Category Archives: Theatre

Reviews of theatre work.

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

Posted in *EdFestivals 2025, 5*, 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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‘Sam Blythe: Method in My Madness (A One-Man Hamlet)’ (Venue 17, until AUG 24th)

Posted in Theatre by

“Possessed of both comic grace and dramatic power, Blythe’s affectionate connection with his audience is Mastersonierian in the obvious regard chanelling in both directions across the footlights.”

Editorial Rating: 5 Stars (Outstanding)

Is Hamlet mad? Is the Royally gazumped Prince a mindless brute or meditative Brutus? We enter to find ourselves locked in with someone, someone who just can’t seem to get Hamlet out of his mind. There is a mid-century, Patrick Hamilton quality to the gaslight. Our narrator switches back and forth between his present bare circumstances and the play in which so much of not very much happens, until THAT final scene.

Hamlet is Shakespeare’s magnum opus and one of his most successful literary works, published twice in quarto editions (1603 and 1604) before the First Folio (1623). The play’s early and enduring popularity, on stage and off, makes it accessible for audiences, who will know the key plot points and themes as well as they know their chocolate bars and cartoon cereal characters. For actors, however, the destination is more troublesome. How to be distinctive yet harmonious, respectful yet challenging, insightful yet universal? Above all, how to be memorable?

This EdFringe we’ve seen Sam Blythe directed by Yorick (Guy Masterson’s ‘Animal Farm’) and by Ophelia (Elf Llyons, ‘Method in My Madness’). Unlike the Orwell adaptation, in this one-man Hamlet, Sam plays the drama primarily through the title role, amplified and distorted by the abridgement’s premise – a man locked in a room with his own thoughts. An unseen Richard Burton impersonator loftily entones the first soliloquy, topping and tailing the drama. There is a Welsh theme running throughout the modern frame, as though Captain Fluellen and Dafydd ap Gwilym have captured the drama by sudden storm. All of these subtle hints buttress the purpose of the show, which is a fine and loving tribute to Blythe’s own father – a Welsh actor who never got to play The Dane.

At 2,200 lines, even the “bad” First Quarto would have had a running time of 2 hours. The Second Quarto’s 3,800 lines equate to the 4 hours plus, jeered at by Blackadder – “Who’s Ken Brannah? I’ll tell him you said that, and I think he’ll be very hurt.” The First Folio, from which most modern editions are drawn, sits at around 3,500 lines. Getting that down to 60 minutes of comprehensive, comprehensible stage traffic requires some tough choices to be made. This is especially true for a production attempting to reconcile the alleged artistic differences between Wills Shakespeare and Kemp. 

Having played Peter, Dogberry, Costard, and Bottom, the infamously adlibbing clown Kemp left The Lord Chamberlain’s Men around 1599, making his famous jig from London to Norwich. The professional ghost of Kemp haunts the text of Hamlet, not least in the play’s most iconic moment. The Light directorial touch of Kemp’s own favourite daughter, the ultra-acclaimed EdFringe giant Elf Llyons, melts the play’s too solid flesh into a resolute dew that lightly shimmers and sparkles throughout. Here is a memorable ‘Hamlet’.

‘Method in My Madness’ confirms what many of us have been thinking for a while, that Sam Blythe is the coming man of the EdFringe stage, a moody, broody, transatlantic temporal offshoot of the triggerhappy Booth dynasty perhaps. Possessed of both comic grace and dramatic power, Blythe’s affectionate connection with his audience is Mastersonierian in the obvious regard chanelling in both directions across the footlights. Come for the when Frank got Dean and Jerry back together reconciliation of auld bad performative blood – Kemp and Shakespeare are friends again. Stay for a star who is rising on the EdFringe skyline. Get your doublets on at the double and go see this!

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

Posted in *EdFestivals 2025, 4*, 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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‘Murder She Didn’t Write’ (Venue 8, until AUG 24th)

Posted in *EdFestivals 2025, 5*, 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 *EdFestivals 2025, 5*, 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 *EdFestivals 2025, 5*, 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 *EdFestivals 2025, 5*, 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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‘I’m Not Saying We Should, But What If We Did?’ (Venue 16, until AUG 16th)

Posted in *EdFestivals 2025, 5*, 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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‘Paris in a Jazz Age: The Memoirs of Eloise Defleur’ (Venue 43, until AUG 16th)

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

“As Eloise, Airlie Scott, sparkles like a coupe of champagne at one of Gatsby’s shindigs.”

Editorial Rating: 5 Stars (Outstanding)

There are moments in human history which excite the potential time-travelling tourist more than others. Shakespeare’s London and Edo-era Tokyo have to be pretty high on the list, but Paris in a Jazz Age might well top the itinerary. The Hot Jazz Vagabonds have hit upon a genius way to conjure the glitz and the glamour, the triumph and the tragedy of that sparkling moment of bold artistic achievement. They have created a spoken word memoir, a parade of memories recalled to us by a charming central character, Eloise DeFleur. Eloise is a British upper-crust vocalist who arrived on the scene to get down and flirty in the nightclubs and cafes of the French capital at its most intoxicating. On these pacy vignettes is hung a string of familiar jazz hits played as well as they have ever been played by anyone, anywhere, anywhen.

As Eloise, Airlie Scott, sparkles like a coupe of champagne at one of Gatsby’s shindigs. Best known for her Doris Day Show, Scott looks the part in a trés chic red sequin number that leaves plenty of room for fancy footwork. Eloise’s story is told with a passion so intense that it lifts us from our (really rather comfortable) Space Amphitheatre seats and onto rickety auld wooden numbers in a smokey backroom off the Rue Reine d’Écosse. Scott’s audience interactions are lively and elegant, her voice strong yet supple, owning each phrase and lyric like they were especially written for her. The band she’s leading are simply magnifique. Not a note not in place, not a beat missed, every swing a sensation. 

This show was originally twice the length, and I would crawl over broken glass or maybe even use a French public toilet (if I really had to), to see the full version. As it is, distilled into its most essential, most vivacious, and most memorable triple-shot espresso form, it is a triumphal blend of music, theatre, comedy, and romance – the must-see late-night musical marvel of the moment. Come for the jazz. Stay for the sass. Get your cream double-breasted overcoats on and go see this!

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‘Dream Space’ (Venue 8, until AUG 24th)

Posted in *EdFestivals 2025, 3*, Rated: Outstanding, Theatre by

“Director Jin-young Son has lost nothing in translation. This is the show that a mummy babel fish would take her fry to.”

Editorial Rating: 3 Stars (Outstanding)

Three stories. A young wizard dreaming of greater powers. Two castaways dreaming of release. A young girl dreaming of swimming with whales and experiencing the world from their perspective. Three stories, each told with dynamic precision by a company of puppeteers who genuinely conjure a truly immersive experience… so long as you aren’t in the wrong seat.

It’s not often that I see the same show in the space of 24hrs in two such very different venues. The day before, I had seen the third half performed in the Ballroom at the Assembly Rooms as part of the Korean Season showcase. It’s fair to say that something of the nuance was lost in the grand unintimacy of John Henderson’s 342m² space. The Crate George Sq., by contrast, is too constricted. The performers are too far forward for punters in the far edge seats of the semi-circle to actually see what is happening. EdFringe tickets are not getting any cheaper, and with children’s tickets being discounted by just £1, producers and promoters urgently need to consider family value for money alongside artistic excellence – which this exquisite production has by the undeniable bucketload.

In three unrelated but totally relatable stories, director Jin-young Son has lost nothing in translation. This is the show that a mummy babel fish would take her fry to. There is a prop gag in the Castaways chapter which flies over the heads of the little ones like a standard size 5 leather indoor volleyball, but which definitely lands with us oldies of a certain vintage. Any show that starts with bubbles is going to be a winner. A show that can go on to be so very chuffing poignant that it has your (not especially) humble correspondent in floods of tears deserves to be lauded with every laurel. There are deep moral lessons in each of the stories, reflections on wants and needs, maturity and growth, loss and discovery.

I’m not going to lie, I was worried about Daughter 2.0 (7yrs)’s reaction. She’s not the best at sitting still in every circumstance, but Dream Space had her truly enchanted right up until the end. She likes logic, and the internal logic of the Dream Space vision had her attention hooked all the way through. The show is promoted to ages 5+, which, for British kids, is too big a stretch. In a better-fitting space, with wiggle room for those whose grip on concentration is prone to lapse, this show would be perfection itself. It might also be kinder to allow the kinder space to rest and draw breath between the intensity of each marvelously meticulous monograph. Shows for kids need to be designed in every detail for kids. The creative content was astounding, the framing… not so much.

Like Goldilocks, this production needs – this production deserves – a venue space that is neither too big nor too small but one that is just right with space and permission for young minds and little bodies to dip in and out, especially if it is being sold to the very young.

Come for an all-star team delivering touchdown after touchdown. Stay if you’re in a good seat. Get your Joseon-era gwanboks on and go see this!

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