Scene Change Productions, Greenwich Theatre and Nutshell Theatre’s co-production A Good Enough Girl? is enjoyable, involving and deceptively important production.
Ganymede, TypeCast Productions’ reworking of Shakespeare at Paradise in Augustines, is an intriguing production that uses the spirit of the Bard to cast light on contemporary concerns.
Twa, the collaboration between writer Annie George and visual artist Flore Gardner at the Scottish Storytelling Centre, is a lucid and involving production.
Hymns For Robots, Noctium Theatre’s portrait of electronic music innovator Delia Derbyshire, is an appealingly winsome piece of theatre.
The WWI Wardrobe Project has emotional force as well as a certain charm as Immersive Response’s production seeks to make 1917 more immediate.
The threat of antibiotic resistance may be an unlikely subject for a musical, but The Mould That Changed The World makes this educational topic fun in a highly entertaining new show.
Breathing Corpses, by Split Brick and New Celts at The Space on the Mile, leaves a nasty taste in the mouth at times. This is entirely intentional, as it is a decidedly nihilistic study of death, which seeks to confront difficult issues head-on.
Cheerfulness in the face of adversity characterises The Monster in the Hall by Capsize Collective and New Celts at The Space on the Mile.
A truly harrowing tale of survival is told in Heroine, a one-woman show from Scene Change Productions making its world premiere this Fringe.
Any preconceptions about a play depicting five-a-side football should instantly be put aside for Tom Wells’s Jumpers For Goalposts.
Sweet and true, Handfast by Edinburgh-based company Nutshell at Summerhall, is the wedding day you deserve.
Michael Daviot’s Don Quixote Unbound at Sweet Grassmarket is a wonderfully involving, enchanting and thought-provoking example of the arts of storytelling and theatre-making.
Antigone presented by Amplify Time and New Celts at TheSpace on the Mile, attempts to bring the concerns of Ancient Greece to the contemporary arena. If unresolved tensions in the script mean it is not always successful, this production has considerable vitality and nerve.
Nasty truths lie behind the cartoonish nature of The Laird’s Big Breaxit in the Library at the Scottish Storytelling Centre.
Nitro by Glass Knuckles and New Celts at theSpace on the Mile may never live up to the explosive promise of its title but has an energy and vigour that covers its faults effectively.
There is an air of freshness and fun to Cambusdonald Royal from Edinburgh People’s Theatre at Mayfield Salisbury Church.
Strange Town Theatre Company take us to a war-town Warsaw in Steve Small’s raw and powerful staging of David Greig’s Dr Korczak’s Example.
The sincerity, emotional directness and beautiful staging of A War of Two Halves deserves to transcend sporting allegiances. This Is My Story and Nonsense Room’s site-specific performance does what great theatre should, making a specific time and place seem immediate and accessible.
An important piece of LGBT history is explored in Eighties gay romantic comedy, Love Song to Lavender Menace, which returns to Edinburgh this Fringe.
Not everyone appreciates the importance of Edinburgh to the Edinburgh Festival Fringe. Of course, people think of the city as packed with venues and backdrops, but few know the scale of work being staged at the Fringe which is actively made in the city.