Our latest Edinburgh Festival coverage
As we head into the final weekend of Edinburgh Festival 2026, we have some final interviews and more reviews to share with you.

Plus you can check out all our coverage of this year's Festival on the ThreeWeeks website, including..

INTERVIEWS with some of our favourite performers.

THREE TO SEE show recommendations.

EDINBURGH BACKSTAGE interviews and news.

QUICK QUIZ videos galore.

TW:TALKS podcast interviews.

REVIEWS from the ThreeWeeks team.

Davina Bentley: Dancing While Old
Davina Bentley isn't old, really, but her show is about ageing, and how you and others measure you as you mature. Women, especially, it seems to me, are considered by society at large to depreciate with age, which is spectacularly unfair.

Anyway, as an ageing woman, I was very interested in her debut hour, especially as she has a proven track record of writing for Radio 4 shows, which are one of my obsessions.

To find out more about the show and about how Davina's career has progressed, I arranged a quick chat.

Sepideh Kaav: 1979 – Persianality Disorder
As I have probably said before, we enjoy the Fringe influx of international acts and, of course, some are kind of more international than others…

Sepideh Kaav grew up in Iran but is now resident in Germany, and is performing a show she has already performed in Europe.

Kaav has built a reputation this Fringe for some rather dark comedy, which again, is a good thing as far as I'm concerned, and – given her background – it feels inevitable that there would be a political element in the show.

I spoke to her to find out more about the show and what brought her to Edinburgh, as well as her expectations for the future.

It's the TW:Talks podcast at Edinburgh Festival 2026. ThreeWeeks co-Editor Chris Cooke has been chatting to people performing at the Festival this year - check out these two editions...

TW:Talking with Noah Seltzer
We talk past, present and future with Noah Seltzer – their career in comedy so far, this year's Edinburgh Fringe show 'Here Comes Almost', and what's coming next.

TW:Talking with Jenny Gorelick
We talk past, present and future with Jenny Gorelick – her career in comedy so far, this year's Edinburgh Fringe show 'SORRY', and what's coming next.

Reviews from the ThreeWeeks team at Edinburgh Festival 2026.

1/5 bad
2/5 mediocre
3/5 good
4/5 recommended
5/5 highly recommended

CABARET

Camelton (Cahoots Entertainment In Association With Cahoots Theatre Company)
It's the perfect venue for the musical 'Camelton' and award winning creator Stephen Cole is a master lyricist with many accomplishments. The opening is a multimedia extravaganza and sets the tone for the show which has a broad appeal to a wide demographic, and leads, inevitably, to a big Broadway ending, despite the fact that it's a one man show. Inspired by improbable real life events, it's a trip down memory lane for Cole, and it offers great material for a comedy musical. I'm not going to give away the ending of this very well produced and performed piece, but rest assured, you can expect to see a multitalented performer with boundless energy offering a fascinating journey and insight into his life.
Gilded Balloon Teviot, until 31 Aug.
tw rating 3/5 | [Graeme Blackmore]

COMEDY

Li Jin Hao: Falling From A Moon
An hour of whimsical, whip-smart thought and wordplay from Li Jin Hao, a freshly minted nominee for Best Comedy Show this year following his Best Newcomer nomination in 2024. The ethereal moon on stage waxes and wanes as he poetically pulls on the thread of nostalgia. He grapples with gravity, distance and time, the loss of youth and first love, and reconciling his Chinese, Singaporean and now British roots. Always pushing to be better, he gives lighting notes to the technician mid performance. Though some of his trademark softly spoken surrealism is lost via a cold that visibly impacts his performance tonight and he is irked by distractions in the room. Maybe this is closer to the real Jin Hao.There's whimsy, but there's also realism.
Pleasance Courtyard, until 30 Aug.
tw rating 4/5 | [Dionne Lackey]

The Mr Thing Show (Lee Martin for Gag Reflex)
This is the definition of a fun time. As we enter we see what looks like a live talk show set with a fantastic live band playing, and from there chaos ensues: a lively hour follows, where the audience takes centre stage, with plenty of interaction through games and talent showcases and an inviting atmosphere for everyone. The cast are fantastic, clearly having a blast, hilarious in their improvisation, throwing out effective jokes galore. Puppet Steve, who is an audience hit, is part of a show that is overbrimming with ideas and surprises that become incredibly outlandish, but it all clicks and is cleverly thought out. One thing is for sure: you will want to see this show again.
Assembly George Square Gardens, until 30 Aug.
tw rating 5/5 | [Andrew Melrose]

Will BF: Moon Team IIIV (Best Before Productions)
A brilliant unhinged hour of film nostalgia, nonsense and neat parody. Will BF leaves everything on stage as he plays out his 'years later' mockumentary on fictional sci-fi film 'Moon Team IIIV'. This is mayhem with meticulous planning - who knew you could have so much fun in a subterranean makeshift galaxy not far away? Rest assured, you don't need to be a sci-fi fan to enjoy this hailstorm of surreal characters, talking head clips, songs, voiceovers, lo-fi video games, a villain with a giraffe head. A robot called WD40 voiced by Orson Crates' wine-fuelled audition tape is jaw-achingly funny. Eyes fall off props. Eyes fall back on. And it's all just joyous.
Underbelly Cowgate, until 30 Aug.
tw rating 4/5 | [Dionne Lackey]

Rhys James: Chop Logic (Off The Kerb Productions)
Dare I say… this is the upper class of stand-up comedy? Rhys James's uncovers what the working class is alongside strange ways we can save money and many more topics. The callbacks are subtle, the one-liners are witty, and the story is insane but hysterical in an hour that is packed with an abundance of jokes. Rhys is characteristically confident on stage, does not falter as he delivers his stand-up with little audience interaction, storming through a fast-paced, well-constructed hour with ease. It's perfect, traditional style stand up that avoids being overly edgy or sexual, resulting in this clever hour. You do not need Martin Lewis here to tell you, this show is worthy of investing your time.
Pleasance Courtyard, until 30 Aug.
tw rating 5/5 | [Andrew Melrose]

Ele Mckenzie: Bringing It All Back Home (Country Mile Productions In Association With Parkas And Independent Talent)
I've seen Ele McKenzie on the TV and now live, and I have absolutely no regrets. There's a full house in a tight and compact room, and our host sets the tone with a friendly demeanour, making it feel more like a relaxed chat initially. So the audience is at ease, strapped in, and then… boom! Great, funny content, great performance, just … well, great really. Have I used the word great enough? Well, great! There's a lot about her family - her mother, father and very successful brother, and a smattering of Bob Dylan all building up to the grand finale. In this room full of laughter, energy and genuine warmth, what did I learn? That Ele McKenzie is a superstar!
Pleasance Courtyard, until 31 Aug.
tw rating 5/5 | [Graeme Blackmore]

Chris Martin Lied To Us (Will Spence)
I swear there came a point where I had no idea what was going on here. Will Spence has a serious vendetta against the lead singer of Coldplay, and this show is a statement on why the band's hit song 'Yellow' is a lie. Based around a PowerPoint backdrop, it is a bonkers hour of mainly sung parodies of this song, strange costume changes, and more surprises. There is humour galore, but it leans heavily into absurdity rather than jokes which only partially land. Will Spence clearly has many ideas, and the concept of this hour is fantastic, but the execution becomes too chaotic: there is silliness, but then there is too often messiness. An ambitious attempt that does not fully succeed.
Underbelly Cowgate, until 30 Aug.
tw rating 2/5 | [Andrew Melrose]

Elf Lyons Is The Woman On The Edge (Mick Perrin Worldwide In Association With PBJ Management)
Sublime. Elf Lyons' performance tonight feels like she has worked out how to pull back the veil and translate the feeling of standing in front of a Mark Rothko painting. Lyons' performance fills us with awe and transcendence, and nothing can distract us. There is no linear, or logical way to explain this surreal exploration of grief, gender politics and recovery through the allegory of 'Apollo 13', on tip toe, through mime, clowning, comedy, opera, fruit phones, horses, and a female fatale. And after an exhausting hour she still finds the time to promote the show of some mime artists who are playing an 11.30am slot. Go find them. And beg for a ticket for this, if you have to.
Pleasance Courtyard, until 31 Aug.
tw rating 5/5 [Dionne Lackey]

Julian Clary: Fully Dilated
The title of the show is both a promise and a premise. We start with volcanic filth and exemplary crowd work. An audience member called Neil gives the sequin bedecked comedian an early Christmas present. There are songs, of course, and the acerbic wit and customary smut never wane throughout the show. But now we get to the premise, as also he openly shares a rare retrospective on his career, and the losses in his life. He talks about losing his partner Christopher just as the doors to fame opened. Clary is fiercely authentic, kind-hearted and warm as he shares his stories and ends with an emotional version of 'My Way'. In full dilation. Oh, and did we mention Norman Lamont?
Assembly Rooms, run ended.
tw rating 4/5 | [Dionne Lackey]

Gareth Waugh: Is Pepsi OK?
This was a crossover I never expected to work: Gareth Waugh aims high with a combination of standup and a real mystery told in a true-crime documentary style. Aided by screenshots, videos and evidence, the show is centred around a promising new job with Coke that descends into fraud and even more surprises. It's a shockingly riveting story that offers personal insight, scam awareness, and constantly keeps you hooked. Meanwhile, the jokes do land, though the humour is fairly straightforward and leaves you wishing for just a little more edge, maybe. Yet Waugh is confident and engaging on stage, delivering his hour with a casual charm that seems effortless. A refreshing set from a comedian that's certainly going places.
Monkey Barrel Comedy, until 30 Aug.
tw rating 4/5 | [Andrew Melrose]

Dee Allum: Raumdeuter (Chambers Touring Ltd)
Dee Allum's 'Raumdeuter' is an assuredly funny hour of stand-up. Touching on sports, Englishness, family, and her relationship to those topics as a trans woman, Allum takes her title from footballer Thomas Müller - a player who "interprets space". She extends this reference to become a metaphor for navigating life, work, and relationships, as someone shifting in-between multiple identities and experiences. Much of her material comes from personal stories and astute sideways observations of life's mundanities, delivered with gentle self-deprecation, and light bantering with her front row. From working in a call centre, to watching Watford FC, and her girlfriend's job in musical theatre, Allum's Raumdeuter-level comedic skill allows her to flit nimbly between topics, finding new humour in well-worn themes.
Pleasance Courtyard until 30 Aug
tw rating 4/5 | [Bizz Holmes]

Absolute Bus Stops Of Northern Europe And Beyond (Jim Judges)
There's unlikely to be another one of these along in a minute. The show is precisely what it says on the side of the bus: a genial and funny introduction to bus stops. Set up as a PowerPoint presentation, there are indeed plenty of bus stop visuals, with a skilfully crafted and surprisingly informative narrative around them. On our journey, we learn how to rate bus stops via easy audience participation (and it seems we actually learn the skill for future use). The show slightly loses energy as it wends its way; a little dramaturgy could give it a stronger narrative arc. Even so, this is an enjoyable and engaging show, one of the Fringe's gently eccentric treasures.
Paradise In Augustines, until 29 Aug.
tw rating 4/5 | [Alan Cranston]

Gregor Fisher: An (Early) Evening With Gregor Fisher (Fiery Entertainment)
Unstoppable! Gregor Fisher clearly has a massive heart, and this fact really grabs you as he tells you stories from his humble beginnings to his work as a star of stage and screen. His anecdotes, steered by Nigel West, fill a power-packed hour full of brilliantly must-see moments. Gregor is the consummate professional who wants to be the best he can be, and as he says, if you don't give it a go, you will never know. It's not about the full house; it's about delivering a show that feeds fans with Gregor's warmth and honesty. The man's accolades speak for themselves: he's a BAFTA award-winner and he delivers the goods on stage. If you're not a fan, you need to be!
Gilded Balloon Teviot, until 30 Aug.
tw rating 5/5 | [Graeme Blackmore]

Amanda Dwyer: Better Than Revenge (Amanda Dwyer)
The roots of this show were in an offhand comment from a male punter who thought Dwyer's set would exclusively be about how men were all dicks. It wasn't, but it made her stop and think. So she came up with a show about how men have been awful to her. There are minor ways, such as trying to claim credit for her achievements, and horrific ways, such as threatening her with posting revenge porn. Her sly revenge on a colleague is the highlight, but she doesn't shirk from a section detailing a sexual assault, which she skilfully makes funny. A strong, brave comedian forging her own path, Dwyer is heading for much bigger rooms.
The Stand Comedy Club 2, until 30 Aug.
tw rating 4/5 | [Tom Brogan]

DANCE AND PHYSICAL THEATRE

If I Can't Dance I'm Not Coming (Karl Jay-Lewin And Matteo Fargion)
If you ask me what dance is, my definition is a merging of music, movement and emotion, together with skill and technique. More importantly, I look for meaningful expression.'If I Can't Dance I'm not Coming' is created by choreographer, Karl Jay-Lewin and composer, Matteo Fargion, and is rooted in Fritz Lang's masterpiece 'Metropolis', transforming the silent film into a dance piece. It ambitiously explores suppression, struggle and rebellion through the physicality, energy and dynamics of eight performers. Although some transitions between fragments feel unclear, the performers' collective energy creates a strong sense of tension and movement. Choreographic techniques such as mirroring, canon and unison are used effectively, offering the audience a fresh way to experience movement and collaboration.
Assembly @ Dance Base, until 30 Aug.
tw rating 3/5 | [Noel Leung]

MUSIC

Simon & Garfunkel And Beyond (Night Owl Shows)
There's only one Dan Clews but he has a friend - Angus Munro - and they told the Simon and Garfunkel story with great songs, relaxed humour and - joy of joys - an original anecdote! Clews family friend Terry tried to book young Simon for £12 at the Orpington Folk Club in the sixties but was overruled by the committee. Blimey. Multi-instrumentalist Munro as Garfunkel did justice to 'Bridge Over Troubled Water' and touched hearts with 'Bright Eyes'. Clews as Simon played a blistering guitar solo during 'Mrs Robinson' and used loop pedal to create a full, rich sound throughout. Fact fans had much to chew on in the onscreen documentary sections and everyone sang, clapped, cheered and left feelin groovy.
theSpace Triplex, until 29 Aug.
tw rating 4/5 | [Louise Rodgers]

MUSICALS AND OPERA

Chunxiang's Schoolroom Prank (Jingkun Chinese Arts)
Jingkun Chinese Arts is a UK-based performance and production company bringing Chinese opera to contemporary stages. Based (I learn) on the Kunqu tradition, this extract was from an early work, dating from 1598 (around the time Shakespeare wrote 'Much Ado About Nothing'. The piece was highly stylised, as expected, but also elegant and musical. Chunxiang, the teasing maid, was played engagingly, with the action fully legible, aided by surtitles. Visually it was entrancing, with remarkable make-up and costumes. Billed as an entry point for audiences encountering Chinese opera for the first time, it was perhaps too brief a fragment for that. A longer piece might make more demands on a fringe audience but could perhaps have more dramatic shape.
C alto, until 27 Aug.
tw rating 3/5 | [Alan Cranston]

THEATRE

Women Of Will (Tina Packer, Ella Loudon, Paul-Lou Lemieux)
Tina Packer's book 'Women of Will' is described as a "fierce and funny exploration of Shakespeare's understanding of the feminine". This play is faithful to that topic, though seen through the rather opaque prism of a 'resting' actor (male) of a certain age coaching a young would-be drama school student (female). I found it hard to shake off a sense of contrivance here, and the backstories were thin, undermining the more convincing relationship which develops between the two performers. But there was some fine Shakespearean acting, especially from the young drama school applicant. Her Lady Macbeth was strong, while her feisty Juliet was well suited to the topic. A nice idea, and enjoyable, though let down by the underdeveloped framing.
Summerhall, until 31 Aug.
tw rating 3/5 | [Alan Cranston]

Little Animals (Paul Ready And Fern Culture)
With a strong solo performance by Paul Ready, who also wrote it, this play has genuine complexity. It's about a deep friendship, one party saddened by climate change, the other not a denier but determined to get on with his life. The relationship is sensitively drawn, as the childhood emotional bond is stretched by increasing tensions in adulthood. It's also about guilt, or guilt denied, about failing a friend and about climate complacency. There's also more than a nod to philosophical discussion of human exceptionalism and the reality of 'progress'; but it's not intrusive. Richard, the troubled idealist, is sometimes too close to a stereotype, more so than his complacent everyman friend. A fine play that could be developed further.
Traverse Theatre, until 30 Aug.
tw rating 4/5 | [Alan Cranston]

Nothing Personal (Ally Ryan)
Ally Ryan's one-woman play starts as a simple look at Megan, a woman lacking confidence on the stand-up comedy scene, but becomes something much more complex. We soon realise she has to operate inside the toxic manosphere. It's a world where she's expected to treat misogyny, racism and surreptitiously filmed sexual encounters as the norm. Just as her career takes an upturn, she meets a genuinely nice man. But her realisation that the two worlds can't merge forces her into a decision. Megan courts the approval of the manipulative men on the circuit and chases numbers on social media while pushing away something real. It's an engaging, relevant and funny piece that Ryan performs with sincerity and passion.
Gilded Balloon Patter House, until 31 Aug.
tw rating 4/5 | [Tom Brogan]

Sinatra: One Last Shot (Richard Shelton)
It's New Year's Eve 1979 in Palm Springs and Frank Sinatra is on stage. Ol' Blue Eyes tells us what the 70s have been like since his 1973 return from retirement. It wasn't his greatest decade, although as musical tastes change, Sinatra's voice never falls out of fashion. Bert Tyler-Moore's play sees Sinatra reflecting on his three loves: wife Barbara Marx, ex-wife Ava Gardner and his mother Dolly. Richard Shelton plays Sinatra with a charming swagger, but it's in the songs that the show really sparkles. With live piano accompaniment and simple staging, Shelton effortlessly belts out Sinatra classics such as 'Fly Me to the Moon' and 'My Way'. It's so good you almost think Sinatra is in the room.
Dirty Martini at Le Monde, until 30 Aug.
tw rating 4/5 | [Tom Brogan]

Buggers (Patrick Bone Productions In Association With Pleasance)
Telling the story of artist Francis Bacon's personal and professional relationship with criminal George Dyer, this show packs their tumultuous eight-year relationship into one hour. Alice Wordsworth directs deftly, employing creative techniques in staging and physicality such as wrestling, screens representing canvases and a tin bath to show both the pair's conflicts and obsessions. Alistair Hall - who also wrote the play - as Bacon, and Peter Clements as Dyer are both outstanding. There's tension and intensity in their performances from the first minute until the last as their relationship heads for, as Bacon says, "the last of the chaos". It's a terrific, deeply researched show that makes a well-documented story feel fresh and makes the most of the Pleasance Upstairs' confined space.
Pleasance Courtyard, until 30 Aug.
tw rating 4/5 | [Tom Brogan]

Acid's Reign (Relish Theatre)
New musical 'Acid's Reign' brims with bright and witty theatricality, as it tells the story of a drag collective on a mission to stop climate change (without getting distracted by the allure of fame or the pressures of fundraising). Performed by an immensely talented team, the score packs in a West End-worthy range of anthems, accompanied by some pacy choreography. The plot gallops along on a wave of fun-fuelled direction and political punchlines. At times the focus of this show mirrors the split attention of its characters. The writers seem torn between delivering a panto-esque crowd-pleasing farce, and a nuanced examination of the intersection between art and activism - slightly falling short of the potential to feel truly revolutionary.
Pleasance Courtyard, until 31 Aug.
tw rating 4/5 | [Bizz Holmes]

MAN!FEST: The Drag Boyband Musical (OnTheNose Productions, Chichester Festival Theatre And Pleasance)
Prepare to fangirl over this sensational drag show. A famous pop band is on tour while preparing their anticipated third album; however, the music industry loves to interfere, and friendships start to get tested. The brilliant cast delivers sharp performances, with each character well-realised and easy to invest in. Meanwhile, the music pairs cheesy boyband songs with simplistic but effective choreography, material that even I found myself wanting to listen to afterwards. However, with an overwhelming amount of these musical segments, they sometimes feel like a bit too much filler in what could have been a shorter show, or used the hour to explore its heavy topics more fully. Yet one thing's for certain: this is a smash hit.
Pleasance Courtyard, until 31 Aug.
tw rating 4/5 | [Andrew Melrose]

Horrorshow (Chronic Insanity)
Joy just swept through me this entire hour! Friends Dan and Ollie have stolen weed and aim to sell it at the yearly music festival... what could possibly go wrong? With classic 2000s-esque live music playing, the songs act as interludes between story segments, showcasing the characters' feelings or setting the location. The cast is endearing, bringing a sense of charm and lovable charisma that the audience quickly comes to adore. The show features an exhilarating script that is purely entertaining, though pacing felt slightly off: it felt as though a large portion of the show was spent waiting for the story to progress, but then we raced through the final act. The true horror, though, is when it's sadly over.
Summerhall, until 31 Aug.
tw rating 4/5 | [Andrew Melrose]

Play Dead (Betyl Theatre)
This unnerved me in all the right ways: Echo is processing a breakup in an incredibly unhinged way, stealing his ex-boyfriends dog plus using his time to reflect on himself and his relationship with his family. At the forefront are two exquisite performances: Bailey Edwards is uncanny, while Annalisa Plumb is powerfully emotional. The show further creates eeriness with unique sound design by Ellie Isherwood that helps to spiral the audience into Echo's mind, while Mia Hull's directing is slightly experimental and adds to the lurking uneasiness. An impressive script by Bailey jumps between multiple storylines and angles, and though at times it can feel a little too hard to grasp, overall, I'm sure you will be barking mad about it.
Underbelly Cowgate, until 30 Aug.
tw rating 4/5 | [Andrew Melrose]

Good With Faces (Oisín Kearney, Produced By Gina Donnelly, Supported By Culture Ireland)
Every audience member's face was fixed on the stage as a social worker visits a mother whose child has been discovered with a bruise, and secrets begin to surface. The stage is stunningly set like a cosy home, though the piece is dialogue heavy with little movement. Oisín Kearney has mastered the art of tension, which keeps building as the narrative unfolds through two well-written, secretive characters. Patrick McBrearty and Clodagh Mooney Duggan give an emotionally impactful performance, demonstrating every emotion even without dialogue. The final act feels very divisive, with puzzle pieces clicking for some, perhaps, while others might see it as losing realism. So unpredictable you'll forget to breathe.
Summerhall, until 31 Aug.
tw rating 4/5 | [Andrew Melrose]

Two Halves (Muddrag Productions)
Director/performer Zoë Lerman plays US soccer player Sophie, a consummate professional and role model who understands the demands of sport and social media. She meets Sean (writer/actor Sam Rowlands), a Welsh rugby player, a compulsive, unrestrained, party-hard bad boy who fights criticism like a rabid security dog with no off switch. Sophie has achieved success through hard work and analysis, while Sean follows the dangling carrots held aloft. Despite that, they are drawn to each other. Sophie's love is tested though she believes Sean will change, but Sean is too wrapped up in himself to stop and think of any outcome. It's a tight piece of work and the actors give a commanding performance with depth, energy, and humour.
theSpace Triplex, run ended.
tw rating 4/5 | [Graeme Blackmore]

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