Fierce, unapologetic, thought-provoking and radical, Everything I See I Swallow may not the circus show you wanted, but it’s the circus show you needed.
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.
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.
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.
Overall xoxo moongirl is fascinating, funny, and surprising. It held my attention throughout.
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.
This touring production of Captain’s Corelli’s Mandolin allows aching heartbreak to overcome any nods to cloying sentimentality.
Passports at the ready! It’s time to jet off to the Club Tropicana Hotel in this brand new jukebox musical which is touring the country.
Hilariously insightful, touchingly funny, tunefully sharp and filthily charming, Avenue Q is the street where you laugh.
There are plenty of laughs to be had in the touring Comedy About A Bank Robbery at the King’s. There are also a couple of gasp-inducing coups de theatre.
Rapture Theatre shoots, and scores, in Red Lion, a soccer drama by Patrick Marber that even non-sports fans will love.
The touring production of The Worst Witch is high-octane, clever and extremely enjoyable.
Bursting with emotion and tuneful energy, the return to the Traverse of What Girls Are Made Of is a thing of wonder.
There are plenty of laughs to be had in the production of Abigail’s Party which finishes an extensive UK tour this week at the King’s.
Stories rule in the RSC’s brilliant production of Matilda The Musical in an adaptation which feels properly true to the spirit of its Roald Dahl original – complete with dangerous spikes and revolting children.
A frankly implausible plot, that breaks several of the cardinal rules of crime fiction, is largely overcome by the committed performances in Saughtonhall Drama Group’s Nightmare.