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?)
The rhythms of TS Crew’s bounding, twisting, spinning bodies in Along are timed to perfection with the music, whether boy-band synchronised or splitting into physical polyphony.
There’s a whopping 27 different offerings made in Edinburgh in this year’s musicals and opera section of the fringe programme.
Tom Hartwell’s play Before 30 is now making its way up to Edinburgh for a stint at the Festival Fringe prior to a one-off performance at the United Solo Theatre Festival in New York this November
Sassy, rude and distinctly scuzzy round the edges, the Anonymous Badger Creative’s production of Down It Fresher! in the Free Fringe is a case of writing what you know about.
Overall xoxo moongirl is fascinating, funny, and surprising. It held my attention throughout.