Tag Archives: fringe

Edinburgh Fringe 2025 Reviews – Find Me, Homo(sapien), Brainsluts, How To Kill Your Landlord, and Robin Grainger People Pleaser

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Find Me, The Space on the Mile.3-starsOlwen Wymark’s riveting play was first performed in 1977 and is still sadly relevant today. It tells the true story of Verity Taylor, sent to Broadmoor at the age of 19 for setting light to a chair worth £6 – but that act alone doesn’t come close to illustrating all Verity’s problems, and how the medical and social service professions failed to provide her the necessary help because she fell between the cracks. Performed by the Parker and Snell Company, it boasts some good performances, especially from the actors playing Verity and her father. A tough watch in many respects, it’s important to keep this timeless play alive. 3 stars.

Homo(sapien), Assembly Roxy.4-starsFantastic first play by Conor O’Dwyer, telling the story of “Bad Gay” Joey. He’s bad for several reasons, primarily – in his eyes – because he still hasn’t had sex yet, despite countless opportunities to put that right. Conor creates a colourful cast of easily recognisable characters who all play a part in his tale. Beautifully written, with some terrific plot twists, performed by Conor O’Dwyer himself with charm and wonderful comic timing. Engrossing from beginning to end. 4 stars.

Brainsluts, Pleasance Courtyard.4-starsFour participants meet every Sunday for five weeks as guinea pigs in a clinical drugs trial, or brainsluts, as these participants are sometimes called. They must report any side effects from the drugs they are given each time. £2000 for five days’ work – not bad at all, if you need the money, and it’s a significant feature of today’s gig economy. But do they all need the money? Do they all tell the truth about themselves? Do they genuinely feel any side effects? And what motivates the supervising doctor? A hilarious script by Dan Bishop encourages great performances from all five actors. A slightly inconclusive ending – but then again, you wouldn’t know the outcomes of any drugs trial in which you were involved, so that’s only to be expected! Lovely observational comedy of these characters, each carrying their own individual private stresses. 4 stars.

How To Kill Your Landlord, Bedlam Theatre.3-starsArchie bought Joq’s Grandma’s flat when she died and he’s been a miserable old b*stard of a landlord ever since. Joq, Burke and Harriet, his unfortunate tenants, are desperate for revenge, whether driven by political ideology, love for the local foxes, or just loyalty to Grandma. But be careful what you wish for – the best laid plans of mice and men gang aft agley. The Young Ones meets Blithe Spirit in Meade Conway’s crazy, farcical comedy, energetically performed by its talented cast members, Frankie Weatherby, Robbie Fletcher-Hill, Elijah Khan and John Gregor. Plenty of well-executed physical comedy, and if I were to say that no landlords were harmed during this play, that would be a lie. 3 stars.

Robin Grainger People Pleaser, The Stand Comedy Club.Robin Grainger is a people pleaser. He’d give you his work lunch if you wanted it. At school, he’d aim to make the other kids laugh, even if it got him into trouble. Not that they appreciated it. People Pleaser is not the show he had planned on performing this year, but life has a way of making you change your mind, and he had Quite A Year. I won’t say more about the nature of his material, because he can tell it so much better. A Robin Grainger show is always a special event; where most other comedians deliver a recognisable standard-packaged comedy product, Mr G’s material cannot be categorised so simply. It always comes straight from the heart and from his own unique perspective. Don’t get me wrong – People Pleaser has you guffawing from start to finish with some blissfully funny sequences, such as the estate agent and the cat, or the audition from hell, all told with his unmatched timing and deliciously chosen words. He fully deserves his place amongst the top echelons of current comedians. 5 stars.

Edinburgh Fringe 2025 Reviews – How to Win 5 Grand on the Internet, The City for Incurable Women, ROTUS: Receptionist of the United States, Courier, Will Owen: Looking Fab at Fifty, and Three Can Keep a Secret

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How to Win 5 Grand on the Internet, Zoo Playground.4-starsIf you’re expecting a TED talk on how to win money online, think again. Laurence Baker managed to make a living from playing internet poker after his father died, but is that really the legacy he wants to leave behind? This fascinating piece of experimental theatre is both funny and challenging. Laurence is a splendid clown and improviser, who conveys the process of trying to express thoughts and ideas where words just don’t cut it. Some sentiments are difficult to communicate, and the play concentrates on that search to find a way through. It’s worth noting that it relies on considerable participation from the audience, although it’s easy to duck out of that if you want. Some sequences work brilliantly, others don’t entirely land, but the bravery of this performance and the experimental directions that the show takes make this constantly stimulating and intriguing fun. 4 stars.

The City for Incurable Women, Pleasance Courtyard.4-starsA fascinating history of how society in general and the medical profession in particular have treated women over the ages. Concentrating on the work of 19th century Parisian Dr Jean-Martin Charcot, a pioneering scientist and misguided busybody, actor Charlotte McBurney both conveys and lives through the cruelly harmful practices to which women have been subjected over the years – and with the continuation of medical misogyny, that’s not ending soon. An intelligent and unpredictable narrative, beautifully written by Helena McBurney, it’s not only an inspiring piece of drama, it’s fascinatingly informative too. Very slickly put together, and a technically flawless performance. 4 stars.

ROTUS: Receptionist of the United States, Gilded Balloon Patter House.3-starsChastity Quirke rules the roost outside the Oval Office in her unofficial role as receptionist of the United States. No one notices a receptionist, not even the “pretty blonde” ones, so she hears secrets that no ordinary spy could discover. Would she use these secrets to her own advantage? You betcha! But what’s that old saying about when you play with fire you get burned? Will Chastity be outsmarted and be used as a sacrificial lamb, or will she get the last laugh? A smart and engaging performance by Leigh Douglas as not only the ROTUS, but also all the other characters in this entertaining tale of political intrigue. 3 stars.

Courier, Zoo Playground.<4-starsBenny works his socks off, on his bike all day, delivering his food orders all around town. During the Covid pandemic, he sees himself as an essential worker, couriering his Deliveroo bag to whoever needs it. Benny is on a mission to deliver to 25 Swanpool Road, but it seems as though wherever he delivers, he meets Lucy, who has given him her number… What starts off as a simple celebration of the life of a Deliveroo operative takes a turn for the surreal, and Things Are Not Necessarily What They Seem. An excellent solo performance by Piers MacKenzie, cunningly but honestly written. Funny, alarming, and constantly surprising. 4 stars.

Will Owen: Looking Fab at Fifty, Assembly Roxy.4-starsAn hour of very engaging comedy with the extremely likeable Will Owen, exploring what it’s like to be a young gay man today, and how he fits in (or doesn’t) with the scene. Can Grindr help him find the man of his dreams, and even if it does, will he want to see him for a second date? Effortlessly funny, he strikes up a terrific and instant rapport with the audience, and packs tons of excellent material into his tightly written and structured set. Great fun, and I reckon Mr Owen will be One To Watch. 4 stars.

Three Can Keep a Secret, The Space on The Mile.4-starsMason invites his poker buddies Moose and Sonny over for a boys’ night of cards whilst his wife Denise goes off to Vegas with her friend Julia. The evening starts promisingly enough but things get a little tense after the first round of cards; and when Mason goes to fix some fresh drinks for the guys he gets a rather unpleasant surprise…. Three Can Keep a Secret is a comedy thriller by Gregory Crafts where the audience gets to choose which way the story develops at several important plot points, so every performance is always different, depending on the decisions made by that audience. Brought to the Edinburgh Fringe by Theatre Unleased of Los Angeles, a terrific cast keep the pace and atmosphere going with high energy and a lovely mix of fun and suspense – and also some impressive stage combat! A thrillingly entertaining end to your Fringe day! 4 stars.

Edinburgh Fringe 2025 Reviews – Thin Walls: (Men)tal Health, Bloody Influencers, Lianna Holston and Michael McPheat: Starter Pack, Hold the Line, Footballers’ Wives: The Musical, and The Naked Neds

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Thin Walls: (Men)tal Health, Greenside @ George Street.3-starsThree brothers react to the death of their father in their own different ways. The oldest, Rick, retreats into his bullying shell and doesn’t allow the others to grieve. Ben, in the middle, needs therapy but refuses it, causing his own relationship to break up. The youngest, Danny, always the most emotional, comforts himself with heavy drinking and outbursts of anger, endangering his college degree. Friends try their best to support them – but there has to come a point when you must take charge of your own destiny and work your own way out of your desperation. Wabash College’s theatre department’s Thin Walls (Men)tal Health tackles the brothers’ predicament with some sensitive and witty writing and ending with a positive message. They wisely cut the story short so that at just 40 minutes, it gains in punch and pithiness. This is an ambitious production for a small stage, with a surprisingly large cast. A very moving little play. 3 stars.

Bloody Influencers, Greenside @ George Street.4-starsMeet Daisy – that’s @daisy_beautyme – a devoted Insta influencer with thousands of followers feeding her need to be loved and recognised. Just count all those clicks! Together with gamer Neil they make the perfect Influencer pair. But when Neil gets cancelled, and it’s revealed that none of this adoration is real, all the online affection just fades away. But what’s an influencer to do? They can’t just give up! Daisy Woolworth gives a brilliant performance as the bloody influencer, delightfully vacuous in her superficiality, who finally gets to realise who she really is and what matters in life. Don’t mention her super successful sister! Great fun, and with an important message for these social media times. 4 stars.

Lianna Holston and Michael McPheat: Starter Pack, Gilded Balloon Patter House.3-starsA very jolly presentation from Lianna Holston and Michael McPheat. After Lianna ascertained what I had for breakfast – not much – she was concerned that I would pass out through hunger at some time during the show. That was kind of her. Then it was over to Michael for the first half of the show, and the experience of growing up in Milton Keynes – I feel his pain – being the Gay Best Friend, and experiencing the horrors of a Baby Shower. I loved his material about his favourite aromatherapy! He then introduced Lianna’s act, which was beautifully constructed with perfectly chosen words delivered to maximum effect. She has terrific material about being a woman in a hedge fund company – not allowed anywhere near the finance – and had a nice aside about male comedians. She ends her act with some delightfully silly observations about frogs and other animals, which is much funnier than it sounds. Full of energy and very entertaining – great fun for a spot of afternoon comedy. 3 stars.

Hold the Line, Pleasance Courtyard.<3-starsHave you ever thought of what it would be like to be the person receiving the calls on 111 – the NHS non-emergency line? Gary Macgregor’s Hold The Line shows how stressful it can be, with unreasonable targets to be met at the expense of each operator’s personal time. Gary is one such operator, and on this one particular day, he faces having one client whose father dies – was Gary in any way culpable? – and another whom he tries to save from jumping in front of train. Quite the day! Well-constructed, the phones alone make you stressed! I personally didn’t care for the musical phone sequence – just not to my taste – but in all other respects well-acted by Gary and Gabi Chanova, and an eye-opening account of an aspect of the NHS that gets less recognition than it deserves. 3 stars.

Footballers’ Wives: The Musical, Assembly Rooms.3-stars<Confession time: I’ve never seen Footballers’ Wives on TV. The only character I’d heard of in the show is Chardonnay, and India Chadwick’s portrayal of her is exactly how I would imagine her. The musical, by Kath Gotts and Maureen Chadwick, is based on the plotlines of the first series, and involves infidelity, violence, more infidelity, sexual assault, and infidelity. There’s also a football team lurking in the background that doesn’t play much part in the story. The costumes are good, the voices are great and the songs are not bad, if a bit samey and predictable. This is a Marmite show; there were plenty of audience members whooping ecstatically throughout, and there were quite a lot of people who drifted out of the auditorium as it progressed, never to return. Some characters and actors were curiously underused, whilst there’s no doubt that Tanya Turner, played by Ceili O’Connor, is the star of the show and she gives an enjoyably gutsy performance. I suspect that if you enjoyed the TV series, you will love this show. If you didn’t see it, it might not mean much to you. 3 stars.

The Naked Neds, The Space at Surgeon’s Hall.4-starsFour Glaswegian pals sit around their pub table sinking pints and playing cards, and talk inevitably comes around to their missing fifth, Cammy, whose recent suicide came as a complete shock to all four of them. They want to set up a fundraiser in memory of their friend, and they can’t settle on a suitable choice until one of them suggests doing their version of The Full Monty. However, one of the four also has to confess that he has recently found a lump on his testicles but hasn’t bothered going to the doctor. Consequently they all find out about the correct way to check oneself for testicular cancer, and, despite natural reticence from one of the guys, The Full Monty goes ahead. This is a very funny, surprisingly moving play, that takes the serious subjects of suicide, mental health and testicular cancer and looks them straight in the eye, whilst never becoming either preachy or mawkish. Written, directed by and featuring Ingram Noble, the excellent ensemble of five actors put in great performances and it’s a thoroughly entertaining play. 4 stars.

 

Edinburgh Fringe 2025 Reviews – Dead Air, Call Me Crazy, Kanpur: 1857, The Unstoppable Rise of Ben Manager, and Chloe Petts: Big Naturals

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Dead Air, Pleasance Courtyard.Grief affects us in many ways. Imagine you didn’t come to see your dying father in the hospital – how can you ever overcome the regret? No problem, use the new AI Air Service tool to keep in touch with loved ones beyond the grave with their varied helpful subscription services! Alfrun Rose’s one-woman show retraces the steps of her problematic relationships with her mother, her mother’s new partner and her own on-off boyfriend. But when the only person who can really give the support she needs is dead – she just has to rely on this new big business model to maintain that relationship. It’s a beautifully, touchingly written play, full of light and shade, giving all the characters in Alfie’s story their own voice and perspective. It’s also full of irresistibly funny moments of dark comedy, mixed with powerful emotions. A superb tour-de-force that keeps you riveted throughout. Hugely entertaining. 5 stars.

Call Me Crazy, Greenside @ Riddles Court.4-starsOlivia attends yet another clinic, trying to put a number to her level of pain – but will the doctors even believe her if she does? This hard-hitting intense monologue charts Olivia’s young life from her early days where she tried so hard to become invisible, and succeeded to today where she needs to be seen again and discover an identity for herself and the cause for all her pain. A fascinating insight into a woman’s struggle with the medical profession and the formative memories that led her to where she is now. Sharply written and powerfully acted by Olivia Ormond. 4 stars.

Kanpur: 1857, Pleasance Courtyard.3-starsAn Indian rebel is forced to tell their story before an audience before being strapped to a cannon as a punishment for their part in the Kanpur rebellion. But if they reveal the group’s secrets and the whereabouts of the rebel leader, they might go free. At first you think this will be a simply structured play, with the rebel telling their story – but when a British officer interrupts them and tries to direct their performance, things take a turn for the surreal. The unusual structure cleverly emphasises the imbalance of power, and it’s a powerful play, although it sometimes feels a little heavy and not always easy to follow. Perhaps lacking a sense of menace, it’s nevertheless well acted and includes an exquisite tabla performance by Sodhi. 3 stars.

The Unstoppable Rise of Ben Manager, Pleasance Courtyard.A supremely bizarre production – ostensibly, it’s a satire on generic management and asks the question, what do big successful managers do all day; and on the other hand it’s a fantasy idea allowed to run riot. A wannabe employee fakes an interview and blags an executive job – and then finds he has nothing to do all day, but at least he does it with pizzazz, so gets noticed and then gets continuously promoted beyond all his ability – not that he needs any ability to do nothing. It’s an interesting idea but it runs out of steam very quickly and becomes very repetitive and rather childish. Energetically performed, but that’s not enough to save it. Not for me. 2 stars.

Chloe Petts: Big Naturals, Pleasance Courtyard.4-starsThere’s always an air of expectation at a Chloe Petts gig – she’s rapidly becoming a bit of a national treasure. Her latest show, Big Naturals, is named in honour of what she most likes in life – cue some delightful reminiscences about Page 3 Girls and the journalistic high notes set by the likes of the Sun and the Mirror. At the heart of the show is her affiliation with the lad culture of her formative years and the debt she owes Kasabian. Lots of deliciously clever callbacks and an abundance of laughs and comic observations. Chloe Petts can always be relied on to deliver fantastic material, and Big Naturals does exactly that. 4 stars.

Edinburgh Fringe 2025 Reviews – Steve Whiteley: A Mind Full, MARIUPOL, Do You Accept These Charges?, Kate Owens: Cooking with Kathryn, Christopher Macarthur-Boyd: Howling at the Moon, and Virtuoso

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Steve Whiteley: A Mind Full, Just the Tonic at the Mash House.3-starsSteve Whiteley’s new show starts with a meditative pause; it’s a chance to hear the internal dialogue of all the voices in his head, setting the scene for an hour’s journey through all the mistakes of his life and their potential solutions. A true survivor, Steve cuts a very engaging figure on stage, with first-rate comic timing, some fun callbacks, and excellent self-deprecating asides. There are some extremely funny sequences – I particularly liked his material about Buddhism, and the gluten free rap is hysterical. This was the first show in the run and he made it clear it was a work-in-progress, and there is some sharpening up to be done. But he has a winning way about him and the show will only get better as the Fringe progresses. 3 stars.

MARIUPOL, Pleasance Courtyard.4-starsIt’s so easy to overlook the impact of war on ordinary families. Katia Haddad’s MARIUPOLis based on her memories of the city and tells the story of how Russian Galina and Ukrainian Igor (a.k.a. Steve) meet at a wedding reception, and then enjoy a few days of idyllic romance before real life separates them. They meet again ten years later, both now married, having moved on in their lives. When Russia invades Ukraine, both Galina and Steve have sons in the army who have to do their duty and go to war; will this bring their parents back together again one more time? This riveting, heartbreaking drama is full of surprises and features two powerful performances – Oliver Gomm as Steve and, particularly, Nathalie Barclay as Galina – and truly highlights the human cost of war. Slickly directed by Guy Retallack, this is a hard-hitting, emotion-packed play. 4 stars.

Do You Accept These Charges?, Pleasance Courtyard.Laurie Magers’ amazing firsthand account of her infatuated love affair with multi-crime felon Evan ought to be unbelievable because it is so extraordinary yet it is true. She has that rare gift of being someone with whom you feel an instant connection; within thirty seconds you’re hanging on her every word. And though her account is a sorrowful one, full of pain and heartbreak, it’s also ecstatically funny, from a disastrous Christmas Day queue to get into the detention centre to the sexual turn-on that is the ankle-tag. Laurie is an electric storyteller, pacing the delivery of her material perfectly; she says we are all her friends, and we believe her. The funniest account of being a prisoner’s girlfriend you’ll ever hear! 5 stars.

Kate Owens: Cooking with Kathryn, Underbelly Cowgate.<4-starsWe mourn the loss of our beloved Kathryn, who presented the Cookery programme on the Evangelical Community Channel every day for the past thirty or so years, and welcome the new host, her daughter, err.. also named Kathryn. Kate Owens presents us with this madcap hour of Christian cooking, terrifically slapstick and at times hysterically funny, with an obscene giblety chicken, a disastrous egg bake and the most disgusting sacramental dessert that you have to watch her eat through the gaps in your fingers. But there’s more than just physical comedy cookery cock-ups, the show also has a message about the damage that can be done to children raised in devout Christian communities. Kate Owens is a brilliantly engaging clown and there is some truly hilarious audience participation so beware if you’re a man and you sit in the front row. The comedy does run out of steam a little towards the end, but there are some genuinely side-splitting sequences as Kathryn comes to terms with all her personal limitations. 4 stars.

Christopher Macarthur-Boyd: Howling at the Moon, Monkey Barrel.4-starsChristopher Macarthur-Boyd cuts perhaps an unlikely appearance for a comedian; smart suit, slick hair, Proclaimers-style glasses and slightly diminutive of stature, all rounded off with a Glaswegian accent that veers between super refined and rough as guts. His new hour of comedy, Howling at the Moon, contains neither howling nor any celestial beings, but is packed with great original material and some delightfully funny routines. He puts an original slant on the fact that both his girlfriends have been Australian; he has superb comparisons between Glasgow and Edinburgh, and he has an unusual criterion for deciding upon his sexuality. A master mimic, he has terrific authority on stage, and he keeps the energy up for the whole show. Huge fun, highly recommended. 4 stars.

Virtuoso, Assembly George Square.Meet Tobias Finlay-Fraser as he delivers yet another audition on his journey to stardom. A master of all styles and humble to his core, he never misses an opportunity to push the boundaries of artistry to a totally unacceptable limit. A brilliant comic invention by Casey Filips, to tell you more about what to expect during this hour of truly inventive comedy would be to ruin it for you. Expect the unexpected, help him on his quest to Oscardom, and save the Manatees. You’ll laugh so much it hurts. 5 stars.

Edinburgh Fringe 2025 Reviews – Lovett, Falling: A Disabled Love Story, The Forum, Falling in Love with Mr Dellamort, and Vagabond Skies.

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Lovett, Pleasance Courtyard.
4-starsA meaty (no pun intended) account of one of Fleet Street’s toughest cookies, we see Eleanor Lovett eerily sharpening her favourite knife at her butchers’ block, whilst she guides us through her passion for the art of butchery, a true survivor in every sense. Confined to one small part of London north of the river, we meet her mother Helene, her “friend” Irene, her first husband Armin, the notorious Madame Mrs Rodd and Mon Pere, the cleric who took advantage of her and would live to regret it. We also meet perhaps her most famous associate, Sweeney Todd, half her age, but an instant, powerful attraction to Eleanor. A tale of vengeance and belonging, all Eleanor wants is for the world to say her name and give her recognition. Lucy Roslyn’s riveting and intensely dramatic monologue fleshes out (again no pun intended) this fascinating fictional character, giving her a complex and emotional backstory. 4 stars.

 

Falling:  A Disabled Love Story, Pleasance Courtyard.

4-starsAaron Pang’s witty and thought-provoking insight into the problems of seeking a sexual relationship (or indeed any kind of relationship) when you are disabled. A cross between stand-up and a routine about the difficulties of standing up, Aaron is a very engaging performer and a super convincing storyteller; he has a graph to prove it. But the questions he asks make us doubt our own attitudes to disabilities and the disabled, resulting in an eye-opening hour for everyone. Devastatingly honest, or is it all just a pack of lies? You’ll have to decide for yourself. You also get to choose the ending! If he’s a liar, he’s a very sincere one! 4 stars.

 

The Forum, C Arts C Venues C Aquila.

3-starsA tense, atmospheric thriller about Hitchens, who has been recruited to infiltrate an organisation in the United States – a terrifying challenge that costs him his family, and maybe his life – the verdict is in your hands. The play itself presents us with fragmented scenes that come together to form a complete story. Desmond Devenish conducts the show at a blistering pace – possibly slightly too quickly for the audience to keep up – and gives a powerful performance that makes us question who’s right and who’s wrong – after all, that old saying one man’s terrorist is another man’s freedom fighter is as true today as ever. Where it occasionally lacks clarity it benefits from a true sense of realism and danger, and Mr Devenish’s character is a very believable mix of warrior, spy, and vulnerable family man. 3 stars.

 

Falling in Love with Mr Dellamort, C Arts C Venues C Aquila

4-stars
Take a touch of Agatha Christie, a hint of Rocky Horror, the spookiest instrument you’ve ever heard (the theremin) and oomph it up with some catchy new songs that drive the story forward, sung by powerful voices, and you’ve got the recipe for Falling in Love with Mr Dellamort. However, beware – don’t fall in love with him; it won’t end well. But do his three invited guests escape his charm – and what about the unexpected guest? There’s always one, and they’re always suspicious. Tremendous fun performances from the entire cast and a truly inventive story makes the hour fly by. Cornelius Loy’s musicianship brings a supernatural feel to the entire show, and there’s hugely entertaining performances from Natalie Arle-Toyne’s pushy Mina, Chris O’Mara’s confident Barry, Jennie Jacobs’ substance-dependent Rhonda and Grace Farrell’s ever-surprising Sue – and a charismatic performance from Robert Tripolino as the devilish Mr Dellamort. Don’t forget to follow his rules, or there’ll be trouble. 4 stars.

 

Vagabond Skies, Gilded Balloon at the Museum.

Somewhere during the first few minutes of Tony Norman’s outstanding new musical, Vagabond Skies, you realise that you’re watching something very special. The story of the unbreakable friendship between Vincent Van Gogh and his brother Theo is packed with emotion and heartache, with Vincent’s slow descent into mental despair and his brother’s inability to bring him back from the abyss. Colourful characters like Gauguin, the Parisian art critics and the women in Vincent’s life all play a part in telling the story, and it’s performed in front of Dave Fricker’s visually eloquent series of back projections of Vincent’s work.

Norman’s lyrics are simple but powerful and instantly resonate with the audience; and his musical compositions are stunningly beautiful, brought to life by Mark Edwards’ glorious arrangements. Songs like Brother of Mine and the title song Vagabond Skies will stay with you long after the curtain comes down. Fantastic performances from the entire gifted ensemble, but a special mention of Alex Bloomer, who is tremendous as Vincent, conveying all his artistic hopes and talents with the destruction of his mental decline. This show needs a cast recording and fast! 5 stars.

Review – The Comedy Crate Weekender at the Charles Bradlaugh, The Black Prince and The Lamplighter, Northampton, 12th and 13th July 2025

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It’s July again, which means another annual Comedy Crate Weekender with two days of comedic mayhem, split over three venues in Northampton town centre. Only £40 for two days which means you can see ten class acts for a mere £4 a session; so cheap it ought to be illegal. A very hot weekend was both a help and a hindrance, in that it makes for a generally happy bunch of people all enjoying interval drinkies in the sunshine, and fortunately the aircon in the Bradlaugh is super effective. But even being reduced to a sweaty mess in the other venues (multiple electric fans notwithstanding) was not enough to reduce the spirits of a fully sold out event, which took place without a hitch. Or if there were any hitches, the Comedy Craters kept them a secret, so well done to them.

The idea of the Weekender is that there are 25 acts, out of whom you can see a maximum of 10, all sharpening up their Works in Progress in preparation for either the Edinburgh Fringe, or a national tour, or just generally working up new material. As such you might see a show that’s already pretty darn perfect, or you could see something where the audience are guineapigs for the comics to find out what’s funny and what’s not. Mind you, they’re all ace at their game, so even material that only just fails to meet their exacting standards can still be pretty funny to the rest of us.

Everyone will have had a different experience at the Weekender, depending on which shows they chose to see, so I can only tell you about what we saw. And of course, dealing with 25 acts is potentially a nightmare of its own. If you went to see a show with a cast of 25 you wouldn’t be remotely surprised to have one or two understudies if someone is not feeling well.

And that’s exactly how our Weekender started, with the unexpected attendance of President Obonjo standing in at very last minute for Helen Bauer for the first show at the Lamplighter. Only three or so hours before he was on stage, he was enjoying tea and toast over a leisurely breakfast in his Presidential Palace; but fortunately His Excellency was able to step in and save the day. He’s not taking a show to Edinburgh but just fleshing out some new material, so of all the acts over the weekend his was perhaps the one most in flying by the seat of his pants mode.

Nevertheless, the President is such a joyously inventive comic creation, that it’s always a pleasure to have an audience with him. And his new material comes from a fascinating place; at the risk of sounding like a pensioner so much is wrong with the world today, and so much of that is because you can’t tell fact from fiction – the lies spouted by politicians and influencers, and social media claptrap and all that. Thousands of Tiktokers believe Obonjo is a real president of a real republic somewhere in Africa. And he’s moulding that fact into a rather surreal show that balances the rubbish people are led to believe against what is genuinely the truth. It’s an idea with legs, and I’m sure the President will turn it into a great show.

From one level of preparation to the extreme opposite; our next show was Thor Stenhaug with a preview of his Edinburgh show One Night Stand Baby, and this one is all packaged up and ready to rock. Thor Stenhaug is a new name to us, and, on the strength of this performance, it’s one of those delightful occasions when you can happily announce, a star is born. A hugely affable and friendly presence on stage, Thor explains how he moved to London from Norway, how he got into comedy, and all about his big relationship with Daisy. But it was when Daisy’s parents asked about Thor’s parents, that he had to confess he is the product of a one-night stand; and he’s not the only one in his family who is! Honestly, those Norwegians! His routine is packed with original material, fluidly and confidently delivered, with some wonderful appreciation for English turn of phrase, effortless callbacks, and some surprising use of accents – his Scouse is incredible! I can only predict great things for this young man. One Night Stand Baby is on at the Pleasance Courtyard in Edinburgh from 30 July to 24 August and will be a must-see this Fringe.

Next up for us was Toussaint Douglass, with a preview of his Edinburgh show, Accessible Pigeon Material. We’ve seen Mr Douglass a couple of times now and he is very personable and warm character on stage who builds a great rapport with the audience. His new show is very work in progress and has more surreal material than I’ve seen him use before. I must confess, I didn’t really get the pigeon-based stuff; but he has an excellent routine – that still needs work but will get there – where he uses a member of the audience and a boxing glove puppet to express how difficult it can be to get your father to tell you he loves you. Hoping it all shapes up in time for the Fringe, but he’s a great comic so I’m sure it will. Accessible Pigeon Material will be on at the Pleasance Courtyard from 30 July to 24 August.

Next was someone I’ve wanted to see for a long time, and he didn’t let me down. Charlie Baker, an irrepressibly cheeky chappie, is working up material for a new show next year. He’s one of these innately funny people who could make you laugh just by reading a shopping list. And the basis of his new show is very simple; people he hates. Not named individuals, that would be ridiculous; but categories like Retired People at the Supermarket at Weekends, or People from Surrey. You instantly get it. He fills out each of his categories with wickedly funny material, not only verbal but often physical – he’s terrific at physical comedy, even incorporating a bit of dance and singing into the routines. He has some brilliant ideas – the Devon Rat Pack for example, or my favourite, the Millwall Magician, where he basically intimidates you into agreeing that, yes, that was your card, otherwise you’d get A Visit from the Boys. Not a huge amount of material yet, but what there is, he spins into comedy gold. Fantastically funny.

Our last show of the first day was Tom Rosenthal, with a preview of his Edinburgh show, Whatever People Say I Am, That’s What I Am. I’ve only seen Mr Rosenthal once before, and that was earlier this year in Chichester’s production of The Government Inspector. I confess I haven’t seen him in Friday Night Dinner or Plebs, because I’m more of a live entertainment kinda guy than a TV watcher. However, unfortunately, quite a lot of the material in his show is based on references to those TV shows, and because I didn’t get the references, I missed out on the laughs. He’s obviously a very quick witted and intelligent fellow, and his delivery is slick and sure-footed. The set was curiously all about him, and I don’t mean that unkindly. Where many comedians take their own experiences and make them relatable so that we can all recognise our own experiences within them, Mr R’s experiences are purely about himself, without inviting us to see how we might be able to share in them. It’s as though he sets up a barrier and all we can do is observe him without feeling what he feels. I’m sure that if I had seen his shows I would have enjoyed it more, and I sense that if you are a Friday Night Dinner fan you’ll love it. Whatever People Say I Am, That’s What I Am is on at the Assembly Roxy in Edinburgh from 30 July to 24 August.

Sunday started with a preview of Glenn Moore’s new Edinburgh show, Please Sir, Glenn I Have Some Moore? and is another work in progress where pretty much all the progress has already been made. Glenn Moore has one of the fastest brains in comedy and this is another of his intricately plotted, extraordinarily creative and extremely funny hours of stand-up. His premise here is to explore why he’s not the most assertive or people, illustrated by comparing himself to his go-getting cousins, Benji the stripper and silent Ursula. The centrepiece of the show is a car journey driving to Death Valley which gets more and more panicky as it progresses, but en route Mr Moore brings in so many side jokes, some of which have a delicate subtlety that fill you with pleasure when they finally make sense. A total master of the art of callback, neither a word nor a gesture is wasted in this show and it’s a joy from start to finish. Please Sir, Glenn I Have Some Moore? is on at the Pleasance Courtyard from 30 July to 24 August.

Next up, and someone we haven’t seen in ten years, was Tiff Stevenson, with a preview of her new Edinburgh show Post-Coital. This was another work in progress performance and consisted of a sequence of only lightly connected observations, some of which were very funny, and some of which weren’t – no criticism, that’s what a WIP is all about, after all. The basis of this show is the relationship between sexism and class and where feminism falls in the balance. She has some excellent material about umarells – a term I hadn’t come across before – which describes old retired Italian men lurking at building sites and offering unwanted advice to the workers. Niche, do you think? Maybe, but also very recognisable and funny. Of all the Edinburgh previews we saw, I think this needs the most work to be done, but Tiff Stevenson is a very safe pair of hands and I’m sure it will all come together in time. Post-Coital is on at Monkey Barrel Comedy (The Hive) from 30 July to 24 August.

Our next act was Hal Cruttenden, with a preview of his new Edinburgh show, Hal Cruttenden: Can Dish It Out But Can’t Take It, and is, as he freely admits, the second show he’s created out of the ashes of his divorce. But whereas his previous show It’s Best You Hear It From Me was clearly a mix of comedy and therapy, you sense now he’s truly moved on and is mining genuine comedy nuggets from how he’s been coping as a singleton. He has such an engaging and natural style on stage that you cling onto his every word – which is fortunate, because every word is hilarious. He assesses the audience for possible future divorces, and honed in on me as being the token old man in the audience having fun because you might as well because you haven’t got long. He does offer some serious observations about the way the world is going in this Trumpian era, and he’s darn right with them all. Exceptionally funny and quick to react to everything the audience might choose to throw at him, the show ends with a lovely speech by the Prime Minister that so cleverly assembles a plethora of callbacks. The only thing left for him to “get right” before Edinburgh is choosing which bits to omit, but it’s all tip-top quality. Hal Cruttenden: Can Dish It Out But Can’t Take It is on at the Pleasance Courtyard from 30 July to 24 August.

We chose to stay in the same location for the rest of the day, so our next act was Matt Richardson, with a work in progress of a new show, Brash, that will tour the UK this autumn. We’d seen Mr Richardson quite recently, so that much of his material was not new to us but it is still incredibly funny. It’s an informal and relaxed hour of observations of village and domestic life, gang activity in an Oxfordshire village, how growing up doesn’t necessarily mean you can decide on your own bedtime and a frantically funny routine about massage that turns into what I can only describe as a wankfest. Mr R sets up a terrific rapport with the audience, tells his stories with an engaging cheekiness, and the show is filled with loads of laugh out loud sequences. A very funny chap. Brash continues with a few more WIP performances around the country and the tour starts in earnest in Glasgow on 22nd September through to Milton Keynes on 26th November.

Last show of the day, but certainly not the least, was Rosie Jones, with a preview of her work in progress Edinburgh show, I Can’t Tell What She’s Saying. As she says at the beginning of her show, if you don’t know who she is, she feels sorry for you, because you obviously can’t afford a television. Rosie gives us the lowdown on her life so far, starting off as a seven-year-old pervert – her words, not mine – and taking us through all the benefits of being both gay and disabled. She knows the importance of a perfectly constructed and worded sentence and uses her unique delivery style to accentuate the well-placed pause for maximum comic effect, and it works very well. Supremely confident and effortlessly cheeky, it’s a fun hour that will only improve with more preparation, and that is, of course, what it’s all about. I Can’t Tell What She’s Saying enjoys a week’s worth of WIPs at the Pleasance Courtyard from 11th to 17th August.

A great Weekender completed, thanks to all the comedians and the Comedy Crate maestros who keep the thing moving so well. Recommendations for Edinburgh must be for Thor Stenhaug, Glenn Moore and Hal Cruttenden, and both Charlie Baker and Matt Richardson will be must-sees on tour. In the meantime, there are still a few more Comedy Crate preview shows on sale before Edinburgh starts in a couple of weeks’ time. Snap them up before they sell out!

Edinburgh Fringe 2024 – It’s a Wrap!

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Phew – What a Fringe! We arrived on 30th July and we left on the 27th August. During that time we saw 158 shows, which was four fewer than I had planned but was thirteen more than last year; and last year we also saw thirteen more than in 2022, however I can’t see that record being broken next year. With Oasis currently scheduled to have three concerts during the Fringe, I can’t even see how half the performers will be able to afford to be in Edinburgh!

Here’s a quick reminder of the 4 and 5 star shows we saw, by star rating and in date order of when we saw them:

5 STARS:

Mhairi Black: Politics Isn’t For Me

Goose’s Quizzes Elimination Game

Casting The Runes

Tarot: Shuffle

Catafalque

Janie Dee’s Beautiful World Cabaret

KAREN

Our Little Secret

The Chaos That Has Been and Will No Doubt Return

Robin Grainger: Refurb

It’s The Economy, Stupid

For The Love of Spam

I Am George Massey

Emma Sidi is Sue Gray

Pete Heat: Bogus

The Book of Mountains and Seas

MILF and the Mistress

Galahad Takes a Bath

1 Moment in Time (Sean Alexander)

I Am Your Tribute (Sarah-Louise Young)

Garry Starr: Classic Penguins

Josh Jones: Put a Sock in It

Werewolf

Weather Girl

The Bookies

The Scot and the Showgirl

Tom Greaves: Fudgey

4 STARS:

Shellshocked

Sell Me I Am From North Korea

Will Sebag-Montefiore: Will Of The People

Reginald D Hunter: Fluffy Fluffy Beavers

Liam Farrelly: Flipbook

Cabaret of Filth

House of Life

Glitch

Arturo Brachetti: Solo

1 Hour of Insane Magic (After Dark)

Kavin Jay: Unsolicited Advice

Heckling Masterclass with Diploma (Ben Clover)

SILENCE! The Musical

Ascension

Daliso Chaponda: Feed This Black Man Again

Malion

The Last Laugh

A Jaffa Cake Musical

Colin Hoult: Colin

The Shadow Boxer

Rob Auton: The Eyes Open and Shut Show

Pillock

Come Dine With Me: The Musical

Rhys Nicholson: Huge Big Party Congratulations!

Dead Mom Play

The Shroud Maker

N.Ormes

Jack Goes To Therapy

The Gentleman of Shalott

Alexandra Haddow: Third Party

Lads of the Flies

Ajahnis Charley: Thots and Prayers

Dan Tiernan: Stomp

Dissociation

Fifty Minutes to Save the NHS

Martin Rowson: Shred the Front Page

Randy Feltface

If I Live Until I Be a Man

Yes We’re Related

Tales from a British Country Pub

Sherlock Holmes: The Last Act

Nick Schuller: Still Dry White

Chloe Petts: How You See Me, How You Don’t

Finlay Christie: I Deserve This

Joe Wells: Daddy Autism

Lessons on Revolution

One Man Poe: The Black Cat and The Raven

Ryan Cullen: Cullen in the Name of

Leni’s Last Lament

Ghost Light

A Montage of Monet

Naughty or Neurodiverse – Magic from Another Planet (I Am a Mentalist – Angus Baskerville)

Sam See: And I Can’t Feel at Home in this World Anymore

Shower Chair

Notice Box

When Vincent met John

Crime and Punishment

Michael Porter: Love and Brain Damage

Milo Edwards: How Revolting! Sorry to Offend

The Grim

With All My Fondest Love

The Dreamer – Live

An Act of Grace

It’s a Mystery!

September 11 1973: The Day Salvador Allende Died

All The Fraudulent Horse Girls

Stuart Laws Has to be Joking?

Best in Class

The Ghost of White Hart Lane

Kelly Bachman: Patron Saint

What the F*ck Happened to Love and Hope

Phil Henderson: Space Cowboy

Ben Miller: Volcano

Annaliesa Rose Sings the Peter Allen Songbook

Joby Mageean: Titty Icarus

Di(n)e

100% My Type on Paper

Little Deaths

Moscow Love Story

Black Velvet (38 more than last year)

 

Congratulations to all these great shows. I’m fascinated to discover that, although we saw 13 more shows than last year, I’ve awarded 4 stars to 38 more shows than last year – but 10 fewer 5 stars than last year. Also – unlike last year – no 1 star shows, hurrah! And as to working out which of them are the absolute best – you’ll have to wait until the Chrisparkle Awards for 2024 are announced in January!

And thank you, gentle reader, for sticking with me throughout this busy month! My viewing/reading statistics continue to climb upwards and are about 50% higher than the numbers who checked out my reviews at the 2023 Fringe – so thank you very much for that! And remember – reviews are only what one person thinks, they’re purely a personal reaction. And star ratings are even more unreliable!

Edinburgh Fringe 2024 Reviews (final day) – Moscow Love Story, Black Velvet, The Scot and the Showgirl, and Tom Greaves: FUDGEY

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Moscow Love Story, Pleasance Courtyard.

4-stars

With the help of cassette tapes from 23 years ago, Paul Jenkins relives the time when he moved to Moscow to teach English for a year and to spend the time embracing Russian culture, food, music and getting to know the people. It had been well over ten years since the fall of the Berlin Wall and things were very different in Moscow from the Communist era, with a much greater Western influence; for every pickled cucumber seller, you’d find a Gucci handbag on sale. While he was there, Paul met Angie, a student from Manchester, and they had a riotous time together, trying different experiences – in retrospect, not all of them advisable – as well as falling in love. Moscow Love Story demonstrates that you should never deny the experiences of the past, even if you wouldn’t choose to do them today. A fascinating structure for the show, and Paul Jenkins brings his memories to life with a riveting and engaging performance. I found the story spellbinding!

Black Velvet, Bedlam Theatre.

4-stars

Llew goes to visit his mum’s grave for a catch-up chat with her; he brings his tea and biscuits – they could be in for a long session. Just as he’s settling down he realises a young Irish girl, Aoife, has been sleeping rough behind the grave. Neither is best pleased to realise that they’re not alone, but a series of turbulent conversations sees them both accepting and learning from each other. Grief takes many forms, and this play not only considers the effect when one’s parent dies through suicide, but also examines the unusual problem of a child losing a parent to early-onset Alzheimer’s. A tough and moving problem indeed. Engaging, at times troubling, and always thought-provoking, it’s immaculately performed by Charles Ison and Christina Knight, whose Irish accent is phenomenal! Very impressive throughout.

The Scot and the Showgirl, Pleasance Dome.

A cabaret-de-force from the incredible Frances Ruffelle and Norman Bowman (the Showgirl and the Scot in reverse order), telling the story of their relationship through an inspired selection of songs from the shows and other popular music, accompanied by the terrific Kate Shortt, Nick Anderson and Ryan McKenzie. So many musical highlights include a spiky Country House duet from Follies, a stunning performance by Beausy of Burt Bacharach’s A House is not a Home, a fantastic Man That Got Away by Frances Ruffelle and – to make the hairs on your arm stand up on end – Frances gives us a tear-inducing On My Own from Les Miserables – she was the original Eponine, after all. A truly quality of hour of emotional musical power – I loved every minute of it.

Tom Greaves: FUDGEY, Assembly Roxy.

We all know a Fudgey. He teases, he boasts, he charms and he bullies. He’s got great mates, but only if he can get the better of them. He oozes confidence, but it’s built on a precipice of fragility that only he needs to know about. And who is Fudgey? He’s the product of an archaic educational system where a boy goes to boarding school at the age of seven to make a man of him; ignoring the fact that at seven you’re neither a man, nor do you need to be one. Tom Greaves’ blisteringly funny but heartbreakingly painful Fudgey propels a boy who can’t even pronounce Maid Marian correctly into the realms of sporting hero and misogynistic smartarse. A mixture of superb physical comedy, clowning, brilliant crowd interaction and – let’s not deny it – outright therapy, Fudgey is a stunning show that develops in the mind and the heart long after you’ve gone home. Amazing work – highly recommended.

 

Edinburgh Fringe 2024 Reviews – Seconds to Midnight, 100% My Type on Paper, Sameer Katz: Whether Conditions, Dr Dolittle Kills a Man (and Reads Extracts from his New Book), Lorraine Hoodless: DINK, and Little Deaths

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Seconds to Midnight, Pleasance Courtyard.

3-stars

What would you do if you knew a nuclear attack was on its way and you’d be dead in seven hours? Apart from send a few hurried messages to my nearest and dearest I reckon I’d just give up, get drunk and go back to bed. But not Eddie and Jo. Besties, queer, but not in a relationship with each other, they’re trapped in Eddie’s house and fed up with playing family games. They recall the loves they lost, the parents, a few fun times, and how they met. Not a lot actually happens in Jessica Tabraham’s Seconds to Midnight, and I must confess it didn’t hold my attention throughout. However, there are two good performances from Elise Busset and Cosimo Asvisio – and it does make you think what you would do under the same circumstances.

100% My Type on Paper, C Arts C Venues C Alto.

4-stars

Sammy and Clyde are on a first date. Very awkward, very tentative, and very nervous. He tries to make light of it with some ill-conceived jokes; she can barely hide her disdain at his appallingly clumsy approach. As the first meeting gets played out in different ways, and the characterisations change, the play’s director steps in and tries to make Sammy and Clyde act it out differently – again and again and again. A very clever and at times hysterically funny play by Lola Annesley, 100% My Type on Paper examines the elements that make up the perfect date and whether the audience might want something different from the participants. Deconstructing dating – and very nicely done.

Sameer Katz: Whether Conditions, Laughing Horse @ The Counting House.

3-stars

There aren’t many Indian men who, unmarried and with no children, would have the courage to have a vasectomy. But of those that have, I doubt any of them would have told their parents. That’s just not the usual run of events! But Sameer Katz did (have a vasectomy that is, definitely didn’t tell the parents), and that bold decision is just one aspect of his slightly unconventional life – he’s a comedian, not a doctor, after all. With a very relaxed, quiet style, he gives us his comic observations on safe topics like not finishing his PhD, and dangerous topics like suicide. There is an edge to some of his material that is perhaps more probing than downright funny, but it’s still an enjoyable hour of confidently delivered material from a Californian/Indian perspective.

Dr Dolittle Kills a Man (and Reads Extracts From His New Book), Underbelly Cowgate.

3-stars

Depending on one’s age, everyone has their own Doctor Dolittle to cherish. When I was young I remember that many of my schoolfriends had the original Hugh Lofting books. I can only assume they belonged to their parents! My own Dolittle memories are of Rex Harrison, Richard Attenborough and the push-me-pull-you. Today’s Dolittlers will mainly associate him with Eddie Murphy – much to this Dr Dolittle’s annoyance. Aidan Pittman plays the eponymous speaker-to-animals as he takes us on a journey across continents and through jungles, on the quest of finding the [expletive deleted] ruby. This is an immensely silly show, crammed with physical comedy, which Mr Pittman performs with huge commitment, attack and a lot of tongue-in-cheek. It’s the kind of show you either get completely or which totally goes over your head, depending on your own personal level of outright silliness. I will be honest: it wasn’t really my cup of tea, but many of the audience were hooting with delight throughout. Oh, and he does, genuinely, kill a man.

Lorraine Hoodless: DINK, PBH’s Free Fringe at the Southsider.

3-stars

I think most people know what a DINK is (double income, no kids); but did you also know you can have SINKs, PINKs, and even GINKs. Perhaps you’re a DINKWAD – Lorraine Hoodless has just attained that dizzy status – or a SINKWAC? I think our nearest is a NINKWALD – no income, and our dog died years ago. This is a fun examination of the benefits of being a DINK – the freedom to do what you want, to go where you want to go, and to spend all your money on yourself! There is a serious side to all this too, depending on whether your DINK status is by choice, or if life forced it on you. And if there’s a lesson to be learned from all this, it’s that it’s best not to assume one way or the other the reasons why someone is DINKy. Lorraine Hoodless has a friendly, welcoming style on stage, is open to loads of audience participation (not the scary type, but the neighbourly type), and her material is very relatable and recognisable. There’s a hilarious sequence when she’s recounting how difficult it was for her partner to play his part in the IVF procedure (NB: it really wasn’t). She delivers her comic observations with a lively warmth and excellent timing, and there’s genuinely something for everyone in this show. Good fun and unexpectedly educational too!

Little Deaths, Summerhall.

4-stars

It’s 1997, at school. Charlie and Debs meet for the first time. It’s a slightly awkward moment but you can tell that theirs will be a perfect friendship. From the heartbreak of Geri Halliwell leaving the Spice Girls to the stresses of one of them moving to New York with a job opportunity, and from helping each other through their first periods to welcoming a baby into their midst, they’ll always have that bond between them. Won’t they? Amy Powell Yeates’ Little Deaths explores the many little deaths that a profound friendship encounters over the years, yet Charlie and Debs inevitably overcome them. Beautifully written and constructed, with two fantastic and mature performances by Olivia Forrest as Charlie and Rosa Robson as Debs. A truly heartwarming play.