Category Archives: *Ratings

‘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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‘Our Town Needs A Nando’s’ (Space 1 at theSpace on the Mile, until AUG 15)

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

“50 minutes of super smart, ultra sassy stagecraft.”

Editorial Rating: 4 Stars (Nae Bad)

We enter to find ourselves a long way from the creative bustle of EdFringe. We are adrift in a nameless Scottish town lacking much of anything (not least a cheeky chicken franchise). A group of highschool girls are working on a drama project. They want to express themselves and their frustrations at the obvious and unavoidable truth that where they are is not where they want to be. What follows is 50 minutes of super smart, ultra sassy stagecraft.

Samantha O’Rourke’s script is a treasure trove of adolescent plot tropes delivered with a frank honesty that (just about) avoids becoming maudlin by a cast who absolutely fit the bolshy schoolgirl oeuvre like it’s their second nature. Milly Sweeney’s direction is sound as a pound keeping it pacey even where the narrative fabric feels thin.

The excellent Lauren Mills as the toxic Rachel is the friend you want to avoid. The sneering life and soul of the childish dramas which in school generally, and in this nothing to do town in particular, take on a significance far beyond their merit. Eilidh Rose as Chloe has something to hide, playing the audience like we’re a salmon in the Tweed. Reese Hannah as Beth is the perfect mismatch with Mills for the sake of a she’s in she’s out relationship which ticks the rainbow box. There’s something there that’s missing but it’s not in the performances.

Lovely Selwyn as Zahida, the outsider from a place even less lovely that the unnamed town, comes dangerously close to stealing the show time and again. With a little more dash in the writing, Zahida’s role in highlighting the self-inflicted, first world problemsiness of the girls’ wee mega dramas might have been bolder and pushed this script out of its comfort zone.

This is a production bigger than the sum of its parts by a dynamic young company we should hope to see again climbing a more ambitious set of themes. That said, there are flashes of pure dead brilliance lighting up the 50 minutes stage traffic which, if not exactly setting the world on fire, tell us that a perfect creative storm is brewing somewhere over the horizen.

Come for direction and acting sharper than most. Stay for a successful collaboration better than most. Get your Scottish summer coats on and go see this!

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‘Lawrence of Arabia and ME’ (Annexe at theSpace @ Symposium Hall, until AUG 29)

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

“Manages to medidate on the hot button topic of the Modern Middle East with seriousness, objectivity, and no small amount of drama.”

Editorial Rating: 5 Stars (Outstanding)

He is one of the most instantly recognised yet impossibly enigmatic figures of the 20th Century. A scholar, a servant of one empire, the arch-nemisis of another, a student of a civilisation that still is, a hundred years on, yet to refind its place.

We enter to find Lawrence haunting the stage. A deathly calm phantom faintly amused by the fascination we have for him. Few of us are more steeped in the Lawrence myth and legend than Oxford’s own Eamonn Gearon, the man who quite literally wrote the book on the Arab League. The shade of Lawrence is also here to watch Gearon deliver his life and times lecture, a stump speech which has been honed and polished across classrooms, book festivals, ocean liners, and now EdFringe.

Gearon is a gifted raconteur which, when combined with his world-class scholarship, delivers 50 minutes of memorable stage traffic which manages to medidate on the hot button topic of the Modern Middle East with seriousness, objectivity, and no small amount of drama. A distant cousin of Michael Collins – that beguiling Irish nationalist soldier statesman of the same vintage as Lawrence – Gearon delves with authenticity and insight into the idealistic yet murky affairs of British imperial policy. If you want to better understand the Middle East, and not simply have a yet more strident opinion about it, this is the show for you.

From Lawrence’s unusual childhood to his posthumous apotheosis in David Lean’s 1962 cinematic masterpiece, this is a pacey masterclass in storytelling done proper. It’s a humble hagiographic homage without pomp or excessive fanfare from a self-confessed fanboy. It’s exactly the right amount of appreciation for just how extra ordinary Lawrence truly was. The ghost leaves (or is that stays?) happy.

Come for the fresh perspective on an auld theme. Stay for the experience of seeing an uncloistered Don trying something different and succeeding. Get your thobes on and go see this!

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‘Orpheus: A New Musical’ (Annexe at theSpace @ Symposium Hall, until AUG 15)

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

“A confident and lively crowd pleaser.”

Editorial Rating: 4 Stars (Nae Bad)

One of the great pleasures at EdFringe is seeing new talent emerge. The budding talents showcased in Yorkshire CREATE’s retelling of the classic myth properly deliver. The lasses and lad, all in their teens, deliver a confident and lively crowd pleaser packed with invention. Their graft and focus are obvious from the get go as they pacily storm through Sam Essen and Ben Glastone’s new musical in which the legendary musician attempts the impossible.

Beneath the toe-tapping tunes, well-chosen costumes, and ultra-amazeballs puppetry is a grand piece of good auld fashioned storytelling which balances the human melodrama, tragedy, and comedy. Are the sound levels quite right on opening night? Not quite. Is every high note hit precisely? No, but the energy and effort of each and every swing of the bat is unmistakeable.

A unFringedly large cast transform a small space into a big canvas on which to shine. Much of the heavy lifting is done throughout by the actor playing the titular songster. Her performance is characterised by the assured gravity of a gifted young someone who has worked their cotton socks off. The rest of the cast is equally engaging with some truly memorable performances. You’ll never see another Oracle so gracefully light on their feet.

Come for the showcase of youthful energy and talent. Stay for the best Cerberus puppet in the known universe. Get your chitons on and go see this!

 

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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.

 

‘King Lear’ (Venue 33, until AUG 24th)

Posted in 5*, EdFestivals 2025, Rated: Outstanding, Theatre by

“An uncondescending condensing of the immortal classic by the acknowledged king of festive Fringe storytelling.”

Editorial Rating: 5 Stars (Outstanding)

Pip Utton is the Edinburgh Fringe. His productions are insightful, playful, joyful, and memorable. He’s the most respected player among his fellow professionals and the most beloved among his devoted followers from across the footlights (me included). Getting out of a Pip Utton performance takes several ages of man. You go from mewling and puking in the nurse’s arms to second childishness and mere oblivion in the time it takes for everyone ahead of you in the exit line to gush their appreciation to the master. Utton is best known for his candid biopics. Churchill, Hitler, Dickens, Bacon, Thatcher, and Bob Dylan walk into a pub and the barman asks, “What will you have, Mr Utton?  This year we have simply Lear in an uncondescending condensing of the immortal classic by the acknowledged king of festive Fringe storytelling.

We enter to find no king, just Lear. Bereft of the trappings and dignity of power, here is a man who has learned the hard way that it is folly to grow auld without having first grown wise. In the depths of depression, with all his charms o’erthrown, Lear ponders on the cruel reversal of his fortune. Across town, at the National Portrait Gallery, nestled among the artistic jewels of Shakespeare’s great royal patron, James VI and I, are early sketches for the proposed flag of the newly reunited kingdoms of England and Scotland. This was one part of the Jacobean undoing of what, at the time, was seen as the historic Lear’s legacy – the disunion of the island of Britain. Lear is written as a deliberate contrast to James, the author, scholar, and father of sons, although, fun fact alert, it is through James’ only surviving daughter, married to the winter king of Bohemia, that we owe our present royal family.

Lear is Shakespeare’s other Shylock, a publicly bad character to whom bad things publicly happen. Utton’s instinctive feel for the humanity of the great and the good characters he uncannily inhabits downplays the madcap Toby Belchery of the recent retiree. Instead, Utton emphasises the subsequent family drama and ensuing unvirtuous betrayal. Although Catholic missionaries had begun arriving in China from the 1580s, precise knowledge of Confucianism and its emphasis on filial piety, moral governance, family and hierarchy was limited to a few pioneering Jesuits with whom Shakespeare could have had no correspondence. Yet there are uncanny parallels, not undisimilar to the Swan of Avon’s synthesis of the Florentine Machiavelli, who would not be translated into English until the 1640s. Truly, Shakespeare was not of an age, but for all time. Utton’s minimalist edition of Lear reopens the text like a scythe to an overgrown, weedy meadow.

Truth be told, I haven’t liked Lear since I first saw the play. It was that 1997 staging at the Leicester Haymarket, the one in which Kathryn Hunter became the first woman to play the title role professionally (I’m still amazed anyone could get paid for a performance that bad). Ponderous, maudlin, a script written for achktors to perform more than for audiences to be entertained by. Lear can bring out the worst kind of feet-apart shouty overemphasis when done to death. By stark contrast, EdFringe’s quiet legend, Pip Utton, brings the play and the role to life as never before or not in a long time. “Walk softly, and carry a big stick”, advised Theodore Roosevelt. Among his properties Utton has just such a big stick. His performance is as soft and rich as an ostrich egg boiled for an hour and is best enjoyed in the cheerful company of friends who know they are in for a big treat.

Come for the familiar megastar doing something a bit different. Stay for an intelligent, gentle performance. Get your magisterial cloaks on and go see this!

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