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Free Festival News & Reviews

This is where you can read recent news articles and reviews of shows in the Free Festival.


List News & Reviews: By Star Count | By Date


Edinburgh Fringe's Best Immersive and Interactive Shows

July 6, 2026   Immersive Rumours

Article about My Date with Pierce Brosnan

Edinburgh Fringe's Best Immersive and Interactive Shows

Alistair Aitcheson's solo clown show, My Date with Pierce Brosnan, sees the open-hearted Mademoiselle Cafetière looking for love opposite a dummy of the one-time James Bond. As an interactive piece, My Date.. relies heavily on audience input to help build everything from the date's location and Cafetière's dating profile, to what Brosnan says during their one-on-one encounter via text-to-speech.


As you'd expect, giving an audience free rein to steer the show results in countless left-field suggestions being incorporated into the show, but Aitcheson's commitment to the bit means this hour-long show is packed full of laughs regardless of what comes out of Brosnan's mouth. Click Here For Article


The 2026 Free Fringe Fest programme is Live!

June 6, 2026   Free Festival News

The 2026 Free Fringe Fest programme is Live!

The Free Edinburgh Fringe festival is back for 2026, with over 350 shows around Edinburgh this August.

Check our programme, and discover an affordable way to enjoy the 2026 Fringe, with our Free Entry and Pay-What-You-Can Ticketed Shows. The Best in Fringe Comedy, Cabaret, Theatre, Kids and more at a price you can afford. Click Here For Article


Dee Ryan's Broadguess

May 27, 2026   Reduced Shakespeare Company Podcast

Article about Broadguess

Dee Ryan's Broadguess

"A very funny DEEconstruction of both Shakespeare's canon and Shakespeare the man." Click Here For Article


May 24, 2026    

Review of Who Killed the Plot

Everything a Fringe show should be; eclectic , unique, entertaining , and delivered by people passionate about their idea and presentation. Glad I spotted the show and made my way to the event. It's not every day one can watch the drama unfold comedically as love, death, and crocodiles explain who killed the plot


Erynn Tet Debut 4 stars

May 21, 2026   Mumblecomedy

Article about Eryn Tett: Tasting Menu

Erynn Tet Debut 4 stars

 Click Here For Article


Everything a Fringe show should be

May 15, 2026    

Review of Who Killed the Plot

Everything a Fringe show should be

Everything a Fringe show should be; eclectic , unique, entertaining , and delivered by people passionate about their idea and presentation. Glad I spotted the show and made my way to the event. It's not every day one can watch the drama unfold comedically as love, death, and crocodiles explain who killed the plot


"Now, I am Alone": Solo Shakespeare

May 15, 2026    "Shakespeare & Beyond" Folger Shakespeare Library

Review of Broadguess

"Now, I am Alone": Solo Shakespeare

"Broadguess is a very funny and unexpectedly deep exploration into the curious connections in the Shakespearean canon." Click Here For Review


Excellent and funny

May 14, 2026   

Article about Who Killed the Plot

Excellent and funny

Excellent and funny improv at a great venue. Loved it x


ANTI-FASCIST PASTA NIGHT To Be Presented at Edinburgh Fringe 2026 The Free Fringe show wins the Inspiring Social Justice Award at the Inspire Performing Arts Festival.

May 1, 2026   Broadway World

Article about Anti-Fascist Pasta Night

ANTI-FASCIST PASTA NIGHT To Be Presented at Edinburgh Fringe 2026 The Free Fringe show wins the Inspiring Social Justice Award at the Inspire Performing Arts Festival.

Anti-Fascist Pasta Night is a political stand-up hour that takes audiences on a journey through politics, culture, travel, relationships, and the small coping mechanisms that keep us from fully losing it. The title was inspired by real anti-fascist pasta nights in Italy, a little-known post-Mussolini tradition rooted in another little-known bit of trivia: Mussolini hated pasta and felt it was at least one of the causes of society's ills that he sought to correct with his authoritarian regime. Therefore, pasta is anti-fascist. Also, Ron is Italian so is obviously uniquely qualified to speak on both topics. You'll learn to love cats and hate capitalism, if you don't already. Ron has been a political comic since 2007, tracing the country's long decline from the Iraq War to whatever fresh hell we're calling the present, and he invites you to join him in a show for the lefties, the weirdos, the freethinkers, the peaceniks, the dreamers, or anyone who wants to reclaim pasta's anti-fascist roots while also fighting the power. Click Here For Article


ANTI-FASCIST PASTA NIGHT To Be Presented at Edinburgh Fringe 2026 The Free Fringe show wins the Inspiring Social Justice Award at the Inspire Performing Arts Festival.

May 1, 2026   Broadway World

Article about Anti-Fascist Pasta Night

ANTI-FASCIST PASTA NIGHT To Be Presented at Edinburgh Fringe 2026 The Free Fringe show wins the Inspiring Social Justice Award at the Inspire Performing Arts Festival.

Anti-Fascist Pasta Night is a political stand-up hour that takes audiences on a journey through politics, culture, travel, relationships, and the small coping mechanisms that keep us from fully losing it. The title was inspired by real anti-fascist pasta nights in Italy, a little-known post-Mussolini tradition rooted in another little-known bit of trivia: Mussolini hated pasta and felt it was at least one of the causes of society's ills that he sought to correct with his authoritarian regime. Therefore, pasta is anti-fascist. Also, Ron is Italian so is obviously uniquely qualified to speak on both topics. You'll learn to love cats and hate capitalism, if you don't already. Ron has been a political comic since 2007, tracing the country's long decline from the Iraq War to whatever fresh hell we're calling the present, and he invites you to join him in a show for the lefties, the weirdos, the freethinkers, the peaceniks, the dreamers, or anyone who wants to reclaim pasta's anti-fascist roots while also fighting the power. Click Here For Article


Deliciously dark humour

March 1, 2026    The List

Review of Nerdy and Dirty: Part Classroom, Part Classless

Deliciously dark humour

On entering the Duke Of York hotel, we’re greeted with a backdrop of jungle leaves and a mosaic of science-related imagery. Behold Mister America, otherwise known as Zoltan Illes, making his Adelaide Fringe debut with stand-up show Nerdy and Dirty (Formally Bio-logical). He’s a teacher-turned-comedian who’s filled with wacky yet intriguing animal and science facts, but that’s where the classroom innocence ends.

Having travelled to 75 countries, Illes takes audiences on a journey across the globe starting from his Hungarian roots reaching all the way to Myanmar in Southeast Asia. No topic is off-limits as Illes flirts on the borders of the taboo. Introducing jokes by way of educational facts, his punchlines are surprising and can be somewhat shocking, stirring the crowd with an undercurrent of political incorrectness and deliciously dark adult humour. This is where he thrives, with a warm and friendly nature belying the cutting rawness of his jokes. He exudes charisma and his love for the craft is palpable. The content is creative, with each segment rhythmically proceeding the last, pulling the audience on a rollercoaster between laughter and cautious acknowledgement in a witty, wild and worldly show.

Seemingly still testing the waters, Illes’ material is sometimes crude, but the shock-value set-ups and pay-offs work well. Despite some jokes landing predictably, his natural curiosity for the smallest facets of worldly cultures and deep knowledge of all things biological makes for a zany and tantalising experience. Class dismissed. Click Here For Review


CeilidhKids at the Fringe

February 16, 2026    All Edinburgh Theatre

Review of CeilidhKids at the Fringe

CeilidhKids at the Fringe

CeilidhKids return to the Counting House with their popular family dances, aimed at providing the youngest audiences with a taster of traditional Scottish dance.

Compere Caroline Brockbank has been running CeilidhKids for around 16 years, after finding a lack of accessible ceilidhs when her own children were young. The company operates in and around Edinburgh throughout the year, even branching out into seated ceilidhs for the elderly and special events for those with dementia. This emphasis on accessibility makes for a very welcoming atmosphere, with no pressure to take part and an emphasis on fun.

CeilidhKids in action. Pic: CeilidhKids

The Counting House Ballroom is a good size for a busy group of dancers, with around 60 children and grown ups in attendance. The suggested age range is 3-7yrs, but there are some young teenagers who are happy to join in, and several babies who seem to enjoy just bouncing along to the music. Although there are some seasoned dancers in attendance, there are also first time participants from as far as China and Philadelphia.

Caroline leads her audience through a series of simple rhythm games to get started, clapping and stamping at first, then patting their bottoms in time to the beat – cue much hilarity from the younger ones! After a warm up, it’s time for the only ceilidh dance using the original steps, a traditional Gay Gordons. As with all of the dances, there are modifications to allow one adult to dance with two children, or to accommodate smaller children who might get tangled up with the original moves.
Giants, Trees and Frogs

There are plenty of other traditional dances included, but in much simpler arrangements to allow everyone to join in. The Swedish Masquerade becomes Giants, Trees and Frogs, with some freestyle jumping at the end, while a Flying Scotsman leaves out some of the more complex moves but retains the basic shape of the dance. The whole thing ends with a variation of the Circassian Circle, thankfully without any of the progression of the original!

Caroline tailors the set perfectly to her young audience, including plenty of water breaks and taking the time to walk every dance through before starting. The music is recorded, but the lack of a live band does not detract from the atmosphere. I took my 5yr old, who said that she liked jumping and spinning the best, and wants to go back again. This is the perfect way to introduce young children to ceilidh. Click Here For Review


The Guru Wears Prada: Sofia May on Surviving Tibetan Buddhism at Tara Mandala (Part 2)

December 2, 2025   A Little Bit Culty

Article about The Buddha Wears Prada

The Guru Wears Prada: Sofia May on Surviving Tibetan Buddhism at Tara Mandala (Part 2)

In Part 2 of our conversation with Sofia May, she continues sharing her experiences connected to Tara Mandala and the community around lama Tsultrim Allione. We get into the messy, nuanced territory where Buddhist teachings, spiritual leadership, and real-world power dynamics intersect. We explore what draws people to Tibetan Buddhist communities and retreat centers in the first place, and how things can get complicated when reverence, hierarchy, and human behavior collide. Sofia shared her perspective on navigating doubt, loyalty, and disillusionment, and what happens when your spiritual home starts raising hard questions instead of providing easy answers.

We also zoom out to look at broader patterns across guru-centered and high-demand spiritual communities, including teacher-student dynamics, accountability gaps, community pressure, and spiritual bypassing. This conversation isn’t about flattening every Buddhist or Tara Mandala experience into one story, but about building discernment, consent, and self-trust when engaging with any spiritual teacher or organization. If you’ve ever wrestled with concerns about a spiritual leader or practice community, this one’s for you.

Be sure to check out the article in Guru Magazine (https://www.gurumag.com/secrets-of-sh...) in which Sofia May first shares her Tara Mandala experience, and follow her comedy journey on Instagram or TikTok @sofiamaycomedy.
 Click Here For Article


Comedy Review and Interview: Bitches in Stitches-New Grrrl Order

November 1, 2025   Joyzine

Article about Bitches in Stitches: The New Grrrl Order

Comedy Review and Interview: Bitches in Stitches-New Grrrl Order

The venue was buzzing even before the first act took the stage — a cosy, packed room full of laughter, anticipation, and that slightly electric sense that something special was about to happen.

Over the course of the evening, ten femme comedians performed — each wildly different in style, but every one bringing something bold, unfiltered, and hilarious. The line-up spanned a mix of ages, nationalities, and comedic styles, creating the kind of variety you rarely get at traditional comedy nights.

No topic was off-limits. Within minutes, the audience was howling at jokes about sex, periods, relationships, identity, and everything in between. This wasn’t a night for the faint of heart — but it was one for anyone who appreciates honesty, wit, and women speaking their truth without apology.

The atmosphere was one of joyful rebellion — loud, raw, and real. You could feel the camaraderie not only between the audience and the performers, but between the comics themselves, cheering each other on between sets.

There was a truly international flavour too — comics from the USA, Taiwan, and across the UK took to the stage. I was especially delighted when the first performer announced she was from my own hometown of Southend — because of course, Essex women always bring the laughs.

By the end of the night, my face ached from smiling. Bitches in Stitches is exactly what the UK comedy scene needs right now — inclusive, fearless, feminist fun that’s genuinely funny. I can’t wait to see what comes next for this global sisterhood of humour. Click Here For Article


Secrets of Shambhala: Feeding Tsultrim Allione's Demons

September 17, 2025   Guru Mag

Article about The Buddha Wears Prada

Secrets of Shambhala: Feeding Tsultrim Allione's Demons

“Worked Down to a Bloody Pulp”
Sofia May first discovered Tsultrim Allione at 18 and began volunteering at Tara Mandala the following summer. For the next four summers, she returned to the remote Buddhist retreat center high in the mountains near Pagosa Springs, Colorado.

“It was 800 acres of untouched wilderness,” she told me. “I was completely enchanted by the nature.” The community, she said, “felt like a family.”

After graduating from Naropa University in 2012, Sofia jumped at the chance to become Allione’s personal attendant, replacing the departing Rachel, who had left Tara Mandala traumatized after her therapist intervened to remove her. “I was a part of that community for seven years,” Sofia said. She would spend the next two and a half of them serving Allione full time.

Sofia described the work environment as chaotic and dehumanizing. “Allione was an abusive narcissist,” she said. “The staff was worked down to a bloody pulp. Everybody was exhausted and strung out. I saw staff members crying on a somewhat regular basis.”

One incident seared itself into her memory. Volunteers, unpaid, had worked so hard with jackhammers to install flagpoles that their knuckles were bloody and cracked. When they asked for a break, Allione snapped, “This is not a democracy. This is what you are here for.”

“These people weren’t being paid but were expected to do excruciating manual labor to earn their meals,” Sofia said. “Some would be there for two days and get out of there.”

Like Rachel before her, Sofia worked 12–16 hour days, seven days a week. “I was expected to work from dawn until sometimes past midnight,” she said. “For the first six months I wasn’t allowed to have meal breaks. I asked Tsultrim if I could go to lunch, and she got angry and denied me.”

The exhaustion was crushing. “I told her I was weak. I told her I was hitting a wall,” Sofia recalled. Allione replied coldly, "Then walk through it.”

“She expected I never stop,” Sofia said. “I had to be at her beck and call from 7 a.m. until she went to sleep at night or until she wanted to be alone around 10 p.m. I wasn’t allowed to take days off either. If I asked for a day off, I’d be met with an ice-cold fury. She’d tell me, ‘You need to walk through your wall of exhaustion.’”

When Sofia inevitably got sick from the relentless schedule, it only enraged Allione. “Tsultrim was furious with me when I got sick because I couldn’t serve her,” Sofia said. “If she has to pour water herself, then I’m affecting her ability to serve sentient beings. I was blocking her ability to spread enlightenment.”

The other staff reinforced this mindset. “They’d get furious at me for being sick,” she said. “It became the drill to work without stopping—work until you drop, get sick, and then get reprimanded.”

Once, while recovering from a severe flu, Sofia was told by director Shellie Noyes to drive a spiritual teacher known as a Khenpo to Santa Fe and back. Weak and feverish, she reluctantly agreed if no one else could do it.

“For the first six months I wasn't allowed to have meal breaks."
“Ten minutes later, I get a call from Tsultrim from Europe,” Sofia said. “‘I just spoke to Shellie, and you won’t drive to Santa Fe,’ she told me. ‘Sounds like you have a problem with bodhicitta. We need to have a talk about bodhicitta.’”

Sofia said Noyes routinely reported her to Allione, triggering punishments.

“I became terrified to ever advocate for myself because the consequences were so enormous,” Sofia said. “There was always this threat they’d fire me or kick me out of the religion for not showing enough devotion.”

She said Allione belittled her whenever she accomplished something intellectually demanding while condescendingly praising trivial chores. “You’re so good at pouring water,” Allione would tell her. “By dismissing any meaningful accomplishment and playing up menial labor, she implanted in my mind that I was only capable of folding clothes, ironing, and pouring water,” Sofia said.

ON HER THIRD DAY AS personal assistant, Sofia casually asked if Allione was seeing anyone romantically. “It’s not appropriate for you to ask me that,” Allione replied coldly.

A switch seemed to flip. For three months, Sofia said, Allione refused to speak to her except in curt commands. She avoided eye contact. The rest of the spiritual community followed suit.

“All of my good friends were icing me,” Sofia said. “People would completely ignore me. They’d have parties. In passing, no one would talk to me.”

Two weeks later, she was summoned to a meeting. “Tsultrim told me I was very bad at my job and too unstable,” Sofia said. “She said the only way I could keep it was if I agreed to go to weekly therapy with Debra Quayle.”

Quayle was the same in-house therapist who had told Rachel that Clara sexually assaulting her was merely “motherly love.” She was also the organization’s program director.

“I begged Tsultrim to let me stay,” Sofia said. “This place had been my family.” But therapy became another tool of control.“I bared my soul to Debra about how hard it was—never having days off, the confusing nature of the job, not having breaks, everyone shutting me out,” Sofia said.

“I’ve been dissociating a lot because I’m anxious and scared I’m going to lose this place,” she told Quayle. Quayle’s reply stunned her: "Your dissociation is probably why you’re so bad at your job and not measuring up to expectations."

“I thought it would be real therapy,” Sofia said. “To my horror, the sessions weren’t independent or confidential. It was a confessional, designed to be used against you, to use your deepest and darkest things against you.”

Anna Raithel, Allione’s executive assistant, joined the abuse. “She’d scream at me and accuse me of being arrogant,” Sofia said. “She’d shove me out of the way. She tore any defenses I had to shreds.”

Anna was supposed to have trained Sofia but never did. Instead, Sofia was ambushed at Allione’s kitchen table by Anna and another assistant. “They gave me this character assassination,” Sofia said. “Anna said I was a slob, criticized my clothes, and said I wasn’t good at my job. They both threatened to have me fired.”

Desperate to survive, Sofia overcompensated. “I was so desperate not to lose my job I wore a velvet dress every day,” she said. “It was absurd—I was at a rugged, remote mountain retreat center.”

A few months into her role, Sofia began dating a man in the Tara Mandala community. He soon became violent—shoving her down stairs, shaking her, and screaming at her. Once, he stripped her naked, flipped her upside down, and shook her during an argument and wouldn't put her down. On a trip with Allione, he smashed a chair and put his elbow through a window.

Sofia told Allione about the abuse. At first, she was sympathetic and let Sofia stay with her assistant during the trip. But when Sofia returned, she discovered a postcard from her ex in Allione’s mail. “Tsultrim knew everything he had done and was still in friendly correspondence with him,” Sofia said. “I was stunned.”

When Sofia confronted her, Allione turned “ice cold and brittle.” “You think everyone abuses you,” Allione told her. “You project abuse onto everyone and everything.” She refused to ban him from returning.

Desperate, Sofia turned to director Shellie Noyes. “I told her it was a crisis situation,” Sofia said. “You are a huge pain in the ass,” Noyes replied. “If I would have known I had to deal with this kind of shit, I never would have taken this job.” Noyes also refused to ban the abusive ex. “I refuse to deny anyone the dharma,” she told Sofia.

Finally, Allione offered a “resolution”: if Sofia wanted him barred, she would have to confront him face-to-face in a mediated meeting with Allione present. “She said if he seemed he had not grown as a person, then he’d be banned. If I didn’t go through with it, he’d simply be allowed back.” The psychological toll was crushing. “I was feeling suicidal, on the verge of a mental breakdown,” Sofia said. “It was similar to what Rachel had experienced.”

“They invited him back to the land,” Sofia said. The day of the confrontation, she was sick with anxiety. “The day of the meeting I had explosive diarrhea all day,” she said.

In the meeting, Sofia recounted his violence in front of him. Allione asked if he had changed. “I’ve done a lot of prostrations,” he said, describing his spiritual practice. “Can you promise that you’ll never be violent with women again?” she asked. “No,” he said. “Allione concluded, ‘He hasn’t grown as a person, so we won’t let him back.’”

Had he simply lied and said yes, he would have been allowed to return.

Afterward, Sofia said Allione fabricated a new version of the story, claiming she had heroically extracted a promise from him not to be violent even though he explicitly did not agree. “She told everyone, ‘Isn’t it so great what I did?’” Sofia said.

“They broke me, and once I was broken, they were willing to have a relationship with me,” Sofia said. “Once my spirit was broken, once I had completely submitted myself—like, ‘Whatever you want is right’—I stopped standing up for myself. Any positive, glowing aspect of me had been neutered.”

She described the three-month breakdown as a “hazing.” Only after she had been psychologically crushed did the community embrace her again. “I’ve been triggering you,” Allione told her—reframing her cruelty as a spiritual gift.

It was a teaching tactic, Sofia said, that Allione seemed to have inherited from her own guru, Chögyam Trungpa Rinpoche. Click Here For Article


The Guru Wears Prada: Sofia May on Surviving Tibetan Buddhism at Tara Mandala (Part 1)

September 2, 2025   A Little Bit Culty

Article about The Buddha Wears Prada

The Guru Wears Prada: Sofia May on Surviving Tibetan Buddhism at Tara Mandala (Part 1)

In Part 1 of this conversation with stand-up comedian and former Tara Mandala practitioner Sofia May, she joins us to talk about how a beautiful Tibetan Buddhist retreat center in the Colorado mountains—founded by western author lama Tsultrim Allione—slowly revealed a deeply culty underbelly beneath the goddess imagery and tantric empowerment language. Sofia traces her path from sincere Buddhist seeker to close student of lama Tsultrim inside Tara Mandala’s residential community. She describes the powerful draw of the center’s practices, trauma‑informed branding, and female‑centered spirituality, and how all that coexisted with secrecy, hierarchy, and a guru culture where doubt was pathologized and obedience was framed as devotion.

We also get into the day‑to‑day dynamics at Tara Mandala—pressure to attend costly retreats and trainings, complex power plays in teacher–student relationships, and how survivors are now comparing notes about gaslighting, spiritual bypassing, and psychological harm in a place that promised healing above all. You’ll want to read the article in Guru Magazine (https://www.gurumag.com/secrets-of-sh...) in which Sofia May first shared her experience, and stay tuned for Part 2. Click Here For Article


Sofia May’s “9/11 Birds and the Bees” Edinburgh Fringe Review

August 20, 2025    European Comedy

Review of 9/11 Birds and the Bees

Sofia May’s “9/11 Birds and the Bees” Edinburgh Fringe Review

Sofia May’s favourite game is simple: “Where were you on 9/11?”

Sofia stands behind the curtain to the side of the stage, her Converse shoes poking out at the bottom, and announces to her Edinburgh audience that the plane they’re on has been hijacked and they’ve got 60 minutes left to live. The West Port Oracle’s rows of airline seats and fake cabin walls make it the perfectly morbid setting for a show about being a 9/11 survivor and why she and everyone at her school in NYC (shoutout to I.S. 89) got screwed out of an HBO documentary.

It’s a bold opener that sums up May’s style of comedy: dark, eccentric, but above all, very funny. She gives off the vibe that she’d give you a hug if you needed it, and while delivering said hug, stick a sign on your back that says a whole bunch of slurs.

Sofia was a student at the school closest to the towers when they fell on 9/11 and has been in therapy ever since. But this isn’t one of those Edinburgh Fringe sob story shows; it’s an hour of engaging and wickedly dark humour that Sofia navigates with a Cheshire Cat-like grin, which appears just seconds after she senses she’s pushed the audience to a new point of tension.

Throughout the show, Sofia jokes about tough topics, from sexual assault to disabilities. She delivers her material with such offbeat positivity that it transforms the darker notes into something more accessible and somehow, at times, uplifting.

When randomly challenged by an audience member about the U.S. cutting foreign aid, Sofia is quick and replies with a wide eyed smile, “Do you think I care they did that?” Her ironic reply got a huge laugh from the audience before going back to her material without missing a beat. At least, I think she was being ironic?

Sofia sticks the landing (I HAD TO!) at the end of the show. She reflects on European views of what happened on that day and how the 9/11 Memorial Museum is significant to her, bringing a quietly powerful moment to a show that is raw and uniquely her own.

It’s an impressive debut hour from the proud New York-raised, Berlin-based comedian. Sofia May turns a world-famous tragedy into an Edinburgh Fringe comedy hour that is sharp, shocking, and genuinely hilarious. Click Here For Review


James Beckett: Stutter Island – 4****

August 19, 2025    One4Review

Review of ...Eventually by James Beckett

James Beckett: Stutter Island – 4****

James Beckett is a film nerd to his bones, and he begins as such—inviting the audience to name as many Samuel L. Jackson films as they can. It’s a clever icebreaker, a communal quiz that turns strangers into collaborators, laughter building not from barbs but from the recognition of shared gaps in memory. It sets the tone for an hour that is less about interrogation than companionship.

A cleverly assembled DIY video montage follows—scrappy in production perhaps, but brimming with wit and invention, putting certain higher-budget shows to shame. It is an apt reflection of Beckett himself: resourceful, sharp, and unwilling to be outdone.



For those unfamiliar, Beckett is no newcomer. He was an award-winning comic on the rise in the 2000s, playing bigger rooms and making semi-final runs. And he was good—damn good—before it all stopped, abruptly, about 12 years ago. He wasn’t enjoying it, life intervened: children, work, the slow erosion of stage time. He was even dubbed, rather cruelly, the “Gareth Gates of comedy,” a jab at his stutter and nervous tics. They are still present, but now clearly part of his fabric. As the set unfolds, they soften and recede, replaced by the easy flow of a comic who knows exactly what he’s doing.

This show should not be read as a comeback, but as a continuation—an extension of a life that has accumulated more stories and perspective. He speaks of parenthood (one child born in the back of a car), of ageing, of resilience. The material is consistently strong: a routine about sex to the shuffle of a love-song playlist, a reimagining of the Olympic Games, and stray, darkly funny thoughts about parents overthinking whether to leave children at motorway service stations. These aren’t scraps of a man dusting off his act; they are the observations of someone who has lived, and who has returned with more to say.

The climax—a montage tracing his own journey—could easily have tipped into sentimentality but instead lands with a surprising freshness. It’s both funny and affecting, the kind of device that makes you root for the performer long after the applause fades.

This feels less like a comeback and more like a reboot, and the analogy holds. It’s his origin story retold, the groundwork laid, the exposition behind us. If Stutter Island is the set-up, the sequel promises more pace, more action, more confidence.

In the end, like all the best movies, you find yourself wanting the underdog to succeed. Beckett has the tools, the timing, and the talent—and on this form, he could well be this year’s comedy Rocky story. Fingers crossed for many other sequels.

**** Click Here For Review


Edinburgh Fringe Review: ComedySportz at Laughing Horse @ The Three Sisters

August 11, 2025    Theatre Weekly

Review of ComedySportz

Edinburgh Fringe Review: ComedySportz at Laughing Horse @ The Three Sisters

ComedySportz is a fast-paced, family-friendly show where two teams of comics go head-to-head in a battle of improvised wit. Hosted at The Three Sisters, the show invites children and adults alike to shout out suggestions and steer the course of the comedy, making every performance entirely unique. Imagine Whose Line Is It Anyway? for children, but with a fun, competitive twist – complete with a referee, red and blue teams, and plenty of audience participation.

It’s a clever concept that thrives on chaos and spontaneity, and the performers clearly give it their all.

Where ComedySportz gets extra credit is in its ability to entertain across generations. Parents were laughing out loud just as heartily as their children, thanks to the sharp wit and creativity of the cast. The emcee does well to maintain a high energy level and keeps the momentum going, even when certain scenes lagged.

Particularly delightful are the moments when young audience members are invited on stage. In one scene, a child volunteer became the unexpected star of the show, with the comics skilfully shaping the scene so the child had a meaningful role that made them feel like a hero while drawing big laughs from the crowd. It’s a testament to the performers’ experience and empathy that these moments never feel forced or awkward.

As with all unscripted theatre, the quality of this show varies moment to moment. There were brilliant flashes of hilarity – particularly when the audience suggestions were wild and inventive – but also occasional dips where the humour didn’t quite land, or the energy faltered. Much rides on the crowd of the day, so any show like this is something of a comedic lucky dip.

While billed as a children’s show, ComedySportz is best suited to those aged around eight and over, who will appreciate the wordplay and follow the rapid-fire shifts in scene and character. For that age group and their families, it’s a lively, interactive hour of fun – a feel-good Fringe pick that celebrates the joy of improvisation. Click Here For Review


Berlin's beloved opera-singing comedian returns with a combination of opera, musical theatre, comedy, and storytelling.

August 7, 2025    Broadway World

Review of 8 Ways to Break a Glass (with an American Opera Singer)

Berlin's beloved opera-singing comedian returns with a combination of opera, musical theatre, comedy, and storytelling.

Greeted on the door by the very enthusiastic Steph and welcomed into a cosy, intimate venue. 8 Ways To Break A Glass (With An American Opera Singer) could easily be a gathering of old friends – if one of them were prone to bursting into song.

Steph is immensely talented, effortlessly carrying her one-woman show with the energy of someone who truly loves what they do. She blends fast-paced comedy smoothly with a great selection of songs so that it’s hard to know which you’d rather she did (but she never makes you wait too long for either).
Steph uses the metaphor of broken glass as a storytelling aid, taking the audience through the ups and downs of her life. The title is perhaps a bit of a stretch, but the theme works well, and the self-deprecating honesty paints a hilarious and all too relatable picture. Fantastic for young adults, international visitors, or anyone who’s sick of online dating, this show might be dirty but is far from uncomfortable, crass only in its humanity.

It is easy access for opera lovers and newbies alike, and don’t worry, there won’t be any involuntary audience participation. As for her singing ability: she is unquestionably skilled and thoroughly enjoyable to listen to – but be warned, it’s loud in the front row!
 Click Here For Review


August 5, 2025    Theatre Village

Review of Best In Class

 Click Here For Review


Singing, Sagging and Shagging — A Hilarious, Unfiltered Ode to Aging and Audacity

May 25, 2025    Sussex News

Review of Barbara Fernandez: Singing, Sagging and Shagging

Singing, Sagging and Shagging — A Hilarious, Unfiltered Ode to Aging and Audacity

A must-see show for anyone who’s ever worried about getting older—or just wants a bloody good laugh.

It’s not often a show comes along that boldly wears its wrinkles like battle scars, belts out tunes with unapologetic vibrato, and treats taboo like yesterday’s gossip. Singing, Sagging and Shagging is that rare beast: a no-holds-barred, belly-laugh-inducing, and surprisingly poignant revue that smashes stereotypes about growing old.

The stage crackles with energy of seasoned performer Barbara Fernandez — radiating charisma, timing, and vocal chops — takes the audience on a riotous journey through the realities of aging. From meltdowns, getting old guys stiff, losing a husband to a cult, her chest going sagging and Viagra misfires, no topic is off-limits. Yet somehow, the show dances along the line between crude and clever with the finesse of a veteran stand-up comic.

Musically, the performance is a delight. Reworked classics and original numbers blend seamlessly with witty lyrics and pitch-perfect delivery. Think Cole Porter meets Victoria Wood — with a dash of Calendar Girls cheekiness. The standout tearjerking song was ‘Tattoo’ by Loreen, that had the crowd roaring one minute and misty-eyed the next.

But what truly sets Singing, Sagging and Shagging apart is its heart. Behind the innuendo and infectious laughter lies a celebration of resilience, friendship, and self-acceptance. It’s a love letter to living fully, long after society says you should fade into the background.

This is not your average cabaret. It’s raunchy, rebellious, and real — and it deserves to be seen.

Reviewers Verdict: A must-see show for anyone who’s ever worried about getting older — or just wants a bloody good laugh.

Reviewers Score: A not too saggy 4/5.
 Click Here For Review


9/11 Birds and the Bees - Edinburgh Fringe Festival 2025

April 8, 2025    The Nerd Party

Review of 9/11 Birds and the Bees

9/11 Birds and the Bees - Edinburgh Fringe Festival 2025

What do you do when you’re officially classed as a 9/11 survivor because your school that was just 400 metres from the collapsing World Trade Center was technically the closest... only for the media to crown the school a few metres further away as the real headline act?

If you’re Sofia May, you wait nearly 25 years and turn that moment in history into a stand-up set and reclaim your survivor throne. Then, in a twist of cosmic irony, you perform it in the basement of a bar in Edinburgh that has been designed to look like the inside of a plane, complete with tray tables, overhead compartments, and thankfully, no Taliban suicide squad.

With around 3,700 shows at the Fringe and many of them comedy it can be genuinely hard to know where to start. But 9/11 Birds and the Bees offers one of the most arresting hooks on the entire programme.

Sofia May delivers a masterclass in pitch-black comedy, blending biting personal anecdotes from her time living in Germany and New York with a jaw-dropping account of her 9/11 experience and one that would trump almost anyone else’s in a game of “Where were you on 9/11?”

It’s the kind of story that, on paper, shouldn’t be funny and yet in Sofia’s hands, it absolutely is. Her delivery is fearless, and the material so far beyond the usual stand-up fare that it makes every “dating trauma” or “annoying in-law” anecdote feel laughably trivial. To quote from Peep Show: “Ooh, the Italians might leave the Euro, big wow.” It’s not exactly planes smashing into buildings, is it?

Unlike the Taliban learning to fly planes in Florida, Sofia May actually knows how to land this basement plane and a crowd loving every minute of her set!

Lee Hutchison Click Here For Review


Announcing the Winners of the Second Annual European Comedy Award

January 9, 2025   European Comedy

Article about 9/11 Birds and the Bees

Announcing the Winners of the Second Annual European Comedy Award

Sofia May — 9/11 Birds and The Bees (Best Performer)
Taking the Best Performer award is the striking debut of Sofia May with 9/11 Birds and The Bees. This is a show that confronts weighty themes — grief, global trauma — but flips them into a daring, darkly funny, and ultimately life-affirming hour.

Sofia’s performance is disarmingly honest and sharp. She navigates an emotional tightrope: exposing vulnerability while landing gut-punch jokes, veering into discomfort then yanking audiences back into laughter with deft comic timing. The result is a deeply personal piece that lands with resonance and wit.

But perhaps what makes her win especially powerful is that this is her first hour ever, created and promoted entirely on her own — no PR team, no management. To accomplish this and deliver something this strong, this polished, this affecting — it’s nothing short of remarkable. Sofia May is a performer to watch, and it is with full pleasure we award her Best Performer 2025. Click Here For Article


May 13, 2024    Chortle

Review of Going Coastal with Donald McGinty

Talk about commitment to the idea. Post-lockdown, Manchester-based comedian Sean Mason made just over a dozen episodes of his spoof travelogue Going Coastal, most about ten to 15 minutes long, even though most of them attracted well short of 100 viewers on YouTube.

But he clearly believes the idea, presented in the guise of his Scottish alter-ego Donald McGinty, has (sea) legs and has now created a live spin-off, too.

It has the slight feel of a sketch idea that’s got too big for his boots, but the appeal is that Mason has created a whole, credible world around this mild-mannered character. The videos certainly evoke the endless genre of personable presenters walking towards the camera in scenic UK locations, with quirky ideas such as a ‘save our seagulls’ campaign – as if they need saving – giving things a twist.

The suggestion that something awful happened during filming provides some cheekily dark asides, while there’s a recurring story about McGinty being reunited with his seafaring grandfather for added plot. It’s all nonsense but Mason presents it with a good-natured adherence to the fiction that encourages the audiences to get on board, too, from trying to learn semaphore to applauding small triumphs.

It’s mildly silly rather than raucously laugh-out-loud, but the lapping tide of gently amiable parody is quietly cheering while McGinty proves an affable captain of this enjoyable pleasure cruise. Click Here For Review


CeilidhKids At The Fringe - Perfection.

August 3, 2023   All Edinburgh Theatre

Article about CeilidhKids at the Fringe

CeilidhKids At The Fringe - Perfection.

CeilidhKids at the Fringe
Aug 3 2023 | By Torya Hughes |
★★★★★ Perfection

Laughing Horse @ The Counting House (Venue 170): Thurs 3 – Sun 27 Aug 2023
Review by Torya Hughes

CeilidhKids return to the Counting House with their popular family dances, aimed at providing the youngest audiences with a taster of traditional Scottish dance.

Compere Caroline Brockbank has been running CeilidhKids for around 16 years, after finding a lack of accessible ceilidhs when her own children were young. The company operates in and around Edinburgh throughout the year, even branching out into seated ceilidhs for the elderly and special events for those with dementia. This emphasis on accessibility makes for a very welcoming atmosphere, with no pressure to take part and an emphasis on fun.

The Counting House Ballroom is a good size for a busy group of dancers, with around 60 children and grown ups in attendance. The suggested age range is 3-7yrs, but there are some young teenagers who are happy to join in, and several babies who seem to enjoy just bouncing along to the music. Although there are some seasoned dancers in attendance, there are also first time participants from as far as China and Philadelphia.

Caroline leads her audience through a series of simple rhythm games to get started, clapping and stamping at first, then patting their bottoms in time to the beat – cue much hilarity from the younger ones! After a warm up, it’s time for the only ceilidh dance using the original steps, a traditional Gay Gordons. As with all of the dances, there are modifications to allow one adult to dance with two children, or to accommodate smaller children who might get tangled up with the original moves.
Giants, Trees and Frogs

There are plenty of other traditional dances included, but in much simpler arrangements to allow everyone to join in. The Swedish Masquerade becomes Giants, Trees and Frogs, with some freestyle jumping at the end, while a Flying Scotsman leaves out some of the more complex moves but retains the basic shape of the dance. The whole thing ends with a variation of the Circassian Circle, thankfully without any of the progression of the original!

Caroline tailors the set perfectly to her young audience, including plenty of water breaks and taking the time to walk every dance through before starting. The music is recorded, but the lack of a live band does not detract from the atmosphere. I took my 5yr old, who said that she liked jumping and spinning the best, and wants to go back again. This is the perfect way to introduce young children to ceilidh. Click Here For Article


CeilidhKids At The Fringe - Perfection.

August 3, 2023    All Edinburgh Theatre

Review of CeilidhKids at the Fringe

CeilidhKids At The Fringe - Perfection.

CeilidhKids return to the Counting House with their popular family dances, aimed at providing the youngest audiences with a taster of traditional Scottish dance.

Compere Caroline Brockbank has been running CeilidhKids for around 16 years, after finding a lack of accessible ceilidhs when her own children were young. The company operates in and around Edinburgh throughout the year, even branching out into seated ceilidhs for the elderly and special events for those with dementia. This emphasis on accessibility makes for a very welcoming atmosphere, with no pressure to take part and an emphasis on fun.

CeilidhKids in action. Pic: CeilidhKids

The Counting House Ballroom is a good size for a busy group of dancers, with around 60 children and grown ups in attendance. The suggested age range is 3-7yrs, but there are some young teenagers who are happy to join in, and several babies who seem to enjoy just bouncing along to the music. Although there are some seasoned dancers in attendance, there are also first time participants from as far as China and Philadelphia.

Caroline leads her audience through a series of simple rhythm games to get started, clapping and stamping at first, then patting their bottoms in time to the beat – cue much hilarity from the younger ones! After a warm up, it’s time for the only ceilidh dance using the original steps, a traditional Gay Gordons. As with all of the dances, there are modifications to allow one adult to dance with two children, or to accommodate smaller children who might get tangled up with the original moves.
Giants, Trees and Frogs

There are plenty of other traditional dances included, but in much simpler arrangements to allow everyone to join in. The Swedish Masquerade becomes Giants, Trees and Frogs, with some freestyle jumping at the end, while a Flying Scotsman leaves out some of the more complex moves but retains the basic shape of the dance. The whole thing ends with a variation of the Circassian Circle, thankfully without any of the progression of the original!

Caroline tailors the set perfectly to her young audience, including plenty of water breaks and taking the time to walk every dance through before starting. The music is recorded, but the lack of a live band does not detract from the atmosphere. I took my 5yr old, who said that she liked jumping and spinning the best, and wants to go back again. This is the perfect way to introduce young children to ceilidh. Click Here For Review


Broadway Baby review by Kate Copstick

September 2, 2019    Broadway Baby

Review of Ask A Stripper: The Champagne Room

Broadway Baby review by Kate Copstick

This is not a 'show' in the generally accepted meaning of the word. It is not an artifice. It is something which must immediately be seen the length and breadth of the country in as many places as possible. It is a hugely important hour that gives a platform for voices which are pretty much unheard in the mainstream. Click Here For Review


Broadway Baby review by Kate Copstick

September 2, 2019    Broadway Baby

Review of Ask A Stripper: The Champagne Room

Broadway Baby review by Kate Copstick

This is not a 'show' in the generally accepted meaning of the word. It is not an artifice. It is something which must immediately be seen the length and breadth of the country in as many places as possible. It is a hugely important hour that gives a platform for voices which are pretty much unheard in the mainstream. Click Here For Review