Ragweed, a ‘scuzzy rock trio’ from Brighton, appreciate the importance of being immersed in live music.
I don’t think I’ve felt as privileged to be in a performer’s company at a Fringe show as I felt when watching Keith Jarrett.
I just want to first make sure that we’re on level ground here: I think Barnardo’s is super.
It’s the old romcom cliché: boy meets girl, boy falls in love with girl, girl marries into the suffocating institution to which boy belongs, girl divorces boy.
It’s a well-worn formula: Man-child isn’t ready to completely give himself over to his relationships, ensnared as he is in a mentality of self-interest and a fear of commitment…
Roddy Hart and his band, the Lonesome Fire, appear on the stage dressed as dapper as anything.
Rachel Sermanni comes onto the stage and blithely announces that she has made a new instrument – out of spoons that she bought in a charity shop.
Doogie Paul may not be the most familiar name in music, but amongst those who know him, both directly and indirectly, he is spoken of with a great deal of admiration.
You wouldn’t guess that John McNamara had only decisively started his Blues career last year at this very festival.
Dean Friedman is a personable guy.
A series of vignettes dedicated to ‘modern-day café culture and the problems that come with it’ doesn’t scream mirth, so I think the success of Kaffa! pays hearty testament …
Phildel’s story is poignant and it is one to which she subtly but frankly alludes with explanations as to how each song came to be written.
The nature of the Spoken Word Showcase is such that each night is an entirely different affair, as Fay Roberts proudly announces at the beginning of the show.
Of all the ukulele workshops I’ve ever been to, this was by far the best, and let me tell you, I’ve uked a fair bit in my time.
Matt Panesh is Monkey Poet: A poet who runs out of poems after half an hour.
Welcome to the Calorie Galaxy, in which Tina Sederholm’s protagonist Evie struggles under a regime of browbeating and humiliation, all in the pursuit of a narrow waist.
To give these enthusiastic students credit, it is not easy to pull off a pantomime.
John Wills, guitarist of Pumajaw, the musical pairing behind Song Noir, entered the room and crossed the stage, barely acknowledging the audience as he picked up his electric guita…
In a spoken word account – I would assume non-fictional, though this is never made clear – Laurel Lockhart tells us of her time in New York as she tries to hit it big in the gr…
Pressing the right pedal records, pressing the left pedal replays.
I’ve got a lot of time for people who don’t perform at the Fringe for any reason other than to exhibit a hobby.
I’m going to start simply: Liam Mullone is funny – much more so than his association with Russell Howard’s Good News would suggest.
Despite the many celebrations for Drum Struck that have been quoted on its posters, I went in ready to be critical: I’m not impressed so easily, thought I.
To spend one’s afternoon in the company of Raymond Considine is a relaxed and amusing affair.
The onstage rapport of the three actors of Panto-Monium is nothing to be sniffed at.
I forget where comic duo Damn Danes are from, but their comedy is in any case a welcome presence at this year’s Fringe.
The absurdist mantle is an invaluable crutch for this play.
Try it at least thrice and you’re bound to get a laugh: so goes the philosophy of sketch duo Toby – consisting of siblings Sarah and Lizzy Daykin – and Nathan Dean Williams.
I’ve little doubt that I’d have a lot of fun with a pony who knows one-trick but it’s safe to say that it would eventually get tiresome.
At a time when high-profile comedy seems frequently to constitute pointing out things that people do, Richard Herring’s satirical wit and eye for originality – not to mention h…
Robert Louis Stevenson’s novel, charting the dual-natured existence of Dr Jekyll and Mr Hyde, is well-trodden turf, having seen adaptations aplenty on television, radio, film and…
“You can leave, if you want to,” Laura Jane Dean tells her audience – a simple statement of fact about the freedom afforded to an individual untouched by obsessive-compulsive…
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