Category: Edinburgh Festival Fringe

REVIEW: As You Like It: A Radical Retelling

Published on by gracewallis1 Comment

Rating: 5 out of 5.

“Sure to excite”

*Spoilers Ahead*

What makes you want to buy a ticket to a show? What keeps you in your seat through to the end, even if you’re properly enraged? What is the contract you obligate yourself to when you scan your ticket, find your seat, and settle in?

There is no way to talk about Cliff Cardinal’s As You Like It: A Radical Retelling without utterly spoiling its very unique, very bold plot. That is something that can only be revealed to you should you decide to go (and can still get a ticket). Instead, it is perhaps far more productive to prepare those who do intend to go – if not in Edinburgh, where it is currently running as a part of the International Festival, then wherever Crow Theater decides to take it next – with questions to consider. 

For one: Of all the shows on offer in Edinburgh this summer, why did you decide to buy a ticket to a Shakespeare play?

There is nothing wrong with doing so – although, by the end, the audience definitely had some mixed feelings. I think I went because it promised to be a “radical retelling” of a well-known Shakesepare comedy from an Indigenous perspective. Not that we need yet another modernized Shakespeare play slapped into a contemporary context for no good reason other than to lazily make it “more accessible” or prove that it is still relevant. (It is still relevant, but not because we’re suddenly seeing modern garb instead of tights, guns, and corsets.) But an Indigenous reimagining of this Bardly staple sounded like something I’d never seen before. From this day forward, I will never walk into a Shakespeare production the same way again.

Ironically, the land acknowledgment – a practice more common in North America than here in the U.K. – outshone all the Shakespeare by leagues and bounds. Lakota actor and playwright Cliff Cardinal opened the show with a reflection on our relationship to the land and to each other, sharing how his Indigenous perspective shaped his approach to adapting a beloved classic of the Western canon. And while it was one of the longer land acknowledgements I’ve been witness to, it was worth every penny of the ticket price.

If you haven’t supported the work of an Indigenous artist recently, consider going to this mind-blowing take on Shakespeare’s arboreal, romantic jaunt. In a world in which the wealthy have every incentive to make the dark histories of all our daily spaces feel far away, unappealingly dusty,  and unimportant, it is vital that work like this is supported, programmed,  and shouted from the rooftops. It may not please everyone, but it is sure to excite.


As You Like It: A Radical Retelling is a part of the 2025 Edinburgh International Festival and playing until 23 August. Get tickets here: http://www.eif.co.uk/events/as-you-like-it-a-radical-retelling

REVIEW: Venus 2.0

Published on by reviewsbymeganLeave a comment

Rating: 4 out of 5.

Stunning visual intensity in a dark contemporary style.

VENUS 2.0 follows the story of Mary Richardson, a suffragette who later became a fascist and leader of the women’s section of the British Union of Fascists. The name of the show comes from the actions of Mary as a suffragette, when she vandalised Velázquez’s painting, The Rokeby Venus, at London’s National Gallery (the same painting that was targeted by environmental activists in 2023).

Mary Richardson is thrust into a time-travelling cabaret as we hear from those involved in futurism and the fascist movement. This is an exploration of a radical ideology through contemporary dance that is captivating in its intensity. Voice overs are played as the actions unfold using physical theatre; this creates an eerie atmosphere where danger feels as though it is lurking behind the curtain. We are also treated to lighter comedic moments throughout, taking the audience on a rollercoaster of emotions.

Beautiful shapes and creative blending of movement with shadow and light, paired with a mixture of classical, operatic, and modern music, makes this a stunning visual piece. The simple staging was transformed by the use of physical bodies as tools for storytelling.

VENUS 2.0 was a dark and mesmerising performance that would appeal to those who enjoy the exploration of hard-hitting themes through dance.

VENUS 2.0 is at the Edinburgh Fringe until 24th August at Main House at ZOO Southside. Buy your tickets here: https://www.edfringe.com/tickets/whats-on/venus-2-0

REVIEW: The Same Only Different — Kenny Sinclair

Published on by nmcgarrityLeave a comment

Rating: 5 out of 5.

‘A must see comedy at the Fringe’

‘The Same Only Different’ is a show you won’t forget in a hurry. Performed by Kenny Sinclair, who has a flair for comedy and manages to get every member of the audience laughing within minutes, ‘The Same Only Different’ explores differences in generations of Scots, and universal themes that pertain to everyone. 

There is something for every audience member: cheeky jokes, nostalgic reminiscence, tongue-in-cheek charm. Sinclair delights and entertains in equal parts, a true comedian who never falls short in enthusiasm. Things haven’t changed so much, he reckons — and yet at the same time, everything is entirely different. This oxymoron provides ample opportunity for jokes and poking fun at every generation, from boomers to zoomers, and their idiosyncratic ways of living.

At the heart of Sinclair’s show is an earnest reminder that while at times we may feel out of our depth, humanity doesn’t change much. We will always remember each other and have ridiculous stories to share — and we will always find a way to laugh at ourselves. Kenny Sinclair captures the spirit of every generation in his fifty-five minute comedy show with just the right amount of audience interaction and clever scripting. From Naked Attraction to tales you’ll remember being told by your granny (or, depending on your age, you’ll remember first-hand!), the show is a quintessential Fringe comedy that you don’t want to miss. 

(The Same Only Different is an Edinburgh Fringe show, performed between the 15th and 25th of August. Tickets are available here: https://www.edfringe.com/tickets/whats-on/the-same-only-different.)

REVIEW: Theo Mason Wood: Legalise Kissing 

Published on by Claire McArthurLeave a comment

Rating: 3 out of 5.

intriguing blend of physical and poetic comedy

Theo Mason Wood has been going through a break-up and he wants to talk about it. Emma has left him after he prioritised a gig at Las Iguana’s Taco Tuesday over her, and he was left bereft. 

In a show covering poetry, freewheeling and surreal stories, a smattering of risque jokes, some work of the imagination, physical comedy and even a harmonica at one point, this is an unusual blend which has potential to be something really unique – as Theo himself notes, the venn diagram of his work and traditional comedy doesn’t exist, the twain are yet to meet. I think this is a slightly unfair assessment – but it’s true, this isn’t a typical stand-up hour. 

He has a talent for surrealist story-telling, which is apparent from the start – a memorable date encounter in the park, and the telling of “the Yoghurt Story” which is the one that will probably be the most recalled section of the show (this is also available on YouTube, but missing a hypnotic physical movement present in the live show), but my particular favourite was “My Life Is Perfect” as a life disintegrates around him. 

The parts between his stories and poems do feel a bit lacking in comparison, and tended to elicit some groans more than laughter.  

Tonight’s crowd was a particularly whispery/chatty one (Theo clearly regretting some flyering decisions made prior to the show) and in an over-hot room, which probably muted some reactions more than deserved.  The introduction of his new girlfriend Natalie was somewhat ponderous, and at this point the audience attention span was flagging, but somewhat came together at the end with a rather convoluted throwback.   

Theo’s clearly talented, and his combination of wide-eyed physicality and story-telling in this hour feels fresh, and unique, with potential to develop further. If you’re looking for something that doesn’t conform to the traditional stand-up format, this is a show worth checking out.  Theo Mason Wood: Legalise Kissing runs until 24 August, at 22:00 at Underbelly Bristo Square.

Tickets can be bought from: https://www.edfringe.com/tickets/whats-on/theo-mason-wood-legalise-kissing

REVIEW: Rohan Sharma: Mad Dog 

Published on by Claire McArthurLeave a comment

Rating: 4.5 out of 5.

a fantastically polished debut show, packed with content and hilarity,

Rohan Sharma is in a state of disconnection. In this fast-paced multimedia-laced debut, we’re taken on a whistlestop tour through areas of his internal conflict with unexpected and hilarious results. 


The self-proclaimed Mad Dog sets the scene early with a quick quiz to determine if a crowd member is racist, before diving into his material. We whip through topics such as British food, sex appeal of money, Madame Tussauds, and an intriguing politician his mother encountered in Beaconsfield – Colonel Gaddaffi. We also have Dan the tech, chipping in with his own brand of comedy on occasion, and the founding of a new investment opportunity, as well as the perils of oppression vs privilege, and the thorny topic of finding love. The gags come thick and fast, accompanied by copious laughter, and the PowerPoint use is fresh and fun, without being overused.


This is a well-crafted show, and the pace is kept up throughout – there’s some lovely visual gags, particularly where Rohan’s called out for some ‘emotional truths’ by Dan, and the series of apologies that follows, which skewer some of the comedy show tropes. Not all of the punchlines land quite as Rohan expects, but there’s a general good natured fun to it all that it all works anyway. Similarly, at times the backing music felt a touch too loud, but might just be my seat on the night.      


What really elevates this show above what could be just a good fun hour, is Rohan addressing the fact that he’s not focusing on topics that he would be expected to focus on for a ‘successful’ Fringe show – there’s a lack of trauma or racism he’s encountered. He’s authentic to his own self and what matters to him – namely finding love, and a mild obsession with that aforementioned dictator. I won’t include any  spoilers about what these entail, but there are delightful curveballs and looping callbacks peppered throughout, in a highly satisfying way.   

This is a fantastically polished debut show, packed with content and hilarity, and sure to cement Rohan as a comedian to keep an eye on in the months and years to come. 

Rohan Sharma: Mad Dog runs until 24 August, at 19:10 at Pleasance Courtyard, Below. Tickets can be bought from: https://www.edfringe.com/tickets/whats-on/rohan-sharma-mad-dog

REVIEW: Jessica Durand: Over The Top

Published on by John RichardsonLeave a comment

Rating: 3.5 out of 5.

Putting the camp  in  campaign: Jessica Durand gives a riotous ride into the world of fanfiction, Downtown Abbey and WW1

Over the top on one hand is a story about WW1, the brutality soldiers faced in grim impossibly large and slow battlefields resembling hell. On the other hand it’s a really really really funny and camp self-insert fan faction story about Jessica Durand finding her kinky lover Ms Trunchbull (yes from Matilda), featuring the characters of Downtown Abbey, Kermit the Frog and more. It’s ridiculous, it’s hilarious from start to finish and if the term “fan fiction” isn’t an immediate turn off you should see this without reading another word.

Jessica Durand has written a thoroughly funny and welcoming show that is a love letter to a much maligned space of the internet that fan fiction dwells in. She beds us all in with a rare use of an actually funny slideshow in comedy, and a brief live reading of a particularly interesting fanfiction involving Kermit, a Downton Abbey character and kidnapping kinks. This intro easily won over any stragglers in the audience, and had rambunctious amounts of laughter filling the room. Once the meat of the show starts – you know you’re in for a wild time.

Complete with costume changes, guest appearances and occasional bits of medical mystery, its a rollercoaster story that demands you not take it too seriously. As long as you’re open to the insanity, gay love triangles, and learning more Downtown abbey plot than any other fringe show its guaranteed laughs. But approach it with cynicism and you’ll lock yourself out of having any of its utterly silly fun.

Jessica is engaging both as a storyteller, and as a friend guiding you through their obsession. She makes it easy to get interested in her niches and radiates all her obsessive joy through every punchline, costume change and side track. Making audience participation not a terrifying thing to partake in is always praise worthy especially in the crazy context of someone having to read from a script as wild as this one. 

I can’t recommend this to everyone, but I think if you at all enjoy camp, fandom culture, tumblr, twilight, rocky horror culture and comedy Jessica Durand will make you laugh more than most can, like hanging out with a crazy and lovable best friend. I wouldn’t trade this shows absurdity and commitment to its niche audience for wider appeal, its part of what made this feel like a family gathering of nerds.

See Jessica Durand: Over The Top every night until the 24th (inclusive) at 6:55pm at Underbelly Cowgate

https://www.edfringe.com/tickets/whats-on/jessica-durand-over-the-top

REVIEW: Leglock

Published on by John RichardsonLeave a comment

Rating: 4 out of 5.

Leglock is a tactful, charismatic rumination on working class identity led by an electric actor and thoughtful writing.

James apprehensively looked towards the floor, making minimal eye contact as the lights dropped low. Sitting on the bench, medal around his neck, he recalls the horror of the first time he heard an opponent’s bone snap and the guttural sounds of them choking on their own blood. He never wants to do that, he pleads, he just wants to win, to be respected. If only he tapped out, he mutters, if only.

Leglock is a powerful rumination on the search for identity and belonging in working class Britain. Taking place as one long monologue from sixteen year old amateur cage fighter James (Taylor Uttley) – who has just won a fight that might accelerate his career – takes us on a journey through his childhood and psyche. Through a combination of writing that delicately balances Taylor’s charm and obsessiveness with honest insightful self reflections, Leglock made me laugh as much as it did contemplate. 

Taylor’s performance as this young cage fighter is dynamic, the highs and lows of his life are echoed through his stage presence. From the opening five minutes regaling his fight with all the dramatics of a Greek legend, to ruminations on his lack of belonging, Taylor smoothly guides us from each peak to each trough. He’s charismatic, boundlessly energetic, commanding with voice but also easily handles the more gloomy and introspective aspects of the monologue easily. He’s believable and this is in part due to great writing by Lowri Mathias throughout that avoids painting a caricature of a working class hero, letting his inner monologue speak for all that is often left unspoken by men and boys alike. 

Walking us back through his childhood we reach the moment he first fought at twelve years old, and lost, but was respected all the more for doing so graciously. From self respect that grows from that seed, his obsession with fighting brings obstacles he was never prepared for. For all his early success you don’t feel jealous of him. Between the trauma of training or fighting, and the moonshot nature of professional sports, the script reminds you while this is a dream for James, it’s no guarantee.

This sport gives James the first taste of respect, of being seen as a person with potential and promise, something ever dwindling in an ever degrading Britain. James’ story, though personal, also serves to interrogate the hopelessness that pervades Britain today, his story is not unique and feels written as a response to the lack of agency young men particularly feel they have. We see how the dominos fall, how his mother retrained in hope of lifting them out of poverty and how his dad can’t get shifts off to watch his fight. These only serve to place James in context as a product of his environment while proscribing agency to him, Lowri’s tactful writing balances both and while James is hopeful for his career by the curtain call I couldn’t help but be scared for him and teenagers like him. Lockleg could have just been a megaphone to the anger young boys feel, but instead it has the finger on the pulse of the hopelessness they feel, and is much better for it.

See Leglock at Greenside@George Street 5:20pm on the 21st, 22nd, and 23rd of August. 

https://www.edfringe.com/tickets/whats-on/leglock

REVIEW: Luigi the Musical

Published on by Claire McArthurLeave a comment

Rating: 2.5 out of 5.

a topical satirical musical comedy with unintentional hilarity

If ever there was a place for topical musicals about recent events, it’s the Edinburgh Festival Fringe, so of course, here from the US, there’s a sell-out musical about Luigi Mangione, the alleged killer of a health insurance CEO in December 2024.

Luigi (played by Matthew Solomon), finds himself in federal prison, alongside his new cell-mates – ex-FTX CEO Sam Bankman-Fried (played by Andre Margatini), and bedazzled Diddy (played by Janeé Lucas), and prison guard Sargeant DeLarosa (played by Caleb Zeringue), where they forge unexpected relationships and plan an escape.  

There’s no need to be too acquainted with Mangione, Bankman-Fried or Diddy, as they are explained in song (but of course!). Accompanied by Shannia Fu on keyboard, the cast get a chance to show off their vocal talents individually, which is positive, as they weren’t always the most harmonious together. The songs are short and snappy, and some of them are surprisingly catchy. Sam’s “Bay Area Baby” is still a peppy little ear-worm as I write this, and Luigi’s finale is over-the-top campy fun, for a myriad of reasons. 

There are laughs to be found – some definitely came out of surprise and probably more are unintentional rather than intentional, but there is some comedy here. Whilst it’s satirical, and pretty fun, the plot and the script are a bit thin. There is a kernel of genuine heart, especially when the Sergeant and Luigi bond over healthcare, but this is counteracted by some distasteful lines, especially from Diddy – the repeated malapropism of ‘autism’ vs ‘altruism’ made me particularly wince, which could be excused as being part of the character but felt cheap.  

This was the first night in this venue, and naturally there were some tech issues with mics misbehaving, flubbed lines and missed cues, and not helped by the previous show over-running. The seating in the venue is a bit awkward too – if you’re not in the first couple of rows, you can only see the actors from waist height, but it’s broadly fine.  

The wide spectrum shows of the Fringe means that sometimes it’s fun just to see something ridiculous and set your expectations accordingly. You might find yourself laughing at the wrong time, and bewildered at others, yes. However, it can’t be denied that the songs are catchy, the cast look like they’re having a blast, and there’s a general gung-ho spirit to the whole thing, which is very Fringe.   

“Luigi the Musical” runs to 23 August, at 19:55 at Just the Tonic @ Legends. Tickets can be bought from: https://www.edfringe.com/tickets/whats-on/luigi-the-musical 

REVIEW: Someone has got to be John

Published on by nmcgarrityLeave a comment

Rating: 5 out of 5.

An incredible portrayal of trans struggles and defiance in the U.K., both historically and today

What do you get when you cross three-quarters of The Beatles, transmedicalism, audience participation, and trying to fit in with imposed standards? Speakbeast’s phenomenal performance piece, ‘Someone Has Got To Be John’. A fascinating exploration of what it means to be transgender in today’s Britain, Speakbeast tackle immensely difficult issues through the comic lens of a Beatles tribute group. By combining music, recordings from gender identity medical conferences, audience interaction, interviews, acting, and personal anecdotes, the company has created a spellbinding fifty-minute play you don’t want to miss. For fellow trans people, if there are any shows you see, give this one a watch – entertaining, educational, and highly emotive.

You don’t have to be trans or queer to find this show poignant and powerful. (Or even a Beatles fan!) ‘Someone Has Got To Be John’ provides an insightful look into the lives of trans people, both general and personal. From gags about tribute acts not quite living up to their namesakes to the several Johns who have influenced trans medicine in the U.K. – and yes, shocking, there was more than one – Speakbeast have got an original, clever, and intensely intricate show on their hands that they treat with such care and love. It is a lament to the current and historical state of medical care for a marginalised community: and a love letter to trans individuals, a promise of endurance.

‘Someone Has Got To Be John’ is a production at the Edinburgh Fringe Festival between the 18th and 23rd of August. Tickets are available here: https://www.edfringe.com/tickets/whats-on/someone-has-got-to-be-john.

REVIEW: Scatter: A Horror Play

Published on by nmcgarrityLeave a comment

Rating: 5 out of 5.

A play that packs a punch and intrigues as much as it terrifies

A horror play that is truly scary can be hard to find. Luckily, Indigo Productions have just the show – ‘Scatter: A Horror Play’ is thrillingly intense, and ultimately succeeds in its aim to be the scariest show at the Fringe this year. 

Patrick McPherson stuns in his role as the protagonist and sole performer, though the set itself plays a crucial role too, as does the darkness of the venue. From the moment the audience walked in, they were immersed in a deeply unsettling environment with flickering lights that were barely enough to cast any kind of visibility. 

Moments of humour were few and far between, but the moments that appeared, had the whole audience laughing: a wonderful use of comedy to break tension and provide the audience with a feeling of relief. That relief, however, was always short-lived, before McPherson plunged back into the terror of his protagonist and the terror of the themes in general. Rampant, generational mental illness was a huge part of the plot, which fascinates as much as it horrifies. The delicate exploration of grief, trauma, and familial relationships is terrific: coupled with the show’s themes of folklore taken to the extreme, it was a masterful performance that cannot be reviewed highly enough.

‘Scatter: A Horror Play’ is a production at the Edinburgh Fringe Festival between the 18th and 25th of August. Tickets are available here: https://www.edfringe.com/tickets/whats-on/scatter-a-horror-play.