Author Archives: Christopher Goulding

‘The Yellow Wallpaper’ (Lime Studio, Greenside @ George Street, until AUG 29 – not 16 or 23)

Posted in *EdFestivals 2026, 5*, Dance, Greenside, Rated: Outstanding, Theatre by

“A balletic psychodrama, energetically blurring the boundary between Jane’s life of confinement and the spectral surreality of her imagination.”

Editorial Rating: 5 Stars (Outstanding)

This is a vividly dramatic version of Charlotte Perkins Gilman’s 1892 short story, adapted for the stage as lively piece of dance theatre by sisters Caitlin and Megan Ort: with Caitlin the director and choreographer, whilst Megan doubles as associate director/choreographer and performs the central role of protagonist Jane.

The original story, often anthologised in collections of classic horror stories, is also a milestone in feminist literature due to its portrayal of patriarchal attitudes towards the physical and mental health of women in the late nineteenth century. Gilman’s story focuses on Jane, the wife of John, a doctor who has brought her to a rented country house for a “rest cure” – the standard treatment of isolation and inactivity of the era, prescribed for postpartum depression and what was then called “female hysteria”. Via John and Jane’s relationship, this adaptation highlights themes such as the medical profession’s attempts to silence and subdue women via enforced domestication. The wallpaper of the title symbolises Jane’s descent into madness as she imagines figures behind the peeling wallcovering in her bedroom.

Megan Ort is a highly expressive actor, whose first-person narration as Jane directly engages the audience, with her emotional state enhanced by bursts of vivid movement and dance. Morgan Blanchard portrays her doctor husband John as a loving spouse with sinister undertones as he administers the drugs to subjugate his wife; in this he is assisted by his sister Jennie, portrayed as a darkly smouldering femme fatale by Paloma D’Auria.

The choreographic element of this production does much to bring the supernatural and psychological aspects of the story to life; what would otherwise be mere narration is transformed into a balletic psychodrama, energetically blurring the boundary between Jane’s life of confinement and the spectral surreality of her imagination. The ghostly figures behind the wallpaper and the pent-up emotions in the room are physically brought to life by a trio of dancers: Maya Musial, Annie Sherman, and Claire van Bever. Their viscerally expressive movement is hypnotic as, by turns, they claustrophobically surround and haunt Jane, then express her frustration with wide-eyed writhing and terpsichorean leaps.

This is a feminist horror story like you’ve never seen before. This American troupe brought the audience to their feet for a standing ovation at the end of an action-packed hour in the Lime Studio, Greenside @ George Street. The show runs for the whole of the Fringe, but this medium-sized auditorium has a limited number of seats, so secure your tickets soon.

 

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‘Afrique En Cirque’ (Music Hall at Assembly Rooms, George Street, until AUG 30 – not AUG 12, 17 24)

Posted in Music, Dance, Rated: Outstanding, 5*, Circus, *EdFestivals 2026 by

“What we saw seemed like an Olympic games of athletic talent: somersaulting tumblers who never seemed to get dizzy; physical contortionists who twisted their bodies into eye-wateringly convoluted shapes, always with a cheerful smile on their face; and gravity-defying human pyramids that challenged the laws of architecture.”

Editorial Rating: 5 Stars (Outstanding)

As its French title suggests, Afrique en Cirque is a circus-style entertainment that presents a lively showcase of African culture. Created by the Guinean artist Yamoussa Bangoura, the show is produced by the Montreal-based company Cirque Kalabanté, whose house style is to blend contemporary North American circus arts with traditional West African dance, drumming, and live music.

As might be expected, this is a highly energetic and physical show. Just for the removal of any doubt, forget any expectation that you may have of a traditional European circus (you know – clowns and performing animals), but be prepared instead for a highly colourful and vibrant theatrical extravaganza. As one little girl sitting near me exclaimed to her mum: “This is better than The Lion King!”

The spaciously opulent Music Hall auditorium at the Assembly Rooms in George Street was packed with a large and enthusiastic audience, who regularly broke into bursts of spontaneous applause and whoops of delight at the spectacle before them. After a fairly subdued and soulful start, the show steadily builds up energy with a succession of often jaw-dropping acrobatic feats; all performed with joyful exuberance.

At times what we saw seemed like an Olympic games of athletic talent: somersaulting tumblers who never seemed to get dizzy; physical contortionists who twisted their bodies into eye-wateringly convoluted shapes, always with a cheerful smile on their face; and gravity-defying human pyramids that challenged the laws of architecture. As a distinctly unathletic pensioner who feels wary walking down a steep staircase, I often winced at the carefree bravery of the performers on stage. Despite the playful feel exuded by the cast, it must require the steely nerves of a fast jet test pilot to pull this stuff off.

The soundtrack to this incredible show was a lively mix of traditional West African folk music and percussion with contemporary Afro-Jazz. One visually striking feature in this respect was the Kora: a guitar-like African instrument that is strung in such a way as to make it resemble a harp.

This is a show suitable for all the family (age 5+ recommended) and there were dozens of delighted kids in the audience when I was there. The show is already selling very well, so book your tickets soon to ensure a ringside seat.

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‘Clive’ (Drawing Room at Assembly Rooms, George Street, until AUG 30)

Posted in *EdFestivals 2026, 5*, Comedy, Rated: Outstanding, Theatre by

“This grippingly entertaining show carries the audience on a journey from a chirpy domestic comedy to a dark lockdown WFH psychodrama with a superb central performance from Paul Keating as the fragile housebound bureaucrat.”

Editorial Rating: 5 Stars (Outstanding)

I’m always on the look-out for new writing at the Fringe, so spotting posters and flyers for this one-man show with a picture of a cactus on them drew me to the Drawing Room at the Assembly Rooms on George Street. The size of the queue waiting to go in suggested that many others had the same idea. It soon became clear that this audience had been doing their homework. Clive is the latest work from writer Michael Wynne, who won the Olivier Award for Best New Comedy in 2010 for his play Priory. The solo performer in the show we were about to see is Paul Keating, an actor with a film, television, and theatre rap sheet as long as your arm and a two-time Olivier nominee himself.

The play is a dark comedy about working from home (WFH), the phenomenon that millions of us became abruptly familiar with during the Covid lockdowns a few years ago. Director Lucy Bailey’s production is eminently watchable, with a deceptively simple white set dominated by the eponymous Clive – the large green potted cactus from the posters. This is the flat of Thomas, a likeable and gregarious office worker now transplanted to his home and cheerfully making the best of his new circumstances.

With his previous social life now reduced to Zoom meetings with colleagues and managers, Thomas fills his day with innocent displacement activities involving some entertainingly performed household chores, gazing out of his window to watch similarly house-bound workers coping with their own domestic confinement, and the excitement of doorstep deliveries and taking in parcels for his neighbours.

From the beginning, we’re drawn in to Thomas’s world as he shares confidences with a cheerfully chatty demeanour. He makes himself comfortable with the help of Alexa, the virtual voice-activated computer assistant, whom he uses to create mood lighting to vary the ambience around his workspace. The practical realities of WFH are wryly parodied by Thomas dressing for work from the waist up in a Zoom-friendly office shirt, whilst spending the day barefoot and trouserless.

But all too soon the cheerfully comedic adventure of WFH takes on a darker claustrophobic tone. Is there something obsessive-compulsive about Thomas’s constant cleaning? Will his relationships with his co-workers survive the isolation of Zoom? Was he really the life and soul of office social life we thought he’d been? The lack of human contact in this new virtual environment quickly lays bare the seemingly toxic undercurrents that were once concealed by the protective veneer of civilised society. Even the Clive the cactus becomes a sinister looming presence.

This grippingly entertaining show carries the audience on a journey from a chirpy domestic comedy to a dark lockdown WFH psychodrama with a superb central performance from Paul Keating as the fragile housebound bureaucrat.

 

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‘Crooked Shadows’ (Greenside @ George Street: Jade Studio, until AUG 29)

Posted in *EdFestivals 2026, 3*, Greenside, Rated: Nae Bad, Theatre by

“A GRANDMOTHER’S BRAVE SPIRIT; A GRANDDAUGHTER’S BOLD VOICE”

Editorial Rating: 3 Stars (Nae Bad)

This one-woman show, written and performed by New Jersey-based Shawneen Rowe, first saw the light of day three years ago in New York. Using a poignant mixture of live action, video imagery, and projected family photos, Rowe tells the often heartbreaking story of an Italian-American upbringing focused around her Grandma Rosa: one of those great matriarchal figures who battle to hold homes and families together with graceful and righteous strength, whatever life throws at them.

Via the bold voice of her granddaughter, the tale of her grandmother’s relentlessly brave spirit is told in a series of vignettes recalling the tears and the laughter of life in a lively Italian household. In piecing together the life of a woman who survived abuse and the sudden disappearance of her father, we are drawn in to relish in the triumph of Rosa’s spirit as she passes her story down to her granddaughter.

Despite the perhaps sinister-sounding title, this is ultimately an uplifting story: the telling and re-telling of sometimes dark family secrets can drag them into the light to illuminate our histories and unite generations by confronting the mysterious past. The struggles of our ancestors can give shape and bring deeper understanding to our own lives.

Rowe is a seasoned actress and theatre-maker who looks the audience squarely in the eye and tells her story simply, with a single suitcase of props and costume to enable shifts between the roles of narrator, grandmother and daughter, as well as a houseful of male and female Italian relatives.

The only downside of the performance I saw was a ridiculously loud fan in the black box auditorium of the Jade Studio. The recent heatwaves have necessitated air conditioning of some sort in theatres, but this racket made some of the quieter moments in Rowe’s monologue inaudible. This show is well worth seeing, but keep your fingers crossed for cooler evenings, a little more projection from Ms Rowe, or a drop of oil for that fan.

 

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‘Of Mice and Men’ (Assembly Rooms, Drawing Room, until AUG 30)

Posted in *EdFestivals 2026, 4*, Assembly Hall, Rated: Nae Bad, Theatre by

“…the way they interact at times resembles a physically reversed Laurel and Hardy, with an oversized Stan causing chaos, as a frustrated, diminutive Ollie gives exasperated double-takes to the audience”

Editorial Rating: 4 Stars (Nae Bad)

In a Fringe that, with every year, seems more dominated by stand-up comedy, it’s always a pleasure to see a recognisable title in the theatre listings. Steinbeck’s 1937 novella Of Mice and Men is an evergreen classic which in recent decades has become a familiar feature in the UK’s literary landscape due to its perennial suitability as an English Literature text for schools. It’s become all the more popular due to the influence of a number of star-studded film, TV, and stage adaptations over the years.

The economics of a Fringe production preclude the large ensemble cast that would be required for a full representation of the story, so writer Nigel Miles-Thomas has wisely and effectively adapted this production to focus on George and Lennie, the pair of itinerant workers striving to survive in Depression-era California. Whilst those who know the story well may miss seeing other characters such as Curley’s wife, Slim, or Candy, spotlighting the central duo offers a more intense take on their complex relationship.

Miles-Thomas also plays Lennie Small, the great, lumbering man-child who doesn’t know his own strength. Familiar to regular Fringe-goers in recent years as a cadaverous Sherlock Holmes, Miles-Thomas captures both the childlike innocence of Lennie, along with the dark undercurrent of uncontrolled physical strength that lurks beneath. George Milton, the wise-guy leader of the pair is entertainingly portrayed by Michael Roy Andrew, forever trying to temper his anger at Lennie’s incompetence with tenderly protective understanding. Indeed, as a two-hander, the show is able to highlight the funnier side of this tragicomedy: the way they interact at times resembles a physically reversed Laurel and Hardy, with an oversized Stan causing chaos, as a frustrated, diminutive Ollie gives exasperated double-takes to the audience. Such lighter moments make an engaging contrast to the inevitable tragic darkness of the end.

The show worked well in the Drawing Room auditorium at the Assembly Rooms on George Street; I suspect because the largely middle-aged audience knew the work well. Those less familiar with the story may perhaps struggle a little to follow some of the one-sided dialogues with unseen offstage characters – but this is nonetheless an engaging piece of theatre that is largely successful in bringing this classic to a Fringe stage.

 

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‘Jess Carrivick: For Your Consideration’ (Nook at Gilded Balloon Teviot until AUG 30)

Posted in *EdFestivals 2026, 5*, Comedy, Gilded Balloon, Potterrow & Teviot, Rated: Outstanding, Theatre by

“With many rapid costume changes and lively use of props, this is a highly theatrical show that goes way beyond the limits of mere stand-up comedy.”

Editorial Rating: 5 Stars (Outstanding)

Two years ago, I saw a one-woman show at the 2024 Fringe by a young lady called Jess Carrivick. Entitled Attention Seeker and listed as a ‘Work in Progress’, I thought it a masterclass in how to stage a solo piece of comic theatre. This year she’s back with For Your Consideration, a madcap whirlwind of character-based solo sketch comedy, directed by Elf Lyons and produced in association with Rosie Nicholls and Avalon.

Carrivick has been either shortlisted or a finalist for more comedy awards than you can blow a raspberry at, and her undoubted talent has been praised by respected figures in the industry as “gearing up to conquer”. Her charismatic natural wit and flair for creating outlandishly funny characters is reminiscent of the late, great Peter Sellers (if he’d been female and looked a bit like the young Glynis Johns). Carrivick’s highly expressive face and her evocative talent for vocal impersonation combine to create a fast-paced succession of mercilessly parodic character-based vignettes, poking fun at day-to-day types ranging from pushy school mums to psychopathic cinema usherettes. One of Carrivick’s particularly memorable showbiz characters is Cassandra Della Treebourne, an elegantly wasted diva jazz chanteuse whose cigarette-raddled voice has more vocal fry than your local chippy – imagine a godforsaken, ageing lovechild of Judy Garland and Keith Richards.

With many rapid costume changes and lively use of props, this is a highly theatrical show that goes way beyond the limits of mere stand-up comedy. Use of projected Carrivick family videos as a framing device also bestows a certain cinematic quality. But the solid gold heart of this show is the sheer visual physicality of the solo performer. Two particular highlights were: a Chaplinesque ballet routine that had the audience – including me – hooting with shrieks of laughter at its surreal absurdity; the other was a mad sea captain-cum-wannabe mermaid who sang the most hilariously filthy sea shanty you’ll ever hear.

The intimate Nook auditorium at the Gilded Balloon Teviot was packed with a highly appreciative audience who left at the end with their sides having been completely split and their ribs thoroughly tickled. Give this woman a TV show, for goodness’ sake – she’s far more innovative than much of the predictable sketch-based comedy we see on the telly.

The tickets are worth every penny – you won’t see a funnier show at the Fringe this year.

 

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‘A Highly Suspect Murder Mystery: Knives In’ (TheSpace @ Surgeons’ Hall, Fleming Theatre, until AUG 29)

Posted in *EdFestivals 2026, 4*, Rated: Nae Bad, Theatre by

“In a tone of relentless pun-infested irony, the crime fiction genre itself is mercilessly parodied as the cast guide the audience through a fiendishly intricate plot to identify the killer.”

Editorial Rating: 4 Stars (Nae Bad)

Like many people, I like a good murder mystery, and with the Cosy Crime genre in the midst of a boom these days, the performance company Highly Suspect – seasoned Fringe veterans with a track record of sold-out shows – are catering for a ready-made audience.

As that Knives In title suggests, what we have here is a spoof of the hugely successful Knives Out movie franchise. The renowned detective Beignet Blank arrives at a remote country house to solve the murder of a famous author. In a tone of relentless pun-infested irony, the crime fiction genre itself is mercilessly parodied as the cast guide the audience through a fiendishly intricate plot to identify the killer.

To ease the complexity a little, the cast of four limit the action to five characters: detective Blank; his uncannily identical twin, a poet of excruciating doggerel; the late author’s graspingly cynical publisher; the late author’s nurse; and where would any country house murder mystery be without the local vicar?

To assist the audience with their investigation, the cast hand out very smart executive-style folders which are evidence packs full of cryptic clues, character summaries, diagrams, and visual puzzles. There was a tangible buzz in the air as the audience of would-be detectives attempted to solve the riddle.

The full house in the fairly large Fleming Theatre clearly enjoyed this show. A number of individuals and teams were unbelievably competitive and at least one team managed to work out the solution to a fairly complex mystery.

The only small fly in the ointment for me was the ambience of the venue. Most murder mysteries I’ve attended have been situated in fairly smart hotels, with the audience sitting around tables in self-selected family or friendship groups (and often after a good dinner). Here, the auditorium is actually a lecture theatre at the Royal College of Surgeons; the seating in pretty tightly-packed rows of seats with desks in front of them. This isn’t ideal for working in sociable groups, often with complete strangers either side of you. The fact that the house lights necessarily remained on (to aid reading and writing in the folders) throughout the show gave it the feel of an exam at times. Nonetheless, most of the large audience had clearly enjoyed themselves. (Though I got the impression that a few visitors from abroad – perhaps unfamiliar with this genre of entertainment – had been rather mystified by the experience.)

For fans of the genre, the Highly Suspect company are also staging another murder mystery called ABBAsolute Murder in The Space @ Surgeons’ Hall  (Theatre 1), which we are “assured” is absolutely not a spoof of either ABBA or the Eurovision Song Contest!

 

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‘Lear’s Fool’ (Greenside @ George Street, Lime Studio, until AUG 22)

Posted in *EdFestivals 2026, 4*, EdFestivals, Greenside, Rated: Nae Bad, Theatre by

“An engaging tragicomedy in the Stoppardesque spin-off manner, offering stark juxtapositions of comedy and terror, despair and song, political polemic and renaissance stand-up comedy, in a lively romp of a show.”

Editorial Rating: 4 Stars (Nae Bad)

Way back in 1966, the Edinburgh Fringe saw the premiere of Tom Stoppard’s tragicomedy Rosencrantz and Guildenstern Are Dead, which famously highlights and follows the two eponymous minor characters from Shakespeare’s Hamlet, once they disappear from the main action of the play.

Here, in Lear’s Fool, we see similar treatment of the Fool, the court jester from King Lear, who exits and disappears about halfway through Shakespeare’s other great tragedy. This new production of David Henry Wilson’s play is directed by Liz Carruthers. It is an engaging tragicomedy in the Stoppardesque spin-off manner, offering stark juxtapositions of comedy and terror, despair and song, political polemic and renaissance stand-up comedy in a lively romp of a show.

Even if you don’t know Shakespeare’s original work, this production offers an entertaining and often heart-breaking show which can be enjoyed on its own terms. Set in a prison cell near Dover, the Fool’s treatment and interrogation by a jailer and his captain reflect the hierarchical values of a bygone age whilst also offering contemporary takes on the futility of war, the self-interest and corruption of politics, and the stranglehold of the social class system that will ring true to modern ears.

Wilson’s writing reworks well-known Shakespearian quotes from the original play to give fresh and often ironic meaning within the play’s postmodern context. The eponymous Fool, played with aplomb by Jill Riddford (a two-time Scottish Theatre Critics Award nominee), is still the mischievous joker from the parent play, but her excruciating puns mask a soul that is devastated by continuing news of her old master’s madness and downfall as the action of the source drama unfolds offstage.

Shakespearean humour is notoriously dated and hasn’t aged at all well, but Riddiford’s occasional delivery of some lines stand-up style direct to the audience, rather than other characters, made them laugh out loud.

King Lear and Lear’s Fool overlap with each other at the end when Lear (Finlay McLean) and his faithful daughter Cordelia (Kirsty McDuff) make a striking Shakespearian intervention into the postmodern world of the play. Sam Stopford (another Scottish Critics Award nominee) is an engagingly cynical and mercenary jailer, whilst John Kay Steel’s sinister portrayal of the ruthless Captain surely puts him in the running for casting as a Bond villain once they’ve got a new 007.

Whilst not actual Shakespeare, this show makes a welcome addition to the small body of the Bard’s works featuring in this year’s Fringe, so it’s well worth a look.

 

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‘Heart Beats Strong’ (Pleasance Courtyard: Bunker Two, until AUG 31)

Posted in *EdFestivals 2026, 5*, Dance, EdFestivals, Pleasance, Rated: Outstanding, Theatre by

“A highly energetic performance, presenting stark, fast-paced vignettes contrasting the innocence and vulnerability of youth with the wild, dangerously carefree onset of adulthood.”

Editorial Rating: 5 Stars (Outstanding)

This is a lively coming-of-age story written and performed by Noah Manzoor, Kai Porter, and Alfie Wickham (collectively known as Kickdrum), and apparently based on their actual teenage diaries. In a highly physical production, themes such as cultural identity, sexuality, and the pressures of boyhood, adolescence, and the approach of manhood are explored in a punchy drama enhanced by music and dance, with a cinematic ambience bestowed by acrobatically effective use of hand-held lighting.

In the medium-sized black box studio of Bunker Two at the Pleasance Courtyard, the three young men delivered a highly energetic performance, presenting stark, fast-paced vignettes contrasting the innocence and vulnerability of youth with the wild, dangerously carefree onset of adulthood; all interspersed with highly synchronised bursts of vigorous street dance.

Whilst this is very much a young person’s show (at 67, I was the oldest person in the room by a country mile), their evocation of the crass boorishness and insensitivity of male childhood raised a wry smile; then the angst-ridden sexual fumblings involved in the onset of adolescence and then manhood gave rise to regular laugh-out-loud moments.

No punches are pulled in what is very much a vigorously in-your-face production, with the dark undercurrents of racism and homophobia often raising their ugly heads. Unfortunately, one other dark undercurrent was occasional external noise coming from the queue for another show outside the venue’s poorly-soundproofed door. However, the vigorous enunciation and projection of the talented onstage trio easily overcame this unwelcome backing track.

With the auditorium almost full for the show I saw in the very early stages of this year’s Fringe, it already looks like a pretty hot ticket – so I wouldn’t hang around if you wanted to see it.

 

‘Sherlock Holmes: The Last Act’ (Assembly Rooms: Drawing Room, until AUG 24 – not AUG 13 or 20)

Posted in 4*, EdFestivals 2025, Rated: Outstanding, Theatre by

“Miles-Thomas gives a performance that is something of a tour de force as he re-enacts a selection of the most famous of Conan Doyle’s tales”

Editorial Rating: 4 Stars (Outstanding)

There’s a handful of Holmes-themed shows at the Fringe this year, ranging in style from Australian improv, to an audience participation murder mystery, to an all-woman show from which the great detective is entirely absent. But for a more traditional take on Conan Doyle’s immortal creation, head to the Assembly Rooms (Drawing Room) on George Street for this gripping one-man show.

This production’s impressive credentials suggest a show with much potential. The script was written by the late David Stuart Davies: a renowned Sherlockian scholar who was editor of Red Herring, the monthly in-house magazine of the Crime Writers Association, and wrote extensively about Holmes in both fictional and non-fictional works. The director is Gareth Davies, an RSC and West End theatre veteran, whose TV acting career boasts credits in everything from Z Cars to Blake’s 7. The solo performer is another stage and TV stalwart, Nigel Miles-Thomas (Minder, The Professionals) who will probably be best remembered by people of a certain age as Mr Davies the PE teacher in Grange Hill.

Set in 1916, the show presents an ageing Holmes as he returns to Baker Street from his retirement in Sussex to attend the funeral of his old friend and sidekick, Dr Watson. With his epic career behind him, Holmes reminisces about his adventures as the world’s first and only consulting detective. Miles-Thomas gives a performance that is something of a tour de force as he re-enacts a selection of the most famous of Conan Doyle’s tales; playing all of the characters from Holmes himself to his brother Mycroft, Dr Watson, and a selection of victims and villains from their adventures.

With a simple set and minimal use of props or costume, a highly atmospheric ambience is nonetheless created – almost gothic at times – by skilful use of light and sound. Miles-Thomas’s highly expressive and mobile face effectively creates striking transformations of character. In a sometimes uncanny exhibition of shape-shifting, he moves at various points from the cadaverous and urbane Holmes, to the hawk-nosed, vampirical arch-villain Professor Moriarty; thence to the lantern-jawed Sir Grimesby Roylott of The Adventure of the Speckled Band.

The medium-sized Drawing Room auditorium was pretty much a full house, standing testament to the enduring popularity of Sherlock Holmes – but I couldn’t help but notice that the demographic was very middle-aged. I’ve written elsewhere that increasingly younger audiences at the Fringe expect a little more in the way of bells and whistles in theatre shows – hence the other Holmes productions I mention above. The TV reboot of Sherlock exemplifies a shift in tastes away from the classical vibe of the original stories and I fear that Fringe theatre productions of this type will soon look more and more like period pieces. (Do they perhaps belong in the Spoken Word/Storytelling genre?)

Nonetheless, I suspect that there’s an audience for this show for the rest of its run throughout most of August and I’m sure that the great detective will continue to please and to pack them in.

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