Edinburgh Fringe Reviews 2026 – The Shit Table, Lizzy Sunshine, Our Other Organ, MISTRANSLATED, Christopher Hall: Pizazz, and UNDERGROUND MONK SHOW

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The Shit Table, Gilded Balloon Teviot.

4-starsEveryone understands the concept of the Shit Table. The table at the wedding positioned furthest away from the bride and groom, where the people who just snuck onto the list by the skin of their teeth get bundled together out of the way. We’ve all been there. In Don’t Think Twice Theatre Company’s The Shit Table, written by Paul Howard, not only are the people on the Shit Table the weakest links, but they’re also truly dreadful! The embarrassingly laddish lad whom no one can stand. The bride’s childhood pal who always held a torch for her. The difficult ex with the barbed tongue. The remotest second cousin (or is she?) These four, who are the only ones to turn up, also have secrets that they need to keep until drink, drugs and bitter argument loosen tongues and change lives. It’s a brilliant idea and a very funny, inventive play, extremely well structured, with a great feel for the comedy and an increasing level of ridiculousness. One of the actors has too soft a voice, and the comic timing in general was a little patchy, but there is one particularly superb performance by the actor playing the annoyingly ebullient Aidan who refuses to believe that his friendship group is bullying him. An excellent play that will for certain have a life beyond the Fringe. 4 stars.

Lizzy Sunshine, Gilded Balloon Patter House.

3-starsWelcome to the upbeat world of Lizzy Sunshine! She’s here to bring some brightness into our lives, to help solve our problems, to remind us that, like little Orphan Annie, the sun’ll come out tomorrow. It’s a shame that her co-presenter, Jamie Storm, is delayed; but she is nothing if not resourceful, and anyway, audience members are always there to help her out when she needs someone to work with. But even Lizzy Sunshine has her troubles, and when the outside world closes in on her positive space, it’s a struggle to retain that optimism. Liz Coin is a delight as the ray of sunshine herself, establishing a tremendous rapport with every audience member and bringing terrific comedy talent to every aspect of the show. It relies heavily on fully committed audience participation, which is always a little risky, and I found the shift between happiness and sadness rather unbalanced; but, overall, this is a thoroughly entertaining piece with its heart in the right place. 3 stars.

Our Other Organ, Summerhall.

4-starsOur host, Boaz Barkan, welcomes us into the Anatomy Lecture Theatre at Summerhall, a most appropriate venue for the performance about to take place. He’s no anatomist, he confesses; in fact, he’s a dancer. But he has been developing a theory that man has another organ, hitherto unidentified, that starts in the stomach somewhere below the ribcage, and with some people it can spread its sticky purple tentacles up through the chest to the throat, down the body to the legs; and it controls our antisemitism and racism. Using a live model to illustrate, he kneads the man’s flesh and flexes his muscles, using Anglepoise lamps to highlight specific areas of his body. As Barkan develops his theory, the focus switches to the horrors of war, both how his own family were affected by the Holocaust, and by drawing attention to the genocide in Gaza today. What starts as something curious and eccentric becomes decidedly creepy and uncomfortable, and ends with a powerfully visceral final image, demonstrating Barkan’s profound belief that the organ, if left unchecked, will always overwhelm its own body and soul as its victim. A challenging piece of experimental theatre that’s disturbing and not for the faint-hearted, but it certainly makes its point. 4 stars.

MISTRANSLATED, Just the Tonic at the Caves.

3-starsA show for polyglots and the foreign-language-curious alike, Erica Jean’s MISTRANSLATED takes an entertaining trawl through the slings and arrows of outrageous language teaching, revealing the comic highs and lows of making mistakes, nodding sagely when you haven’t a clue about what the other person said, and accidentally hilarious mispronunciations. The rise of Duolingo means nearly everyone has had a bite of the foreign language cherry, but can you genuinely say you’re now fluent in your chosen foreign tongue? Of course not – no one is! MISTRANSLATED is a funny and indeed educational safe space where you can confess your worst language mishaps – and Erica’s committed more than most! If you’ve ever woken up to a grumpy growl from Falstaff, or a passive-aggressive text from Lily, this show is for you. 3 stars.

Christopher Hall: Pizazz, Gilded Balloon Teviot.

Confession time – I’m late to the talent that is Christopher Hall, but what an entertaining chap he is! His new show Pizazz – so named because he’s full of it – is all about remaining fun-loving and party-central oriented despite the passing years. Riotous holidays on the continent, adding a bit of glamour to straight mate’s stag night, celebrating the efforts put in by the mums (not the dads, obvs) and just turning up to each and every invitation, these are just some of the ways Christopher is keeping the pizazz in his – and everybody else’s – life. Hugely energetic and infectiously camp, he jigs and prances around the stage spreading his special kind of joy. His rapport with the audience is a delight, and his material is very relatable and recognisable whilst still feeling fresh, innovative and very funny. Hilarious advice about how to handle an escape room! Absolutely loved him – he needs to be on everyone’s comedy list! 5 stars.

UNDERGROUND MONK SHOW, Assembly George Square Gardens.

4-starsWho can resist some late-night shenanigans with four monks? Somehow they find their way into the Piccolo Tent where they discover the benefits of magic water. As each dunks their head in the bowl, they go on a journey of discovery – and who knows what they might find there. Impossible to describe further, this is one of those Fringe shows that’s 100% bonkers. Max Baumgarten, Dee Marcucci, Bill O’Neill and Claire Woolner star as the four outrageous brethren, with some hilarious crowd work and ridiculously inventive clowning. Not every idea works, but that doesn’t really matter! 4 stars.

Edinburgh Fringe Reviews 2026 – Hope this Helps!, Behind Closed Doors, Fab Goualin: Mixed Messages, Pierrepoint: The People’s Hangman, and I Think I’m Turning Japanese (I Really Think So, Not!)

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Hope This Helps!, TheSpace @ Venue 45.

Imagine a retreat in the wilds of Scotland where you could go to detox from Internet addiction – no phones, no social media, no emails… wouldn’t it be awful – sorry – restorative? Caitlin has dragged her unwilling brother Declan along, where they meet Liv and Willow, an on-off couple who are more off than on, American Mabel who just wants to be loved, and David, the coach, guru, mastermind, and upseller behind it all. Will they all attain offline Nirvana, or will the rifts and differences between them all shatter the peace – what’s left of it, after the Scottish weather has had its say? Sharkbait Theatre’s Hope This Helps? brings together these six ordinary, believable people and dumps them in an extraordinary environment where they must bond, heal, or struggle to get out, in order to survive. Incredible acting throughout by the whole ensemble – Rory Drinnan-Murray, Elizabeth Robbins, Robyn Reilly, Minnie Cross, together with co-writers Jess Ferrier and Lex Joyce – each individual has their own strong characteristics whilst never straying into the world of caricature. The writing, together with the quality of acting, bring out all the comedy of the situation, resulting in a truly hilarious play that also subtly touches on the emotions so you can feel the genuine issues of each character. Totally brilliant! 5 stars.

Behind Closed Doors, Braw Venues @ Hill Street.

For Charlie, sex is just a shag in the back of a car and move on. For Jude, it’s something different – a question of needing, of dependence, and, yes, of love. The two people must be incompatible, obviously; but nevertheless Charlie stays, to create an unlikely partnership. But the true struggle for both is Jude’s serious addiction to cocaine; and there’s only so much love and kindness that can be extended before something has to snap. Corey Muizelaar’s Behind Closed Doors is based on his own personal story and is tender, shocking, revealing, and extraordinarily moving. With two genuinely astounding performances from Corey himself as Jude, and Ben Robert Cunningham as Charlie, this is one of those productions that stays with you long after curtain down. Their use of silence, their portrayal of intimacy (amazing work by intimacy co-ordinator Lucy Curry) and their ability to make you empathise with behaviour that can never be condoned, demand your attention and admiration. This is one of those rare plays where you may well come out of the theatre a different person from the one who went in. A must-see. 5 stars.

Fab Goualin: Mixed Messages, Gilded Balloon Teviot.

3-starsA gentle comedy performance from Fab Goualin, a mixed race (French/Nigerian) gay guy who straddles a variety of identities. Clearly a season ticket holder with ancestry.com, Fab loves his Jollof but specifically shops in Waitrose; he enjoys his rugby although his posh white ex-colleague thought that was way beyond his social standing. Mixed Messages is his appropriately named show considering all his intersectionality (Google it) reference points. He draws on his relationship with his mother and colleagues; why he loves the lesbians but is not too hot on the gays and explores all those areas where he can confound others’ preconceptions. He has a fluid, confident delivery and sets up a very warm rapport with the audience. For me, his material is a little on the slight side; a bit safe and comfortable rather than challenging us into the big belly laughs. Nevertheless, it’s an entertaining show full of recognisable class observations that will always go down well with a comedy audience! 3 stars.

Pierrepoint: The People’s Hangman, TheSpace @ Surgeons’ Hall.

Albert Pierrepoint was born in 1905 in the West Riding of Yorkshire, and was an executioner, working for HM Prison Service, like his father and his uncle before him. Andrew Hogarth plays the very polite, civilised Mr Pierrepoint, as he explains how he decided to follow in the family business, discusses his professional standards of conduct, and then, in unexpected detail, goes into the nitty-gritty of the cases of John Reginald Christie and Timothy Evans, Ruth Ellis, and more. This production falls between two stools; it’s not a theatrical performance in the traditional sense, rather a recited account (from a book) on the Christie and Ellis cases. Nor is it a traditional lecture, in that the performer purports to be acting in the role of Pierrepoint and relies on some rather scruffy handouts, clearly lifted from Wikipedia, that we have to share, whereas it would be much more professional to use projected images on a screen. Alternatively, ignore the images altogether, because they only serve to distract us from hearing what Pierrepoint is saying. Despite having some fascinating material to narrate, Pierrepoint: The People’s Hangman is a sadly underwhelming experience, as we don’t really get to know Pierrepoint the man at all, and the accounts of the murderers he hanged are delivered in a pedestrian, unexciting manner. 2 stars.

I Think I’m Turning Japanese (I Really Think So, Not!), Just the Tonic at the Caves.

In 1998 Sam Joseph moved to Japan; a bold and brave step if ever there was. There he became entranced with the country – its people, its food and its language. Even more entrancing was the Japanese lady who would eventually become his wife. Through anecdotes of language mix-ups, poor hotel choices, getting in the wrong taxis, and so on, Sam illustrates what it’s like to be a Brit living in Japan. They also lived in Hawaii, but that’s another story (allegedly to be told at the Fringe next year). Sam is a high-energy, quirky performer; the kind of guy who peppers his speech with random noises and sudden movements. A self-confessed teller of dad jokes, he gives off a children’s entertainer vibe – which I don’t mean unkindly, but you could expect him to make you a balloon animal to take home. If I’m honest, I found his material more informative and curious than funny, but humour is nothing if not subjective, and he’s clearly, as Steve Martin once said, a wild and crazy guy. 2 stars.

Edinburgh Fringe Reviews 2026 – Blackbox, Lucas Jefcoate: If I’m Not Somebody I’m Nobody, FUCCBOIS: LIVE IN CONCERT, 1 Missed Call, Collateral Damage, and Padlocked!

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Blackbox, Underbelly Cowgate.

4-starsIn 1849, the enslaved Henry “Box” Brown hid himself in a wooden mail crate and posted himself to freedom, a journey of extraordinary bravery and physical agony that took 27 hours to complete. Rickerby Hinds’ Blackbox, based on Brown’s own testimony and history, takes us through young Henry’s early days, how he became a slave at the hands of various cruel, allegedly Christian men, how he married Nancy and then was separated from her, taking his story right up until his successful break for freedom. Incorporating some very entertaining – and narrative-appropriate – stage illusion, as well as some glorious gospel singing, this inspirational story of survival against all odds is brought to life by Josiah Alpher as Henry and Jada Evelyn Ramsey as the Spirit. Powerful, emotional and engrossing; my only criticism is that the text is very wordy, and at times the story becomes a little difficult to follow; the use of Older Southern American English is a little alien to British ears. Nevertheless, it’s an outstanding performance by both actors and truly drives home the horrors of slavery and man’s inhumanity to man. 4 stars.

Lucas Jefcoate: If I’m Not Somebody, I’m Nobody, Assembly Roxy.

It doesn’t take us long to realise that, despite his initial protestations, Lucas Jefcoate is not an alpha male. Looking a little like David Bowie’s Aladdin Sane cover without the make-up, he champions being a straight male with a feminine side, doing his best to expose toxic masculinity and encouraging men to listen – something most men find difficult! A likeable, engaging presence on stage, he wins our confidence in If I’m Not Somebody, I’m Nobody, but much of his material needs more bite, more killer finishes, and some sharper landings. There’s no doubting that he can deliver great comedy – a few of his routines were very original and very funny, but a lot also didn’t quite get there. To be fair, our performance was hindered by our being a very small audience! His personality is great, and his delivery style is relaxed and trustworthy – he just needs to create some more telling material to start realising his full potential. 2 stars.

FUCCBOIS: LIVE IN CONCERT, Assembly George Square Studios.

4-starsIt’s the Fuccbois’ final live concert before they all go their separate ways, and 90,000 fans have crammed into Assembly George Square Studios to say goodbye! The foremost feminist boyband play all their greatest hits and they even have a special guest (not that they need her). Bridie Connell’s highly inventive musical satire parodies every element of the boyband genre from the music to the characterisations – one Irish, one Mancunian (at least) and three of them are called Brendan. What it lacks in subtlety (and it lacks a lot of subtlety!) it makes up for with enthusiasm, caricature and sheer pizzazz. The singing and dancing are fantastic and exactly what you would expect of a typical boyband. The Fuccbois are played by four women, Vidya Makan, Clara Harrison, Megan Walshe and Bridie Connell herself, so it’s a double satire on faux feminism and the hollowness of both pop stars and fandom. Massively popular with our audience! 4 stars.

1 Missed Call, TheSpace @ Surgeons’ Hall.

4-starsWelcome to Chris Duke’s mancave. A place of escape, a place to find himself. Tools, beer, a wrestling belt… clearly, here lives a real man. And indeed he does, although the real man has nothing to do with these outward trappings of what society would like us to think of as being a real man. He may have tidied up all the musical theatre ephemera, and he’s hidden all the poetry, but when it comes to the crunch, he can’t eradicate the real him. You don’t have to be able to put up shelves to care for your family, and you don’t have to be able to fix a car to care for yourself. However, one thing Chris Duke can do is write a great song. 1 Missed Call is a short, musical journey that Chris undertakes, prompted by a checking-in phone call from his mate Colin, which makes him uneasy about batting his friend’s concerns away with just a quick I’m Fine – which I’d guess at least 90% of men do. He hasn’t opened a message from his 18-year-old daughter because he just knows it’s going to be critical of him. However, as he recognises that he can be true to himself AND be a real man at the same time, the shackles of pretence fall and he has the confidence to take that missed call, which will be the first positive step in his new life. My only criticism is that the show finishes too soon! I’m sure there’s more that Chris could share about the newfound him. Featuring some nice audience interaction, a nifty costume change and some officially fabulous musical theatre numbers, 1 Missed Call is an uplifting, positive message that encourages everyone to be themselves. 4 stars.

Collateral Damage, TheSpace @ Surgeons’ Hall.

4-starsWithout Compromise Theatre bring Michael Johnson’s Collateral Damage to the Fringe, a gritty examination of three working-class women in a family torn apart by grief, prison, and alcoholism. When Alex Laing is released from prison, her mum Stacey doesn’t want to know, but her sister Hayley will give her a bed and help her until she can get back on her feet. Stacey has survived the death of her husband and Alex’s imprisonment by turning to the bottle; Alex is desperate to be reunited with her son Andrew, but estranged partner Scott has other ideas; and Hayley just wants to help. Will some form of family therapy get them all back on track again, or is it inevitable that they will simply fall apart at the seams again? Smart writing and exceptional performances by Charley Crooks as Hayley, Erin Clark as Alex and especially Lorna McFarlane as Stacey keep you totally hooked to the story, and willing some kind of reconciliation and happy ending. 4 stars.

Padlocked!, TheSpace Triplex.

4-starsGuy is looking forward to his hot date with Fabio. I say date; it’s a Grindr hookup and Guy has unlocked the door, padlocked himself virtually naked to the bed, and Fabio has instructions to let himself into the flat, come into the bedroom, and do whatever he wants with Guy. But you know what happens to the best-laid plans of mice and men? A series of unwanted phone calls from nosy neighbours, hapless colleagues, and his worrisome mum get in the way of Guy channelling his sexy thoughts. And where the heck is Fabio? He’s running out of bondage time… Joseph N Alberts gives a terrific performance as Guy, making sure everything is in place for the arrival of the alluring Fabio, fretting about the constant interruptions. Wearing just skimpy pants for most of the show, and nothing at all for the rest of the time, it’s a brave, committed performance that demands one’s admiration, not only for the nudity, but also for the excellent comic timing and the technicality of the prop handling, which in this case is particularly tricky. Funny, daring, and surprisingly wholesome, as Guy makes amends for all the wrongs he has committed during the day, Padlocked! makes for an adult but strangely thoughtful and tasteful end to the Fringe day. 4 stars.

Edinburgh Fringe Reviews 2026 – 58 to Go, You’re Not My Mum!, In the Cold Light, Ambitious Underachiever, and Nathan Cassidy: Ewwww!

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58 to Go, Greenside @ George Street.

4-starsEd has growing-old syndrome. It’s terminal. And what has he done with his life? Nothing. But it’s never too late to start. Going clubbing, playing tennis, learning French; his sudden ambitions are endless. Sadly, his talent isn’t, but that doesn’t stop him! But can you go too far in your quest for eternal youth? Alistair Maxwell’s 58 to Go is a hilarious, inventive and clever play about it never being too late to start – but just keep those dreams sensible! Energetic performances by Jordan Monks as Ed, Lorna Panton and Gregor Campbell, with excellent physical comedy throughout as well as some brilliant characterisations. 58 to Go is a complete hoot that sends you into hysterics but also has an underlying serious message. Very funny! 4 stars.

You’re Not My Mum!, PBH’s Free Fringe @ Pizza Geeks.

4-starsAdam and David are not brothers, and Jeannie is not their mother. Now we’ve established that, it becomes a useful framework for this comedy threesome’s improv show, where audience members suggest locations and objects from which to build comedy scenes. What makes You’re Not My Mum different from your average improv show is that, rather than having a series of non-sequitur, stand-alone improv scenes, here each scene merges into the next to create an entire improv sitcom, with a logical(-ish) narrative. They even manage to connect all the threads at the end so that it builds to a satisfying conclusion. Jeannie BeFree, Adam Riggitt, and David Carey have a great connection on stage, and each has very different characteristics and energies, which helps to keep this innovative improv show fresh and lively. Great fun and fantastic improv skills! 4 stars.

In the Cold Light, TheSpace @ Surgeons’ Hall.

3-starsInvestigative journalist Michael is on the trail of a fascinating story, concerning two men, a century or more ago. One, Arthur, a famous explorer and climber, the other, Andrew, a simple crofter from the Isle of Mull, met every summer for two weeks, year in, year out and Michael wants to know why. Were they closeted lovers, when society would not have tolerated such a thing? Michael himself has his own demons and is increasingly unable to repress a deep-seated anger that gets in the way of his doing his job properly. Is there a crossover between Michael’s past and the story of Arthur and Andrew? George Grant plays Michael in his own play, In The Cold Light, which examines uncomfortable truths when the professional and the personal get too close. Clever use of pre-recorded video creates a thoroughly believable set of Zoom calls with significant participants in the story of Arthur and Andrew, played by James Ross Turner, Ilona Linthwaite and Graham Kellas, with Claire Harbin playing Michael’s friend and boss, Pam. For me, a couple of aspects of the play didn’t quite hold water, and Michael’s anger and aggression sometimes disrupt the play’s internal balance. But it’s an intriguing premise, and the play asks important questions about the merits or otherwise of suppressing one’s own feelings – for whatever reason. 3 stars.

Ambitious Underachiever, PBH’s Free Fringe @ Carbon.

4-starsHaving ambition can get you out of many a tricky situation – just ask Mychelle Colleary, for whom it was an exit route from mental health hospitalisation. And how did she convey that burning ambition? Naturally, like all cabaret or musical theatre artistes, through the medium of song! Ambitious Underachiever is Mychelle’s account of the highs and lows of her life, from playing Peppermint Patty in Snoopy as a promising youngster in San Francisco, through a devastating car accident, the after-effects of which have continued to blight her life ever since, to a lucky break which opened up the potential of living in New York City, to moving to London as a Fringe artiste. One thing’s for sure, there are several more chapters left to experience in the annals of Mychelle Colleary’s life! A cabaret performer of true quality, Mychelle has a gorgeous, expressive voice that expresses her own life experience through every song. An engrossing life story interspersed with captivating renditions of jazz and showbiz songs makes for a truly entertaining and beguiling hour. 4 stars.

Nathan Cassidy: Ewwww!, Hoots @ Potterow.

4-starsEwwww! said a young woman to Nathan, when his eyes accidentally caught hers in London’s glittering West End, primarily because of her spangly outfit, nothing pervy. Anyway – is there anything wrong with admiring an attractive young person, just because you’re not an attractive young person yourself? Good question, which requires a surprisingly nuanced answer. This chance meeting inspired Nathan to create his new show, which primarily focuses on taking a risk. What have you got to lose? Want to do that parachute jump? Do it. Want to climb Mount Kilimanjaro? Ascend it. Want to get your kit off in a shipping container at the Edinburgh Fringe…? Nathan takes a deep breath and risks all for the sake of not only comedy but also creating a moment that we can all share and that will live on in our memories (until we decide to think of something else instead). Nathan has a very likeable stage persona, is a great communicator and builds up a terrific rapport with the audience. His material is entirely relatable and recognisable – he certainly reminded me of some awful moments in the showers at school – and there are some great laugh-out-loud moments, making this a thought-provoking, risk-taking, and very funny hour. 4 stars.

Edinburgh Fringe Reviews 2026 – Safety, Georgina Thomas: Hysterical Soprano, Rizal van Geyzel: Arrested, Casual Receptionist of the Quarter, God Complex, Nuns! and 00:45:00

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Safety, Underbelly Bristo Square.

When is a psychotherapist not a psychotherapist? When he becomes a friend. Adam is used to the daily routine of meeting clients at £200 per hour, hearing their problems, and signposting ways they can find solutions. But when new client Bill enters his life, Adam – who is gay – finds him a very interesting prospect indeed but, of course, always remains professional. Until one day, Bill just stops attending his sessions – no explanation, no apologies. The obvious thing for a psychotherapist to do would be to chalk it up to experience; but what does Adam do? Michael Reid’s extraordinary Safety is a brilliant piece of writing, a perfectly structured story with a completely unexpected twist at the end. His performance is outstanding, drawing us in from the start to Adam’s calm, supportive presence, gaining our confidence, and understanding his own issues. A riveting start to the day. 5 stars.

Georgina Thomas: Hysterical Soprano, Underbelly Bristo Square.

4-starsDr. Jekyll has his Mr Hyde; Soprano Georgina has her inner monster too, who creeps up at the most inopportune moments and converts her beautiful voice into a cackling cacophony. Clearly, there’s only one way to deal with this – witchcraft! If that sounds all a bit weird, welcome to the strange world of Georgina Thomas: Hysterical Soprano. A journey of perilous auditions, vicious singing teachers, and a wicked nemesis; fortunately for Georgina, she also has her Guardian Angel, the disembodied voice of Gary the Stage Manager. A very inventive crossover between character comedy and opera singing, Georgina gives an engaging and extremely likeable performance combining her musical skills and terrific comic timing as the Soprano who stoops to Alto to beat the beast. If you like a saucy Musetta and can tell a rose from a Rosenkavalier, you’ll love this. 4 stars.

Rizal van Geyzel: Arrested, Laughing Horse @ The Counting House.

4-starsOne of the joys of the Edinburgh Fringe is discovering acts from all around the world that you’re unlikely ever to see anywhere else – and one such chap is the very funny Rizal van Geyzel, in his Arrested show. He opened the first-ever comedy club in Kuala Lumpur, a bold step in his native Malaysia, a country that, at the time, didn’t understand the concept of stand-up. Rizal tells of how the club came about, the hoops they had to jump through to get a licence, and how, eventually, it was a great success, until one open mic night when it all began to unravel… Rizal has a terrific onstage presence and an amazing connection with the audience; Arrested is jam-packed with excellent, original material, which is not only laugh-out-loud funny but also very thought-provoking. He is an easy, relaxed person to share a comedy venue with, a very safe bet on the Free Fringe. Highly recommended! 4 stars.

Casual Receptionist of the Quarter, Gilded Balloon Patter House.

3-starsNic is Casual Receptionist at Primary Fitness, and – honestly – the place would fall apart without her. Dealing with membership enquiries, topping up the wet wipes, taking all the complaints and even administering first aid, she’s the epitome of the underpaid, undervalued and overstretched employee that so many businesses thrive on to maximise profit. Nicole Gulasekharam’s Casual Receptionist of the Quarter is part character comedy, part anarchic Fringe entertainment, and part plea for kindness. It’s a believable portrayal of someone who will bend over backwards to please you, even though it’s to their own detriment. And remember, no one is ever just a receptionist. Very quirky, very engaging, and surprisingly moving. 3 stars.

God Complex, TheSpace @ Symposium Hall.

3-starsA family sitcom set in Ancient Greece – or rather in the Mount Olympus VIP estate somewhere in the clouds above Ancient Greece, where Zeus and Hera look after their troublesome twosome, Artemis and Apollo, with regular visits from sex obsessed Aphrodite and the not-so-chatty Medusa. Aphrodite wants to involve Hera in some sexy time, while Apollo wants to introduce his new girlfriend to the family on a Zoom call, even if he has to pay her exorbitant hourly consultancy rate for the privilege; and Zeus just wants to do Zeusy things. In a show written by Felix Glanville and Leah Pollard, the Bristol Spotlights mix mythology with the present day in this very inventive comedy. Occasionally more lulls than lols, but nevertheless often hilarious. 3 stars.

Nuns!, Assembly George Square Studios.

Sometimes at the Fringe, all you want is a comedy show that’s just 100% bonkers. Dog Complex Theatre’s Nuns! is the very embodiment of that – the quest of Sister Gertrude to become a witch-hunter to guarantee her place in Heaven; unfortunately, her best friend Yarrow turns out to be a witch (spoiler alert) which (soz) makes it a bit of a problem. Hilarious characters include a resourceful Mother Superior and an over-enthusiastic Bishop Carmichael; there are also silly musical numbers, comically inventive staging and a whole lot of absolute nonsense, all of which make this show a total joy. Hebe Bartlett, Lili Herbert, and Hannah Rogerson give outstanding physical comedy performances and the whole audience was ecstatic with laughter. 5 stars.

00:45:00, TheSpace @ Venue 45.
4-starsHere at Wilison Labs we are proud to be at the forefront of Clinical Trials and Studies – and today we welcome five participants in a clinical trial under the direction of none other than Dr Margaret Wilison herself. We won’t truly understand the details of today’s trial until it gets underway, but till then, sit back and observe as our five participants interact under laboratory conditions. Think of TV’s Big Brother but then go a million times more dangerous – that’s what our unsuspecting young people are about to undertake. Katie Gaven’s 00:45:00 includes the audience in the trial conditions in a very believable, science-based production that makes us complicit in the proceedings – and it can be quite an uncomfortable watch. Excellent performances from Grace Hoy, Zakiya Hall, Sam Wade, Magda Riha and Paris Finch as our five participants and from Mary Kathryn Brown as Dr Wilison, this is a fascinating examination of humanity under extreme pressure by a brutal corporation that plays God with them. 4 stars.

Edinburgh Fringe Reviews 2026 – The Last Mad Man, Improbotics Presents: Artificial Reality, An Echo in the Void and Do Not Attempt this Conversation

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The Last Mad Man, Assembly Roxy.

4-starsIt’s the end of the world as we know it as gifted copywriter Steven is brought in to create a brand refreshment for the Apocalypse. He has an hour to complete the task, but that’s no concern to a brain like his. Think of his previous success with outsize women’s boots! Even as a child, he could convince his mother to buy the sexiest garments against her will. It’s a fantastic set-up for an extremely funny show, which exposes the excesses of marketing and advertising, how it has contributed to global warming and endangering species, the insidious rise of AI, and how targeting women to spend their money on unwanted items is the ultimate in misogyny. An engaging and energetic performance by Steven Phillips-Horst based on his own experiences as an advertising copywriter. The show truly soars at its funniest moments – perhaps it gets a little bogged down when making its more serious points. 4 stars.

Improbotics Presents: Artificial Reality, Just the Tonic at the Caves.

4-starsThere’s no escaping AI – resistance is futile, even though personally I want to resist it as long as possible! Improbotics Presents: Alternative Reality shows how you can simply devise a reality TV show with just a few simple ideas and AI. In our performance, we created a show called Splash the Cash, where contestants can win $20,000 USD in a water park near Alicante. We even had a star celebrity involved – our audience chose Jim Carrey – and there, for all intents and purposes, he was! The Improv element of the show is that the contestants act out short comic scenes based on their characters as they fit in with the location and the prize, and as the show progresses, individuals get voted out until one lucky winner takes all. Additionally, the audience log into the show online and can influence the outcome. It’s a very clever idea, and I would imagine is probably very different from show to show. Brilliantly devised by Piotr Mirowski, and with very entertaining performances from the cast. And there’s so much there to make you think! 4 stars.

An Echo in the Void, Assembly Roxy.

3-starsFour characters find themselves transported to a blank space, removed from their daily activities, with no knowledge of how they got there or why. But soon, connections are realised and names are recognised, from various points in their past. But what is the reason for their meeting? Jason Weiss’ An Echo in the Void is an attempt to visualise a fantasy AI scenario of the future. A place where four people have taken Sanctuary – in other words, a world of alternative reality, where you can stay rather than live in the real world – and their separate paths clash. It’s very well staged, with excellent lighting design and powerfully acted by Sunkrish Bala, Lee Rodriguez, Adam Sinclair and Grace Serrano. But the play itself is extremely complicated; so hard to follow because as you’re trying to piece together one part of the jigsaw puzzle, the plot has moved on so that you’ve missed some more vital information. As a result, it’s both impressive and frustrating, and even after a few hours’ discussion with your theatre companions, you still get the impression you’ve only understood some of it. 3 stars.

Do Not Attempt this Conversation, Greenside @ George Street.

3-starsStressed junior doctor Nneka needs to inform the family of a severely ill elderly patient that they need to have a DNAR in place; and this is the first time she’s had to lead this kind of discussion. Tough luck for her that the family is represented by the belligerent know-all Stephanie, who instantly threatens litigation if she doesn’t get her way (and her way is that her Grandad should be kept alive if at all possible, no matter the circumstances – he’s always been as strong as an ox, and he can get through this just like he’s got through everything before). Unimpressed by Nneka’s hesitant and impersonal style, and refusing to accept that Grandad may well have sepsis, Stephanie rants and rages, delivering verbal blows that truly knock Nneka’s confidence. Can she make Stephanie see sense? And do the medical team need her consent anyway? Mo Maka’s Do Not Attempt This Conversation raises some fascinating and very important issues about the balance between keeping someone alive and prolonging a life of pain, versus withdrawing active treatment and letting them die as comfortably as possible. The message hits the target, and, of course, no medic should allow a member of the public to abuse them like that, and one would have thought that no medic would be in doubt as to whether a DNAR is appropriate under the circumstances outlined. However, real life isn’t that straightforward, and we’re all only human. The writing is a little clunky in places, but there are two excellent performances from Mo Maka as Nneka and Amaju Jade Samuel as Stephanie, and with some tweaks to the text, this could be a strong piece of writing. 3 stars.

Edinburgh Fringe Reviews 2026 – Slayers, The Shocking Truth about Flat Earth, Take Care, Rapism, The Last Audition, An American Comedy Show that Quite Possibly Might be Funny to the British, and Dr Faustus

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Slayers, Assembly George Square Studios.

After a yummy mummy Pilates session, Liane walks across the Meadows to pick up her daughter Molly from school. She bumps into a handsome, well-dressed man and accidentally knocks his coffee out of his hand, spilling it all down his trousers. After the initial apologies – from both sides, very British – his attitude and responses start to become creepy. She needs to escape whilst still remaining polite. Still, those deep brown eyes of his linger in her brain… But this is no romcom. Slayers exposes the underground groups of men who share advice between themselves on how to trap and rape women. It explores the old adages that the only way to beat bullies is to humiliate and exact delicious revenge to show them who’s boss. It also emphasises the importance of taking responsibility for one’s own actions, even when desperate times require desperate remedies. A stunning piece of writing by Corinne Salisbury and a riveting performance by Zoe Hunter make this an important and unmissable production. 5 stars.

The Shocking Truth about Flat Earth, Pleasance Dome.

Of all the conspiracy theories that gain traction, the Flat Earthers must be considered the Big Daddy of the bunch. It’s easy to ridicule idiots for their stupid beliefs; but is it always fair? After all, there must be genuine reasons why some people choose to believe concepts that are palpably nonsense, whether physical, like the world being a disc, or political [insert your own ludicrous ideas here]. Adam Tuffrey and Alexander Moneypenny’s The Shocking Truth About Flat Earth takes as its central character Sharon; middle-aged, kindly, a good friend, and totally invisible. By discovering the Flat Earth theory for herself on the Internet, she also found herself a community in which she could belong, and be recognised. When best friend Debs suggests they fly to Las Vegas to see Adele in the last weeks of her residency, Sharon sees the chance to make the most of her new online circle – because Las Vegas is also hosting the World Flat Earth Society convention. But what happens when Sharon is accidentally mistaken for the guest speaker, the much-loved and trusted Flat Earth advocate Angela? A hilarious examination of cult believers, ruthless shysters, bright-eyed innocents, and the search for an identity that an individual can be proud of. One of its most surprising aspects is how the show makes you identify with the Flat Earthers – nobody wants to be around those globe tarts after all! The songs are fantastic, the script is packed full of jokes, and the performances are outstanding, with Emma Norman as Sharon, Emma Thornett (with only one singing solo, as she takes pains to point out) as Debs, and Michael Joseph, Tom Dickerson and Leonie Wall as everyone else. A show that shouts FIVE STARS every second of the way! 5 stars.

Take Care, TheSpace @ Surgeons’ Hall.

New Year’s Day in a Care Home. Six members of staff talk about their Christmases, their preoccupations, the people they’ve loved and the people they’re yet to love. Some tragic local news makes them reconsider their relationships and priorities; and at the end of the working day they go back to their individual lives. Edie Doherty’s Take Care examines the stresses and strains of working alongside people you don’t like, or with people whom you’d like to get to know. Nice idea, but both the writing and the acting are patchy; the comedy is rather obvious and puerile, and sometimes characterisations are replaced by caricature. That said,  there is a very good performance by Li Friess as supervisor Lilian. On a technical note, the radio effect is far too loud and drowns out many scenes, especially as one actor speaks very softly. Overall, rather insubstantial. 2 stars.

Rapism, Just the Tonic at the Hive.

Pardon my ignorance, but I had never come across the term Rapism before, which probably underlines one of Sadia Azmat’s main themes of this show, that we don’t talk about rape enough. She was raped by her partner, statistically by far the most likely person to rape you. That makes sense, as they’re also by far the most likely person to be in your close company, and probably the least likely to seek consent. Rape convictions in the UK stand at 4%, whereas in Sweden it’s 79%. The reason for the difference is simple: in Sweden, rape is defined as sex without consent, whereas in the UK it’s far more complex. Sadia takes us through her own experience of rape and dealing with the police; she also brings in many facts and observations, including considering what the best punishment is for a convicted rapist. We were quite a small audience which Sadia felt made it a more serious performance; with a larger audience, the jokes go down better. This remarkable show defies the usual rules and guidelines for traditional critique, but, whether you come for the humour or the insights (hopefully both), this is a very brave and powerful experience for performer and audience members alike. 5 stars.

The Last Audition, TheSpace on the Mile.

4-starsA revered, elderly, much-respected Shakespearean actor attends an audition for the part of Lear. It’s the pinnacle of any acting career, and he’s confident he still has what it takes to secure the role. He warms up with a few favourite scenes, but as the play progresses it becomes increasingly clear that not only is his daughter concerned for him, constantly ringing him as he misses doctor’s appointments and refuses to take a look at a retirement home, but also – is there truly an audition taking place? Paul Shearman performs his own play with a powerful yet delicate intensity; a moving study of the moment when a once high achiever realises that he has to call time on his ambitions and expectations. 4 stars.

An American Comedy Show that Quite Possibly Might be Funny to the British, Just the Tonic at the Caves.

3-starsThe American in question is Brendan Lemon, hailing from Detroit, although clinging to some British heritage due to having an Edinburgh-born Granny. The basis of his show is that America is currently suffering from a severe case of democracy, in other words Donald Trump’s second presidency. He knows the world currently pretty much hates America – and he agrees! Brendan is a great communicator, and he has a show packed with content, exposing Trump’s corruption and his undeniable deep connections with Epstein. Great delivery, huge confidence and with a nice rapport with the audience; my only criticism would be that some of his punchlines could be punchier – there are savage things to say about American politics, so let loose the savagery! But it’s an enjoyable fifty minutes and you can’t fault his commitment to exposing the truth. 3 stars.

Dr Faustus, TheSpace @ Niddry Street.

3-starsDr Faustus sold his soul to the devil – but you already knew that. Out of Office Theatre have created a new adaptation which the handout describes as “completely butchered for 2026”. That’s not entirely true, as this is quite a solid, traditional retelling of the legend, with only occasional modern references thrown in for a bit of colour. This Jonathan Faustus longs for fame and fortune – specifically, he wants to be remembered as a God. He’s prepared to enjoy 24 years of Mephistopheles’ servitude before conceding his soul to a Champagne Charlie of a Lucifer. Despite getting pretty much what he wants, he’s never satisfied; and that’s more or less it. For an 11pm slot show, I was expecting something a little more racy or dangerous, but this production, well-acted though it is, feels rather bland and anodyne. The very wide stage of the Lower Theatre at Niddry Street probably renders this production a disservice; what is essentially an intimate, chamber piece has had to stretch out and spread itself wide to cover the stage, reducing that intimacy and elongating the scene changes. There’s nothing really wrong with this show, but it still feels a little underwhelming. 3 stars.

Edinburgh Fringe Reviews 2026 – Jake Baker: The Gentle Men’s Club, Shotgunned, A Head Full of Bees, Demi Adejuyigbe Sells Out, Time Travel Postman, and Thermodrama

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Jake Baker: The Gentle Men’s Club, Hoots @ The Apex.

4-starsA new name to us, Jake Baker explores the world of the manosphere and toxic masculinity in The Gentle Men’s Club – the Andrew Tates of this world won’t find a comfy home here. We all know about the notion of men as alphas, betas, gammas etc; but who knew that notion is now discredited? Jake discusses the pleasures of providing the second income in the household, how AI is ruining us all, and why it is that the manosphere chaps don’t read books. Jake has a relaxed appearance and (the clue is in the title) a gentle approach to his comic delivery, but this hour is packed with extremely funny and original material devised with intelligence, empathy, and the Ladybird book of Animals. A superbly structured show, Jake has a knack of identifying le mot juste in all his observations. Definitely One to Watch! 4 stars.

Shotgunned, Assembly George Square Studios.

4-starsThe story of Roz and Dylan – how they met, moved in together, and developed a strong relationship until pregnancy led to miscarriage, and its devastating effects eventually caused their break-up. Matt Anderson’s play is structured in short scenes, told in a non-linear way; the lack of chronology is not a barrier to understanding the story, but neither is it constructive or helpful. There’s also a disco break, which, as the audience have no idea at what stage in their relationship it takes place, makes it regrettably superfluous. However, two superb performances from Lorna Panton and Fraser Allan Hogg bring the two characters to life in all their highs and lows; and I found the optimistic final scene extremely moving (yes, there was a spot of moisture in my eye). 4 stars.

A Head Full of Bees, C Arts C Venues C Alto.

3-starsWelcome to the Beehive, where Lola will do your hair and maybe help you come to terms with what’s bugging you – just don’t bother to tell her about your holidays. A Head Full of Bees is Lela Bergeron’s one-woman show describing just how her brain operates, having spent her entire life with undiagnosed ADHD. Never truly getting the support she needed from her ultra-Christian mother, who offered her parental love but always trusted in the Lord to provide the answers: moral, medical, you name it, she always knew He had the monopoly on answers. There’s a surprising amount of darkness in Lela’s story, made more acute by the primary colours of the staging and costumes, creating a visual dichotomy between the staging and the message. And don’t forget the songs! Lela is an effervescent, likeable persona on stage, and this is an entertaining and thought-provoking personal story. 3 stars.

Demi Adejuyigbe Sells Out, Pleasance Dome.

All the way from New York City comes comedian and musician Demi Adejuyigbe, with a highly original combination of comedy songs, one-liner gags and a unique method of conducting crowd work – welcome, Robbie the Robot. Proving that he’s a true sell-out – hence the title Demi Adejuyigbe Sells Out – he explains that he didn’t want to fork out a lot of money to finance his Edinburgh run, so asked three main sponsors to chip in – a T-shirt company, a magic shop and another company whose name shall remain nameless until you see the show. Demi is a hugely versatile performer, extremely likeable, and the whole show runs with an enviable slickness. There’s a twist in every tale, routine and song, and this is an unpredictable, content-packed and extremely funny show. Highly recommended! 5 stars.

Time Travel Postman, Gilded Balloon Patter House.

3-starsWelcome to the world of the Time Travel Postman, as he delivers letters and parcels from modern-day USA to Caveman times, to a wild-west Bad Guy Cowboy, and even to the Moon. Playful, inventive clowning from Sevrin Willinder, with a lot of audience participation – no matter where you sit you won’t get out without having played along to some extent. In our performance, it fell to me to play the Caveman (it was a character part!) Great fun, escapist, anarchic entertainment; expect the unexpected as Sevrin creates magic from pieces of paper and the silliest of props. Who wouldn’t want to be a time travel postman?! 3 stars.

Thermodrama, Summerhall.

4-starsPete’s a natural in the sauna. Devoted to his health and fitness regime, his whole day is programmed to maximise his lifespan, if not his lifestyle. Soph and Jen are estranged sisters, one (apparently) may have mental health issues; the other (apparently) may have hit someone, or at least something, in a car accident. They share the sauna space semi-willingly, each with his or her own priorities and agenda for spending time there. The arrival of a fourth character, Shane – blood streaming from his temple, stripped down to underpants rather than sauna-style swimwear – upsets the already uneven balance, and some form of cataclysmic ending seems unlikely – but what? There are no easy answers or neat conclusions to Coco Cottam’s Thermodrama, but it does present us with some fascinating characters, curious conversations and an uneasy, unsettling suspense. The simple set totally convinces the audience that we are in a working sauna, and it’s very well acted throughout, especially by Matty Loane as Pete, in a physically demanding performance. However, judging from the way he behaves towards the end, I think Pete is lying about his readiness statistics. You can interpret the ending to this play any way you wish, but it’s totally engrossing from the start, and you’ll be discussing it for hours afterwards. 4 stars.

Edinburgh Fringe Reviews 2026 – The Second Best School Shooting, Patient 13, With the Possible Exception of Abraham Lincoln, The Misfortunes of a Spy and Her Mystic, Betsy and Patty Find Out, Chelsea Birkby: Is in Full Control the Entire Time, and Gutter

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The Second Best School Shooting, Pleasance Courtyard.

Best friends but total opposites, Parker and Ava find themselves in the terrifying position of witnessing a school shooting, on the same day that another school shooting took place in the same city, resulting in fifteen deaths. In Parker and Ava’s shooting, the shooter just hit the ceiling and no one died; thus, their experience goes completely unreported, while the second event goes viral and wins survivor Margo over a hundred thousand Insta likes. Ava takes matters into her own hands, desperate to be involved in the fight against guns. Parker, however, is more concerned about preparing for her physics test – she has to work hard to scrape her grades, whereas academic excellence comes easily to Ava. But people cope with the stress of such events differently. When Ava goes a bit too far to make her point, will she endanger their friendship forever? A fascinating subject, wittily written by Alice Stanley Jr and superbly acted by Rachael DeBoer and Shaylaren Hilton, The Second Best School Shooting examines not only the terrifying influence of guns in America, but the nature of friendship, coping strategies, the effect of social media, what constitutes a victim, and what happens when you allow your impulsive nature to go just that little bit too far. Very thought-provoking, but also very funny, you’ll be mulling over this play for hours. 5 stars.

Patient 13, Zoo Playground.

Gail is an independent woman living her own life in New York City – a Midwesterner who moved east to pursue the Arts – and why not? But one day she gets the news that no one wants to hear. Those cells – they might be cancerous… Gail Thomas tells her own story of diagnoses, treatments, and a sequence of different doctors. Why Patient 13? Because she enrolled in a clinical trial for people post-cancer surgery who show signs of depression. She might get the drug, or she might get the placebo. The drug, however, is magic mushrooms; so she’s praying not to get the placebo. Gail is a master storyteller who keeps you enthralled and engaged from the very start. This personal tale is beautifully structured and written, so that you can truly imagine every scenario and every character that she encounters. A remarkable performance. 5 stars.

With the Possible Exception of Abraham Lincoln, Greenside @ George Street.

3-starsWith the 2020 Presidential Election teetering on the balance, a desperate, frustrated, and furious Trump awaits the results from all the States – and it’s not looking good. Shortly before dawn, a mysterious stranger arrives with some much-needed KFC and appears to have a calming effect on the Republican leader. They talk of sport, particularly wrestling, in which both Trump and the stranger have an interest, although they approach the sport from very different angles. As time progresses, we realise that the stranger is the spirit of Abraham Lincoln, who might be the only person to have done more for Black Americans than Donald Trump – according to a quote from Donald Trump himself. Infuriated beyond endurance, the usually calm Lincoln challenges Trump to a bout, but who would win? And what might be the consequence if I never lose Trump were to lose? David Chocran’s imaginative political satire hits the spot with its fantasy central idea, and the performances by Jason Nemor Harden as Lincoln and Mark Coleman as Trump are very impressive. However, the play does lose its way somewhat, getting a little bogged down at times – quite possibly because there’s only ever so much Trump that one pair of ears can stand. Great idea that nearly works. 3 stars.

The Misfortunes of a Spy and Her Mystic, Greenside @ George Street.

4-starsWhen is a spy not a spy? When she is a friend, perhaps? Professional/client relationships can merge into something more personal, when Eve is required to befriend Meda as part of a mental health protection programme. At first Eve plays her usual professional role, feeding back information to the boss as she is required. But as she gets further into the mystical and spiritual world of Meda, there’s a danger she will go in too deep. Joy Donze’s fascinating play exposes the murky line between friend, client and lover, and boasts three excellent performances from Dede Lovejoy, Akaina Ghosh and Joy Donze herself. Engrossing, provocative, and surprisingly believable. 4 stars.

Betsy and Patty Find Out, Bedlam Theatre.

4-starsSeven docile cows stand obediently in line. They don’t know why – but as Patty points out, she’s never stood in a line that didn’t have a treat at the end before, so why would this line be any different? An eighth cow comes along – the sassy, rebellious Betsy, stomping around, getting in the way. Then she spots Patty and they’re both relieved they have someone to talk to. Once they get going, you can’t stop them from chewing the cud together. They discuss confidence issues, the benefits of safety versus adventure, why the bulls seem to have it all their own way, and how come no one knows what’s inside that big building. Meanwhile, every so often, one cow willingly gets called into the building to be stunned and then killed; but the other cows are none the wiser. Surely there must be a way out – Betsy’s up for starting a rebellion and even Patty is willing to join them. Then comes the voice Next… and one of the last two cows goes off to their fate. Can the last one somehow survive? Aaron Francis’ remarkably mooving (sorry) play depicts the benefits of disobedience, what it takes to be accepted by the crowd, and why you should never join a queue if you don’t know what’s at the other end. Smartly written, with a wicked sense of humour and a sad feeling of inevitability, our two bovine heroines are given terrific characterisations by Jennifer DeRosa and Carrie Keranen, and if this doesn’t convince you to go vegetarian, nothing will. 4 stars.

Chelsea Birkby: Is in Full Control the Entire Time, Pleasance Courtyard.

4-starsChelsea Birkby is in Full Control the Entire Time, announces the title of her new show, whereas, actually, it’s not Chelsea who wants to dominate your thoughts, but Cheche, her more wicked alter ego whose name resulted from a data entry error and has nothing to do with the London Zoo Panda. On the journey to take control, we encounter the self-help books of Tony Robbins, a scarily perceptive magician, and the steps Chelsea has taken to protect her hairstylist. She cuts a very likeable persona on stage, and has a strong, confident delivery with excellent original material. And she’s qualified in PowerPoint! Great crowd work, and very funny. 4 stars.

Gutter, Underbelly Bristo Square.

3-starsHitting the Edinburgh Fringe for the first time is Gutter, London’s sell-out underground comedy night, presented in the bouffon clown tradition, with a troupe of three clowns who ooze, grotesquely, out of a putrid skip (well, it’s not exactly putrid, but the bouffons are). The framework of the show is that our bouffons introduce us to three acts which they intersperse with clowning sequences. The bouffon element of the show is superb – creepy, unsettling, somewhat disgusting and always funny, and the three troupers, led by Gutter mastermind Tom Greaves, are terrific. But the strength of a show like this will always be judged on the quality of the guests, and in the performance we saw, most of them didn’t really do the rest of the show justice – although I did enjoy Luke Rollason’s routine about the Royal British Legion charity cruise. 3 stars.

Edinburgh Fringe Reviews 2026 – Operation Blank, The Adventures of Jasper Cromwell Jones, Overtone, ELBA, EVITA TOO, and Persona

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Operation Blank, TheSpace @ Surgeons’ Hall.

4-starsLuke Hamilton seems trapped in an inexplicable problem. As a junior adviser to the government, he has to find a solution to a world-ending catastrophe; a nuclear bomb has been dropped on Copenhagen and up to 100,000 people have been killed. Suspicions run riot. The Germans blame the British. The British blame Meghan Markle; whereas, obviously, it’s a ruse for Trump to get hold of Greenland. On a COBRA call, he must work with the Prime Minister and the most senior Secretaries of State to find a suitable response. But does he? To expand any further on the plot would be to spoil the several surprises hidden within this intricate satire written and performed by George Grant. Operation Blank exposes the pressures of both too much and too little work, and demonstrates the failures of workplace mental health safeguarding, as well as poking fun at our political leaders. Technically, it’s a superb achievement, with George Grant appearing live on stage but interacting with a video projection for almost the entire length of the play without the remotest mistiming or glitch. Engrossing, entertaining and deliberately teasing with our brains, it’s an excellent performance of a thought-provoking play. 4 stars.

The Adventures of Jasper Cromwell Jones, Gilded Balloon Teviot.

3-starsAdventurer, writer, documentary maker and raconteur Jasper Cromwell Jones introduces us to his family set-up and takes us on his expedition to Mont Blanc, to find where his Daddy slipped into a glacier, never to return. It’s a journey of peril, daring, and no small amount of privilege. Joe Bor’s comic creation is a fully recognisable landed posho, who’s carved his reputation on the hard work of others – basically, an entitled idiot who can spark off countless class-based jokes, and – let’s face it – nothing appeals to a British comedy audience more than the subject of class. I’m not sure there’s enough variety in the act to sustain a full hour; I feel he would work better as part of a mixed bill so that he leaves the audience wanting more. 3 stars.

Overtone, Pleasance Dome.

4-starsDecades ago, Choir Director Alan used to invite his most promising singers to a regular talent singing camp in the countryside. It was to develop their skills, their performance, their character… Years later, Paul and Maggie, two of those camp guests, are still together, meeting her godchild and their partner for the first time. Maggie is happy to see them, but Paul seems unnaturally anxious. Why was he so late for their meal? The scars left by abuse and coercion can linger beneath the surface for the rest of their victims’ lives, and Overtone, written by Tom Brennan, conveys this prolonged agony in a hard-hitting, unsettling play. Claire Dargo and Scott Fletcher give powerful performances as the couple come to terms with having those memories unexpectedly brought back into their lives. Not an easy watch, but an important subject, and it’s heart-warming at the end to see the potential for healing for the couple after being devastated all their adult lives. 4 stars.

ELBA, Just the Tonic Nucleus.

4-starsApart from its association with Napoleon Bonaparte and the English language’s most famous palindrome, I know pretty much nothing at all about Elba, and that – in the words of Liz Truss – is a disgrace. Ishan Mahabir-Stokes’ ELBA comes to our rescue with a charming, quirky account of how the little Mediterranean (strictly speaking Tyrrhenian) island drew the world’s attention when Boney was exiled there in 1814. Told from the point of view of Pons, Elba’s local neighbourhood bigwig, we learn of the poverty of the island, but also its charms: its amazing local honey, its music and dance traditions, and how it’s the perfect location for a young family to relocate if they can’t afford the big city. It’s true, the script neatly darts in and out of a genuine history lesson and tongue-in-cheek modern-day references, all part of its overall fun approach. Ex-Scottish Ballet dancer, Ishan Mahabir-Stokes, and Paris Opera Ballet alumnus Constant Vigier intersperse the scenes with entertaining dance sequences as they show how Napoleon took everything from Elba and gave nothing back, the wicked so-and-so. Thoroughly enjoyable, unexpectedly informative, and endlessly surprising; and with two superb performances. 4 stars.

EVITA TOO, Zoo Southside.

If the first female democratically elected vice-president and then president isn’t remembered by the public, what hope is there for women overall? Sh!t Theatre’s anarchic, unpredictable and extremely entertaining EVITA TOO turns the focus away from Evita – everyone knows her – and considers Peron’s third wife, Isabel, who lived with Peron in exile until he was elected for a third time in 1973, with Isabel as Vice President. After Peron died in 1974 she remained as President until 1976 when she herself was ousted. There’s a double meaning to the title: Rebecca Biscuit and Louise Mothersole have constructed the follow-up musical to the Rice and Lloyd Webber classic (its mis(ter)representations of Eva’s character notwithstanding); and after her death, Peron and Isabel kept Eva’s body in the house, with Isabel even maintaining and grooming her corpse, because of its extraordinary talismanic effect. So, essentially, they were Juan, Isabel and Evita too – the most bizarre threesome this side of the Casa Rosada. It’s a fascinating history lesson and whilst always respecting the iridescent Elaine Paige, also cocks a snoop at Evita One, Andrew Lloyd Webber’s legal team, and unsolicited feedback by men in general. There’s also a most original nod to Starlight Express – Pearl and Rusty never looked like that ; and who knew that Peron did a lot of good things? Hilarious fourth wall breaking with the mojitos and the scene change; and Becca and Louise give fantastic, brave, funny and memorable performances. 5 stars.

Persona, TheSpace Triplex.

3-starsExposure of secrets, settling of old scores, kindling resentments, telling lies… it’s the perfect dinner party, set up by James to honour his late friend Justin with Rupert, Jeffrey and Gemma who were all in the same gang – to an extent. James is going to read Justin’s will – and it seems there might be quite some riches to inherit, but there’s a twist as to how the spoils will be divided. Writer Max Allen, who also plays James, has constructed a deliciously devious plot, which keeps you hanging on to discover exactly how it’s going to end. Cameron Forrest plays the ghastly spoilt brat Rupert, with Elliott Diner as Jeffrey and Polly Towers as Gemma. The play exposes just how far some people are prepared to abase themselves if there’s a chance of gaining a fortune; and it has a provocatively inconclusive ending which leaves you wondering exactly just what went on here. Personally, I hope James gets it all – I’ll say no more. Also – do these guys have any idea of how expensive lamb is? 3 stars.