Typically performed from the back of a truck in New York, this surreal take on a seminar exhorting the effective use of language achieves the desired level of oddness, but seems to…
In 2015, Henry C Krempels was commissioned by VICE to write an article on the refugee crisis which was then at its peak.
Hopeless goes back to Leyla Josephine’s roots as one of the most interesting young spoken word artists in Scotland.
Man And Boy is a perfectly poetic way to punctuate an otherwise hectic day at the Fringe.
The Intimate Strangers: Mister Bond is one of those shows made up from two guys (most of the time), a collection of wigs, cloaks, scarves and, guns that are mixed together with a w…
Growing Pains Theatre Company offers its Edinburgh debut, a confessional piece of drama exploring the fraught path from adolescence to adulthood.
Procrastination may confound human progress and productivity, but it also provides the inspiration for Brick by Brick’s fantastic, multimedia clown show.
No Exit (Huis Clos) is an existentialist drama, adapted from Jean-Paul Sartre’s classic by Charlie Rogers.
The fact that Home is “partly based on true events” makes Cate and Gia’s situation all the more distressing.
Drolls, Brice Stratford tells us in the show’s scholarly introduction, were originally performed by half-drunk actors in covert locations on raucous evenings during the Puritan I…
Spoonface Steinberg, written by Lee Hall, premiered as a radio play which was broadcast on BBC Radio 4 in 1997.
Tagged follows Glaswegian teens Seanette and Lynn as they navigate a cycle of crime, reoffending and breaching court orders.
You don a white mask and read a list of instructions upon entering The Space at Jury’s Inn.
Writer and performer Emma Jerrold could be described as something of a hot property at this year’s Fringe.
Absolutely implausible and performed implausibly too: there are moments where Sins Borne’s premise works but they are too sparse.
Mine is perhaps one of the most intense hours at the Fringe.
Mavericks: A Sketch Show (of Sorts) is the product of talented comedy duo and Cambridge Footlights members Ruby Keane and Luisa Callander.
Jack BK’s original written piece deals with class struggles, privilege and ignorance in a clear and effective way.
It is a disturbing but all too common tale: girl meets boy, falls in love, and gets tricked into a life of prostitution.
Trying to keep up with the ever changing and intense plot of Dario Fo’s fast paced and absurd play can often be a challenge that leaves many productions lagging behind the playwr…
Corner Talk theatre really manage to capture the chaos of life with their devised piece of compiled short scenes all centred round the single piece of set: a bench.
Banter and silliness are the driving force of this Cheltenham sketch comedy troupe.
A new play from South African playwright Amy Jephta, Flight Lessons sees actress Saria Steel play two friends on opposite sides of the world.
The legal stage is not unlike the theatrical one.
A man is desperate for a job.
Bones is an intimate and tragic tale of growing up in a bruised family and having to take responsibility not only for yourself but also for those who who should be caring for you.
Interviewed by Broadway Baby, Hugh Train explained how Ozymandias was generated through free writing around the words of Shelley’s poem until eventually the “nonsensical rambl…
A slick absurdist piece, PALP’s One Above is an intelligent offering from the young company.
Offering “a modern, alternative view to the story of Lady Macbeth”, Hell Hath No Fury certainly has an intriguing premise.
Different is Dangerous is a production from double team Nyla Levy and Fadia Qaraman’s group Two’s Company.
The expression ‘it’s a crime’ is too often used when, perhaps, ‘it’s a disgrace’ would suffice.
Goethe’s best-known novel, The Sorrows of Young Werther, finds elegantly concentrated expression in this short one-man performance.
Canterbury may have one of the world’s most famous cathedrals, but Manchester had the Hacienda.
A soldier sits in an anonymous room.
Like a Virgin has an intriguing concept, promising bubble-gum pop and teen rites of passage.
Susie Sillett has always disliked women, she explains.
Phlash! is a confusing mess of a show.
Meet Adele, a single mother from Manchester who nervously steps out of the cold and into a therapist’s room for the first time.
We are promised an “epic tale of love, loyalty and logistics” and, with varying degrees of each, that is what we get.
The spoken content of this play, written and directed by Adam Tulloch, is minimal; the direction is bold and brave.
There are some excellent one-woman shows out there, but this one doesn’t have much to offer.
This is a one man production of Voltaire’s Candide, a satire about a young man who believes firmly that this is the “best of all possible worlds”, despite the increasingly ho…