We have the very latest interviews and reviews from this year's Festival, plus four more editions of the TW:Talks podcast. Look out for more reviews appearing on the website each day this week.
But, of course, it's not all Edinburgh Festival! Below our Edinburgh coverage you will also find this week's Three To See tips for London.
So, let's get going...
LUCY MCILGORM: REFUSE
I meant to do a feature about 'Refuse' as soon as I heard about it, but sometimes pre-Fringe busyness means I just don't get all the way down to the bottom of my to-do list. But fortunately I was able to catch up with writer and performer Lucy McIlgorm once the show was up and running at the Festival.
It's a fabulous piece that explores the story of a Ukrainian bin man dealing with the threat of the Russian invasion. I put some questions to Lucy to find out more about the production and its Fringe run so far.
CLICK HERE to read this Caro Meets interview.
'Refuse' is on at Assembly George Square Studios until 25 Aug. Find the edfringe listing here.
JESSIE NIXON
Jessie Nixon talks about her show 'Don't Make Me Regret This' at Assembly George Square until 24 Aug - listen to this edition of TW:Talks here.
KATIE BOYLE
Katie Boyle talks about her show 'Roe v Wade versus Katie' at The Tron at Monkey Barrel Comedy until 24 Aug - listen to this edition of TW:Talks here.
JOE TRACINI
Joe Tracini talks about his show 'Ten Things I Hate About Me' at Underbelly Bristo Square until 24 Aug - listen to this edition of TW:Talks here.
THOM TUCK
Thom Tuck talks about his show 'Scaramouche Jones' at Hoots @ Potterrow until 25 Aug - listen to this edition of TW:Talks here.
CHILDREN'S SHOWS
You're An Instrument! (House of Oz / The Sonicrats)
We are welcomed by two lab-coated boffins showing some percussion instruments who then decide to share their most edgy experiment. A 'volunteer' (also Australian) from the audience comes on to take the pill that will turn him into a musical instrument. And lo and behold, with each wave of an arm, an assortment of music ensues. At first this is entertaining but, as a bit, it goes on too long and young attention spans start to wander before the fourth wall is eventually broken and the kids are invited to get in on the act. Even at 50 minutes, the amount of actual material in the show feels a little stretched, but it's a neat idea and largely well presented.
Pleasance Courtyard, until 25 Aug.
tw rating 3/5 | [Bruce Blacklaw]
Abracadadbod! (Jokers Comedy Ltd)
I wouldn't normally mention this, but this was a quiet room, and it shouldn't have been: this is a really well-done one-man variety show for kids, hopping and skipping through excellent comedy, ventriloquism, magic, song and silliness delivered by our host, Frostie, aided by his puppet accomplice The Cheese Monster. I admired both the craftsmanship of the foolishness and the sincere desire to entertain and warmth with the younger audience members. All very pleasing and, sure enough, my young co-reviewers were really raving about it afterwards. Frostie did several neat little side-gags and references for the grown-ups, including one about it being difficult to get reviews. Well then, this shall be a good one: excellent stuff.
Just The Tonic At The Caves, until 24 Aug.
tw rating 4/5 | [Bruce Blacklaw]
GO! (Corps In Situ)
Martial arts as physical theatre for kids, you ask? Produced in Luxembourg? Well, it doesn't get much more Fringe than that. Two martial artists enter, one doing a straight-faced series of warm-up moves, the other with a glint in his eye hinting at silliness to come as he gets ready with a wooden samurai sword. There is some non-verbal bickering as they squabble over the sword, before things get more kinetic with variable floor lighting half-suggesting assorted video-game sequences. The choreography throughout, including a late de-trousering, and the movement of both performers is really good. If you like the idea of physical theatre for kids based on a playful approach to martial arts, then... er... GO!
Zoo Southside, until 24 Aug.
tw rating 3/5 | [Bruce Blacklaw]
Trash Test Dummies Circus (Underbelly and Dummies Corp)
Here for the last time, Trash Test Dummies have spent 15 years as strong contenders for the title of goofiest hour of slapstick tomfoolery at the Fringe. I mean, it's so stupid that to describe it will make it sound, well, rubbish. There's no plot - it's a physical comedy sketch routine centred on how much nonsense you can get up to with three wheelie bins. Turns out, quite a lot, and in between the butt-slapping daftness and slapstick, there's also lots of fairly high-end lifting, juggling and other circus fun. My 10-year-old still had it top of her wish list to see this year (not for the first time), and still loved it this time. Not such Dummies after all....
Underbelly’s Circus Hub On The Meadows, until 23 Aug.
tw rating 5/5 | [Bruce Blacklaw]
COMEDY
Rajiv Karia: Man Alive! (United Agents)
I had five minutes between shows and came hurtling into this after spending an hour in an absurdist portakabin. Rajiv Karia was an instant balm after the chaos. The comedian knows that you don't need to shout to get heard as he shares his lived experience as a British Asian, and reflects on the person he has become, and the reasons why. The show is about love, change, fear and fate, made all the more relatable in Karia's capable hands. The delivery is lo-fi but he makes acute observations about being a millennial man in a hyper-masculine world. At times this felt like a play with intricate jokes and zesty one liners. This doesn't matter. Karia is a new king of cool in waiting.
Pleasance Courtyard, until 24 Aug.
tw rating 4/5 | [Dionne Lackey]
Courtney Buchner: Big, If True
This show is a follow up to a sell-out debut run last year for experimental comedian Courtney Buchner. And she's once again bold enough to push the boundaries and test the audience's trust. Back with a fresh bout of honesty vs comedy explored in a new way, the comedian is charismatic and has a genuine rapport with the audience as she shares her stories about growing up in South Africa, coming out, parental rivalry, wedding planning and being neurospicy - all told in her offbeat storytelling style. This is sharp, very funny in places and Buchner is a star in the making. Some of the stories, though, could do with being a bit more incisive, and the concept needs a little fine-tuning.
Gilded Balloon Patter House, until 25 Aug.
tw rating 4/5 | [Dionne Lackey]
Dan Rath: Tropical Depression
Dan Rath delivers the punchlines at quite a pace, but does everything he can to ensure it never feels that way, with his deadpan delivery and an on-stage persona that suggests he really doesn't want to be here. At least, I assume it's an on-stage persona, this Australian comedian has, after all, travelled a long way to be performing in this particular Edinburgh dungeon. Or maybe he really feels that way. The deliberately awkward delivery could alienate some audiences, but it also complements the material well, the quality of the one liners keeping most of us on board throughout, and the delivery style - and occasionally absurd topics - making what could be a standard set-up-punchline routine into something much more interesting.
Monkey Barrel Comedy, until 24 Aug.
tw rating 4/5 | [Chris Cooke]
Pedro Leandro: Soft Animal (BIGHEAD Comedy in association with Independent Talent Group)
'Soft Animal' could be labelled 'theatrical comedy' I think. Not because it's theatrical, although there are some segments where Pedro shows off his acting skills, which - we're told - were once described as "magnetic" by The Guardian. But because it feels like comedy for theatre people, which seems like a solid pitch at a festival where theatre and comedy collide. He muses on the need for validation, pitches for a role at the Donmar Warehouse and leaves you in no doubt about his opinions of the hit musical 'Hamilton'. Pedro is an engaging storyteller and he has some interesting stories to tell. The comedy is gentle and sometimes the punchlines could come faster, but it's a solid debut nonetheless.
Pleasance Courtyard, until 24 Aug.
tw rating 3/5 | [Chris Cooke]
Joz Norris: You Wait. Time Passes. (Queenie Miller)
The premise is that Norris is about to present the fruits of his life's work, but with his ensuing mental breakdown potentially derailing his crowning achievement. Along with a well-thought-out and intricate show, Norris can work a crowd, and his energetic performance from first minute to last keeps the audience thrilled throughout. Norris mines the rich comedy gold of an obsessed man who is only just starting to realise his wife isn't coming back and his kid probably calls someone else 'Dad'. The eventual reveal of his life's work sends several audience members into convulsions. Norris always keeps the show just on the right side of ludicrous, so the audience goes along with him, whatever outrageous turn the show takes.
Pleasance Dome, until 24 Aug.
tw rating 4/5 | [Tom Brogan]
Bebe Cave: CHRISTBRIDE (BIGHEAD Comedy)
Bebe Cave enters in darkness to a chorus of cheers. She justifies the audience's anticipation with a wonderful, crazy show set in medieval times, where the young Bethilda Bigbum becomes a nun and marries Jesus Christ. She begins screaming as she's burned at the stake, and the rest of the hour explains how she got there. The show is deliberately chaotic, but with chaos comes laughter. When things go wrong - and with a show this hectic and quick-fire, they're bound to - it just provides more joyful moments. Cave is an outstanding performer, full of charisma, with an obvious talent for accents and characterisation. With 'The Screen Test' last year and now 'Christbride', she has fast become one of the Fringe's must-see talents.
Pleasance Dome, until 24 Aug.
tw rating 4/5 | [Tom Brogan]
Siblings: Dreamweavers (Impatient Productions in association with Intertalent Comedy Ltd)
Wildly inventive. The label 'absurdist' often gets used as a catch-all genre at the Fringe, but this is the real deal from IRL sisters Maddy and Marina Bye. Humour is clearly in their DNA (their parents are Ruby Wax and Ed Bye) and the results are just brilliant. The show is stitched together by a bone-achingly funny script as the duo 'read' the dreams of audience members with what can only be described as a giant colander with fairy lights. And there are plenty of lawless moments when the sisters riff off one another and laugh at the sheer stupidity of what they're saying. This is a silly and necessary hour of pure joy, and honestly, you'll leave the show wondering what on earth you've just seen.
Pleasance Courtyard, until 24 Aug.
tw rating 5/5 | [Dionne Lackey]
Alison Spittle: BIG (Show And Tell / Parkas / Independent Talent)
This is a deeply personal show from masterful storyteller Alison Spittle. She's body positive to the core, but a serious health scare eventually leads to her decision to lose weight. About as much as an XL Bully dog, or a harp, she says, depending on which side of the tracks you're from. Spittle fearlessly shares her experience of what it's like to be big in a small-minded world. With controlled anarchy she delivers a riot of jokes, and even the moments when she catches herself off-guard create interesting terrain to explore. Spittle is a master of her craft, and handles vulnerable moments with the audience with absolute care. A man told her to sit down once. She got a sell-out crowd tonight to give him the response.
Monkey Barrel Comedy, until 24 Aug.
tw rating 5/5 | [Dionne Lackey]
Amelia Hamilton: Forget Me Not (Impatient Productions)
The opening of 'Forget Me Not' tells us that Amelia Hamilton is serious about her rapping, even if the lyrics of her subsequent raps prioritise humour. It sets up well an hour which alternates between stand-up and rap, a format that means Amelia's take is refreshingly different even when she's covering topics that are common in the routines of young comedians - parents, break ups and so on. The rap delivery is more abrasive than the stand-up, but it's a contrast that works well. As the show progresses she delves into other more interesting themes, ending up with a rap that's almost inspirational as she tells us, in no uncertain terms, "you will fail and die, you will fail and die". Which may be true eventually, but in this show, Amelia very much succeeds.
Pleasance Courtyard, until 24 Aug.
tw rating 4/5 | [Chris Cooke]
Jamie D'Souza: Brownie
Jamie D'Souza is a data analyst by day, stand-up by night, even during August. He insists that's possible if you slacker your way through the day job, even providing handy hints on how that can be done. The data analysis finds its way into the comedy, as Jamie contrasts his life with those of the people around him - the now-married friend, the promiscuous live-in landlord - with the necessary spreadsheets to back up his conclusions. Self-deprecating and incredibly personable, Jamie does a great job balancing the jokes, the stories, the banter and the PowerPoint slides, confirming that while he may be slacking on the corporate day job working for an unnamed supermarket chain, he's fully delivering the goods on stage.
Monkey Barrel Comedy, until 24 Aug.
tw rating 4/5 | [Chris Cooke]
Jessica Fostekew: Iconic Breath
The rage is inherited from her dad. But Jessica Fostekew strains at every sinew to keep tolerant and temperate in a fractured, frustrating world. The show starts with a bit of crowd work about a collapsible bike helmet to take the temperature of the audience. Are we her kind of people? It doesn't matter either way. Dolphins, parenthood, co-habiting, the absurdity of everyday life are universal. Fostekew's material is charged with emotional depth and she uses her smarts and silliness, not takedowns, to get her message across. She hits us sideways as she impersonates female American podcast hosts. The show feels frenetic but the comedian, who you'll probably know from her roll call of TV and radio credits, is in complete cruise control.
Monkey Barrel 3, until 24 Aug.
tw rating 4/5 | [Dionne Lackey]
Zara Gladman is... Aileen: Cameron's Gap Year Fundraiser
Brilliant. It feels to me as though stand up and panel shows have crowded out sketch and character shows to an extent, but this sell-out debut from Zara Gladman, known for her online comedy, definitely falls into the latter camp, and is excellent. Her character Aileen, fundraising here in "down at heel Edinburgh" for her apparently perfect son's travels, hails from Glasgow's West End. We all know social climbers like Aileen, and through flawless stagecraft and video sketches, Gladman uses inventive humour and just plain silliness to dismantle and poke fun at their behaviour. For some of the second half, she performs as herself and sings and plays wildly funny songs on her guitar about being a millennial. This rising star will need a bigger room next year.
Monkey Barrel Comedy, run ended.
tw rating 5/5 | [Dionne Lackey]
Joe Tracini: Ten Things I Hate About Me (Joe Tracini and Norwich Theatre)
In a show that has been years in the making - and which prompted a book along the way - Joe Tracini takes us on a journey through his life as a child performer, TV actor and social media creator, and his experiences living with borderline personality disorder. Joe carefully eases us into some serious topics, and frank recollections of traumatic experiences, always quick to find the humour, even in the darkest moments. As he describes dealing with drug addiction and mental health challenges, it's at times emotional, but also entertaining and enlightening. The blurb tells us this is a show about hope, and it definitely delivers on that promise, with a great conclusion that impressively ties everything together, in more ways than one.
Underbelly Bristo Square, until 24 Aug.
tw rating 4/5 | [Chris Cooke]
Biff To The Future (Joseph Maudsley, directed by Daniel Clarkson, presented by Seabright Live)
The entire 'Back To The Future' trilogy performed by one man, with a little help from the audience. Which, for those who love the 1980s film franchise, should be enough of a draw, if only to see how Joseph Maudsley pulls it all off on a Fringe stage, with just a few costume changes and some low budget props. Although he takes on a multitude of roles, Maudsley MCs the proceedings as the franchise's antagonist, Biff. When in hosting mode, Maudsley is probably too personable and charming to be true to that character, but it doesn't matter, because this show isn't meant to redeem the bad guy, it's about retelling a familiar story from a slightly different perspective and in a very silly way. The result is an entertaining hour that lampoons and celebrates the original movies in equal measure.
Assembly George Square, until 24 Aug
tw rating 4/5 | [Chris Cooke]
MUSIC
Jotunger: A Viking Feast And Musical Experience (Jotunger)
The Vikings are coming - run towards them! Sagas, early instruments, tunes and food - these friendly Danes put on an enjoyable show on behalf of their ancestors to demonstrate that, apart from killing everyone on Orkney and Shetland, Vikings were fellow Europeans with lots in common. Scandinavians heckled in their own languages - an unexpected dimension! I cleaned all three plates, and there was plenty of mead too. The music was a mixture of their own compositions and old folk tunes - as expected, there was some melancholy but it was lightened by quirkily humorous stories and songs including one about a resourceful Swedish lady who took a bed to a dance. Skillfully performed and well researched - we travelled in space and time in sunny Leith!
The Mother Superior, until 19 Aug.
tw rating 4/5 | [Louise Rodgers]
MUSICALS AND OPERA
Miss Brexit (Maria Who?)
This political satire adapted the format of a gender-neutral (each 'contestant' was called Maria and wore a one-piece swimsuit) Miss World contest into a musical with a multicultural cast, witty script and clever singing and dancing. It examined the very real struggles of individuals caught up in Brexit: only one of the five contestants was to be allowed to remain. At one point it seemed as if we were heading towards a heart-warming ending on 'L-Shaped Room' lines: a likeable heroine supported by unlikely flatmates in bedsit land... but no! With hilarious audience participation thanks to the charismatic MC, this was an informative, funny but darkly unsettling hour of theatre. Be prepared to vote and perhaps get on stage!
Underbelly, Bristo Square until 24 Aug.
tw rating 4/5 | [Louise Rodgers]
THEATRE
Refuse (Just Bcoz Productions)
Lucy McIlgorm's play centres likeably unassuming Ukrainian bin-man Maks (Vasyl Sydorko) and his relationships - with his wife, Valentyna (Maria Shtofa), and Yelena (McIlgorm), a woman he meets on his collection route. A potential Russian invasion, discussed on TV news, is hushed up over dinner, in favour of avoiding interpersonal conflict. McIlgorm's choice to foreground dramas of neighbours, romance and parenting means the eventual invasion's impact is all the more deeply felt. With committed physicality and humour, the cast additionally perform as secondary characters with the help of makeshift props. This device has potential beyond its budget: the multi role-ing can be successful (especially in portraying Maks' son) but other character-swapping moments make less sense, and risk over-complicating an otherwise effective drama.
Assembly George Square, until 25 Aug.
tw rating 4/5 | [Bizz Holmes]
Waiting For Elvis (Plush Tiger Productions)
This is a gentle, life-affirming play that quietly and simply achieves the goal of having a character walk off stage having changed from who he was at the time he walked on. It's 1960, and Albert is a 21-year-old Elvis fanatic, but he's also having a hard time doing his national service. He's stationed only a few miles away from Prestwick Airport, where his hero - also doing his time in the army - will shortly be landing. While waiting, Briggsy finds himself sitting next to movie star Margaret Rutherford. Rutherford listens to Briggsy's story of being out of sorts in the army and offers him some life-changing advice. Kellie Gamble and Ant Hopkinson deliver solid performances, but more importantly, form a believable bond over the characters' short time together.
theSpace @ Surgeons' Hall, run ended.
tw rating 4/5 | [Tom Brogan]
86 (And So On Theatre)
It's New Year's Eve in a North London restaurant, and the staff have gathered to celebrate and complain after a long shift. As a showcase for the recently graduated cast, it works well. However, with a cast of six, someone is always entering or exiting; it's distracting, and the play never seems to settle down into a coherent storyline. The excellent Laura Copeland felt underused, but that's perhaps because she is also the play's director. The story itself is slight, with so many different loose ends being suggested, there was never going to be a way to satisfactorily tie them all up in the 45-minute running time. It is, though, an entertaining show with a promising bunch of young actors.
theSpace on the Mile, run ended
tw rating 3/5 | [Tom Brogan]
Revolver (Shared Experience)
Emily Woof writes and stars in an updated version of her 1993 play about how obsessive love invariably goes wrong. The narrative offers two timelines: her anxious TV researcher in the present day and her John Lennon-obsessed mother in the 1960s. The play has a number of ideas that don't quite gel together, while the tone never quite settles at one location; there are some good laughs, but there's also a gear shift to much darker themes. The play also switches focus from The Beatles and John Lennon to Valerie Solanas, an infamous would-be assassin of the 1960s. It's an uncomfortable and somewhat bemusing shift. Woof, though, is a seasoned performer who is compelling to watch throughout the hour.
Pleasance Courtyard, until 25th Aug.
tw rating 3/5 | [Tom Brogan]
SKYE: A Thriller (K Media / Summerhall Arts)
This show will appeal to people that love a dark thriller. While on holiday with her family, Annie spots someone familiar at the beach... but it can't be him, because... well... he's dead. Playwright Ellie Keel's script kept the audience's attention as it unravelled through to its chilling climax, while actors Dawn Steele and James Robinson brilliantly shift between characters, giving impeccable performances, supported by Matthew Iliffe's flowing stage direction. At times though, it feels like a struggle to follow the complex story because of character changes or timeline jumps, and ultimately the play falters somewhat because it's too big a story to be squeezed into just fifty minutes. Overall, though, it's a piece that will send shivers down your spine.
Summerhall, until 25 Aug.
tw rating 3/5 | [Andrew Melrose]
Red Like Fruit (2b Theatre Company)
This compelling piece of theatre asks important questions about male power and the nature of consent, though that word is not used throughout a gripping 80 minutes. Lauren has asked Luke to narrate her story, framed by her investigation of a horrendous incident of domestic violence. It's politically 'sensitive', and she is concerned by a serious crime apparently being trivialised; by the perpetrator, the victim and those around. Meanwhile, she is herself feeling a troubling unease that she can't pin down. Gradually she recalls half-suppressed experiences from her own past life, from the 'merely' disturbing to the devastating. Even now she still doesn't know what's 'normal' and how and why she and others didn't respond differently. Powerful, unsettling theatre.
Traverse Theatre, until 24 Aug.
tw rating 4/5 | [Alan Cranston]
Down To Chance (Maybe You Like It / Theatre Royal Plymouth / Pleasance)
A major earthquake in a remote community and the true story of the crucial role played by local radio - one reporter, Genie Chance, in particular. Perhaps brought to the Fringe as a showpiece for the performers, it largely succeeds in that aim. In a fast-paced show, there is much to admire, including the way the actors slip in and out of multiple roles, sometimes for only seconds at a time. It's also a story well told; we get the sense of everyone, including the National Guard, making it up as events unfold, learning and doing their commendable best. But the downside of the stagecraft on show is that only rarely do we feel the emotional impact of that extraordinary event.
Pleasance Courtyard until 25 Aug.
tw rating 3/5 | [Alan Cranston]
Lesbian Space Crime (Airlock Theatre / Soho Theatre)
Lesbian in space! Well, that bit is true, as are one or two others. But such is the pace, variety and silliness of this show that it's hard to separate fact from fiction. A thin layer of truth supports a great deal of fantastic invention. It's very funny, the laughs coming from many different comic sources; slapstick, high camp, great one-liners and fine meta snippets, some ad-libbed. Does it have anything to say about the divided loyalties of working motherhood, "Don't ask. Don't Tell", or anything else? Possibly, but "the show's the thing", and this confident, crazy piece is far more carefully crafted than you might guess from my words. Excellent, and will continue in orbit after the Fringe.
Pleasance Dome, until 25 Aug.
tw rating 5/5 | [Alan Cranston]
Copla: A Spanish Cabaret (HisPanic)
Olé Olé indeed! The show offers a voyage of discovery through the world of Spanish Copla music, as the talented Dr Alejandro Postigo fills us in on what to expect from it, and digs into the history behind it. Half of the content of the show is almost like a lecture, because we learn a plethora of facts, conveyed via interviews, clips, and a fun game. The other half, meanwhile, is formed of captivating performances of famous Copla music, accompanied by live violin, of which I dearly wanted more. The stunning stage design, costumes, and Postigo's mesmerising display whisked us away into an element of Spanish culture that he shares a heartfelt personal connection to. This show was spectacular, a real espectáculo genial!
Assembly George Square Studios, until 24 Aug.
tw rating 4/5 | [Andrew Melrose]
Hot Mess (Birmingham Hippodrome / Vicky Graham Productions)
A little dramatic conceit here goes a long way and covers many million years. As Earth hilariously fails to form a long-term bond with earlier species, she and Humanity embark on an increasingly fractious love affair. Even if scarcely earth-shattering, the analogy between a self-destructive modern love affair and man's increasingly damaging exploitation of our planet carries surprising heft. The music is excellent, and the words, audible, clever and funny. There's a fine set too, so this is a bit of a rarity; a fully produced show that still feels Fringe. Helped by the star quality of Danielle Steers and Tobias Turley, this is a skyrocket of a show that is certain to flourish in many other spaces.
Pleasance Courtyard, until 25 Aug.
tw rating 5/5 | [Alan Cranston]
Nerds: The Bill Gates vs. Steve Jobs Comedy Musical (Paul Taylor-Mills)
This is not a Fringe show (OK there's no definition); it's a musical that first appeared in 2005 and then failed to open on Broadway as planned in 2016. So it is unsurprising that it is has nothing new to say. It has strong production values but is very ordinary in each triple attack department. The Steve Jobs or Bill Gates roles are more infantile lampoon than insightful comic caricature, and the female roles are a disgrace. Neither does the show capture the genuine excitement of the pioneering days of the birth of the internet and personal computing. There are some clever and funny lyrics, and the audience loved it, but if you want a Fringe show, go find one.
Underbelly, Bristo Square until 25 Aug.
tw rating 1/5 | [Alan Cranston]
Dear Annie, I Hate You (Wild Geese Productions In Association With HFH Productions)
Dear Annie, we love you. A semi-autobiographical show that looks at the consequences of a brain aneurysm, which in this case resulted in a path of self-rediscovery.The terrific script turned what could've been a depressing tale into an hour filled with surprising moments, but which still feels poignantly real. The stage set includes various old televisions that display friends and family throughout, each usefully helping to set up scenes, a great use of multimedia elements. Performers Samantha Ipema and Eleanor House bring such impactful but also lively performances to the proceedings as they command the entire stage. At times the sound level needs tuning as moments become loud and difficult to hear, meaning that things can become over-stimulating. Nonetheless, it's a fantastic, inspiring force of a show.
Pleasance Courtyard, until 25 Aug.
tw rating 4/5 | [Andrew Melrose]
STARDUST Starring Star Dust (In Person) (Kat McGarr)
Audiences are invited to celebrate the return of a star who is past her prime and still desperately seeking the attention she has craved since birth. From the second she enters, Star Dust is (literally) crawling around the audience, telling her tragic tale through stories and song, mourning the life she has lost. Star Dust is joined by a pianist, Shiny Fingers (Robyn Herfellow), who sits in the corner and accompanies Kat McGarr's comedy character, almost blending into the set without a shining costume of their own. Unfortunately, it felt a bit difficult to follow all of Star Dust's in-universe references and jokes, leaving this audience member a bit lost. Both McGarr and Herfellow are talented performers, though, and the show has the potential to be a star that really shines.
Underbelly, Bristo Square, until 24 Aug.
tw rating 2/5 | [Kat Mokrynski]
Pigs Fly Easy Ryan (Nonstop - Untapped Award Winner 2025)
Two hypersexualised pigs dressed as flight attendants live out their dream of flying on a plane to destination freedom in a show featuring an absurd plotline - honestly, the sky's the limit - and it's constantly surprising. It has an almost robotic and snappily written script that takes a while to get into, but it cleverly tackles themes of budget aviation and climate change in the most uniquely entertaining way. Both performers, Lou Doyle and Trevor White, are absolutely brilliant and highly committed to their respective characters, and successfully draw their audience in, fully immersing us in the story as we soar the skies. This won't be for everyone, but those receptive to it will have a flight of their lives.
Underbelly Cowgate, until 24 Aug.
tw rating 4/5 | [Andrew Melrose]
Going Soft (Action Theatre Scotland)
Two keen and eager entrepreneurs set up Bar-L, the country's first prison-themed pub, complete with a ball pit to play in. But things start to go awry when they have to make a presentation to someone who could provide them with the money to fully realise their dream. Although the premise seems like a sketch, the young cast manages to wring a decent hour out of the disappointments, confusions and tensions the chance of fast cash brings about. Jack Byrne and LJ Aitken have fun as the battling pair, bickering and eventually rolling on the ground, fighting with one another, while Sarah Docherty does well with the more static role of the potential funder. It's a lively and promising production.
Underbelly Cowgate until 24 Aug.
tw rating 3/5 | [Tom Brogan]
The Crawl (Alexander Burnett, Ellie Whittaker And Olivia Zerphy)
A stroke of genius, this show: a physical theatre piece depicting contestants who are preparing for what is about to become a very memorable swimming race. There's a straightforward plotline and a fair amount of audience participation - members compete in races, coach, and more - in an uplifting and humorously creative piece that sees an empty stage transformed into a vast swimming pool in the audience's imagination. The whole thing is brought to life by the cast's masterful miming and impeccable stage direction: performers Alexander Burnett and Ellie Whittaker embody their roles to the fullest, whilst the script is fleshed out with humour and heart. It's marvellous physical theatre that really makes a splash.
Pleasance Dome, until 25 Aug.
tw rating 4/5 | [Andrew Melrose]
CAMDEN FRINGE>>
Caged Sisters Musical | Phoenix Arts Club | 22-30 Aug
Sorry to be the bearer of horrible news but, unfortunately, I must tell you that the beautiful Camden Fringe - which contains so many fabulous shows - is sadly, inexorably, approaching its end, so you only have a few more days to catch all of these wonderful performances. And you should consider this one, a musical based on one of China's greatest ever literary masterpieces. Book here.
Lisa! The Mona Lisa Musical | Hen & Chickens Theatre | 22-24 Aug
It's sad that Camden Fringe is all nearly over, but wow, there is so much promising stuff still to happen. I was absolutely reeled in by this, another musical, this time about the life of the model for the most famous painting in the world. Hang on though, I hear you say - don't we know absolutely nothing about her? Well, yes. Which is why the company behind this show made all this up. See this page here to find out more.
Isn't It Byronic | The Courtyard Theatre | 21-23 Aug
Well, you didn't think I was going to pass by a show name like that in a hurry, did you? You know how we love those punny titles. And this sounds like a really interesting thing: "Zoe Maltby lovingly dissects the Byronic hero in all his many iterations - and maybe uncovers some clues to her own identity in the process". Expect a weird and wonderful journey through romantic lit, see the Camden Fringe website right about here.
SHORT STOPS>>
Hickory Dickory Dock | Little Angel Theatre | 22-24 Aug (pictured)
Right, some vaguely short stops for you and, like I probably said last week, and possibly the week before, it's still the summer holidays, so how about some entertainment for your small people? Well, the Puppet Festival continues over at Little Angel Theatre, so I recommend 'Hickory Dickory Dock' - info here - as well as everything else that's on this week, frankly.
Lobster Pot | The Space | 19-23 Aug
On to some more grown up stuff now and this sounds kinda serious: it's about a woman who is at the supermarket when a hostage situation arises and finds herself hiding in a cupboard with store employee Joshua. Will they manage to wait out the attack without being discovered? A show that explores misogyny, trauma and forgiveness, and honestly, it sounds amazing. Click here.
Lightbulbs | Jack Studio | 19-23 Aug
"In our most intimate spaces, who do we trust to keep the darkness at bay? How do we navigate the hard wires of another being? Eventually, the moth must realise his return to the flame is no longer romance, but delusion. The bulb flickers. Letting go is an option". A gentle love story about a modern, queer 'situationship', which seems extremely promising. All the details here.
EVER SO SLIGHTLY LONGER RUNS>>
Sirena | The Glitch | 20-25 Aug
And now, yes, you read it, some runs which do feel a bit longer, but probably aren't that much longer in reality. But I wish this was actually a longer run because it sounds amazing: it's a subversive contemporary opera, created from a modern, feminist perspective. Expect a challenge to the historical treatment of the feminine voice, head to the venue listings here.
The Animator | Southwark Playhouse Borough | 20-30 Aug (pictured)
This one's fascinating, a play about German film director Lotte Reiniger, who created the world's first animated feature, ten years before Disney released 'Snow White'. It's set in 1920s Berlin, with all the subversive glamour that implies, offering a glimpse into a world of shadows and light via physical theatre, and exploring dark political themes. See this page here to book your tickets.
Er. | White Bear Theatre | 20-26 Aug
"Jay and Tess are stuck in purgatory, waiting to be reborn. As they drift through the afterlife, deciding what they will become, they relive their past lives - tracing how a single house party brought them together, the paths they might have taken, and the choices that led to their deaths". Well, if that doesn't sound intriguing I have literally no idea what does. Find out more here.
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