‘Who are you here for?’ asks the Assembly ticket-tearer as he works his way through the sizeable queue.
Presented in a university lecture hall, Hashtag Double Standards: Twitter on Trial is a talk given by Paul Motion, a solicitor since 1984 with an interest in social media.
Given that Edinburgh is something of a Glastonbury equivalent for guardianistas, Steve Bell’s show seethes with lively, middle-aged enthusiasm.
This play has a great plot.
‘Fed up with grim, hand-wringing, one-man shows?’ asks this production’s flier: ‘Go and see something funny.
Pirates, exclamation mark.
Cape Wrath is an intimate one man show.
I watched Shhhh in a state of complete bafflement.
Despite the promise of five ”appenings’ on the poster, on arrival at Beside The Greenside, it is immediately clear that very little is ‘appening there at all.
The ‘office comedy’: mastered in ‘The Office’ and storming the Fringe this year in Blam!; here that well-loved genre takes on a new guise in the first theatre adaptation of Danish …
The writers of Darts Wives bring a new concept to the comedy circuit.
One of the most memorable pieces on show at Amazing Amber is a beautiful piece of genuine Baltic amber containing a small, perfectly preserved fly.
Not long ago, the Rubberbandits were just a couple of schoolboy pranksters.
The 1960s hit A Funny Thing Happened on the Way to the Forum is a fast-paced, rollicking farce.
Peer Gynt is, according to our storyteller, ‘the most self-centred, egotistical liar in literary history’.
Hannibal Buress is a really chilled-out entertainer.
Dominic Allen’s adaptation of this old pirate classic is fast paced and good fun.
For the first ten minutes, Shane Dundas’ material revolves entirely around his fear of a solo show.
Shirtwaist is a brilliant piece of grim theatre.
There’s a difference between absurdist theatre and ridiculous theatre.
In her white shirt, grey knee length skirt and black brogues, Sara Pascoe looks like a schoolgirl.
First impressions can be misleading.
Louise Ford’s character Jenny Fawcett has an earnest, alarming smile, slightly mad eyes behind unsexy specs and a gurgling voice.
Roisin Connaty may describe herself as ‘almost good looking,’ but she has a weapon of attraction quite independent from her sunny, open expression or her bleached blonde hair.
It’s not why she’s called the Inbetweeny Lady, but Sally-Anne Hayward’s set details what happened to her in between last year’s Edinburgh Fringe and this year’s.
With an intense stare, Jen Brister describes her set as ‘a beige lesbian in a darkened room.
Barry Morgan’s act rests heavily on double entendre.
This puppet’s nose isn’t growing when he comments that The Table is,‘difficult to put your finger on, as you’ll discover when you try and tell your friends what you came to…
You should brace yourself before seeing Nights At The Circus, and not just because of its circus setting.
When a show is going badly, repeatedly telling the audience that they’re a tough crowd only ever exacerbates matters.
Only a few things feel strained in this transposition of Les Mains Sales to 1982 Northern Ireland.
James and Craig - the comedy duo behind Best Days of Our Lives - earn their stars as much through likeability as humour.
The most prominent feature of this production’s adaptation is its swingin’ sixties setting.
I’d never been enticed by terrible dancing before I saw Celia Pacquola.
It’s a relief when Mary Bourke promises that she won’t be doing any clichéd ‘female comic’ stuff.
‘Well Done You’ calls itself a character sketch show, but Lucy Trodd and Ruth Bratt are in character even when not doing sketches.
Jackson Voorhaar’s set details the things he loves and loathes.
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