The Paper Cinema’s Macbeth is a dazzling feat of storytelling.
Fuaigh – Interweaving is a collaborative project about belonging, language loss and home.
Tom Wells’s Me, as a Penguin, performed this August by Exeter University Theatre Company, is both a fun and melancholy look at loneliness, love and family.
Michael John McCarthy’s Turntable is a project that has been touring Scotland for four years now, with the simple premise that music can help total strangers open up to one anoth…
Charlie Dupré’s Macblair reimagines the political life of Tony Blair as, to quote the production’s marketing, ‘a Shakespearean tragicomedy’.
This August, Durham-based Wrong Tree Theatre are bringing three shows to Edinburgh; currently on offer is Souvenirs, a light-hearted adventure that draws on the heavy use of props,…
Bone Woman is a quiet, strange and beautiful production.
The Crossing Place – Romantika has an absurdly joyous opening, which is unexpected considering that the show is marketed as a study of loneliness, anxiety and desire.
The premise of Caridad Svich’s Iphigenia Crash Land Falls on the Neon Shell That Was Once Her Heart (A Rave Fable), here performed by Clumsy Bodies Theatre, is truly exciting.
Navigating the intricacies of a one-night stand can be a tricky social and biological journey.
Opening with an audio recording of various real-life political statements – given by both normal citizens and political leaders – Sleepwalkers quickly registers its interest in…
For a one-man play, Enda Walsh’s Misterman feels almost mythically large in its intensity.
I’ll make no bones about it: Pike St.
Following a turbulent year of politics and current affairs, this year’s Fringe programme is unsurprisingly loaded with all manner of shows trying to make sense of the world in 20…
Inspired by a Kafka story, writer Josh Luxenberg and Brooklyn-based Sinking Ship have created a weird and wonderful piece of theatre in A Hunger Artist (Kafka Adaptation).
In 2015, Henry C Krempels was commissioned by VICE to write an article on the refugee crisis which was then at its peak.
Frogman is an oceanic coming-of-age drama split between two time frames.
Natural philosophers Edmund Halley and Robert Hooke are engaged in a scientific wager that will crown the man who can prove why the planets move elliptically the victor.
Apocalypse Now, with its 153 minute running time, multi-million dollar production costs and jungle location, might not seem like the most obvious contender for adaptation into a on…
Creature is a contemporary dance show that tries to capture the essence of being human through what the publicity calls ‘aerial acrobatics and earth-bound choreography’.
Mairi Campbell, acclaimed Scottish folk musician, is a joy to listen to.
Medea on Media is not your average spin on an Ancient Greek classic; Seongbukdong Beedoolkee’s production is fearless, irreverent, unsettling and, most surprisingly, a lot of fun…
Staging Wittgenstein is a difficult production to categorise.
Swan Bake is a riotously trippy and acerbically funny show.
Kinabalu is an astutely clever and astutely silly hour of stand up from British-Malaysian comic Phil Wang.
Form is a wordless physical tragicomedy about escaping the pressures and boredoms of contemporary life, if only momentarily.
Told through contemporary and ancient physical storytelling techniques, the National Theatre of China’s Luocha Land is a visual treat.
Jelly Beans is a really, really horrible play.
Andrew Bovell’s Speaking in Tongues: The Lies is one half of a Doughnut Productions double bill showing at the Pleasance Courtyard this August.
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