Each year, in July, I compile my spresdsheet of shows I’d love to see (around 100 out of the 3000+ in the Fringe programme). I have to ignore Traverse shows and others where the times keep varying, because my little brain can’t cope. Then I sort them into A – must see because I’m involved or they are dear friends. B – really want to see + I add a reason to remind myself (this might be the image or the company or the copy). C – a list of guilty pleasures which I’ll see if I can manage it. D – stay on the list but Ive seen them before, so I can champion them without seeing them. Today I am carrying a schedule with about 40 shows I will be seeing within my available hours.
Each day I try to make a very short audience feedback on my phone and, when signal allows, add it to the www.edfringe.com website. I only post supportive comments and one or two shows get left off this process. Here below are the first batch of shows I’ve reviewed as an audience member in my first 3 days of EdFringe26. Please excuse typos etc.
Joanne Rosenfeld is an extra-ordinary Creative being bringing a body honed to switch from infinite control to wild abandon. In this new free Fringe venue which is very welcoming and easy to find, she offers a multi media exploration of ‘transformation, materiality, image and presence’. As I left I overheard a wonderfully full audience relishing her physicality, her opening section which felt womblike and other worldly inside a mesh shell, and her extreme exploration of what the body can achieve. The electronic score which digs into you with immense discomfort at times is going to be replaced for a few performances when top Scottish classical and traditional musicians will riff off her performance, and she will I am sure create a whole new world with those sounds bringing a different fusion of energy into the space. I look forward to reading other impressions on the review sites throughout the festival. Do check put Diggers Leith and Resonant Void.
I doubt a finer cast of MT singers has been gathered for a Fringe show before. Phenomenal voices working immensely hard in a very comfortable but un-forgiving space. I feel I would have felt a different sense of collective energy if we’d been in Pleasance 1 or 2. This off Broadway hit is clearly being eyed up for a London run as The Production Garden takes their company on a UK tour. Daniel Buckroyd and Joanna King together with a crack Creative team have chosen a great piece for Lichfield Garrick and beyond. I’m not sure the piece needs 80 minutes run time, definitely a few songs took down the energy. If there is a Best Performer award it should go to Ashley New who is, amazingly, making her professional debut alongside a very experienced cast. Her twin roles of Mulan and Pocohontas also have, for me, the best songs. I hope we will see her, and all thd company, being rightly acclaimed by the press. [Good to spot top Broadway and West End producers in the house even this early in the run]
This is the perfect show in the perfect space and perfect time. Packed at 11.30am on a wet Sunday in the Baby Grand. This reminded me of why the Fringe is here..to introduce ideas out of my arena (I’m a retired pre mobile but still doomscroll), and introduce a new company of actors (in this case at times singers, fab lip sync, full on dance routines and even realistic skydiving). My only wish is that I’d had a programme so I could credit the actors and writers. Whoever designed the show offered a great sense of style. I hope to get to see Denmark Street Productions moving this for a further season and getting a good array of 4 and 5 stars…maybe even a best ensemble.
Sabah Kemps multi roleplay two hander explores deep relationship challenges through an array of lenses brought to clear life by actors Lewis Grinstone and Freya Frank. At times edgy and too real, at others exploring the unsaid and navigated edges of love, lust, trust, soul connection and fuelled disclosure. So much packed into this tightly directed duet for many voices. Definitely glad I saw it and I recommend it to anyone navigating life and love in an opening world.
There is something joyfully naughty and childlike in this immensely energised storytelling. Sweat is pouring from this lithe company of butt naked (but nicely held) young men as they populate an old heartfelt journey of discovery through the galaxy for one young narrator. There is wit and invention throughout and a blend of ebullient dance and lithe non verbal storytelling. We understand every moment without a word of Japanese, and yet it feels that this is fundamentally Japanese in its heartfelt and demonstrative passion. I’m so glad I caught it after seeing the Japan Selection showcase last year.
I have seen quite a lot of Steffan over a couple of charity gigs and now I thought I’d make my only visit to the Comedy section of the Fringe programme. I am really glad to have caught this gently deep set which explores the challenge of being out, bi and honest, empathetic and believed, so we can live our full lives. So many philosophically joyful moments and I left having laughed a lot, and found a kinship in his navigation of life. I will hopefully see him again at this year’s body positive gig. [Sorry I don’t have Instagram so you can’t research me]
Danyah Miller is a wonder and a joy. She guides a crack team of 7yrs to teenage trainee detectives to solve a murder. We were all involved in the elimination of suspects and, today, our vote on who to arrest was pretty conclusive. But then the detectives in the audience relished using their many young grey cells to help Danyah find a solution. The staging is ingenious and crafted to engage all ages and a packed audience. Highly recommended for anyone with children, but also for regular theatre goers who delight in watching a consummate professional storyteller hold an audience on their journey of discovery.
Three Gays Try to Fix The Economy feels like theatre from the offspring of the Young Ones and John Finnemore when he first appeared in the same Attic Pleasance venue. Anarchic Ted talk meets deeply intelligent biting attacks on the greed and distress inherent in bloated capitalism. Boy theatre is a trio of thoughtful comedic commentators who drop deep into very personal stories at key points. Their personal narratives feel real and truly landed. It is great they have been supported by the Curve in Leicester and the Pleasance. They credit Sally Rooney at writer at the end which I can’t spot in other comments. I’d love to offer credit to the performers but no programme. Definitely deserves the full house it got today.
Over her career Sarah-Louise Young has raised the profile of Julie Andrews, Kate Bush and now Bob Ross. This is another joyous homage to a creative artist who has given joy and support to millions. I find it strange that Sarah-Lou is concerned that anyone in the Bob Ross world would do anything other than laud and applaud this tribute to a born artistic communicator. Many hundreds (thousands around the world soon) will see the show and go on to discover the artistic guidance of Bob through his archive videos and other materials. This is a deep and joyous show. It celebrates the creative in all of us, along with a rich tea biscuit and some true testimonials. It also looks at the way art can become a life-saver for some. It celebrates her brother and Lynn Ruth Miller who both cheered her on to make art. They would, all three of them, be so proud of what she has created. Enjoy, if you can still get a ticket.
Today I have a day at home preparing for the next four international projects – Japan Selection 2026, Malta artists visiting, Ukraine producers in Edinburgh, and then a 2 week Korean musical theatre writers residency in London. (Holiday in Cornwall soooon). More shows tomorrow and my first workshop for Space companies in need of some TLC and fresh ideas.
Have a safe and wonderful festival. More audience feedback when I get time at the desk.