“What a difference a year makes”: Annegret Marten writes on Middle Child’s gig theatre show as it returns to Edinburgh.
Crystal Bennes responds to an opinion-splitting Fringe First winner by synthesising professional and public reviews.
Tom Moyser’s review of the alt-comedian’s literary extravaganza takes the form of a dialogue with Roland Barthes.
Overburdened and oversensationalised: Crystal Bennes is unmoved by a monologue that tries to do too much.
‘Grotesquely, anarchically funny’: Tom Moyser reviews a hilarious 17th-century rip-off of Shakespeare’s well-known play.
A group of mates getting together to frolic in the manner of some seriously gymnastic puppies: Francesca Peschier reviews French-Canadian circus group Flip Fabrique.
‘The lean of a smile, the blink of an eye, the wrinkle of a brow’: Tom Moyser reviews Volker Gerling’s intimate odyssey of photographic encounters.
WHITE is a well-crafted and nuanced interrogation of ‘the mixed-race experience.’
‘Manipulate is not quite the right word…’: Hannah Greenstreet is left confused by James Rowland’s new show.
Exeunt Darren pays tribute to the terrifying goblin king, John Robertson, at the Edinburgh Fringe.
Duška Radosavljević writes a childs’ eye sketch of some of the kids’ shows of the 2018 Edinburgh fringe.
‘Absolutely pitch perfect writing’ – Lilith Wozniak on Malaprop Theatre’s compelling take on the modern world.
Fun, sexy and inventive: Lilith Wozniak reviews Gandini Juggling’s playful tribute to all things pop music.
Haggis roles and millennials saving the world: Tom Moyser reviews Traverse’s programme of early-morning script readings.
A modernist odyssey: Hannah Greenstreet writes on La JohnJoseph’s lyrical solo show.