by Meredith Jones Russell
Is what we like more important than what we believe? This is the question posed by a National Youth Theatre (NYT) company bubbling with enthusiasm, excitement and talent.
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Hot Flush, Edinburgh Festival Fringe
by Meredith Jones Russell
Day two of Sinead’s hen party and enthusiasm for bottomless brunch is beginning to wane slightly in the ladies’ loo, where hen after hungover hen staggers in for a quick sit-down and some crisis talks.
Scream Phone, Edinburgh Festival Fringe
by Meredith Jones Russell
If you weren’t lucky enough to have spent your formative years playing the ‘90s Hasbro wonder that was DreamPhone, it might be worth having a quick Google before you see the show. There’s still more than enough to enjoy if you don’t, but there are some wickedly funny references that make this musical horror spoof even better for the initiated.
River in the Sky, Hope Theatre
By Laura Kressly
Waves quietly break along the beach outside a remote holiday home. A woman drinks Earl Gray, eats biscuits and mourns her infant son. Her husband checks on her regularly, but within the icy sea of debilitating grief, they’ve lost the ability to communicate other than through fantastical stories of mythical creatures. Time all but stops in this sparsely-written series of snapshots depicting a couple trying their best to piece their lives together after a tragedy.
I Wish My Life Were Like a Musical, Edinburgh Festival Fringe
by Meredith Jones Russell
Would life really be better if it were a musical? Alexander S. Bermange’s revue show suggests it’s not all lipstick grins and audience adulation. Featuring four performers and Bermange himself on piano, the show tells their story as struggling artists, going from drama school dreams to the disappointing reality of auditions, understudying, second jobs, debilitating dance routines, low pay and backstage backstabbing.
How to Save a Rock, Edinburgh Festival Fringe
By Meredith Jones Russell
An earnest entreaty to save our planet, How to Save a Rock is a hugely well-intentioned and charming play which just slightly runs out of steam. It’s packed full of other forms of energy, however, as the whole show claims to be carbon neutral, powered by an on-stage bike and solar power.
Neil Delamere: End of Watch, Edinburgh Festival Fringe
by Meredith Jones Russell
Structured around the story of his attempts to buy his 84-year-old father a posh new watch as a birthday present, Neil Delamere: End of Watch is a well-observed and warmly funny hour of razor-sharp comedy.
Crocodile Fever, Edinburgh Festival Fringe
by Meredith Jones Russell
Crocodile Fever is a shocking, staggering, darkly hilarious play which comes into its own in its second, bizarre half.
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.
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