The collective charisma of the cast in a stunning production of The King and I earns a well-deserved standing ovation.
There is a winning combination of the playful and the profound in Barber Shop Chronicles which allies serious stagecraft and knowledge to sheer enjoyability.
Confused in its execution, this touring version of Frankenstein has high production values but offers a rushed retelling of the story that fails to work in practice.
Some outstanding performances overcome a series of gimmicky directorial choices in the UK National Theatre’s touring production of A Taste of Honey at the King’s.
It’s not just one of us who was pleased to have Mamma Mia! back on the Edinburgh Playhouse stage – an air of expectation and excitement filled the entire auditorium for the show.
Dealing with troubling questions about human interaction, the Lyceum’s adaptation of Solaris is – like all the best science fiction – not really about alien planets but about our own world.
Madame George, by award-winning playwright Keir McAllister at Gilded Balloon Patter Hoose on Chambers Street is a dark comedy filled with easy laughs that are tinged with a great sadness.
Apphia Campbell triumphs in Black is the Color of My Voice at Gilded Balloon Teviot. A riveting show inspired by the life and music of Nina Simone and featuring songs such as ‘I Put a Spell On You’ and ‘Feeling Good’.
The first thing that strikes about The Happiness Project is the colours. Shocking pink and neon yellow on a plain background and plastic-grass floor.
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.
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.
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.
Of Mice and Men, in the Gilded Balloon Teviot Wine Bar for the full fringe, benefits from one fine performance and one exceptional one.
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.
There’s a whopping 27 different offerings made in Edinburgh in this year’s musicals and opera section of the fringe programme.
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.
As the fringe continues to grow, so does the input from Edinburgh-based companies. This year there are an unprecedented 93 different productions in the theatre section of the Fringe programme alone.
Amelie is a slick, clever and hugely appealing production which reveals the heart of the original in a way which the initial Broadway production did not, if the clips of the latter are to be believed.
In the week when moves to regulate Airbnb failed and it was decided to curtain Princess Street Gardens off during commercial gigs, Active Inquiry’s The Sideshow feels remarkably relevant.
Over 50 years on and the Age of Aquarius is still providing a relevant, controversial (in parts) and – eventually – thunderously entertaining piece of musical theatre in Hair.