You can’t accuse upcoming composer Finn Anderson of resting on his laurels. His fingerprints are all over this year’s Fringe, from the buzz-worthy Islanders over at Summerhall, to this, Limbo: City Of Dreams.
What on earth can be the connection between ‘Brown Sugar’ by the Rolling Stones, ‘Lola’ by The Kinks, ‘Eleanor Rigby’ by The Beatles, ‘Roxanne’ by The Police and… Monica? The five characters in Rock ‘n’ Roll Girls explain all.
In a world full of fear and worry, we all need a reminder that there’s still hope. Luckily, in The Man Who Planted Trees at the Scottish Storytelling Centre, two storytellers and their puppets are here to give us just that.
Hot Flush is a great idea and there are some moments that really hit home, but while Hot Flush is far from a complete washout, it’s hard to be fully engaged.
Fierce, unapologetic, thought-provoking and radical, Everything I See I Swallow may not the circus show you wanted, but it’s the circus show you needed.
Exploring grief and the impact of trauma on memory and family relationships, Paradigm Lab’s Pink House by Madison Pollack at PQA Venues is somewhat heartbreaking and completely honest.
Who needs that double espresso shot when shows like Meghan Tyler’s Crocodile Fever exist?
Fat Rascal brings its usual comedic flair to this brilliant musical parody that exposes the untold truth of Ursula The Sea Witch of The Little Mermaid fame.
Thunderstruck by David Colvin at Assembly Checkpoint is a deeply felt and human tale, whose relationship with its source and inspiration nevertheless makes for some uncertain moments.
Such Filthy F*cks is a two hander written by Oli Forsyth that examines strangers who have nothing in common, except their porn addiction.
Of Mice and Men, in the Gilded Balloon Teviot Wine Bar for the full fringe, benefits from one fine performance and one exceptional one.
Ronan Dempsey’s one-man physical performance in The Words Are There brings to the Fringe a powerful play about a male victim of domestic violence.
Lobster is charming and sweet, if rather naive, making for a refreshing take on the cesspit that is dating by app today.
Performance artist Bryony Kimmings brings her trauma to the stage through this harrowing and brilliant musical, horror film-esque one woman show.
Cruel Intentions: The ’90s Musical is unlikely to go down as a musical theatre classic but you’re guaranteed a good night out, even if you can’t quite believe what you’re watching.
The Paines Plough Roundabout is the most reliable, new writing venues at the fringe. With a collection of work that represents the width and breadth of the UK both geographically and thematically, this year’s offerings are universally strong.
In A Game of Death and Chance, the National Trust for Scotland’s first ever Fringe show, four characters from the 17th century – and death himself – have occupied an old Edinburgh tenement to tell stories of Scotland’s past.
Cherie Blair, as played by Mary Ryder, shares her memoir with the audience, recounting her time from childhood right through until the end of Tony’s time as PM in 2007.
A fierce indictment of cuts and callous indifference, Who Cares? comes straight from the mouths of young carers in Salford.
“Much more than a history lesson, The Good Scout exemplifies what the Edinburgh Fringe is all about.” What else have critics been saying about Glenn Chandler’s latest festival premiere? (With reviews like these, is another London transfer in the offing?)