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.

Edinburgh Fringe Reviews 2026 – Mr Boy: The Beauty Contest for Boys, Stanislavski Can’t Save me from the Apocalyse, Clive, BIRDS: Alex Hines and Sarah Stafford, and Angela Bra – Secret Diary of a Bingo Call Girl

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Mr Boy: The Beauty Contest for Boys, Assembly George Square Studios.

3-starsWelcome to Mr Boy: the Beauty Contest for Boys. Our host introduces us to the six contenders for this year’s title, and at the end, you, the audience, will crown the winner – or at least, give him a sash. A clever framework for what is essentially a character comedy show, it nicely ridicules the outdated concept of beauty contests and offers some subtle – and not so subtle – critiques of toxic masculinity, suggesting a rather drastic, but nevertheless effective, solution to stopping men from doing harmful things in the world. Max Prentice gives a great performance as all the contenders and the host, with some smartly observed characterisations. The writing is perhaps a little patchy; at its best, it’s extremely funny, but there are a couple of scenes that don’t really get off the ground. However, it’s a super confident and engaging performance, and I’m sure Max Prentice will have something even funnier and more biting up his sleeve in the future – definitely One To Watch. 3 stars.

Stanislavski Can’t Save me from the Apocalyse, Greenside @ George Street.

Stanislavski Can’t Save Me from the Apocalypse is one of those titles that demands that you pay it attention! Living Room Productions’ play takes place at a summer camp in Maine for theatrical kidz (with a z) and is staged in reverse chronology so that the first scene is the final element of the story, and the last scene is the first. Unfortunately, somehow whilst they’re all at camp, they start going down sick and it’s pretty obvious that at the end of the day nobody’s getting out of this thing alive. It’s a promising premise and a good opportunity to show deteriorating relationships under pressure – let’s face it, the threat of apocalypse is about as tough as it gets. The play starts well but quickly goes nowhere, and the voices of most of the performers are too loud for the smallish acting space, resulting in (I’m sorry to say) a shouty mess. Some good performances and a couple of amusing scenes but, overall, this just doesn’t work. 2 stars.

Clive, Assembly Rooms.

Imprisoned in his apartment for one, all decorated in antiseptic white except for a green cactus named Clive, Thomas is grateful to work from home in a job he enjoys. Sure, he misses the daily contact with his Mitchell Taylor colleagues, like Ollie, and Sue from Finance; and no one ever expected to catch a glimpse of CEO Nigel. But new COO Naomi is different; a new broom sweeping clean. It’s down to her that everyone works from home now, in splendid isolation. She’s recently set Thomas an important task, late in the day, which has to be completed for the morning. Fortunately, he doesn’t mind working all night to get it done. But when Sue from Finance gets a public dressing-down from Naomi on a Zoom meeting, and Thomas stands up for her, maybe his days at Mitchell Taylor are numbered…. Michael Wynne’s insightful, inventive and surprisingly moving play gets a riveting performance from Paul Keating, smartly staged, using a range of cupboards to contain all the elements of Thomas’ life. It’s quite a sad story, and Thomas undergoes much hardship and loss before he can start to grasp the potentially green shoots of recovery – so there’s an optimistic ending! Directed by renowned director Lucy Bailey, Clive is an unexpected must-see. 5 stars.

BIRDS: Alex Hines and Sarah Stafford, Assembly George Square.

Alex Hines and Sarah Stafford play Beverley and Shayna, two Australian women who find themselves sharing the same beach, the same radio, even the same Eski. There’s been a weather warning, so they’ve closed the beach, but who cares about that? It means they get it all to themselves. As they get to know one another, they discover they have so much in common, like knowing the same local sales agent and being hooked on the Secret Sound competition on the trashy radio show. As the day progresses and it gets hotter and hotter, something’s gotta give; will our two specimens of prime Australian womanhood make it to the end? Part grotesque parody of Australian women and culture, part warning shot about the perils of climate change, BIRDS is a truly hilarious show that has you shaking with laughter and squirming with cringe, brilliantly written and staged by Alex Hines and Sarah Stafford. If Samuel Beckett had written Waiting for Sunscreen, this might be the result. Genius! 5 stars.

Angela Bra – Secret Diary of a Bingo Call Girl, Laughing Horse @ Bar 50.

4-starsGlossop’s Queen of the Dabber, Miss Angela Bra (rhymes with candelabra, you filthy beast) hosts an evening of jokes, hip-hop and bingo in Secret Diary of a Bingo Call Girl. Introducing us to the fine art of Drag Bingo, we sing along to songs about Buffy Butlers and Hen Dos, take part in some riotously funny games and, if you get a full house, compete to win a bottle of house wine (a small one, she’s not made of money). It’s a lively, laughter-filled and thoroughly good-natured show – the kind of show where you make friends with the people sitting next to you. Angela is a warm and funny comic creation, and you could tell that everyone in the audience had a terrific time. 4 stars.

Edinburgh Fringe Reviews 2026 – Daughter of Sweden – That One Princess Who Got Drunk with Lizzie I and Thrown Out of England, Only Fans for Therapy, Good Boy – Sorabh Dhir, Dogberry and Verges are Scared, Alfie Dundas: First Class Panic, Woman Seeking Cuddles, and “Be Good!” with Paulette

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Daughter of Sweden – That One Princess Who Got Drunk with Lizzie I and Thrown Out of England, TheSpace @ Surgeons’ Hall.

4-starsCecilia Saverman tells the extraordinary story of Cecilia Vasa, the daughter of King Gustav Vasa, who led a full life, crammed with adventure, romance, loss and – perhaps primarily – misogyny, as she spent her entire life at the mercy of her powerful male relatives. Briefly influential in the court of Queen Elizabeth I, Cecilia’s is a true battle for survival, and this excitingly written dramatic monologue really draws you into her vivid world, surrounded by the relics of her life, from her chamber pot to her coffin. Not only is this an excellent production, it also fills a gap in our general knowledge of this remarkable woman that no one in the UK will have heard of! Cecilia Saverman has marvellous storytelling skills and Daughter of Sweden comes highly recommended. 4 stars.

Only Fans for Therapy, Zoo Playground.

4-starsSometimes you see comedians bringing a stand-up act which is a barely concealed device for them to come to terms with something awful that has happened to them – comedy as therapy; it’s quite common. But I’ve never come across it in other genres. In Only Fans for Therapy, Verona Verbakel sits, impassive, in front of a laptop, whilst we watch the events that unfold on her screen. This is a hard-hitting, very challenging, frequently uncomfortable account of one woman working through her response to being abused as a child. It’s not a play; it’s barely a live performance. It’s a sequence of video films, interspersed with one, short live scene. Everyone who experiences this performance will have their own reaction to it, which in part will be due to their own personal experiences. As such, it’s virtually impossible to “review” in the traditional sense. However, if you break it down, there are three elements here. There is the “story” itself, details lightly suggested because Verona does not feel comfortable sharing too much; there is the creative process, with consultations with her psychologist, her drama advisor and, when all else fails, ChatGPT. And there is the finished product, to be taken as an experience, a performance, an entertainment – however, you wish to define it. It may take you a considerable time to come to terms with Only Fans for Therapy; don’t rush it. 4 stars.

Good Boy, Hoots @ Hilton on Bread Street.

3-starsThis was a new one on me. They say never work with children or animals, but Sorabh Dhir says phooey to that notion and does the entire show accompanied by his magnificent poodle Rocket. And Rocket’s not just an irrelevant background pet, he’s also an intrinsic part of the material – especially the big happy ending. En route, we discover Sorabh’s career to date; we also discover what AI really stands for, and the particular questions that need to be asked when an Indian man goes on dating apps. Sorabh has an engaging, enthusiastic style; he’s extremely likeable on stage and he builds a great rapport with the audience. He’s also got some fresh, original material, making this an entertaining hour of comedy. 3 stars.

Dogberry and Verges are Scared, C Arts C Venues C Aurora.

4-starsI’m not sure if Stoppard was the first to pick on two minor characters and make a full-length play of their offstage moments, but he’s certainly the most successful. Now, Michael Doherty and Will Mobley have kicked Rosencrantz and Guildenstern into touch and come up with Dogberry and Verges are Scared, those two lovable nonentities who keep the Watch in Messina in Much Ado About Nothing, and a more useless, feckless pair you couldn’t wish to meet. They’re huge fans of Hero (well, who wouldn’t be, with that gorgeous hair) and are gutted when they realise she’s died (and it’s all their fault). But of course, Hero lives, and after they have captured Don John, Dogberry and Verges can congratulate themselves on a job well done. Unlike Stoppard’s play, Dogberry and Verges are Scared is played purely for laughs, with the action and physical comedy ramped up to super-high, in an excellent production with a cast of six, some genuine scenery (rare at the Fringe!) and quality costumes. With co-writer Michael Doherty as Dogberry and Austin Tichenor as Verges, it’s an energetic, laughter-filled frenzy of Shakespearean proportions, with lots of wordplay – after all, Dogberry considers himself a blacksmith of words! Thoroughly entertaining fun for all the family. 4 stars.

Alfie Dundas: First Class Panic, Pleasance Courtyard.

There a quite a few posh boys on the comedy circuit, but Alfie Dundas reckons he’s the poshest. And he’s probably right. Fortunately, out of all his other posho rivals, he has the most comically astute material to illustrate his point, in this hour of beautifully delivered, drily wicked comedy. Alfie’s great comic gift is to maintain a perfectly poised straight face as he lands his killer punchlines, which somehow makes it all even funnier. There’s a lot of material about class, and going to Eton, where it was important to make friends with the people who would wield the nation’s power in the years to come. He also devotes a significant element of the show in memory of his late brother Louis, who died at the age of only four. If you think this is callous, he has various charts to prove that you’re wrong. This was our first time seeing Alfie but it certainly won’t be our last. An amazing new addition to the comedy scene. 5 stars.

Woman Seeking Cuddles, TheSpace @ Surgeons’ Hall.

3-starsOn one of Harper’s dating apps there is the option to seek cuddles; but despite the title of Renwick McAslan’s one-woman play, cuddles seem to be the last thing on Harper’s wish list. True, it was unfortunate that she had sex with an older guy one night only to accidentally discover that he was her father. Apart from him, we hear about Liam with the survival tattoos, needy Noah the actor, and another chap called Abraham, although I can’t recall many details about him. We learn of Harper’s complex love life and also her compulsive need to spit. There is a glass screen on stage that she goes behind and regularly gobs on – and if you’re sitting right in front of her, as we were, it’s a pretty revolting spectacle. There’s also a very strong lighting effect behind that screen which is viciously blinding if you’re sitting in those front seats. There’s an excellent performance by Hannah Strauss, but the play was not my cup of tea. 3 stars.

“Be Good!” with Paulette, Underbelly Bristo Square.

4-starsThe best thing about the Edinburgh Fringe is being able to see shows that you would never normally see. A prime example of such a production for most of us I would guess is “Be Good” with Paulette – an hour in the company of Daniel Maseda’s comic creation. It’s an hour that genuinely defies definition, in that it’s a little bit of everything – clowning, crowd work, surrealism, and TED talk – that is, if you want to know how to walk on a stage or remove a cardigan. I would estimate that 90% of the full house were hooting with hilarity at Paulette’s antics, whilst the other 10% were stony silent. You know how it is – some art forms simply do nothing for you, whilst you’re still fully able to appreciate the skill behind the performance. If you like your comedy sophisticated, you’ll hate this. If you like madcap lunacy, nonsensical banter, and absurdist humour, Paulette’s the man for you. I’m awarding this an extra star for his sheer effort. 4 stars.

Edinburgh Fringe Reviews 2026 – Apples in Winter, Mortal Sin, The Past, Millicent Sarre is Too Tired to Smash (Patriarchy), Spare Room, and Tom Little in his Comfort Zone

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Apples in Winter, Paradise in the Vault.

There’s nothing more wholesome than Mom’s Apple Pie and there’s no one with a bigger heart than Robert’s mother, who has devoted her life to giving her son the best possible start in life, full of love, security and natural home cooking. So it’s no surprise that we see her, making an apple pie for her son – the last one he will ever have; even if he doesn’t eat it, he will at least see it, smell it and recognise the love that created it. Jennifer Fawcett’s Apples in Winter is a riveting, emotional, elegantly written and truly honest play that plots the course of Robert’s life from birth to the present day, all seen through the eyes of his mother. An extraordinary performance by Edie Campbell takes us through all the emotions and lays bare a wounded heart that’s trying to make sense of it all. Acting and cooking at the same time too, which is always fascinating to watch! Unquestionably a must-see. 5 stars.

Mortal Sin, Gilded Balloon Teviot.

Growing up in sleepy Cundannon in the early 1960s is a playground for young Colm and Peggy, so long as you keep on the right side of the Church. When JFK is assassinated, it only seems fair that they have a day off school to celebrate, I mean mourn. Staging a protest makes sense – they’re sure Sister Assumpta will see sense, right? Perhaps the two will develop into long term childhood sweethearts; or perhaps they will have other ideas. Isolde Fenton and Benjamin Reilly play the two young best friends as they develop from primary school into adulthood. It’s very hard to play young children convincingly, but these actors have it nailed. Peggy is smart, bold, decisive and cheeky, whilst Colm is laid back, reticent, and – let’s face it – a bit thick. We laugh with them, we share their ambitions, and we see tragedy through their eyes. Precisely and wittily written by Benjamin Reilly, this is an emotional account of two young rural Irish people preparing to conquer the world. 5 stars.

The Past, Underbelly Bristo Square.

Fishing 4 Chips bring their trademark inventive comic lunacy to their new sketch show, The Past – in other words, any subject that has already happened is eligible for inclusion. From the dawn of time to December 1999, the guys present 27 short, hilarious sketches dealing with burning issues like who erected Stonehenge to the death of Abraham Lincoln and the true lyrics of Do They Know It’s Christmas. There is a lot of very good-natured audience participation, and Freddie Walker and Sean Wareing are quick-witted enough to deal with anything that the audience throws at them. Using the entire auditorium, the irrepressible duo know no boundaries to make us laugh. Sketch comedy at Edinburgh can be very hit or miss, but this is one of those rare beasts where there are no misses! Beware of flying beachballs! 5 stars.

Millicent Sarre is Too Tired to Smash (Patriarchy), Assembly Roxy.

4-starsMillicent Sarre presents a cabaret-style show of her own songs, some accompanied by her partner and guitarist, Cameron. Her subject: burnout, and how it is a feminist issue. Her songwriting is poignant, heartfelt, frequently funny, sometimes sad, and always resoundingly feminist. She has a stunning voice that not only gets into the funny bones of life’s ridiculousness but also expresses deep emotion. She keeps you permanently engaged with all her songs; if I have a criticism, it is that she starts and ends the show with upbeat tunes, but the songs in between are a little bit similar in tone and style – that said, it encourages you to concentrate on the lyrics, which are always rewarding. A very classy entertainment that has its heart in the right place. 4 stars.

Spare Room, TheSpace on the Mile.

4-starsBased on a true story, Georgina Housby and Sam Dinnage’s play centres on Jodie, the sole female housemate in a house of six young people. The other five lads drink, take drugs, sleep around and live in a mess – all to chaotic, toxic excess. Any decent codes of conduct are suppressed under the umbrella of banter, so Jodie’s survival tactic is if you can’t beat them, join them. However, there’s only so much consequence-free living that can take place before real harm is caused. It’s a bleak story which offers a dismal view of modern youth; I must say it made me feel good to be older! That said, it’s very well written and constructed, and the cast of eight give an excellent ensemble performance in a relatively confined space. I can’t honestly say I enjoyed it – but I don’t think it’s necessarily a play you’re meant to enjoy. At the end of the performance, the cast hand out leaflets by Heads Up Guys, with information on men’s mental health – an important message for young audiences to embrace. 4 stars.

Tom Little in his Comfort Zone, PBH’s Free Fringe @ Voodoo Rooms.

3-starsThe message behind Tom Little’s new show – In his Comfort Zone – is that, contrary to popular opinion, men shouldn’t talk more about their mental health. Nothing if not controversial! We learned the definition of Britpop, what makes a good listener, and the significance of crisps in the family unit. Tom has a unique style of delivery – quirky, with added jitters – and probably gets through twice the number of words that the average comedian employs, and therefore has to have double the content. We were a rather small audience, which probably didn’t give Tom’s material the chance to shine that it deserved; but he’s a likeable lad and it’s worth taking a Free Fringe punt on him! 3 stars.

Edinburgh Fringe Reviews 2026 – CAKE: A Crime of Love, Diary of a Mad Man, Carys Should be the UK’s Next Eurovision Entry, Miscast Sondheim, The Night Ali Died, and The Eight Faces of Ellie Morrison

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CAKE: A Crime of Love, TheSpace @ Surgeons’ Hall.

3-starsIf I knew you were coming I’d have baked a cake, goes the old song. Lottie knew it was boyfriend Alfie’s birthday tomorrow and she’s prepared a stunning cake. What she didn’t know was that Alfie and Lottie’s bestie, flatmate Dani, had a mutual fumble that went too far, which explains his unexpected presence in their flat. Playing with the timeline, and with individuals’ memories of exactly what went on, CAKE: A Crime of Love tries to expose the lies, the motivations and the marzipan out of the confusion. It’s a very ambitious play, filling 45 minutes with several threads, ideas, and viewpoints. Unfortunately, it’s both extremely complicated and difficult to follow, not only textually, but also working out the significance of the lighting changes has somewhat defeated me. However, the performances are all good and the characterisations are believable and engaging. An unclear play with some fiddly staging, but not without entertainment and suspense. 3 stars.

Diary of a Mad Man, Assembly Roxy.

Gogol’s Diary of a Madman, first published in 1835, is considered to be the first story to portray a genuine decline into insanity, specifically through schizophrenia, showing the narrator’s delusions of grandeur, hallucinations and finally his complete breaking with reality. In this production, adaptor and writer Derek Masterson has relocated our unfortunate protagonist to modern-day Ireland, in a world of Instagram followers and racial tension. It’s an extremely well-judged adaptation, cleverly equating Gogol’s characters and asylum to a business CEO and his staff, and creating a terrific sense of chaos. There’s inventive use of a mic and stand to create “the voices within”, and just the right amount of helpful screen projections to add contemporary menace. A riveting performance by Mark McAuley; unsettling, quirky, humorous and disturbing – not to be missed. 5 stars.

Carys Should be the UK’s Next Eurovision Entry, TheSpace @ Surgeons’ Hall.

3-starsCarys Jeffery Evans genuinely wants to become the UK’s Eurovision performer next year – and in the absence of a UK national final, she reckons this is her best chance to stake her place and make her pitch. Given its title, I think it’s unlikely that anyone would book for this show without at least some passing interest in the Eurovision Song Contest; if you don’t like Eurovision, this show is probably not for you (and you are beyond saving, but that’s another matter). Carys presents a well-researched and very interesting mini-lecture on what makes a successful Eurovision entry, although there is no such thing as the perfect Eurovision song; and she has many an insightful observation and also chooses some excellent examples for specific discussion (Trenuletul, Cha Cha Cha, and Rim Tim Tagi Dim, if any of that means anything to you.) It’s a charming, perhaps slightly eccentric piece, enthusiastically and knowledgeably delivered, and you can do your bit to help Carys on her way to Eurovision success by signing her petition. And if you’re like me, you’ll be singing Cornelia Jakobs’ Hold Me Closer for the rest of the day. One of those shows you’ll only ever find at the Fringe. 3 stars.

Miscast Sondheim, Greenside @ George Street.

4-starsFifty years ago, the Daddy of all Sondheim compilation musicals, Side by Side by Sondheim, showed how adaptable his songs are when sung out of context, and by singers of a different sex from the original. Marianne Elliott’s stunning production of Company eight years ago, also had fun with gender-swapping; and LAMDA’s Miscast Sondheim also shows that you can tinker with the genders and Sondheim will still come up trumps (if you’ll pardon the expression). Starting, like SbSbS, with a rousing performance of Comedy Tonight, this is a strong show with a talented cast of twelve, and much of its success comes from its excellent choice of material. Well done, for example, for skipping the more obvious Send in the Clowns (superb as it is) for the likes of The Miller’s Son and Everybody Says Don’t – two of the best individual performances in the show. Hello Little Girl from Into The Woods worked especially well with a slinky female vixen teasing a surprisingly tall and masculine Red Riding Hood. The one song that would have been fascinating to see gender-swapped – but they didn’t – was The Ladies Who Lunch; nevertheless, it receives a powerful traditional performance. The only slight issue is that the recorded soundtrack sounds a bit muddy and overpowering in one or two of the songs (A Little Priest struggles to make its lyrics heard) but this is an entertaining and well-performed tribute to one of musical theatre’s greats. 4 stars.

The Night Ali Died, TheSpace on the Mile.

Alistair Clark (Ali to his friends) leads an uncomplicated, unadventurous life working in a chemical research lab, until one day he makes a surprise discovery that his co-worker and best friend seems to be up to something illegal. Does he try to protect his friend, does he simply look away and forget about it, or does he tell the police? Whatever he does is the wrong decision, as it ends up being The Night Ali Died. Chris Sainton-Clark’s creatively structured, beautifully written crime drama is full of shocks and surprises, and he gives a stunning physical performance that keeps you talking and wondering about it for hours later. An unexpected delight. 5 stars.

The Eight Faces of Ellie Morrison, Greenside @ George Street.

4-starsEllie Morrison’s career as a rock star is on its way up – her brother, Mixed Martial Arts fighter Luke’s might be too, if only he could get motivated to train properly and improve on his natural ability. But he’s just not interested – even the thought of working together, brother and sister, on a world tour doesn’t impress him. But never underestimate the ends to which a determined woman will go to get her way. Writer Sam Beeson underwent years of training to learn MMA skills, specifically to understand the sport and recreate a fight on stage. In the process he suffered an injury that put him out of action for sixteen months, so he has truly suffered for his art! The play itself is slow to start; after all, trying to get someone to do something and their refusing to do it isn’t a very interesting subject. But once Luke’s training gets underway, the momentum builds towards the staging of the big fight, perfectly choreographed and executed by Sam Beeson and Rhys Athayde as his opponent, Alex Khan. Setting up the ring requires, by necessity, a slow scene change, which is a shame as it allows some of the expectation to wane as we wait to continue. However, the acting is of a high standard throughout, especially by Aislinn Evans as Ellie Morrison, Sam Powley as the manager Justin Fore and Beeson himself. A riveting climax to a slowly building drama. 4 stars.

Edinburgh Fringe Reviews 2026 – Tim Biglowe: Plonka, The Pitch, Candace Bryan: Don’t Be Ridiculous Everybody Wants This, The Distance and Matt Forde: Project Holy Moly

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Tim Biglowe: Plonka, PBH’s Free Fringe @ Slow Progress Cafe.

4-starsTim Biglowe returns with a new show where he proves he is a plonka (his description, not mine!) Moving to Thailand to save on the rent, his parents cruising to the Caribbean for all the wrong reasons, and the benefits – or otherwise – of being a Dink, Plonka is packed with terrific new material, and several truly hilarious stories, all delivered with Tim’s trademark, laidback hippie style. He’s a relaxed, engaging, indeed supportive presence on stage, who sets up an easy rapport with the audience to the extent there’s often a bit of banter going on. A series of inventive comic scenarios, the show is loads of fun, and our full audience buzzed with enjoyment. Always remember – just because it looks like a reviewer and sounds like a reviewer… isn’t always a reviewer! Highly recommended! 4 stars.

The Pitch, Pleasance Courtyard.

4-starsSet in East Belfast, we meet football-mad Robbie, who spends all his spare time on the pitch. Deren is also football-mad, although it’s the Gaelic variety, and he would dearly love to play his game on Robbie’s pitch. Meanwhile, Robbie’s sister Melissa is planning some devious romantic subterfuge which Robbie fears might get in the way of her football practice. In Philip Catherwood’s play, the fight for the pitch becomes a metaphor for a move towards a united Ireland, and, as a structure, it works very well. Confident and engaging performances from the cast of three, James Grimm, Jake Douglas and Dion di Maio, including some very impressive ball control; one miskick and you could take the eye out of anyone in the front row. Believable characters, robustly written and with just the right level of humour. There’s an additional romantic aspect too, which is perhaps a slight distraction from the main thrust of the play, but overall it’s a thoroughly entertaining and thought-provoking piece, extremely well done. 4 stars.

Candace Bryan: Don’t Be Ridiculous, Everybody Wants This, Gilded Balloon Patter House.

3-starsAn intelligent, informative and thought-provoking hour of comedy from Candace Bryan, a woman with the heart of a Communist but the cheque book of a shopaholic. It’s such a shame that the likes of Jeff Bezos and Blackrock own so much of the shopping world, it really plays havoc with your sense of balance and decency. Candace is a sucker for an online promotion though; take her newly bought headgear, which has to be seen to be believed. She has a wry delivery style and some very esoteric comedy moments – I may have been the only one in the audience to get the Sylvia Plath joke. Karl Marx has something to say about it all, but even he can’t defeat the power of the online review. There were a few good laugh out loud lines, but most of the show progresses at the pace of a low-level chuckle and it could do with an occasional boost of energy. 3 stars.

The Distance, Summerhall.

I remember the appeal of cross-country running at school. No team members to let down (because I was rubbish at sport), no equipment needed; and you finished earlier than all the other sports and went home more quickly. The only downsides were the abuse of neighbourhood golfers and the dangers of the local dogs. Chris gets into running that way. But when schoolmaster Mr Gunter watches him run for the first time, he knows Chris will be a good lad. But life doesn’t always run to plan, and it will take more than just strength, discipline and aptitude for him to last The Distance. Ben Norris appears in his own exciting and honest play based on his own experiences, which charts Chris’ ups and downs, through school, training and university, but will his endeavours lead him on to the ultimate prize (which, apparently, is not the Commonwealth Games). A fantastic, athletic and very sweaty performance has you gripped from the very beginning; a tale of struggle, survival and the support of a loving mum. 5 stars.

Matt Forde: Project Holy Moly, Pleasance Courtyard.

4-starsMatt Forde’s one of the best political satirists in the business and his shows always examine the current political scene and poke a little bit of fun at its most deserving bigwigs. This year he was somewhat sideswiped by the transformation of Keir Starmer into Andy Burnham, and if that political development adversely affected the content of this year’s show – you can more or less tell. Project Holy Moly is a relatively gentle survey of the state of the nation, and features some excellent impersonations – Ed Milliband, Angela Rayner, and above all Donald Trump; others – Badenoch, Farage, Anderson – fare less well. Matt goes personal with a fresh account of his latest problems stemming from his cancer surgery, which, despite the unfortunate circumstances, is extremely funny. Not quite firing on all comedy cylinders, even a slightly less-good-than-usual Matt Forde show is still very worthwhile catching. 4 stars.

Edinburgh Fringe Reviews 2026 – Dribble, The Jolly Fisherman, Bombs over Byker, Target Audience, and Max Fulham: Memory Foam

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Dribble, Underbelly Bristo Square.

An unexpectedly joyous start to the day. Whilst you’re queuing to get in, the six members of Cenica, part of the Sao Paolo Showcase, amble along outside the venue, recreating Brazil’s street music scene, and getting us all into the vibe. Once the show starts inside the venue, we see that Dribble is, on one hand, an examination of football in Brazil, but it quickly develops into something much more: a celebration of individualism, of equality, of those things that make life worth living. We see people’s own private stories, from the son whose father was dying while he was rehearsing the show, to the women who watch football together for different reasons, and the man who found the safety to come out and truly be himself. There’s a charmingly hilarious re-enactment of the first man (a Scot, Charles Miller) to bring football to Brazil, plenty of drink to keep us lubricated; and then the whole show culminates with going back outside to have a bit of a game of footie with the cast. I wasn’t entirely sure what to expect, but I didn’t expect any of that. The cast of six – Beta Cunha, Glauco Garcia, Fabiano Amigucci, Ícaro Negroni, Diego Guirado, and Márcia Morellio, do an amazing job of creating a combination of honesty, involvement, a sense of belonging and pure joy. One of those shows that the Fringe is made for. 5 stars.

The Jolly Fisherman, Underbelly Bristo Square.

4-starsBased on a true story, John Dinneen’s The Jolly Fisherman tells the story of Alan, whose dad and his mates drink daily in their local pub in Barking, and Amir, whose family move into a house on the same street. Alan and Amir become firm friends as boys, and go to the Jolly to play darts after school. Both boys influence each other with their own cultures – Amir learning about pub life and Alan experiencing Friday prayers. But the Jolly is to be closed – and rather than reopening as a reinvigorated pub, it becomes a mosque. Can their friendship survive a decade, or will suspicion and radicalisation change the way Alan thinks about Amir? Dinneen’s highly anticipated play poses some very challenging questions, and you almost dread finding out all the answers. Jonny Khan and Alex (Why I Stuck a Flare…) Hill are two outstanding actors who play the two boys-into-men with great understanding and true heart. Whilst the play itself may have the occasional lull and drop in energy, Khan and Hill always keep you totally engaged. And there’s a rivetingly exciting ending that you don’t know which way it will go until the final few seconds. 4 stars.

Bombs over Byker, Greenside @ Riddles Court.

4-starsRiver’s idle search for a job is upended when he joins his mother and sister to stay with his grandmother in Byker, Newcastle. A chance encounter with a dying pigeon leads him to meet local lads Shane and Crombie, whom he invites to a student party – a scenario which stirs within him an unexpected desire for criminal mischief. And once kindled, does that flame of criminality grow? Or can he pull himself and his friends back from the brink? Fresh from his excellent The Shadow Boxer last year, Lucas English returns with Bombs over Byker, an intense and intricate play that weighs the benefits of certain crimes over others, raising questions of morality, family loyalty and just how far you can endanger yourself and others for the greater good. Lucas is an excellent writer and storyteller, and this is a superb performance, clearly bringing together all the characters and voices in his tale, staging the play simply and effectively for a small acting space. Highly recommended! 4 stars.

Target Audience, Pleasance Courtyard.

4-stars£10,000 for a daily consultation rate? Novelist Tobias can’t believe his luck as he’s called into the creative room to smarten up the scripts of Citizen 54 and Thorns! Of course, the studio has to satisfy the needs of their stakeholders and their owners, and their owners’ owners… But Tobias has principles. Will he sell his soul to help write a script that goes totally against his beliefs? Dan Bishop’s Target Audience is a cleverly written and witty play that examines the ins and outs of a TV studio creative executive suite, and asks the question – what would we do when we’re truly Up Against It?! Excellent performances from the cast of four – Henry Calcutt, Rheana Kamalu, Molly Windust and James Coward, the show delivers laugh after laugh whilst successfully making some very difficult points. Very enjoyable. 4 stars.

Max Fulham: Memory Foam, Pleasance Dome.

We’ve all got attics with loads of cardboard boxes in them, and every few years we make a visit up there just to sort out what’s in those boxes. In Memory Foam, Max Fulham is back with another ecstatically funny hour of ventriloquism – yes, I know those two concepts don’t often go together – with not only three encounters with Grandad, but also a lovelorn puppet from a charity shop, his great-great-great-(and probably further back)-Grandad, talking works of art, and a very special guest who has a very well-known website. Max’s quick brain is at its devilish best when joshing with the audience, and he has the enviable gift of making literally nothing funny – you’ll see what I mean if you see his show and watch out for Islands in the Stream. Loved his show last year – this year he’s even funnier. Remember, you never know what could be in those cardboard boxes. It may be ventriloquism – but it’s not for kids. 5 stars.

Edinburgh Fringe Reviews 2026 – Mandy: Prince of Darkness, Just Blokes, Christian Dart: GUMSHOE!, January 6th The Musical, You Talkin’ to Us? and Robin Grainger: Lemonade

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Mandy: Prince of Darkness, Greenside @ George Street.

4-starsIf anyone has dominated the machinations of the Labour Party over the past forty years, it’s Peter Mandelson. Prince of Darkness, the Dark Prince, we all have our nickname for him; the Machiavellian powerhouse who worked tirelessly to influence Labour’s change of fortunes from the hard Left of the early 80s, to Blair and Brown, and of course his presence is very much felt even today, with his recent role as Ambassador to the United States. And not a thing has ever gone wrong in his glittering career, right? He’s always had immaculate judgment and never been involved in any scandals… oh wait… this is Lord Mandelson we’re talking about; and this show depicts him as an urbane, sincere servant of his country, his only flaw being his excessive humility. Of course, anything untoward has never been proved. Richard Stirling truly makes you think you’re in the room with Mandy himself, with a studied, controlled and thoroughly believable impersonation, with some nice moments of Blair and Brown chucked in for good measure. The show is a genuinely fascinating account of UK politics since the 1980s as seen from the Mandy perspective. A well-constructed narrative written by Stirling contributes to a compelling performance, and you can completely understand how this man could have wrapped political leaders around his little finger for decades. Quietly riveting and thoroughly entertaining. 4 stars.

Just Blokes, TheSpace on the Mile.

Mental health – especially for men – is one of the big, yet easily brushed under the carpet topics of our day, so Tori Kay’s Just Blokes is a welcome contribution to our understanding of the problem. Donny, Daniel, Kylie and Seb share a flat; all of them with their own problems and their own ways of dealing with them. Five minutes in these guys’ company and you quickly see just how easy it is for one person to be the target of bullying, under the guise of banter, by the rest of the group. But it isn’t always the most obvious person who suffers the most. The characterisations are recognisable, and the way they treat the women in their lives, sadly predictable. The road to Hell is paved with good intentions, they say, and although this production is far from Hell, the good intentions don’t fully get realised in the writing or performances. Despite having the smallest roles, it’s the women in this production who stand out. The writing is a little clunky at times and the direction needs some fine tuning, but if this somehow helps someone to speak out and ask for help, that’s the best possible reaction to the play. 2 stars.

Christian Dart: GUMSHOE!, Gilded Balloon Teviot.

No police tactic is too excessive for Detective Gummo, as he solves a case of moyder in 1940s New Yoik. A delightful parody of those Philip Marlowe/Raymond Chandler movies, Christian Dart’s outrageously creative Gumshoe! returns for another year – an hour of pure comedy escapism. Given that it’s an intricately plotted one-man show, the element of improvisation within the play is truly impressive. He’s an extraordinarily quick thinker, bouncing off any and everything that the audience throws at him, which makes every performance different. The whole show is brilliantly self-deprecating, ridiculous and hilarious, with an amazing energy level and terrific physical comedy. You could get exhausted laughing – and if you sit in the front, you may well end up involved! A comedy masterclass. 5 stars.

January 6th the Musical, TheSpace Triplex.

4-starsWhat’s this? A musical about the insurrectionists at the Capitol in Washington DC on January 6th? Is that really suitable material for a musical? Of course not. But then this is not a musical about insurrectionists. It’s a show about two wannabe theatre stars who accidentally get caught up in the Capitol riots whilst preparing to break into the famous DC theatre scene on their birthday – yes, they share the same birthday. It’s an easy mistake to make. They’re innocent, naturally, although Patti Lupone calling for them to be blacklisted doesn’t help their career prospects. Jessie Ballard and Kiely Sugayan’s January 6th the Musical is a fresh, funny and energetic show, tinged with Fringe magic. The songs (not that there are many) are tuneful and singalong, the vibe is upbeat and frothy, and the performances are engaging, chirpy, and loads of fun. Its success lies in its charm, and the fact that it doesn’t try to overstretch itself and do too much. Bright, mischievous and thoroughly entertaining! 4 stars.

You Talkin’ to Us?, TheSpace on the Mile.

4-starsExploited by your boss? Forced to work 30 hours a week overtime? Miserably underpaid in poor work conditions? Then hire an out of work lawyer to unionise your workforce! But supposing your job is hard-nosed gangster? Or even soft-nosed? Authentically Productions’ You Talkin’ to Us? has a brilliant, ridiculous central premise and is wittily written by Daniel Sanchez O’Brien. Full of attack and performed with gusto by Arran Hogg, Liam Scobie, Kirsty MacVicar, Daniel John Doherty, and Callum Latham, it establishes a lovely sense of the ludicrous whilst just about hanging on by a toenail in reality. Kudos to Messrs Scobie and Latham for the most devastatingly effective stage punch too! My only criticism is that the voices were a little too loud for the small acting space, but otherwise I recommend it for a good laugh in an unexpected setting. 4 stars.

Robin Grainger: Lemonade, Assembly George Square.

It’s always a privilege to spend an hour in the company of comedy genius Robin Grainger. Having spent many previous shows covering trauma, his new show Lemonade takes all those earlier lemons and makes them into… well, lemonade. Concentrate on the good things in life is his message in this show. In true Grainger style, the show starts gently before building into a giant comedic frenzy – at one stage I was genuinely wiping away tears of laughter. Recollections of pets past and present, trips to the local swimming pool when he was a boy, love for his family and friends, and battles with his robot vacuum cleaner – all perfectly judged and expressed comedic nuggets. I loved how his French Bulldog only speaks in French – c’est bizarre. With his enthusiastic and ebullient stage presence, he always gets just the right level of self-deprecation; as a result, it’s very easy to identify with his stories and experiences. A visit to the Fringe is nothing without Robin Grainger! 5 stars.

Edinburgh Fringe Reviews 2026 – Annie Wobbler (Revisited), Parking Spot: The Musical!, Madeleine Brettingham: Legend, and Casey Filips: What a Character

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Annie Wobbler (Revisited), Pleasance Dome.

Nichola McAuliffe returns to the role that Arnold Wesker wrote for her 45 years ago. In an acting tour-de-force with the words of a most distinguished writer, five scenes portray three different Anna’s, at different stages of their lives. Ms McAuliffe has updated the text – sensitively and smartly – which serves most prominently to bring the young Anna of the first scene into the world of social media where her anxieties and class differences become even more apparent. Compactly but creatively staged, Nichola McAuliffe’s intelligent characterisations draw you in as you empathise with the various Anna’s – even the super-confident, hard-nosed version. But your heart truly goes out to the elderly, homeless Annie Wobbler at the end, a person whom we’ve all seen on the streets at some point, and to whom we’ve probably never given another thought. A stunning performance and a privilege to get so close to such a great actor. 5 stars.

Parking Spot: The Musical!, Greenside @ George Street.

Will’s bought a car! Hurrah!! Now, where to park it? Trouble is, in Jersey City parking spots are as rare as an admission of guilt by President Trump. Retired resident Dale has his own spot, and when he dies, it comes up for grabs. But Will’s not the only local who needs a parking space and what once was neighbourly banter quickly turns into ruthless rivalry. Louis Armistead, Erick Eiser and Dash Hammerstein’s light-hearted musical has an entertaining premise but sadly, doesn’t go anywhere. It starts very promisingly with a jolly, upbeat, wittily written number, but after that everything becomes rather samey, and, I’m afraid, a bit boring. Performances are lively but patchy, with some performers’ voices too soft and others a little out of key. A nice idea that unfortunately fades away. 2 stars.

Madeleine Brettingham: Legend, Gilded Balloon Teviot.4-starsMadeleine Brettingham is a Legend; not surprising really, she takes after her dad and he was a Legend too. That’s the basis of her excellent hour of comedy, a female geezer whose ideal man would be on the beta spectrum. We hear about her childhood and growing up with just a single dad who, let’s face it, liked a drink; but, nevertheless, she went to Cambridge, even if she had to attend the May Ball in an unconventional manner. Very confident, with a fluid, punchy delivery, the show is packed with cleverly constructed material, including the assumptions that undertakers always make, and a spectacular ending that only a Legend would dare devise. Madeleine Brettingham is happy to tread a dangerous path between the merely comic and the comically tasteless, but if it all seems a bit much, just remember her dad would have loved it. Great crowd work; and very funny. 4 stars.

Casey Filips: What a Character, Assembly George Square.

Hot on the heels of his brilliant Virtuoso show last year, Casey Filips returns in What a Character – something of a misnomer as he introduces us to four of them, each of whom loves a spot of audience participation. Casey is a complete master of character comedy, improvising and clowning around with whatever the audience feeds him, making you laugh uncontrollably not only at the silliest of concepts, but also with admiration for his extraordinary timing, a brilliant gift for comedy callbacks, and the kind of expressive face that dares you not to giggle at it. I won’t spoil any of the surprises as to the nature of these four characters, suffice to say it’s all incredibly creative and you’ll continue laughing long into the night with the memories of it all. Simply hysterical. 5 stars.

Edinburgh Fringe Reviews 2026 – Ulysses of Scranton, The BBC’s First Homosexual, Olivia Raine Atwood: Oops, Brick, Bilal Zafar: Rubicon, Sami Abu Wardeh Hates You, and Sodom, The Quintessence of Debauchery

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Ulysses of Scranton, Bedlam Theatre.

4-starsI suspect I’m not the only person who attempted to read James Joyce’s Ulysses, got as far as page 434 and thought – do you know what? Life is too short. I put it down and have never picked it up again. That was 48 years ago! Can Scranton Fringe Festival’s Ulysses of Scranton do everyone a huge favour and allow them to bypass the original? Not really – but I don’t suppose that was their intention anyway. The entertaining and thoroughly meta premise is that Scranton Theatre of Pennsylvania are putting on a one-hour abridgment of Joyce’s masterpiece but they’ve only got one hour till curtain up, so we’re watching their last-minute rehearsal. So not only are they encapsulating Ulysses, they’re also showing the nooks and crannies of the rehearsal process, the tensions and alliances between individual cast members, and those oh so important artistic differences. At times it reminded me of A Chorus Line (bear with me), with a disembodied voice barking instructions, and delving into cast members’ own backstories and relationships. It’s very inventive and often very funny, acted beautifully by the cast of five, with some thoroughly entertaining characterisations. I wondered if it would make me want to revisit the book all over again? Probably not! But this is a very entertaining and creative way to spend a morning.

The BBC’s First Homosexual, Assembly George Square.

Hard-fought-for freedoms can never be taken for granted. It’s extraordinary to think that, as recently as the 1950s, it was deemed impossible even to mention the word homosexuality on the BBC. The BBC’s First Homosexual – a very tongue-in-cheek and inspired title – follows the necessarily tentative steps toward making a serious, respectable radio documentary where society’s great and good could expound on their theories as to why what they would see as this warped perversion could start gaining traction amongst the people – the weak-willed ones, no doubt. Such a documentary was recorded in 1954 – but not broadcast until 1957, and even then in a heavily censored format. The story of the documentary is interspersed with one young man’s own story, an assistant in ready-mades at a Manchester branch of Burton’s tailors, who slowly starts to understand his own sexuality through a series of unintentional, and then very much intentional, encounters; the two stories play alongside each other until they dovetail together at the end. Dr Stephen M Hornby’s remarkable play is elegantly structured, wittily written and provides a fascinating insight into a sad, repressed time. The cast of three – Max Lohan, Andrew Pollard and Jolyon Benson – take on a raft of brilliant characterisations and bring out both the hilarity and tragedy of the subject. A slick, brisk, tight presentation of an important play that reminds us that we must never stop fighting to keep all those hard-won freedoms.

Olivia Raine Atwood: Oops, Gilded Balloon Teviot.

4-starsOlivia Raine Attwood’s Oops is the lively, hilarious and very relatable tale of how she became a full-time matchmaker, a career path which rose organically out of High School Olivia’s despair that she would never be the object of anyone’s desire. We learn of the vicious clique of girls who made her life a misery, of the boys she longed for; and, on a different track, we also discover the perils of running across the Williamsburg Bridge at an inappropriate moment. Olivia has a brilliant delivery of her smartly structured and worded material, and it’s a very engaging and indeed energetic hour that draws you into her world and – whether it’s all true or not – you believe every word. A fun, light-hearted hour packed with laughs.

Brick, C Arts C Venues C Aurora.

3-starsNoah Xavier performs their own play, Brick, which concerns James, detained after throwing a brick at a police officer during a protest. When you’re caught up in the excitement of a protest, with its goading and galvanising atmosphere all around you, it’s easy to lose one’s head and do something you regret later. These things happen. Being in a cell, with just a comatose room-mate for company, gives James a chance to, if not cool down, then at least reflect on the reason he went to the march, his wider family circumstances that have shaped his attitudes and beliefs, and the state of the nation – indeed, the world – as a whole, where institutional failures are constantly making life worse for everyone, except those who have a financial interest in continuing those institutional failures. As the play moves to its conclusion, you realise that the narrative has subtly changed, and we’re no longer talking about a one-off march, and that the water and inhaler he requests take on a greater significance – I won’t spoil the surprise. Noah acts with huge conviction and heart, and it’s a bold piece of work, created by a new voice with huge potential. Personally, I feel it would be even better if the opening scenes were cut shorter, with less attention to humour, progressing more rapidly to the essence and meat of the play – that would give it a much greater impact. Nevertheless, there is something that everyone will recognise in this play – especially if you’ve ever wanted to fight to change the world for the better.

Bilal Zafar: Rubicon, Underbelly Bristo Square.

3-starsWhy is it called Rubicon? It isn’t anything to do with crossing a mythical river, that’s for sure. Bilal Zafar presents a varied and perhaps uneven hour, where he takes us through his career to date, acts out a scene from a film with a member of the audience, discusses how he teased Harrods by offering to buy some of their vastly expensive Christofle ornaments, and plays a round of Who Wants to be a Millionaire with another member of the audience – on this occasion, that was me. I think I won, but I’m not entirely sure. The show didn’t seem to flow entirely to plan, and he sometimes came across as a little ill at ease. Where his fluidity absolutely took off was with his account of his new job as a teaching assistant, which created a very warm-hearted and cute section of his material. There were plenty of laughs and a rewardingly clever closing sequence that wrapped up all the threads in the show that you didn’t even realise were threads. Maybe we were a rather unresponsive audience, but I did come away from the show feeling that something just hadn’t quite clicked.

Sami Abu Wardeh Hates You, Pleasance Courtyard.

4-starsSami Abu Wardeh comes on stage, all guns blazing, full of attitude and funny noises; and he instantly makes his mark with loads of energy and plenty of attacking material. He concentrates at length on his unusual childhood: born in Kuwait to Irish and Palestinian parents, where he lived till he was 4, which was when Saddam Hussein decided to make Kuwait not such a safe place to be. The family moved to a council estate in London, where, as a 5-year-old, he schooled the local racist kid in how to be racist properly. He stopped being a poor kid in London when the family moved again, when he became a poor kid in Dubai. He has some great material about how to break down the police through the subtle art of clowning and offers a new perspective on just how unsafe it is to live in Battersea. Politically, sometimes he takes his material where angels fear to tread, and I hope he has a good coping mechanism if audiences take umbrage! But he is clearly a naturally very funny person, and this is an hour of good, solid comedy.

Sodom, The Quintessence of Debauchery, TheSpace @ Surgeons’Hall.

4-starsA rare opportunity to see the first play to be banned in Britain under the Theatres Act of 1737. Allegedly written by Sir John Wilmot, 2nd Earl of Rochester and privately performed at the Court of King Charles II in or around 1678, it’s a satire, dealing with the corruption and vice of the monarch, and, unsurprisingly, Charles II didn’t appreciate it. It was published in Antwerp as no one in England dared touch it; nevertheless, any published copies were seized, book dealers who sold it were prosecuted, and when it finally made its way to the Examiner of Plays in 1737, it was summarily dismissed. Today it appears as a period piece, and very much an oddity; the premise being that King Bolloxion has decreed that buggery is now not only legalised but encouraged. For this play to work, it must come across as crude, filthy and playful as possible, and Nikita Matthews’ production pretty much achieves that. There’s no expense spared on the costumes and make-up to recreate the Restoration era, plus there are live musicians and a plethora of dildos, and what more do you need at 11.30pm at night? It’s a shame that the play itself is not better; that’s no one’s fault but there are good reasons why this play never sees the light of day and it’s not just its subject matter. But the very spirited cast give their all, and there are several laugh out loud moments – perhaps the best being the unexpected musical interlude that cocks its hat to the musical Annie. The team deserve all the stars in the world for pluck!