Category Archives: *Ratings

‘Sketch Show Bingo!’ (Venue 53, until AUG 23rd)

Posted in 4*, EdFestivals 2025, Rated: Nae Bad by

“Delivered with confidence by three performers whose grip on their material is tighter than a skinflint clutching a fiver in a tornado.”

Editorial Rating: 4 Stars (Nae Bad)

Quirks & Foibles – Katie Bennett, Amy McCann and Amelia Stephenson – are ones to watch, which is good cos they’re in a show. It’s called ‘Sketch Show Bingo!’ and it does what it says on the tin and does so really rather well. On entering, we are handed a bingo card and a dabber (mine’s run out of ink, which is fine because I get less than half). One of the trio rolls the cage, out comes a sketch and off we go. First to get a horizontal line, first to get a full house. Simples.

It’s 50 minutes worth of short, snappy, smart ideas delivered with confidence by three performers whose grip on their material is tighter than a skinflint clutching a fiver in a tornado. If you saw Quirks & Foibles’ entry for last year’s Eurovision, then you’ll get their style. Big contrasting personalities paired with big shared commitment. That material is always on target, even if there isn’t a slam-dunk goal every time. It’s the Fry and Laurie, Mitchell and Webb sketch snob in me. I like to feel that a good half shelf of background academic research has gone into an idea. There needs to be depth to even the shallowest of silly ideas. Still, there is so much promise here.

The Bingo! concept really works. It gets the audience involved and interested from the start. The trio’s delivery is lithe and lively, spontaneous but pacy. The banter between Bennett, McCann, and Stephenson is what makes this show properly stand out, and I would like to see much, much more such Rat Packery between the numbers. This is a solid group yet to find their Brian Epstein, someone who (or something that) can focus all the energy and all the talent into a more consistent, playful whole. There’s a hesitancy, but I am hesitant to say exactly how it manifests except that it does.

Come to see smart, funny people being smart and funny. Stay for a format that’s unlocking this trio’s obvious talent and potential. Get your green stripy double-breasted blazers on and go see this!

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‘Evelyn’ (Venue 39, until AUG 23rd)

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

“Elena Guitti (as Evelyn) brings an extraordinary depth and clarity to the ordinary humdrum in this satire of daily life and routine.”

Editorial Rating: 5 Stars (Outstanding)

Daily life sucks. So many things to wipe, dust, dry, and so forth. Too little time to do it all in. Plus, there’s the whole… you know… finding meaning in a seemingly vast and incomprehensible universe to be getting on with. Our protagonist, Evelyn, emerges onto the stage from inside of a washing machine. Cramped, hot, bothered, she is relentlessly bombarded by external noise which confuses without comforting.

Elena Guitti (as Evelyn) brings an extraordinary depth and clarity to the ordinary humdrum in this satire of daily life and routine. Guitti is the Artistic Director of Piccolo Teatro Libero, in Brescia, Lombardy. There she is at the centre of a vibrant cultural community space and respected theatre school which give this (undeniably) out there production a rooted and grounded feeling.

The show is written and directed by the storied and storytelling Giacomo Gamba, the versatile Italian actor, director, playwright, and teacher whose work blends movement, storytelling, and visual theatre. Gamba has created several award-winning productions such as ‘Petrol’ (2012) which won First Prize at the Valleyfield International Festival in Montreal, Canada, before landing at EdFringe16. This year’s show showcases movement and physicality that looks and feels like how humans look and feel. There is none of the uniform, artificial camp which dominates the mainstream. By the time Evelyn gets back in her washing machine, we have been on a journey into ourselves and back again.

Here is Fringe theatre doing what it is supposed to do. Challenging yet always engaging. Visual by visibly pushing ordinary boundaries. Here is a confident stride down a highend catwalk to who can tell exactly where. Here is a paced and pacy production that is as tight a use of the time as I am guessing Guitti finds the fit inside her domestic appliance. Come for a piece of physical theatre that is not afraid to be entertaining. Stay for a masterclass from some of the best and the brightest in the sector. Get your tabàros on and go see this!

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‘Hidden Powers’ (Venue 39, until AUG 23rd)

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

“An intensely unassuming stage presence blossoms like it’s midnight in a garden closely planted with cereus flowers.”

Editorial Rating: 4 5 Stars (Outstanding)

Warwickshire’s own Angus Baskerville is a wonder. Active since 2014 and a member of The Magic Circle since 2020, Baskerville’s reputation is rapidly growing under the grow lamp and hydroponics of his neurodivergency, combined with a total commitment to the past, present, and future of the magician’s art. An intensely unassuming stage presence blossoms like it’s midnight in a garden closely planted with cereus flowers and with spectacular results.

We enter to find a table on which are a few properties, as well as a whiteboard prominently showing the free wifi info – which will be needed for one of Baskerville’s more incredible feats. Over the next 50 minutes, we will watch him ascend to ever greater heights of mindblowing relatability using his neurodivergency like a rock climber uses magnesium carbonate – it’s what gives him such a firm grip, absorbing any nervous energy, reducing slips and keeping him focused like a laser pointer cellotaped to an eagle

There’s no escaping the fact that this still feels like early days. Baskerville is still to hit his full stride as a performer. The moments when he totally loosens up and starts to really enjoy himself on stage are a promise of what’s coming in EdFringes yet to come. This is an act whose confidence doesn’t yet match the considerable ability being demonstrated – a comforting contrast and inversion of many lesser shows across the genres. Baskerville gets rid of his cape early in the show; this is about magic, not about spectacle. Perhaps it’s the corporate hotel venue, or because we’re watching a jobbing local magician (available for weddings, functions, private parties, etc) but there’s something there that’s missing a polish and or sparkle that’s not quite up to speed (yet).

Still, here is an EdFringe legend so obviously in the making. A personable performer with something deep and meaningful to say on a subject about which much more is said than understood. Come for the insight into neurodivergency as the superpower that it is. Stay for tricks that will have you shaking your head and wondering if Baskerville oughtn’t to be reported to the witch-finder general. Get your capes on (or not) and go see this!

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‘The Listies: Make Some Noise’ (Venue 17, until AUG 25th)

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

“Australia’s other great kids’ entertainment export.”

Editorial Rating: 5 Stars (Outstanding)

Is it even EdFringe if you haven’t seen The Listies? Richard Higgins and Matt Kelly are Dean Martin and Jerry Lewis before the bromance soured. Their formula is part The Goons, part Python, with a triple unfiltered shot of classic Roald Dahl added to the mix. If you’ve ever rewatched clips of Dahl performing to a crowd, then you have some idea of agitation and excitement charging through The Listies’ audience of 4-400 year aulds before, during, and after the magic and mayhem.

This year’s edition hasn’t got the same narrative arc, and I kind of wish it did, but I’m guessing I’m the only one. This show runs like a W.A.W.I.P. (Wacky Arm Waving Inflatable Person), it’s light but durable material through which so much energy is being pumped that it just stands up and does its thing. Even without a plot – have they lost it? – the onstage chemistry between the sardonic Higgins and the effervescent Kelly is what makes this the standout show of the moment – Australia’s other great kids’ entertainment export.

In her EdFringe notebook, the one with Lano and Woodley on the cover, Daughter 1.0 (10yrs) wrote: “I thought that the Listies was really funny. It had me constantly laughing really hard for a long time. I especially liked the part where the baby (which was accidentally bought on Amazon) sand a song while being sent to sleep. In the end, Baby would have to go to Space! It seemed the right place for him to go though. I also liked their adience Interactions like the orchestra they created. THe orchestra included: A squeaky crab, a triangle (played with a spoon) and burping. The worst part of the show was the end though, I could happily watch the Listies all day! I highly recommend this show.”

This show is a burptastic fartathon with off-colour jokes aplenty of which my sainted grandmothers would not have approved. Still, it takes intelligence and class to be this consistent. This is a silly show for smart people as well as for people who haven’t tried being smart yet. Life is short and childhood especially so. Parents and carers can rely on The Listies to make memories worth remembering. Come for the best comic pairing since Whoopee met Cushion. Stay for unarguably the best kids’ comedy show in town. Get your ripstop nylon coats on and go see this!

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‘Murder She Didn’t Write’ (Venue 8, until AUG 24th)

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

“This show has energy like a tower full of bells in a fenland flood has energy.”

Editorial Rating: 5 Stars (Outstanding)

Let’s do something that never happens in a whodunit and cut to the chase. Does this show live up to the hype? Yes. Yes, it really, Really, REALLY does. How so? Because this cast could improv the phonebook (are those still a thing?) and make it funny. Besides which not one of them would look out of place in shot next to Carmichael as Wimsey or Suchet as Poirot. This show looks like this show should look. It’s as if Chris Van Allsburg had the idea of being trapped in a board game but stuck with Cluedo instead of pointlessly inventing Jumanji. 

We enter to find it’s Peter Baker in the detective’s hot seat today. Baker once played Trigger in ‘Only Fools And Horses The Musical’ at the Theatre Royal Haymarket, but today he’s in more Reg Rexis from ‘Health and Efficiency’ mode. He’s swave. He’s sexy. He’s a know-it-all who doesn’t quite remember to remember the corpse’s name.

Rachel Procter-Lane, Catlin Campbell (as Morag, the one what it was done to), Stephen Clements, Mathew Whittle, as well as Oh Bugger Chat GPT Can’t / Won’t Tell Me (as the one what done it) are an eclectic range of uniformly smart, sassy, and sophisticated improvers who fill the 70 minutes with stage traffic that’s as pacy as the Orient Express in summer. Campbell, the co-founder and Artistic Director of the Bristol Improv Theatre, has a properly lovely voice, more of that, please, especially since Sara Garrard is at the piano – seriously, Chat GPT I don’t think that’s the dude’s name (maybe their website needs updating?).

This show has energy like a tower full of bells in a fenland flood has energy. Sometimes it misses the really clever things I would have said. Today Campbell died with a caber up her backside – “It was alimentary, my Dear Watson.” Yet, this show is a witty and worthy annual presence in the city that’s home to both Conan-Doyle’s letter to his auld medical school lecturer crediting Joseph Bell as the inspiration for Holmes, as well as Doyle’s PhD thesis on syphilis – both written in a hand so neat as to unmask him instantly as a total bam.

Improv either works or it doesn’t. This format really works as stagecraft and light entertainment. It’s a crowd pleaser because the crowd is pleased, as well they should be. Come for the current cult classic. Stay for Christiean sumptuousity. Get your Burberry trench coats on and go see this!

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‘Biff to the Future’ (Venue 3, until AUG 24th)

Posted in 5*, EdFestivals 2025, Rated: Nae Bad, Theatre by

“Butt-head-ressed by a pedantic depth of knowledge of and nerdish insight into the immortally classic original material.”

Editorial Rating: 5 Stars (Nae Bad)

Blockbuster (yet cult) movie franchise PLUS double Olivier Award-nominated direction PLUS writing and performance by a Reduced Shakespeare Company alumn EQUALS theatre so sensational it might have been routed through a flux capacitor. “Tell me, Future Boy, who’s President of the United States in 1985?” There’s a charm and an innocence to the movies, none of which is generated by one of the greatest movie villains of all time, the bozo bully Biff Tannen – the possibly probably love child of Shooter McGavin and Dr Evil.

Here are elements of the trilogy mixed, mashed, and lovingly upcycled into a homage worthy of the great Thomas F. Wilson himself. The stories are told from Biff’s perplexed and (rather unpolysyllabic) perspective. As all of the parts, Joseph Maudsley, hits all the notes, from Marty McFly on C6 (≈ 1046.5 Hz) down to the irascible Mr. Strickland on C2 (≈ 65.4 Hz). It’s like Maudsley’s playing an 80s electric keytar – which he is at one point. There’s prop gags, word play, surrealist riffs and improv, plus some properly totes hilar audience interaction, all butt-head-ressed by a pedantic depth of knowledge of and nerdish insight into the immortally classic original material.

Biff in the movies is a rather two-dimensional character – more Gilray than Hogarth. The genius of Maudsley’s approach is to add on existential dimensions that have you feeling pangs of sympathy for Hill Valley’s gobbiest gobshite like he’s sitting in his tent the night before Bosworth Field feeling sorry for himself.

I properly love Piccolo Tent at Assembly George Square Gardens, but it’s not quite the perfect stage for this staggeringly affectionate tribute. There’s one prop gag which is impossible to see from the back, which is a shame because it’s one of the funniest. Maudsley fills the space like he’s filling a 1946 Ford Super DeLuxe with manure. The comedy piles on and on, for the first and only time this Fringe, I am wishing the running time was longer.

Come for the nostalgia. Stay for the freshness. Put your custom-made red quilted puffer vests on and go see this!

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‘The Bubble Show®’ (Venue 3, until AUG 17th)

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

“Mr Bubbles has toured the world with this show and every step on his journey has made it faster, higher, stronger.”

Editorial Rating: 5 Stars (Outstanding)

Happiness is very much like bubbles, and bubbles are very much like happiness. The potential for both is everywhere. Coming in every shape and in size, it just needs someone special to make the magic happen right there before our eyes. Beloved EdFringe fixture Mr Bubbles is that someone special. Over the years, his deceptively simple act has enchanted audiences young and auld, including some who were young and are now a wee bit aulder.

We enter Piccolo Tent at Assembly George Square Gardens to find the instantly recognisable and some less familiar tricks of Mr Bubble’s trade, as well as the costumes and props which make this show a game of two halves. First, there’s the science section. Helium bubbles. Square bubbles. Bubbles within bubbles. Bubbles with children inside. Bubbles filled with smoke, every bubble a wonder and delight. Second, there’s the sensory, super-chilled section. Finally, there are the supermassive (no, seriously, they’re chuffing ginormous) bubbles.

In her EdFringe notebook, the one with a woodcut of Agnes Pockels doing the dishes on the cover, Daughter 1.0 (10yrs) wrote: “I really enjoyed the bubble Man. I really liked how he created all kinds of Interesting bubbles. I also liked his adience Interactions and how he was bubbly and exiting. I also liked going Inside a bubble. I also enjoyed his bubble animals and his beautiful bubble art.”

A lifetime ago, in 2019, I wrote of Mr Bubbles, “He is young and his show feels like it will ripen with age.” Six years on, and that prediction has been fulfilled and then some. The same beautiful, delightful, twinkling energy is here. The same pace, precision, and purpose is here, but there’s that same powerful difference as between a photo taken with The Bubble Space Telescope versus one snapped by James Webb. The depth, the contrasts, the overall impact is lightyears ahead of where we were.

Mr Bubbles has toured the world with this show and every step on his journey has made it citius, altius, fortius. It is an Olympian feat, and rediscovering The Bubble Show® feels akin to a beachcomber finding blue seaglass or a narwhale’s tusk. In the delightful setting of Piccolo Tent, this show is fast approaching utter perfection.

Come for the bubbles. Stay for the bubbles. Get your Dolce & Gabbana 1990s Bubble Wrap Jackets on and go see this!

 

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‘Knightclub’ (Venue 53, until AUG 23rd)

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

“A pun-tastic crowd pleaser that’s as smart as it is sensationally funny.”

Editorial Rating: 5 Stars (Outstanding)

Spruce Moose Comedy build on their growing reputation for zany antics and playful performances in this latest comedy rocking our EdFringe world. This year, it’s monks getting into bad habits. Tamothy and Brother Jack are dreaming of life beyond the cloister and the cloying smugosity of their Abbot. Tamothy dreams of being a touring tournament knight and with the beefy and by no means adverse to bending an already broken taboo Brother Jack by his side, who’s to stop him… except a scheming rival and a pack of dastardly Frenchmen determined to wreak havoc, wreck the peace of Europe, and capture the King.

Here is that most glorious thing, a pun-tastic crowd pleaser that’s as smart as it is sensationally funny. This is the most fun cast you are likely to find. Horribly young, horribly cocky, horribly talented, having a horribly lovely time. It’s enough to make you stick Spruce Moose Comedy in your must-see column year after year. Their justifiable confidence in the work and in each other keeps the momentum steady as we hurtle through scene after scene packed with mirthful mayhem.

There’s slapstick, wordplay, character comedy, history jokes, farce and an (almost) deep and meaningful meditation on the value of friendship and the dangers of temptation. At 50 minutes, the show is razor sharp and packed to the gunwales. This is a cast you’ll be boasting of having seen back when. Come for the silliness. Stay for the feeling of being in on something at the beginning. Get your chainmail coats on and go see this!

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‘On the Harmful Effects of Tobacco’ (Venue 53, until AUG 18th)

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

“It’s classic comic storytelling done proper.”

Editorial Rating: 4 Stars (Outstanding)

Is tobacco as harmful as unhappiness? Anton Chekhov’s masterful short story, first published in 1886, is a tongue-in-cheek satire of pedantic intellectualism, the superficiality of social performance, and human hypocrisy. Ivan Ivanovich Nyukhin has been voluntold by his wife to give a lecture on the dangers of smoking. Soon, he’s gone off topic and begins laying bare his unhappiness and his failed dreams.

Andrew Hogarth, artistic director of No Frills Theatre Company takes to the stage every inch a Nyukhin. His waistcoat is buttoned askew. His pocket square makes no effort to match his tie. He is a man in a hurry with nowhere to be. A surly yet ingratiating confidence marks a set of audience interactions which do much to create a sense of moment and immediacy. Over a marathon sprint of 25 minutes, Andrew hits all the hilariously henpecked one-liners in Nyukhin’s classic monologue. It’s not groundbreaking. It’s classic comic storytelling done proper.

Hogarth’s vision for No Frills is of open access to the arts on stage as well as off. His theatrecraft is ultra-natural and feels spontaneous even as it ouses precision and preparation like a particularly pleasant and well-chosen reed diffuser – black tea and earthy woods for Chekhov, I think.

Perhaps because I have chosen to sit on top of the AC unit and have used my pull at Space to have it set on full blast, I struggle slightly to hear every word which may or may not be my fault. Still, this show could do with a mic and I would have liked a little bit of sound collage to help set the scene, but then I guess those would be frills to an absolutist. Absolutely come for the storytelling done just right. Stay for a classic smashed over the boundary line. Get your shinels on and go see this!

PS. I will be making every effort to see ‘The Bear’ – the other (50min) Chekhov No Frills are presenting from the 19th.

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‘I’m Not Saying We Should, But What If We Did?’ (Venue 16, until AUG 16th)

Posted in 5*, EdFestivals 2025, Rated: Nae Bad, Theatre by

“As Maud and Agnes, Harriet Pringle and Lizzie White are sensational.”

Editorial Rating: 5 Stars (Nae Bad)

38%. That’s how much domestic violence rates increase when England loses a match. Between the fallen angel and the rising ape, few other statistics lay quite so bare the glaring awfulness of men’s behaviour towards women. In so many contexts. Across class and creed, culture and class something is wrong and it isn’t getting right by itself.

We enter to find ourselves about to go live. The TV studio is abuzz as aspiring leaders Maud and Agnes get ready to be grilled about their clickbait policy options – no men allowed out of the house without written permission, no men in gynaecology, no men allowed to drive. It’s crazy because these things are being suggested for men. Then again, go next door to The Surgeons’ Hall exhibition on ‘Women in Surgery’ and you can see how things once were in the city now so proud to have produced pioneers like Sophia Jex-Blake and Elsie Inglis.

This production asks some pointed, impertinent, and ultra-provocative questions. Are we trying to solve our problems, or are certain clownish performative politicians surfing the tides of frustration and despondency simply for effect? If a man can be elected to the White House or to Downing Street by playing a bafoonish persona for all it is worth, why not two women literally Pagliaccing themselves before the cameras? 

As Maud and Agnes, Harriet Pringle and Lizzie White are sensational. For all the comic exaggeration and effect, these are two highly nuanced performances which also deliver the counterbalancing expressions of anger, loss, and betrayal with heart-string-tugging urgency. Surely scaffolded by exceptionally strong supporting performances by Liz McKenna, Abbie Want and Mukuka Jumah, I have a feeling we will be hearing great things from Pringle and White in the not-too-distant future when this caustic and challenging (but bang on the money) piece of juvenilia (with its unaccountably clumsy ending) has been chalked up to experience.

Here is a show taking risks and winning. Here is a company (Minotaur of the University of East Anglia) living up to its reputation while refusing to rest on past laurels. If the plan was for ‘I’m Not Saying We Should, But What If We Did?’ to showcase talent, push boundaries, and challenge prevailing approaches and orthodoxies, then… job done. Top marks.

Come for the absurdly urgent premise. Stay because you’re going to want to tell folks you saw these performers back when. Get your coats on and go see this! (Chaps, please remember to ask permission of the relevant matriarch before leaving the house.)

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