Chasing down the best Theatre, Music and Comedy that you might not have already heard of.
*This page will be updated throughout the festival*
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1 Murder: The Mind-Reading Lawyer
Absolute Improv!
Badger
The Best Man Show
Big Feelings
Brett Epstein: Alone on Stage
Bye Bye Baby
The Crucible
Defective Inspector: A Stitch in Time
Dinner
Disco Horses
The Elton John Story
An Evening With Mere Mortals
Hound in the Light
How Dead Am I?
Hungry Like the Future
Improvabunga!
Improv Comedy with Box of Frogs
It’s a Mystery!
A Letter to Lyndon B Johnson or God: Whoever Reads This First
Little Beast
A Midsummer’s Tempest
M R James: Whistle and I’ll Come to You
Mythos: Ragnarok
A Naff Play About Spies
A Play by John
Pretty Delusional
Ripper
Solve Along A Murder She Wrote
Suggestions of the Unexpected: An Improvised Horror Anthology
This Side of the House
The Twisted Chronicles
Uncanny Valley
What If They Ate The Baby?
What The Veck? Songs in the Key of Strife!
All reviews by Susan Sloan
If mind-reading were a superpower, it would make being a barrister a breeze! Tomas McCabe combines his real-life legal aspirations with his current talents as a mentalist in his show 1 Murder: The Mind Reading Lawyer. With a clever concept, a fun courtroom theme and some audience participation this an entertaining and mind-boggling show that you are sure to enjoy. His mentalist tricks, such as reading anonymous confessions, impress the audience, while a young volunteer judge adds an extra layer of charm. Soon, he’ll be bringing these skills to a real courtroom, criminals beware!
Our protagonist Ginny has a desk literally overflowing with ‘delegated’ paperwork, her co-workers are an assorted collection of idiots, narcissists and sociopaths, and every day is one-of-those-days. We follow a particularly bad one-of-those-days where catastrophes snowball from the sublime to the ridiculous, culminating at one point in someone screaming ‘call 999 and just ask for everything’. Wrangles over shift patterns and promotions take on much the same level of hysterical chaos as a punch up with a member of the public, or the CEO’s son getting mauled by the titular badger.
The show starts out gently enough but before long escalates into a frenetic and hilarious farce that just gets better and better as it goes on. Based on his time working in heritage and conservation, the script by Will Evans is tightly packed with jokes, whilst also managing to evoke some genuine empathy for poor Ginny. The direction, again by Will Evans aided by Ian Dunn, keeps the pace moving nicely, adding the odd surrealist flourish along the way. Featuring a strong cast across the board, Erin McGivern gives a notable performance in the lead role along with Wiktor Wydrzynski as Elliot and Nathan Cathcart as Alastair, the latter so effective at portraying a thoroughly loathsome character that by the second half he made me boil with rage almost every time he spoke.
I want to say that Badger is an over-the-top charicature, but for anyone who has worked in hospitality, retail or just with other humans in a 9-5 capacity, much of it will feel like painful realism. Enjoy it as a catharsis, a warning, or bleak reminder, but do catch it if you can!
Anyone who has been through that period of life where everyone they know is getting married has seen at least one wedding speech that will haunt the guests forever. Ill advised jokes, pent up bitterness, previously unaired recriminations – the most notable speeches may contain one or two of these things but Mark Vigeant’s worst ever best man tears through the full bing-house of unacceptable behaviour. Somehow though, despite being a despicable, drunken, car crash of a character, you can’t help empathise, and perhaps even identify, with him. Because haven’t we all also been to at least one wedding that made us want to curl up in a foetal ball in the middle of the dance floor sobbing? He might not be the everyman we aspire to be, but he is the everyman we are.
The Best Man Show is a hysterical, riotous, chaotic experience involving a substantial amount of audience participation, but Vigeant controls it deftly while staying in character, even when the audience occasionally gets wilder than expected. I laughed from start to finish, and honestly haven’t laughed as much in a long time. The kind of laughing where you think you might just loose it completely. If you like your comedy freewheeling and somewhat close to the bone then do not miss this show. And if you have any best man duties on the horizon perhaps come along and take notes, you will thank me when you never have to attend another wedding again.
Big Feelings
Billed as a mixture of Barbie monologue meets Hedwig and the Angry Inch, Big Feelings is a riotous tour through mental health, feminism, and cultural identity. The show blends poetry, comedy, music and an array of glamorously bedazzled costumes to create a rock & roll tinged, emotionally charged experience. Gigi’s performance is raw and relatable, connecting universal themes with her own life and the show’s blend of humour and poignancy keep it entertaining as well as thought provoking.
There is a charmingly rough edge to this production, most obviously displayed in the on-stage costume changes (each piece discarded into the sun-roof of an inflatable Barbie car afterwards) where the visible velcro and home-stitched sequins are a perfect metaphor for the home-spun grit and drive displayed by Gigi herself. Don’t go expecting a staid and academic reading of poetry, but pull on something sparkly and get ready to experience some Big Feelings instead.
The Sacramento Contemporary Dance Theatre’s reinterpretation of The Crucible is a powerful blend of modern choreography and music that breathes new life into this classic tale. The dancers vividly portray the inner emotional landscapes of the characters, capturing the tension and repression of Puritan America with remarkable intensity. The choreography goes beyond a simple retelling to explore the story’s psychological depth, making it essential viewing for those familiar with the original play.
The costuming is striking and effective—hauntingly iconic at times, and at others more organic and expressive. The contemporary soundtrack is largely successful, though occasionally a bit too on the nose, as in the use of Taylor Swift’s “I Did Something Bad,” where the lyrical content becomes somewhat overpowering. However, this is a minor distraction in an otherwise standout production filled with passion and creativity, leaving a lasting impact. Under the direction and choreography of Jacob Gutiérrez-Montoya, standout performances come from Bryn Skaff as Abigail and Laila Waheed as Elizabeth Proctor.
Defective Inspector: A Stitch in Time
Following the adventures of ex-detective Richard P. Cooper, Stitch in Time is the second half of a two part tale, which I haven’t yet caught the first half of, but was assured wasn’t essential to watch in order. What can I say? It’s all a bit timey wimey.
Part gum-shoe detective, part Garth Marenghi style fourth-wall-breaking sci-fi, this is a high energy, fast paced, pastiche that is as smart as it is silly. A superb script and original concept, along with lots of great sight gags and strong performances all round, ensures that the laughs keep coming and the audience is never bored. Standout performances come from Daniel Hemsley as Chip the cockney cyborg, and Ellie Church in a scene stealing, scenery chewing turn as a boozy and bonkers Eva Braun. Oh, and there is a tyrannical, three legged, talking dog. What more could you want?
Disco Horses
Disco Horses feels a bit like someone put a blender on the ‘surrealist’ setting, added a dash of 70s funk, a sprig of existential dread, and then hit puree. Joe Harrington and Eric Greenbaum weaponise absurdity (and invisible fire arms) through a rapid collection of unpredictable, but hilarious, set pieces. Like a buffet where every dish is labeled “What the hell is this?” but turns out to be an unexpectedly delicious combination of food, such as peanut butter and pickles or jam and cheese. Disco Horses is, in effect, the comedic equivalent of a peanut butter and pickle sandwich.
There is a surprising dearth of sketch comedy at this year’s Fringe. In many ways it can be one of the most hit and miss genres, but this one is most definitely a hit. Regardless of whether you would usually opt for a sketch based show or not, it will appeal to anyone who enjoys offbeat comedy in general. Both the writing and performance feel fully formed and accomplished in a way that I can imagine translating perfectly to TV, in the vein of classic nutsy shows like Kids in the Hall. While the material is fresh and unique, there is an instant feeling of familiarity to Joe and Eric themselves, driven by their rapport with each other, and the audience. By the end of the hour I not only felt I knew them, but was mad they wouldn’t be back for another episode next week.
An Evening With Mere Mortals
An Evening With Mere Mortals presents a double feature inspired by big-budget Hollywood action thrillers. In Stjälkar, an unassuming civil servant gets entangled in a global conspiracy involving espionage, Scandinavian snipers, and very tiny pencils. Meanwhile, Inbound follows three heroes on a mission to secure the MacGuffin of Ultimate Power before it is utilised by evil forces.
I went into this show expecting a madcap parody of classic action movies, and while it is that, it is also so much more. One of the most impressively staged low-budget productions I have seen in a long time, the cinematic use of lighting and direction was incredibly effective and made it feel of a much bigger scale than it is. Similarly, the cast of three multi-tasks to an insane degree (including a one-actor, two-character fistfight), taking on supporting dialogue and vocal sound effects left, right, and centre.
The precision and choreography of the movement and dialogue is in many ways the star of the show, and an absolute delight to witness, but that’s not to undermine the script or the stories themselves, which provide a suitably entertaining base to work from. The humour is somewhat on the darker side, but not outrageously so, and for me, most of the biggest laughs came from the inventiveness on display. Both pieces are packed with visual effects like sleight-of-hand knife throwing and slow-motion strobe-lit running, but also with vocal techniques like a double-layered villainous voice, ambient sound effects, and additional characters performed ‘out of shot.’ I frequently found myself looking to see what was being done live on stage (rather than via an audio track) and being surprised that the answer was “all of it.” There is a huge amount of work and skill involved in pulling off this kind of thing, and it was brilliant to watch.
Unlike most comedy shows I’ve seen based around similar premises, An Evening With Mere Mortals has a level of sophistication that elevates it into genuinely good theatre. With exceptional performances from Jack Murphy, Dylan Tonge Jones, and Dan Monaghan, it takes itself seriously in all the right places as well as being funny as hell. A genuinely impressive show that you don’t want to miss.
Hound in the Light
An intriguing, melancholic mixture of poetry, masks, physical theatre, dance and music. Through pieces titled Puppy Yoga, Soul Switching, Animal Farm Dystopia and Cathartic Howls we are asked to consider how animals, of all sorts, seek out their place in the world. Yearning to be other than what they are, not realising that that the ‘other’ may be doing the same.
This production feels closer to performance art than conventional theatre for the most part, and whilst it could have benefited from more atmospheric lighting to help focus the viewer on the actors and props, it is a thought provoking and charming experience. Eve, Yip Wai Yin puts in a particularly notable performance during the second segment as the pup who becomes master. Deceptively gentle in tone, I was amused by some parts and moved by others.
How Dead Am I?
A group of apparent strangers meet in a late night corner-shop that isn’t all it appears to be. It won’t be until they work out why they are, and how their lives intersect, that they can leave.
How Dead Am I? is an entertaining and witty examination of life, death and unresolved emotions. Initially focusing on the personal lives of the characters, the second half also deals with societal issues such as intolerance and hate crime. The cast give spirited performances (no pun intended) but the highlight of the piece is the effective use of lighting and choreography during the movement/dance sections which add a slick, edgy and more experimental aspect to the production.
Set in the vibrant 1980s, Hungry Like the Future takes audiences on a journey back to the era of Duran Duran, Pac-Man, and personal computers. When Kevin receives a Commodore 64 for his birthday, his passion for gaming lands him in an unexpected adventure where he is transported into an alternate world of pixels and code. This family-friendly show contains a charming mixture of retro nostalgia and contemporary themes, such as the increasing dominance of AI. The plot is somewhat convoluted and McGuffin stuffed, but the fun and silliness of it all renders this largely irrelevant. Picture Black Mirror re-imagined as an episode of the Wide Awake Club and you are half way there.
The young cast all put in enjoyable performances, with notable standouts from Kevin and his sister. Additional kudos must be given to the staging of the show which is inventive and striking. The costumes and props are fun and effective, but the clever use of a scrim screen for projections, which actors engage with both in front of and behind, is one of the most unique and entertaining sets I have seen at this year’s festival.
Greene Shoots Theatre Company
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Improvabunga!
Lively improv based around the creation of a ‘movie’ where the audience picks the genre, title and setting. The group all get a chance to show their chops, including during some musical numbers, and the novel set up may appeal to those tired of mini-games. Having one long set-piece did allow for some good running gags to percolate, however it was usually when the scene or plot was forced to change that it was at its funniest.
The Watch This Improv Troup
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Improv Comedy with Box of Frogs
As Forrest Gump’s mother (possibly) also said – improv is like a box of frogs, you never know what you’re gonna get. What you will get with this specific box of frogs is a madcap hour of games, songs and silliness. Running through a series of improv set-ups that will be familiar to seasoned fans of the genre, I found them to be at their funniest during the musical sections. The closing number (a charity Christmas single about penguin eggs and ice cream) being a hilarious highlight, and almost aggravatingly catchy as it remained stuck in my head for several hours afterwards. If you are looking for improv that leans towards the daft, family-friendly end of the spectrum rather than offensive or overly ‘adult’ humour, the frogs would be a great pick.
A Letter to Lyndon B Johnson or God: Whoever Reads This First
Set against the backdrop of the Vietnam War, we follow Ace and Grasshopper as they evolve from boys playing soldiers to young men in the trenches. They grapple with their own concepts of masculinity, spit-shake their promises, and avoid hand-holding except in the direst of situations. What makes you a boy? What makes a boy a man? What makes a man an American?
Xhloe and Natasha bring intensity and seemingly limitless energy to their roles, portraying the boys with depth and nuance. The use of era-specific music woven throughout the show, both via the soundtrack and onstage as the duo riff on harmonicas, adds poignancy and melancholy to the piece. This is particularly evident as the playful tone of their earlier scrapes gives way to more sobering explorations. The naïve aspirations of youth are mirrored in the warped duties of adulthood, and the harsh realities of war. Thematically, the show considers the rigidity of masculine ideals, the importance of friendship, and the enduring power of the American Dream. However, it would be fair to say it reads as an homage as much as a castigation – Norman Rockwell with a dash of Dalí, and a soundtrack by the Beatles.
As the third production they have brought to the Fringe, Xhloe and Natasha have carved out a recognisable and unique artistic style of their own, with this feeling like a logical progression. More obviously narrative and less surreal than previous productions, it is also deeply moving in a way that I wasn’t prepared for. They brought tears to my eyes, and judging by the audience reactions around me, I wasn’t the only one. Perversely, it is also the production of theirs in which I have laughed the most, it’s something of an emotional rollercoaster! Or perhaps a rope swing would be a more accurate metaphor – hurling you out over the abyss in a way that is both exhilarating and alarming. Despite the minimalist staging the show is immersive, engaging, and all-consuming. I could have watched it all day, but sadly, it had to end.
If Byron has been fondly remembered as ‘mad, bad and dangerous to know’, his lover Lady Caroline Lamb has mostly been recorded as just plain mad. Eventually spurned by the poet and serial romantic, she became defined by her relationship to him. Perhaps most famously this culminated in an incident where, publicly insulted by Byron at a ball, she smashed a wine glass and attempted to slash her wrists.
There is a welcome movement to reclaim the stories of women lost in history to the mythologies of men, and Little Beast is such a piece. However, whilst this could be a dull or hectoring trudge through historical revisionism it is instead a sharp, sassy and caustic rebuke, not just of Caroline’s place in 1800s society, but our own lingering fear of, and disdain for, ‘female hysteria’. This inventive, original production succeeds on all fronts. The all-female cast are fantastic, with notable performances from the central roles of Byron, Lamb and her modern-day counterpart Caro. The script is witty and perfectly paced, slipping between the historical and modern day eras without feeling trite or clunky. The costumes are beautiful, cohesive and well considered, even for characters that necessitate less showy clothing. The direction and choreography, however, is perhaps the most unexpectedly welcome element of the show. In places it is funny, quirky, bitchy even, whilst in others sensual, romantic and passionate, with no shying away from the intimacy required to bring the story to life. Indeed, the movement is such a pivotal part of this show that were the script not so strong it could almost be considered contemporary dance in the main.
Not everyone will immediately be drawn to the subject matter, but whether you are aware of the protagonists already or have never had an interest before, I would heartily recommend giving this wonderful production your time.
A Midsummer’s Tempest
A Midsummer’s Tempest is a lively new take on the Bard’s works, sprinkled with humour and a dash of contemporary sensibility. From poking fun at the patriarchy to commentary on climate change, this Shakespearean mash-up weaves in hot button topics with a farcical playfulness that prevents it from becoming overbearing or dry.
Standout turns from Steven Hardie Colgan and Freya McCall, as Demetrius and Hermia, are particularly entertaining, but it is strong ensemble cast overall and they bring to life the colourful collection of characters, in a way that feels both familiar and new. Detailed costuming by Sadie Hemming and punchy direction from Julia Lisa and Riley Behrens keep the show visually engaging at all times.
A Midsummer’s Tempest does a great job of bringing energy and wit to the source material, ensuring that you don’t need to already be an aficionado of Shakespeare to enjoy this show (but might be when you leave).
The Edinburgh University Shakespeare co
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M R James: Whistle and I’ll Come to You
Solid storytelling and character acting, along with good use of audio and lighting, make this a pleasingly spooky way to enjoy the classic tale. This is a simple, but atmospheric, adaptation that channels the spirit of the great horror radio plays of the past. A perfect pick for anyone looking for a bit of old fashioned, gothic creepiness.
Mythos: Ragnarok
I first saw this awesome extravaganza of Viking smackdowns in 2022 and it has only become bigger, better and even more action packed since then.
Mythos: Ragnarok is a thrilling fusion of Norse mythology and professional wrestling that delivers a spectacularly unique theatrical experience. Set against the backdrop of epic tales of gods and monsters, this show brings ancient legends to life with intense physicality. With each slam and suplex, the narrative unfolds, revealing a story that’s as compelling, and fun, as it is action-packed.
The performers’ athletic prowess is matched by their ability to capture the larger-than-life personas of mythological figures like Odin, Loki, and Thor. The choreography goes beyond combat; it’s storytelling through movement. The simple but effective use of lighting, set, and sound design further elevates the show, ensuring it is a visual spectacle in every sense. Balancing laugh-out-loud humor with high drama, the cast gives 110% to every moment of this production. Led by the charismatic Ed Gamester as Odin, there are standout performances from Miles Ley in the fearsome dual roles of Surtr and Jormungandr, and Michael Reece as the charming trickster Loki. The entire cast is exceptional, blending strength, agility, and theatrical flair in their performances.
The atmosphere is fantastic throughout, and the audience is drawn into the action at every turn, cheering and booing in lively pantomime fashion, encouraged by occasional moments of fourth-wall-breaking fun. This is a raw, bold, and wildly entertaining must-see for anyone looking for something different at the Fringe. Whether you are a fan of professional wrestling or not, you are sure to have a great time.
A fun, high-energy and slightly absurdist comedy-of-errors following a trio of bumbling undercover agents on a mission to foil a criminal mastermind. A criminal mastermind that one of them now happens to be in a not-as-fake-as-it-should-be romantic relationship with. Oops!
As the title may suggest this is not a high-budget, slick production but if you are looking for a fun, silly show with comedy moustaches and visual gags involving home decor, then this should tick the box quite nicely.
A Play by John is a searing, surreal and slightly terrifying meditation on life, death, fate and friendship. It’s a show that is difficult to say too much about without ruining it, but if a bit of nihilistic meta-contextuality and fourth wall breaking mixed in with your drama sounds appealing then this is one for you. Intensely emotional at times, the final scene had me on the edge of my seat, literally chewing my knuckles. Marc Wadhwani and Jules Smekens both deliver fantastically visceral performances, with further kudos deserved for the original writing (no longer entirely by John).
It can be hard to make an audience fully immerse themselves at the best of times but late evening at the Fringe is notoriously difficult, as the noises bleed through from adjacent productions and everyone is half thinking about their next three engagements. This production manages to cut through all of that and ensures that you are gripped from start to finish. Blackly humorous in places, bleakly frightening in others, this is a unique piece of theatre that I highly recommend catching while you can.
Pretty Delusional is a lively and slightly saucy musical comedy about the pursuit of hotness amidst the rollercoaster of dating in your twenties. Stuffed with laughs, awkwardness, and original pop tunes, writer/performer Gianna Milici shares her journey with love, sex, faith and trying not to vomit in the face of abject embarrassment. Featuring music by Shelbie Rassler along with Milici’s lyrics, it strikes the perfect balance between relatable and ridiculous. The notable highlight of the night being Hotter than Beyoncé, which employs sterling use of a wind machine and is a certifiable banger.
Ripper dives into the chilling tale of Jack The Ripper, the infamous Whitechapel serial killer of 1888, but with a twist. In this retelling, by Jacob Marx Rice, we follow reporter Gillian Spender who, writing under a male pseudonym, encounters “Jack” while covering the murders. Gillian’s brother secures her the job, and she strikes a deal to write under her real name if her reports boost circulation. The murderer manipulates Gillian, realising she needs his story to advance her career, creating a dark dynamic where she must choose between ambition and justice. While this version of events is fictional, it taps into popular theories around the case that journalists may have fabricated stories, or even the Ripper’s infamous letters themselves, to drive sales.
Out of Office Theater’s production has a strong cast, with notable turns from Gemma Tubbs as Spender, Michael Ross as Detective Abberline and Rachel Wilkes who, despite being in a supporting role, steals every scene she is in. Victoria Hadel’s direction is effective and immersive, employing great use of the visceral and bloody imagery of the piece. The inclusion of some choreographed stage-fights is particularly welcome to bring the action alive.
Ripper questions why certain crimes linger in our collective memory, and examines the power of sensational journalism. It also provides a nuanced dissection not just of the misogyny of the period and the Ripper himself, but also of how desire and ambition can become ugly when repressed.
Out of Office Theatre
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Suggestions of the Unexpected: An Improvised Horror Anthology
Enjoy a Fortean-feeling tap to the funny bone as Any Suggestions Improv lead you through terrible tales of the past, present and future based on audience-sourced prompts. As is the nature of improv, every night will be different, but you may find yourself regaled with cautionary tales on subjects such as disregarding bus-timetable efficiency, tying your self-worth to nostril flute playing or why you should be very, very wary if the Language Pigeon tells you to hold your tongue.
A stellar group effort, with standout turns from Lewis Dunn, James Gamblin, Louise Jones and Charles Deane, made for a creepily hilarious show that I would highly recommend and hope to see again before the end of the fringe. If you don’t laugh, you might scream.
This Side of the House
In this gripping look into the political and social dynamics of early 1980s Cambridge, the young cast successfully captures the intense atmosphere of the debating chamber and the shifting alliances, where cliques form and fracture around election time. A fun twist invites the audience to vote on the election outcome, leading to one of two possible endings. With sharp writing and strong performances, this play is both entertaining and thought-provoking.
Lance Anisfeld’s debut play, directed by his daughter 36 years later, appropriately includes a warning on it’s promotional material, as it uses language and debating styles typical of the era, much of which would be considered highly inappropriate by today’s standards. While often funny, it can also be shocking, even to those of us with a fairly flexible sense of humour. This is especially true in the opening scene which features some extremely racist dialogue. The characters are refreshingly nuanced however, with no clear ‘heroes’ or ‘villains’ and although I don’t believe the challenging content should be considered a deterrent, it is something to keep in mind.
The Twisted Chronicles
A satirical, and slightly silly, journey through history hosted by Ken and Bryan, two visionary yet misunderstood teachers not deterred by having lost their jobs due to the tyrannical fact-checking of Ofsted.
With a large and talented cast, great costumes and an effective use of lighting and props The Twisted Chronicles is a professionally put together production following in the lineage of historical comedies like 1066 And All That and Blackadder. Split into four set pieces with adjoining narration by Ken and Bryan, the final segment (Bolshevik’s Got Talent) is a clear highlight, leaning further into the ridiculous side of revisionism and hitting a tone closer to what might be suggested by the synopsis.
Politicat Productions
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Uncanny Valley is a surreal and unsettling exploration of faith and family, brought to life by the performances of Lauren Kelly, Juliet Arpaç, and Leah Coghlan. The three actors move with synchronicity, weaving a poetic narrative that engages the audience from the start. The dialogue and choreography works together to create an abstract dance, orbiting their complex relationships with a now absent mother and each other. The dreamlike atmosphere of Uncanny Valley will linger in your mind and is recommended for anyone seeking a more unusual theatrical experience.
What If They Ate The Baby?
I was lucky enough to catch their breakout show And Then The Rodeo Burned Down last year, but it’s safe to say that What If They Ate The Baby? has cemented my status as a Xhloe and Natasha fan. This absurdist peek below the hood of suburbanite housewives has many of the same hallmarks as their previous piece – vintage Americana, a tug-of-war relationship and characters unable or unwilling to express their true desires – but this time the unravelling breakdown is far more nightmarish and the edges hinted at around the story darker and more disturbing. The dialogue and movement disintegrates and is put back together, backed by a searingly aggressive contemporary soundtrack and, in one moment, enough strobes to induce a seizure. The use of repetition and unreliable narration creates a kind of surreal fugue state from which to experience this journey into madness.
You can’t help but root for Shirley and Dotty, but you will leave with more questions than answers, as well as the deep sensation that something awful is going on in those cookie-cutter houses. Noises in the attic, neighbours being dragged off for unknown crimes, a recipe for scones that feels like a life or death matter. Knock knock. Who’s there? Someone they are pretending they weren’t expecting perhaps? Or is it another kind of expecting?
Xhloe and Natasha execute intricately tight choreography in a way that also reads as anarchic, chaotic and endearingly clumsy. Their dance, metaphorical and literal, is combative, sexual and mournful all at once. They are brittle, desperate, lonely and terrified. The never ending spaghetti casserole is green, but their hearts are blue.
What The Veck? Songs in the Key of Strife!
Tom Veck takes us on a hilarious musical tour of the wonders and disappointments of the world, via songs inspired by his own life and those of forty random strangers found at last year’s Fringe. Other highlights include the naffle (in which I sadly did not win either the Liberace Christmas album or the sad porcelain clown clutching a love heart) and the opportunity to guess the function of random objects found at a car boot sale.
Veck has a warm, easy manner and a surprisingly good singing voice, both of which help balance the occasionally unpleasant confessionals plucked from his magic box. However, its when he is indulging in more benign, or uplifting, subject matter such as the collected favourite jokes of a group of four year olds, or his ecstatic joy in finding a Spice Girls tin full of Moshi Monsters in the bin behind a charity shop, that he is at his best. If you like your comedy gently insightful with a dash of darkness, I would definitely recommend this show. Even if I am still slightly bitter about losing out on the naffle.
Edinburgh Fringe Reviews 2023 »
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All words by Susan Sloan.