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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


August 21, 2025   International Times

Article about Gags Army

This is an hour of quite unique comedy that deserves support. On the night I saw it, there were four comics, all of whom are UK military veterans. The three equally funny stalwarts; Jay Saunders (with Hawke, the PTSD assistance dog), Jim Bob, and Nick Cheng (AKA Longhu) were joined by Andy Crapp (one of their proteges) who did his first ever 5-minute stand-up, and very relaxed and funny he was too. Each of the three comics, who are the bedrock of the idea to use comedy as a means to support and give new direction to ex-military personnel who may need help adapting to civilian life, have their own original style, and compliment each other perfectly. They have a long-term plan to set up a permanent space from which to operate their ideas and train newcomers in the art of comedy as both therapy and/or alternative lifestyle. Go see them, lend your support, they’re good gagsters!

Reviewer: Kevin Short Click Here For Article


August 21, 2025    The Student

Review of Adam Greene: Wizard of Ozempic

Whilst the show ostensibly did not go completely according to plan, Adam Greene still successfully entertained his audience, as laughter was a constant force in the venue. Despite the overbearing heat in what was essentially a glorified cupboard rammed with chairs, a disappointed sigh erupted at the end of the hilarious Wizard of Ozempic. Greene combines the age-old phenomenon of fat jokes with modern culture references of Ozempic to create a witty tale about his life.

Dripping in both sweat and comedy, Greene cleverly interacted with his audience, hitting the perfect level of audience participation and even stopping to ask if an audience member was okay after sneezing a few times. Through his attentive nature, Greene established an intimate atmosphere, truly enticing his audience into his life story, as you could vividly imagine each tale he shared. From his doctor’s appointments, to him carrying his chihuahua in a bag on the streets of London, you couldn’t help but laugh. This particular tale drew overwhelming fits of cackling and chortling from the audience as Greene’s wonderous storytelling emphasised the ridiculousness and absurdity of such an image.

Additionally, the show embodied a typical comedy set as Greene embraced the brash, arrogant stereotype of a comedian as he detailed the workshopping process of creating and writing a show for the fringe. As a part of this he explained how his performance had very little to do with the classic film The Wizard of Oz which the show’s title is a pun of. To accommodate for this, he made some stilted jokes related to the film and moved on in a hilarious manner, which demonstrated how much a show can develop and change from its original thought.

Overall, Adam Greene’s The Wizard of Ozempic is a witty hour of poking fun and crowd interaction infused with contemporary cultural references. Consequently, it is a wonderful hour of fun, even if it has nothing to do with The Wizard of Oz, and even though there was no wizard hiding in a cupboard for the grand finale of the show… Click Here For Review


August 21, 2025    The Student

Review of 2 Muslim 2 Furious 2: Go Halal or Go Home

Comedy duo Aisha Amanduri and Hasan Al-Habib bring the strongest stage presence that I have ever seen, in their show 2 Muslim 2 Furious 2: Go Halal or Go Home. Based on their own experiences and creating jokes on the stereotypes of being a Muslim, they confidently relay themselves, holding the audience in the palms of their hands as the room fills loudly with laughter.

Being an Asian, Muslim woman myself, and having lived amongst Muslim communities, I fear I have to mention that most of these jokes are ones I’ve already heard growing up. They felt slightly unoriginal, and were more directed to entertain a White audience. Muslim friends who had accompanied me to the show even argued that they themselves could stand up on stage and complete a comedy show at this point – if it meant that all they had to do was repeat simple jokes that we’ve said amongst ourselves. They ranged from the simple “bomb joke”, Asian aunties, struggles with walking through the airport without being deemed “suspicious”, and of course, the ritualistic way of having a crush on a White boy as an Asian daughter.

It felt like there were only a few jokes directed toward a Muslim audience, such as a comment on a “sheep being slaughtered”, quickly followed by a quip “This one’s for the Muslims [in the audience]”. The one that stuck and hit me with the most laughter was the following exchanged of dialogue:

Hasan: You don’t know what type of Muslim you are?

Aisha: No, I know what I am. I’m one of the good ones!

In addition to that, the comedy set held a recurring joke of “converting” audience members to Islam: “A special shout-out to Brother Anthony, who was ‘converted’ to Brother Abdullah!”

A favourite segment in particular was shown in the first half of the show, following the titular structure of a popular game show: “Who Wants To Be a Muslim Heir?”. With questions and answers as hilarious as they come, audience members try to win the label “Muslim Heir”; comparatively, the second half lacked a certain something. It may be due to the first half being a set shared between the duo, whilst the latter half included individual sets split between them, seeming as if they chucked this into the show at the last minute just to fill up the 1-hour time slot.

Despite this, not once did I stop smiling and laughing during their show. I’m unsure whether this was based on following the non-Muslims laughing rambunctiously throughout, or if instead it was due to the way the comedy duo hold themselves (both confidently and humorously). But representation still counts as representation — so we’ll take what we can get! Click Here For Review


August 21, 2025    Musical Theatre Review

Review of Tamar Broadbent: Plus One

Making a triumphant return to the Fringe, Tamar Broadbent regales us all with her updates from ‘the missing years’ – meeting her husband, sharing ownership of a golden retriever and then entering the world of parenthood together.

And, oh, such stories!

Her gift for observation and translating her stories into wittily rhyming lyrics is as sharp and funny as ever. And that she can relate all of this having had to deal with difficulties in conceiving, enduring pregnancy with no wine (the struggle is real) and then the actual birth and all that comes afterwards while keeping the room laughing and totally entertained, takes a lot of talent with a shedload of craft.

Switching between guitar and keyboards as accompaniment, her voice is crystal clear, with immaculate comedic timing and more sophisticated chord progressions than her past productions.

Tremendously likeable, this show will have new fans following her progress and the continued support from those of us who consider ourselves ‘fans’. There are moments of tenderness mixed in with the laughter, switching the mood perfectly.

Oh, and if you’d like to hear George Clooney’s advice on parenthood, you might just find out! Click Here For Review


August 21, 2025    North West End

Review of 100% Scouse Comedy

For something so foul-mouthed and filthy, this has to be described as a breath of fresh air. Not for the faint-hearted, it’s unhinged, off the hook, unmanaged and uncensored. Never the same two nights running. And just the right side of offensive. Depending on one’s perspective, obvs. Probably the only show to survive a wrong – Hitler-related – turn.

It’s a bit like stumbling into the Late & Live of yesteryear, except it’s only 8.30pm. Kyle Legacy and Dean Coughlin are our hosts and anyone who’s followed the goings-on at Liverpool’s Hot Water Club these last few years will be familiar with these two already.

From the get-in to some jumping hip-hop, feelgood reigns supreme and these lads don’t allow things to flag. The language is industrial but with a scouse accent it’s almost poetic. In a rhythmic sense, anyway. The shots land relentlessly and after the first fifteen minutes everyone’s looking – nearly crying – at each other in a punch-drunk comic stew, even the poor victims in the front row. After the ‘get-to-know-you’ intro the audience suggestions are addressed; we’ve all scribbled suggestions onto some pink post-it notes on the way in. ‘What’s the most scouse thing about you?’, ‘Is the Liver bird real?’ ‘A Chicken’s posterior – discuss’, (I paraphrase), but ‘Bankers With Brollies’ threatens to hold up proceedings for a bit… as if. It rollicks along without a pause before they hand over the mic to Kie Carson and Paul Savage who do their best with frighteningly short slots but it’s at odds with the tone and tempo set by the hosts. Little matter, for they do enough to entice us to grab flyers on the way out for Big Naked Comedy Show, Hopes Under The Hammer and Queer Comedy Chaos.

The dynamic duo return to round off the show with a last glance at some of the post-it notes, possibly the champagne moment being the dismissal of the Alex Ferguson suggestion… or the similar treatment doled out to the idea that Liverpool FC need to spend an eye-watering amount of money on some Swedish bloke presently at the Toon. Click Here For Review


August 21, 2025    Theatre Weekly

Review of ComedySportz UK

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


August 21, 2025   International Times

Article about John Robertson: Plays with the Audience

Australian, now UK-based, John Roberston, is an act I seem to have seriously overlooked, for which I apologise. He has been somewhat of an iconic fringe participant for many years, and having seen him this year, I can see why. With an almost manic Jerry Sadowitz persona, without the radical offensiveness, he freewheels his way though an hour of what the hell happens next, even starting the show again for latecomers, with such assurity, we watch in true awe and wonderment. Surely, he’s going to clam up at some point, but no! Perhaps, his safety net is to grab his electric ukulele and play punk-like songs with choruses we can all join in with. And we do. Robertson has two shows at the fringe, one a ticketed cult show at Gilded Balloon Venues, and this free show at the Counting House. He offers the best of both worlds, one for the richer and one for the poorer, and it’s an admirable ruse. Suffice to say, go watch him play with the audience and see a fantastically gifted comic in his element.

Reviewer: Kevin Short Click Here For Article


August 21, 2025    A Young(ish) Perspective

Review of #1 Mexican in Estonia

Heartfelt comedy that embodies the spirit of the Fringe

Ana Falcon is the number one Mexican in Estonia (aside from maybe three others). She begins her engaging hour in entertaining fashion, and we’re in her thrall right from the start.

She begins with a quick intro about the Fringe, about how it’s a showcase for international artists, and in the spirit of this, she generously wants to introduce us to other artists too. Enter Sandra Tiitson, a comedian from Estonia who warmed us up with tales of her gamer boyfriend, her overly friendly cat, and descriptions of her pole dancing exploits (featuring a beanbag) which were hysterically funny. It speaks volumes of Ana’s character that she shares her stage in such a way, even for 5 minutes, when the Fringe can be such a battle for visibility.

Moving on to Ana’s show, we are treated to gorgeously descriptive tales of her childhood in Mexico, and how she came to live in Estonia. The preoccupation of being number 1 in anything is something she’s told is deeply American rather than European (except for Eurovision), and we learn of how this mindset is fostered in the young Ana by her mother. She could be in the top 5 of her class, and ideally first, but never second (aka the first of the losers). She weaves comedic tales of costume contests, gold star collection, beating her nemesis and the most surprising of pop culture fight songs. We follow her journey to Estonia and her adaptation to life there and her marriage (complete with soup, compliments, winter exploits and mid-summer panic). This is all delivered with charming humour combined with deft skill and precision.

What really gives the show its heart is Ana’s journey with herself and what it means to be her, no matter her environment. This is beautifully surmised in two anecdotes around AAA models and her mother-in-law, which I won’t spoil here, but are insightful, funny and perfectly in-keeping with the Ana presented to us.

This is a show in an unforgiving location, and in an unforgiving time-slot, but the energy and verve that Ana brings to her performance keeps up the energy levels in the room. This starts to flag a little in pace towards the end, probably due to some tiredness in the crowd, and the warm room, but the overall effect is highly polished and deeply enjoyable. Click Here For Review


Edinburgh Fringe Theatre reviews: Nowhere | You’re an Instrument! | The Long Good Bye Bye + more

August 20, 2025    The Scotsman

Review of The Long Goodbye Bye Bye

Edinburgh Fringe Theatre reviews: Nowhere | You’re an Instrument! | The Long Good Bye Bye + more

 Click Here For Review


August 20, 2025    British Theatre Guide

Review of 10 Things They Hate About Me

Shinanne Higgins delivers a bold and vivacious stand-up performance that offers a vibrant and unapologetically honest insight into her life through the lens of “Ten Red Flags”. Each flag represents a chapter of personal history, spanning childhood traumas, cultural quirks, and the trials of adulthood—all delivered with wit and raw vulnerability.

From the outset, Higgins captivates the audience with stories from her Irish upbringing, including the infamous wooden spoon, a symbol of fear and discipline in many households. She reflects on the rigid and often uncaring education system of 1980s Ireland, where even asking to go to the toilet required mastering the phrase “an bhfuil cead agam dul amach go dtí an leithreas?”—a darkly humorous reminder of the absurd rules children once navigated.

Audience interaction plays a role, with selected members holding her symbolic red flags throughout the show. While this adds a visual and participatory element, there is a sense that the show could have benefitted from even more audience engagement—perhaps a few more moments of improvisation or direct conversation would have elevated the shared experience further and would have shown more generosity. She needs to have confidence to play more in the space, which is quite a small, intimate environment.

As the performance unfolds, Higgins delves into deeper and more contemporary topics: her neurodiversity diagnosis, grappling with aging and the notion of a “haunted womb”, trying to be the ideal feminist and allowing herself to have “notions”—a cheeky nod to self-awareness and social commentary. She talks of failed relationships and dates, but life is good really because she has found love with her “rabbit”. Her delivery is fearless, often brash and occasionally crude, but always underpinned by sincerity and spirit.

Overall, this is a stand-up show with heart, edge and a refreshing dose of honesty. Shinanne Higgins brings assertive opinions and comedy in equal measure—a performer unafraid to hold up her own warning signs for all to see and laugh along with us as she does. Click Here For Review


August 20, 2025    Everything Theatre

Review of Moving On... Really, Really Slowly

Comedian Stephen Catling hits the stage slithering, with a ridiculous slug-eyed headband signalling the theme of his standup hour, Moving On… Really Really Slowly. It’s apparent from the start that this is going to be an unusual show…

Catling tells us that he is autistic, and this brings a wealth of unusual and entertaining angles to his observation of life (occasionally through slug eyes). The evening wraps loosely around tales of splitting up with both an ex-fiancée and another girlfriend, as well as how he has moved on from some quite traumatic (and some less so) incidents. Also dealing with depression, his progress is slow, which is why he likens himself to a slug. There’s some excellent observational humour about gastropods, which reveals an intelligent and entertaining tendency for precise, compulsive research; this then creates the space for Catling to explain a great deal about autistic behaviours, providing some very interesting insight to an audience perhaps not familiar with this level of detail about his condition. It’s also brilliant to see mainstream representation of autistic creatives in this way.

His best moments lean into this uniqueness, as he considers things in a highly literal way, producing some very funny comparisons and perceptions, and his delivery is brilliantly playful. We’re also treated to rather bizarre puppetry with Lion King-based audience interaction (consensual, of course!). Indeed, Catling’s relationship with his audience (some of whom are clearly repeat attendees) is a joy – his response to the audience’s participation is really friendly and authentic, as he actually listens to what they have to tell him and responds enthusiastically.

There’s a lot to like about the show, including a great soundtrack that keeps energy levels high, loads of pop culture references, and a man with owls for hands making a cup of coffee. That being said, it’s not what I’d call polished and would benefit from a little work on its structure. However, if you like zany, off the wall comedy and sketches, this is the show for you! I loved it and can’t wait to see where Catling’s career goes. Click Here For Review


August 20, 2025    World Magic Review

Review of Magic Mic

Alex J Byrne may mix in both comedy and magic in Magic Mic, but one form of entertainment that he does not include is striptease, perhaps disappointingly to some who came to his show based on the title. However and disappointment is sure to be short lived. Byrne’s bad jokes and puns keep the audience in good humor, and there is plenty of magic sprinkled in for variety.

With a lunchtime slot in a central venue, and a performer who has clearly earned himself a following, Magic Mic is a popular choice. The reviewed show on a rainy Monday was packed full, with Byrne even having to turn away a few of his fans who weren’t quite quick enough to get there. Those looking to enjoy Byrne’s distinct blend of comedy and magic would be advised to arrive early. As the basement room is a classically hot Fringe venue and The City Cafe which hosts the show sells cold drinks, it would be advisable to even arrive early enough to purchase something cool and hydrating before the show.

Byrne emphasizes the comedy element of his show, with his rapid fire of puns and jokes filling much of the run time of the show. It’s not a bad thing, the Fringe is known for its comedy and Byrne is certainly funny, so it feels justified. The magic, when it appears, is largely well done. If there are moments when it feels like the sleight of hand is a bit clumsy, or the angles of the audience allow them to catch him out on occasion, it’s only because the Fringe has such a high standard for magic. It does feel like a good problem to have, as at least some of the flashes would be fixed if Byrne weren’t so popular that every inch of his room was packed full—and those who are there for the striptease implications of the show title may even welcome Byrne flashing them, even if it’s not the type of flashing they expected. Byrne performs a variety of tricks that range from the more common, featuring cards or handkerchiefs, to less common ones that are great novelties.

Byrne involves many members of the audience in the magic of his show. Luckily for the extra full reviewed show, many participatory elements could be completed from the seats, and the especially enthusiastic members of the front row took care of anything requiring joining Byrne onstage, minimizing potential struggle through the seats. The audience was on Byrne’s side, and the loudest heckle he received was a compliment to one of his jokes—surely a sign of success.

Magic Mic is a popular show for good reason, Byrne is a likable performer who keeps the audience entertained with apparent ease. Magic Mic is a great option for lunchtime fun and magic. Click Here For Review


August 20, 2025    To Do List

Review of Chonk

A fun – if functional – body-positive showcase for the chunkier comedians at the fringe.
Welsh comedian Stuart Thomas hosts this daily stand-up selection box which, as well as lending performers a platform to promote their shows, hopes to ‘challenge societal norms and promote body positivity through laughter.’

It’s a laudable aim – as a chonk himself, this reviewer appreciates the sentiment. It’s a shame, then, that the cramped venue is hardly appropriate for plus-sized performers and audience members – and that several of the acts themselves seem primed to stick to body-shape comedy bits. The biggest (pun unintended) exception to the latter will likely come from the token non-chonk invited to perform at each show. Its a gimmick that works better (indeed, feels less gimmick than pointed satire) at The Alternative Black Comedy Showcase, but is frankly unnecessary here.

On our visit, Rabiah Coon was the standout performer – if these seven minutes are anything to go by, her show with Shuang Teng (Asian American Cultural Confusion) is worth checking out. Look out, too, for Amanda Hurst (Amanda Hursy: Carted) and Jack Scullion (Don’t Mess It Up Jack). Click Here For Review


August 20, 2025    LondonTheatre1

Review of #1 Mexican in Estonia

Ana Falcon does well at demonstrating collaboration and camaraderie amongst Fringe performers – it’s one thing to briefly name-drop and recommend other shows, as some shows do, at the end of the performance. It is quite another to invite fellow performers to open the show. Given the nature of the ‘Free Fringe’ (basically, there are comings and goings all the time – nobody is obligated to stay at a paid-for performance either, but there is zero stigma, for both performers and audience members, if anyone walks away from a free show), it might have been confusing for a few people who walked in during the opening act on the night I went along, seeing a distinctly non-Mexican person on stage, in this case Chloe Jacobs, giving a brief run-down of her own show, Twilight: Breaking Down, about erotic fan-fiction which she wrote when she was eleven.

The demographic of people fully conversant in what life is like in Mexico and Estonia being practically non-existent, Falcon must explain both contexts, sometimes in quite some detail, which for a late-night show, by which point in the evening most punters will have had at least (ahem) something to drink, requires a bit more thinking than ideal. Essentially, it’s a good thing in Mexican culture to be ‘the best’. This is not, interestingly, the best according to your own ability, but better than others. Falcon’s formative years were accordingly somewhat marred by frustrations over losing a coveted ‘top five’ spot in her class at school. By contrast, I once heard a Nigerian explain to me that where he comes from, every schoolchild comes first, to the point where if a child were to come home and say they came second at something, their parents would reply, “Second? Are you a fool?” Hashtag everyone first.

Not so, alas, for Falcon, who finds a way of being the best at something, hence the title of the show. This collection of lived experiences is very unique, and I venture to suggest that of the 3,800+ shows at Edinburgh Fringe 2025, there isn’t anything that quite compares to this. A warm and engaging storyteller, Falcon’s show was more informative than comical, more educational than entertaining. Click Here For Review


August 20, 2025    One4Review

Review of AL! The Weird Tribute (and How Daniel Radcliffe Got Mixed Up in This Nonsense)

Like many millennial comedy nerds, much of my formative years were spent listening on repeat to the reworkings of popular songs made by comedy music legend Weird Al Yankovich, from Armish Paradise (a parody of Coolio’s Gangsta’s Paradise) to Eat It (a food-focused redux of Michael Jackson’s Beat It). So, I was really looking forward to a tribute to the accordion-wielding entertainer this Fringe from a fellow Weird Al fan in the form of US comedian/musician Steve Goodie.

Rather than being a regular tribute show consisting mostly of impressions and popular hits, Goodie’s production is more the live-action equivalent of a fanzine printed on the school copier and distributed around the interested friends on the playground. His love and admiration for Weird Al, and his complete delight at 2022’s Weird: The Al Yankovic Story starring another of his heroes, former boy wizard Daniel Radcliff, is the impetus behind the show. There are original songs, reflections on the influence that these comedy entertainers have had on Goodie’s life and a good deal of silly fun along the way.

Goodie is accompanied on stage by Yankovich and Radcliff, or at least their cartoon equivalents, along with his producer – a bobble head toy called Steve – via a really smooth set of animations and pre-recorded voice overs. Goodie’s ability to react to the characters on screen without looking speaks volumes of the amount of rehearsal, polish and love he’s put into this passion-project of a show.

It’s hard to know how much this show would appeal to people who’ve never heard of Weird Al or aren’t a fan of his content – it’s never so niche with the references newcomers might be lost, but as it’s more about the feelings around the artist than his work itself, I doubt you’d leave with any more knowledge of him than you arrived with. But if you are a fan, it’s a lovely way to geek out for an hour with a lot of well-placed laughs. Click Here For Review


August 20, 2025    The List

Review of Priscillified: Drag, Disco and Desert Drama

Priscillified: Drag, Disco And Desert Drama takes place in a small venue but Dean Misdale clearly intends on bringing the house down at Freddy’s. After a note-perfect rendition of ‘It’s Raining Men’, the audience are introduced to the queen herself, unapologetically queer and living her fabulous life out loud. Seeing such a glamorous drag show outside of the wee hours and watched by an audience not normally associated with such a thing is refreshing. Misdale absolutely thrives on the attention and the applause they most certainly deserve. In between musical numbers, Misdale shares stories from their drag career (such as navigating the pandemic to embracing their growing confidence) and those stories are just as engaging as the songs.

Drag Race fans may be a little disappointed as there is no lip-syncing here (apart from a small interlude during a costume change) but Misdale sings absolutely everything live, something rare in this drag age. Even with a small tech issue towards the end, we are up and dancing to the final song, ‘Celebration’. If this show is any indication, Dean Misdale’s future looks dazzling. Click Here For Review


August 20, 2025    Neurodiverse Review

Review of Moving On... Really, Really Slowly

‘I prefer to do silly things with props, rather than talk about personal things’ so Stephen Catling opines in his new hour. Don’t worry there is plenty of the former, but something new has crept into the absurdist’s performance art/stand-up hybrid; a vein of melancholy. It’s a rich vein too; perhaps it’s the light and shade of some of Stephen’s more silly moments, that makes his asides about depression and relationship woes pack more of a punch, it feels out of place at times, but perhaps we are witnessing a development in Stephen’s work – trying to grow and show more vulnerability?

It can be a cliche when comics talk about emotional or personal stuff; some people say it’s a cynical attempt to elicit sympathy ‘around the 45 minute mark’. Stephen isn’t doing this, it’s a genuine moment of truth. I think it’s different for autistic performers, who are already contending with ableist expectations, and whether to disclose details of their life to an audience who may not understand.

Stephen’s a comic that can bring an audience around very quickly. For all the prop nonsense and clever sound-bites, there’s a lot of considered comedy writing for which he should be recognised for. There were some lines in Moving On that made me howl in a way no other show at the fringe has this year!

There’s an originality to Catling’s work that belies his northern shouty persona, but you’d be a fool to take this at face value, there’s a lot going on. It’s wonderful to see him have a committed following already! Click Here For Review


August 20, 2025    The Real Chris Sparkle

Review of Alex Farrow: New Order

You can take the man out of philosophy but can you take philosophy out of the man? I dunno, I’m not a philosopher. But Alex Farrow is, and his New Order: Sex, Power and the Philosopher’s Hoover is an entertaining look at what concerns him as he reaches his early 30s (ahem), such as making enough money to get by, discovering how to dress like an Italian Daddy (oops, I think I do), and what he rather alarmingly has in common with Vladimir Putin. He’s also become entranced with DIY, an interest designed to help one’s mental health that will probably injure it, and he has a unique need to feature a broken vacuum cleaner in his show. It doesn’t matter if you don’t know your Heidegger from your Hi-de-Hi, Alex Farrow cuts an extremely engaging persona on stage, and his show is an intriguing and intelligent potpourri of comical ideas and observations, delivered with authority and charisma; and it’s also extremely funny! 4 stars. Click Here For Review


the Fringe’s very own David Lynch with all the wonder and weirdness that implies.

August 19, 2025    One 4 Review

Review of Twonkey's Zip Wire to Zanzibar

the Fringe’s very own David Lynch with all the wonder and weirdness that implies.

Being a fan of the experience that is Twonkey is not an easy thing to summarise, nor an easy thing to recommend. I am truly of the belief that he is the Fringe’s very own David Lynch with all the wonder and weirdness that implies. He is a mad genius, cutting his own path through comedy but, much like Lynch, a lot of people would be left unable to understand the strange new places it takes them.

This show marks over ten years for Twonkey – the clownish alter ego of Paul Vickers – at the Fringe with his mix of songs, spoken word, puppets and comedy that is usually put under the blanket of “cabaret”. The humour in the show derives not just from jokes, which are often delivered with a deadpan matter-of-factness but also the strangeness of them – one only need hear how he relates an audience member’s recent sexual experience after they took a pair of silken underwear from his ship’s wheel that he sails into the audience and states plainly to them “you used to be a Michelin star chef” before narrating how they have developed a fetish for making vast quantities of food for imaginary customers.

The plot of the show is simple, if equally absurdist – Twonkey is dead and has been replaced in the show by his wife Twonketta, who runs a woefully unsuccessful rollercoaster based on the Hans Christian Anderson story The Little Matchgirl. Twonketta dreams of having the big success of the nearby – much more exciting and dangerous – rollercoaster the Zipwire to Zanzibar and is assisted by various – and honestly distressing – puppets such as Steve Martin (made from sanitary towels) and the flugelhorn-tooting Tutti Cnutti. But plot in a Twonkey show is often more the bay leaf in a stew – not essential but bringing a certain depth to the experience. And what an experience it is.

I honestly don’t think another show has ever made me laugh harder. It’s not continual chuckling throughout, but the gags when they come are so completely unexpected, so bizarre, so wonderfully unique, that the laughs they bring are as much mixture of shock and disbelief as they are humour. And, like with the works of Lynch, there is a distinct impression that even when you, the viewer, are lost, Vickers himself knows exactly what is going on and it’s not that the art is chaos, merely that you fail to perceive its order.

Not for everyone, perhaps, but if you’re interested in something truly unique, truly absurdist and surreal, something that really exemplifies the experimental spirit of the Fringe, chances are this show is for you.

*****
Reviewed by Tom M
Other Room at Laughing Horse @ Dragonfly
20:15 (1hr)
Until the 24th Click Here For Review


August 19, 2025    Edinburgh Reviews

Review of Dan Leith: Defiling Gravity

I was invited to Dan Leith: Defiling Gravity without really knowing anything about Dan or the show – or even having been in the West Port Oracle before. It was a great experience!

Vibe
The first shock I got was that I went downstairs in West Port Oracle, and found myself… on a plane! WHAT. I never knew this was here! It’s such a novelty thing for a venue to have, and I was delighted when I realised the recline function still works on the seats.

Then I was even more pleasantly surprised to learn that Dan had worked in the plane theme of the venue into his show – coincidence? I doubt it, but it’s brilliant. I was immediately entertained, and some of us were given in-flight cards, too. A few of them had instructions on them – mine just had ‘travel safe’ and a condom stuck to it! (No idea what I was supposed to do, if anything)

I settled into what was set to be an entertaining show of musical comedy.

The show itself
Dan has a lovely, engaging, friendly stage presence and you immediately feel at ease with him as he plays some songs and lets you get to know a bit more about him. Dude seems a little bit accident prone, as we hear about two accidents and a medical emergency in Iceland (the shop, not the country!). But the main thing is, he’s okay now and he’s an utter delight to watch on stage.

His songs are catchy, witty and funny – why had I never heard of Dan before? One song is based around one of the internet’s favourite things to take the piss out of at the moment, and that’s a ‘Karen’.

As soon as Dan launched into the song, I saw a couple getting a little bit closer with the woman getting some reassuring attention, and I instantly knew her name was Karen. Luckily, she took it in good humour.

There’s a nice bit of audience participation in the show, aided in part by the cards that Dan gave out at the start, but also later on with an optimisation vs pessimism song which got everyone involved and felt like a lovely way to end things – I definitely left the venue feeling more on the up than the down.

Overall
I had a great time at Dan Leith: Defiling Gravity, and will now be keeping an eye out for future Dan shows. I laughed, I cheered, and I really enjoyed the songs – they’re well-written, clever and funny. If you can make it along before end of Fringe, I highly recommend you do. Thanks, Dan! Click Here For Review


August 19, 2025    One4Review

Review of Kate Pinchuck: Don't Panic!

South African–born, UK-based Kate Pinchuck opens her show not by bounding on stage, but with a wryly inventive recorded airplane announcement. We’re asked to fasten our seatbelts, expect a little turbulence, and note where the emergency exits are. It’s more than just a neat gag—it sets the tone for an hour where Pinchuck is both pilot and in-flight entertainment, steering us through storms of honesty and humour with the calm authority of someone who knows exactly where she’s going.
The central question she circles is deceptively simple: does therapy actually work? And Pinchuck has the credentials to explore it. With two psychologist parents and more than a few sessions on her own record, she’s practically been raised on the stuff. She mines her experiences with killer precision, making her observations feel both deeply personal and universally funny. There are break-ups with therapists who’ve moved practices or even entire countries; the infuriating way therapists guide you toward conclusions you’ve already arrived at; TikTok’s wild west of self-diagnosis; and sibling rivalries weaponised into full-scale psychological warfare. One routine about clocking which meds you’ll be prescribed by spotting the logo on your therapist’s pen is inspired—it’s sharp, clever, and laugh-out-loud accurate.
But Pinchuck is no one-trick pony, and Don’t Panic! isn’t confined to the therapy couch. She describes herself as a drama nerd, and that background bubbles through in witty songs and sharply observed character moments. A brilliant routine about “the big shop” transforms the mundane into absurd comic theatre, while her take on handling a partner’s ex is delivered with a wit so sharp you could cut glass with it. She also folds the audience into the mix, running a semi-workshop where we share our fears. In lesser hands this could feel awkward, but Pinchuck makes it sparkle, turning the moment into something playful, communal, and unexpectedly moving.
What sets her apart is her presence. Pinchuck is both playful and authoritative, the rare performer who makes you feel she’s speaking directly to you while still commanding the whole room. She has the natural storytelling instincts of someone who knows how to build a world, land a punchline, and carry you along for the ride. She’s focused but never heavy-handed, warm without pandering, self-aware without a trace of smugness.
This is comedy with real heart and purpose—the kind of show that sneaks under your skin. You walk in with your own bundle of worries, and you walk out lighter, laughing, and maybe even with a fresh perspective or two tucked away.
It’s good to talk, sure. But it’s even better to laugh—with Pinchuck at the controls. A real find, sharp and assured, with the talent and ideas to go a very long way. Click Here For Review


August 19, 2025    Edinburgh Reviews

Review of Bubba-Licious

I’ll be completely honest from the outset – I don’t know who enjoyed the show more, me or my toddler! Bubba-licious had everything we were looking for in a kid-friendly Fringe show; singing, dancing, puppets and of course, BUBBLES!

Background
Kat and Matt Grey have been avid long time lovers of both the Edinburgh and their hometown Adelaide fringe for years and when they became parents 8 years ago they were keen to include their baby in fringe fun. BUT…. No baby-focused shows existed!

So they made the show they wanted their kid to see and for the past few years have been sharing this wonderful-ness with other littles in the free fringe.

What to expect
Located in the cosy room inside the Pear Tree, prepare to be warm and involved not only with the show itself but those around you.

The vibe of the show is very much ‘we’re all pals having a play’ which is exactly what you want from a kids fringe show, especially if your child is just wee because let me tell you from experience, the fringe is a daunting experience for new/ first time parents/ parents of an under 2!

It’s mainly floor seating which gives a relaxed and familiar feel and allows you really to get up close and involved with the show and shut out the busy city for a little while.

The show begins with a very lovely aboriginal welcome song complete with sings which is very cute, interactive and inclusive. It then heads on a very fun journey through songs well known and new as well as a cast of familiar characters including a nod to my sons about in the world – the very hungry caterpillar.

Interactive family fun
There’s shadow puppets and lots of sensory fun and stimulation with different lighting and encouraging of the kids to dance and sing along.

Our favourite section of the show was the under the sea themed part with the silky clothes flowing out over the audience and the main event… GIANT BUBBLES. You’ve never known total happiness until you’ve seen 20+ under 5s captivated by a mix of giant and tiny bubbles and told they can run wild to their hearts content.

I do have to include a trigger warning though – Baby Shark is played and will then be stuck in you/ your child’s head the rest of the day.

Finishing off with a massive Bluey-themed balloon game (I’ll let you guess which one) you’re off on your way with a souvenir balloon to take home which is a huge bonus for entertaining littles while navigating back through the busy streets.

Overall
This is the perfect first fringe show for any tiny ones and an excellent morning out for any under 5 who loves singing, fun lights and interactive play.

Kat and Matt clearly know exactly what littles (and their parents) want and there’s zero pressure to have your kids be anything other than themselves even if they decide they want to run off or that they want to be super involved… or even go for a cheeky nap as I saw one super relaxed baby doing.

Being included within the free fringe too makes it very inclusive and accessible to anyone looking for a fun activity for their kids during the fringe. Click Here For Review


August 18, 2025    One4Review

Review of Rachel Morton-Young: Dutch Courage

Dutch Courage is Rachel Morton-Young’s love letter to the Netherlands, the country she now calls home, framed against her British roots. What could have been a straightforward cultural compare-and-contrast is instead delivered as a warm, nuanced, and frequently hilarious meditation on belonging, adaptation, and the absurdities of daily life when lived between two cultures.

Morton-Young arrived in the Netherlands as a multilingual tech support engineer 25 years ago—a job title that promised cosmopolitan glamour but in practice meant the usual grind of headset life. Out of those experiences, and her subsequent years raising children abroad, she has shaped an hour that feels lived-in, affectionate, and sharply observed. The material ranges from Christmas traditions (her playful skewering of Dutch festive routines is a highlight) to the infamous birthday calendars that hang in bathrooms—a custom that becomes comic gold in her telling.

Her themes stretch beyond domestic ritual. There is a frankness in how she examines Dutch sex education, delivered with both admiration and comic astonishment, and her reflections on navigating daily life in “the most tolerant country in the world” ring with both irony and affection. She is, in the best sense, a cultural translator: a British expat turning the quirks of her adopted home into comedy that resonates across borders.

Morton-Young’s style is chatty and inviting, with the natural ease of a gifted raconteur. She is equally at home with expat audiences who know these quirks firsthand and locals who enjoy seeing their culture refracted through foreign eyes. There is nothing forced here; she is funny without overreaching, gently insightful without ever being heavy-handed. It is a balance that has made her a prominent voice on the European comedy circuit.

In a Fringe awash with louder, brasher shows, Dutch Courage stands out for its quiet confidence and charm. Morton-Young is funny, insightful, and remarkably likeable, a performer who knows that sometimes the best comedy lies not in exaggeration but in the lived detail of how people actually behave.

Rachel Morton-Young is a talent well worth seeking out. In a crowed August her show is one worth checking out — proof that the Free Festival still delivers hidden gems with the potential to travel far. Click Here For Review


August 18, 2025    One4Review

Review of I Got Bit By A Monkey Once

Melbourne’s Matt Harvey can spin a yarn as if he’s knitting comedy socks—warm, cosy, and just a touch frayed at the edges. He’s not a punchline machine; he’s a storyteller, and his stories come layered with charm, unease, and the kind of hindsight that makes you shake your head and laugh at the absurdity of it all.
The concept is simple: the choices we make in bad situations, and how those choices almost inevitably make things worse. It all begins with a monkey bite in Bali—yes, really—and spirals into a tale that sits somewhere between travelogue and fever dream. The casual apathy of those around him is jaw-dropping, and Harvey recounts it with the weary disbelief of a man still not quite sure how he survived. At times you feel like you’re watching Outbreak on fast forward, only with more mosquitoes and fewer hazmat suits. If COVID 2.0 ever rolls around, don’t be surprised if Harvey ends up patient zero.
From there, he threads together a paranoia-soaked bus trip, an arrest that seemed both inevitable and entirely avoidable, and a mugging that—through sheer comic detail—almost tips into slapstick. Each misadventure is painted vividly; Harvey is less interested in one-liners than in drawing you into the scene, and he does so with aplomb.
He’s delightful company, too. There’s something endearingly ramshackle about his delivery—like an old friend who’s had one too many but is telling their best story of the night. He paints the picture well, and his charm papers over the occasional sag in pacing. The show ends before you’re quite ready to leave, which is both a compliment and a reminder that a bit more tightening could elevate the hour.
Harvey is a talent, no doubt about it. This is a good set—fun, warm, and engaging—and well worth seeking out. Click Here For Review


August 18, 2025    All Edinburgh Theatre

Review of The Long Goodbye Bye Bye

 Click Here For Review


August 18, 2025    Chortle

Review of Sam Michael: The World's Oldest Man

To me, the title Sam Michael: The World’s Oldest Man suggests something a little high concept, perhaps that the comic is aiming to take that record, or performing in character as the longevity champ.

In fact, the truth’s a more prosaic. The Swindon-based comedian was sent to a local care home to interview the world’s oldest man for LadBible, seeking the usual words of wisdom about what keeps the then 110-year old going.

That Encounter proves to be a framework for a relatively standard ‘no longer young, not yet old’ show that many stand-ups of Michael’s vintage (he’s 37) knock out.

On one hand, he finds it difficult to let go of his youth and move forwards into responsible adulthood. On the other, he’s increasingly aware that he’s now a sad old man if he goes to a nightclub or a lap-dancing club, and too conscious of being embarrassed to be in the moment and enjoy it.

Trying to connect with 20-year-olds proves pathetic; stag dos in Amsterdam now focus on the Rijksmuseum, not edibles, and while he’ll still consume porn, now it needs to be respectable. Plus of course there’s a story about an awkward prostate examination amid other medical woes – it’s almost compulsory for a show of this nature.

There’s nothing groundbreaking here, but it’s a nicely packaged, story, engagingly told by a natural, relaxed performer Michael comes across as a personable chap, who treats the audience as friends he hasn’t made yet and keeps the tone good natured and cheekily self-deprecating. It’s not a strong or distinctive persona, but it gets the job done.

And looping back to his Encounter with the world’s oldest man, provides satisfying closure to an enjoyable hour in his easy-going company. Click Here For Review


August 17, 2025    One4Review

Review of Traumedy: A Guide to Being a Fabulous Homeless Addict

Here’s a show from Iain Anderson, native Scot who’s been living his worst and best life in Barcelona. Moving there as a youngster to escape his life in Glasgow, “Traumedy : A Guide To Being A Fabulous Homeless Addict”, is his life in a nutshell. An incredibly open and honest account of what it’s like to lose everything and try to re-build a life when it feels like there’s no hope and nowhere to turn to.


Don’t be fooled though, this is a very funny show from an up and coming stand-up, using his very personal experiences with massive effect. He’s very engaging and the humour throughout has light and shade. There’s a lovely narrative around those who have made impacts on his life, mostly for the better. Huge characters, like his Glaswegian granny, and Holly, his homeless bestie who he meets in a park sleeping rough.


His obsession with fame as a young man was the start of his addictions and there’s no doubt that this features heavy in his personality and it’s traits. He’s been through some pretty hard times, but this has made him stronger and storytelling is compulsive and creative. 8 years clean & sober, keep up the good work, your show has left its mark in a very good way! Click Here For Review


August 17, 2025    One4Review

Review of Russell Hicks: Work in Progress

I’ve been a fan of Russell Hicks and his brand of comedy for a while now, and watching his “Work in Progress” show was superb. It gives a proper insight into how clever comedy is crafted into what will hopefully become a long running sell-out show.

He has a wonderful laid-back style, but this doesn’t detract in any way from the cleverly constructed stories and jokes that he delivers over and over again. Working from reams of notes, gauging his crowd and re-affirming what works and importantly doesn’t work, he manages to cover a huge variety of topics.

One of my personal highlights was a section legacy and in particular what some really famous people are remembered for. Typically, all their good work flies out the window and it’s the scandal or the wrong doings that stick in everyone’s mind. A very clever piece and very funny.

Some nice crowd work adds to the appeal of this show, and his stint as a cruise ship comedian is absolutely superb and resonates with anyone who’s been on-board a floating buffet.

This show already has good bones, with lots of really awesome observations, I’m keen to see how this develops and look forward to seeing him again next year. Click Here For Review


August 17, 2025    Broadway World

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

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 17, 2025    Ed Fringe Review

Review of The Asian Comedy Showcase

The Asian Comedy Showcase was started three years ago at the 2023 Edinburgh Fringe Festival by award-winning Asian comic Sam See. For the past few years, it has brought some of the best Asian comics at the Fringe together to perform on the Free Fringe program, along with one token white comedian (you know, for the diversity?). It’s the perfect opportunity to get a taster of a wide variety of Asian comedians as they each perform for 10 minutes. Sam See is the enigmatic host, immediately getting the audience on side and effortlessly commanding them. Even when the audience isn’t particularly forthcoming during some (often dreaded) crowd work, See remains in control of the room and continues to delight and energise, especially as he introduces each act for the afternoon’s set.

... Click Here For Review


Review

August 16, 2025    

Review of Cheekykita – Batshit

Review

I haven’t laughed this hard at any show all year. It’s rare to see a performer take risks this bold and pull them off with such conviction. Cheekykita proves that genuine absurdism isn’t dead—it’s flapping around City Café in a bat suit in all it’s magnificent glory.
***** Click Here For Review


August 16, 2025    One4Review

Review of Comedy for the Curious: Animals!

Ever wondered why people bite their nails, fall for clickbait, or genuinely believe UFOs are part of a government cover-up? Comedy for the Curious has you covered. Hosted by American comic and marine biologist brainiac Robyn Perkins, this clever show is part science, part comedy, part exploration of what makes humans tick — and it’s consistently fascinating.
Tonight’s topic: bad habits and the psychology of conspiracy theories. Perkins opens with a killer monologue, her scientific background giving her jokes an extra zing. One moment she’s delivering a slick punchline about dating shows, the next she’s wielding data and graphs to back it up. You’re laughing and learning without even realising.
The format is beautifully simple. Each night features a guest comedian and a bona fide expert joining Perkins onstage. Tonight’s comedy slot is Scottish rising star Ruaridh Miller, whose short but standout set weaves the evening’s themes seamlessly into his material. His riff on people who genuinely believe pigeons are government surveillance devices is dry, sharp, and earns him a clutch of instant new fans in the room.
Then comes the heart of the show: stats, spreadsheets, and more graphs than you’d expect at a Fringe comedy gig. But Perkins keeps it lively, threading zingers and quick asides between explorations of cognitive bias, misinformation, and how conspiracy theories spread. It’s a kaleidoscope of psychology, comedy, and data storytelling — digestible, surprising, and consistently funny.
Joining the discussion is Dr Mioara Cristea, an expert in the field, who brings academic weight without a shred of dryness. Perkins’ sparky enthusiasm, Miller’s calm, precise delivery, and Cristea’s grounded science hit a perfect sweet spot between insight and entertainment. Particularly enjoyable were their debunking strategies, the discussion on social media’s role in spreading conspiracies, and the way credibility and evidence are navigated with humour.
Do you walk away with all the answers? Not quite — and that’s not the point. Perkins has created something genuinely unique at the Fringe: a show that teaches without preaching, sneaks research papers into punchlines, and leaves you feeling just a little smarter — and perhaps a little more aware of the invisible cat societies lurking in our world.
Overall, Comedy for the Curious is the show to drag your most sceptical mate to — the one who hates both stand-up and science lectures — just to prove them wrong. With razor-sharp guests, a format that has real legs (and arms, and tentacles), and an endlessly likeable host, this is one X-File of a show you’ll want to believe in. Click Here For Review


August 16, 2025    One4Review

Review of AC/DC: Australian Comedians / Dope Comedy

Late-night comedy showcases can be a minefield. You need a killer compère to keep the pace, a lineup of standout acts, and an audience ready to bite and engage. The wrong energy and the whole space-time continuum can collapse faster than a poorly planned punchline. Tonight? No worries, mate. It’s all under Aussie border control, and they’ve brought the sun-cream-ready talent.
The show kicks off with the compère and MC for the night, Daniel Muggleton, who is instantly in control. Dressed in a red Adidas tracksuit with a moustache that screams suburban Melbourne barbecue bouncer, he owns the room from the first word. Tales of kids, fertility treatment, and British/American bashing have the crowd eating out of his hand — and laughing their heads off.
Next up, the acts hit hard and fast:
Hoani Hotene – The token Kiwi of the night, razor-sharp from the off. SpongeBob translations into Te Reo Māori, debates over what counts as a meal deal, ChatGPT musings, and the hilariously problematic “Couple Massages” all land perfectly. Hoani is a talent to watch, no question.
Prue Blake – Melbourne-born, London-based, and newly married, Blake mines her material with wit
and confidence. From wedding ring dilemmas to micro weddings, she hits the relatable highs and lows of married life, with her “S.I.N.C.” scenario — Single Income, No Children — stealing the show. The audience adore her charm, timing, and sheer stage presence.
Amos Gill – Californian-based Aussie and star-in-the-making. His set touches on cultural attitudes to sobriety, children’s games turned bizarre fetish exercises, vegan future shock, and the British Empire. Each joke is structured and delivered with precision, and he absolutely slays.
All in all, there are countless compilation shows at this year’s Fringe, but this one stands out. No weak links, big laughs, and a brilliant way to discover some of the most exciting comics on the circuit.
Get yourself down for the best mirth and turf that Australia has to offer. Click Here For Review


August 16, 2025    Entertainment Now

Review of Tamar Broadbent: Plus One

Tamar Broadbent is reluctant about becoming a mother and doesn’t want to lose her identity. In this musical comedy, Broadbent explores the ups and downs of pregnancy.

Broadbent is an outstanding singer, and the original songs are great. Whilst not extremely complex, they are funny and a great way to create comedic relief through the more honest moments. They are enjoyable and catchy.

The layout of the show consists of a mix of songs and monologues from Broadbent. She explores all the different stages of her journey with motherhood, from meeting her partner to having her baby girl.

Although a comedy, there are some hard-hitting themes to the show. Broadbent describes her initial infertility issues and the difference of parenthood between a mother and father. Broadbent communicates with humour, such as a song about losing alcohol for nine months, but also pointing out the difference in fertility tests.

Broadbent is not just vocally talented, throughout the show she performs her song on the guitar and piano, which I assume is not the extent of her musical ability. She is a natural performer.

Broadbent is sweet and sharp. She delivers most facts very matter of fact, which adds to the comedic delivery.

After singing about all the things you cannot eat during a pregnancy and struggling to breastfeed, Broadbent goes back to her roots and ends with an improv club song. This time it features describing someone as the shape of a fruit juicer, is so incredibly funny, and enough to be a show itself. Click Here For Review


Hidden Gem

August 16, 2025   Fringe Review

Article about Slomosexual

Hidden Gem

The hilarious story of Nebulous Niang, a good Chinese Singaporean girl, following all society expected of her until she saw lesbian series Orange is the New Black.

Slomosexual is a slickly performed, hour long solo stand-up show from Singaporean Chinese comedian Nebulous Niang. With the aid of occasional exhibits on a large TV screen, she tells us her life story focussing primarily on the expectations that Singaporean society puts on women (especially when she was growing up in 1990s Asia) of conforming to a hetero-normative life of getting a husband and having children, which is what she duly did. She shares childhood photos that show the writing was already on the wall early on that she was no girly-girl. She takes us through her childhood years (and is especially funny impersonating her no nonsense Chinese mother), and her early marriage to a sullen, brutish man, having children with him. She brings her life story up to date by sharing that she is now in an inter-ethnic lesbian couple relationship raising Gen Z kids in a conservative country, Singapore. But it is not these life story milestones that are the joy of this hour of engagingly honest, impish comedy storytelling. Nebulous Niang is a highly professional, competent and mischievous comedian and it is a delight to see a Chinese woman delivering quality queer comedy. She is continually wrong-footing us with the set-up and punchlines of her hilarious stories where she navigates her way out of a heterosexual straitjacket and into the free queer life she really wants to live. With no early lesbian role models and active discouragement of being anything other than a straight married woman, there are many very funny learning curves (not only Orange is the New Black) which she speedily ascends before, during and after her marriage. No spoilers here but some of the things she got away with in her marriage, with her husband’s consent or indifference are much more modern than the Singaporean society at the time would (or still does) tolerate. So in some ways, she wasn’t that much of a slow motion homosexual.

Slomosexual sold out multiple shows in Singapore, and it deserves to be more widely seen in Edinburgh. The hour flies by and you come out better educated about LGBTQ+ lives in Singapore and with a sense of relief that so many of the issues Nebulous Niang had to face were factors our parents’ generation faced in the UK, rather than current generations. Click Here For Article


August 16, 2025    One4Review

Review of Fragments

There are worse problems to have at the Fringe than too many punters, and Andy Gleeks has that rare high-class headache: the room is rammed, it’s midday, and people are still filing in, shoulder to shoulder, pints in hand. Fragments hasn’t even started and already feels like an event.
The opener lands with a crack: he says he’s been told he looks like Gerry Adams’s son. Half the room collapses laughing, the other half mutters “Who’s that?”—and in that instant Gleeks has them all. It’s a sly, precise move: he takes the temperature of the room in one line, and suddenly he can go wherever he likes.
And where he goes is everywhere. Shark conspiracies. Classrooms full of Northern Irish chaos. The absurdities of marrying across the water, spun into a deliciously daft “Good Friday Agreement” gag. He slaloms through skydiving, dodgy self-help manuals, wellness apps that deserve deleting, and gifts nobody ever wanted. If life comes at you in scraps, Gleeks is the comic with the glue stick—and the gall—to make it fit.
The divorce material could have sunk him. Instead, it’s the jewel of the hour: pain and perspective alchemised into something bracingly funny, warm, and oddly uplifting. There’s no plea for pity; instead, heartbreak is flipped into comedy with the ease of someone who’s survived the storm and come out smirking.
And yes, the Northern Irish Catholic upbringing is always in the wings—the gravitational pull of the show—but never its prison. He folds it in with wryness, never tipping into cliché or sermonising. That balance between tenderness and absurdity is what makes Fragments hum.
By the end, the title clicks into place: not everything in life makes sense, but the broken pieces can be stacked into a set this sharp, this human, this flat-out funny. It’s not a tidy jigsaw—it’s better.
Andy Gleeks is the real deal, a talent visibly levelling up before your eyes. Fragments is no scrapbook of leftovers—it’s proof he’s got the material, the presence, and the swagger to go further. Watching where he takes it next will be half the fun. Click Here For Review


August 15, 2025    One4Review

Review of 1290.5 Steps to Autistic Success – Kittenageddon (Sidequests and Buffering)

Birmingham-born Stags Woodward feels like the kind of performer the Free Fringe was invented for: inventive, unpredictable, and capable of turning a cramped karaoke room into a communal experiment. He’s a poet, writer, and comic who thrives on the edges of convention, and today’s audience—packed tight into this makeshift panic-room-cum-stage—are rewarded with something strange, messy, and very much alive.
The premise itself—1290.5 Steps to Autistic Success—is knowingly daft. No list could contain the loops and sidequests of an AuDHD brain, and Woodward doesn’t even pretend to try. Instead, what unfolds is an hour of tangents-as-architecture: riffs on traffic cones, cat nipples, unwanted gifts, and numerical quirks, all stitched together by a mind in permanent motion. For some, the sheer scattershot nature of it may feel like three shows jostling for space; for others, it’s the very point. ADHD here isn’t chaos—it’s abundance.
There’s real charm in the way he frames his autism diagnosis too: not as a tragic backstory, but as a puzzle piece that finally made sense of years of quirks and obsessions. The tone is never heavy. He invites the audience into his world, buffering screens and all, with warmth rather than self-pity. The result is less stand-up “set” and more open window.
At times the tangents spill faster than they can be caught, but it’s hard to care too much when the room is roaring with laughter one minute and murmuring with recognition the next. He’s likeable, magnetic, and the hour brims with invention—even if the whole doesn’t quite match the promise of its best fragments.
And yes: there’s a cat, because of course there’s a cat.
This is a show that hints at something bigger, maybe with a more expanded running time. Stags Woodward has the tools, the energy, and the perspective to build something special, and 1290.5 Steps is worth catching precisely because you can feel him mid-flight. It’s not the finished article but maybe that’s part of it’s charm, and it’s very much worth tracking down. Click Here For Review


A volcano of considered chaos.

August 15, 2025    neurodiversereview.co.uk

Review of Twonkey's Zip Wire to Zanzibar

A volcano of considered chaos.

Twonkey’s dead! He succumbed after eating a tin of contaminated condensed milk, or so his Widow Twonketta tells us!

Paul Vicker’s Twonkey narrative has coursed through the Edinburgh Fringe for 15 years now! In doing so, he has picked up numerous awards and a loyal cult audience. The reason being is that Paul is a committed performer, who crafts his shows like doll’s houses – there isn’t a cynical P.R stunt angled bone in his body!

For the uninitiated, a Twonkey show is a collage of song, stories and puppetry – ostensibly conveying some grand tale; this year it’s about Twonketta’s fairground, which has fallen on hard times, her only hope is to sabotage the rival fairground ride, the eponymous Zip Wire to Zanzibar. But this conceit is an afterthought to the stories and songs that erupt out of this volcano of considered chaos.

It would be a disservice to Paul to describe his act as just ‘crazy, off-the-wall’, his storytelling tradition is as rich as vaudeville, and it’s his Northern idiosyncrasies that make the language rich.

An example of this is the introduction of ‘Cheeky Chops’ a large felt fly that spies on everyone. The accompanying song is wonderful.

I feel that Paul deserves a better venue. Although his show can rely on the buzzing atmosphere of a cabaret bar’s backroom, it suffers when audiences are too rowdy. Some of his asides are detailed and complex; breathy monologues about Cumbernauld and magic snails are lost amongst the audiences ribaldry. Still Twonketta is a pro, and never lets anything get in the way of a good time.

Twonkey’s Zip Wire to Zanzibar is on at the Other Room at Laughing Horse @ Dragonfly until August 24th Click Here For Review


August 15, 2025    Edinburgh Reviews

Review of Juliette Burton: Rogue Knights

I was delighted to be invited to Juliette’s work-in-progress show Rogue Knights as West Nic Records. I perched myself on the front row, and made sure I could see the screen – very important. I was ready for a nerdy hour in a nice, cool(ish) basement!

Vibe
A nerdy, geeky, fun hour with themes of cosplay, female superheroes, video games, BDSM, LGBTQIA+ and of course, Juliette being her fun, fabulous self!

It was suggested that this particular show ‘seemed like my vibe’, and… that wasn’t an incorrect assumption. Whether you’re LGBTQIA+ or an ally – which the ‘A’ can also stand for – you’re welcome at Rogue Knights.

The show itself
Although Rogue Knights is clearly defined as a work in progress, I had a good time getting to know more of Juliette’s nerdy side – including the fact she goes all-in on cosplay! Juliette talks through some of her best cosplay looks, the characters they’re based on, and what they mean to her.

I learned have a lot in common with Juliette from this show; for instance, our love of The Witcher – although, my love also includes the original books, not just the TV series or my favourite video game of all time (Witcher 3: The Wild Hunt). Andrzej Sapkowski FTW!

I too love Geralt and Yennefer of Vengerberg (and Henry Cavill)- to the extent I’m still eyeing up the lilac and gooseberries perfume.

I especially laughed the most at the Geralt vs Paddington (who made that grunt?) rounds! (I even loved Juliette’s Dolls Kill Yennefer-themed dress, although for moral reasons I only buy that particular brand from Vinted as I’d rather not give them money)

Juliette is her usual charming, unfiltered self, and although I’d heard a little of the material at Best of Burton (reviewed here), it still felt fresh enough to make for an engaging, enjoyable show that she’s clearly building on.

There’s some important content around being poly and pansexual, too – including what it means and how Juliette first approached going poly. It’s a subject I find really interesting, and it’s great to hear it addressed in a safe, nerdy space with likeminded nerds – who may or may not be jealous of the fact Juliette has brain scan results she can just flash around on her Tinder profile (probably)!

Overall
Rogue Knights is a fun, fabulous, relatable show for nerds, and I’d recommend it to… well, most of my friends! Thanks, Juliette. Click Here For Review


August 15, 2025    One4Review

Review of Alan Jay and Matthew Hayhow are Gay and Lame

A double-header at 11 a.m. in the Fringe can feel like a high-risk experiment: half-asleep audiences, a scattering of student tourists, and that general “gap-year chaos” energy. What you don’t expect is a set so devastatingly funny that it feels like it belongs in prime time — and one of the strongest double bills of the entire festival. Bold statement? Absolutely.
First up is Matthew Hayhow, another standout from the Livingston comedy mafia. If he keeps this up, he could very well be the new don. Wheelchair-bound with MS, Hayhow wins the crowd instantly. His handling of his condition is fearless, sharp, and utterly hilarious. From the off, he’s taking everyone down with razor-sharp riffs covering Lord of the Rings, sex workers, the Vatican, Stephen Hawking, Epstein Island, and the shocking lack of ramps at entertainment venues. The set is a rollercoaster of smart, biting humour — three jokes alone could be contenders for Pick of the Fringe. Hayhow has clearly earned his stripes, and his trajectory looks like it’s heading straight into the fast lane.
Next, the brilliant Alan Jay takes the stage. He’s almost the mirror image of Hayhow in style, but every bit as compelling. Growing up gay in Castlemilk, he recounts coming out to his dad — with all the caveats and complications that implies — and navigates a mostly straight audience through the world of Rice and Potato Queens with impeccable charm. Jay’s timing and stagecraft are superb, reminiscent of an early Stephen Bailey (who also played the same venue years ago), but with his own killer put-downs and a voice that’s entirely his own.
Together, Hayhow and Jay make for a Scottish comedy dream team: sharp, fearless, and on the rise. They balance each other perfectly — one wild and incendiary, the other polished and pointed — yet both share that rare gift of connecting instantly with their audience. The result is a set that’s both riotously funny and oddly heartwarming, a reminder that the best comedy is not just about the laughs, but about the characters and perspectives that bring them to life.
This double bill is a must-see for anyone looking for the next generation of Scottish comics at the top of their game. Whether you catch them together or separately, Alan Jay and Matthew Hayhow prove that the Fringe is alive and thriving with bold, original voices that demand attention. Click Here For Review


August 15, 2025    One4Review

Review of 101 Rules for a Better World (By Comedians)

If you’ve ever been at a party and heard someone declare, “I could fix the world — if only people listened,” this is the show for you. Here, the bold claims are funnier, sharper, and occasionally just about plausible.
Hosted by Leslie Gold and Tom Mayhew, this new panel format turns Room 101 inside out. Instead of banishing the world’s irritations to oblivion, the panel has to pitch “good stuff” worth adding to the planet — and then survive the scrutiny of an audience armed with quick wits and itchy voting fingers.
Gold and Mayhew are a pitch-perfect pairing: she has the swagger and snap of a cabaret compère who’s seen every trick in the book, he’s the deadpan strategist quietly plotting world domination via whimsy. Together, they steer an ever-rotating cast of guests through the chaos. Today’s bill featured the politically barbed Ashley Haden; the irrepressible Gabrielle Macpherson; and producer-turned-wildcard Nick Kirk, who clearly relishes the chance to swap clipboard for spotlight.
Rules are simple, but the anarchy arrives fast. Macpherson kicks things off with “Donuts for everyone on Mondays” — the kind of populist sugar rush that could swing an election. The audience immediately drills in: Who’s paying? What about gluten-free voters? Before long, she’s off on a gloriously unhinged rant about fruit in desserts, prompting both fervent nods and audible gasps.
Haden works the room like a man detonating conversational grenades with precision timing, dismantling capitalist logic as if it were flat-pack furniture. An audience member’s pitch — making mocktails cheaper than booze — spirals into a ten-minute free-for-all, part comedy roast, part pop-up economics seminar.
Gold and Mayhew preside with a benevolent iron fist — quick to swat away the overcooked, yet sly enough to let the absurdity bloom. They prod, interrupt, and stir the pot with the flair of seasoned mischief-makers, ensuring even the daftest rule gets a full, funny hearing.
The joy of 101 Rules lies in its built-in unpredictability: every show is reshaped by the guests, the crowd, and whatever bizarre tangents spark in the moment. You arrive for the rules; you stay for the bickering, the philosophical curveballs, and the flashes of unexpected wisdom between punchlines.
In a Fringe calendar crammed with straight stand-up, this is a mid-afternoon palate cleanser — part comedy, part thought experiment, part verbal Squid Game. Click Here For Review


August 15, 2025    One4Review

Review of 33 Years Single

33 Years Single is a sad inditement, or is it? What makes it seem unbelievable is that Daniel Delby comes across as a bit of a charmer, a cheeky chappy, a bit of a ladies man, so where’s the red flag? What’s the ick that keeps this Aussie bloke free and single? Do we all need to be paired up? It’s all under the microscope in this stand-up (sit-down) 60 minute show.


His experiences to date give him more than enough material to use in a show all about relationships, love, rejection and freestyle rap. Whats not to love? He did find love at the tender age of 33 but sadly it was not meant to be. There’s great crowd work and involvement, Delby knows how to work the room. Subtle innuendos, flirty banter and witty stories make this whole show very enjoyable and entertaining.


His talent for gathering fun facts and creating hilarious free-style rap songs is a gift that keeps on giving. Very quick-witted, clever humour that pokes fun at participants but is also a very funny, integral part of the show. A hidden gem at this years Fringe in a cracking wee venue. Click Here For Review


August 15, 2025    One4Review

Review of Denzil de Cristo: Artificially Intelligent Procrastinating Pundit

Denzil de Cristo introduces himself as “Wolverine if he were undergoing chemotherapy” — a line that sounds brutal on paper but, in context, is a sharp, self-deprecating icebreaker. In truth, he’s more of a Marvel in his own right, armed with a brain that fires off puns like a malfunctioning Nerf gun.
The warning signs come early: within sixty seconds, five groan-worthy puns have landed. But here’s the thing — they’re good groans, the kind that ripple across the room. He’s testing the water, feeling the mood, and once the audience is hooked, he floors it.
The loose thread tying it all together is artificial intelligence: is it good for humanity, and how does it really affect us? That’s the launchpad for a wild chain of associations — Thomas the Tank Engine as the first self-driving train, cloned sheep wandering into the conversation, and Jesus reimagined as a Jedi. In de Cristo’s hands, these ideas don’t just bump into each other; they throw a dinner party together.
His nerd credentials are unquestionable. Not many comics could drop a killer Genesis/Phil Collins pun, segue into Bible–Star Wars conspiracy theories, and still find time to stage the Last Supper in a Nando’s. There’s even an obscure 1980s computer reference lobbed in, because of course there is.
The gags arrive thick and fast — Harry Hill–style surrealism meets George Formby–era wordplay, with a dash of schoolyard smart-aleck energy. The lunacy spirals further as he pits Jeff Bezos against Elon Musk in an AI-themed celebrity deathmatch, and lands a glorious throwaway about computer code being non-binary.
It’s not high art — nor does it pretend to be. What it is, is a cleverly chaotic free-hour that ricochets from the sublime to the ridiculous without losing momentum. The Free Fringe has a knack for unearthing these offbeat gems, and de Cristo’s show is very much one of them.
Whether you come for the nerdy deep cuts, the daft conspiracies, or just the sheer velocity of the puns, you’ll leave with at least three new jokes lodged in your head — and perhaps a song lingering from his genuine, real-life stint on The X Factor two decades ago.
So much fun. Click Here For Review


August 15, 2025    One4Review

Review of 2 Boys, 1 Bucket

2 up and coming young comedians, performing in the basement of a pub, it has Edinburgh Fringe written all over it! Kie Carson and Cameron Jones split the bill in this comedy caper in the aptly titled 2 Boys, 1 Bucket.

Kie opens up proceedings on a whistle-stop tour of how his life is panning out. Exploring his own sexuality, on-line dating and having a homo-phobic dad all get some serious attention in this confidently delivered half hour. There’s a nice flow to his stories and plenty of laughs.

Cameron has a more observational style, good energy and stage presence, but his fast pace needs to slow down a little, as some of the audience missed out on some very funny material. Also doing a deep-dive on family and their quirks the stories he shares are seriously funny.

Both lads give solid performance and all in all it’s an enjoyable show, worth taking a punt on. There’s nice chemistry between these guys, both trying to make a name in the world of comedy. So if you decide to go and see this show, make sure you dig deep to help fill the bucket. Click Here For Review


Highly Recommended Show

August 14, 2025   Fringe Review

Article about A Cause for Laughter

Highly Recommended Show

This is a stand-up comedy showcase produced by Sid Singh and Clayton Smith. Every night has a different line up of the Edinburgh Fringe’s comedians. All of the proceeds of the show will go to the Center for Gender and Refugee Studies – an organisation that defends refugees seeking asylum in the United States.

Fight your way through whichever dance party The Three Sisters is holding in the courtyard and turn right to Maggie’s Front Room (push past the party-ers, as if you were going to the main indoor entrance, then off to the side there’s a sign and a door and order will return once you go through it – you’re welcome). ‘Like the quiet room where the cool kids are at a wedding’, you’ll find this nightly comedy compilation from Sid Singh and Clayton Smith. 100% of donations go to the Center for Gender and Refugee Studies (CGRS), a charity dedicated to defending refugees seeking asylum in the United States.

All with their own shows at the Fringe this year, the guest performers tonight are a lovely combination and a lot of fun. Terrence Hartnett – a mixture of confidence and knowing awkwardness – says the word testicle an astonishing number of times (he’s had cancer) and interrupts his own bit about his mother questioning his sexuality to call a heckler sexy, in direct contradiction to his own point. Shalaka Kurup does brilliantly deadpan, confident, crowd-work throughout her set – giving us a few options for a final joke before she leaves (we choose her PhD in trains). Tito Pérez – a US comic based in Vienna and here for his first Edinburgh Fringe – performs a series of sweet and very funny jokes about trying to learn German, Spanglish, his wife’s zero-waste attitude to zip lock bags, and what he looks like in his new glasses. Urooj Ashfaq is a delight – an atheist who will therefore read us all our horoscopes (I am a Libra and against genocide). She ends with a very committed joke about One Direction and erotic fan fiction that has the room howling. Dylan Adler closes out the set running onto stage – he poses between punchlines and unabashedly performs high energy original comedy-musical numbers in this most unlikely venue for it. This room will take you with them, wherever they choose to go.

Clayton Smith, our MC, is ‘the loveliest ginger’ that Kurup has ‘ever met’, and, really, he is! A warm, upbeat, and gently commanding presence, he’s happy to have the audience join in with the dance party background if he’s on stage (‘I say we sing’) but will keep everything running smoothly for guests and audience. Nobody is on the spot, everyone will be having a good time. The audible dance music and the dominating presence of Oasis in the city could have been tricky to work with but they are instead easily incorporated into the show. Why are Gen Z partying to early 2000s music ? (‘We’re fighting with the greatest hits of all time’, Ashfaq says). Will the audience come up with a favourite Oasis song that isn’t objectively one of the worst they wrote? (No). Smith pitches requests for money and chat about a serious subject and worthy cause perfectly. Oasis tickets aren’t cheap – surely those fans can find a little extra? Yes, CGRS is helping people seek asylum in the United States, they ‘will then help them move to a better country after that’. Sid Singh has been raising money for CGRS via comedy at the Edinburgh Fringe since 2019. Tonight on our way out, Smith tells us 10% of CGRS’s budget comes from Fringe donations every year.

The Center for Gender and Refugee Studies has been working for the past twenty five years in legal protection, rights, and advocacy for refugees – particularly those fleeing gender-based violence. This year Singh is using twelve years of fringe experience and a wealth of connections built to pull in high-quality comedians to donate their time every night. Go see this slick, funny, lively show, get ideas of stand up you’d like to see next, and help continue Fringe support for CGRS in a year in which their work has become significantly more challenging. Dance party or not, you’ll have a good time. Click Here For Article


August 14, 2025    The Real Chris Sparkle

Review of Rachel Morton-Young: Dutch Courage

Despite being born and raised in England, Rachel Morton-Young has lived for the past twenty-six years in the Netherlands. Her grandmother lived there until she came to England with a British soldier at the end of the Second World War. Now Rachel sees herself as living out the life her grandmother could have had, if she had stayed! It’s so refreshing to watch a comedy show that’s devoted to one particular subject – a comparison of the way of life between the UK and the Netherlands – because all Rachel’s material has the benefit of being totally original. And the differences between the two countries are surprisingly substantial, from the methods of making tea to the ins and outs of sex education; from the way you wrap a present to the Santa Claus/Sinterklaas rituals. Rachel is a very engaging and warm presence on stage, who puts you at ease and sets up a superb rapport with the audience. She is also a master storyteller of all her hilarious anecdotes. Extremely funny and well worth prioritising in your afternoon Fringe plans! Click Here For Review


Vocals punch you in the face like an enthusiastic teddy bear

August 14, 2025    Fringe Review

Review of Twonkey's Zip Wire to Zanzibar

Vocals punch you in the face like an enthusiastic teddy bear




Paul Vickers’ creation/alter-ego Twonkey has been a wobbly fixture at Edinburgh Fringe since the time of the Ancient Greeks. I’ve personally lost count of the amount of times I’ve seen his shows and I find it a comfort that they are all like episodes in an established sitcom; the characters and sections of the show change little, but their return always evokes a sense of nostalgia.

Was it a shock or not that, this year, Twonkey is dead (this probably won’t last) and was replaced with his widow, Twonketta? Twonketta is basically Twonkey but dressed like a French maid in red heels. I mean, it’s Twonkey. It’s the same person, the same voice, the same teenager’s bedroom of a mess on the floor. The apocalypse surrounding them is a horrifying junk shop of bastardised toys and puppets, picked up and apparently thrown away randomly, but all intentional and scripted.

There is no real narrative. If there were, I’d be worried. It’s a rambling train of thought that begins with an anecdote and usually ends in hysterical silliness, reminiscent of the Golden Days of The Man With The Stick on Vic Reeves’ Big Night Out. This will then go into a deeply quirky song on playback. Some will know of the performer’s career fronting the band Dawn Of The Replicants, beloved of John Peel. As the years have passed, the songs have been getting more and more catchy yet, over the top of it all, Vickers’ Cat Stevens-esque nasal (yet overloud) vocals punch you in the face like an enthusiastic teddy bear as he sways, somewhere between rapture and swotting a fly, singing words that are often semi-intelligible.

I’ve always loved the way that Vickers’ character gets enjoyment from the audience responses. You see a smile forming and a slight chuckle as he tries to deadpan another impossible scenario to delighted giggles. It’s infectious.

Most of the regulars are here: Chris Hutchinson, The Ship’s Wheel (EVERY YEAR I appear to be one of the recipients of its exposés), Steve Martin, the surprisingly intimate yet disturbing ‘Finger Fantasy’ – and this year, with the addition of some fly/ladybird hybrid thing called Cheeky Chops, which makes some sobering observations about the world amongst other nightmarish companions that come and go.

There were only ten people in when I went to the show this year, but at least a couple were die-hards, singing along to the Twonkey classic ‘I Was In The Pub’ in the closing ‘Superbowl Mega-Mix’.

It means nothing. You will leave no wiser than you went in. It has always been the case with the annual Twonkey shows down in the bowels of Grassmarket, and it’s no worse for that. Twonkey is what Fringe should be. It’s home-made, it’s outstanding in what it does, it’s small-scale, it’s challenging without being confrontational and it’s very, very silly. It’s not for everyone but, if it’s your kind of thing (as it is mine), you’re doing yourself a disservice by not checking it out. Chances are you’re going to leave confused but satisfied, somewhere between smiling and snorting, and taking ten minutes out to readjust yourself to reality.

Published August 13, 2025 by Philip Hutchinson Click Here For Review


August 14, 2025    The QR

Review of John Robertson: Plays with the Audience

Reviewing ‘John Robertson Plays With The Audience’ is a little like reviewing the weather. If someone asked you what the weather will be like on Friday, you’d be a lunatic to say, ‘Well, it was great on Monday!’

And yet, here we are, with a need to write a review of this 21st-century court jester, out to skewer the world and everyone in, in the most delightfully uplifting way possible.

I really don’t know how many songs the master of The Dark Room has planned for the show. I think he managed 3, including ‘Perverse and the Neurodiverse’, and ‘I Got My Divorce Papers At the Orgy’, both predictably OTT ditties with plenty of imagery involved. He has a unique ability to bawl out the most bawdy, sordid songs, without it seeming remotely seedy. Bodily fluids and bizarre situations just give him more to be absurd with. It’s hard to be offended, I’d also argue, by any song set to ukulele, even if it is electrified and features more than 2 chords.

However, John Roberston is far funnier when he’s just working with an audience, and riding the waves of chaos he foments in a room. How many times will John restart the show? How will he gamify parts of the hour for specially selected audience members?

Why do strangers deliver juice in a paper bag and then leave? Is it part of the show, or is John’s life simply prone to the unexpected, the way Snowshoe Hares have to deal with Lynxes?

Why have I mentioned Snowshoe hares in a comedy review?

I don’t know, but I do know it’s both hilarious and joyful to watch John conduct all of this and more, like some fairy imposter on a day out amongst humanity. Who else but some fae-interloper would end their show with poetry after an hour of raucous, irreverent mischief?

(Yes, I do read a lot of fantasy, and no, I’m not apologising for it.)

It’s fair to say that John Robertson is a comedic force of nature. Does he swear a lot? Sure, but this is the Fringe, not This Morning. Lighting quick-witted, he spins a show from whatever he finds in the room. Where other comedians studiously record their observations over time, he makes, and deploys them live: it’s impressive to behold.

The stage is pretty much a launch pad for him; he spends little time there. Instead, he’s out amongst his people, assessing their outfits, and identifying the main characters for the show ahead. Methinks ‘John Robertson Plays With The Audience’ has more in common with some of the legendary anarchy the Fringe knew pre-social media. This isn’t a show you could snip up to post to your Instagram, or a routine aimed at garnering awards.

It’s just a very funny man making the most of his time here on Earth, and hoping to enjoy an hour of it as madly as possible with a ballroom full of kindred spirits. Will ever show be an unfettered success? Probably not, but when it’s great, expect the sublime. The rest of the time, you’ll just have to settle for very, very good. Click Here For Review


Insider’s Pick of Fringe 2025 Cabaret Shows: Top 10

August 14, 2025   The QR

Article about 1 Dazzling Cabaret

Insider’s Pick of Fringe 2025 Cabaret Shows: Top 10

Our final recommendation is another series of shows presented by Sassy School of Burlesque, an Edinburgh based burlesque school. With a range of cabaret and burlesque shows across the festival, these are a chance to see locally-produced shows.

Tickets are priced in Pay What You Can tiering system, at £7.50, £10 and £12.50, so these shows are a great option for all audiences.

With burlesque, cabaret, magic and comedy, this is a blend of talent showcasing some of the best performers in the industry.

1 Sassy Backbone Cabaret at 6.45pm was a sell-out sensation in 2024. It returns again to the Laughing Horse @ The Three Sisters – The Live Room

1 Dazzling Cabaret boasts seven spectacular years of sold-out performances. It follows at 8pm in the same room at the Laughing Horse.

A City Cabaret at 9pm takes place in a beautiful speakeasy setting – Laughing Horse @ Coco Boho – Main Room. This show offers the glitz and glamour of old school cabaret. Click Here For Article


Insider’s Pick of Fringe 2025 Cabaret Shows: Top 10

August 14, 2025   The QR

Article about @Sassy Backbone Cabaret

Insider’s Pick of Fringe 2025 Cabaret Shows: Top 10

Our final recommendation is another series of shows presented by Sassy School of Burlesque, an Edinburgh based burlesque school. With a range of cabaret and burlesque shows across the festival, these are a chance to see locally-produced shows.

Tickets are priced in Pay What You Can tiering system, at £7.50, £10 and £12.50, so these shows are a great option for all audiences.

With burlesque, cabaret, magic and comedy, this is a blend of talent showcasing some of the best performers in the industry.

1 Sassy Backbone Cabaret at 6.45pm was a sell-out sensation in 2024. It returns again to the Laughing Horse @ The Three Sisters – The Live Room

1 Dazzling Cabaret boasts seven spectacular years of sold-out performances. It follows at 8pm in the same room at the Laughing Horse.

A City Cabaret at 9pm takes place in a beautiful speakeasy setting – Laughing Horse @ Coco Boho – Main Room. This show offers the glitz and glamour of old school cabaret. Click Here For Article


Insider’s Pick of Fringe 2025 Cabaret Shows: Top 10

August 14, 2025   The QR

Article about A City Cabaret

Insider’s Pick of Fringe 2025 Cabaret Shows: Top 10

Our final recommendation is another series of shows presented by Sassy School of Burlesque, an Edinburgh based burlesque school. With a range of cabaret and burlesque shows across the festival, these are a chance to see locally-produced shows.

Tickets are priced in Pay What You Can tiering system, at £7.50, £10 and £12.50, so these shows are a great option for all audiences.

With burlesque, cabaret, magic and comedy, this is a blend of talent showcasing some of the best performers in the industry.

1 Sassy Backbone Cabaret at 6.45pm was a sell-out sensation in 2024. It returns again to the Laughing Horse @ The Three Sisters – The Live Room

1 Dazzling Cabaret boasts seven spectacular years of sold-out performances. It follows at 8pm in the same room at the Laughing Horse.

A City Cabaret at 9pm takes place in a beautiful speakeasy setting – Laughing Horse @ Coco Boho – Main Room. This show offers the glitz and glamour of old school cabaret. Click Here For Article


August 14, 2025    Broadway Baby

Review of 100% Badgers with Matt Hobs

Equal parts stand-up, wildlife seminar and love letter, 100% Badgers sees comedian and PhD graduate Matt Hobs showcase his deep affection for Britain’s most misunderstood mammal, in a fusion of badger facts, sharp jokes and winning West Country charm.

Only at the Fringe could you squeeze twenty people into a tiny karaoke booth and call it a show – but the sweet-natured Hobs makes it work. In his warm Bristolian manner, he instantly wins his miniature audience’s affection, earning belly laughs to fill a much larger room.

Despite the tight squeeze, there’s no awkwardness, just a generous, self-deprecating host refreshingly free of swagger. His hand-knitted badger hat and badger-crested cardigan complete the picture of a man who truly, unapologetically, loves his subject matter.

Yes, it’s a show about badgers – but this is no gimmick. The visual presentation, combined with Hobs’ unhurried storytelling, teaches us everything we need to know about the species, from the rare ginger badger to the macho honey badger. And, between the cheeky punchlines, there’s a genuine environmental message, urging fellow badger lovers to help conservation efforts by reporting roadkill or emailing MPs.

This isn’t a show for kids – Hobs admits he doesn’t like them much – but there’s plenty of dry humour and unexpected laughs for grown-ups. At £2.50 RRP, there’s more value per gag than many of the acts in the bigger, pricier venues.

As a result, 100% Badgers is massively oversubscribed. To avoid both yours and Nice Guy Hobs’ disappointment, be sure to buy your ticket in advance. Click Here For Review


Audio Interview

August 14, 2025   Fringe Review

Article about Why Are You!?

Audio Interview

Jawad Raza, stage name JR Sharaf, has brought his philosophical standup hour ‘Why Are You’ to Edinburgh. After ten years as a comic in Pakistan, he’s recently moved to the United Kingdom. In this interview he discusses how he’s establishing himself on the UK comedy circuit and his existential approach to comedy in Why Are You.

This interview was conducted by Danielle Solof. Click Here For Article


One4Review review

August 13, 2025    One4Review

Review of Nathan Cassidy: It's Not The End Of The World

One4Review review

‘Well-crafted and written and delivered with style... an excellent comedian’ Click Here For Review


August 13, 2025    Ed Fringe Review

Review of Gags Army

From the front line to the punchline, Gags Army is a safe place to land... Click Here For Review


Review

August 13, 2025    Derek awards

Review of Cheekykita – Batshit

Review

1 hour of crazy humour and utter silliness you never know what will happen next, but you will laugh a lot! Click Here For Review


Fringiest’ act on the Fringe...

August 13, 2025    Broadway Baby

Review of Twonkey's Zip Wire to Zanzibar

Fringiest’ act on the Fringe...

have some terrible news: Twonkey has passed away. However, there is hope for fans of surreal humour, scruffy puppets and batty songs in the form of Twonkey’s heretofore unknown wife (now widow), Twonketta. Dressed in an outfit that screams naughty maid from a Carry On movie meets very low-budget Rocky Horror cosplay, Twonketta totters about the tiny stage at Dragonfly in fabulous heels, doing her best to continue her late husband’s legacy.
Twonkey continues to be the Fringiest act on the Fringe
All the regular gags are there, from the Ship’s Wheel of Knickers used to reveal the audience’s sexual proclivities and the play-within-a-play of the Transylvanian Finger Fantasy, to the supporting cast of fever-dream puppets – including the return of puppet Steve Martin, back to predict our future through the medium of his back catalogue of movies. We also get a couple of new characters, including Timothy Horsepiss, the fairground cat who is an inadequate ratter, and Cheeky Chips the fly, who revels in seeing all the things we do in private. All this is presented through the thick haze of some overenthusiastic smoke-machine use, which makes the show seem even more dreamlike than usual.

There’s very little plot in the first half, but when the titular zip wire is eventually introduced, it’s in the form of a popular ride at a failing funfair where Twonketta’s own rollercoaster is falling behind. Some shenanigans involving sabotage and a faked death lead to a change in everyone’s fortunes but, as ever with a Twonkey show, the plot takes a backseat to the chaos.
To say a show is ‘very Fringe’ is an easy (and often wrong) shorthand for anything weird, unusual or a bit out-there. In the case of Twonkey’s Zip Wire to Zanzibar, Twonkey continues to be the ‘Fringiest’ act on the Fringe. Click Here For Review


August 13, 2025    The QR

Review of Daniel Muggleton: You May Be White, I May Be Crazy

Daniel Muggleton has long been a favourite of the QR household. Droll the max in his, I think it’s fair to say, iconic red adidas tracksuit, he has never knowingly taken a prisoner. However, since his last trip to the Fringe, Daniel has assisted in the production of a baby.

I think it may have softened him up a little. There is only one cocaine joke in this set, and he barely flirts with socially sensitive landmines, with a few laudable exceptions. Surprising for a show entitled, ‘You May Be White, I May Be Crazy.’

He’s still a very funny man, don’t get me wrong, and his genial air of menace when working an audience remains intact. His bits on the male relationship to therapy, and the recent age verification laws regarding this internet make for classic Muggleton observations. His lengthy table and chair analogy for his marriage might get a bit stretched, but it still provides some cracking call-backs. There’s nothing wrong with Daniel Muggleton’s technique.

His timing also remains as sharp and unrushed as always, as does his wonderfully dry delivery. These talents elevate tales, such as almost choking to death thanks to social niceties, above the merely chuckle-worthy. That said, his bits on new fatherhood, and modern dating feel a little by the numbers, with just a little Muggleton vinegar sprinkled on top.

I do suspect he’ll be a first rate compere for the ‘AC/DC: Australian Comedians / Dope Comedy’ showcase he hosts each night. Less need for material, just fresh subjects in the front row between the sets.

Because he gets a little closer to the Dan Muggleton of old when dealing with the crowd. I imagine he can demonise any profession, and more power to his elbow. Salutations too for his unique look at immigration, and the problem with Americans, particularly their fetishistic relationship with their political classes. A potted history lesson in just how little Australians care for theirs, offers up a couple of super punchlines in particular.

His ‘footnote’ schtick also holds huge promise – kneeling down to explain that his previous routine is indeed a joke, and not to be taken as his actual opinions. If his set spent a little more time near the edge, those moments of explanation would only be funnier.

However, hope springs eternal, and before he signs off, he tosses in some classic observations on the sexual dimorphism of ‘knowing where one is’. This is grade A material, and worthy of a footnote, though in this case, he may actually mean it.

So whilst I don’t think this is Daniel Muggleton at his ‘is it OK to laugh so hard at this?’ best, he remains a first rate comedian. Maybe his incoming ‘Terrible Twos’ era will knock the good will out of him. A critic can hope… Click Here For Review


August 13, 2025    The QR

Review of Dave Chawner: Mental

Dave Chawner is not in Edinburgh to praise the the prevailing attitudes towards mental health in society, he’s here to bury them…with laughter.

Ok, that’s a bit strong, but it’s safe to say Dave doesn’t think much of GPs prescribing forest bathing or baths to patients who complain of low mood or anxiety. Mention baths to him as a treatment, and he may scream.

With his own history of Anorexia, he’s more than aware of the lack of visibility accorded to male sufferers. What he doesn’t want is pity. He’d far rather tell an eyebrow-raising anecdote and make an audience aware of the problem through good humour.

However, the creator of the ‘Comedy for Coping’ programme, developed in collaboration with Dr Dieter Declercq of Kent University, is seeking more than just attention to one problem. He wants to reframe the entire conversation.

Everyone has mental health, he points out; not everyone has a mental illness. By conflating the two, we impair society’s ability to deal with both.

He finds plenty to be humorously outraged in all sorts of places, not least excessive trigger warnings, and the wild, rainbow-hued world of Lush cosmetics. The folks who are best provided for, he points out, are the middle classes, and he has great fun staring with disbelief at the burgeoning genre of celebrity books on their…you guessed it, mental health. Thanks for the visibility, says Dave, but maybe you could do more with your financial clout than…checks notes…boost your own profile.

Ok, so there’s a very strong set of opinions underpinning ‘Mental’, and doubtless they will clash with audiences should they arrive with their own. However, maybe listen to what he has to say before deciding whether he’s your enemy or ally.

Overall, I think Dave Chawner is at his funniest when talking about his lived experience and pointing out the absurd things people say and do when you bring up the subject of mental health. Stories he only has because he’s willing to put himself and his ideas out there. Lively, animated, and not above poking fun at himself, he’s out to make you feel better, and on the whole, I think he does.

If you’re on board with his vision of more practical and less demonstrative social approaches to mental health, this is easily a 4-star show. If not, all bets are off. So I’ve opted for taking no sides…But I do think you’d find an hour with Dave Chawner very interesting either way! Click Here For Review


August 13, 2025    The Real Chris Sparkle

Review of Ross Leslie: Now Is The Time

Ross Leslie cuts an avuncular figure on stage, with a relaxed, confident delivery and a set full of original material, such as the exposure of a big family secret, his elaborate plans to commit murder* and the ins and outs of sex robotry. Originally, the show was to have a unifying theme, but that has now merged into the rest of his material, much of which stems from his home life, to create a warm hour of funny domestic and familial observations. *I’m sure he doesn’t really intend to commit murder. Click Here For Review


August 8, 2025    Entertainment Now

Review of Olaf Falafel Asks: Orange You Glad?

The hour you spend with Olaf Falafel is very silly. He warns this show is for 12+ which might be an issue judging by some of the audience. He cleverly checks with parents with a nod and a wink that no one is younger than 12 and with a warning there might be some language and adult content, we get the go ahead, and we move on.

Falafel switches between jokes, edited videos and a variety of props, with the word ‘sorbet’ occasionally coming on screen to give the audience a ‘mental cleanser’ from the madness. His jokes often have layers, with adults laughing at a witty one liner while children are entertained enough with a silly picture setting up the joke.

Silly internet videos are reworked in Olaf’s even sillier style. He shows a dubbed Star Wars featuring a Scouse Luke Skywalker and Indian Obi-Wan Kenobi which sets up a participant who attempts to draw a horse and ends up being quite rude. I heard a father try to explain it to his under 12-year-old – so be warned…

Hieronymus Bosch’s The Garden of Earthly Delights, a 16th century painting full of religious symbolism is used throughout as a personality test for selected audience members. The results are shown in a ‘which character are you’ from the vast painting. It is child-like and is a highlight every time it returns.

Olaf ends his show on a silly sausage crowd surfing sing along finale which is as silly as it sounds. Click Here For Review


August 8, 2025    Edinburgh Reviews

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

Steph DePrez, an American opera singer currently based in Germany, brings her unique blend of opera, comedy, and storytelling to the Fringe with 8 Ways to Break a Glass (with an American Opera Singer).

The title promises a spectacle, and while no one in the audience will be dusting shards of glass from their laps, DePrez certainly shatters expectations. This show is a delightful fusion of the high art of opera with the lowbrow charm of stand-up comedy, making for a truly unforgettable hour.

Attending an opera-themed show might sound intimidating, but DePrez ensures her audience is comfortable and entertained from the get-go. With a stunning voice and a knack for physical comedy, she expertly merges her two worlds. The show is structured around the eight ways she can metaphorically “break a glass,” each leading to a different anecdote, dirty joke, or a breathtaking operatic performance. The juxtaposition of a soprano soloist from Carnegie Hall joking about “boobs, blowjobs, and Beethoven” is not just unexpected; it is rambunctiously funny.

Her comedic timing is impeccable, and her willingness to poke fun at herself and the very genre she has dedicated her life to is disarming. The show feels more like a raucous night out with a hilarious friend than a formal concert. Her translations of famous arias into modern, American English are a highlight, transforming potentially stuffy, high-art pieces into approachable and laugh-out-loud moments. It’s an ingenious approach that makes Opera way more approachable.

DePrez’s time in Germany provides a rich source of material for her comedy. She bravely tells jokes about German national characteristics, and a significant portion of the crowd, who were indeed German, were laughing along heartily (okay, smiling broadly). This brave humour, far from being alienating, creates a shared sense of fun and familiarity.

Another unexpected highlight was the finale, which featured a death metal song reminiscent of the band Nightwish, with DePrez’s operatic voice soaring above the heavy guitars. This surprising bonus round encapsulates the show’s spirit: the playful subversion of genres and a complete disregard for traditional boundaries.

8 Ways to Break a Glass is a must-see. It’s a cleverly crafted show that balances sublime musical talent with sharp, witty comedy. Steph DePrez is a masterful performer who invites audiences into her world with infectious energy and a powerful voice. Her show is one that you should hunt out and go to see. This is a gem that deserves to be found and celebrated, offering a fresh, modern, and riotously funny take on classical performance. Click Here For Review


August 8, 2025    One4Review

Review of Soness: Bigger in Japan

File this one under “unexpected Fringe gems.”
If you haven’t heard of comedian Soness before, don’t sweat it—outside Japan, her name might not be household, but chances are you’ve definitely heard her voice. Especially if you’ve grown up around kids over the past 30 years. That gentle, iconic tone? That’s her.
Soness is an American transplant living in Japan and has been a prolific voice actor for decades. Her claim to fame? She’s been the voice of Hello Kitty for around 25 years. In a testament to her global reach, the audience includes superfans who’ve travelled all the way from Japan, alongside Fringe veterans who’ve seen it all. The atmosphere? Universally warm, full of affection and genuine appreciation.
At its core, Bigger in Japan is a story about finding your voice—literally and metaphorically—and staking your place in the world. Of course, the Hello Kitty legacy takes centre stage, but Soness’s career stretches far beyond that. From video game characters and anime roles to commercials and educational shorts, she’s lent her voice to a stunning array of projects. Each tale she tells is sprinkled with natural comedic charisma and dry humour, especially when she dips into her earlier days, including a brief stint in sumo wrestling—yes, you read that right.
The show clocks in at a tight 40 minutes, and while it’s over before you know it, the experience isn’t just about the performance. It’s capped off with a lively, candid Q&A session where the audience can ask anything—from behind-the-scenes stories to how she navigates a voice acting career few truly understand.
Bigger in Japan is exactly the kind of hidden treasure the Fringe throws up from time to time—an intimate, fascinating glimpse into a world rarely seen, told by someone who’s been there and done it with grace, humour, and a hint of mystery. Over the years, the Fringe has hosted vocal greats like Michael Wilson and Nancy Cartwright; Soness easily fits into that distinguished category. If you want something genuinely different and utterly charming, this is well worth tracking down. And bring your kids—they’ll Arigato! you for it. Click Here For Review


August 8, 2025    One4Review

Review of Ashley Haden Presents Crosswords

Let’s be real: asking comedians to shackle themselves to a crossword puzzle is a bit like herding cats—adorable, chaotic, and guaranteed to go spectacularly sideways. Too often, the result is a desperate band of comics clinging to old punchlines like a life raft. But here’s the thing—Crosswords doesn’t just survive the premise; it thrives on it.
At its heart, Crosswords is gloriously simple. No screens, no gimmicks—just three comedians, a copy of the day’s Observer, and an audience with a stake in the outcome. It’s pure, communal game-show theatre, and the shared energy in that packed Laughing Horse room is electric.
Ashley Haden is the perfect ringmaster for this delicate circus. Known for mining the darkest corners of the human psyche in his own stand-up, here he’s delightfully chummy—a benevolent taskmaster both guiding and goading. His deadpan delivery nudges the chaos along without feeling forced, and you can tell he’s enjoying being both master and accomplice to the madness.
Joining him are Tom Mayhew and Pauline Eyre—two brilliant, quick-witted comics who treat spelling uncertainty like high-wire improv. They volley cryptic clues and tentative letters with both precision and absurdity, transforming crossword solving into a performance piece. Watching them wrestle with clues you yourself might get stuck on is oddly thrilling—tension meets levity in real time.
What’s surprising is how genuinely tense it gets. Clue after agonizing clue, the stakes feel real—not for fame or fortune, but for group pride, collective brainpower. And in that pressure, something sublime emerges: comedy that happens when we all focus on one small thing together.
Crosswords is exactly the kind of unpretentious gem the Fringe exists to deliver—face-to-face, brain-engaging, and unexpectedly moving. This is communal magic, and it’s one of those rare shows that leaves you smarter, smiling, and defying the notion that words alone can’t make you laugh. Click Here For Review


August 8, 2025    Ed Fringe Review

Review of Olaf Falafel Asks: Orange You Glad?

If I was a 12 year-old (or a younger child pretending to be a 12 year-old), Olaf Falafel: Orange You Glad? would be a great introduction to the world of stand-up and comedy. Falafel gives his audience a bit of everything: songs, crowd-work, physical comedy, stand-up, videos, art – you name it! This makes for a varied show which is divided into recurring non-related segments that the audience begin to expect. One of my favourite recurring bits was his ‘mind-reading microphone stand’ that could mystically read audience members’ minds and gave him a chance to show his quick-wit behind the veil of silliness.

A unique element of Falafel’s show is that many of his audience participants are kids. I think this is really great for both the kids who are picked on, but also other kids in the audience. Getting to experience the rush of potentially having to speak in front of a crowd of 100+ people at a young age is amazing, the kids clearly feel so grown-up attending this stand-up show. Falafel mines this niche effectively by having elements of an ‘adult’ show format but with the content geared to kids.

Falafel’s comedy style is similar to what you would read in a jokebook—it’s definitely not sophisticated or a thinker—it’s just a bit silly and that’s the point. For instance, a graphic of a ‘twerkin’ gherkin’ manages to get a decent laugh from the audience.

... Click Here For Review


August 8, 2025    Ed Fringe Review

Review of Stand-up Philosophy

Walking into Stand-up Philosophy, I had no idea what to expect. Am I going to laugh? Cry? Think?! Having never heard of something like this before, I was apprehensive, but it was this show’s uniqueness that made it so great. The premise is simple: Alex Farrow hosts two stand-up comedians, and after each set, he discusses philosophy with them, welcoming the audience to get involved and ask questions. And it works. The almost seminar-style conversations mean an audience is always engaged, and by having two funny people lead these talks, an audience are always entertained, too.

 Click Here For Review


August 8, 2025    One4Review

Review of Let Me Be the Cool Aunt

This show is set in one of the most comfortable Fringe venues I have ever been in so sit back, relax and enjoy the show.

Sophie starts the show with guitar in hand and a singalong which cleverly gets the audiences attention and interaction from the off, her energy and enthusiasm is evident giving you a warm vibe and a ‘Happy to be here feeling’.

Although this is a comedy musical, the back story throughout the show Is Sophie becoming an Aunty for the first time (Hence the title), she certainly has mixed feelings about the prospect on becoming an aunt and brings those feelings out through her songs. I felt at times her singing and performance was similar to Kate Bush or Alanis Morissette, due to her catchy lyrics, rock star image and at times mentally imbalanced performance.

The Brisbane born performer moved to London and returned home to visit her newly born Niece before returning back to London, this moment in her life is captured through songs such as ‘The London song’, ‘I love you’, the ‘Ex Pat’ song, the ‘Instagram’ song and the ‘Euro summer’ song all performed brilliantly with a bit of humour included. Sophie then brings it down a bit with a brief meditation moment and another song before taking us through the process of applying for a job with the clever use of some improvised cue cards.

Sophie concludes the show with the thoughtful ‘Pregnant with myself’ song and then with the use of a Violin, she ended the performance and received a well-deserved round of applause.

Sophie is a talented guitar player with song writing skills and excellent vocals, this is part of the free fringe, and it’s a show that is certainly well worth seeing! Click Here For Review


August 8, 2025    The Wee Review

Review of Alvin Liu: Love Letter to a Sandwich

Chinese-born comic Alvin Liu starts off strong with a song about a sandwich sung in a crooning Elvis-style before using his culinary number to branch off into humorous stories about growing up in a household where food is the answer to anything, even ADHD.

Whilst this then leads to standard culture-clash comedy when Liu arrives in the UK, the stand-out joke being his disbelief at the typical British meal deal sandwich, he is stronger when dealing with more serious topics, such as his arrest in China whilst performing stand-up there.

This allows him to showcase one of his strengths as a performer, namely making this heavy subject matter palatable for a revved-up afternoon audience expecting pure laughs. Specifically Liu effectively makes his breaking of draconian laws affecting stand-up comedy into a darkly comic critique of his joke telling ability, casting his interrogator in the unlikely role of Fringe reviewer. Liu also uses a similar technique to defang an anecdote about a racist comment made when he first arrives in the UK, deftly subverting expectations whilst linking the punchline to his earlier childhood material.

However, it’s the crowd control where Liu excels the most. Audience interaction is usually the hardest thing to get right for a Fringe comedian – with unlucky ones having to struggle against unwilling or inappropriate punters. In contrast, Liu is able to turn any potentially tricky encounter into an opportunity to mine the comedic potential of the situation. This includes pitting two overly enthusiastic applauders together in a ‘clap-off’ contest that threatens to dominate the rest of the show.

Liu, however, manages to keep things on track to his climax, where he gets two audience members to join him in improving the aforementioned meal deal sandwich. Whilst the results are messy, it’s certainly a unique approach that, along with Liu’s overall stage presence, marks him out amongst the comedic output at the Fringe.

‘Love Letter to a Sandwich’ may be an acquired taste (in more ways than one!), but Liu’s sheer enthusiasm and creativity is infectious – his impromptu culinary and audience skills impress the most. Click Here For Review


August 8, 2025    Entertainment Now

Review of Pernille Haaland: Running with the Wolves

Pernille escaped to Norway during the COVID-19 pandemic and has returned to share stories of her homeland’s culture, weather, politics, history, and running-obsessed short-necked men in this stand-up comedy show.

As you enter a very cosy venue underneath a café, everyone certainly gets to know each other, something Pernille makes sure of. Pernille goes around the room getting an idea of her demographic, whether it be age, nationality, single, dating, and manages to spin jokes off of these traits. After asking “are there any Scottish people in the room?”, I let out a “whoo”, slightly embarrassing as I seem to be the only Scot, Pernille catches my name and in a friendly Norwegian manner remembers for the rest of the night coming back to me for any jokes relatable to Scotland.

I was not the only one in this situation; however, I was more fortunate, as a sworn enemy of Norway was in the room, the Danes. Pernille had a great time targeting jokes at audience members, all of which were funny and light-hearted.

Pernille jokes about her love life or lack thereof, in which she finds peace as she edges towards her forties. Joining her along the ride in this period of her life is her royalist corgi Harry, her super successful lawyer sister, who has a spare couch, and her stone-cold parents, about whom she is definitely not holding a grudge due to an abandoned cabin in the woods, which is described slightly like the setting from a horror film.

Pernille Haaland is funny as she mutters her way through socially awkward Norwegian life, a couple of “urms” and “uhhs” throughout the stand-up didn’t take away from her hilarity. Get close and clammy in this little venue and enjoy the comedy. Click Here For Review


August 8, 2025    The Wee Review

Review of Flughafen

What do you do when you can’t believe the evidence of your senses? That’s the scary premise of Flughafen, a tight and suspenseful four-handed drama which sees a group of strangers stranded in a storm-bound departure lounge. The title just means “airport”, but saying it in a foreign language sets the tone for the play: everything’s familiar yet everything’s a little strange, a wrongness which calls into question the very nature of reality.

The joy of Alice Viskat’s script is that, while you sense it’s settling into a narrative trope, you can’t quite tell which trope it’s landing on. Is it a riff on The X Files? A psychological thriller? A modernised No Exit? Three or four times I thought I had the measure of it, and three or four times I was wrong. You do learn the answer by the end of the show, and though there’s one rather odd loose end – a character who briefly appears and is later discussed, but whose significance was entirely lost on me – that’s not enough to spoil a coherent, tightly-woven plot.

I can’t say too much without spoiling things myself, but there is an important and topical theme in play: something to do with power and control, with truth and perception. Melissa Pretorius, playing the most likeable of the characters, is the first to notice something amiss, and her creeping uncertainty is subtly expressed – until, quite suddenly, it isn’t. She has a story to tell, emotively and powerfully portrayed, yet itself grown around a troublingly fragile seed.

Delivering some comic relief – while adding to the sense of a shifted reality – Jack Paine plays a sarcastic, insouciant airport employee; at times he says hilariously inappropriate things, but they’re all within the range of what we suspect gate clerks secretly think. And the last two characters, played by Sean Black and Lee van der Merwe, are the kind of travellers who’d normally withdraw to the business lounge, accustomed to a world which shapes itself to their needs. We’re primed to dislike them, but they have poignant back-stories of their own… and seem to be capable of surprising acts of sympathy and kindness.

Those aren’t the only assumptions you’ll find challenged by Viskat’s complex, mutating storyline. As perceptions of reality swing back and forth, your moral compass may be spinning too: and while this particular narrative is ultimately resolved, the questions it poses have no certain answers. Cleverly-conceived and powerfully delivered, it’s the kind of hidden gem that all of us should fly to. Click Here For Review


August 8, 2025    Edinburgh Reviews

Review of Tamar Broadbent: Plus One

Tamar Broadbent’s new show, Plus One, is part of the Free Fringe and is hosted in the comfortable surroundings of The Counting House.

In this show, Broadbent tackles the monumental journey of becoming a mum through her signature musical comedy style. She navigates the emotional and physical gauntlet of fertility tests, pregnancy, and childbirth with a generous dose of humour and a touch of terror.

As a single man with no kids, I feel woefully unqualified to comment on the realities of motherhood, but Broadbent’s performance is a powerful and unashamedly honest look at the physical and mental hardships involved. This is not a show for the faint of heart or the medically squeamish. If conversations about bodily functions and childbirth make you uncomfortable, this might not be the gig for you. Broadbent manages to find the comedy in what, to me, seems pretty terrifying.

The plot hinges on a fascinating twist: Broadbent’s partner is one of those people with an extreme medical phobia, to the point of fainting at the mere mention of certain words. It’s a clever device that provides a rich source of comedy and highlights the show’s core theme: facing down your fears, both big and small, to become a parent. It’s a reminder that even the most reluctant of us can find ourselves on a path we never expected.

Tamar Broadbent is a talented musician, and her comedy is top-notch. The show is packed with original songs that are both hilarious and beautifully performed. Her storytelling, set to music, is impressive and showcases her lyrical and comedic prowess. The performance truly sings.

A fantastic bonus at the end of the show is an improvised musical round. I found myself wondering if this is where her talent truly shines. The improvised song about a project manager working on an offshore wind farm and a chandelier was absolutely fantastic, and arguably better than some of the hour-long improv shows I’ve seen this year. It’s a brilliant display of her quick wit and musical skill that leaves you wanting more.

Plus One is an honest, hilarious, and at times wonderfully horrifying show about the transition to motherhood. It’s a no-risk, pay-what-you-want ticket, but I would have happily paid to see it. It’s a show to bring your partner or your mum to – a shared experience that will have you laughing and wincing in equal measure. Definitely recommended. Click Here For Review


Recommended Show

August 8, 2025   Fringe Review

Article about June Tuesday: Comic Trans (plus Friend)

Recommended Show

June keeps telling us that her show is not political, that she is not interested in the big issues, that she just wants to live as a woman “You’re no son of mine!” shouted her dad at her once – so true. But how can you possibly not be political if you as a trans woman are constantly bedeviled in the media and in public, called a paedophile and accused of all sort of heinous plans, even when you are simply hoping to go for a pee.

Sometimes going to an event with absolutely no preconceptions can make for a very enjoyable hour of fringe entertainment and added food for thought.

So it came to pass when June Tuesday, a young transwoman invited this reviewer into her tiny cubicle at the City Cafe in Blair Street at half past two on the windy Monday. June wears a pretty white blouse, long black skirt and with her blonde curls held up by a hairgrip, she looks like any young woman you might meet but she sounds different. The throaty chuckle told me that here was a story worth hearing, a person worth finding out more about. Plus – the show is actually called Comic Trans.

June confidently and chattily welcomes the five of us, learns our names and includes us in her show. We’re among friends, even if some of us seem a bit more embarrassed about some of her questions and cheeky ideas than others. Nothing will stop this performer who calls herself toxic in her show info but comes across more like a bubbly and slightly bitchy friend.

June’s astute observations of the habits of men compared to women are hilarious and spot-on:”You use shampoo in the shower as a body wash??? Ewwww!!” Only a woman would find that gross, right? June’s becoming a woman has been an experience of years but until her early twenties (she constantly and hilariously lies about her age, I am only guessing) she was a gay man. She tells us many hilarious, daunting and tough stories about what she has experienced before and since being able to live her truth (my words not hers). Being told in a toilet queue that your sort will never know the cost of tampons is countered later when June earns £2000 for her stand-up work and quips “that’s enough to buy 4 tampons!!”

June’s style is rambling, she keeps announcing she wants to talk about something else and then doubles back to her jokes and anecdotes, though it never gets boring. It’s such a small and intimate space that a full on show would feel fake. The lights are on, the air-conditioning whirrs, cuts out, she sees our reactions, it’s almost as if we’re hanging out in someone’s rather bare kitchen. Sometimes it feels like it’s our turn to contribute our story but no, June has far more to give.

Part of her show deals with a severe mental health breakdown which must have been distressing at the time. In retrospect it has become a highly amusing set of anecdotes. June keeps telling us that her show is not political, that she is not interested in the big issues, that she just wants to live as a woman “You’re no son of mine!” shouted her dad at her once – so true.

If you consider that any trans woman has to deal with being constantly bedeviled in the media and in public, called a paedophile and accused of all sort of heinous plans, how brave is it to invite strangers to join you in a basement room to share jokes and some jiucy home truths with!

Without the need to bang a big angry drum, sweet patient funny June let’s us know that if you are at all worried about how dangerous trans women are, then please go see this performance, talk to her, let her talk to you and find out a bit more of her and other transwomen’s reality. Click Here For Article


August 8, 2025    Broadway World

Review of Sketch Thieves

When it comes to comedy at the Edinburgh Festival Fringe, you have to find a way to stand out. A show where multiple sketch comedy troupes perform their sketches before swapping their ideas and performing each other's is certainly one way to do it. Not only that, but it seems like one of the few shows that could offer a good time - you’re either going to see some great comedy or a total car crash. What’s not to like?

In the case of Sketch Thieves, both are somehow completely false and totally accurate. On the line-up of the show for this particular performance were The Bad Clowns, Jeromaia Detto, Two Bananas and The Burton Brothers, a diverse line-up (as the show’s MC joked) of all white dudes.

Each performing a single sketch - including one about a caterpillar turning into a butterfly, sideshow performers looking for freaks, a noble quest, and two men trying to outdo each other over whose dad has killed more people - the groups presented their works with varying results. From tech malfunctions to audience participation to genuine laughs, the show offered an entertaining, if light, afternoon of laughs.

As far as the original sketch performances go, The Burton Brothers were undoubtedly the best of the four acts (though Christian Dart of The Bad Clowns may well have the finest hair of the festival). Not only were they funny, but their performance felt smooth, well-paced and charming.

When it comes to the latter half of the show, where the sketches are swapped, the chaos that ensued was simply too good not to laugh at. Jeromaia Detto performing the two-person sketch about serial killer fathers was true mayhem, whereas The Bad Clowns took The Burton Brothers’ sketch about looking for freaks and added some fresh improvised lines that brought even more laughs to the proceedings.

It must be said that none of the sketches felt like they were the best that any of the groups had produced, providing more chuckles and snickers than outright laughter. More like samples to introduce you to each group rather than anything that might make you fall in love with them, persuading you to see their individual shows. It is in this sense that the show never quite manages to be a car crash, nor hilarious, but instead, is simply fine.

Sketch Thieves’ particular formula is one that certainly provides a fun and easy-going afternoon of laughs. It might not be one of the best shows of the Fringe, but it is sure to be a reliable hour of comedy for anyone looking to fill that midday slot. Click Here For Review


August 8, 2025    Edinburgh Reviews

Review of 100% Badgers with Matt Hobs

It’s the first 100% sell-out I’ve experienced at the 2025 Fringe. Not just sold out, but oversubscribed, with comedian Matt Hobs having to turn away almost as many people as he squeezed into the basement karaoke room at the City Cafe.

The show is 100% Badgers, and it is, from start to finish, entirely about badgers. If you don’t think you can fill an hour talking about them, you are very, very wrong. Hobs could have gone on for far longer, and the sweltering audience would (probably) have stayed.

This is far more than just a slideshow of charismatic creatures. Hobs reveals he has been on a secret mission, becoming part of a dangerous and controversial attempt to vaccinate badgers against bovine TB. This is a world fraught with conflict. To vaccinate a badger, you must first cage it, which puts you at odds with those who cull badgers and, simultaneously, with the activists who smash the cages to free them.

Hobs doesn’t shy away from the grim truths. He notes that the UK has killed nearly half of its badger population without eliminating the disease, yet the animals remain protected. If anything happens to a badger you have legally caged, you are liable. Amongst this serious, high-stakes conservation work, Hobs finds more than enough time and room to fill his show with gags. He even has a pre-written letter ready for you to send to your MP.

There’s a genuine authenticity to Hobs. Perhaps it’s a Scottish bias, but I can imagine this man in wellies and a Barbour jacket talking about wildlife, and assume he’s just walked off a farm. He has masses of Bristol charm and an infectious, genuine love for his topic that fills the room. He takes us on a global tour of the 14 (I think) species of badger, from the European variety and its dachshund nemesis to the presidential American badger and the internet-famous honey badger.

You don’t need to be a badger enthusiast to enjoy this show; Hobs’ passion is more than enough to carry you through. His storytelling is gripping, his facts are fascinating, and his punchlines are perfectly timed. This is not a show for kids, but bring a partner, a friend, or just yourself. It’s a wonderful, surprising, and educational hour of comedy.

Matt Hobs has created a show with a huge heart. It’s a testament to his skill as a comedian that a show about the politics of badger vaccination can be this engaging and funny. This is a runaway hit for a reason. Recommended, but bring a fan. Click Here For Review


August 8, 2025    Ed Fringe Review

Review of Traumedy: A Guide to Being a Fabulous Homeless Addict

Upon walking into a sparsely filled basement of an Irish Pub (thanks to the Oasis gig), I did not expect the show I was about to enjoy.

Iain Anderson tells the tale of how he lived before pursuing comedy. Beginning in a small, Scottish town, Anderson tells stories of his addict parents and grandma whilst growing up in the 90s. The show has audiences laughing throughout. One of my favourite gags being that of a wartime grandparent who deems any struggle insignificant in comparison to fearing the Nazis. Whether it is feeling like an edgy teenager or above the small town that you are raised in, Anderson covers it all.

Anderson remains engaged with the audience and is nothing short of quick when reading the room. The focus of the show then moves to Anderson’s time sleeping on the streets of Barcelona whilst experiencing both alcohol and drug addiction. Whilst addressing the seriousness of addiction in a comical yet sensitive manor is not a skill mastered by all, Anderson has cracked the code.

From lying about having a white collar job with an annoying colleague Carol to humanising the characters that shaped his life, Anderson is relatable. The show addresses a multitude of issues and it would be very easy to make an entire set based on each section. Therefore, it felt as if one hour was not enough. It is clear that Anderson has lots of stories to tell, and I’m sure that audiences would appreciate more of these in increased depth and detail. This is especially true when it comes to the various characters that Anderson explains to audiences, from his partner to the people he met whilst homeless. It feels like there is much more beneath the surface when it comes to meeting so many new faces after moving country.

Overall, the show is full of laughs, hilarious memories and touching personal anecdotes, and I will be watching to see what Anderson does in the future. Click Here For Review


August 8, 2025    On the Mic

Review of Olaf Falafel Asks: Orange You Glad?

Olaf Falafel is an author, illustrator and a stand-up comedian. His stupidly named comedy shows are always packed with sublime gags, including the ones that won him Dave’s Joke of the Fringe.

In Olaf Falafel Asks: Orange You Glad? is an hour of laughter. Everything he says, every movement he makes, has the sole purpose of making you laugh. It’s silly and brilliant, fast paced and ridiculous.

I’m not going to spoil any surprises by saying too much more. Suffice to say, Olaf will bring joy to your world for an hour. This very mixed capacity crowd of locals and tourists of all ages didn’t want this show to end. Neither did I.

A version of this review appears on Episode 11 of the On the Mic: Five a Day podcast. Click Here For Review


August 8, 2025    On the Mic

Review of Tamar Broadbent: Plus One

Tamar Broadbent: Plus One, is a musical comedy show about fertility tests, failed birth plans and giving up alcohol for nine months.

This is a show that any parent, especially mothers, will relate to. The jokes are so grounded in reality, that as an audience, we found ourselves nodding along rather than laughing. The song titles tell the story of the show, I Don’t Want to be a Mum, Logical Next Step, Alcohol – I’ll Never Take You For Granted Again, A Mother’s Place is In the Wrong, Don’t You Wanna Have a Natural Birth?, I Tried Hard to Breastfeed – But It Sucked (the show’s best song) and Skin to Skin.

More thoughtful than laugh out loud, Plus One is an honest look at pregnancy and motherhood and should be available on the NHS.

The brilliant song, I Tried Hard to Breastfeed – But It Sucked features on Episode 4 of the On the Mic: Five a Day podcast. Click Here For Review


August 7, 2025    One4Review

Review of Yes-Ya-Yebo!

In the Ballroom at the Counting House — a room more commonly home to stand-ups clutching a COVID Cornetto and monologuing about their surprise ADHD diagnosis — something seismic is stirring.
Yes-Ya-Yebo! isn’t just a show. It’s a statement. A surge of rhythm, resilience, and radiant energy straight out of Cape Town, delivered by a group who’ve battled far more than bad lighting or a dodgy mic. The stage is small, the potential for technical gremlins high, but the South African ensemble handle it all with infectious swagger. It puts the cries of foul from pampered performers into sharp perspective.
The title — meaning “Yes” in three of South Africa’s 12 official languages — says it all. This is an emphatic, multilingual, full-throttle affirmation of identity, culture, and joy. From the opening shout of “Welcome to Cape Town!”, you’re dropped headfirst into a celebration of South African spirit: big voices, bold moves, and a beat that doesn’t quit.
What follows is an hour of township soul and showmanship — a vibrant mix of song, dance, rhythm, colour, and sheer presence. The choreography snaps with precision and personality. The vocals soar. There’s no narrative gimmick, no conceptual padding — just relentless charisma and cultural pride, delivered with a heartbeat you can feel in your chest.
Songs you’ll recognise — Pata Pata, Shosholoza (once sung by miners, now a second national anthem) — stir something deep and patriotic. But it’s what you don’t know that intoxicates: African lullabies, and songs like Kowola Kwela (Police Van) echo with history and life. This isn’t a video-wall production — it’s pure, unadulterated talent. And by the end, they’ve got you dancing in the aisles.
Presented by The Imibala Trust — a charity supporting children from impoverished communities — this is more than performance. It’s opportunity. It’s platform. It’s proof of what can happen when talent meets trust. These aren’t stage-school polishers — they’re natural-born performers, some dancing with their future.
The Free Fringe should be applauded for giving space to a show like this. It’s a celebration, yes — but also a call to arms. Amid the noise of the Fringe machine, here’s a voice that deserves to ring out from every rooftop.
If South Africa has taught us anything, it’s how to rise against adversity. These artists have done just that — showing up, showing out, and making the walls of a tiny ballroom feel like a stadium. Now let’s get them out there, breathing the same air as the big guns.
In any language, say it with us: Yes. Ya. Yebo!, is something real, moving, joyous and a triumph. Click Here For Review


4 star Review You won’t find words to describe this.

August 7, 2025    North West End

Review of Twonkey's Zip Wire to Zanzibar

4 star Review You won’t find words to describe this.

Whether it’s a night train to Liechtenstein or basket weaving in Peru, you can guarantee a Twonkey show will have little or nothing to do with the topic in the title. So, this proceeds with scant reference to Zipwires or Zanzibar and tonight doesn’t even feature Twonkey – he’s dead! A tin of contaminated condensed milk… no struggle… probably in the library, without Colonel Mustard as a witness. Fear not, his widow, Twonketta—replete with hair-bows, heels, painted nails and pop socks—is here to guide us through the labyrinthine ‘structure’ of the annual experience.


Google synonyms for ‘strange’, ‘surreal’, or ‘weird’ and you still won’t find words to describe this. Upon departure, one’s head is full of ‘incidents’, just not necessarily in the right order. There was a song containing sage advice for anyone contemplating Arthur’s Seat this month: You Don’t Need A Rucksack To Ramble. There was the usual public information piece—this year regarding how the new town of Cumbernauld came into being. The (dreaded) Ship’s Wheel exposed some of the audience’s adult peccadillos; one member was bitten by Dracula, and the Transylvanian Finger Fantasies did their best, but it looked like the audience member misinterpreted the instructions.

And another year has passed, but Steve Martin—despite being the proud owner of a crystal ball—is still bereft of ideas for his next film. Maybe representing Steve’s challenged cogitations, this was a slow burn, but it drew one in. Two-thirds of the way through, it was revealed that the Zipwire to Zanzibar was the rollercoaster of a rival funfair raising commercial issues with Twonketta and the lovechild of Shakin’ Stevens and Cicciolina, Tutti Kanutti.

Tutti is clearly talented on the harmonica, but the stroke she pulls on the Zipwire to Zanzibar eclipses any musical diversions she may have performed. But no plot spoilers—for this was a melancholic, nay, tragic tale, bookended by some sensitive poetry to chill everyone out after a Springsteen-esque, stadium-ready medley described by Twonketta as her Super Bowl moment.

There were just two questions to ponder: had Tutti faked her death… but, of more sinister import, has Twonkey reprised Bobby Ewing’s manoeuvre of yesteryear?

Running at Dragonfly (Other Room) Aug 5th – 10th, 12th – 17th, 19th – 24th, at 20.15 (8.15pm in old money)

Reviewer: Roger Jacobs

Reviewed: 5th August 2025

North West End UK Rating:

⭐⭐⭐⭐ Click Here For Review


August 7, 2025    One4Review

Review of 2 Slut Drops and a Chicken Burger

Leicester comedian Kirsty Munro knows exactly how to set the mood. Within seconds, the lights are up, Natasha Bedingfield’s Unwritten is blasting, and the audience is singing like it’s 2004 and they’re already three cocktails deep. Subtle? Absolutely not. But utterly infectious — even the blokes are up dancing.
Newly married to another comedian, Munro opens with the unexpected fringe benefits of having a wedding ring on her finger. From there, she dives into the origin story behind the show’s gloriously chaotic title: a night out with mates, two ill-advised slut drops, and a chicken burger that may or may not have saved her life. (Yes, she demonstrates what a slut drop is. No, she doesn’t hold back. Front row, consider this your health warning.)
Munro’s the kind of performer who can read a room in seconds — and then make it hers. Her crowd work is sharp, warm and full of cheek. The Toxic Masculinity Zumba Class sketch is a standout — brilliantly daft physical comedy with a knowing wink — while her roleplay routine and riff on the military-level logistics of organising a hen do are both pitch-perfect, relatable, and executed with real comic precision.
There’s also depth between the chaos. A thread on mental health — lived-in and authentic — is woven throughout, never shoehorned. It adds weight without tipping into earnestness, and gives the hour a shape beyond just jokes and jollies.
Munro has the energy of the world’s best party host: bawdy, boisterous, welcoming to all, and always in charge. She knows exactly when to crank it up and when to pull back. The crowd adore her — and it’s easy to see why.
This isn’t high art, and it doesn’t pretend to be. What it is, is the Fringe equivalent of an all-inclusive holiday: welcoming to everyone, generous to the senses, and full of chaotic joy. Like the moment you realise Nutella’s included in the breakfast buffet.
Come for the slut drops, stay for the chicken burger. This is a hell of a lot of fun from a clever, confident comic who knows exactly what she’s doing — drawing from real experience and having a bloody good time doing it. And sometimes, a brain sorbet like this is exactly what the Edinburgh Fringe calls for. Click Here For Review


August 7, 2025    Three Weeks

Review of About Comedy: Stand-Up Comedy Course

Daniel Sloss once did this course, but our excellent tutor, comedian Jay Sodagar, didn’t dwell on that; rather Jay’s focus was on us, and getting a decent show out of an eager bunch of shivering newbies. I’ve performed Fringe comedy before – but not for a while – and we were coached through writing, editing and stage-craft in meticulous, highly effective detail. Audience connection was drummed into us, and we bonded quickly over the shared experience of being vulnerable in front of each other, acting out our ideas. This course is intense – it will take over your life for 48 hours – but finally we performed before a real Fringe audience with an international star as MC and it was scarily wonderful. Click Here For Review


Groundbreaking Work

August 6, 2025   Fringe Review

Article about Sectioned – Schrödinger's Mental Health

Groundbreaking Work

Poppy Radcliffe presents an intelligent and deeply personal one-woman performance exploring what it means to live with a diagnosis of bipolar disorder — and how that label begins to define not just the person, but every interaction they have.

At its core, this is a show about identity, perception, and power. The performer skilfully weaves her personal story with evidence from NHS reports, mental health statistics and media headlines. This is not anecdote, the grounding in research adds weight and urgency to her lived experience.

The visual backdrop – a mix of video, images, and striking headlines – adds richness and resonance, though at times it competes with Radcliffe’s presentation for our attention. The visuals are strongest when they add to the focus of what’s being said. Some of the interplay between screen and stage works beautifully; other moments might benefit from further refinement to ensure each element serves the whole.

What elevates this piece is its layered approach: she doesn’t just tell us what happened to her, she analyses it, challenges it, and offers ideas for change. There is depth here, and a refusal to simplify. She is compelling when she steps away from the lectern to perform her poetry, learned and embodied – these are the moments the show breathes and soars.

Her insight into how neurodiversity and mental health crises are handled – the contrast between growing awareness around autism and ADHD versus the discomfort and fear still surrounding bipolar disorder – is thought-provoking. So too is her observation that workplaces rally around physical illness but often distance themselves from those in mental health crisis. Return to work sometimes simply doesn’t happen.

Threaded through it all are ways in which services could improve, often in small but significant ways. Her critique of the infantilising nature of many creative activities is particularly sharp: why, she asks, should highly creative people in crisis be handed crayons?

This is not just a performance – it’s a provocation, a question, a challenge. It deserves a place at every mental health conference. With so much to teach – both professionals and the public – this is a voice that needs to be heard.

A powerful ground breaking approach to sharing deeply personal experience in ways that might just effect significant change. Click Here For Article


EdFringeReview - 'Eating Satsumas in the Sun and Forgetting About Heartbreak'

August 6, 2025    EdFringeReview

Review of Eating Satsumas in the Sun and Forgetting About Heartbreak

EdFringeReview - 'Eating Satsumas in the Sun and Forgetting About Heartbreak'

"An hour of beautiful poetry, this is a hidden gem of the Free Fringe." Click Here For Review


August 6, 2025    On the Mic

Review of Sectioned – Schrödinger's Mental Health

From the press release to Poppy Radcliffe’s show, Sectioned – Schrödinger’s Mental Health

“A mental health service that works should be measured in its ability to make itself redundant, yet year on year waiting lists increase, the number of admissions to mental wards increase, the number of suicides in hospitals increase and the victims are getting younger and younger.

“One suicide in a place that is meant to be a place of refuge is too many. We say it is unfortunate; that people have complex needs and there is nothing to be done. But what if there is? What if just a few tweaks could turn an ailing system into one that truly promotes recovery?”

In, Sectioned – Schrödinger’s Mental health, Poppy Radcliffe delivers a multimedia investigation into acute inpatient mental health care drawing on her own experiences of being sectioned eight times in nine years.

This is not a comedy show. It’s a powerful real-life story and a manifesto for change. It’s also the best show that I’ve seen at the Edinburgh Fringe this year so far. Click Here For Review


August 6, 2025    Theatre Village

Review of Best In Class

Some shows you plan to see. Others you stumble into. Best In Class was the latter for me — a spontaneous choice on a spare afternoon — and I’m very glad I went.

This regular Edinburgh Fringe staple champions working-class comedians, offering a rotating lineup of performers who might not otherwise have the financial means or connections to bring a full solo show to the festival. With no fixed ticket price (it’s “pay what you can”), Best In Class is both financially accessible and rooted in a powerful ethos: comedy should be for everyone — on and off the stage.

The line-up changes daily, and on the day I attended, the trio of comics consisted of compere Hannah Wheatman and performers Gabriella Pearson and Matt Pugsley. Gabriella hails from Cheshire, Matt from Bristol, while I’m unsure of Hannah’s roots — though she gave off the vibe of someone you’d easily chat to in a bus queue or over a cuppa during a rain delay.

Hannah set the tone brilliantly, warming up the crowd with charm, wit, and quick audience work that immediately made the space feel inclusive. Her observational humour had people chuckling before the show even got going properly.

Gabriella’s set drew from her Northern background, contrasting life in Cheshire with the grittier edges of Manchester — a routine peppered with references to class, drugs, and regional quirks. It landed well with the crowd and showcased her ability to mix the personal with the playful.

Matt’s delivery took a different route: no crowd work, just straight-up anecdotes and reflections from his life. His set was drier but thoughtful, offering a nice contrast to the other acts and showing the variety you can expect at Best In Class.

Of course, comedy is subjective — what tickles one person might totally miss for another. But judging by the audience’s response, this trio hit the mark. There was genuine laughter throughout, and Hannah’s warm hosting stitched it all together perfectly.

What makes Best In Class particularly important is the opportunity it gives performers who might otherwise be priced out of the Fringe. It’s no secret that bringing a show to Edinburgh is expensive — accommodation, venue hire, marketing — and for working-class creatives, the barriers can be enormous. This platform breaks down some of those walls, offering a valuable stage and a supportive structure.

Each night is different, so no two shows will be the same — but if you want an hour of honest, grassroots comedy with real heart and humour, Best In Class is an excellent bet. Plus, you’ll be supporting the kind of performers the industry needs more of. Click Here For Review


Portbello Book Blog - Review of 'Eating Satsumas in the Sun and Forgetting About Heartbreak'

August 6, 2025    Portbello Book Blog

Review of Eating Satsumas in the Sun and Forgetting About Heartbreak

Portbello Book Blog - Review of 'Eating Satsumas in the Sun and Forgetting About Heartbreak'

"An hour of storytelling and poetry in the company of Emily Layton is an hour well spent. This talented poet performs a selection of her work covering themes of grief, love, motherhood and friendship...The poetry is celebratory, introspective, challenging and heartwarming, covering many events and times in the poet’s life which she describes as transformative. This is a very open, honest and raw show, and I found myself by turns entertained, amused and also very moved. Highly recommended." Click Here For Review


Recommended Show

August 6, 2025   Fringe Review

Article about Rachel Morton-Young: Dutch Courage

Recommended Show

In Dutch Courage, British comedian Rachel Morton-Young explores the oddities and overlaps of two national identities, British and Dutch, after living in the Netherlands for 26 years. What could easily become a niche expat set instead becomes something more: a funny, inviting, and culturally rich conversation about how people live, parent, and navigate differences.

Rachel’s approach is immediately welcoming. She opens with gentle crowd work, asking who in the audience has a connection to the Netherlands. From there, she folds in their stories- not to make fun, but to deepen the humor. In the show I saw, two brothers shared anecdotes about their Dutch-American stepmother, and Rachel pulled those details into the fabric of her set with ease. It’s a skillful use of improvisation and listening that makes the audience feel like collaborators rather than purely spectators.

The core of the show is cross-cultural friction: how Dutch bluntness meets British politeness, why Sinterklaas is both delightful and baffling, and how certain behaviors only make sense when you’ve lived inside a culture long enough to stop noticing them. But the show also moves beyond surface-level comparisons. Rachel reflects on raising her children in the Netherlands, comparing their Dutch schooling- especially around topics like sex education- to her own British upbringing. These moments resonate well beyond the expat crowd. Parents in the audience will find much to relate to.

Rachel strikes a fine balance between specificity and clarity. Those who are familiar with Dutch culture will knowingly nod and laugh along; those who don’t will never feel left out. It’s a show designed for an international audience, and she’s careful to meet people where they are without sacrificing nuance or depth.

As actualized as the show is, there’s still room for growth. Rachel makes occasional reference to her own disorganization, especially compared to the hyper-efficient Dutch moms she encounters. Leaning more fully into this contrast could sharpen her persona onstage. Right now, she’s the witty British woman observing life abroad. But if she embraced a more fully-formed comedic character- say, the charmingly frazzled expat who can’t quite get it together- the show might land with even more punch and personality.

Another area for further development lies in the show’s title. Early on, Rachel explains what “Dutch courage” means- a term for the artificial bravery sparked by alcohol- but the concept isn’t fully woven through the hour. It would be satisfying to see her return to that idea more deliberately, using it as a thematic anchor: when does she rely on Dutch courage, and what does that say about her relationship to Dutch culture, to Britishness, or to herself? The cross-cultural terrain she’s exploring is rich and expansive- potentially a career’s worth of material. This particular piece would benefit from a clearer through line tied to its title.

Overall, Dutch Courage is a strong hour that blends stand-up, storytelling, and crowd-driven moments into a coherent, warm-hearted piece. It would likely go over swimmingly well in the Netherlands, but it’s also successful here- a thoughtful reminder that some of the best comedy is rooted in cultural curiosity and self-awareness.

This show is Recommended for its sharp observational humor, and skill in finding the depths of fun in being a fish out of water. Click Here For Article


August 5, 2025    One4Review

Review of A Horseless Rodeo

In a space that can only be described as a COVID cupboard — tight, boiling, and vaguely post-apocalyptic — Shannon Brooke turns up the heat for all the right reasons.

An Aussie with German heritage now living in Edinburgh, Brooke is a fresh new voice on the Fringe, and this debut hour is a proper surprise package. You walk in expecting nothing and leave genuinely impressed.

What sets her apart? Real control. She’s got a natural presence, a killer instinct for timing, and some of the sharpest crowd work I’ve seen this year. She handles the room like she’s been gigging for a decade — off-the-cuff barbs, callbacks on the fly, and never once losing pace. This is exactly what a Fringe show should feel like: relaxed, reactive, and razor smart.

And the material? Joyfully strange, unexpectedly layered, and forensically written. She flips expectations from the jump — rebelling against her pro-drug parents (yes, really), profiling an ex-boyfriend whose obsessive commitment to fitness and REM sleep reads like a true crime podcast, and delivering the most hilariously inappropriate story about working with mental health kids you’ll hear this month. That last bit? My sketch highlight of the Fringe so far.

Tonally, she walks a tightrope — absurd, honest, dark, heartfelt — and never loses her balance. There’s a lot going on here, but it’s all anchored by Brooke’s voice: offbeat, warm, a little unhinged, but always engaging.

By the end, the crowd is entirely in her corner. This is exactly what the Free Fringe should be about — giving space to emerging acts with something real to say and a genuinely fresh way of saying it.

A Horseless Rodeo is just the beginning. Shannon Brooke is one to keep an eye on. Click Here For Review


August 5, 2025    Ed Fringe Review

Review of Stand-up Philosophy

As philosopher Montaigne said, 'our life consists partly in madness, partly in wisdom, whoever writes about it merely respectfully, and by rule, leaves more than half of it'. An ethos this show takes to heart as each week the host and two stand-ups explore a chosen philosophical theme through comedy and profound Q&A.

A lovely, unique feature of the show is the ability to put up your hand at any point to ask questions. This creates a conversational atmosphere, allowing the audience to influence the show. Whether asking questions about false memories or clarifying that if you lived another one-hundred-and-fifty years, you would have to do it as a sixty-year-old, the performers are genuinely intrigued by the additions and respond with informed glimpses of wisdom. The host Alex Farrow in particular, by sharing teachings of philosophers.

Under the excessive grandeur of four chandeliers, Farrow, a former philosophy teacher, divulges this week’s theme for a set: memory. He warms up the crowd with a great comedic voice and soon we know we are in safe hands, ready for the comedians.

Amelia Hamilton is first; she’s young and shows impressive eloquence and presence. Full of energy, she paces back and forth. This certainly helps keep momentum and makes sure even if a joke does not land amazingly, it is not dwelt on for long.

This is contrasted with the more laid-back, confident approach of Ben Pope, who seems much more at ease with the mic and has earned trust in his own delivery. Something I’m sure Hamilton will gain with experience.

Hamilton performs a couple high energy raps with increasing commitment. Gaining more confidence in her performance, her movements are just as comical as the clever lyricism. With a loud backing track and microphone, there are rare moments that the lyrics aren’t altogether heard, but from concept to execution, it is a hoot. The concept of one of the songs is based on how there will soon be more active Facebook accounts of dead people than alive. A disturbing idea that she deals with wisdom and youthful energy.

In her Q&A, she speaks just as acutely about the fragility of identity and how this impacts her view of memory as it relates to the self. You may find yourself, like me, wishing you were studying philosophy.

Ben Pope is next elaborating with effortless comedic talent on how his opinion of photographs has changed over the years. At some points finding them misleading and blissfully nostalgic, at others appreciative, as they withhold memories forever. He skilfully performs his set, hitting some well-deserved laughs.

From his Q&A, the idea that the true self is somewhere between sleeping and waking has stayed with me since my visit - are the words I mutter as I awake the purest form of me? This show was truly marvellous for any philosophy lovers or anyone who fancies a bit of comedy after lunch. There are different people each week and different themes so you can and should keep returning for more! Click Here For Review


August 5, 2025    Mix Up Theatre

Review of Olaf Falafel Asks: Orange You Glad?

Sam (Age 12) - ★★★★★
"Absolutely hilarious. I had to hold on to the nearest support to keep myself from falling out of my seat."

Myles (Age 14) - ★★★★
"Although I didn’t get all the jokes, the ones I did get were all mostly very funny. I think that the show had something to offer for all ages (from 12 and upwards), and the show was just completely silly and out there (in a good way). It’s definitely not one to take too seriously. The host, Olaf had great energy and was hilarious. Overall, I had a great time with the show, and 4 stars out of five."

Olivia (Age 13) - ★★★★
"I think Orange you glad was an amazing comedy show, he did say at the start it was a little inappropriate but still funny. The 12+ shows are perfect for older teenagers or adults and Olaf also offers a kids show for younger kids wanting a laugh. Overall I'd rate it a 4 stars as I didn't get some of the jokes but he kept the pace going throughout and did an amazing job!"

Max (Age 13) - ★★★★
"The comedy didn’t include many people apart from a few people at the front. It was a great show though and it was quite funny’"

Archie (Age 12) - ★★★★★
"Lots of innuendos, he had a very well planned format for the show lots of good jokes, he had a brain sorbet to cleanse our minds."

Maddie (Age 12) - ★★★★1/5
"I thought it was really good and funny but in some places it felt like he was skipping through most of it and felt a bit rushed ." Click Here For Review


August 5, 2025    One4Review

Review of Elliot Wengler: I Hope This Whole Thing Didn't Frighten You

Elliot Wengler is a very nice young man. He is a very nice young man with a lot of nervous energy! Performing as part of the Free Fringe is unpredictable and audiences can sometimes be scarce on a Wednesday early evening. Elliot is a trooper and performs the show regardless.

Hailing from an even smaller town than High Wycombe, but close by. We hear of the horror of Elliot’s first kiss. His first extremely unconventional first date resulting in a near drowning through to his first grown up relationship. Oh, and the anticipation of a first holiday together, versus the reality!

The punchlines don’t always land and his timing can be a little rushed but the story telling and his charming, very likeable personality shines through.

He is very funny when describing Wallace & Grommet to an uninitiated American. Very difficult!

The show ends with Elliot recounting, in much detail, his experience of having an endoscopy. Without the aid of anaesthetics! Definitely not recommended. Unlike Elliot himself. I would definitely recommend seeing this show. A very competent and likeable performer with so much potential. Click Here For Review


August 5, 2025    One4Review

Review of Ross Leslie: Now Is The Time

Sitting on airplane seats complete with overhead lights and windows was a quirky way to start the show.

Once we were safely strapped in Ross then took us on his journey in a heart-warming show predominately about family.

Ross’s opening gag was about the pressure that IVF babies must endure to be successful “imagine spending £55K on a child only for them to become a Tik Tok influencer” In contrast, he joked that only cost attributed to the conception of his own children was £10 for a decent bottle of chardonnay.

The heart of the show was a shocking family secret uncovered by his teenage son thanks to modern technology and that was that in his teenage years Ross’s mother had served time for drug dealing, he described his mothers arrest as the worst day of his life but on the plus side he did have the best wrapped packed lunches in the school at one point and was a dab hand at using kitchen scales.

Ross delved into his drug fuelled clubbing days of the 90’s and how at one point during a rave In Glasgow he had thrown a bottle in the air, headbutted it and kept dancing.

As the show progressed, we were treated to amusing tales involving weed edibles, conspiracy theorists and sex robots before awkwardly hearing how Ross has met his wife who had previously been engaged to his uncle, causing a family rift and to top it off, his now stepson also happens to be his cousin.

An intimate feel-good show, Ross Leslie comes across as a quietly funny, likeable guy, at no point were there belly laughs from the audience, but everyone left with wide smiles on their faces. Click Here For Review


August 5, 2025    One4Review

Review of Leslie Gold: Tall Girl Energy

“Not tall — but towering in presence, attitude, and sheer narrative pace.”
New Jersey’s Leslie Gold brings her new hour Tall Girl Energy to the Fringe — and the first thing you notice is, well, she’s not tall. Just over five feet, in fact. But from the second she walks onstage, dressed in a tomboy-chic ensemble that lands somewhere between Brooklyn barista and early-2000s Avril Lavigne tour manager, she owns the space. She’s got the kind of presence that suggests she could fix your WiFi and your emotional baggage in the same 10-minute window — with a YouTube tutorial on in the background, just for fun.
The title Tall Girl Energy is both a misdirect and a manifesto. Gold isn’t physically towering, but she performs with the strut of someone who’s spent years cultivating inner height — the kind you build from never quite fitting in. It’s a show about confidence, misperception, and how to occupy space in a world that’s all too happy to shrink you down.
Gold’s delivery is clipped and conversational — a kind of American-accented shorthand that loops and twists back on itself. There’s a glint of East Coast cynicism, now softened slightly by UK semantics, like she’s absorbed some of our national discomfort with feelings. She drops jokes veering from punchline to side-note to callback with enviable speed. Sometimes it’s a bit too fast — not everything lands cleanly — but there’s no doubting the intelligence powering it all.
Some of the best material comes from her life story: growing up Jewish in suburban New Jersey, and wrestling with the realities of being a woman in a world designed by and for men. Her bit about consumer products “not made with women in mind” hits particularly well — funny, sharp, and depressingly accurate.
There’s also an undercurrent of imposter syndrome that runs quietly through the show. From shoes that never quite fit to punchlines that double as confessions, Gold plays with that tension between presence and performance. One particularly smart move is the emotional drip-feed — she lets you sit with certain truths just long enough to feel them, but never long enough to derail the rhythm. It’s classy, and cleverly handled.
The show still feels like a work-in-progress in places. Not every section lands with the same clarity or polish, and the pacing occasionally sprints where it could stroll. But there’s real promise here — Gold’s voice is unique, and she’s got the chops to carve out her own space on the circuit.
She might not be tall, but the ambition? Absolutely skyscraper-level. Click Here For Review


August 5, 2025    One4Review

Review of Barbara Fernandez: Singing, Sagging and Shagging

Barbara Fernandez might not be a name that rolls off the tongue but this silver minx arrives on the Free Fringe with a lo-fi cabaret memoir soaked in song and scandal.
She’s lived a life — married three times, to both the questionable and the lovely — and Singing, Sagging and Shagging gives us the juicy edit. We’re talking cult-loving (more Scientologist than Sundance) husband, sleazy record producers, hots-for-therapists, and the kind of odd jobs only showbiz survivors truly understand.
You’re not supposed to ask a lady her age, but let’s just say Fernandez is defying gravity — and looks stunning doing it. Ageing, sagging, bodily functions: she takes it all on with wit, warmth, and zero filter. She jokes about taking all night to do what she used to do all night — and the transformation of body and self over time — but never plays for pity. She’s still glamorous and now doing it by her rules.
Crucially, she never stoops to name-dropping. She’s had adventures, plenty of them outrageous, but Fernandez isn’t here to brag. She’s here to sing.
And what a set of pipes. Her voice is her biggest asset: imagine Ethel Merman in a Squid Game death match with Liza Minnelli and Debbie Reynolds — with Ariana Grande unceremoniously booted off the stage. She belts, croons and trills her way through songs that swing from Spice Girls sass to Patti LaBelle power. It’s musical mayhem, with bite.
This isn’t a brain-dump memoir — more of a musical sorbet with champagne bubbles. And while the structure has body it doesn’t quite hit the home run, but It fizzes along, cheeky and unexpected, delivered with real stage presence. Fernandez commands the room like she’s closing out Carnegie Hall — even if it’s mid-afternoon in a back room behind the Royal Mile.
If you’re after deft storytelling, big vocals, bawdy humour and the occasional shagging anecdote — this does exactly what it says on the tin. Hits every G-spot. Worth tracking down. Click Here For Review


August 5, 2025    One4Review

Review of Luke Connell: Bloody Marvellous

The word for this show is ‘gentle’. Mr Connell is a tall gentleman with a genial manner presenting a lovely wander through various elements of medievality. Mr Connell is a professor of medieval studies, and as a result of one particular – repeated – word choice in translation from medieval French, this show probably isn’t suitable for children. Which is a shame because: 1. the word isn’t used offensively or aggressively, rather as an accurate translation, and 2. I can imagine children aged about ten finding the rest of this show equally fascinating and hilarious, and not just for its reference to the medical uses of poo (in the Bristol Stool Chart) and it’s medieval equivalent (colours of wee).

The plight of future medievalists notwithstanding, this is a lovely gentle post-prandial sort of show, at least in part because of the venue’s seating arrangements. The show’s premise-slash-jumping-off-point is that we’re all medieval in some way, and that the medieval period was just better. Mr Connell takes us through various examples from topics including medicine, maps and names for dogs, and explains, with on screen examples of his thesis. Delivery is gentle, and there’s learning as well as laughing, without anything being too much to disturb the digestion of lunch.

This is an easy-listening easy-learning sort of show, a welcome – and gentle – break from the loud, forceful, demanding, comedy norm. Click Here For Review


August 5, 2025    Edinburgh Reviews

Review of 10 Things They Hate About Me

This is a robust, solid slice of back-room Fringe comedy. While some moments land with more punch than others, the entire package is delivered with charm and a defiant honesty. Shinanne Higgins has crafted a bracing, honest, and very funny hour of comedy about the trials of modern dating. A show that begins with a song for a condom promises not to pull its punches, and it delivers. Click Here For Review


The future of Twonkey is in safe hands.

August 5, 2025    Fest

Review of Twonkey's Zip Wire to Zanzibar

The future of Twonkey is in safe hands.

Tragedy has befallen the house of Twonkey. Since last year’s Edinburgh Fringe one of the festival’s stalwart characters, Mr Twonkey, died, apparently. Which is why tonight’s audience is welcomed into their traditional home, Dragonfly’s back room, by an absolute vision of feminine eccentricity – his grieving widow. The preposterous show must go on.
The brainchild of ex-indie rocker Paul Vickers, Twonkey is an institution, a slice of pure unsullied anything-goes Fringe. There are grotesque puppets, catchy-but-barmy songs (often absolute bangers, bizarre lyrics aside), a loose narrative about running a funfair, and some brilliantly awkward audience interactions. Mrs Twonkey has decided to continue several of the old onstage favourites. “It’s like if Frank Sinatra didn’t sing My Way,” she says.
This is, let’s be honest, not for everyone. But then half the fun of a Twonkey show is watching the newcomers grapple with what on earth is happening. They may not enjoy it, but rest assured, they will talk about it forever. And isn’t that how the Fringe should be?
Our hostess even ends with a poignant poem, about the love between bird and snail. “That’s powerful,” she says afterwards, stifling a laugh. The future of Twonkey is in safe hands. Click Here For Review


August 5, 2025    Chortle

Review of Moving On... Really, Really Slowly

Stephen Catling has a full suite of conditions and disorders which means his brain doesn’t work like most people’s. You don’t need to be a medical professional to diagnose that, just an audience member in his chaotically surreal show.

Fans of Harry Hill will appreciate the quickfire absurdity of the hour, cascading with draft jokes, preposterous props and manic sound effects.

I say quickfire: Catling makes a purposefully glacial entrance to the front of the room while wearing a giant slug’s head. It turns out this – and the show’s title Moving On… Really Really Slowly – is reference to the speed at which he’s getting his life back together after two devastating breakups, one especially badly timed. This bonkers hour is perhaps part of the healing process.

So enjoy some gastropod-based punnery, the sorts of jokes where horses walk into pubs, and sketch ideas along the lines of ‘what if I had owls for hands?’ When an especially corny gag lands, Catling high-fives the entire front row as the Benny Hill theme plays, it’s that sort of show.

... Click Here For Review


August 5, 2025    One4Review

Review of Good Dick Energy

Scottish comedian Grant Mushet delivers a high octane solo stand-up with his show Good Dick Energy.

Having relocated to Australia and back here for a family holiday, he gives us a solid comedy performance so catch him quick before he flies back to Oz.

As part of the Free Fringe, Grant’s ability to connect with the crowd is flawless. His tales from Down Under are fantastic and outrageous and although he’s led a party-boy lifestyle in the past, he’s now very much a family man.

His anecdotes leave us roaring with laughter and he has a wonderfully infectious personality. He makes friends with the audience with relative ease and it almost feels like we are all on a night out with him.

If you’re a fan of bold, interactive stand-up with a bit of a wild streak, then this is going to be right up your alley. The gags are relentless and so is the laughter in this full on fun-fest.

Grant has great stage presence, he’s a confident comedian who has much to say. His banter with the crowd is brilliant and the crowd loved playing along.

A thoroughly enjoyable and entertaining hour, so go and see his Free Fringe Show, but make sure you drop some cash in his bucket on your way out. He’s worth so much more. Click Here For Review


August 5, 2025    One4Review

Review of Olaf Falafel Asks: Orange You Glad?

Novelist, internet sensation and all-round entertainer, Olaf Falafel is a cult institution — in the best possible way. Over a decade of glorious absurdity on the Free Fringe, and somehow, he’s still getting more inventive.

In Orange You Glad?, we’re handed a front-row ticket into his brain: a place where thought police replace crowd work, tribal chants about packamaks feel entirely logical, and jokes arrive with the force and frequency of a spud gun loaded with Dali paintings.

It kicks off with a wonderfully weird VT — part mockumentary, part philosophy lecture — and you quickly realise this isn’t a show you watch so much as tumble into. There’s an undercurrent of control behind the chaos — a knowing wink in every absurdity — and Falafel somehow makes nonsense feel airtight.

The props are perfectly judged: not clutter, not gimmick, but essential parts of the madness. Video segments — often a crutch for lesser comics — are used properly here: every edit hits, every director’s cut lands. One minute we’re watching a squirrel snack, the next it’s a Proclaimers/siren mashup.

And genuinely, is there anyone else on the Fringe who could drop references to ’70s stalwarts like Kenny Rogers and Earth, Wind & Fire and have Gen Z teens — who’ve clearly never heard of them — wheezing with laughter? Doubt it.

There’s brilliance in the misdirection. You’re constantly led up the most ridiculous garden path and then clobbered with a punchline so gloriously stupid it borders on the spiritual. That’s the Falafel effect: you know you’re being tricked, and you’re delighted anyway.

And just when it feels like too much, along comes a “brain sorbet” — a perfectly timed reset that lets the room breathe before diving headfirst into the next wave of joyful idiocy.
There’s something old-school here, but also something very now. Olaf Falafel is proudly chaotic — a man who’s turned stupidity into an art form. Not random. Not lazy. Just perfectly, surgically silly.

You will be hard pressed to find a better show in the Fringe. By the end, you won’t quite know what you’ve seen. You might think, “Well, this isn’t Chekhov,” but then again… maybe it is. Just with more packamaks and squirrels. You’ll leave slightly sillier, definitely lighter, and oddly uplifted. In a world this mad, this all-ages-accessible show might just be the therapy we all need.
You will be hard pressed to find a better show in the Fringe. Absolutely a blast. Click Here For Review


Recommended Show

August 4, 2025   Fringe Review

Article about Leslie Gold: Tall Girl Energy

Recommended Show

Leslie Gold has an outsized presence for her petite frame. This stand-up hour, with a feminist edge, examines society’s bewilderment with female confidence.

New Jersey native-turned-Londoner Leslie Gold is back at the Fringe with an hour exploring her signature concept: Tall Girl Energy. It refers to the large presence she embodies despite standing just five feet tall. Throughout her life, people have remarked that she doesn’t seem short– a subtle way of expressing surprise that someone so small could have so much confidence. The show unpacks what is going on in that projection.

Gold uses Tall Girl Energy as a gateway into a larger feminist discussion around who we, as a society, expect- and don’t expect- to take up space. She connects this to unconscious biases that surface in everything from everyday encounters to large-scale safety measures and structural norms about who gets protected.

Gold is tapping into a vital cultural conversation, and she holds the floor using an approachable, conversational style that invites curiosity and consideration. She seamlessly blends jokes with storytelling, and infuses the hour with an observant, analytical edge.

Gold highlights how both her mother and grandmother, two other short women with tall girl energy, helped to shape both her stature and character. She talks about how her grandmother instilled in her that “words matter”, which becomes a refrain Gold smartly uses to direct our attention to important moments of the show. A bit more unpacking of what she thinks her grandmother meant by this, and how it shaped her worldview, could further anchor the theme. Gold then analyzes terms like “girl boss” and “short king” that reveal some of our unconscious biases around gender roles and expectations, and power. It’s Carlin-esque, adds extra punch, and more of this would further elevate the piece.

A great irony of the show, whether intentional or not, is that, if it were not for the subject matter, the audience may not clock how short Leslie Gold is- that’s how fully she embodies tall girl energy. It’s as if she’s creating a feminist archetype before your eyes.

If anything, the show’s one soft spot is that it feels slightly more like a concept-in-process than a fully excavated thesis. Gold sets the table beautifully, but one wonders what might happen if she took a few bigger risks- expanded her scope, dug further into her personal history, or pushed the linguistic analysis just a little sharper. The material is strong, but she has the presence and intellect to go even deeper.

This show is Recommended for its vision, cultural critique, and boldness in owning what it is. Click Here For Article


August 4, 2025    Entertainment Now

Review of Luke Connell: Bloody Marvellous

It’s really quite joyful when somebody loves what they do so much it spills over away from their profession and into the rest of their lives. Such is how it seems to be with Luke Connell, professor of medieval French literature and the most medieval of us all – we are told – even if we are all a bit medieval too.

It’s an unusual premise to start with, but Connell’s tongue-in-cheek parallels between the medieval and the modern hold a little bit of water along with their multiple piques of interest. With the aid of every teacher’s favourite modern pal, PowerPoint slides, he educates with enthusiasm and a contagious smile. It’s a taster hour packed with medieval highlights, from medicine to mythical creatures brought to you with the aid of an authentically named dog. Connell succeeds in making the medieval accessible, from its history to its science, tiers of angels and bawdy monks included.

Bloody Marvellous isn’t laugh-out-loud hilarious by any means, but it succeeds in communicating just why Luke Connell disregarded other childhood ambitions in favour of pursuing his love affair with the period and sharing it with others. Fascinating medical ingredients read like a Grimm Fairy Tale contents page, and the wonder of suspended disbelief from the people who conjured griffins and formicaleons as possibilities in the world give hints at what it was like to believe in the impossible. Who wouldn’t want to spend an hour in such a world? Click Here For Review


One4Review

August 4, 2025    One4Review

Review of Nathan Cassidy: Piracy

One4Review

‘One of the best at what he does... razor-sharp wit and glint-in-the-eye mischief. His crowd work is elite. A properly thought-out show - sharp, efficient and deftly executed.’ Click Here For Review


August 4, 2025    Fest

Review of Sooz Kempner is Ugly

On the screen, a vienetta, standing beside it is Sooz Kempner, enthusiastically hopping up and down, eagerly welcoming in her audience. All her life Sooz has been mocked for her appearance and her show Sooz Kempner is Ugly is her way of reclaiming this label in an hour of ironic self-flagellation.

Kempner’s show is at its best when she is pointing to her presentation, analysing the hate comments she receives online or yassifying the only existing image of her great grandmother. Kempner’s ability to poke fun at herself is, at times, side-splittingly funny and her act is well paced... Click Here For Review


August 4, 2025    One4Review

Review of Cobin Millage: A Losing Battle With Grass That Just Won't Stop Growing

Absurdist comedy with a Canadian twist — a surreal hour that occasionally strikes gold.

In a hot karaoke bar buried in the depths of the Comedy Mines, we find Canadian oddball Cobin Millage. Now Edinburgh-based, Millage delivers a show that veers wildly between inspired nonsense and scattergun surrealism. The loose premise — a losing battle with grass — isn’t a drug metaphor, as you might expect, but a meditation on the inescapable nature of life: some things just keep growing, whether you like it or not.

He’s hugely likeable from the off, disarming the audience with his charm and a delivery style that feels half-manic preacher, half-existential jester. Once he’s won the room, the set really begins to unravel — not in a bad way, but like a well-worn cardigan: full of holes, sure, but oddly comforting.

There are moments of genuine comic greatness here. A hilariously elaborate Moose Warning, Elephant Art, and dealing with book nymphs fever dream. When these hit, they hit big. At his best, Millage resembles a surrealist Robin Williams — rapid-fire, high-energy, and just unpredictable enough to keep you nervously giggling.

But the surrealism comes at a cost. The pacing is erratic, and not every idea feels fully baked. At times, it’s like being trapped inside someone else’s stream of consciousness. That said, there’s a clear comedic intelligence at work behind the chaos, and you sense that even when it feels like it’s going nowhere, he probably knows exactly what he’s doing.

The audience stays with him. Not because they always know where it’s heading, but because his charisma is undeniable and his commitment total.

A Losing Battle With Grass That Just Won’t Stop Growing isn’t a finished article — but that’s sort of the point. It’s a mulch of ideas and silliness, planted by someone who might just be cultivating something brilliant.

Worth catching — and worth watching grow. Click Here For Review


August 4, 2025    Musical Theatre Review

Review of Comedy for the Curious: Animals!

Comedy for the Curious: Animals! engages the audience with games and fun facts about animals.

Fundamentally a game show accompanied by images, videos and parody songs, marine biologist turned award-winning stand-up Robyn Perkins, and musician and writer Marc Burrows, enthuse the audience with facts about animals both familiar and unusual.

The performers’ high energy carries the show. They punctuate the games with friendly, cheery chat and encourage audience members through wacky competitions. Both show genuine interest and trust in each individual contestant, treated as an expert in whatever they choose to offer.

At times the enthusiasm of the performers gets in the way of clarity, as there is a tendency to speak very fast and some key explanations of unusual animals became lost in the flurry.

While this cannot be considered as a conventional musical, as a show in its own right it deserves a full three stars for its energy, education, silly fun and audience participation. Click Here For Review


All That’s Weird…

August 3, 2025   Entertainment Now

Article about Twonkey's Zip Wire to Zanzibar

All That’s Weird…

The genuinely iconic Twonkey has been creating glorious, hilarious holidays away from reality for Fringe-goers for a decade or more. This year he is taking a Zip Wire to Zanzibar. The mind boggles with anticipation. Click Here For Article


Review

August 3, 2025    The scotsman

Review of Cheekykita – Batshit

Review

save £350 for oasis ticket and have much more fun seeing cheekykita instead!much fun for anyone who appricieates crazy" Kate Copstick Click Here For Review


August 3, 2025    Broadway Baby

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

There are at least eight ways an opera diva can break a glass – and just one involves her vocal cords. Get ready to shatter your expectations of opera as an elite art form that requires well-trained sitting muscles, binoculars and a mortgage for tickets.

The American soprano Steph DePrez, currently living in Berlin, is a rare breed: a Wagner-singing comedian. Her show is a masterclass in blending genres, as she effortlessly weaves her vocal talents with sharp wit and hilarious storytelling, making for a truly enjoyable Fringe experience.

Though DePrez is more than capable of breaking a glass with her voice, the magic lies in the metaphor. The show is all about smashing the glass ceilings that life throws our way – whether in the opera world, comedy, or simply in being human. Things don’t always come easy. From the moment you declare to your parents that you’re going to become an opera singer and perform Wagner’s Ring, to actually wearing the Valkyrie’s armour on stage, it’s a long and winding road of disappointments, missed opportunities and a pandemic thrown in for good measure.

In classical opera terms, a soprano singing Wagner must possess an immensely powerful voice, capable of heroic declamation, soaring lyricism in the upper range and the stamina to sustain long, demanding passages over a full orchestra. In common terms: these sopranos don’t just sing – they summon thunderstorms, bend brass sections to their will, and make the violins quake in fear.

So what makes a successful opera diva trade the grandiosity of an opera house for a stand-up gig at the Fringe? The pure joy of performance, the thrill of making people laugh and the desire to explore different facets of artistic identity. The essence of DePrez’s performance lies in genuine connection – whether through a soaring aria or a perfectly timed punchline. With the full-body expression of a Valkyrie, she transforms the small room into Valhalla itself, announcing that Brünnhilde has arrived.

Telling her life story through metaphor gives DePrez’s storytelling structure, but loses some of the spontaneity and raunchiness of her earlier comedy performances, which I particularly enjoyed. However, her ability to combine serious vocal chops with relatable humour, delivered with infectious energy, will leave you buzzing for a long time. Click Here For Review


Kids review

August 3, 2025   Fest

Article about Olaf Falafel’s Stupidest Super Stupid Show – New Improved Recipe

Kids review

Oran and Roo, both seven, are delighted by the sheer volume of poo jokes.

What happens in the show?
Oran: Silly things!

Roo: There’s lots of jokes and videos and plenty of talk about poo.

O: They talk about poo and it’s funny.

R: It’s very funny and they showed a video and he dropped cheese onto a book and words that were in the holes of the cheese he readed and it was a pretty funny joke.

What was the joke?
R: I can’t remember the joke.

What did you like most about the show?
R: When we drawed a poo on a pogo stick.

O: Oh yeah, that was funny. A poo on a pogo stick is jumping on me.

R: No it’s jumping on me.

O: Me!

R: Me!

O: Me!

R: Both of us.

O: Me!

R: Me!

O [returning to the original question]: Everything.

[Later]: He was an idiot.

Was there anything you didn’t like?
R: No

O: No

What did your grown-up think about the show?
It was a fun hour – well-practised, engaging crowd work and truly the least terrifying front row experience I’ve ever had. Five stars for the video of a squirrel sliding down a pole alone. He’s a likeable character, even if he did say some mean things about reviewers to us, the reviewers.

Would you tell your friends to go to the show?
O: Maybe.

Would you tell Alba?
O: Yes. [to Alba] He’s a stupid guy! Olaf Falafel!

R: [nods solemnly] Click Here For Article


August 3, 2025    One4Review

Review of Ian Stone is Looking for the Wow

The Fringe has not officially started yet shows, are up and running in many venues and the audiences are building, and yes even the weather is good. All of which is helping Ian Stone in his search for the , Wow, the tingle, the awesome.
Stone has been in the comedy game for a long time, yet he still has the enthusiasm and energy to continue his quest for the search and to royally entertain his viewers with an hour of delightfully written material that is packed with laughs.
He is not one of the in your face performers, he is amiable, chatty, and welcoming. No problem in sitting in the front row here.
And he is not short of material either. The topics range from his early life wanting to be an astronaut, Amazon, of course the grimness of politics both in the UK and of course across the pond, places pastimes and behaviours that are awesome, movies, and of course being Ian there has to be football included as well.
It was a strangely quiet audience at the show I saw. They were all obviously enjoying themselves, just occasionally not giving the credit it deserves to some material. He obviously has the experience to not be phased by this and the pace of the show never faltered.
It is always a delight to see him perform and this was yet another example of his wit, comedic talent and seemingly laidback, amiable style and is a great way to spend an hour in late afternoon.
If is looking for the Wow, maybe he should start by looking in the mirror. Click Here For Review


August 3, 2025    One4Review

Review of The Asian Comedy Showcase

The Asian Showcase is quietly becoming one of the standing institutions of the Fringe — a fast-paced, unpredictable comedy cocktail where Asian talent from around the world shares the stage with rising stars, seasoned pros, and the occasional “token straight white man.” The lineup changes daily, so you never quite know who’s going to show up — and that’s half the fun.

It all kicks off with a brilliant VT in the style of a ye olde Pathé newsreel, explaining what the Free Fringe is — because, let’s be honest, getting money out of an Edinburgh audience can be like squeezing soy milk from a brick. But it sets the tone perfectly and puts the room instantly at ease.

Holding it all together is the exceptional Sam See — a Singaporean powerhouse of a compère. With razor wit, sprite-like energy, and expert crowd control, he owns the room from the first word and doesn’t let go.

Here’s how it played out on the night:

Jess Lo
Originally from Hong Kong, now based in Bristol — the perfect aperitif for the evening. Charming, low-key, and a joke about Chinese medicine that could very well be a Fringe highlight. An understated delight.

Jen Zheng
A Northern Irish Chinese comic with infectious energy and some cracking cross-cultural takes. From Irish border jokes to why AI should never design your Fringe poster, she’s funny, fast, and completely watchable. Definitely one to keep an eye on.

Chris Nguyễn
Vietnamese Australian with the sleepy confidence of a koala that’s fallen out of a tree and landed in the middle of the Fringe. But make no mistake — he absolutely slayed. Smart, sharp writing, especially around gaslighting. A name to remember.

Paul Savage
The evening’s designated straight white male, and no disappointment. His observational material on hotels was razor-sharp and well-delivered. Should absolutely be on your radar.

Sonali Thakker
From India, and quite simply, a star in the making. In her short set, she had the room in the palm of her hand. If you like the structure and pace of Vir Das, she’s got that — but with her own distinct punch. Her “dog or kid” dilemma — a running trope this Fringe — felt fresh, funny, and was another contender for joke of the festival. Magnificent.

All in all, one of the best compilation shows at this year’s Fringe. No weak links, big laughs, and a brilliant way to discover some of the most exciting comics around. Definitely worth checking out — maybe even more than once. Click Here For Review


August 3, 2025    The List

Review of Olaf Falafel’s Stupidest Super Stupid Show – New Improved Recipe

The Fringe veteran has crafted a delightful deluge of dunderheadedness for the Free Fringe.

Fringe veteran Olaf Falafel is many things: author, illustrator, dad, football team coach, comedian and complete idiot, to name but a few. Thankfully that’s the perfect skill set for a family show that’s been packing the bairns in for years (it’s lovely watching show returners get excited when their favourite bits are announced).

The format is nice and simple: a screen keeps us all on track as we hurtle between rounds of pass the parcel, funny videos made funnier (a highlight) and audience participation, all with their own jingles and interspersed with pun-tastic dad jokes that get the kids giggling and the grown-ups groaning. Some of the wordplay might just skim the heads of the very youngest, but it doesn’t matter: the next bit is never too far away and it’s all so silly that attention never wanes.

Draw Something Stupid sees the whole room coming together to draw a poo on a pogo stick: so yeah, kids do still have attention spans. It’s hard to over-emphasise just how appealing Falafel’s ramshackle charms are to the young team, evidenced by a sold-out crowd; even the Free Fringe is subject to market forces so if missing out would break your ankle-biter’s wee heart, then definitely book ahead. Click Here For Review


August 3, 2025    Entertainment Now

Review of Ian Stone is Looking for the Wow

Ian Stone is Looking for The Wow – and he has found it with his Free Fringe Show at the Counting House. He acknowledges the open goal he has given critics by naming the show ‘Looking for the Wow’, but his material more than backs up its title during the hour-long set where the laughs don’t stop.

Ian greets the audience on entry which I suspect is a ploy to find out what he has to work with. If this is his trick, then it works as his crowd work is notably impressive, bouncing off the audience and managing to work in several heckles. Teasing an audience member’s love of jazz became a running joke, expertly woven into his existing material.

Embracing his Jewish background, Ian uses it as a launch pad to share his thoughts on the state of American politics and the Israeli-Palestinian conflict. Closer to home, he jokes about his kids, football club, music and Scottish independence. He delivers it all in a seamlessly conversational tone which draws the audience in just as the punchline lands.

If you are looking for a comedian who will make you laugh effortlessly then I would recommend Ian Stone to everyone – except maybe Elon Musk and Donald Trump.

The show may be free but every penny you can ‘generously give’ is deservedly earned. Click Here For Review


Festival Director Alex Petty interviewed by Three Weeks

August 3, 2025   Three Weeks

Festival Director Alex Petty interviewed by Three Weeks

Three weeks spoke to Laughing Horse and Free Festival Director Alex Petty Click Here For Article


Review-The Scotsman

August 3, 2025    The Scotsman

Review of Cheekykita – Batshit

Review-The Scotsman

f"un here for anyone who appriciates crazy,save yourself £350 for a oasis ticket and have much more fun seeng cheekykita instead" Kate Copstick


Kunt and the Gang: More Kunt! Hooray!

August 2, 2025   Entertainment Now

Article about Kunt and the Gang

Kunt and the Gang: More Kunt! Hooray!

Kunt and the Gang return to the Fringe for three nights only. You might not think you want to see a man in a shell suit and a dreadful wig singing outrageously disgusting songs – but believe us – you do. Utterly joyful and a true legend of the Fringe.

Tell us about your show. Why should we go and see it?

It’s just some tired old bloke in a hi vis boiler suit singing comedy songs mostly written 10-20 years ago on subjects it’s probably not OK to sing songs about anymore. If you like the sound of that you’ll have a great time.

What is your favourite thing about your show?

I have always enjoyed the challenge of taking a really bleak topic and finding an angle to turn into a chirpy 2-and-a-half-minute comedy pop song. My favourite bit about playing the songs live was always seeing the range of reactions when people hear them for the first time. What would make one person double over with laughter would make someone else look like a bit of sick had just come into their mouth.

Do you have a Fringe idol?

My Fringe Idol would have to be Gary LeStrange. I saw him performing in about 2007 and his musical comedy show Beef Scarecrow convinced me that I should try and take my songs up to the Fringe. I couldn’t get any of the Fringe comedy promoters to return my emails, but then in 2009 I got in touch with Alex Petty who runs the Laughing Horse, who took a punt on Kunt and the Gang and helped me build a following there over the next 6 or 7 years.

What three words best describe your performance style – and why?

Not, asfunny, asitusedtobe. Because it did used to be really funny.

Who are you looking forward to seeing in Edinburgh?

I usually wait till I’m up in Edinburgh and then lament not booking tickets for sold out stuff I wanted to see. Then I go and see a few things from flyers, which around one in eight times ends up being excellent.

What do you hope to achieve in Edinburgh – what are your hopes and dreams?

As a younger man my hopes and dreams would have involved getting spotted and being asked to write my own TV sitcom, but these days I just hope to get through all 3 shows without having to grapple with anyone onstage.

What are the biggest obstacles you face as a performer at the Fringe?

For me, the biggest obstacle you face at the Fringe isn’t that different to what you face generally as an independent artist – getting the people who would like your stuff to find out about it, and having to compete against people you know in your heart are shitter than you but who have major backing and access to comparatively massive marketing budgets.

What do you hope the audience will take away after an hour in your company?

It is my dream that after coming to see my show, maybe a day later, maybe a couple of days or a week afterwards, someone will be in an important work meeting being asked to do something they fundamentally disagree with and will find themselves humming Use My Arsehole As A Cunt. (You will. This has happened to me – Ed)

How do you plan to relax and recharge when not on stage?

Go home and go off.

What is your idea of a perfect Fringe day?

10 am: Wake up. See it isn’t pissing down with rain.
11am: Late breakfast at City Café.
12pm: Lunchtime pint.
2pm: Walk across Edinburgh to see a show.
3pm: Walk back.
4pm Afternoon pint.
5pm: Check emails.
5.30pm: Spend time with my disabled son.
5.45pm: Do an open spot in a comedy show that hopefully doesn’t make anyone in the audience walk out.
7pm: Evening pint.
8pm: Chill out before my show.
10pm: Do my show, which ideally goes by without having to grapple with an onstage assailant.
11pm: Post show pint (or, if it has gone well, two).
Midnight: Bed. Click Here For Article


August 2, 2025    Broadway Baby

Review of 2 Muslim 2 Furious 2: Go Halal or Go Home

Do you know how to spot a stealth Muslim? Can you remember daily prayers by your five-a-day veggies? These are just some of the handy “Muslim life hacks” served up by Aisha Amanduri and Hasan Al Habib, back in Edinburgh with their sequel show 2 Muslim 2 Furious 2: Go Halal or Go Home.

Hasan, an award-winning standup from Birmingham with Iraqi heritage, brings confident delivery, a knack for storytelling and an easy rapport with the audience. Aisha, from Kazakhstan (yes, the Borat puns make an appearance), offers a vibrant counterpoint, her observations laced with sharp wit and the occasional sucker punch of poignancy.

The premise is simple but effective: two Muslim comedians navigating the contradictions, stereotypes and absurdities of life in Britain. The show blends laid-back banter with solo spots and audience participation game shows, such as Who Wants to Be a Muslim Heir. These segments are fun in concept but still need polishing; the pacing sometimes dips, and transitions can feel improvised rather than intentional.

The chemistry between Amanduri and Al Habib, or “Antwar and Dec ina”, is undeniable, as they bounce off each other like a long-running double act. What stands out most is the warmth: these are not two furious comedians railing against the world, but two confident, happy young performers who have found their place in modern British society. Questioning your roots, religion and heritage is essentially British, so they pass the citizenship test with flying colours.

2 Muslim 2 Furious 2 is a funny, stereotype-smashing hour of afternoon standup. With pay-what-you-can tickets and a portion of proceeds going to Medical Aid for Palestinians, the show is as generous in spirit as it is in laughs. Click Here For Review


August 2, 2025    The QR

Review of Let Me Be the Cool Aunt

Hopefully, I won’t offend musical comedian Sophie Bannister by saying she must number among the most adorable performers gracing this year’s Edinburgh Fringe. Brimming over with youthful energy and bright-eyed enthusiasm, she single-mindedly sets out to entertain her audience.

The back room at the Brass Monkey, dominated by huge seat cushions made for whole body sprawling, has confounded more experienced acts than Sophie’s. Much to her credit, she embraces the weirdly laid-back and intimate space, though I think she could take a little more initiative in walking amongst her audience.

The show has a simple enough concept: Sophie moved from Brisbane to London, leaving behind her ‘obviously less mature’ brother and his pregnant partner. Fated to become a ‘Cool Aunt’ she muses on what it means to be an aunt, and an adult suddenly confronted with the need to make new friends as an expat.

With her trusty guitar and looping pedal to hand and foot (not the infectious kind), she explores all the above and more. It could, of course, be highly cringey – it’s not – not in the least. She’s a strong songwriter with an ear for a witty verse, and a nice touch on the strings (she plays the violin too). Her decision to adopt the audience as her unborn nephew or niece is maybe one cuteness too far, but it’s hardly a sin.

This adopted kid was still particularly impressed when she dived into electro-house, and by her cleverly worded ‘Manifest’ chant.

However, if I were to label the show’s genres, I’d leave the ‘musical comedy’, but ditch the ‘comedy’ in favour of ‘storytelling’, because you learn quite a bit about Sophie, her life, and views on such thorny issues as immigration, FOMO, flaky suitors, and going Instagram-official with new friends.

Charming and likeable, you’ll bop along happily, chuckling now and again, whilst smiling the rest of the time. It’s neither the deepest, most meaningful show you’ll ever see, nor is it the funniest, but if it’s an 11am appointment with a thoroughly likeable and entertaining human being, Sophie Bannister will do you just fine. Click Here For Review


Twonkey is dead. Long live Twonketta. 4 stars Kate Copstick

August 2, 2025    The Scotsman

Review of Twonkey's Zip Wire to Zanzibar

Twonkey is dead. Long live Twonketta. 4 stars Kate Copstick

There can be many reasons to love a comedy show: it is witty, full of jokes, cleverly political. But Twonkey's shows are none of these things. He is the closest we have to a comedy Salvador Dali, creating surreal worlds, and populating his with a motley collection of moth eaten puppets.

Such is the power of the Twonkeyverse to draw you in that I spend quite a lot of the show thinking, despite the devastating news of Twonkey's death in a contaminated tinned-product-related tragedy being broken to us early on, that perhaps the great man is not dead, but in the grip of a life-changing gender identity crisis. However Twonketta, his 'widow', is an unexpectable joy to spend an hour with. She handles the puppets – old favourites and exciting newcomers – with aplomb. OK maybe not a full plomb, but at least a half plomb. She is still getting used to the stilettos. With her leading the way we get dastardly deeds at the fairground, a rollercoaster catastrophe, Steve's balls and fascinating facts about the origins of Cumbernauld.

For frequent flyers in the Twonkeyverse, don't worry, she inherits the Transylvanian Finger Fantasies and the Ship's Wheel. However tonight's gathering gets a never to be forgotten moment of onstage inspiration. “This is improvised,” says Twonketta, as she removes her knickers to place on the wheel, having forgotten the prop pair.

Twonkey is dead. Long live Twonketta.

Kate Copstick Click Here For Review


August 2, 2025    Ed Fringe Review

Review of Let Me Be the Cool Aunt

Brisbane native, Sophie Banister gives an energetic one-woman performance in, ‘Let Me Be the Cool Aunt’. The hour centres around the lifestyle of an expat in London and the changes one faces when moving to a completely different cultural environment. Her love for home reinforces this notion and recurs throughout the show as something we all, perhaps, can relate to. Armed with few to no props, it gives a story of her life’s adventures through the guise of musical comedy, sprinkled with soft guitar strings and versatile vocal range, needless to say, this performance is worth the watch.

... Click Here For Review


Owners and lovers of the foreskin might find their people here

August 1, 2025   Broadway Baby - Kate Copstick

Article about The Foreskin Diaries

Owners and lovers of the foreskin might find their people here

One person speaking their truth with passion should, I believe, be applauded – in principle. And so I cannot dismiss Ron Low's hour delivering The Foreskin Diaries out of hand – if you'll excuse the pun.

Ron is about as militant as it gets when it comes to the foreskin – he calls himself an 'intactivist' – and invented the TLC Tugger, the purpose of which is to restore the foreskin of a circumcised male.

It has, to date, restored over 63,000.

His hour comes to you in the Musicals and Opera section of the programme. So, horrendous details of devastated relationships, ruined sex lives, suicide and gruesome photos (yes, you will see a lot of male junk here) are interspersed with songs. To my ear, it did sound more like one song in several variations, with lines like "Between your thighs, my fragile pride abides" and titles like Love Through My Boy's Eyes.

Ron’s outrage is expressed in a 'more in sorrow than in anger' tone. But words like mutilation, penetrative assault, and amputation fly freely. We are asked to close our eyes and imagine a world without male circumcision and exhorted to persuade pregnant friends to leave their boys intact.

Owners and lovers of the foreskin might find their people here, Upstairs at Laughing Horse @ Bar 50. Click Here For Article


Edinburgh Fringe 10x10: Looking good

August 1, 2025   chortle

Article about Moving On... Really, Really Slowly

Edinburgh Fringe 10x10: Looking good

In 2023, autistic alternative comedian Stephen Catling dressed as a bee. This year, his show’s called Moving On... Really, Really Slowly, so what could be more apt than becoming a gastropod mollusc for the promotional shots. One of the guises he adopt in the show is a slug stand-up telling jokes he way only a slug could (slowly). Another is Mr Owls For Hands Man.

Laughing Horse @ The Counting House, 7.30pm Click Here For Article


Kate Copstick: 'The church of the clown has never been broader'

July 31, 2025   The Scotsman

Article about Twonkey's Zip Wire to Zanzibar

Kate Copstick: 'The church of the clown has never been broader'

Twonkey has charm in ladlefuls and plays in marvellous self-made multiverses that are not always appreciated by everyone. He was banned by The Stand in 2009 for covering the entire stage in treacle in a puppet related comic debacle. He also created the legendary single official performance of Twonkey's Custard Club which submerged the performance space, audience and performer in shaving foam, and destroyed his laptop.

“I hadn't thought it through,” he says. “If people start enjoying it and laughing I have a tendancy to keep going until it all ends in tragedy." And that is my kind of clown.
 Click Here For Article


Beehavioural problems something something autism

July 31, 2025    Neurodiverse review

Review of Moving On... Really, Really Slowly

Beehavioural problems something something autism

Appearing with a giant fluffy dog-head on and offering the audience chocolate bars if they are ‘good’, is how Sheffield-born comedian and former Lab Technician Stephen Catling chooses to open his show.

His absurdist performance is a joy and a masterclass in play. I was enthralled from the first moments to the (very) messy climax. Amongst all the strange musical cues and Stephen’s one impression (that of a growly neurotypical person) is a narrative of navigating the world as an autistic person. This comes in at such an obtuse angle that I feel some punters miss it entirely, and are merely captivated by the oddness of the set-pieces.

Stephen does employ a complete gear-change two-thirds of the way through the show, with details around working in animal testing and being bullied as an autistic person. It is a worthy detail to include, especially to educate audiences about the very real ostracization we face as autistic people and the horrendous questioning about our existence we endure. The gear change is perhaps too abrupt and needs to be finessed a little more.

Ultimately, the show is very funny, very enjoyable and serves as a showcase for an immensely funny talent. Click Here For Review


Breaking into Pink Eyeshadow with a Hammer

July 31, 2025   Neurodiverse Review

Article about Twonkey's Zip Wire to Zanzibar

Breaking into Pink Eyeshadow with a Hammer

Autistic performer Paul Vickers (or Twonkey) on the task of dragging up for this year’s show Twonkey’s Zip Wire to Zanzibar

I started thinking about the best way to make things fun and interesting again for myself was to perform my show as a different character. It made sense to me for that character to be a woman. Twonkey’s widow seemed like a good idea, but becoming her was much harder than I first imagined. The other day I was trying to break into some pink eyeshadow with a hammer, and I found myself thinking ‘I’m pretty sure this isn’t what women do?’ Another tricky aspect is the world of wigs. It’s very difficult to get a wig that fits and they’re also very hot under the lights so at the moment I’m trying to do without one, because I think ultimately it’ll make it a lot easier. Twonketta’s style could evolve to include hair ornaments or ribbons or flowers or decorative hair clips!

I was always a fan of Dame Edna, Barry Humphries said when he was performing as her, the character had a life of its own, and he was often surprised at some of the things he found himself saying. It was almost like he became possessed by the character. I have performed this new show a few times before the fringe and I found a similar thing happened, which is exciting and opens up new comic impossibilities. I once performed a character called Mr. Pines, who was Twonkey’s manager, he disliked the show intensely and a similar thing happened then also, but it’s different with Twonkey’s widow because she can be critical to a point but also with an affection for it as well, so it gives her an extra drive , It’s not as one dimensional as Mr. Pines.

My autism diagnosis also led me to believe that I may be a little bit gender fluid, and I thought it was a good idea to embrace that and I am supportive of the trans movement and I think people should be allowed to live their life as they choose and in peace so yeah, I’ve always being in favour of wild peace.

To coax ideas from myself, I use a process called ‘systematic erasion’, which is where I have a lot of ideas and then I’ll slowly destroy them or remove them by cutting something down. It’s like putting your hands in a big wobbly mound of clay. You have to really push your fingers in until the top comes off. Ultimately you will have something left on the plate and I plan to use that as my latest and most delicious meal ever.

If I lose all interest in myself that could be seen as a bad thing so reinvigorating is an important stepping stone. Challenging myself and pushing myself is vital. I’ve been mining my subconscious in a creative way since I was a teenager. At times it has taken its toll on my mental stability. It has also given me a whole life of work and all the songs and shows – they give me almost a diary of my whole life, which I sometimes look over and try to decode.

Twonketta has developed a wardrobe of some significant size over the last year because I buy a lot of things that I just think may be suitable. Sometimes I throw things together believe it or not, and yeah, I’ve got a certain daft style. Someone said to me recently that they felt that perhaps I was a little bit too good at the drag thing and that I should probably just cover myself with gravy because they felt personally that I should look like I just fell out of a dirty kitchen. I suppose that I’ve always been into things that are a bit cute but also a little bit nasty, so that’s always been part of the aesthetic. So I think when creating a female character there’s always gonna be this cute thing going on mixed with, hopefully, a bit of grit and I hope people will like her and feel I have made the right choice with my bold move forward.

Twonkey’s Zip Wire to Zanzibar is on at Dragonfly from July 31st
 Click Here For Article


EdFringe Talk: Twonkey’s Zip Wire to Zanzibar

July 31, 2025   Get Your Coats On

Article about Twonkey's Zip Wire to Zanzibar

EdFringe Talk: Twonkey’s Zip Wire to Zanzibar

“The fringe has got a bit smaller sense Covid which I think is a good thing. It got too big, I remember 2019 that was the biggest Fringe ever had more than 5,000 shows. This year has 3,352 shows so It’s lot smaller now which is better I think.

WHO: Paul Vickers aka Mr.Twonkey,Twonks or Twonketta

WHAT: “Supercalifragilisticexpialidocious. Performed in drag as the vaudevillian widow Twonketta, a lady who is somewhat late for church. This year it’s a thriller about rival rollercoasters and fairgrounds set by a smoky lagoon in a valley once owned by ex-milkman-turned-singer Shakin’ Stevens. An award-winning trailblazer of a show featuring Fringe royalty such as: the Steve Martin puppet made from sanitary towels, the pocket princess and the flugelhorn-tooting Tutti Cnutti. ‘Clowning at its very best’ ***** (Scotsman). ‘His idiotic joy is infectious: he is a masterclass in play’ ***** (NeurodiverseReview.co.uk).”

WHERE: Other Room at Laughing Horse @ Dragonfly (Venue 414)

WHEN: 20:15 (60 min)

MORE: Click Here!

Is this your first time to Edinburgh?

It’s never the same twice but it would really frightening if it was, Groundhog Day. I’ve done 13 solo shows and I’ve written 2 plays and put them on at the fringe too, so 15 fringe shows in total.

The most famous one had me playing David Lynch which was a bit like Les Dawson playing David it was a real experience that one. My normal show is the Twonkey show if you can call it normal.
I use puppets, I sing songs and I tell jokes. This year i’m dressing up as lady i’m playing Mr.Twonkey’s widow, I like to push myself.

The fringe has got a bit smaller sense Covid which I think is a good thing. It got too big, I remember 2019 that was the biggest Fringe ever had more than 5,000 shows. This year has 3,352 shows so It’s lot smaller now which is better I think The first Fringe was just Peter Cook in a pub that was maybe too small, lol.

What are the big things you’ve learned since 2024 and have you absorbed any of the lessons yet?

In 2023 I was doing Twonkey at the Voodoo Rooms ballroom, It was a fun year it was great to playing such an amazing room but it was my Greatest Hits show so I pulled out all the stops.
I was on all the lampposts and felt like a real star but I learnt those lampposts cost money BABY!
So I’m at the super cute and friendly Dragonfly, the staff are wonderful and Alex who runs the venue is a lovely man, so I feel at home. I’ve played many venues but I think Dragonfly is the closest to a real home I have had.

Tell us about your show.

t’s a bit like a one man Carry On franchise now. This year is my Carry On Up the Khyber or maybe Carry On Regardless, I don’t know for sure.

It has a plot line that’s goes back years to when show was performed by a small baby dragon which sadly got smashed into tiny lumps on a pool table during the semi finals of the Laughing Horse new comic of the year awards. It’s actually a bit like Doctor Who as I travel through space and time and have many adventures this year we are off to Zanzibar on a zip wire, last year it was Peru on a ship and one year I ran a restaurant during World War 2 and even a jet ski up the Mississippi.

I’m autistic so I’m going full genderfluid this year and why not?

What should your audience see at the festivals after they’ve seen your show?

Sam Nicoresti : Baby Doomer,

Sam is ace and free wheeling and very funny.
She deals with sensitive issues in a way that never feels overwhelming or heavy-handed.
Go.

Athens of The North : Mark Hannah

A one man Alan Bennett style taking heads theatre show and his acting is mesmerising.
It’s also wonderfully well written and I was blown away by it.
 Click Here For Article


Edinburgh Fringe 10x10: Looking good

July 31, 2025   Chortle

Article about Twonkey's Zip Wire to Zanzibar

Edinburgh Fringe 10x10: Looking good

Twonkey – aka Paul Vickers, former frontman of cult rock band Dawn of the Replicants, as been coming to Edinburgh since 2010, where he’s carved out a niche for taking his audiences on charming, quirky and slightly shambolic journeys into alternative realities. This year, for his show Zip Wire To Zanzibar, he’s performing in drag as the vaudevillian widow Twonketta, a lady who is ‘somewhat late for church’ as he tells the tale about rival rollercoasters and fairgrounds set by a smoky lagoon in a valley once owned by ex-milkman-turned-singer Shakin’ Stevens.

Laughing Horse @ Dragonfly, 8.15pm
 Click Here For Article


INTERVIEW: A Digital Pint with… Stuart Thomas, on Body Image, Boldness, and Bisexuality

July 31, 2025   Binge Fringe

Article about Stuart Thomas: Bad Fatty

INTERVIEW: A Digital Pint with… Stuart Thomas, on Body Image, Boldness, and Bisexuality

Stuart Thomas is meeting the Edinburgh Fringe head on with fresh new stand-up Bad Fatty, tackling fat-acceptance, queerness, and depression in his signature daft intensity – and a intoxicating measure of welshness in the mix. We caught up with Stuart for a pixellated pint to crack open his fresh perspective on self-acceptance.

You can catch Stuart Thomas: Bad Fatty from August 18th – 24th at Laughing Horse @ City Cafe – Nineties from 20:40 (45 mins). The show is offered free at the point of entry and is non-ticketed, with more information available on the EdFringe Website.

Callie: Hi Stuart! Could you tell me a bit about what inspired the show?

Stuart: I’d long wanted to do my own show but I never had an idea I felt was good enough to take in Edinburgh. The idea for Bad Fatty first sparked when I performed a new joke during Sofie Hagen’s show Sofie Hagen and Her Sexy Friends — the reaction was great, and I realised I might be onto something. The title comes from the idea that if you’re fat and not actively trying to shrink yourself, you’re somehow “bad”. Well… fine. I’ll be the villain — but I’ll make you laugh while I’m doing it.

The show is a fat, queer, Welsh tour-de-force that smashes diet culture, sexuality, and shame — all with sharp jokes and pure daftness. Expect stand-up that’s both personal and playful, with just enough catharsis to make it feel like group therapy (except nobody cries and there’s more jokes).

Callie: I’d love to dive into the process of developing the show – how did it all come together? What’s your approach to workshopping comedy and how have your own experiences shaped the show?

Stuart: It started as a sort of “greatest hits” of loosely tied together club material — but the more I leaned into the specific theme of fatness, the more everything clicked. Weirdly, having a clear subject made writing easier. Instead of being paralysed by infinite choice, I had boundaries to push against — and that’s where the good stuff lives.

Workshopping for me is a mix of gigging, rewriting, panicking, recording everything, and asking trusted pals “Was that bit actually funny or was I just sweaty and loud?” Personal experience shapes the whole thing. I grew up fat, queer, working-class, and Welsh — so shame is my life. But in comedy, I get to translate that shame into silliness. And that’s magic.

Callie: What are you hoping the audience might take away from the experience?

Stuart: I want fat people to walk out thinking, “Maybe I don’t have to apologise for existing.” And I want everyone else to go, “Oh… I hadn’t thought about it like that.” If people leave laughing but later find themselves side-eyeing BMI charts or Slimming World ads with a new kind of suspicion, I’ve done my job.

At the heart of it, Bad Fatty is about defiance. It’s saying, “I’m here, I’m fat, deal with it.” And if that attitude spreads to more people then I’ll be chuffed.

Callie: With Edinburgh Fringe 2025 just around the corner, what are you most excited for?

Stuart: Where do I start?! This year I’m doing a shorter run — just a week — and a 45-minute show instead of an hour, so it feels like riding a Shetland pony instead of the wild stallion of a full month. But I’m so excited for it. I can’t wait to do the show, host Chonk (my fat-friendly comedy showcase), and see the kind of chaotic, brilliant, and batshit stuff that only the Fringe delivers.

Ofcourse, I’ve got my spreadsheet ready — I do love a good spreadsheet. I’ve already got shows by Paul Campbell and Helen Bauer on my list, and I’m of course excited to see the work of Welsh comics like Leila Navabi and Jake Cornford.

Callie: Given the themes of Binge Fringe, if your show was a beverage of any kind (alcoholic, non-alcoholic – be as creative as you like!), what would it be and why?

Stuart: Bad Fatty would be gravy with a shot of tequila in it. Comforting, indulgent, a bit odd — but with a chaotic edge that makes you question your life choices halfway through. It’s warm, weird, and bold as hell – just like Bad Fatty.

Don’t forget to catch Stuart Thomas: Bad Fatty from August 18th – 24th at Laughing Horse @ City Cafe – Nineties from 20:40 (45 mins). The show is offered free at the point of entry and is non-ticketed, with more information available on the EdFringe Website. Click Here For Article


July 30, 2025    Mumblecomedy

Review of Eryn Tett is Sponsored by The Global Megacorp Institute of Manchester (Work in Progress)

Eryn Tett Finds Her Audience Click Here For Review


Stephen Catling / William Thompson / Mitch Benn - Bobby Carroll's Glasgow Comedy Diary: Day 2

July 29, 2025   British Comedy guide

Article about Moving On... Really, Really Slowly

Stephen Catling / William Thompson / Mitch Benn - Bobby Carroll's Glasgow Comedy Diary: Day 2

The ride is a bucking bronco of surrealism and scruffiness. Click Here For Article


The Midlands Fringe: Stuart Thomas, Bad Fatty

July 28, 2025   Birmingham World

Article about Stuart Thomas: Bad Fatty

The Midlands Fringe: Stuart Thomas, Bad Fatty

At the heart of Stuart Thomas’ merciless self-mockery is a message any audience can get behind. The desire to be so slim you can slip down a drain and meet the teenage mutant ninja turtles.
In a tirade of gags and one-liners, Thomas presents his self-deprecating and brutal approach to self-love. Taking his audience through the joys and challenges of being Welsh, queer and fat, his work-in-progress show is cheerful and energetic. It is driven by his central premise that there are two types of fat people; ‘good fatties’ who are actively trying to lose weight and hate themselves as society requires, and ‘bad fatties’ who rebelliously do neither. He urges his audience to celebrate the useful contributions to society the plus-sized friend can make, from furniture-strength testing to public transport guards.

With comedy characterised by sharp scorn for slimming world, the term ‘food addiction’ (in which his dealer takes Nectar points) and all things that denigrate the plus-sized body, he makes the insightful hat tip to the women who trailblazed this space before him and must navigate it with more peril than Thomas’ own frivolity. This was refreshing, as many of us know the persona of the cuddly, loveable rogue is not a luxury afforded to everyone.

While a few of the jokes will benefit from more refining as Thomas develops this show up from some of his thinner stereotypes, his show delivered big heart and big laughs.

You’ll never look at a lava lamp the same way again. Click Here For Article


July 2, 2025    GlamAdelaide

Review of The Nutella Wars

 Click Here For Review


Beehavioural problems something something autism

July 1, 2025    london theatre 1

Review of Moving On... Really, Really Slowly

Beehavioural problems something something autism

 Click Here For Review


SANCHIE from Sydney, Australia - LIVE at the Home Bar

June 25, 2025   

Article about SANCHIE Live

SANCHIE from Sydney, Australia - LIVE at the Home Bar


June 6, 2025    North West End

Review of The Totally Improvised Musical

Performed without a script and built entirely on audience suggestion, Totally Improvised Musical at the King’s Arms in Salford delivered an inventive and riotously funny 45-minute whirlwind of spontaneous storytelling, songs, and surreal humour.

The night’s improvised show—brilliantly titled Greggs: The Great Takedown—centred around a dystopian northern England where the beloved high street bakery chain had collapsed, leaving the nation starved of sausage rolls, steak bakes, and purpose. What unfolded was a musical odyssey of longing, resistance, and puff pastry politics.

Original numbers like the haunting The North Is Barren and the stirring anthem The Heart of England showcased the cast’s quick wit and vocal chops. Each song, conjured on the spot, was surprisingly tuneful, cleverly rhymed (sometimes), and underscored by confident live accompaniment that added real musical depth to the madness.


The performers fully committed to their characters and scenes, letting them breathe just long enough before pivoting to the next ridiculous twist. One or two scenes did feel like they’d run their course a little too long – the scene about potatoes springs to mind. While I appreciate no improv is going to be perfect, knowing when to cut scenes when they’ve run out of steam is critical.

The cast’s energy and trust in one another were palpable, and even when a scene teetered on the edge of collapse—as improvised theatre often does—they somehow steered it into laughter.

The Totally Improvised Musical was a delightfully daft reminder that theatre doesn’t need sets, scripts, or sausage rolls to satisfy. All it takes is imagination, courage, and the willingness to sing your heart out about a world without pasties. Click Here For Review


The Free Fringe Festival 2025 Programme is Live!

June 5, 2025   Free Festival News

The Free Fringe Festival 2025 Programme is Live!

Enjoy all of our shows this year! Our 2025 Edinburgh Fringe Programme is Live... Click Here For Article


How to make money and get noticed at the Edinburgh Fringe

June 2, 2025   Chortle

Article about Nathan Cassidy: Piracy

How to make money and get noticed at the Edinburgh Fringe

 Click Here For Article


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

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 menopause meltdowns, getting old guy 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


REVIEW of Traumedy at GICF

May 24, 2025   Fion Brown's blog

Article about Traumedy: A Guide to Being a Fabulous Homeless Addict

REVIEW of Traumedy at GICF

It’s been said that one of the best ways to combat stigma is through open conversation. With his one man show, Traumedy: A Guide to Being a Fabulous Homeless Addict, Iain Anderson showed that the critical acclaim he has received thus far has been well-earned.

Not only is he the king of the homeless and a self-taught psychologist, Iain Anderson is crucially the charmingly quick-witted fix that the standup scene is missing. While Barcelona may have claimed him now, the Port Glasgow native was clearly at home on Sunday 23 March when he took to the stage in Bath Street’s The Griffin. From learning the unspoken etiquette of gay saunas to surviving attempts on his own life, the 40-year-old comic fused his observational prowess and innate storytelling ability to create an hour-long set full of hearty laughs and deep reflection. Click Here For Article


Eryn Tett @ Blizzard

April 28, 2025   Blizzard

Eryn Tett @ Blizzard

Closing the first section was Eryn Tett – an act who has previewed with us and recorded her special with us a few years back – but has never actually done a set at one of our main shows until now! And oh boy, I’d say we were in for a treat, because we absolutely were, but honestly I think she had nearly as much fun as the rest of us in this chaotically bonkers set that everyone lost control of in the most anarchically fun way possible.

It’s really hard to comment how much of Eryn’s set was planned chaos and how much was just a result of having an audience who commits to the bit to a detriment. Whatever the reason, Eryn’s set is an unforgettable performance. One of the most playful and almost clowning like sets of the night, the jokes, as brilliant as they were, took a backseat to the performance in the room, punctuated by 10-20 seconds of dancing to horsegiirL after each punchline, all while a handshake was being passed back and forth throughout the small room our club is in, gradually getting weirder with extra flourishes and additions to the greeting.

So much was going on during this set, the only comparable vibe is when I did the Glang Show last year – where the performers are more there as entertainment toys and facilitators rather than the comedians actually in charge of the show. All of this was curated by Eryn’s endearing comic personality, Hedberg-esque jokes, and eye for creative whimsy second to none.

Don’t misunderstand me, Eryn Tett is a phenomenal comic writer, and it shows. But more than that, she successfully set a comedic atmosphere that was elevated to a point where her jokes became almost irrelevant. That is a comic skill that very few people can pull off in a way that works. Truly one of the best examples of boundary breaking comedy in 2025 in the literal sense, not just angry men creating a club where they can say slurs and no one is allowed to be annoyed or upset by it. If you want a truly one-of-a-kind comedic experience, check out Eryn Tett at a comedy club near you, IMMEDIATELY. Click Here For Article


Best & Worst of Edinburgh Fringe

April 4, 2025    Distractify

Review of Raul Kohli: Kohl and the Gang

Best & Worst of Edinburgh Fringe

 Click Here For Review


Making You Laugh While Challenging How You See The World

April 1, 2025   MindShare

Article about Raul Kohli: A British Hindu's Guide To Spirituality

Making You Laugh While Challenging How You See The World

 Click Here For Article


A Most Accomplished Act: The Way Stand Up Should Be

April 1, 2025   Mumble Comedy

Article about Raul Kohli: Makes It Up As He Goes Along

A Most Accomplished Act: The Way Stand Up Should Be

 Click Here For Article


Best & Worst of Edinburgh Fringe

April 1, 2025   Distractify

Article about Raul Kohli: Kohl and the Gang

Best & Worst of Edinburgh Fringe

 Click Here For Article


How is he still single?

March 13, 2025    FringeFeed

Review of 33 Years Single

How is he still single?

How is he still single?!?



From the beginning, Delby embraces the stage with his charm and wit, all the while, beaming a smile to make you blush. He is authentic in his approach and tells you real stories of his dating life, albeit not much of one, and how it came to be. Recounting stories, old and new, with punchlines peppered throughout, he tells these in a way that you can see reflect his hilarious personality.



Occasionally laughing at his own thoughts, he spoke out loud, he pulls memories and turns them into jokes, making himself cackle in the meantime.



I was on the edge of my seat, even spitting my drink out at one point.



Involving the crowd, but without heckling, he pulled suggestions and turned them into hilarious rap songs to compliment his show.



Delby is a must-see for your fringe experience. He will have you leaving the show with a grin, wanting to see his next show too. Click Here For Review


February 13, 2025    The Student

Review of Ask A Stripper: Pulling Back The G-String

To think that this show is an opportunity to stare at some naked women and ask if they’ve slept with a client is to severely underestimate the potential of the performance. It isn’t for the faint-hearted, but it is empowering, funny and full of life. You couldn’t get this insight anywhere other than the Fringe and whether you’re a seasoned feminist or not, it will completely alter your outlook. Click Here For Review


Kyle Legacy - The King of Comedy (UK)

February 10, 2025    Fringefeed

Review of 100% Scouse Comedy

Kyle Legacy - The King of Comedy (UK)

Reviewed by: Fringefeed

Review by Glen Pendlebury | 25 January 2025
If you’re looking for a comedy show that feels more like a chaotic fever dream than a traditional stand-up set, The King of Comedy by Kyle Legacy is your ticket to madness.

A self-proclaimed LeBron James of comedy (but funnier and whiter), Legacy delivers a show that’s equal parts slam dunk and off-the-wall insanity. From the moment he takes the stage, Legacy’s energy is electric. His ability to connect with the crowd is unparalleled, turning heckles into punchlines and strangers into co-stars.

This isn’t just a comedy show—it’s a live experiment in how far an audience can be pushed into the realm of the unexpected. No two shows are the same, and that’s exactly the point. Legacy doesn’t just tell jokes; he pulls them out of a hat literally like some kind of deranged magician. Whether riffing on multicultural observations, spinning improvised stories, or dancing his way into absurdity, he keeps the audience guessing—and laughing—every step of the way.

One moment, he’s cracking sharp one-liners, and the next, the room has somehow transformed into an impromptu dance club. Expect chaos. Expect brilliance. Expect the unexpected. There’s a raw, unpredictable charm to Legacy’s performance that sets him apart from your standard comedy circuit staples.

His crowd work is unmatched, and his quick wit ensures every moment feels fresh and alive. You’re not just watching a show; you’re part of it, swept up in the whirlwind of his infectious energy. With The King of Comedy, Kyle Legacy proves why he’s earned his place as a staple of the comedy scene. It’s bold, it’s wild, and it’s absolutely hilarious.

If you want a night out that’s as unpredictable as it is side-splittingly funny, don’t miss this one-of-a-kind comedic ride. Just be prepared—this isn’t your average stand-up show. It’s comedy on steroids, and it’s nothing but net. Click Here For Review


Michael Shafar - Well Worth the Chemo ★★★★★

February 5, 2025    The Edinburgh Reporter

Review of Michael Shafar - Well Worth the Chemo

Michael Shafar - Well Worth the Chemo ★★★★★

"Shafar has a disarmingly relaxed approach and an intelligent sense of humour with a wildly inventive, darkly comic imagination." Click Here For Review


Juliette Burton offers more than just laughs in her stand-up performances...

November 3, 2024   LeftLion

Article about Juliette Burton: Going Rogue

Juliette Burton offers more than just laughs in her stand-up performances...

This week we’re celebrating the return of the Nottingham Comedy Festival- and last night opened with a bang at the Lord Roberts with the first show in the Lol-GBTQ+ lineup. We were treated to a double bill by world-renowned and Fringe Famous Comedienne Juliette Burton. Providing loads of laughs, audience participation and a multi-media spectacle we got to experience a sneak preview of Juliette’s latest show as well as her currently touring one which left us feeling a little bit more hopeful for the future!

First show of the night, Going Rogue, delved into Juliette’s love and obsession with all things nerdy (as the name- a reference to X-Men- may suggest)- including a ranking of all her latest cosplays, a laundry list of easter eggs and references and even a chance for the audience to create their own digital avatar to appear in the show (still a slight work in progress, but the technical difficulties only added to the hilarity). Both shows were also a very raw, open and honest look into our hosts personal life, struggles and methods she uses to get through the everyday. As someone who also turned to nerdy hobbies to get me through the pandemic, I can certainly relate to the anecdotes of testing out cosplaying during lockdown! We also got to find out how these cosplaying endeavours impacted on Juliette’s dating life, often with very funny and heartwarming results.


Juliette’s second show, Hopepunk, was a very raw delve into her mental health struggles, and how she (and the audience) can use hope, love and community to overcome all of life’s challenges. It was a perfect blend of deep introspection cut through with perfectly timed comedy anecdotes, which stopped the mood from dropping too low. Inviting the audience to offer up their own thoughts on what gave them hope and finishing off with a message of affirmation and aspiration- definitely leaving us on a high!

Hopepunk and Going Rogue were the perfect way to kick off this comedy festival! Taking the standard stand-up formula and injecting it with new life and a fresh new perspective. I definitely recommend checking out a Juliette show in the future!

Juliette Burton's Going Rogue and Hopepunk appeared at the Lord Roberts on Saturday November 2nd 2024 and as part of the LOL-GBTQ+Comedy Festival.
 Click Here For Article


Barbara Fernandez Singing, Sagging and Shagging

August 23, 2024    Fringe Review

Review of Barbara Fernandez: Singing, Sagging and Shagging

Barbara Fernandez Singing, Sagging and Shagging

Low Down

Barbara Fernandez Singing, Sagging and Shagging is built around the idea that trauma can be presented with humour, and Fernandez doesn’t shy away from sharing her own. She takes us on a whirlwind journey through her life.

Soaring vocals, belly laughs, and touching tales—that’s what you get when you spend an hour in Barbara Fernandez’s presence. She’s fearless, endearing, and utterly unflinching, a force of nature who leaves us laughing and reflecting. Fernandez is fearless, endearing, and utterly unflinching. She’s vulnerable yet confident, raunchy yet touching An hour in Barbara Fernandez’s company is an absolute joy.

Review

In a tiny space upstairs at Bar 50, Barbara Fernandez welcomes her audience with a song welcoming us, kicking off a cabaret show that swings from raucous humour to deeply touching moments. Edinburgh is full of intimate venues like this, where audiences gather in the hopes of discovering the next big thing, and Fernandez’s show certainly delivers an experience that’s hard to forget.

Fernandez has the audience hooked from the start, with one liners and stories that dance between mild and quite raunchy, depending on your compass on these things. It’s refreshing and empowering to see an older woman take to the stage with such confidence, unashamed of her past mistakes and bad choices—things we’ve all done but rarely talk about. She shares her mental health struggles openly, offering insight into her life with a lightness that never feels self-indulgent.

As a singer, Fernandez is a consummate professional, with a gorgeous resonant voice. She uses the microphone masterfully, always perfectly positioned to ensure every note resonates without overpowering the small space. The linking stand-up segments between songs feel a little less polished, but she is relatively new to stand up. Once she starts singing or telling a story, though, Fernandez is in her element, and the audience is swept along with her.

The show is built around the idea that trauma can be presented with humour, and Fernandez doesn’t shy away from sharing her own. She takes us on a whirlwind journey through her life, starting in Paris at 22 and moving through a series of boyfriends, husbands, jobs, and eventually, a diagnosis of Borderline Personality Disorder (BPD). But this is no heavy-handed exploration of mental health, the stories she shares often burst into song, with well-known tunes transformed by snappy, new lyrics that deliver delicious fragments of her life. In one particularly memorable moment, she pauses to ask the audience if they’re ready for the serious bit—a brief but insightful explanation of BPD, delivered with the same warmth and humour that permeates the entire show followed by a song about BPD, gentle, lyrical – a highlight of the show.

Overall, soaring vocals, belly laughs, and touching tales—that’s what you get when you spend an hour in Barbara Fernandez’s presence. She’s fearless, endearing, and utterly unflinching, a force of nature who leaves us laughing and reflecting. Fernandez is fearless, endearing, and utterly unflinching. She’s vulnerable yet confident, raunchy yet touching An hour in Barbara Fernandez’s company is an absolute joy.

And, in true Fringe fashion, she wraps up her show with a plea for reviews, donations, and, most importantly, spreading the word about this must-see show. And, being Barbara it’s in song! Click Here For Review


Edinburgh Fringe highlights: Euronews Culture's five comedy picks

August 21, 2024   Euronews

Article about Stories from the Office of a Sex Dungeon

Edinburgh Fringe highlights: Euronews Culture's five comedy picks

Stories from the Office of a Sex Dungeon
One of the Fringe’s most enjoyable qualities is the chance to encounter something brilliant on a whim. This Free Fringe show was a surprise highlight from Katharyn Henson, a New York-based writer who spends the hour regaling tales from her time working as a manager in a BDSM dungeon. The entire thing is a casual affair with Henson taking questions from the audiences about the strangest kinks she’s encountered, how everyone should rush at the opportunity to be findomed (look it up), and a Hasidic Jew’s innermost desires. Scheduled for 2.30pm, don’t be mistaken by the timing, this is very much an 18+ show. Click Here For Article


Barbara Fernandez - Singing, Sagging and Shagging

August 19, 2024    Theatre and Art Reviews

Review of Barbara Fernandez: Singing, Sagging and Shagging

Barbara Fernandez - Singing, Sagging and Shagging

Barbara Fernandez is sixty-something and embarking on her first Edinburgh Fringe with her outrageously funny comedy musical show Singing, Sagging and Shagging. Meet Liza Minnelli and Debbie Harry’s love child as she takes to the stage.

Fernandez has the audience engaged throughout the show with a range of mild to borderline humour. Her life has been a rollercoaster of emotions and events. Although for stand-up purposes it can be viewed that her life has been a material gathering exercise ready for her stand-up career.

The material is fresh and empowering for an older woman to take to the stage and bare her life in public. Unashamed of her mistakes and bad choices, which we are all guilty of but don’t talk about for fear of repercussions. She openly discusses her battles with mental health. Fernandez also explains why BPD is often undiagnosed by Doctors officially on medical records. No, it’s not because they can’t be bothered.

Fernandez isn’t new to show business and just wait until she sings one particular number and every inch of the talented professional singer fills the room. There’s still plenty more material waiting to surface from this talented lady and I am interested to see where her career takes her next.

Please check out the link below for Singing, Sagging and Shagging which is running in the new Bar 50 venue as part of the Free Fringe in Cowgate, Edinburgh. The Free Fringe has a fantastic variety of shows available across their venues this Fringe.

Four Stars. Click Here For Review


August 1, 2024   GlamAdelaide

Article about The Nutella Wars

 Click Here For Article


Edinburgh Magazine - Dave Chawner's New Show About 'Success'

June 11, 2024   Edinburgh Magazine

Article about Dave Chawner: Mental

Edinburgh Magazine - Dave Chawner's New Show About 'Success'

 Click Here For Article


‘The house of commons is a posh white peoples’ rap battle’

April 8, 2024    Morning Star

‘The house of commons is a posh white peoples’ rap battle’

ALVIN LIU is from China, where a thriving stand-up scene has developed in the past few years in Shanghai and Beijing — though your entire venue might get shut down if someone makes a joke that could even vaguely be construed as a slight against the motherland.

No such problems in Britain — yet — and there are some very funny Chinese comics up-and-coming on the London scene, including Chin Wang and the brilliant Blank Peng. Liu definitely has the chops to join them, with his by turns universal and deeply personal observations building up to an excellent debut hour.

The set begins as all comedy shows should: with the performer’s mother singing a karaoke song in Mandarin, and it’s Liu’s relationship with his mother, across decades, continents, viewpoints, and languages, that form the backbone to his material.

He is charm personified, putting this multinational and multilingual crowd immediately at ease — even the people who weren’t expecting it to be in English. We’re hooked into his world with a barrage of well-honed gags interspersed with quieter, more reflective, but still subversive material — some of which flies over the head of the audience, who seem occasionally unsure of how they are supposed to react.

Particularly brilliant are sections on depression — knowingly presented as a decadent Western indulgence — and Chinese schooling, in which one learns that one plus one equals China has a thriving agricultural sector.

Crowd-pleasing dunks on Japan — his perspective on Oppenheimer is worth the price of admission alone — are leavened with clever, unexpected observations on cultural differences over body image, sex, and sexuality. Liu’s thoughts on oppression, and how self-identity is policed even in the very young, are important in any language.

The conclusion to this hour is strong, but could perhaps be better seeded early in the narrative. The bits on racism are beautifully observed but could do with being further unpacked; Liu’s relationship with the West, via English teachers and American hip hop, is a rich seam worthy of further exploration.

And so, too, is the material about the country Liu and his mother find themselves in.

“Sure we can’t buy freedom, but you can’t buy eggs,” points out Liu in a gleeful reversal of orientalist assumptions. Britain’s economic, cultural and political decline is skewered brilliantly here, and I’m curious to see how it goes down in, say, Dunstable, or Doncaster.

Liu punches up and exposes the ludicrous nature of our own Parliament, and of our “two party” system — jokes that seem beyond our current, home-grown comedy establishment, but in a way that is inclusive, easy to access, and very, very funny.

He’s definitely one to watch, and I don’t mean in a surveillance-state kind of way. Click Here For Review


How is he still single?

January 21, 2024    FringeFeed

Review of 33 Years Single

How is he still single?

How is he still single?!?

From the beginning, Delby embraces the stage with his charm and wit, all the while, beaming a smile to make you blush. He is authentic in his approach and tells you real stories of his dating life, albeit not much of one, and how it came to be. Recounting stories, old and new, with punchlines peppered throughout, he tells these in a way that you can see reflect his hilarious personality.

Occasionally laughing at his own thoughts, he spoke out loud, he pulls memories and turns them into jokes, making himself cackle in the meantime.

I was on the edge of my seat, even spitting my drink out at one point.

Involving the crowd, but without heckling, he pulled suggestions and turned them into hilarious rap songs to compliment his show.

Delby is a must-see for your fringe experience. He will have you leaving the show with a grin, wanting to see his next show too. Click Here For Review


Beehavioural problems something something autism

August 16, 2023    Neurodiverse review

Review of Moving On... Really, Really Slowly

Beehavioural problems something something autism

★★★★

Appearing with a giant fluffy dog-head on and offering the audience chocolate bars if they are ‘good’, is how Sheffield-born comedian and former Lab Technician Stephen Catling chooses to open his show.

His absurdist performance is a joy and a masterclass in play. I was enthralled from the first moments to the (very) messy climax. Amongst all the strange musical cues and Stephen’s one impression (that of a growly neurotypical person) is a narrative of navigating the world as an autistic person. This comes in at such an obtuse angle that I feel some punters miss it entirely, and are merely captivated by the oddness of the set-pieces.

Stephen does employ a complete gear-change two-thirds of the way through the show, with details around working in animal testing and being bullied as an autistic person. It is a worthy detail to include, especially to educate audiences about the very real ostracization we face as autistic people and the horrendous questioning about our existence we endure. The gear change is perhaps too abrupt and needs to be finessed a little more.

Ultimately, the show is very funny, very enjoyable and serves as a showcase for an immensely funny talent. Click Here For Review


August 6, 2023    Neurodiverse Review

Review of Disabled Cants

“The most accessible, friendly and inclusive show I’ve ever seen” - Neurodiverse Review Click Here For Review


Review

August 3, 2023    All Edinburgh Theatre

Review of CeilidhKids at the Fringe

Review

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.

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


Good Dick Energy

February 16, 2021    Fringefeed

Review of Good Dick Energy

Good Dick Energy

Ok, ok I know what you’re thinking – this show is going to be super dirty and full of dick references. Well, it is full of dick jokes but the good kind – the funny kind. Grant Mushet has Good Dick Energy according to an audience member from a previous show. What does that mean? Well your guess is as good as mine, but Mushet thinks of it as having the balls to get up and do stand-up comedy even when he might bomb out. Believe me, bombing out is the least of Mushet’s worries in this FRINGEWORLD 2021 show! He’s a natural comedian spinning tales and telling jokes with an affable and carefree nature, and it’s absolutely worth the $20.

Grant Mushet is a loveable Scotsman who has lived in Perth long enough to have a good few sets and a string of ‘tight fives’ about the place. Retiring his material after this very show, Good Dick Energy is Mushet’s greatest hits – regaling us of stories when he first moved to Perth (well, Rockingham!) and the colourful cast of characters he has met along the way. Mushet’s style is casual and laid back – he turns standard anecdotes about Scotland and his upbringing and funny stories into the twisted musings of a whacko. I say this with the highest regards – Mushet is hilarious. This dark Polyanna sees things differently but with a surprisingly happy go lucky attitude – who else can see the up side of knife crime, unicorns, and lawn bowls?

Good Dick Energy is, on the surface a good, solid stand-up comedy show. Mushet happily peels back the surface layers and provides intelligent, nuanced, and surreally hilarious observations – it’s highly entertaining. There are ebbs and flows but even the ebbs are funny in the hands of this deftly affable guy who plays with the audience with great skill. Go and get some Good Dick Energy from Grant Mushet – you won’t regret it! Click Here For Review