At a certain point in Confirmation’s 85 minutes of perspective-smudging, you just want to get up and scream – so inescapably does Chris Thorpe’s script put you face-to-face w…
Musical comedian Jamie Kilstein has an utterly charming stage presence.
Imagine a one-night stand you had resulted in a pregnancy and four months later you started a relationship off the back of it.
It’s 11 am – for some, the time for a late, leisurely breakfast.
Punching pigeons comes surprisingly easily to Martha McBrier, whose hour of engaging and funny storytelling draws on run-ins with pesky birds of all kinds, all the while unmasking …
Fasten your knickerbockers and hold onto your bonnets: Austentatious is back for a fourth year of frilly-meets-filthy improvisation, based exceptionally loosely on the collected wo…
Alfie Brown has a real problem with moral absolutism.
Pay attention as this breathtaking production desiccates, then dissects childhood trauma via its exploration of Wittgenstein and semantics: there’s a wordless sucker punch in Can…
Welcome to the house party.
There’s a very fine line between watching an actual, heart-in-mouth onstage breakdown and one that’s convincingly feigned.
I’m going to start by dismissing the notion that we’re due something entirely new from Joseph Morpurgo, because such thinking ignores the staggeringly high standards to which t…
‘Hi, Eric Swineblade,’ says a bluetooth-enabled gumph-bot at the door, proffering his executive, solutions-providing hand.
That the character of Paul Abacus was created in 2009 – three years after TED talks became available to watch online – is no surprise at all.
You probably expect misdirection from magic, but it’s a rare thing for it to move you.
The opening salvo of this musical Game of Thrones pastiche has such brazen, devilish promise that for a while I entertained the possibility of being blown away by it.
Luca Villani certainly gives you plenty of Bach for your buck.
It might be difficult to see why someone would bother writing a
comedy pastiche of a girls’ boarding school when a perfectly good one already
exists in Daisy Pulls It Off.
This one-off recital was a showcase of first-year talent from a group of
four classical pianists from Edinburgh Napier University.
Sleight & Hand’s
purposefully heavy-handed opening speech casts a shadow over its self-conscious
remainder: this piece of new writing by Chris Bush is so knowing you’d really…
There’s certainly more than a touch of the Manic Pixie Dream Girl to
22-year-old Rachel Sermanni: the floaty blue dress, the bare feet, the frequent
tipping of toes.
The World Mouse Plague is a complex, experimental illusion of a play.
Playing with form is a bold move, one for which Ross Macfarlane, the director of this one-man show, must be praised.
‘Only at the Fringe,’ you might hear from the uninitiated, shaking their
heads at the madcap eccentricities on display daily and greyly on the Mile.
If your experience of Fringe plays has become stale, Nothing is
likely to change your mind.
The Sydney Theatre School’s production of Shakespeare’s Measure for Measure grapples gallantly with its intricate material, but fails to leave much of an impression.
Should Capitalism Be
Criminal? was the first discussion in a series entitled Cabaret of Dangerous Ideas, which is
essentially a leftie version of Question
Time, set in a yurt in…
This is a show about seeing patterns in the random; about time’s ability to change perception; about coming to terms with death and working through depression.
Cormac Friel’s hour-long set on masculinity, relationships and competitiveness is full of sparkling one-liners and cheerful narration, but suffers from his tendency to rush throu…
You might find yourself wondering how far into the past you’ve strayed during this excellent piano concert by Steven Worbey and Kevin Farrell.
What sounds can you make with just your body? Most us can manage the usual: speaking, shouting, applause.
When seeing a piece of new writing it can be best to have no
expectations, to let the play lead you where it will.
This engaging one-man play by Alex Oates is a novel take on the descent into drug-dealing: our protagonist, Geordie lad Bruce Blakemore, begins buying cocaine through a shady websi…
The amount of energy going into Kitten Killers’ non-stop hour is one of its greatest assets.
You’d be forgiven for thinking you’d come to the wrong classroom: at
times this show seems more like Sara Pascoe vs Biology, what with the
fascinating nano-lectures on “spe…
The line-up of this comedy showcase changes daily, making each
Byron Vincent enters the venue in pinstriped pyjamas and a pair of tatty trainers, wiping his long fringe out of his eyes.
Kevin Day begins his act with a long, cautious introduction, letting us know what is to come.
Dan Schreiber is a fact-obsessed Aussie who has spent parts of his life
in Hong Kong and London and most of it in denial of being a complete and utter
“Who here is a guard llama?” Confused? So is the attempted narrative arc of Rhys Nicholson’s set, supposedly an hour-long look at protectors (guard llamas) and protected (she…
It’s hard to imagine an audience that won’t enjoy this show, based (exceedingly loosely, one hopes) on the boarding school experiences of WitTank’s cast of three: Mark Cooper…
Whatever Gets You Through The Night is a wide-spanning arts project: an album, a film, a stage show and a book have all come together under the umbrella heading of ‘somewhere in …
Bach for Breakfast is one of a number of mealtime-based concerts at Overseas House.
With a capable choir, a proficient orchestra and a perfect acoustic, it would be difficult to get Fauré’s well-loved Requiem wrong.
Roddy Woomble’s gig at the Acoustic Music Centre fell slightly flat.
A commanding, busty Titania sits with her changeling child as drab fairies dance woozily around her to crackly swing music.
Mike Oldfield’s critically and commercially successful prog-rock album ‘Tubular Bells’ has been lovingly recreated by Daniel Holdsworth and Aidan Roberts as a live, two-man perform…
‘I shall be remembered!’ cries Dame Elaine Montgomerie for the fifth time in her one-woman show about the life of Madame de Pompadour.
BBC Radio 1’s Fun and Filth Cabaret is the perfect late-night entertainment show: the cream of the Fringe’s weird and wonderful crop is given short slots to impress a sizeable …
RH Live is a great improv show.
This is a one-man show with a difference: the actor is also a magician.
‘Accident’ isn’t a word normally associated with The Zodiac Trio.
Tim Rose and Andy Philip are two fantastic guitarists.
‘Simon Evans: Friendly Fire’ is a misnomer.
Some acts let the music do the talking, but performers can vastly improve their sets with routines.
Bishops Diocesan College, an independent boys’ school in Cape Town, brings this ambitious production of Biloxi Blues to Edinburgh after their run of Master Harold.
The Not Quite Quartet is confusingly named.
Watch This Improv Troupe have set themselves up for quite a fall after confidently naming their act Nothing To Show.
The Jazz Bar’s crowd on Sunday the 12th August was a bit of a mix.
Aizzah Fatima’s one-woman show is an exploration of modern Islamic feminism through the eyes of seven different characters, whose varied situations and outlooks on life paint a f…
It’s hard to describe Discover Ben Target without spoiling its crazy, meandering plot: at the core of this show’s magic is the element of surprise.
Tom Thum is amazing.
At the start of this amateurish pub stand-up set, we are told the reasoning behind its name.
Smile and Nod are a sunny, engaging college improv group from California, whose show California Beach Bungalow is confident, slick and imaginative.
In this one-off show, Andi Neate’s band was small and intimate.
Do Not Adjust Your Stage is an interesting concept.
Most school kids don’t want to read Shakespeare.
‘Good luck on your journey!’ beams a girl at the entrance of this unique Fringe show.
The premise of A Cry Too Far From Heaven is fairly simple: a former executioner in New Zealand delves into the past, a time before the complete abolition of capital punishment came…
A Little Night Music promised a delightful evening of choice piano pieces associated with the night-time.
This concert bore all the hallmarks of a homecoming gig, except that very few people actually seemed to know any of MacLean’s songs.
Congratulations to Tap Tap Theatre's Captain Morgan series, which has bagged our second Bobby Award of 2015.
Our first Bobby Award of the year goes to the inimitable Luke McQueen, whose playful and genre-breaking show Double Act wowed our comedy editor, Martin Walker, and t...
Wojtek: The Happy Warrior is a physical theatre ensemble retelling of the real-life story of a Syrian bear who joined the Polish army to fight in World War II.
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