A dialogue review of Edinburgh fringe’s sights, shows and smells by Joakim (aged five) and Katarina (aged three-and-a-half).
(Un)sexy times: Alice Saville writes on a blunt exploration of female arousal.
True crimes: Hannah Greenstreet writes on a show that attempts to examine why women are drawn to serial killer stories.
A white cube: Rosemary Waugh writes on a visual art-inspired performance by choreographer Yen-Cheng Liu.
Stardust and dreams: Duška Radosavljević writes on a powerful, otherworldly piece of gig theatre.
Warm, breathless, sour; Brendan Macdonald writes on Alanna Mitchell’s dramatic diagnosis of the earth’s changing oceans.
Greasepaint and glitter: Dave Fargnoli writes on the dystopian kitsch of Nick Field’s solo performance.
Never-ending drama: Emily Davis is delighted by Hannah Maxwell’s nostalgic show about a longstanding amateur dramatics society.
Exeunt is proudly flying the flag for longform criticism at the fringe. Too busy to read it all? Here’s a handy digest of the shows our writers love.
A muddled myth: Crystal Bennes writes on Sheila Atim’s Cleopatra-inspired debut play.
Contagious buoyancy: Ava Wong Davies writes on a time-slipping narrative of gender, love and swimming.
Rum-bunctious times: Ava Wong Davies writes on Sh!t Theatre’s boozy but intensely political dive into life in Malta.
An imbalance of power: Rosemary Waugh writes on Victor Fung’s dance duet, and its shifting political context.
Crackpot theories: Hannah Greenstreet writes on Barrel Organ’s devised, sketchy look at post-truth logic.
“Silence. And tea”: Emily Davis responds to Charlotte Josephine’s precise portrayal of a father-daughter relationship.