Cutting down plays to fit the narrow constraints of most fringe slots is always a challenge.
Cultures clash in this powerfully discordant retelling of the Medea story at the Jazz Bar.
Short but (bitter)sweet, Tim Foley’s fast-paced, tautly-written backstage drama The Goddess of Walnuts is a compelling piece of new writing.
Home is more than just an abstraction for Zina, the thirteen-year-old protagonist of A Concrete Jungle Full of Wild Cars, a promising - if uneven - new drama from Mariama Ives-Moib…
Few novels of the nineteenth century convey as powerful a passion as Emily Bronte’s Wuthering Heights, a high-Gothic family saga of destructive, toxic love on the Yorkshire Moors.
Staging a long-dormant closet drama, even by such a flamboyant personality as Lord Byron, is always a challenge.
It is not often that one-man shows in black box theaters stand out for their visuals.
Claudia Jeffries is a talented, charismatic performer.
At first glance, there was something utterly incongruous about the relationship of The Famous Spiegeltent - all flowing fabrics and dark wood panelling - and the panelists of Frida…
There are two kinds of people at the Edinburgh Fringe Festival - those who run screaming from the phrase ‘Kierkegaard Comedy Show’, and those who run shouting towards it.
Far from the madding crowd (and the Royal Mile), the Hill Street Theatre is hosting one of the most haunting, gut-wrenching pieces of theatre at the Fringe this year.
There are few pleasures as great as wandering into a quiet, unassuming black box studio at three forty in the afternoon and, in the company of five other spectators, experiencing a…
You have to feel for the team behind Wyrd, the immersive-meets-interactive-meets-seance play currently playing at the atmospheric C Nova.
The three-girl trio behind dance collective Spiltmilk are nothing if not perky.
A woman passes through a tiny hoop, no bigger than her head.