Rich Watkin’s one-man Disney musical parody Happily Ever Poofter is an ‘exquisite and energetic masterpiece’, and its three year international ‘tour de force’ comes to an end this Friday 24 Sep at the London Wondergound in Earl’s Court. With countless ★★★★★ reviews and several award wins, check out our round-up of reviews from all across the globe. Make sure you book for your chance to see the final ever performance of this ‘foul-mouthed, fairytale/Disney mash up’.
Garry Roost’s play Warhol: Bullet Karma focuses on the events around his shooting by Valerie Solanas (this ground was covered from a more feminist perspective in Femme Fatale).
Arthur Smith pays homage to his (extra) ordinary Dad in Syd which premiered at 2018’s Fringe and is now an online show recorded at Falmouth and being streamed via the Pleasance.
The real life figure of Ed Gein looms large in horror films and literature. Most famously he was the direct inspiration for Norman Bates in Psycho and his terrible influence can also be found haunting The Texas Chainsaw Massacre and Silence Of the Lambs. But I’m not sure his real story has been told quite so directly as it is in Under The Floorboards which played live at the Edinburgh Fringe and has now emerged as an online performance film at this year’s Festival.
Lost in Love is a new play presented by Flow Stage Productions. A brash and funny lady, Emily (Rachel Pryde) has something to tell about her life and the men in it.
What does it mean to have “It All?” I am not sure the answer to that question can ever be answered as it means something different to everyone. Cameron Cook raises this point several times throughout his debut solo show It All.
Bette Davis Ain’t For Sissies (the title refers to a Davis quote of some years later about old age) references the women’s lot in the Golden Age of Hollywood – exploitative auditions, unequal pay (a topic still current in movies in the 21st century), a string of love affairs, the expectation to look ‘just so’.
Till Love Do Us Part isn’t one of the flashiest productions on the digital fringe in terms of its technical style, but the writing carries it through.
Over on the ZOOTV platform at the Edinburgh Festival Fringe, you’ll find Planet of the Grapes, a delicious livestream performed live in New York City. I’m told that on Sunday the city was being battered by a hurricane, but it didn’t seem to cast a shadow on the show.
A warm and entertaining solo play, Lila Clements’ Look, No Hands has some distinctive features which marks it out from many other confessional shows of a similar type.
Australia’s digital destination for live performance, Black Box Live, is now broadcasting shows from Adelaide’s Bakehouse Theatre via the Edinburgh Festival Fringe straight into audiences’ homes. Full details of the five, carefully selected productions here.
Two Adelaide Fringe stalwarts are causing a stir online at this year’s Edinburgh Fringe with their hybrid live/digital season of five critically acclaimed Australian shows, broadcast care of Black Box Live from Adelaide’s Bakehouse Theatre.
Two well known tales with a twist: The Little Glass Slipper As Performed By The Queen of France And Her Friends and Metamorphosis. The second piece now tops my personal Edinburgh Fringe online chart.
Award-winning Organic Theatre returns to Edinburgh Fringe for a digital world premiere of their new pandemic-inspired show Flanker Origami, which finds the founders stranded on Zoom, streaming for one week only.
East Belfast Boy intrigues from the first frame, and lends itself perfectly to the new format, redefining the boundaries between disparate art forms.
If you are looking to end the day with an abundance of laughter then definitely go and check out Eric Robinson in Thunderjab 3 at the Bevan Theatre in The Surgeons Hall Space.
In Call Me Elizabeth Kayla Boye takes on the difficult task of writing about, and portraying the icon which was Elizabeth Taylor (1932-2011). Just like Marilyn Monroe, you feel you already know everything about her; the marriages, the child star turned child woman in the Hollywood machine, her constant health battles, the diamonds, her activism.
I set off for Hollywood, California via Edinburgh, Scotland and Adelaide, Australia. No, I haven’t finally lost it, this was my online trip in both time and place courtesy of the Edinburgh Fringe Festival.
Originally planned to be performed live at Summerhall, Katie Bonna’s audio play, The Entertainment, is “about what we carry around inside us”.
Written and performed by Patricia Légaré Eddisford, The Tarantula is just under an hour of monologue, a story that transcends its one-room location.