Jo Fong’s An Invitation is about as elusive and complex as a
performance at the Fringe is likely to get.
Takibox’s Beyond the Body is an intriguing exploration of physicality, a performance that promises to look towards an extension, a transcending of state.
‘But how does this game work?’ asks one of the two women on stage before us.
The simple pleasure of play is at the heart of Brooke Laing’s enchanting storytelling.
If you’ve been flyered by Theatre Santuoui, you may have been bewitched by the intricate game that unfolds before your eyes in their ingenious paper creation.
Jess Green is a champion of misfits; she animates the videogame playing teenagers looking for a shot in with the cool tattooed kids, the frustrated but eager readers banned from th…
If this production is anything to go by (The Reel) Macbeth is by no means a tragedy; instead it’s a demonic kilt-adorned joke.
It would be no exaggeration to declare Thomas Monckton nothing short of a genius.
Any show that advertises itself with the warning of ‘contains puppet violence’ inevitably creates intrigue but the puppetry is by far the most exciting part of this innovative …
‘Pss’ is one of those sounds that extends beyond itself.
Arcos describe themselves as a ‘multimedia dance company’ and they certainly deliver.
The Mars One Foundation plans to establish a human settlement on Mars by
Taking a bite into Chekhov is no mean feat at the best of times.
Deadpan theatre’s Edinburgh debut touches upon many areas of life, from the most mundane to the deeply moving.
Under Peter Darney’s direction, Sasha Ellen’s Signal Failure is a romantic comedy that wanders happily between the serious and the downright silly.
Heading to a bookshop in the middle of the fringe festival might seem an obvious choice to get a little peace and quiet.
“I’m not going to speak” writes Hannah Moss on a whiteboard, silently, before wiping it clean, “It’s easier”.
Forget Ancient Greece: this Agamemnon marches straight into a real life bunker, transposing Aechylus’s personal and political drama deftly into the world of the First World War.
The concept of Cirque Tsuki’s final instalment of its trilogy is strong.
We’re standing in the atrium of C Nova as a balloon wanders down from above with a note.
Circa begins with a simple contortion of a human body: a girl stands and slowly bends herself to her extreme limits and then a little further.
‘Nature is painting for us, day after day, pictures of infinite beauty’ declared John Ruskin ‘if only we have eyes to see it’.
‘Ming’ roughly translated means brilliant or bright, a translation that seems fitting for this enlightening exhibition.
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