Giono.
Part lecture, part concert, Richard Michael takes us on a whistle-stop tour of jazz, from its humble beginnings in the tunes of Scott Joplin to the more experimental Dave Brubeck a…
What’s wrong with just singing the melody? This is the curse of the club-singer, exemplified by Barb Jungr.
Simple Matters is described as a clown act “without red noses” which is good news for anyone with a fear of freaky colourful faces.
Canal Café Theatre returns to the Fringe with their brand of political satire poking fun at the year’s events.
Sat in the dark, coolly lit basement bar, listening to some jazz and propping up the bar, it’s strange to think it’s only lunchtime.
Thomas Annand and David Day have come all the way from Ireland to prove that there’s far more to African drumming than monotonous banging.
Part séance, part magic show, part play, The Indescribable Phenomenon is performed beneath a Church for a suitably creepy atmosphere.
The Harmonettes, an established female singing trio, transport us back to 1955 for a musical comedy starring ‘three crazy cat women in harmony’ that depicts the true meaning of…
With so much improvised comedy at the Fringe nowadays it’s difficult to know what to see.
Warzycki proves that having a disability is no hindrance to virtuosic piano playing.
Two Brits, one Yank, one Arab and few laughs.
The Elegance Lounge at Assembly George Square really isn’t the best venue for Antonio Forcione, described as ‘the Fringe’s favourite guitarist’.
Caimh McDonnell’s (pronounced ‘Queeve’) opening gambit is a book of ice breaking questions, which provides the initial inspiration for his routine.
Maria, 1968 is a contemporary take on Romanticism – in all its forms.
The students performing this play take us through the drama wardrobe into a Shakespearean Narnia.
Mr McFall’s Chamber highlight an integral part of Scottish culture, proving there’s far more to folk music than twee tunes and the Braveheart soundtrack.
Shuffling grooves, wailing guitar solos and growling, whiskey-drenched vocals: This is Main Street Blues, who for one hour brought a slice of America to Scotland.
Every country has its fables and this production, originally written by David Feldshuh, brings together a collection of tales from around the world, both traditional and contempora…
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