by Meredith Jones Russell
Crocodile Fever is a shocking, staggering, darkly hilarious play which comes into its own in its second, bizarre half.
new writing
Lobster, Edinburgh Festival Fringe
by Laura Kressly
Modern dating for straight women is a horror show of dick pics, ghosting, casual sex, stealthing, quashed hopes and heartbreak. Yet Polly keeps at it, convinced she’ll eventually find her lobster – a baffling and tasty creature that will commit to her for life. Fragile and fresh out of a relationship with a guy she thought was the one, she enthusiastically dips her toe back into dating in this cheerful account of her hunt for The One.
Bobby and Amy, Edinburgh Festival Fringe
by Meredith Jones Russell
A two-person comedy about kids and foot and mouth disease doesn’t necessarily sound like the most appealing prospect. Don’t let that put you off. Bobby and Amy is a stunning portrayal of the strength of humans, community and friendship, with incredible performances from its talented leads.
A Rundown of the Roundabout: Six Shows in the Paines Plough Programme, Edinburgh Festival Fringe
by Laura Kressly
The Paines Plough Roundabout is the most reliable, new writing venues at the fringe. With a collection of work that represents the width and breadth of the UK both geographically and thematically, this year’s offerings are universally strong. From a family musical to a one-man show about a stalker, and everything in between, there is a great selection of shows for audiences looking for new work in a great venue that tours around Britain.
Pops, Edinburgh Festival Fringe
by Laura Kressly
A young woman unceremoniously returns to her family home, where her dad watches cooking shows on repeat and listens to battered cassettes on a boom box that’s probably older than she is. She looks worn and fatigued, though promises she’ll only be there as long as it takes her to get back on her feet. He doesn’t really listen.
Since U Been Gone, Edinburgh Festival Fringe
by Laura Kressly
Teddy Lamb, Jordan and Dom met in college in the ‘00s and quickly became best mates. Now, Teddy’s the only one left and they miss their old pals so much. Teddy’s life has changed a lot since then and they have so much they want to tell their old friends, like how they’ve since come out as trans femme. So they made a love letter of a show to those they’ve lost.
Art Heist, Edinburgh Festival Fringe
By Joanna Trainor
Poltergeist Theatre Company’s Alice Boyd could read you the yellow pages, and it would sound like the most magical book you’ve ever heard.
What is art? Who gets to decide that? Why is it so hard to draw a moustache on your own face? Poltergeist Theatre Company deal with all of life’s big questions in their follow up show to last year’s sell-out smash Lights Over Tesco Car Park.
Are we not drawn onward to new erA, Edinburgh Festival Fringe
by Laura Kressly
Whether society is moving backwards or forwards is a matter of debate, though in regards to climate change, it’s pretty clear we are determined to march onwards to our own destruction. Is it too late to undo the damage we’ve caused? Is magic the only thing that can save us? In this slick, multimedia production from Ontroerend Goed, the Belgian company employs clever staging, a palindromic structure, and impressive design to pose these questions, even though there are no easy answers.
She Sells Sea Shells, Edinburgh Festival Fringe
by Laura Kressly
Mary Anning was a working class fossil hunter from Lyme Regis. She and her dad would sell their finds to the posh, Victorian collectors who wanted to horde artefacts without digging them out of the cliffs themselves. She became known as one of the best fossil hunters in the country, but her discoveries of new dinosaur species and their impact on science were, of course, attributed to wealthy men. Now, about 200 years later, Mary’s tired of being ignored – so she hijacks a lecture about her work.
Have I Told You I’m Writing a Play About My Vagina?, Edinburgh Festival Fringe
by Laura Kressly
Bea wants to get drunk and get laid, as often as possible and with no strings attached, but she has a problem. Whenever anything tries to enter her vagina, it hurts. A lot. It’s like her vagina closes up and throws a tantrum about the probing finger, penis or sex toy, and it’s ruining Bea’s life. In Ella Langley’s tentative but hopeful new play on living with and overcoming Vaginismus, Bea’s vagina is suitably personified and Bea must get Vag to trust her again.
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