Like most dystopian stories, Simon Perrott’s Everybody Wants to Rule the World has a basis in reality which forces us to reflect on the issues of today.
I never felt unwelcome at the Fringe until this performance.
An improvised play inspired by the works of Tennessee Williams, The Glass Imaginary exposes the problems inherent in improvising tragedy.
Brenda (Jacqueline King), a marriage counsellor, is faced with multiple challenges.
When Molière’s Dom Juan first said that hypocrisy is a fashionable vice, I can’t imagine he was meditating on future iterations of the eponymous play such as the production at…
A fierce storm.
Mark Knight had the honour of performing to a packed-out room, clearly up for a fun Friday night of Mind Reading and Hypnosis – any Edinburgh performer’s dream scenario.
“I am not a bad person”.
There was a time not long ago – when Facebook and Google weren’t even words – where we watched TV and learned from it, absorbing any new knowledge we discovered as fact.
I Am A Camera was an ambitious undertaking, and unfortunately this time it didn’t pay off.
It’s seldom fun to leave a venue thinking: "Well, that's an hour of my life I'm never getting back.
You know you’re guaranteed to learn something watching David Hare.
Our Theatre’s Paradiso is ostensibly a puppetry show about three men of different nationalities, reflecting on the last days of their lives before moving onto paradise.
Departure Date is a comedy about death that sadly lacks life.
I realise I’m breaking the Greek code by saying this, but George Michael is Greek is quite possibly the most underwhelming show I’ve ever seen.
In the resplendent surroundings of the Assembly Speigeltent, a pumping rendition of Cherry Bomb blasts out the promise of an hour of alternative grandeur.
There is something sad about leaving Stand and Deliver, accompanied by the sound of the Adam Ant song referenced in the title of the show.
As an aficionado of all things Olde Edinburgh, there are a few basics I've come to expect from an underground tour.
For those who pertain to be students of the Theatre of the Absurd movement prevalent in the 1950s and 60s, there is nothing of value to you in this review.
"Tell it not in Gath, publish it not in the streets of Askelon" (II Samuel 1:20) is a line that does not appear in Knights of the Rose.
I’m happy to admit that my knowledge of Norse mythology is patchy, but becoming more familiar with what was advertised as a fusion of "ballad song, galdr chant and ancient E…
Nina Conti, now a household name from multiple television appearances, has done great trade tonight packing out London’s premier temporary fringe venue – The Underbelly at Sout…
Elaine Davidson is something of an Edinburgh icon.
Thisis a solo show where the Korean dancer and choreographer Lee Kyung-eun, inspired by the shamanic gut or rite to expel ‘goblins’ or evil spirits, aims to turn this around an…
Narrative direction is hard to achieve but is essential to a good musical.
This adaptation of the modern Chinese drama Teahouse does not work.
Demise was its own demise.
A friend of mine and I were recently chatting about how – even today – sexism is still very much in existence.
Porn is a musical that aims to show the emotional side of those working in the adult film industry.
Halfway through David Tsonos’ tedious and rambling show, a former boyfriend, one of the many trotted out as a manifested recollection from the trio of bridesmaids, appears before…
After an hour of a narcissistic one man show, we were left with the dilemma of whether to applaud the honesty of Sam, or be totally appalled by the stark exposure of his personalit…
Electra has been exiled and married off to a peasant.
We are all Going to Die is a devised piece by Dead Person Productions.
Where to start with The Fungasm Game Show? It’s hard to know, when our hosts clearly don’t have a clue either.
“It’s time to take your pill,” says the director, before handing me a tiny white tablet that she assures me is made of sugar, while clearing chairs to create a dancefloor.
Making a show about science interesting to a general audience is an extremely difficult feat.
Thom Tuck’s stand-up show, An August Institution, opens with an extended maths joke, which sets the tone for an hour of fairly niche humour.
Isobel Marmion’s one woman nervous breakdown, entitled This Is My Funeral and I’ll Throw Glitter if I Want To, was a disturbing and joyless foray into a mind no one present wanted …
Within the first five or so minutes of Common, a large chorus of people wearing
shrubs, trees and animal heads over their faces chant menacingly, a woman in
her fineries introduc…
This is a disappointing show, billed online as storytelling comedy.
In Shakespeare Tonight, the famous playwright gives his first ever television performance on a talk show with host Martina, only to be confronted by his so-called ‘enemy’, huma…
A grandad may have passed on, but he wasn’t the only thing that died on stage.
This was a hugely disappointing hour of theatre.
The programme for Collateral Damage states that, while the play was written in 1999 in response to contemporary issues, it “has many resonances for us today”.
Grace and Laurie are two friends who decide to become prophets, in order to disprove the dying words of their friend, Eve, who recently committed suicide.
Spot the cliché.
Bob Stourton has an orchard.
Steele Edge: Martial Arts Illusion Show bills itself as “a dynamic fusion of physical excitement and visual wonder” but it’s more of a bizarre fusion of vague ‘oriental’ …
If you want to see a show that constructs John Knox as a talking point for oversimplified political views, may I suggest Mary Queen of Scots got her Head Chopped Off? It’s not on…
Ambitious in its intentions, At War With Love uses a selection of thirty-two of William Shakespeare’s sonnets to form a narrative set against the backdrop of the First World War.
Transforum Theatre’s adaptation of Alice in Wonderland sets the Lewis Carroll classic in a mental hospital.
Claiming to be the gayest thing in a room full of LGBT people in a gay bar (although straights are welcome too) is quite the boast.
The Cambridge University Amateur Dramatic Club’s adaptation of the restoration era comedy The Country Wife moves the action to modern American suburbia, but keeps the period’s …
Imagine taking seven of the most gratingly hyperactive and sexually frustrated boys you were at school with aged fourteen.
In the programme, The Shakespeare Club promises to be a somewhat cheesy, yet harmless play about finding oneself through Shakespeare’s characters.
Vivaldi for Breakfast is an interesting attempt to dramatise the enigmatic life of notorious Baroque composer, Antonio Vivaldi, as he worked in the famous Pietà orphanage for youn…
Italian comic Giacinto Palmieri, in this hour of comedy, tries to draw comparisons between himself and renowned misogynist and philosopher, Friedrich Nietzsche in their approach to…
Early on, Schaffer decided that the show wasn’t going so well.
The Improv Musical from the University of Warwick return for their third stint at the Fringe, and while providing some light and silly entertainment, fails to land any punches eith…
Intergalactic Nemesis was like being trapped in a lift that wouldn’t stop going up or down, it made me angry on so many levels.
It’s said that two fasting,
sleepless nights are all that separates us from savagery.
Russian playwright Nikolai Erdman’s original
script for The Suicide was seen as
such a strong satirical attack on the Communist Russian Government that it was
ill-fated, anguished; these words would not at all be out of place in a review
of a Shakespearian tragedy but alas, this was no evening of star crosse…
Marty Feldman’s style
of comedy - and indeed his story - is of a very specific time in the annals of
Even if you don’t know the whole story of F.
I went into Tim Drain’s show fully prepared for some offensive stuff.
One of the songs included in Captain of the Lost Waves: Unsolved Mysteries is titled A Song No One Wants to Hear.
The Graduettes starts with a great farce premise: flatmates wake up on Christmas morning to find their home robbed and their landlady dead on the floor.
Death Actually sets out to bring ‘lethal puns and dead funny songs’ in a larger than life musical.
Television personality, Patrick Kielty, attempts to revive
his stand up career in what is billed as a fresh hour of comedy.
Killing most of an hour, and murder to sit through, The Ted Bundy Project does bait-and-switch on its audience.
This is a show I really wanted to enjoy; each part of the production tries very hard to achieve an ambitious vision, but don’t quite make it.
A comedy that ironically centres around two failing comedians should find humour in the ineptness of these characters.
Ariel Dorfman’s Death and the Maiden is one of my all time favourite plays; it is a beautifully written text, teeming with monologues many actors would dream to get their hands o…
“Join our storytelling team as they use innovative improve [sic] techniques to craft a narrative from audience members’ true stories,” boasts the Five-a-Side flyer.
If Dan Willis is targeting the annoying Australian Uncle demographic with his show Australia: A Whinging Pom’s Guide, he’s got it completely spot on.
Jim Higo and Miki Higgins present their double act poetry, comedy and sketch show which is intended to be ‘a satirical look at culture and the arts’.
No Strings tells the unoriginal tale of two, middle-aged married people hooking up for one night of meaningless, pure sex, with Shona looking to get back at her cheating husband an…
Why go to the trouble of raising the funds and making the trip to the International Collegiate Theatre Festival, only to present plays nobody back home would want to see, much less…
Chipped/Drift is a double bill of short pieces with a high school cast all the way from the USA.
Aidan Killian is not the kind of performer to shy away from big questions.
Billed as a rom-com, Bear Hug looked to be a pretty safe bet for some laughs – described as a story about how coming out is easy but how getting back in is harder.
Immersive shows are one of those strands of theatre which can be either spectacular or absolutely appalling.
Though billed as theatre, 101 Reasons Why I #@%$ Katie Hopkins is essentially a lecture on odious media figure Katie Hopkins, complete with biography and PowerPoint presentation, b…
Grounded is written, performed and directed by Linda McDade.
Disorder is a play about mental illness that attempts to portray the realities of living with bipolar disorder, as well as the long term effects of the condition, not only on the s…
Troy Diana’s comedy These Troubled Times focuses on Charles (John Curtis), an openly gay man who arrives at his brother’s family home to babysit his niece and nephew.
Do you like weird and impenetrable absurdist drama? The kind of play that seems to bend time with its slowness? Do you find pleasure in watching characters say meaningless things t…
Jim Higo and Miki Higgins are, in one word, brave.
‘pratfall’ refers to the slapstick action, common in clowning, of falling and
landing on the buttocks.
“Happy families are all alike,
but every unhappy family is unhappy in its own way,” wrote Tolstoy.
I’m not quite sure why The Unholy Trinity calls itself horror.
I really hope there wasn’t an adult in charge of this.
Aberdeen’s Literal Lines bring their confused and incoherent sketch show to Edinburgh for the first time.
The promotional blurb for Dead Fresh warns you that missing the secret of this dark comedy (or perhaps missing the comedy itself – there’s some pronoun confusion in there) ‘c…
If you’ve been looking all over the Fringe for some misogynistic bullshit, you need look no further: Randy Ross is your man.
Fringe wouldn’t be Fringe without its many questionable adaptations of Hamlet
and this one definitely raises a lot of questions.
Forget the defendant, it is the cast of this excruciating production who should be in the dock.
I love monsters.
A decent show is worth the price of a ticket and a bad show isn’t, but in the case of Conversations with Boring, Ugly People, I’d pay good money not to have to watch this exerc…
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