Watching a show at the Assembly Rooms (George St) ‘Music Hall’ is not quite like most Fringe experiences! Doors open half an hour before the start time.
I am not the first and certainly won’t be the last reviewer to write about Six Women Standing Against A White Wall at this year’s Fringe.
It is hard to know where to start in writing a review for Clipa Theater’s ‘Orpheus’.
Winner of the Cambridge Footlights’ annual prize for new comic writing, Coat arrives in Edinburgh on a wave of success.
Billed as a celebration of ‘decomposition’, Cabaret Decay Unlimited is an oddity of a show.
Theatre blackSKYwhite return to the Fringe this year, with a production as extravagant and unusual as ever.
Hamlet longs to escape his destiny to rule Denmark, dreaming of becoming an actor.
Come in, sit down, thank you for coming.
The lights dim on a large space, cluttered with old suitcases and junk.
Swishtheatre’s new play at Venue 45 is lovely.
From the moment I walked into the theatre, I knew I was in for something a bit different with Particularly in the Heartland.
To Have Done With The Judgement Of Artaud.
The Cubic Man moves into his new home, just larger than a cubic metre.
You might think that a visual gag involving a woman with hair not dissimilar to that of King Charles II, dressed up as King Charles II might get old after a time.
Rather more brief than its advertised hour-long timeslot, Little Agitations’ production of ‘Crave’ (by Sarah Kane) thankfully replaces quantity with quality.
Following on from a string of Edinburgh Fringe successes in 2006 and considerable media buzz, my expectations for the Arches Theatre Company’s production ‘Pit’ were already rather …
With its poetic language and truthful performances, Night Time is one of the most professionally done Fringe shows I’ve seen in some time.