Tom Lenk is Trash is trash. That’s not even a cruel review, it’s literally what he told me to say. And after seeing the show, I am not going to be so stupid as to say anything he doesn’t want me to.
Three conspiracy theorists have gathered to unpick discrepancies and inconsistencies in the 1932 photograph ‘Lunch Atop a Skyscraper’ in Conspiracy.
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.
Lobster is charming and sweet, if rather naive, making for a refreshing take on the cesspit that is dating by app today.
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.
A fierce indictment of cuts and callous indifference, Who Cares? comes straight from the mouths of young carers in Salford.
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
The 2019 Edinburgh Festival Fringe Programme has been launched, featuring a diverse selection of work from the worlds of theatre, dance, circus, physical theatre, comedy, music, musicals and opera, cabaret and variety, children’s shows, spoken word, free shows, exhibitions and events.
Christopher Tajah’s passion and delivery in his performance in Dream of a King that he has written, directed and stars in is a truly moving show to see.
Growing global discontent has been the hallmark of 2018, and 2019 is looking even worse. The last few years have marked a rise of the far-right, but theatremakers in opposition are letting audiences know it from the stage. Some of the best shows of this year show anger, fear, uncertainty or simply let the world know that enough is enough – it’s time for a fairer, more peaceful society that pays homage to all of its people.
Maddie Rice (star of the recent tour of Fleabag) brings her debut play Pickle Jar to Soho Theatre, following on from an acclaimed engagement at this year’s Edinburgh Festival Fringe.
Thankfully, Nick Hern Books has published the playtext of Fleabag, so I thought it was about time I made the most of that for this series of posts.
The New York Times listed Jennifer Kidwel and Scott R Sheppard’s razor-sharp comedy as one of the 25 best plays since Angels in America. Like a role-playing game that gets completely out of hand, it’s easy to see why.
Whilst I do feel like I’ve ‘missed the boat’ slightly, as I’d have loved for a great female and Scottish story to round off my first Edinburgh Fringe, I’m sure there will be a future life for this one somewhere down the line.
This is an important play and a convincingly guttural response to Sandy Hook, but staging it outside of America makes me uneasy.
So now I’m back in London (filled with my own special brand of Fringe Flu), and all my reviews are done (though I’m still not quite sure how I did it), I thought I should really make sure I rounded up my time at the Fringe and worked out how to do things better next time…
The Norse mythology musical you’ve been waiting for, unashamedly silly and brilliantly performed – and there’s even a tap number.
I walked out of Queens of Sheba feeling a bit teary in a kind of happy/sad/exhilarated way. It’s the first Fringe play I’ve seen that has evoked such a strong emotional response.
Seeing a Korean company stake a claim on Macbeth and intersperse the story with its own cultural myths and legends is a potent reminder of the relevance of Shakespeare’s stories and themes.