The Edinburgh Festival 2023 is very much up and running! And don't forget, every Thursday of the Fringe we have an extra edition of our TW bulletin for you with all our latest coverage. Including...

Yes, we are still talking to loads of great people who are performing great shows at the Festival this year, with new Q&As going live throughout the month. Check out some of our latest interviews below.

The reviews are now speedily coming in from our team who are out there taking in shows galore - look out for the latest batch here in the bulletin.


Our TW:TALKS podcast returns this weekend, with ThreeWeeks co-Editor Chris Cooke chatting to Luke Wright, Marc Burrows, Eden Sher, Sachin Kumarendran, Chelsea Hart, Sophie Zucker, David Ian and more. Look out for new editions going live each day through the Festival on the website and in your podcast app of choice.

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"I explore the similarities and differences between the UK and Saudi Arabia. And as much as you'd think we are totally different, there are some surprising similarities between the people of these two countries".
"We like to tell people it's about bananas because in many ways it is - and in many ways it's not - but you'll have to come along to see how the bananas weave their way into this tale!"
"'The Box Show' is a series of short comedy sketches where I play 25 characters from inside a small box. Every time the doors open, we are thrust into a completely new reality with new characters".
"It's investigates my Muslim-Malay-Singaporean identity and the tension that exists within that identity. It looks at themes of identity, indigenous displacement, and a disappearing language and writing system".
"Expect songs, some puppetry, a story about World War Two, and two guys trying their best. It's a fun, silly show about friendship, finding the fun in things, and working out what you want to do with your life".
1/5 bad | 2/5 mediocre | 3/5 good | 4/5 recommended | 5/5 highly recommended


The Magic Of Terry Pratchett (Marc Burrows)
For all the avid Terry Pratchett fans gathered around me, a comedy lecture based on comedian Marc Burrows' biography of the late fantasy author is a pretty easy sell. But would it work for someone like myself, with a much more basic knowledge of the Discworld? I mean, Pratchett did actually once phone me to inquire “whether I need to sue you", but that doesn't really count as fandom. Either way, while I'm sure a few of the in-jokes went above my head, Burrows does a fantastic job of navigating both the super-fan and the novice through the story of Pratchett's life, work and legacy. He also explores the impact of good storytelling, and how Pratchett - as a genius storyteller - used that to good effect. As does Burrows in this show. Pratchett didn't sue me by the way. Which is a shame. That would have made a great story.
Gilded Balloon Teviot, until 28 Aug.
tw rating 5/5 | [Chris Cooke]

Joe McTernan: Life Advice That Won't Change Your Life (Brett Vincent for GetComedy)
I was crying with laughter pretty much throughout this entire performance: it's a relentless hour of relatable stories and jokes which continuously landed then tied up neatly at the end. Joe McTernan goes through motivational quotes and discusses them, leading to tangents on a wide range of topics from covid to laundry. Although he gained popularity on Instagram, he has created a show that appeals to a wide audience with each segment resonating with different viewers. The audience can tell that he is having a blast on stage, and his high energy levels rub off onto the audience. A flawless stand-up that may not have changed my life but it certainly made it more enjoyable for an hour.
Underbelly Bristo Square, until 28 Aug.
tw rating 5/5 | [Andrew Melrose]

Dave Bibby: Baby Dinosaur (Dave Bibby / PBH's Free Fringe)
In this stand-up show, we all play starring roles, contributing to a modern rendition of 'Jurassic Park': prepare to sing, act and embarrass yourself in an event that is heavily reliant on audience participation. Dave Bibby's comedic style leans towards silliness, reminiscent of Harry Hill, which may not resonate with everyone - although many will fully embrace the craziness - and certain moments are a bit hit-or-miss because of this. By the end Bibby inspires in us a unique feeling of accomplishment as we admire what we have achieved, while along the way he also delves into the fears and challenges of being a dad, which are seamlessly woven into the narrative. Now to get this theme tune out of my head.
PBH's Free Fringe @ Banshee Labyrinth, until 20 Aug.
tw rating 4/5 | [Andrew Melrose]

Michael Kunze: Infinity Mirror (Michael Kunze / Free Festival)
It's hard to embrace your true self but Michael Kunze has embraced his as a great sketch comedian. In 'Infinity Mirror' he plays Mitchell Coony, a famous actor being asked to be more of his authentic self on a podcast. He discusses the roles he's played, with highlights being Lil Sneezy, a cowboy (our improv character) and the final surprise. Compared to other sketch shows, it stands out with its iconic characters and Michael's excellent portrayal. It's rough around the edges, however, and I found myself giggling but not in hysterics, though the musical numbers are the standout. With small adjustments to the writing, this could be a truly great collection of skits, but overall still an amusing 45 mins of comedy.
Laughing Horse @ The Three Sisters, until 22 Aug.
tw rating 3/5 | [Andrew Melrose]

André de Freitas: What If
We all know pursuing a career in comedy is no easy ride, though the journey taken by Portuguese stand-up André de Freitas has been particularly eventful. In this hugely entertaining retelling of that adventure, we hear about the highs and the lows. Well, mainly the lows. The stint spent living in a rental car in New York. The nights secretly sleeping under the stairs of a London office. The realisation that even a possible side-line as a male escort wouldn't provide enough income to pay rent. As he talks you through each hilarious low point - well, hilarious with the benefit of both hindsight and de Freitas's comedic storytelling - you find yourself becoming ever more emotionally involved in this journey. There are more highs as things progress, though the real conclusion of the tale is this very show. What if he doesn't pull it off? Don't worry, he really does.
Pleasance Courtyard, until 27 Aug.
tw rating 5/5 | [Chris Cooke]


Brian Kellock & Dick Lee - Swing Sessions (Brian Kellock & Dick Lee)
Take a seat - Dick Lee's bass clarinet did, eliciting mutterings from keys player Brian Kellock as its bell was supported eccentrically by a chair. Happy faces all around (nothing to do with the wine!) as we were led through a jolly hour of swing including Count Basie's 'Jumpin' At The Woodside' and Fats Waller's 'Blue Turning Grey Over You'. An elderly soprano saxophone instrument was the highlight of the show in 'The Sheik Of Araby' and Dick Lee, no slouch on the clarinet, flew up to the stars playing this old friend. Brian Kellock was "the rest of the band", displaying excellent musicianship - no keyboard shortcuts here - the bass was fabulous throughout and his solos transported us back to headier days.
Valvona & Crolla, various dates until 23 Aug.
tw rating 5/5 | [Louise Rodgers]

Siren Songs: Jacqui Dankworth In Concert (Jacqui Dankworth)
A gracious, charismatic lady, Jacqui Dankworth walked quietly on stage to an understated accompaniment of piano percussion and bass harmonics by pianist Charlie Wood and bassist Mario Caribe and the audience were hers alone for the next 90 minutes. Wood's arrangements were remarkable, particularly 'Windmills Of Your Mind' with sudden and intense flamenco palma artistry from the singer and pianist. 'The First Time Ever I Saw Your Face' was sensitive and gentle and the anguished cry of 'I Can't Make You Love Me' portrayed the other extreme of human relationships. 'If You Go Away' broke the heart but was mended by 'The Way We Were' by Marvin Hamlisch. The Fringe gives opportunities to hear great artists in intimate settings. This was one.
Stockbridge Church, 11-13 Aug.
tw rating 5/5 | [Louise Rodgers]

Poesie Geht Ohne Schuh (Poetry Walks Without Shoes) (Christoph Hilger and Janet de Vigne)
This began well. Christoph Hilger, a successful artist in his native Germany, explained how important poetry was to him and that he had set his favourites to music in the hope that we may one day understand them without knowing German. The poets are well known for being used by composers such as Schubert. So we had the riches of the greats including Goethe, Mueller and Rilke and lovely interpretive dance along with Hilger's delicate guitar and de Vigne's beautiful voice. Why didn't I enjoy it more? It was the long, rambling explanations about why he had chosen each poem. Thirteen of them. It rather took the shine off a sincere, original concert - the music could have said it all.
Old St Paul's Church, 7-11 Aug.
tw rating 3/5 | [Louise Rodgers]

Auld Lang Sing (Siobhan Argyle)
Ah, youth theatre - excitement on a stage! Glasgow Acting Academy students were by turns funny and touching in this new work describing traditional Scottish history and culture through music and poetry familiar to frequenters of folk clubs. There was lots of declaiming in addition to singing. 'The Legend of William Wallace' was a highlight - well acted and the emotion was very believable, naturally accompanied by Robert Burns' 'Scots Wha Hae'. Will Ogilvie, who went to school in Edinburgh but is admired by Australians as a bush poet, was a delightful discovery with the evocative 'Comfort Of The Hills' bringing a little calm among the blood and thunder of the Scottish story. Ex-pats might cancel their return tickets after this blast of home.
theSpace @ Symposium Hall, until 10 Aug.
tw rating 3/5 | [Louise Rodgers]

Scottish Meditation Orchestra - Piano Meditations (Matthew Shiel, piano, and Scottish Mediation Orchestra)
Tea anyone? East met west with common purpose at this charming and relaxing concert. The repertoire was familiar - well-loved contemplative Western classics including Fauré's 'Pavane Opus 50' and Satie's 'Gymnopédie Number One' but there was an ethereal Japanese Tea Ceremony performed by Mio Shudo in a beautiful Kimono in front of the orchestra! Musically, it was calm and resonant with an outstanding woodwind section; such soaring tones. Leader Raymond Cheuk Ting Hon was an outstanding violin soloist, interpreting Massenet's 'Meditation from Thais' touchingly, and Artistic Director Matthew Shiel shone in Mozart's 'Adagio from Piano Concerto number 23 in A major'. Punctuated by Eastern bells and smells to continue the mood between items this was indeed a meditative evening. This evening was at Canongate Kirk but next show is St Vincent's Chapel.
St Vincent's Chapel, 11 Aug.
tw rating 4/5 | [Louise Rodgers]

California Dreams (Night Owl Shows)
Love sixties and seventies music? This is for you - a happy afternoon of singing along to favourite songs with fellow enthusiasts. But it wasn't just the audience doing the work. Singer Reine Beau Anderson Dudley had the most marvellous, soulful upper register and just flew in 'You're No Good' transporting us back to the golden days of the glorious Linda Ronstadt. Naturally covered were The Mamas & The Papas, notably a spine tingling rendition of 'Dedicated To The One I Love' that had everyone swaying along. The Eagles' were well represented with 'Take It Easy' featuring the slick yet dangerous guitar of Dan Clews - who has been produced by the Beatles' George Martin - and his voice took us across the pond with every song.
theSpace @ Surgeons Hall, until 26 Aug.
tw rating 4/5 | [Louise Rodgers]


After The Act (Breach Theatre)
Section 28 banned "the teaching in any maintained school of the acceptability of homosexuality as a pretended family relationship". Enacted in 1988, quietly repealed in 2003, Section 28 has been exhumed by verbatim technicians Breach in a superbly executed musical. Expect aching recollections and power ballads, pinsharp performances in pinstriped suits; and a horror that settles in the bones. "There is a pile of filth and it is shocking," declares a campy, villainous Tory MP: Section 28 punctured public discourse to make the hatred of gay people newly 'sayable'. Isn't this pile of filth shocking? And isn't the same salacious moral panic being whipped up against trans people today: a rehearsal for broader assaults on queer life and liberation?
Traverse Theatre, until 27 Aug.
tw rating 4/5 | [Alexander Hartley]

A Funny Thing Happened On The Way To The Forum (Zenith Youth Theatre Company)
Stephen Sondheim's witty musical opened with the rousing chorus 'A Comedy Tonight'; based on the ancient Roman slave comedies of Plautus, it promised, "Nothing that's grim, nothing that's Greek" and lived up to this and more. These young actors were well-rehearsed and committed to their show - it fizzed and sparked along, no gag was thrown away! The casting was done by someone who clearly knew their strengths; some doubled up on parts and even this was funny as hats were swapped on the run in view of the audience. Special mention to Pseudolus, the slave conniving farcically for his freedom and Marcus Lycus, keeper of the brothel next door but they were all good and as Sondheim says there's "Something for everybawdy!"
theSpace @ Surgeons Hall, until 12 Aug.
tw rating 4/5 | [Louise Rodgers]

Public - The Musical (Stroud & Notes / The Pleasance)
A gender-neutral toilet is not the most obvious setting for a musical comedy. Happily, the book here is more PC than WC and it works brilliantly. The show is based on four well drawn stereotypes bouncing off each other when inconveniently confined together for the real-time duration of the show. Essentially a musical sit-com, some genuine (if expected) character development moves things forward at pace. This is a well-crafted show with great dialogue, fine music and lyrics, and some excellent character acting. It's well-shaped too, moving generously beyond caricature to a warm-hearted plea for understanding and acceptance of individuality. It's sharp, very funny, and the audience loved it. Flushed with fringe success, it will surely have a further life beyond.
Pleasance Courtyard, until 28 Aug.
tw rating 5/5 | [Alan Cranston]


Banana (Michael Galligan)
'Banana' showcases the notion that even the smallest idea can ripen into something good. The focus is on a banana trapped inside a box, and chaos reigns for the hour-long performance. Expect to be surprised and engaged by the audience participation, which leads to unique moments that leave you curious about what's coming up next. The show benefits from a large lively crowd but I'm pretty sure you are always guaranteed an enjoyable time. Michael Galligan proves that he is truly unafraid to go anywhere in his comedy, and also successfully delivers a narrative packed with facts about bananas. The timing of the jokes is perfect, making you laugh at the awkwardness and, of course, the punchlines - truly a funny chaotic banana filled time.
Zoo Southside, until 27 Aug.
tw rating 4/5 | [Andrew Melrose]

Cruelty (The Better Craftsman)
This is one for all dark comedy theatre fans, as 'Cruelty' follows the story of an insomniac on his numerous nights out. I found it difficult to become fully engrossed din the show, largely due to the lack of stage direction - most of the dialogue was spoken while sitting on a chair or during voiceover sequences between scenes, causing my mind to wander, and I found myself thinking this may have been solved by more fourth wall breaks or just more movement as this is when the performance became more compelling. Nevertheless, Luke Nixon is excellent in this fascinating role and does his best in drawing the audience in, and will definitely suit those who enjoy wordy productions.
C aquila, until 13 Aug.
tw rating 3/5 | [Andrew Melrose]

Shadow Kingdom (Mochinosha Puppet Company)
This was a must-see for me after last year's wonderful 'Space Hippo', and it's another top piece of shadow puppetry. Delightful inventiveness abounds, the shadow puppets are works of art in themselves and the puppeteers have great artistic as well as technical skills. At heart a fast-paced fantasy adventure story, it's also gently cautionary and often very funny. It works at many levels: sitting at the front to watch the puppeteers at work, I heard as much adult as children's laughter behind me. Maybe there are also some deeper messages about the value of stories and the power of dreams, in a 'real' world that seems ever more virtual. But mainly this is great fun from virtuoso shadow puppetry.
Assembly Roxy, until 28 Aug.
tw rating 4/5 | [Alan Cranston]

Don Quixote (Red Nose Company)
A couple of clowns present the first modern novel, which everyone knows but few have read. It works perfectly: Cervantes created Don Quixote as a figure of fun and his companion Sancho Panzo as a droll commentator. So why not red noses, a guitar as a horse and a donkey played by a violin? Why should the audience not assist Quixote's mad knightly self-flagellation with rotten tomatoes? Yet the show's great success is that it embraces much more than physical clowning, with verbal comedy, astute topical references, musical parody and more. Underlying it all, it unobtrusively offers illuminating commentary on the great work itself. It's warm-hearted, clever and very funny. Catch this professional and accomplished show whilst it's here.
Assembly George Square Studios, until 15 Aug.
tw rating 5/5 | [Alan Cranston]

Bitter Lemons (RJG Productions / Bristol Old Vic / Pleasance)
Amidst the mayhem of the fringe it's great to join a show where almost from the outset you know you are in the safe hands of good actors with a good script. Not that this is a comfortable piece; two women from different worlds unexpectedly confront the same challenging decision. An excellent script by Lucy Hayes crisply develops rich back-stories for each. Just as skilfully, it explores their individual responses, unique but influenced by their immediate personal and social environment. Shannon Hayes and Chanel Waddock are both excellent and Lucy Hayes ably directs her own writing. There's a brief loss of momentum in the closing scenes but this is still first-rate theatre-making and the result is pitch perfect.
Pleasance Courtyard, until 28 Aug.
tw rating 4/5 | [Alan Cranston]

Secret Storytellers (Shadow Road Productions)
Persephone, goddess of vernal greenery, is abducted by Hades, king of the underworld. What is her mother to do if not destroy the world? Here, the classical story is retold, and it is well enough done, with simple but strong language, many quick costume changes and some arboreal assistance. 'Secret Storytellers' rightfully values these powerful ancient tales, as they explain when framing the story. But I felt the device of subversive storytelling magpies in fear of rigorously rationalist ravens worked less well: not much was actually made of it but even so it risked getting in the way of the storytelling. The production seemed most suited to school groups and may well work best in that context.
theSpace @ Surgeons Hall, until 12 Aug.
tw rating 2/5 | [Alan Cranston]

Île (Sophie Joans - Spark in the Dark)
Who needs to go on holiday when 'Île' is bringing the sunshine to Edinburgh? It's a one-woman production that explores family history and returning to your roots, which in this play are in Mauritius. Even though the staging was incredibly minimal, I was transported to the sunshine due to the brilliance of the highly descriptive script, and while there is only the slightest use of sound and lighting, Sophie Joans manages to command the attention of the entire audience with her hypnotic movements, helping the images to form in our minds. Pacing does become a minor issue due to the descriptive nature of it, though this nonetheless fleshes out the uncomplicated plot. Overall, it is warmly written and gorgeously performed.
Pleasance Courtyard, until 28 Aug.
tw rating 4/5 | [Andrew Melrose]

The Death And Life Of All of Us (Victor Esses)
There's an undeniable warmth to this tale of familial secrets and hidden identities. In relaying the true story of his discovery, and deep connection to his great aunt Marcelle, Victor Esses not only shares her secrets, but also his own. We see glimpses into her life as she travelled the world, changing her name and her religion. Despite this intriguing story and his disarmingly charming persona, the performance isn't wholly successful. The picture we get of Marcelle is, perhaps understandably, incomplete and we're left wanting more. The overcomplicated melange of audio, video, projected text and live performance gets in the way,too, making proceedings feel more like an installation than a show: the messy medium obscuring the message.
Summerhall, until 27 Aug.
tw rating 3/5 | [Andy Leask]

An Interrogation (Ellie Keel Productions)
A detective sits at a blank, institutional table, in a blank, institutional room, interviewing a suspect. It's a familiar scene, thanks to countless movies and TV shows; this familiarity is exploited to the full in this terrifically tense, taut drama. Almost entirely a two-hander, the naturalistic performances are complemented by the projection of different camera angles behind the actors, offering selective close-ups. It's a masterful use of juxtaposition, used sparingly to heighten tension and play with the audience's sympathies. But this is more than just a compelling crime drama: the plot is enhanced by the script's exploration of power, prejudice and assumption. The whole package is excellent: I swear at one point I didn't take a breath for 10 minutes!
Summerhall, until 27 Aug.
tw rating 5/5 | [Andy Leask]

Showgirls And Spies (Young Pleasance)
Fittingly, this play is as breathless and gripping as any spy thriller, and as energetic and entertaining as a can-can routine at the Bal Tabarin. It recounts the true story of Florence Waren - born Sadie Rigal - who lived a double life during the Nazi occupation of Paris. Hiding her Jewishness, she performed publicly as a dancer, while secretly aiding the French Resistance, smuggling people, weapons and messages all while "hiding in the spotlight". Terrifically performed, and with dynamic staging, the excellent historical plot is complemented by a contemporary framing device, in which her descendants compare her experiences to their own. Their story adds poignancy at the end, and levity throughout, offering a timely reminder of the threat of nazism and anti-semitism.
Pleasance Dome, until 13 Aug.
tw rating 4/5 | [Andy Leask]

Love Is Blue (LAMBCO Productions)
It's uncharacteristic of laddish city trader Olly, but he takes pity on young homeless Aaron and offers him a shower and some hot food. During the course of their sometimes fraught conversations in Olly's swanky pad, however, both men come to look more deeply into their experiences of love, regret and hope. Don Cotter's play has a fairly unlikely (not to say morally dubious) set-up, and stops short of picking apart the power relationships at play. But that aside, this is a tender, touching, will-they-won't-they two-hander with a surprisingly open-ended conclusion. Performances by Sam Walter as a brash but broken Olly and Andrew Ewart as a damaged Aaron are a little broad-brush but vivid and effective all the same.
C cubed, until 27 Aug.
tw rating 3/5 | [David Kettle]

Blub Blub (Trunk Theatre Project)
Two philosophical fish discuss their situation in a show which gives a new meaning to the fourth wall. Loosely a commentary on the human situation, each fish has a different perspective on their confined quarters and how to live with or escape from it. They quarrel and make up, share their hopes and fears, and fall in love. There's plenty of fishy dialogue but this piece has a wide repertoire, with good music movement, dance, clowning, puppetry and mime. All of which is accompanied by clever sound effects, and indeed the musicians and technicians are very much part of the show. Suited to children as well as adults, there is plenty to smile at in this inventive and charming show.
Summerhall, until 27 Aug.
tw rating 3/5 | [Alan Cranston]

Nuclear Children (Platform Presents)
By far the funniest play I've seen about grief, 'Nuclear Children' is flawless. It's easy to see why it's won awards: the script is razor sharp, the staging simple, yet clever, and the characters believable. It's written and performed solo by Ezra England, who presents a relatable, warm persona, effortlessly evoking empathy from the audience, even as they deliver hilarious punchline after hilarious punchline. I'm not exaggerating: I laughed as much here as I would at any good stand-up show. The format, humour and themes inevitably invite comparison with 'Fleabag'; that's a very high bar to set a debut, but I'd say it's up there.
Pleasance Courtyard, until 28 Aug.
tw rating 5/5 | [Andy Leask]

Self-Raising (Graeae Theatre Company, in association with Theatr Iolo and Soho Theatre)
As a teenager, Jenny Sealey's summer job was retouching pictures at her dad's photo studio. Domestic photographs animate 'Self-Raising', showing the seemingly ordinary Nottingham family in which Sealey grew up, a Deaf child who was 'raised hearing'. But 'the camera never lies' is just that, another lie; and in an hour of gripping, impeccably staged confessional theatre, Sealey retouches her family's self-image, maintained through repression and deceit. With tenderness and charisma, Sealey makes you believe in theatre's power to 'work through' the past. Integrated British Sign Language and audio description deepen the play's examination of the fallibility of any one narrative: simultaneously image, text, and voice, the play's revelations dwell in the disjunctions between different ways of telling.
Pleasance Courtyard, until 27 Aug.
tw rating 5/5 | [Alexander Hartley]

Lady Dealer (Grace Dickson Productions)
Described as a 'poem play' this piece is in essence an exhilarating, fast-paced exploration of ordinary language. Although also described as a dark comedy, it's a pretty bleak tale, of self-deception as much as anything else, which ends in a lonely place without self-redemption evidently at hand. Charly, the 'lady dealer' starts out seemingly self-confident, proud that she's good at what she does. Fate in the form of a power-cut intervenes, creating probably unwelcome space for reflection: and the charade of being in control falls apart. This is good writing but, despite Alexa Davies' energetic performance, as set in the round and with limited stage business, I found it rather over-demanding as a theatre piece.
ROUNDABOUT @ Summerhall, until 27 Aug.
tw rating 3/5 | [Alan Cranston]

waiting for a train at the bus stop (Mwansa Phiri)
I certainly will be thinking about this show for a while. What starts off as fun turns into a heavy and heartbreaking story dealing with coercive control and mental health, the well-written script cleverly taking something that initially seems lighthearted, and towards the end turning it into something darker. However, while there is darkness, the exploration of family is heartwarming and gives us an insight into Zambian oral traditions. Yaisa delivers a powerful, raw and goose-bump inducing performance, and the lighting, projector and sound encompass and surround you, placing the audience inside the mind of the protagonist in crisis. The abrupt ending may leave some gasping for more, but like a train, it hits hard - in this show, emotionally.
Summerhall, until 27 Aug.
tw rating 4/5 | [Andrew Melrose]
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