Tag Archives: EdFringe

EdFringe Talk: Pajama Talks

Posted in *EdFestivals 2026, *Written Interviews by

“We all had various notions of how it would go (some really optimistic and some imagining a worst case scenario).”

WHO: Brooke Stevenson

WHAT: “Pajama Talks is a coming-of-age story following childhood best friends Abby and Nina as they relive memories of their sleepovers. Together they are forced to confront their friendship, their girlhood and their personal identity. The show examines the joys and hardships of growing up and grief in all forms, asking the question: are the people we’ve loved and lost still with us? A play about platonic love, figuring out life and existential conversations in the middle of the night.”

WHERE: Stephenson Theatre at theSpace @ Surgeons’ Hall (Venue 53) 

WHEN: 18:40 (55 min)

MORE: Click Here!

Is this your first time to Edinburgh?

Yes! It is all five members of our company’s first time at the fringe. We all had various notions of how it would go (some really optimistic and some imagining a worst case scenario). However, we have been met with one of the most incredible experiences. Everyday we are meeting so many wonderful artists and audience members. It is really thrilling to be apart of.

What are the big things you’ve learned since 2025 and have you absorbed any of the lessons yet?

It’s not that serious. I have spent so long being so wound up and stressed about everything being perfect that the fun stuff has passed me by. What we do and I think life in general needs to be taking a little less seriously on my part. Before our show every night, Kira, one of our actors leads us in a chant she also does when she teaches children’s theatre. “I’m awesome! I got this! It’s about telling the story and having fun!!”

Tell us about your show.

Pajama talks was written by Sofia Tarzcy-Hornoch as a thesis project at New York University three years ago. Since then, the piece has evolved and the project has brought on new people, myself included! The show had a sold out run in NYC at the Chain Theater in 2024. As Sofia worked on tightening up the script based on that run, Kira Stone (one of the initial actors) hopped on as a producer. Once they decided the goal was to bring this beautiful piece to the fringe, they asked for me to be their producer as well! We really hope that this show can have a life after fringe. I can see this being an excellent piece for high school or colleges to put on/ great for scene study work. I think bringing Pajama Talks to a wider audience as well would be amazing to show how we can deal with greif and have compassion for our younger self.

What should your audience see at the festivals after they’ve seen your show?

While it is visually and tonally very different, for those on the mature side of the audience we absolutely loved and recommend Bitch Eat Dog at Greenside. This puppet comedy show is hilarious while also strikingly touching. the serious moments creep up on you and leave you a little breathless, much like I think Pajama Talks does. I want to see it again, it was that fun!

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‘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 *EdFestivals 2026, 5*, Circus, Dance, Music, Rated: Outstanding 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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‘How to Poop in an Outhouse at -58°C’ (Greenside @ George Street: Ivy Studio, until AUG 29)

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

“This is the story of a young woman empowering herself by doing six impossible things everyday before breakfast, and empowering others in the process.”

Editorial Rating: 5 Stars (Outstanding)

Kona Morris is my own great discovery of Edinburgh Fringe ‘26. If Theodore Roosevelt – the unstoppable, seriously try and stop him, literary outdoorsman, the death-defying explorer and naturalist – if TR was recast as a Disney princess, the result might look and feel a lot like our Kona and with the same capacity to hold a capacity crowd at the edge of their seats.

We enter to find a stage bare of bears and salmons and whirlpools and tiny log cabins in the middle of somebody’s somewhere but a long way from everywhere else’s creature comforts. Flicking back on my phone to the photo I took on entering, I am shocked at how, from the minimalist, ultra-Fringey compactness of Greenside’s Ivy Studio on George Street, such a massive story, still writ large across the mind’s eye, could have emerged. Morris achieves levels of total immersion storytelling that make it possible to believe that Alfred really did sing to the Vikings before Edington and Wedmore without them St Edmonding and burying him.

Walking softly but carrying a BIG stick, not THE big stick I am happy to learn later, Morris shares her lived experience of falling in love with a native Alaskan man, moving to his village and becoming part of his world. There’s a final twist in the tale and a post-credits vignette that are the icing and cherry on this gargantuan-scale cupcake. This is the story of a young woman empowering herself by doing six impossible things everyday before breakfast, and empowering others in the process. If the Victorian Edwardian adventures of Roosevelt’s day were in possession of an iota of Morris’ capacity for regard, reverence, and reflection for pre-Columbian roots, perhaps the world would be less beset with toxic cultural tumbleweed. Maybe.

Much of America (it seems to this horrible Auldworld nationalist) is yet to make the rigorous intellectual and spiritual journey undertaken in many parts of His Majesty’s Commonwealth towards recognising the value, the versatility, and the vision of First Peoples as well as the priceless inheritance their relationships with the world around them have nurtured down the centuries and millennia.

Kona Morris is an exceptional exception to this rule, an Arctic sunrise of hope that, with openness of mind, a bigness of heart, and a depth of soul beyond the ordinary, we can all learn more and better about what makes a successful community, a thriving society, and a valuable culture – and when it’s time to call it a day and live one’s own authentic life.

This is a story and a storytelling I hope my own girls will encounter on their journey to vigorous womanhood and the rough riding that the strenuous life inevitably throws at those whose faces are marred by dust and sweat and mud – the doers of deeds who are just trying to catch the California flight to a cousin’s wedding in this age having come off a long river journey seemingly from another time.

Come for the Disney princess telling the Alaskan wilderness like it is. Stay for the geometric storytelling that explodes the small arithmetics of a tiny venue. Get your two-sizes-too-big purple coats on and go see this!

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‘Mandy: Prince of Darkness’ (Ivy Studio at Greenside @ George Street, until AUG 29)

Posted in *EdFestivals 2026, 5*, Greenside, Rated: Nae Bad, Theatre by

“Richard Stirling takes to the stage much as we are told Jeeves shimmers into any given room.”

Editorial Rating: 5 Stars (Nae Bad)

For four decades, he was the omnipresent, supposedly omnipotent king of spin. And then suddenly he wasn’t. Peter Mandelson’s political career spanned the sudden shift from the ultra-curated analogue print and broadcast age to a more open-access knowledge economy. Before the numberless influencers of digital media emerged, Mandelson was the guy who knew, the guy to know. But was he?

Unlike a pharaonic-scale engineer – a Brunel or an Eiffel – there are no great works dotted through the landscape to look upon and despair – the crashing crassness of the Millennium Dome aside. This supposed supremo – a rather anaemic English edition of Hanna, Atwater, or Carville – made his presence felt on the Westminster political stage, but was there ever any substance to his misty-mystery – or were we all imbibing the post hoc ergo propter hoc like it’s Oktoberfest? Labour won a landslide in ‘97 after Mandelson had been peacocking across the quarterdeck for years; therefore, because of?

RADA’s own Richard Stirling takes to the stage much as we are told Jeeves shimmers into any given room. We are about to watch a powerhouse deliver a masterclass in acting up close and personal, and I am thanking my lucky stars that the ultra-Fringey compactness of Greenside’s Ivy Studio on George Street gives me a front row seat, knee to knee with someone doing something so marvellous. Here is a deep study in shallowness as the clock Marks 8:36.

Stirling (forever THE Boko Fittleworth in THE definitive Wodehouse adaptation) is the celebrated author of Julie Andrews: An Intimate Biography as well as the playwright who penned A Princess Undone – the no holds barred account of one night in 1993 in the life of Princess Margaret. On reflection, Mandy seems like a rather appropriate addition to Stirling’s collection of biographical trophies – mounted on a bit too much tech, but stuffed with fine details that make this an authentic, lively, and blisteringly warts and all piece of theatrical portraiture – more genteel unflinching Gerald Scarfe than grotesque unrepentant James Gilray.

The format is largely linear, and it has to be to carry the weight of career detail, rival personalities and, of course, the sordid horror of the horrible revelations about Mandelson’s relationship with a convicted child rapist. Stirling, the actor, shifts seamlessly in the blink of an eye from his Dark Prince charmless to the affably unBrownian “call me Tony” of pre-Iraq days. Although the archival video footage projected behind is occasionally clunky, the use of actual newspaper front-page splashes from the dawn to the dusk of Mandelson’s public stage strutting amplifies the underlying message that the media ground beneath Mandelson’s feet was utterly transformed during the strange career of the self-styled Third Man – the camp TV Michael Reenie version, not the Orson Welles spiv monster who profited by doctoring children’s medicine.

A ton of research has gone into this magpie’s nest of a show. So has the honed and practised craft of an actor whose obvious natural talent has been sharpened into a sabre, one wielded with the precision of a scalpel from walk to full gallop. When the final penultimate chapter of Mandelson, and perhaps of the party he once mismanaged, has been written in the ballots of our next general election, I suspect that this script and its performance will have predicted much.

Come for the acting out of a political life that cannot help but be of interest to historians of the modern era (surely new error). Stay for the sake of one of our finest character actors doing his thang bloody chuffing well. DON’T get your donkey jackets on but do come see this!

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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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‘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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