Bobby Winner Ten Storey Love Song (adapted by Luke Barnes from the Richard Milward novel) is a play cum techno gig about five wretched tower-block inhabitants who deserve better fr...
Harold Pinter’s short play, One for the Road, concerns torture, and you can assume it’s talking about state-sanctioned torture, given Rising Phoenix Repertory’s decision to t…
Looking like a cyberpunk priest, Tsai Pao-Chang’s hero is swamped in technology — AI, encrypted files and dating sites.
Here’s what happens in order: A parody of bourgeois conversation by actors in black morphsuits; a light show to the gaiety of the Ode To Joy; unembellished description of said pi…
Bob Stourton has an orchard.
Most Fringe shows think they can squeeze two hours into fifty minutes.
Billed as “not simply a docu-drama”, Ears on a Beatle promises perspective on the post-Summer-of-Love, post-Fab-Four decade in which the two protagonist agents find themselves.
Lithuanian director Arturas Areima mounts an adaptation of Falk Richter’s play of the same name, Under Ice.
When the polyrhythm is heard in Nzinga Warrior Queen’s opening, you know this isn’t a comedy of manners.
Many appreciate conscientious objectors because they seem on the right side of history.
Imagine you’re fifteen.
Stephanie Ridings does a lecture on state homicide with drama.
A man and his unseen companion in a tent.
Kevin Hely stares, bares his teeth and darts along the stage.
Five-star performance in a three-star play.
Absolutely implausible and performed implausibly too: there are moments where Sins Borne’s premise works but they are too sparse.
Ten Storey Love Song may be the greatest Fringe show I’ve ever encountered.
Here we go again.
Deep Water Theatre Collective mount Bend in the River: a tender, Thornton Wilder-esque look at the modest living of lepers.
It’s a bowl of sugar mixed with grit.
It’s indefatigably Wilde.
The Genesis + Revelation cycle by Fourth Monkey promises “traditional Bible stories with a contemporary twist”.
Bloody Happy Dave.
Isabel(le) concerns Isabel Brade, a freewheeling brothel owner with a penchant for dance, and Emma, her great-granddaughter and narrator of the show.
London-based Clean Break fit two plays into one show: House, a tight family drama set in a British-Nigerian household, and Amongst the Reeds, a nondescript tale of homelessness, fr…
[email protected] mount an original adaptation of Tang Xianzu’s A Dream Under the Southern Bough.
Inferno is the first and, arguably, best part of Dante’s Divine Comedy.
Centenary productions saturate the Fringe, yet the conceit at the heart of The Unknown Soldier puts it slightly above the masses.
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