An actor stands on stage. They are handed a script they have never read before. A frank look at suicide, choice and learned behaviour unfolds after a menagerie of animal impressions.
An actor stands on stage. They are handed a script they have never read before. An hour of hilarious and revealing Mad Libs ensues.
An actor stands on stage. They are handed a script they have never read before. It’s a recipe that the actor must prepare whilst reflecting on the cultural importance and ritual of food.
An actor stands on stage. On the screen behind them, a script is projected they have never read before. Then there’s a live feed, a language lesson and a tender reflection on the meaning of home.
by guest critic Michaela Clement-Hayes
When she first sprang onto the scene with her bunches, we all lost our minds. She was a cool teenager, singing about stuff that we were going through. Or at least we thought we were, but the truth was that we were younger than she was and didn’t really understand it. But we still loved her. And she had morals. Ish.
by guest critic Tom Brocklehurst
The Hub has got its glad rags on for this one!
Meow Meow’s return to Edinburgh (now part of the International Festival, dontcha know!) is as spangly, feisty and marvellous as anyone might expect. This time she’s taking on Hans Christian Anderson’s The Little Mermaid. And please, nobody mention the Jamaican crab.
Two men glide around the floor on small wheeled platforms. Like children, belly down on skateboards, they relish the speed and inability to control their paths. There’s a sense of freedom and joy in their movements, but collisions soon turn happiness into hostility. The fights increase in aggression, and the audience is made complicit. No one is innocent here.
by guest critic Jo Trainor
Is there a style of comedy that Steen Raskopoulos hasn’t mastered? Having found the Australian comedian as half of improvisation duo The Bear Pack, I knew how quick witted he is, and how absurd some of his characters are but it turns out he can throw all these skills together and create side-splitting sketches too.
by an anonymous guest critic
To honour the 50th anniversary of his death, this is the first time we get to see Orton’s original version of the script before the Lord Chamberlain censored it prior to the 1966 production.
by guest critic Rebecca JS Nice
The Underbelly Festival Southbank is like a mini Edinburgh Festival where visitors cocoon between pop up bars, fake grass, fairy lights and giant flowerpots have a sense of exclusivity, as they wonder through to enjoy the bars as much as the shows. This vibe will stay all summer and I will no doubt be returning to sip Pimm’s in the sun whether I have show tickets or not. But having seen both currently billed shows twice now, in Edinburgh and London, their quality, popularity and longevity cannot be argued.