Edinburgh Fringe 2026 – It’s a Wrap!

And that’s another Fringe done and dusted! We arrived on 7th August and we left on 1st September. During that time, we saw 142 shows, which was twelve fewer than last year, but we did shorten our Edinburgh time by two days, so that explains that. We only had one cancellation due to the time of the show changing, but we replaced it with something else anyway!

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:

SpinQueen

Baby Everything

Jitters

Long Way Home

Buggers

Evaldas Karosas: A Very Capable Man

No Hard Felix

Dinner with the Wolves

Lear’s Fool

The BBC’s First Homosexual

Annie Wobbler (Revisited)

Casey Filips: What a Character!

Christian Dart: GUMSHOE!

Robin Grainger: Lemonade

Dribble

Max Fulham: Memory Foam

The Distance

Diary of a Mad Man

The Night Ali Died

Apples in Winter

Mortal Sin

The Past

Alfie Dundas: First Class Panic

Clive

BIRDS: Alex Hines and Sarah Stafford

EVITA TOO

The Second Best School Shooting

Patient 13

Demi Adejuyigbe Sells Out

Slayers

The Shocking Truth about Flat Earth

Rapism

Safety

Nuns!

Hope This Helps!

Behind Closed Doors

Christopher Hall: Pizazz

Crocodile Rock

4 STARS:

An Audience with Virginia Woolf: Writing One’s Mind

Two Halves

A Cat in a Box

COPYCAT

The Joker and the Thief

Table for Two

44 Minutes

Big Stuff

Kwami Odoom and Jack Henry: Support Group

HR The Musical

Bachelors of Fine Arts

Ulysses of Scranton

Olivia Raine Atwood: Oops!

Sami Abu Warden Hates You

Sodom, The Quintessence of Debauchery

Madeleine Brettingham: Legend

Mandy: Prince of Darkness

January 6th the Musical

You Talkin’ To Us?

The Jolly Fisherman

Bombs over Byker

Target Audience

Tim Biglowe: Plonka!

The Pitch

Matt Forde: Project Holy Moly!

Miscast Sondheim

The Eight Faces of Ellie Morrison

Millicent Sarre is too Tired to Smash (Patriarchy)

Spare Room

Daughter of Sweden – That One Princess Who Got Drunk with Lizzie I and Thrown Out of England

Only Fans for Therapy

Dogberry and Verges are Scared

“Be Good!” with Paulette

Angela Bra – Secret Diary of a Bingo Call Girl

Operation Blank

Overtone

ELBA

The Misfortunes of a Spy and her Mystic

Betsy and Patty Find Out

Chelsea Birkby: Is in Full Control the Entire Time

Jake Baker: The Gentle Men’s Club

Shotgunned

Thermodrama

The Last Audition

The Last Mad Man

Improbotics Presents: Artificial Reality

Georgina Thomas: Hysterical Soprano

Rizal van Geyzel: Arrested

00:45:00

58 to Go

You’re Not My Mum!

Ambitious Underachiever

Nathan Cassidy: Ewwww!

Blackbox

FUCCBOIS: LIVE IN CONCERT

1 Missed Call

Collateral Damage

Padlocked!

The Shit Table

Our Other Organ

UNDERGROUND MONK SHOW

Sobremesa

Steffan Alun: Windows

Congratulations to all these great shows. Just as a cheeky comparison, I’ve awarded 4 stars to exactly the same number of shows as last year (63 shows) – but there are also 8 more 5 star shows than last year (38 shows), which reflects on the truly excellent standard of productions for 2026. And there weren’t any 1 star shows, hurrah! As to working out which of them are the absolute best – you’ll have to wait until the Chrisparkle Awards for 2026 are announced in January!

Remember – as I always say – reviews are only what one person thinks, they’re purely a personal reaction. And star ratings are even more unreliable!

Review – Magic, Chichester Festival Theatre, 9th May 2026

David Haig’s new play concerns the perhaps unlikely but definitely true story of the friendship and association between the brains behind Sherlock Holmes, Sir Arthur Conan Doyle, and showman and trickster extraordinaire, Harry Houdini. Conan Doyle wasn’t a brilliant escapologist, and Houdini couldn’t write a detective story for toffee, but they did have a shared interest in the world of Spiritualism.

Having lost his son Kingsley shortly after the end of the First World War, Conan Doyle spent the subsequent years desperately believing that he could stay in contact with him through the services of a medium – the renowned Mina Crandon. Houdini, who knew everything about creating illusion, desperately wanted to believe in Spiritualism and would have loved for seances to be true; but he was always able to disprove them. It’s the balance between Conan Doyle, the ultimate believer, and Houdini, the ultimate deceiver, that’s at the heart of the play.

There’s undoubtedly a good story to be told here, but sadly Magic isn’t it. It has a strangely empty feel, as though it knows it doesn’t have much to tell us, and to compensate, what it does tell us is delivered at a snail’s pace. The production allows itself to be sidetracked by enormous amounts of padding, varying from unnecessary musical interludes, Houdini doing a few tricks, and the slowest scene changes this side of the A27. There’s only one scene which contains any drama or tension – which is where Houdini exposes Mina Crandon (an excellently vitriolic Jade Williams) as a fraud, leaving Conan Doyle devastated as he realises he has been tricked. Whilst the characterisations are thoroughly believable, and the acting is first rate, the play and staging are so heavy going and ponderous that they drag the story down with it. And whilst Haig has a nice understanding of the warp and weft of conversation, the text feels like it would be better read than acted.

The music-hall setting unbalances the show by presenting it wholly from the perspective of Houdini’s world, with nothing at all from the Conan Doyle world; and whilst the members of the musical ensemble perform well, they simply distract from the main thrust of the play. In fact, this would be far better as a four or five-hander (the Conan Doyles, the Houdinis and Mina) in a more intimate setting and with greater intensity of dialogue.

David Haig plays Conan Doyle with Edwardian dignity and propriety, and a gentle sense of humour. He embodies respectability in contrast with Hadley Fraser’s Houdini, who accentuates the brash American-ness and essential shallowness of his profession. This difference continues with the enjoyably contrasting Claire Price as the very correct but repressed Jean Conan Doyle and Jenna Augen as the friendly and content Bess Houdini. There’s a brief scene where Bess reveals how Jean turned away from musical performance herself in order to be the literary wife, and we get a glimpse of the sacrifices Jean has made for the greater good – there’s an intriguing dynamic here which is annoyingly just left dangling.

Whilst the play does attempt to explore the lengths to which one can go to come to terms with grief and loss, it never truly fulfils its potential, and the distracting and cumbersome production doesn’t help.

3-starsThree-sy Does It!

Review – Pete Firman, Trickster, Royal and Derngate, Northampton, 6th November 2014

I love magic. Deep down in my heart I know it’s not real, and that what Pete Firman was doing on that stage last night was simply being a Trickster (as the title of the show confirms), but wouldn’t it be great if it was genuine? If he was somehow an innocent conduit for things beyond our ken, who discovered that he had this gift to astound and surprise, but didn’t know how he was able to make these things happen? I want the world to be a place where magic truly exists. Mrs Chrisparkle, realist to her fingertips, looks on magic as a sub-genre of End of the Pier shows, or as just one element of a variety night on a cruise ship. How I managed to slip two tickets under her radar to see Mr Firman’s show, I’ve no idea. Years of practice I guess.

Actually, it was an easy no-brainer. We had seen Mr Firman before, as a guest in the most recent Burlesque Show at the Royal. Not just guest, he was top of the bill, and thoroughly excellent too. I’d expected his Trickster show to be part variety/revue and part magic, but no, it was just Mr Firman, his props, his ingenuity and his rapport with the audience that sustained the whole evening. There is a touch of the Eric Morecambe about him – you can catch it when he adopts that cheesy, toothy grin when he’s putting a brave face on something that isn’t quite quality; you can hear it in his vocal tones when being stagily mock-pompous about his skills. He is a naturally very funny and likeable guy, and, considering I normally quake at the thought of being picked on by a comic, if he’d invited me up on stage to help with a trick I’d have felt relaxed and at ease. He didn’t though, despite our being in Row C of the stalls. Swine.

There was, however, lots of crowd participation throughout the course of the evening – I’d estimate that one in two of his tricks involved at least some element of an audience member getting up on stage with him or his coming down into the stalls to talk to people. That sense of involvement really helped the bond between audience and performer, making us one big happy family. Despite its not being a variety show, there is nevertheless a huge amount of variety within his act. Big scale, small scale; up close with a camera; mind reading, and then transferring the same thought to another person; even a trick outside the theatre (with which the whole the audience takes part), and another that took place over 25 years ago. For me though he had two particular corkers, the one that led into the interval and the one at the end. I could go into details about the tricks he performed but that would only spoil it for you if you haven’t seen it yet, and I wouldn’t do that to you, gentle reader, that wouldn’t be fair. So I’m going to be deliberately vague about exactly what happened.

You can sit there for hours and wonder, how did he do that? For the most part, “the way it’s done” is simply unguessable. Occasionally you think that if you’d somehow recorded it, and could play it back a few times, you’d be able to see the sleight of hand, the hidden prop, the way something appeared from off-stage. But that would ruin it, wouldn’t it? For the mind reading tricks, there has to be some form of mental suggestion technique involved, and we think we recognised a trigger action; not that that in any way explains exactly how the tricks were done. The “end of part one” trick involved Mr Firman getting a member of the audience to think of a number and then his guessing it, by means of a few pertinent questions and some elaborate statistics. It’s a delightful tour de force! I have a number in my head that I would always think of under such circumstances. It was the number of my locker at school, it would be the number of the box I would choose on Deal or No Deal if ever I was to appear on it (I won’t). It wasn’t the same number that our audience member chose. So if it had been me thinking of a number for Mr Firman to guess, I would have chosen that one, without question; and I just don’t see how the trick could succeed if it had been my number…But I guess that’s magic.

Similarly, that final trick left me having to collect my jaw from the floor. Unless the audience is full of stooges – and I don’t think that for a moment this is a magical version of One Man Two Guvnors – there’s only one possible way that trick could have been done; but I’m blowed if I can imagine how he physically managed to do it. If I wasn’t already returning to the Royal and Derngate this evening for another show, I’d be very tempted to see Mr Firman do the show again at the Corby Cube tonight just to firm up in my brain what I actually saw last night. It would be fascinating to observe what’s different between the performances, and even more so to see what isn’t.

A thoroughly enjoyable night’s entertainment that wowed even the cynical Mrs C and left me gobsmacked with mystery. If you love a bit of magic, he’s your man! Go see for yourself.