Sarah Calver begins her spirited, witty show with a disclaimer: this show is ideally watched in Berlin at 10pm while a couple of pints down.
Four people are onstage at the start of this play: Sean Campion and Scott Turnbull, the actors playing a mother/daughter pair, and a real-life mother/daughter pair.
Vanishing Point’s latest devised show opens with three figures creating what look to be masks, perhaps of their future selves.
Swearing more than a band of sailors, the cast of Our Ladies of Perpetual Succour present an entirely candid portrait of female teenage sexuality and lives.
Attempting to answer the question posed in the second part – The Carousel – of whether The Woman had a ‘happy childhood’ or not, The Deliverance provides the conclusion t…
The Carousel, the middle play of The Jennifer Tremblay Trilogy, is a frantic, flashy piece of theatre with a strong performance at the heart of it.
Though this is a story about a trader, the crash of the title refers not only to the financial crash but also to a car crash that turns the trader’s life upside down.
A nun and an ex-con find themselves on the run across Ireland, carrying two film rolls, identical in appearance but with very different sets of pictures on them.
In 2015, using actors who haven’t seen the script for a piece of theatre isn’t too much of a selling point: there are always multiple shows at the Fringe which do so.
Shef Smith’s new play presents three damaged, complex, engaging characters, each trying to continue their lives in spite of a new sense of chaos surrounding them.
Glenn Wool isn’t afraid to engage with Big Themes: feminism and the existence of God take centre stage during his set.
Hattie Ashdown was a mistake.
Phlash! is a confusing mess of a show.
We are promised an “epic tale of love, loyalty and logistics” and, with varying degrees of each, that is what we get.
Virginia Woolf’s Orlando is an odd book.
After last year’s storm-causing, award-winning, activism-inspiring show,
it was hard to see how Bridget Christie would be able to better last year’s
Jana and Heidi starts with the blasé observation that Heidi
Stransky had seen a comedian at last year’s Fringe Festival and thought “I
could do that”, deciding to put toge…
Juggling is impressive.
As was always to be expected, the buzzword of this year’s Fringe is
Birthday Girls, made up of members of the now disbanded sketch group
Lady Garden, is a three-woman group delivering excellently pitched long and
Holly Walsh makes it clear in the opening sentences of Never Had It that she certainly doesn’t have ‘it’.
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