The Court, Hill Street Theatre.
From the moment the reassuring sounds of the Crown Court TV Theme start up, you know you’re in safe hands with another case for our Edinburgh judge to officiate. It’s not denied that Cathy McDonald caused her mother’s death, a cancer sufferer in excruciating pain, but was it a mercy killing (manslaughter) or murder to get her hands on her inheritance? Nine jurors selected from the audience will make the decision and are also allowed to ask questions of the witnesses. Like last year’s Conflict in Court, this is a smart, nuanced piece of writing, designed to send you in one direction with your verdict, only to throw you into doubt and make you change your mind! Acted with a terrific blend of seriousness and stagey tongue-in-cheek, this is superb theatrical entertainment.
Mary Bourke: 200% Irish, The Stand Comedy Club 2.
One of our must-see comedians every time we come to Edinburgh, Mary Bourke’s show 200% Irish seamlessly works through a number of comedy routines, from the racism of Peppa Pig, the physical side-effects of a handsome man on the company of women, to her appearance on Britain’s Got Talent and her experience of dealing with her husband’s stroke. If any of this sounds familiar, it’s because a lot of the material in this year’s show also appeared in last year’s, although to be fair this year it’s much more polished and word-perfect. So some of our laughter was the laughter of memory and recognition rather than exposure to a brand new damn funny joke. Nevertheless, it’s always worth paying to see Mary Bourke, even if she just read out a shopping list, such is the comedic majesty of her turns of phrase. Hugely funny as always.
A Chorus Line, Paradise in Augustines. 
A Chorus Line is my favourite musical of all time and I’m always keen to see new productions, although I always desperately hope that they are as true to the original Michael Bennett choreography and staging as is humanly possible. Edinburgh University Savoy Opera Group’s production, directed by Bella Taylor, comes pretty close and they do a tremendous job of recreating those superb dance routines on a stage the size of a pocket handkerchief; I don’t know how they did it, but they did it! 48 years since it first saw light of day, Chorus Line remains the beacon of everything that is good about performance, courage, love, friendship, support and all-round excellence. The production has some gender-blind casting which clearly works as everyone nails their characters, and there is some terrific dancing and singing too – especially in the harmonies. Personally, I entirely disagree with the decision to include an interval (unthinkable in A Chorus Line!) – however, it was very sensible to change the choreography for a couple of the characters where dancing was not the actor’s strength. I had a tear in my eye on a number of occasions – and I loved it just as much as I loved it when I first saw it on 29th December 1976 at the Theatre Royal Drury Lane – yes I am that old. And I haven’t even mentioned the live band, who were sensational. Given this is a student production it is way more successful than I could possibly have imagined. A superb achievement!