As though the Märchen of the Brothers Grimm weren’t harrowing enough, Another Soup’s production of the classic Sleeping Beauty renders this tale even bleaker and more upsetting.
This show was difficult to review.
Heaven knows it’s tough enough trying to get a job in these economic times without the daunting prospect of a cut-throat arena where every other candidate is your ultimate nemesis.
Yes! This is everything you, I, everyone wants in a musical.
Besides me, the modest audience comprised exclusively of people ‘of a certain age’.
Few things can silence a crowd.
Bringing a musical to the Fringe is no mean feat, nor is coordinating a rabble of small children.
Looking for emotional charge? If so, this new musical blows everything else out of the water.
I don’t know where these guys have been hiding - well, I do: South Africa - but they sure know how to bring it.
After last year’s successful Fringe offerings, One Academy Productions became a firm favourite of mine.
In a suitably dank place, a darkly comic tone is set by this troupe’s exploration of the less glamorous elements of the entertainment industry, tempered somewhat by more light-hear…
Bernard and Miranda are living in marital bliss with their snail children.
Macbeth (I’m not afraid to name it; there’s nothing vaguely Scottish about this production) is a play that most everyone encounters at some point in their lives.
With acting instrumentalists, declarations of “Colour! Light!” and a lead called Bobby, I feared I was about to see a bad Sondheim knock-off.
When Tim FitzHigham and Duncan Walsh Atkins took to the stage as Flanders and Swann in their dashing tuxedos, I mentally groaned and waited for the crooning to start.
The Butterfly Effect is possibly the strangest gig I’ve ever been to, even by Steampunk standards.
The question on my lips for the first few minutes: what on God’s earth is he doing? In very few words, Greg is telling Doris Day to take a running jump.
Shrewsbury School here lives up to its gleaming reputation with a technically flawless production.
Never before have I seen G&S performed so well; too often is it synonymous with G&T, churned out rambunctiously by red-faced socialites clustered around a piano.
Gordonstoun’s bears the hallmarks of a high school offering: mixed ability and tampering with the script to give kids fairer parts.
The Fringe guide listing for this performance promises an ‘exuberant’ show full of ‘impassioned vocals’ and ‘Senegalese soul’.
The intense naturalism of this piece is realised in the staging.
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