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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


Beneath the glittery eyeshadow and red dolly-shoes, something is different about this soft December night.

August 31, 2026    Neurodiverse Review

Review of Twonkey's Soft December Night in Tallahassee

Beneath the glittery eyeshadow and red dolly-shoes, something is different about this soft December night.

After 16 years at the fringe, you’d think Paul Vickers, aka Twonkey aka Twonketta, would’ve said and sung all they’d needed to! But the latest instalment of the franchise, is more of a catharsis than performance. Ready with Timothy Horsepiss, a distressed stuffed kitten squeaking incomprehensible monologues and Transylvanian Finger Fantasies, the usual staples of a Twonkey show are manifested inside a collective ambient nightmare.

Beneath the glittery eyeshadow and red dolly-shoes, something is different about this soft December night. There’s a melancholy and seriousness in his asides. Fans of Twonkey will delight in reprises of Goat Girl and The Magic of the Black Forest yet will be unprepared for moments of deep reflection.

The moment when Paul reads a short story he composed whilst in psychiatric care, mingled with deprecating comments, ‘if this was ever to be successful, heaven forbid’, hits with an honesty and vulnerability. He ends the show with the final lines from Anne Frank’s Diary “I keep on trying to find a way of becoming what I would like to be, and what I could be, if…there weren’t any other people living in the world.” He treats the words with such reverence it sobers the audience.

Even the alternate dimension that Twonkey resides in can’t escape the anxieties of our age. His plaintive finale comes with the message to leave this giddy world alone. If what’s happening out there can pierce the joy of the fairground, things must be bad! Click Here For Review


Camping trips, grief and embarrassing your kids – the fringe shows embracing every facet of fatherhood

August 30, 2026   The Guardian

Article about Olaf Falafel Presents: I Used to Work in a Helium Balloon Factory Until they Let Me Go

Camping trips, grief and embarrassing your kids – the fringe shows embracing every facet of fatherhood

... multimedia fringe hour I Used to Work in a Helium Balloon Factory Until they Let Me Go. He takes great delight in detailing his teenage daughters’ withering responses to a career in comedy that finds him spending hours a day editing squirrel videos, making his own janky Meta glasses from Gü pots and animating a man who used to “twerk on the ducks” to accompany a misheard Bon Jovi lyric.

The difference here is that these dad jokes are regular award-winners and there are also some affectionate, relatable dispatches from dadhood – who hasn’t amassed their own mountain of those hairbands strewn in every corner of the home? One of the many things I loved about the show is how Olaf (it just sounds weird to call him Falafel) breaks off for a passing observation on how adopting a daft mask can be freeing, not just on stage – like a newly acquired, increasingly sweaty joke shop moustache as you try out some dad dancing – but in daily life, too. That’s a top fatherly tip. And there’s a nice final touch as his daughter cheerily holds the bucket for the audience’s money. Maybe he’s not so embarrassing after all. Click Here For Article


August 30, 2026    Theatre and Arts Reviews

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

101 Rules for a Better World (by Comedians) created by Leslie Gold. Three other comedians from across the Edinburgh Fringe take their seats on the panel to decide with the help of Gold, which rules should be made law in the interest of the UK public.

These new rules can be anything that the comedians find annoying or generally anti-social in their opinion. That will potentially help everyone on a daily basis.

Today’s show saw the disgusting habit of some spitting on the pavement being discussed and that when you order a fried breakfast that both fresh and tinned plum tomatoes should be served as standard. After all, who doesn’t like their bread or toast soaked in tinned tomato juice. It was agreed fairly unanimously that both should be served.

Another rule was discussed about football. However, it was discussed in some depth and will be better listened to if you can find the podcast. I certainly can’t even begin to explain it, a bit like the offside rule.

There’s an advisory notice before the show begins that it’s being recorded for a podcast and that it will eventually be available on demand.

Watching comedians add their own slant and comedy to these rules is a fun way to start the Edinburgh Fringe day at Bar 50 down in Cowgate. It’s part of the free Fringe and you’ll be invited to pay what you want.

The audience is also encouraged to add a rule into the show as well. Which will be discussed in the same way as the panellists. My advice is to come up with an idea that may or may not be heard. For a bit of light entertainment and to start your day with some comedy, this show is worth checking out. Click Here For Review


August 30, 2026    StandupCom Magazine

Review of Shaggers

Shaggers has become an institution at the Edinburgh Fringe - after providing 18 years of sex and relationships club comedy.

We love it, although it can be quite hit and miss in terms of the quality of its content. The show we attended was not a classic. Compere Nik Coppin was his usual enthusiastic and funny self, and opening act Jeannie Jones had some good material in defence of ladies' 'bushes' and against the vogue for shaving off pubes.

Michael Shafar was very funny, working each member of the front row to great effect. However, Ivor Dembina cut a shambling figure, trying to read gags from scrappy pieces of paper, treating the gig like a new material night and relying heavily on the generosity of the afternoon crowd. He was a last-minute stand-in, but, surely, after more than 40 years in show business he must have learnt some dirty jokes by heart! And Jay Sodagar got some good laughs but wasn't really taking the roof off.

All the same, it was an enjoyable hour - and I love the concept. So, I am giving the show four stars. Click Here For Review


August 30, 2026    StandupCom Magazine

Review of An Idiot's Guide to Murder

Entering this room was like walking into an oven. Clearly, the murderous Dr Tench had been planning to incinerate us all. It was also very crowded. As one punter whispered to me: 'There really is no escape!'

That said, I enjoyed the show - a whirlwind tour of serial killers and other bad folk. Laurence Tuck is gloriously amateurish and shambolic in his approach, with ponderous delivery and some gags so bad you wouldn't put them in a cracker. But, despite the sweltering heat, he managed to keep his audience engaged and laughing at the best of his jokes (and make a potentially libellous comment about Michael Barrymore into the bargain).

Moreover, Human Top Trumps was good, as were the OJ Simpson routine, the undercooked chicken gag and the drill sector. And his terrible singing somehow added to his revision of Robert Palmer's Addicted To Love - Addicted to Death!

What's not to like? This kind of half-baked, madcap show is what Edinburgh Fringe should be all about.

And Dr Death has promised not to murder me if I give his show four stars. So. . . Click Here For Review


August 30, 2026    StandupCom Magazine

Review of Carl Carzana THE Comedian Creative Genius *****

Carl Carzana broke onto the comedy scene in Brighton a few years ago - and was remarkable for his staccato style of delivery, getting laughs from few words, frequent pauses and dry observation.

I was fortunate to observe his early efforts at stand-up at the legendary Tight Five comedy club in Hove and, for reasons that are lost in the mists of time, became known as his 'dad' for around six years!

Carl, who is also a commercial artist and former Waterstone's bookseller, has blossomed into a very good comedian - and produced a wonderful hour of comedy.

In a venue not much larger than a broom cupboard, adorned with images of nineties pop stars he hated, Carzana expanded on his life's work of bigging himself up at the expense of more accomplished entertainers! He is well known for starting the Carl Carzana comedy competition, open to all talent, but only winnable by himself!

He opened a large suitcase full of props, unfortunately for me, completely cutting off my view of the stage, turning it into a kind of radio performance! But, no matter, his off-the-wall material soon had the audience splitting their sides. It ranged from his alleged showbiz dad (what about me?) to Bob Dylan, Shakespeare, 'ye do ye', Si Si to CC. Well, you had to be there. My friend, Stewart, enjoyed it just much as I did.

The drawings he produced of his heroes were wonderful, and his crowd play with Martin ('Can I call you, Martin?' as he kept saying) were hilarious. And I loved his glove puppets, Hermit the Hog and Mikey the Moose.

A fabulous show - and it is great to see how far Carl Carzana has come in comedy! Click Here For Review


August 30, 2026    A Youngish Perspective

Review of Between Strands

Between Strands starts with a striking question: Have you ever thought about what your hair holds? Performance company Pebble Theatre certainly has. Aiming, much like a pebble, to show how ordinary objects or things can create ripples through the world, Pebble Theatre’s Between Strands explores one woman’s attempt to deal with the death of her grandmother in Taiwan whilst living in the UK. Drawing on East Asian traditions, Taiwanese rituals, and the universal experiences of grief and loss, Between Strands honours the dead through the living, both connected in this unique, beautiful piece. Click Here For Review


August 30, 2026    British Theatre Guide

Review of East Infection

Yoky Yu is a riot.

In this curious venue with aircraft-style seating (all very much economy), she creates a controlled anarchy as she facilitates an audience therapy session liberally sprinkled with smut and silliness.

Drawing from her work as a therapist, she role-plays generational trauma with audience members, very few of whom are not picked on.

Hailing from China, she doesn’t hold back with gags about the surveillance state and child policies.

She has impressive improvisational chops and creates an inclusive atmosphere despite being utterly and gloriously inappropriate at all times. Click Here For Review


August 30, 2026    StandupCom Magazine

Review of David Tsonos: Club Comedian

With 10 people in the audience, half of them Scousers, veteran comedian David Tsonos had his work cut out. . . but he did all right.

The jolly journeyman is certainly no stand-up star - his material is a bit on the weak side. But he has bags of experience from 25 years of cracking jokes at clubs and comedy festivals around the world, and is pleasant to listen to, despite his trademark squeaky voice.

Canadian David may not have quite understood what nicknames are, but he had the odd good routine and gag, such as the triangle joke and his farm/firm bit.

But I enjoy this kind of thing: a decent guy with a good heart, trying his best, with modesty and workman-like professionalism. On a good day, he might have taken the roof off. Click Here For Review


August 29, 2026    Edinburgh Reviews

Review of 100% Badgers 2: Badgers vs Hedgehogs with Matt Hobs

Matt Hobs brings a fabulous new hour to Fringe this year, being performed alongside his successful original all badger show, 100% Badgers with Matt Hobs. It is often said that sequels will disappoint following a much-beloved original movie, book, etc., but I am happy to report that Matt Hobs has not fallen into that particular predicament.

Cozying up to the badgers
Walking downstairs of the bustling City Café, I found myself entering a modest karaoke room, face to face with the blank stares of the ’90s and early ’00s popstars adorning the walls, but also a kind and enthusiastic Matt Hobs, amongst the other attendees.

He was his own box office – checking tickets, kindly offering use of his fans for anyone who might overheat, and announcing refunds before the start of the show for anyone affected but the potential/very likely claustrophobia that may be experienced in a room of that size and at that capacity. Overall, a very considerate preshow experience, and a pleasant way to get things started.

Hedgehogs up top
Hobs dove headfirst into the performance, plying the audience with many a cute photo and video of hedgehogs and badgers alike, while also educating us on the tendencies of these animals, how they have found adaptation around our existence, and how we might help them along their way.

As the hedgehogs were the newcomers to the show, we spent a good amount of time learning about them in the beginning, to then transition into full badger mode for much of the remainder of the show.

This man loves badgers
Throughout his time onstage, alongside the details of badger rescue, how hedgehogs were often and incorrectly portrayed as stabbing fruit with their bodies, and in inventive peanut butter sandwich on a stick, Matt Hobs’ true appreciation and respect for animals and specifically badgers shone through. As well, some deeper human questions arose to give greater context to the badgers as well as ourselves.

How does one deal with imposter syndrome around the work they’ve spent much time and passion doing? Do we really need to choose one cause to champion at the expense of all others? If we find ourselves unable to help badgers, can we help hedgehogs instead or as well?

Overall
There are few things I enjoy more than sitting and listening while someone shares all about their specific interests with me, and this was an entire Fringe show of that.

With charm, the standard dose of proprietary self-deprecating humour, and a rather excellent slideshow, 100% Badgers 2: Hedgehogs vs Badgers with Matt Hobs was a delight to take in, and should you enjoy badgers, hedgehogs, or having a fun/funny educational time, this is definitely a show to be seen and a person to keep an eye on. Click Here For Review


August 29, 2026    Broadway World

Review of Sid Singh: Love Bombing

Comedian's Choice Award winner Sid Singh returns to the Edinburgh Fringe with activism, political intention and a good dose of love-based reckless abandon.

Sid Singh opens Love Bombing with the claim that he has given up. Thankfully, nothing could be further from the truth. Whilst the political landscape may have left him feeling defeated, his comedy remains sharp, engaging and filled with purpose.

Singh claims he does comedy in much the same way as politicians do. He confidently assures the audience that we are in safe comedic hands, whilst reminding us we would be in terrible financial hands. It is an opening which immediately establishes his dry wit, charisma and limitations.

The heart of the show centres on the true story of Singh agreeing to go on a date with his alleged stalker. Preparing to bore them with tales of male privilege, deep insecurities and a brooding Robert Pattinson style approach of deep insecurities, he instead discovers someone far less unhinged than expected. The story unfolds with warmth, intelligence and plenty of unexpected twists, delivering laughs whilst quietly challenging assumptions.

Alongside the personal anecdotes sits Singh’s enduring commitment to human rights law. His work with the Centre for Gender and Refugee Studies, which recently marked its twenty fifth anniversary, provides the emotional backbone of the show. Having delivered a keynote address during the anniversary celebrations, alongside a respected victim survivor in the field, Singh reflects with genuine pride on the organisation’s impact. His admiration for his former professor and the development of case law by the teams dedicated lawyers demonstrates that, despite his opening declaration, he remains firmly committed to fighting the good fight. His committment to perform comedy in order to support people in need of legal help via donations is admirable and heartfelt.

Singh also mines plenty of humour from his move to Barcelona, his romantic disappointments and the increasingly unsettling state of international politics, particularly the worrying rise of nationalism across the world.

In Love Bombing Singh never loses sight of the humanity behind the headlines. He skilfully balances legal insight with personal storytelling, producing an hour which is both thoughtful and amusing. Sid Singh delivers comedy with a conscience, by a performer whose greatest strength lies in making legal issues feel accessible without losing sight of the laughs. Click Here For Review


August 27, 2026    EdFringeReview

Review of 100 Million Fish in the Aquarium

Following her debut appearance at the Fringe last year, Shannon Brooke is back again to present her wonderfully charming hour of stand-up in 100 Million Fish in the Aquarium. Weaving between topics of mental health, family history and spending Christmas alone Brooke is evidently not afraid to address some of the more somber aspects of her life and yet, she does so with such great humour and optimism that it ultimately makes for a splendid hour of entertainment. Click Here For Review


August 27, 2026    The Real Chrisparkle

Review of Rizal Van Geyzel: Arrested

One of the joys of the Edinburgh Fringe is discovering acts from all around the world that you’re unlikely ever to see anywhere else – and one such chap is the very funny Rizal van Geyzel, in his Arrested show. He opened the first-ever comedy club in Kuala Lumpur, a bold step in his native Malaysia, a country that, at the time, didn’t understand the concept of stand-up. Rizal tells of how the club came about, the hoops they had to jump through to get a licence, and how, eventually, it was a great success, until one open mic night when it all began to unravel… Rizal has a terrific onstage presence and an amazing connection with the audience; Arrested is jam-packed with excellent, original material, which is not only laugh-out-loud funny but also very thought-provoking. He is an easy, relaxed person to share a comedy venue with, a very safe bet on the Free Fringe. Highly recommended! 4 stars. Click Here For Review


August 27, 2026    Three Weeks

Review of Laughing Horse CLEAN Pick of the Fringe

I’m not about to try and review half a dozen stand-up comics’ sanitised short bits, that’s not really the point of writing about this show. It’s more a prompt for parents like me, whose kids are starting to bump against the upper age-range limits of the childrens’ programme, but for whom next steps can be hard to gauge, particularly for stand-up comedy. This show has six stand-ups doing ‘clean’ – there’s a swear jar by the stage – 6 or 7 minute bits from their actual shows. None were one-star, none were fives. But, for the opening of a window upon new worlds of possibility, and a primer on what the Fringe actually is and/or once was, well worth a spin. Click Here For Review


August 27, 2026    One4Review

Review of 4 Better or 4 Worse

Well, here’s a conundrum, Muslim girl from Kazakhstan, falls for Christian boy from Macedonia, and in “4 Better or 4 Worse”, real life couple, Aisha Amanduri and Vlad Illich, navigate the potholes on this road to love and maybe wedlock.

Each of them entertaining us to a section of their own brand of humour mostly about how they’ve arrived here as immigrants and managed to make their way in life to becoming British citizens. Taking the Life in the UK test is no laughing matter, especially when you have to study up on Henry VIII.

They both have a lovely chemistry when they are performing together, Vlad’s Balkan tales mix in beautifully with Aishas stories about growing up all over the world. Their childhood stories are very funny and although their lifestyles and cultures may have been very different, now living in London, they have come together to carry out their dreams as comedians and performers.

It’s a well thought out show that still needs a few tweaks here and there, the roast battle at the end needs some attention. I’m keen to see how this show develops and becomes a much stronger and tighter set. Click Here For Review


August 27, 2026    One4Review

Review of John Robertson: Excitable Boy!

Can you do your thing on a driech Tuesday with no front row and ten percent of the seats filled scattered round the room? It wasn’t quite that dire, and a good number of the audience knew the score, but yes, Robertson can bring exactly the same enthusiasm, love and energy on a quiet Tuesday as a raucous Saturday.

His thing is a love of the crowd, and he expresses his love through creative insults, quick-fire responsive punchlines, and generally being an absolute gremlin. John Robertson is a man who loves firing up a crowd. He spent twenty minutes manipulating the audience/ being manipulated by the audience into wild cheering as a result of a high five. It’s high-quality and highly-skilled crowd work, from a lovely man with a finely tuned sense of what’s working (and what’s not) and iron-clad self-confidence.

Robertson isn’t a cruel comedian, despite the insults, and generally seems to play with audients who’re up for it, easing away from those who look overly terrified. It’s not all crowd work; there is (Robertson assures us) a plan, it’s just something else looked more interesting to play with before we got to the plan. We were treated to three songs and a poem, each showcasing Robertson’s proclivity for provocative titles hiding deep thoughts and other profundities. Robertson is a comedian who benefits from some prior knowledge, and is definitely not going to suit everyone, but for the initiated and the willing, Robertson is a reliably unpredictable high-octane whirlwind of fun. Click Here For Review


August 27, 2026    One4Review

Review of 1 Dazzling Cabaret

Cabaret is easy to come by at the Fringe; good cabaret is harder to find, and on the resplendent stage we get the best in show, high-class, high-energy cabaret.

Host and comedian Bruce Devlin is a wonderful ringmaster, controlling the room with a playful authority. With his excellent, honed comedy background, he’s in full control, subversively making everyone know when Daddy is talking; everyone listens.

First up is Honey Velvet, with Rihanna blasting out as the soundtrack to an S&M fantasy. She’s part nymphet, part lion tamer, whipping it, whipping it good, with just the right amount of tease. At times it’s breathtaking, and it isn’t whether she can tame the audience, but whether the audience has any chance of taming her.

Assistant Tegan keeps the machinery moving, collecting clothes and keeping the flow between acts seamlessly. Scarlett de La Velvet brings another dose of old-school glamour, channelling Mama Morton with exactly the right amount of class and style, while cowgirl Lily Phoenix spins more hoops on her than a well-thrashed Celtic defence.

Then comes Bachata, a dance duo somewhere between tango and ballet, all sparkle and precision, coupled with enough natural body heat to have the back row reaching for a fan.

Things get slightly looser with Sean Harrington, whose sleight of hand and sharp crowd work lead to a particularly inventive twist on the old pulling-a-rabbit-out-of-a-hat routine. It’s magic, but with enough mischief to make the traditionalists nervous.

On the home stretch, statuesque Rosie Chic, like an X-Men Emma Frost in human form, bamboozles the room with a fur shawl, hair flicks and enough attitude to fill the stage. Tonight’s highlight, though, is Loid de Lagoon, whose outstanding feather work turns the stage into a glorious explosion of movement and glamour.

To round off the show, Roxi Kiks delivers a full-on tigress kitten routine, prowling around like a goo-goo muck beast looking for a feast.

Overall, this is a big production, beautifully paced show, and one that knows how to leave its audience wanting more. Click Here For Review


August 26, 2026    EdFringeReview

Review of Anti-Fascist Pasta Night

Ron Placone's Anti-Fascist Pasta Night - half stand-up set, half political commentary - is a well-executed and informative, if slightly panic-inducing, hour. Armed with the facts, Placone dissects the daunting and bizarre state of affairs from across the pond in a show that is urgent, if not always funny.

Placone has made a name for himself as an American 'political comedian' and you feel in safe hands with him at the helm, navigating the tempestuous subject matter of the current state of America. A lot of the time I wished he was joking, but he really wasn't. He breaks complicated ideas down into digestible pieces, and the audience clearly valued hearing it from the horse's mouth - a Q&A section halfway through gave them the chance to ask any burning question.

The construction of the set, however, could do with tweaking. The stand-up segments that break up this unconventional news broadcast are jarringly disjointed in tone and scale. He moves from conversations about ICE, food recalls, fossil fuels, and disease to anecdotes about cat litter and Duolingo streaks results in tonal whiplash, and these lighter bits can’t support the weight of the political material surrounding them. His political commentary, in fact, feels strong enough to have stood alone, and his comedy is most impressive when he finds a punchline amongst the turmoil.

That disjointedness makes me wonder what the intention of the hour really is. I've left other stand-up shows built around similarly serious subjects feeling energised, with a sense of action and a slightly clearer view of the world. Anti-Fascist Pasta Night prioritises informing its audience instead, even if that leaves us a little overwhelmed by what to do with everything we've just heard.

That said, Anti-Fascist Pasta Night is an important show with a real mission and real stakes. Placone is passionate, articulate and unapologetic. His unwavering dedication to the careful delivery of truth, with comedy as his way in, is admirable. This gathering of people dedicated to confronting and resisting an uncomfortable reality is a defiant act in itself - and therein lies the glimmer of hope within this show. Click Here For Review


August 26, 2026    Chortle

Review of Will Sebag-Montefiore: Game of Phones

Will Sebag-Montefiore has been steadily growing a solid following on social media with his satirical songs and sketches. Although he describes how dispiriting it is to have to keep feeding the monster with a constant barrage of fun content for free, it does draw him a packed room at the Fringe.

Life online also means life in the comments section, so the good-natured comic knows all about getting abuse from the political right. Jibes from the manosphere about his hair loss are a constant, he says, complaining sarcastically that ‘making men feel slightly insecure about the way they look is something women could never understand.’ But while he used to shrug off the insults, when a real transplant clinic offered him a freebie, he thought he’d give it a go.

That’s a minor narrative backbone for a show that otherwise features the same disjointed collection of jaunty political songs and other miscellanea as his reels, each given a caption here by an AI voiceover (which his wife is very good at providing).

These include smart one-man sketches such as the British nationalist answer to Irish provocateurs Kneecap. That this mocks the rose-tinted nostalgia for an unachievable past as weaponised by Reform is no surprise, as Sebag-Montefiore’s deserving targets are all drawn from the same political dumpster, which also includes the likes of Elon Musk, Andrew Tate and Jordan Peterson (here portrayed as a hacky stand-up, which is pretty much on point). This is quite a bleak landscape, but it's amazing what a great beat will do, and Sebag-Montefiore keeps things buoyant.

He uses song parody for good, such as a Mumford and Sons rewrite mocking the reinvention of the band’s banjoist Winston Marshall as a right-leaning podcaster (not quite as surprising as it first seems given his hedge fund manager dad co-owns GB News).

Across the board, the points Sebag-Montefiore is making are pretty much what any progressive would expect, proving you don’t need an algorithm to provide an echo chamber.

But they bear repeating, not least to remind his audience that there are plenty of like-minded people who find the onslaught of awfulness abhorrent, and deserving only to be laughed at. And he does so with smug dad jokes, jolly tunes and disarming self-deprecation. And a full head of hair? You’ll have to see the show to find out…. Click Here For Review


August 26, 2026    The Student

Review of 9/11 Birds and the Bees

Never did I expect to watch a stand-up show about 9/11 — even if I was going to watch such a performance, I would never have expected it to be whilst sitting in airplane seats installed in an Edinburgh bar. This comedy was undoubtedly dark but also profound, exploring the light side of one of the most pivotal events of the 21st century.

Focusing on Sofia May’s experience going to middle school just 2 blocks from the World Trade Centre, this was an hour of skilled dark comedy — a mix of personal stories, geo-political jokes and some sombre, touching moments. It is nothing new to make a story out of where you grew up, however using 9/11 as a hook for a Fringe show is certainly an impressive level of innovation.

Unusually, audiences were sat on plane seats during this performance — whilst unorthodox and dark, it certainly brought the performance to life and allowed for some creative jokes. Whether it was a touch too morbid or not might depend on the audience member. In my opinion, some work to tighten the jokes and flow would likely improve the set.

I enjoyed the segment discussing what is (apparently) a New York tradition: comparing 9/11 stories. This was fresh and authentic, immersing us in May’s story as she defended her school’s right to be ‘The 9/11 school,’ a title they lost to another local school.

Similarly, comparisons to comedian Pete Davidson’s 9/11 story (his father died in the tragedy) further reminded audiences just how broad, personal and long-lasting the impacts of 9/11 were. Sombre moments, though not always a staple of the comedy show, were important in this context.

Throughout the performance, I felt as though May was truly invested. For example, she shrieked a lot, playing into a slightly mad and traumatised persona. This — as with the rest of the show — allowed audiences to connect with the story, making for an immersive and darkly funny stand-up set. Click Here For Review


August 25, 2026    The Scotsman

Review of Carl Carzana THE Comedian Creative Genius *****

A comic and illustrator with puckish inventiveness and skittish joy in a range of comic styles, in his cramped venue, Carl Carzana is determinedly alternative. But in his oversized, prematurely ageing him red jacket, there's an awful lot of the old-fashioned variety act in him too.

Stringing together song pastiches, visual puns, sketch caricaturing, flip charts of “nearly phrases”, heavily fictionalised autobiography and even puppetry, his Harry Hill and Vic and Bob influences are evident. Yet he's distinctive enough, his incessant non-sequiturs amusing rather than frustrating.

Put simply, if a maddening reworking of the Only Fools and Horses theme tune to plug one specific household item isn't for you, then perhaps you'll get something out of his intellectual property abusing soft toys.

Appreciating a rather lively crowd on the day I caught him, he gave as good as he got and forged a Stockholm Syndrome-like spirit of togetherness in his more out there endeavours. Some of this show flummoxes, some of it bombs. But it's all offered with generosity of spirit and the stubborn verve of a youngish man who sees little need to compromise. Jay Richardson Click Here For Review


August 25, 2026    One4Review

Review of 2 Slut Drops and a Chicken Burger

If you’re looking for an emotional rollercoaster, Kirsty Munro delivers just that. Packed with awkward moments, unexpected turns and plenty of jokes along the way. I thoroughly enjoyed this set, as did the rest of the audience on that rainy Fringe afternoon in the Grassmarket. There was a wonderfully relaxed atmosphere in the room, with Munro quickly establishing an easy rapport with the audience and making the material feel conversational and personal.

Her dance skills alone are worth the price of admission; I don’t think I’ve ever seen a ‘slut drop’ performed with such unique enthusiasm. It’s the sort of wonderfully ridiculous moment that captures what works about the show: Munro is clearly willing to throw herself into the material, both literally and figuratively, and there’s a likeable sense that she doesn’t take herself too seriously.

The way the performance transitions into a lighthearted exploration of neurodiversity, feminism, and relatable real-world antics is what makes the show so enjoyable. Rather than feeling like a lecture, these themes are woven naturally into stories and observations, giving the audience plenty to laugh at while still leaving them with something to think about.

Munro’s biggest strength is perhaps the sense of authenticity she brings to the stage. The comedy feels rooted in genuine experiences rather than carefully constructed for effect, and that gives the more personal material an appealing warmth. Even when the subject matter becomes more thoughtful, the show never loses its playful energy.

Comedy rooted in genuine experience and delivered by a talented performer is always a welcome addition to the Fringe. There’s a good mixture of silliness, awkwardness and more reflective moments here, making for an entertaining way to spend an afternoon. Kirsty Munro is clearly a performer with plenty to say and an engaging way of saying it, and I hope to see her become a regular fixture at the Fringe in years to come. Click Here For Review


August 25, 2026    EdFringe Review

Review of 100 Million Fish in the Aquarium

At the start of her intriguingly titled show 100 Million Fish in the Aquarium, Shannon Brooke announces in a mock Q-and-A session that she will absolutely not be talking about actual fish. As it turns out, the Australian stand-up comedian is only partially telling the truth, playing with audience expectations in a way that emerges as characteristic as the set progresses.


Nestled in an intimate, and rather remote, venue in the basement of the Hanover Tap, the show acquires a personal, almost confessional nature, allowing the audience to feel at ease in Brooke’s friendly company. Her compellingly cheery delivery becomes the hallmark of her routine, bolstered by confident crowd work that never strays into the bullying, interrogative style (of which I live in perpetual fear), but works rather to cast her as an approachable, down-to-earth friend in a pub, her magnetic personality establishing her connection with the audience from the start.


Her routine is aided by the visual accompaniment of a slideshow on which she projects graphics and screenshots of WhatsApp texts, granting her show another dimension expertly timed to complement her sense of humour, and her somewhat absurdist manner of storytelling. Brooke’s sense of individuality shines throughout; there is no hint that she is attempting to imitate anyone or be anything other than her own authentic self. Her material does not shy away from the lived reality of her OCD, incorporating the deeply personal into a show in a way that is not, however, allowed to utterly define either the performance or the performer. Instead, it becomes part of a broader collection of anecdotes, such that Brooke succeeds in balancing revelations about the more intimate parts of her life with witty deflations and entertaining tangents, somehow surprising and relatable at the same time.


Her confident delivery is facilitated by her engaging cadence, punctuated by her dry observations, good eye-contact, and amusing facial expressions, and the show maintains a good pace throughout, although the segment on the kidnapping of her dad’s stepson does drag on just a little too much. Brooke prioritises the gloriously silly, and her performance style effectively precludes the boredom of her audience. The ending to her show, however, feels rather understated, lacking the requisite punch that would have done justice to the vibrant material that comes before.


Her routine, on the whole, is neat, its structure tightened by her clever use of callbacks, such that, despite the bizarre quality of some of her material, the audience is never at risk of feeling lost. Brooke’s originality, enhanced by the easy-going relationship she maintains with her audience, makes her show a diverting, and, at the same time, laid-back, way to spend an afternoon at the Fringe. Click Here For Review


August 25, 2026    Binge Fringe

Review of Queer Diary

LGBTQIA+ Fringe performers read their real teenage diaries, angsty poetry, thirsty fanfic and terrible tumblr posts. A different line-up of queer performers every night, sharing hilariously cringe-but-true tales from their coming-of-age era.

From the moment you walk through the door, Beth – the graciously chaotic host – makes everyone feel so comfortable making the room open itself up into discussion to get them warmed up and then starting the night off with diary entries of a 14 year old self with best friend at the time, ‘Lindsey’ and the chaotic gay things they would be up to in the early 2000s.

During this event, three readers (who signed up beforehand) read/told their own stories from their past selves, selves before they came out, selves before they grew the confidence and selves before they reached where they were today creatively or not.

This evening’s stories were a Swiss queer thesis explanation, stories from childhood up to adulthood and someone’s first play with the iconic line of ‘hey dad, where’s dad?’

Each of these performances by normal everyday people were absolutely stunning, the welcome the audience and Beth gave to each one really felt like a friend was just telling a story. With all generations of queer people in the room, it was interesting to see what angles people were taking with each revelation and slowly the room opened up into more discussions and what the future will look like for us.

Every night is different so this is one that you can easily make a tradition, but the midnight start does send you off into the depths of the night. Click Here For Review


August 25, 2026    On The Mic

Review of 100 Million Fish in the Aquarium

Shannon Brooke should really put her name in the title. It deserves to be there. She’s an accomplished comedian. This crowd knows it, the popular Hanover Tap’s back room is brimming past capacity.

The performer kicks of the show by answering some frequently asked questions. She explains, among other things, that she’s an Edinburgh based Australian comedian and that the show isn’t about fish.

I won’t spoil the plot. Strap in as, with the help of some very funny visual aids, you are transported across the globe. It’s a wonderfully entertaining story, with cheery delivery, confident crowd work, and a world of great jokes.

Go and see Shannon Brooke before she gets famous. Be quick. Stardom, if that’s what she wants, isn’t so far away, I think.

Martin Walker Click Here For Review


August 23, 2026    Entertainment Now

Review of Olaf Falafel’s Stupidest Super Stupid Show: This Time It’s Stupider!

Olaf Falafel’s kids’ show at this year’s Edinburgh Fringe is exactly the kind of performance that understands what makes a modern child laugh. Fast-paced, energetic and packed with puns, like ’67’ and ‘unc’, it keeps children entertained from start to finish.

One of the show’s biggest strengths is its clever use of wordplay. The puns come thick and fast, but importantly, they feel relevant to a new generation of children. There is a real sense that the jokes have been created with today’s kids in mind, rather than simply recycling the same old children’s comedy. The humour is silly without feeling dated, and the audience is constantly encouraged to listen out for the next ridiculous punchline and whether they will be called on to help Olaf with whatever stupid thing he is doing on stage.

The pace is relentless, in the best possible way. There is very little time to get bored, with jokes, stories, audience interaction and physical comedy following one another at lightning speed. Olaf has a brilliant ability to keep the energy high.


It is also a show that doesn’t take itself too seriously. At times, things become gloriously messy, adding to the chaotic fun. While for a second the audience might think something has gone wrong suddenly the mess becomes part of the entertainment, creating some of the biggest laughs and making the performance feel spontaneous and unpredictable.


Overall, Olaf Falafel’s Fringe show is a brilliantly silly piece of family entertainment. It is quick, witty, pun-filled, and occasionally chaotic, with enough energy to keep even the most easily distracted children engaged. Most importantly, it makes the children feel seen and included, not just with words but with the performance itself. Click Here For Review


August 23, 2026    The Student

Review of Laughing Horse Pick of the Fringe

The Fringe can at times be overfacing, and with so many incredible comedy acts, it’s difficult to know what to book, and whether you’ll enjoy it. The Laughing Horse Pick of The Fringe is essentially a try before you buy of some of the best comedy acts of the festival, giving you a 10-minute taster session of five acts. It’s a fantastic and fun way to get a feel for the comedy scene.

The night kicked off with emcee Dave Chawner who expertly warmed the crowd up and established an open, fun atmosphere which carried throughout the show. Chawner introduced each act with short interludes of his own comedy, which kept the energy high and made for a great crowd.

The first two acts, Australia’s Ty Gray and Canada’s David Tsonos, shared similar themes about cultural differences that they shared with the UK and with their respective partners. This is always a risk of having multiple comedians perform, however these similarities did not detract from their sets which both kept the crowd laughing.

Steph DePrez followed, an American opera singer whose act consisted of her performing Italian opera and then translating it into a ‘valley girl’ American accent. Although simple in concept, this act was hilarious and her vocals were simply stunning.

For me it was the final two acts that stole the show. Hasan Al-Habib’s crowd work was hysterical, his set about his Iraqi-Muslim background was delivered at a fast pace with jokes consistently hitting. Finally, ‘Silky’ was easily the funniest act of the night for me. He arrived on stage with acoustic guitar in hand and performed an improvised song about audience members which was not only hugely impressive but hilarious.

I can’t guarantee that every Pick of The Fringe show will have such a strong line-up as this one, but if you are looking for a quick sample of the comedy that the fringe has to offer, this is the fun, fast paced, and varied show for you. Click Here For Review


August 23, 2026    Entertainment Now

Review of The Buddha Wears Prada

Performed in one of Edinburgh’s longest standing cocktail bars, the Dragonfly. A fairly small and enclosed venue resulted in a very intimate feel for this show, it also made it feel a little creepy.

Sofia May is a survivor of a Buddhist cult in the Colorado Mountains where she acted as the leader’s assistant for 7 years until she got out.

From the offset she warns the audience about just how dark the content of this show will be and that just because it runs at 3pm in the afternoon does not mean it’s going to be the kind of thing you could drink a cup of tea with. She is also not supposed to talk about the cult and that her old ringleader is extremely angry that she is doing it, which made me feel like I was part of some scary secret pact.

This stand up mainly centres around how much she now hates Buddhism and everything they stand for, even going as far as calling herself a “Buddhaphobe” and slamming the ease with which the religion’s doctrines can be exploited by narcissistic endeavours.

Like most people who find themselves joining a cult, she enjoys it at first. That is until she starts working for them. The leader herself was a clear narcissist and would do anything to tear other people down if it meant she felt better about herself. Unfortunately for Sofia she was her next victim.

This performance is definitely not all sunshine and rainbows, although the cult does take credit for rainbows!


If you like true crime documentaries and toxic mother-daughter relationships, this one’s for you. Click Here For Review


Recommended Show

August 23, 2026   Fringe Review

Article about Anti-Fascist Pasta Night

Recommended Show

Low Down
Ron Placone is back at the festival, having been here in 2023. This time round he has brought a railing against the current state of politics and life in America. In an hour of anecdotes and observations he takes us on an amusing wander through why cats are anti-fascist and things make little sense in the US to the point where he tells us of the origin of the title of the show. Mussolini banned pasta and so partisans held regular Anti-fascist Pasta Nights and there are apparently some in the UK including one in Glasgow and one in Edinburgh.

Review
Placone is an engaging performer and his stand-up is easy to like and enjoy. The material tonight meandered a little at times but followed a flow. Instead of telling flat-out jokes, Placone highlights the absurdity of a current political administration that is very difficult to satirise given that it is satirical by its own very nature.

The venue was pretty odd. Downstairs at Westport there is a small space used for their shows which on one side is filled with aircraft seats. It makes looking at this stage from anything apart from the side aisle quite difficult, but it doesn’t detract from Placone’s set.

It was never going to be a circus act that you might lose some perspective on.

The stories told are really interesting and I came away wanting to know more about this filmmaker’s podcast with his father for example. I wanted to know more about his filmmaking! The question and answer session as well I found interesting and Placone is well able to work a crowd, though perhaps given the small nature of the venue he got less of a crowd than he was used to.

Technically there was not much to it, as there are not always in Free Festival shows, though Placone gave a warning halfway through as to what was going to come at the end obviously wanting to make sure he had his airfare home, which he continued to use to make amusing commentary upon. One wonders of ICE will meet him at the Terminal, given his subject material.

Anti-fascist Pasta Night introduced me to a phenomenon I had not been aware of – the resistance through food – and in the context of where we are just now it is vital to understand our fight against fascism is one that should always be at the forefront of our mind. They don’t go away, they just adopt a different suit, a different hairstyle and they may even mimic what you wear. Vigilance is key. Anti-fascist Pasta Night does exactly what it sets out to do. This is a stand-up which amuses. Click Here For Article


August 23, 2026    Mix Up Theatre

Review of Anime-Zing Kids!

Stewart - ★★★★

"Quite a unique little experience for a children's show where the children get a little insight into what it's like to be a voice actor. Its well lead by the hosts who are very accomodating of all the children and control the chaos very well - junior's tooth fell out half way through the show whilst doing a game and caused a bit of a riot. It was fun for the kids to try out vocal work and the voice over of the anime was great fun. It might be worth considering having a variety of clips however to suit the audience attending - the clip was very female character focused for a room full of mostly boys."


Mix Up Junior (Age 7 ) - ★★★

"The best bit was when I was getting to hold the microphone and do the voices of the characters - rock and roll! And my tooth fell out."


Ben (Age 8 ) - ★★★★★

"I give it 10/10 and thought it was very interesting." Click Here For Review


August 21, 2026    North West End

Review of The Pleb's Pow Wow

And if you do end up with a Rhino-sized hamster in your kitchen, make damn sure it has its trousers in order and understands the recommended toilet manoeuvres. You get meh?

‘Mon there, keep up. Especially Keith from Canada. There’s audience sympathy for Keith, for so quick and break-neck is the pace of this show, it’s a tall ask. Speaking of which, just take a moment to contemplate the diminutive Hazel Blears given the responsibility for floods back in 2007? Speaking of politicians, there’s a brief assessment of prime ministers from Tony Blair, Gordon Brown et al up to and including Andy Burnham. It’s exhausting, impossible to take your eyes off him or take even a second to pass comment to your neighbour. There are twists and turns, but Stone doesn’t slow down for any of them. It’s a delightful, apparently ungoverned ramble… maybe ‘rampage’ would be a more accurate term… Stone describing his default state as ‘angry, irritable, with a hint of impotence’. The word ‘apparently’ reflects the fact that Stone’s a seasoned campaigner (check CV alert) because there’s skills-a-go-go evident; as the audience enters, he dances and greets, the words ‘infectious’ and ‘enthusiasm’ clearly coined with characters like him in mind. He ponders thoughtfully on the theme – and modern-day importance – of storytelling, highlighting how wrong’uns like Henry VIII and/or Cromwell (Brexit 1) or Boris Johnson (Brexit 2) were able to get away with illogical nonsense, yet (Sir) Keir Starmer failed so sadly. He also riffs on language (the pedantic pursuit of), homemade hash cakes, Ibiza, sleep, ADHD (wouldn’t be the Fringe without, would it?), the Australian immigration ‘points’ system, pets, phones, even finding a moment to – almost – hilariously excuse Hitler. A man let’s just say, with less to lose than those he persecuted. Although the Golf reference seemed to sail over a lot of heads.

None of the above are spoilers since, based on today’s evidence, the topics will shift and alter from show to show. The only thing that grated was the frequent use of the phrase ‘I think you’ll/we’ll all agree…’ It belongs in the bin with ‘Let’s face it/be fair’. Click Here For Review


I’m Melting: The Unknown Terrors of the Fringe

August 21, 2026   Neurodiverse Review

Article about Twonkey's Soft December Night in Tallahassee

I’m Melting: The Unknown Terrors of the Fringe

Paul Vickers, former Dawn of the Replicants frontman and autistic Fringe stalwart shares some of the experiences he’s gone through over the years, part reflection, part warning, dig into the magical mind of Twonkey/Twonketta.

I’ve been performing at the Fringe for 16 years in various situations, alter egos, outlets and environments, but there is a darker side to the Fringe.

Falling asleep on a bus.

At some point during the Fringe, you may fall asleep on a bus due to pure exhaustion. The best thing to do is recover in a dignified manner, wipe any dribble that may have occurred during the time of your passing, then try and locate where you are. If you are not familiar with the city, you may become confused, distressed, and disorientated quickly. Remember as my grandma used to say you’re never lost with a tongue in your head, there’s always a kind stranger waiting to help. Ask someone directions, get back on the bus and return to a location that you feel comfortable in, then proceed as normal.

Disintegration.

At some point during the Fringe parts of your clothing will evaporate or be destroyed. Previously I’ve had pairs of shoes that have split in two and fragmented into lumps during the run. This year, the inside pockets of my Inspector Clouseau coat got holes in them overnight. The lining has evaporated and eroded rapidly, however the coat was made in 1969. For some reason the Fringe is really hard on fabrics in particular and I have noticed every year that clothing I’ve worn for years starts to become damaged and unusable within a matter of a week or two, so always be prepared by bringing extra clothing and a good handful of shoes are useful because the chances are the clothing that you normally use, including costumes will not survive the run. There will be some sort of incident where your clothing will perish or ruin.

Crying in the Chapel.

Elvis was famously proud of the fact that he was not afraid to cry in the chapel. If you need some space, peace and quiet to reset your mind, a visit to a church even if you’re not religious is a good opportunity to check in with yourself . Simply get on your knees in the pews, light a candle and give thanks to your very existence. Remember being humbled by everything is a good thing to do. There’s more important things in the world than your show and a Fringe run can make you a little self-centered and self obsessed. So taking a moment to accept the glory of God is not a bad idea. It puts you at one with the universe and at peace with yourself.

The Importance of Bubble Wrap.

Objectivity: if you are a proper comedian like myself (I.E you use props), you will need to look after your antique puppets and curios. I use about 14 metres of non perishable bubble wrap. It’s always good to use a hard case suitcase rather than a soft case one as in the communal areas things can become too compact, crushed, and utterly destroyed. Remember to protect each object carefully as props guide you through your show, without them, you will have missing holes in the tent of your own imagination. A missing prop can devastate you during a performance and knock you off and lead you into an irregular performance pattern. It could make people think you have lost your mind or simply that you’re not doing a good job. Remember to protect everything in your show as during the Fringe the show is your beating heart.

Disclaimer: this is all written partly tongue in cheek, I do love the fringe and the pure rush of a show clicking with a crowd is simply a priceless joy.

Twonkey’s Soft December Night in Tallahassee is on till the 30th August (apart from Mondays) at 20:15 Dragonfly.
 Click Here For Article


August 21, 2026    One4Review

Review of Angela Bra - Secret Diary of a Bingo Call Girl

Angela Bra (pronounced similarly to candelabra) performs a 50-minute show based on a girl’s night out. The show is a drag comedy act that has everything a girl’s night loves – great tunes, cabaret, party games and even a game of bingo with prices.

The show was not what I expected. I thought it would centre on diary extracts but it did not. However, this did not affect the show at all, it was a pleasant surprise. Unfortunately, the turnout was not the best but Angela made it work with the little audience. For the type of show that involved movement from the audience, the venue was on the small side so I could imagine doing party games would be harder with more people. For the show I attended, it added to the humour and fun.

Angela involves the audience into the show, making witty comments to answers but all in good faith and the content is tame. No one is made to feel embarrassed and Angela commands the crowd well, getting them involved in the show throughout.

Unlike many drag acts, there are no lip-syncing tunes, all tunes are original, catchy and sung with audience participation. There was an impressive small screen with a pre-made music video and subtitles for the song if people wanted to sing along with the whole tune.

The party games and bingo during the show were really class! I could see this show being a great fun weekend night out with a group of pals. It was really funny with the small crowd I was part of but that for me is what added how fun it was. If you’re looking for a fun, girls night segment to your evenings, definitely see this show. But go with a few people! Click Here For Review


August 21, 2026    The Real Chrisparkle

Review of Angela Bra - Secret Diary of a Bingo Call Girl

Glossop’s Queen of the Dabber, Miss Angela Bra (rhymes with candelabra, you filthy beast) hosts an evening of jokes, hip-hop and bingo in Secret Diary of a Bingo Call Girl. Introducing us to the fine art of Drag Bingo, we sing along to songs about Buffy Butlers and Hen Dos, take part in some riotously funny games and, if you get a full house, compete to win a bottle of house wine (a small one, she’s not made of money). It’s a lively, laughter-filled and thoroughly good-natured show – the kind of show where you make friends with the people sitting next to you. Angela is a warm and funny comic creation, and you could tell that everyone in the audience had a terrific time. 4 stars. Click Here For Review


The mark of genius

August 21, 2026    One4Review

Review of Twonkey's Soft December Night in Tallahassee

The mark of genius

Another year and another mind-bending and dumbfounding trip into the world of Fringe institution Twonkey, once described as the Fringe’s very own comedy David Lynch* – an auteur genius whose works speak volumes, but only in a language I’m not sure I comprehend.

*It was me. I said this. And I was right.

Mr Twonkey, the comic alter ego of Paul Vickers, has been well and truly killed off by his creator and Vickers returns this year as the sort-of grieving widow Twonketta, who runs a fairground built on the ancestral lands of a group of vengeful fairies, who seek to remove the invaders by any means necessary. But plot in a Twonkey show is rarely more than set dressing to loosely hold together the series of a songs, spoken word monologues, weird (and often distressing) puppets such as Chris Hutchinson (used to have the eyes of Lenny Henry) and slightly mangled cat Timothy Horsepiss.

The songs and surrealism come hard and fast in the show, with diversions from staples of the show such as a Transelvanian Finger Fantasy (acted out by tiny finger puppets right into an audience member’s face) or reflections on music producer turned murderer Joe Meek. Some of the songs are overtly comic, some more thoughtful but all with the same word-salad of imagery that heightens the feeling that you’re slowly falling into a rabbit hole into a wonderland. At the end of almost every song Twonketta flatly says “and that’s that” and sits back down as if the whole thing hadn’t happened and it’s always hilarious. And Vickers himself seems to barely be able to resist a giggle any time the audience laughs as if he himself is surprised to hear what he comes up with.

Twonkey’s Soft December Night in Tallahassee is, by the standards of its creator, a more thoughtful show, with reflections on a few things including why Vickers decided to kill off Twonkey in favour of Twonketta and the conclusion seems to be that she’s just more fun. As he sings at one point “girls toys are better than boy’s toys.”

I’ve read reviews of Twonkey shows saying that Vicker’s work is just enjoyable nonsense and that’s certainly a reading of it, but only a surface level one. I have spent years trying to find a show as inexplicable as a Twonkey show and yet every year I am again reminded that this is a futile endeavour. There are perhaps shows that are weirder, but they are few. There are perhaps shows that dip even further into the surreal and absurd, though I’d be surprised. But the mark of genius – the mark of the Lynchian – is not the weirdness, it’s the sense that while all of this seems inexplicable to me, I feel that it makes perfect sense to Paul. And that maybe when he has a little giggle it’s not at himself for being silly and strange, but at all of us for not getting it.

It perhaps goes without saying that his style is an acquired taste and that for the standard Fringe goer looking for the next comedian in a t-shirt talking about his list of poor relationship choices, they’ll not maybe understand the nuances. But for those who want to experience pure, unadulterated Fringe at its very Fringest, there’s nowhere better to turn. Click Here For Review


August 20, 2026    The Scotsman

Review of The RemAIns of the Butler

In The RemAIns of the Butler, Mike McAlpine explores some of the same questions, through a one-man multi-character comedy on the Free Fringe, where sitting in an attic in close proximity to your neighbour, as well as what appears to be an old Victorian oven, is also a part of the experience.

From the Northeast of England and himself a butler when younger, McAlpine conjures up a country house in Kirklevington, with its many rooms and inhabitants, where he and his deputy butler find themselves doubly deputised when a new AI-enabled new staff member – with eyes akin to Robert Patrick Terminator 2.0 – arrives, along with a conference of predictably evil US tech overlords, who are the least original element in this otherwise entertainingly play.

Most insightful is the way that McAlpine, through his multi-character monologue, interspersed with spoken word poetry set to finger snaps, reveals the subtle but flexible patterns of behaviour – often termed as etiquette – that underpin the hospitality industry, in which, in this instance, Lords, Ladies and people who have “never been to Blenheim Palace” are constantly but invisibly observed by servants looking to predict their every need and respond accordingly, but that also filter into British culture more generally.

McAlpine playfully pokes fun at how social skills are not AI's strongest point and the folly of trying to use it for tasks it’s not suited to: for example, blowing up a balloon. It becomes clear that what “makes a good butler” is often what makes a good psychologist or, indeed, human being: the ability to listen and respond to others effectively – an “untouchable spirit” not to be “violated with the misconception that it can be found in technology”, when technology is simply there to, at best, express it and, at worse, oppress it, which all depends on how it is used. Click Here For Review


August 20, 2026    Everything Theatre

Review of Bitches in Stitches: The New Grrrl Order

Stand-up comedy line-ups have long been dominated by men. Bitches in Stitches: New Grrrl Order seeks to refashion comedy nights for more inclusivity and diversity. Seven femme/them comics take to the stage of Camden Comedy Club for an hour of laugh-out-loud comedy that takes boundaries and norms and launches them out of the window. The premise did make me question how many female comics I’ve seen at comedy shows; that number is very small and not enough.

Bitches in Stitches is a collective of non-male comedians that has risen to popularity, regularly putting on shows in Hong Kong, Manila, London and Manchester. This show features a wide range of comedians, from various corners of the world, and of different ages and identities. This creates a very diverse body of material that includes menopause, divorce, period sex, daddy issues and British colonialism. There is something which will resonate with everyone.

It is refreshing to see comedy where other people’s identities and appearances are not the butt of the joke. The comedians restrict such jokes solely to their own experience. The atmosphere created is inclusive and welcoming, and accommodates strong feminist themes that subtly critique patriarchy in both the comedy field and society more generally. Refreshingly, none of the comedians leans on crowd work as a crutch for providing cheap laughs, but instead all provide solid sets filled with laughs.

Founder Fran Ayala-Rock is our host for the evening. She does a great job of warming up the audience with her loud and bold energy. Her raunchy and taboo jokes have no boundaries and are shockingly hilarious. But Arie David is the standout of the night. Whether it’s abortion or paedophile rings, her jokes can get dark, but her clever writing and deadpan, sharp style of delivery work exceedingly well in raising cackling laughter from the audience.

For Bitches in Stitches: New Grrrl Order, nothing is out of bounds. The diversity of the comedians showcased is refreshing, and all involved should be commended for creating such a necessary space in the comedy scene. Bitches in Stitches aren’t trying to tick a checkbox, but rather to offer a space that is welcoming and celebratory, whilst also showing off some amazing talent. All of the acts proved themselves with strong writing, stage presence and delivery; the audience laughed the whole way through. They hold a defiant, rebellious middle finger up to those who claim “women aren’t funny enough”.

Founded by Fran Ayala-Rock and Natalia Schwartz
Performers: Fran Ayala-Rock, Arie David, Alix Brown, Casey Brander, Madeline Fennell, Twinks Burnett and Kate Hu
Lead production by Arie David

Biches in Stitches: New Grrl Order has finished its current run in London, but it is transferring to The Laughing Horse at the Edinburgh Fringe until Thursday 27 August. Click Here For Review


August 20, 2026    The Student

Review of A Complete Idiot's Guide to New Zealand

In an attempt to put New Zealand on the map – quite literally, given that it is frequently omitted from important world maps, including the boardgame Risk – Sully O’Sullivan delivers a whistle-stop tour of the misconceptions, tales, and quirks of his homeland.

As the daughter of a Kiwi, I like to think I have a fairly good understanding of New Zealand culture and humour. I knew this show would be entertaining, as there is something inherently hilarious about a joke delivered in a Kiwi accent. However, I did not expect an hour-long stand-up comedy show to educate me quite so extensively, leaving me to wonder whether I might actually be a complete idiot.

For example, did you know that New Zealand is nowhere near Australia? In fact, the distance between the two can be compared to a journey from Scotland to Algeria! Crazy. I called my dad immediately after the show to impart some of my newfound knowledge, and I think he was impressed.

The show attracted an eclectic audience, with a comforting handful of Kiwi accents detectable upon arrival at the venue. The room immediately gets to know one another as O’Sullivan engages us with a series of icebreakers. His energy does not drop once, with his contagious enthusiasm and sharp observations resulting in a punchy and informative piece of comedy.

The floor is then opened and the roles reversed, as the show closes with a Q&A, giving the audience the opportunity to ask O’Sullivan any pressing questions about New Zealand, or The Lord of the Rings. The hour flies by, and the room is filled with relentless giggles and cheers, which are a testament to the comfortable atmosphere O’Sullivan creates throughout his set.

If you are from New Zealand, planning to visit, or simply hoping to broaden your knowledge, you cannot miss this show. You never know when you may need to call upon a niche New Zealand fact to win a pub quiz. Click Here For Review


August 20, 2026    Three Weeks

Review of Marc Burrows in the Ten Best Songs of All Time

Marc Burrows is a passionate music fan, and that’s what comes over most in this ten-song rundown complete with PowerPoint. He memorably describes one song as “sounding like running downhill feels”. While there’s a little bit of musicology, Burrows is a stand-up, so there’s a decent sprinkling of knob gags thrown in. Burrows’ selections aren’t a debatable ‘best songs’ list; it’s the ten songs that have personal meaning to him that “pin a moment in time to the board”. That personal quality makes the show quite relatable to an audience, so even if the type of music isn’t your thing, like me, you’ll probably be inspired to have your own top 10 songs playing in your head. Click Here For Review


August 19, 2026    One4Review

Review of 5 Comedians Do Comedy and Karaoke

Rachel Jackson acts as host for what promises to be a winner for me, showcasing 2 of my favourite things in the show, “5 Comedians Do Comedy and Karaoke”.

There’s an amateurish charm, and it feels rather unrehearsed at times which adds to the chaos. To be fair, some of the comedy is quite funny as each act showcases parts of their larger Fringe show.

However, the Karaoke part could be much better. It all gets a bit shouty and some of the acts choose really difficult songs to sing, and it feels like it’s the first time they have actually seen the words to their tunes.

A different line up is offered up every day, for me, Roger Swift and his silly puns, was one of the highlights. Loads of visual gags, pulled from a suitcase, cheesy dad jokes and lots of groans.

There were some tech issues which didn’t help and sometimes can’t be avoided, don’t get me wrong most of us in the audience had a good time, but it could have been better with a little work. It’s an easy watch that needs some fine tuning. Click Here For Review


August 19, 2026    The Scotsman

Review of The Augur

The clock has just struck midnight over the Royal Mile. In the Caves, the puppet show fans are in the bar discussing Avenue Q, The Book of Mormon and the crossover between the two. But nothing can compare with The Augur, who manages to be simultaneously great and cute, cuddly and bony, approachable and unapproachable – ever-changing not just in the atmosphere he creates, but also in physical form.


The ritualistic show begins when his loyal disciple of many millennia, cloaked and beaked, beckons us into the tiny, intimate room, within which is an alter and the sleeping Augur. Over the course of the next 40 minutes, once awake, he will invite us, one by one, to come, kneel on a cushion and ask a bird of our choosing a question. A kind of intermediary of the aviation word, he summons a blackbird, crow and golden eagle for the answers – and they’re not always nice, so be warned.


A chance to sit with a handful of audience members in the dark wondering about our fates, it’s seemingly simple but it isn’t an accident that you end up speculating on love, life and mortality, before an ending where all of the emotions that the show has been quietly harvesting previously are propelled back at you.


Many of the audience leave talking about wanting to be the Augur’s friend. It’s this desire for connection, from the stage, from shows, from the audience, from life that the Augur – drily performed by Logan Robins of The Unnatural Disaster Theatre Co – taps into, magical, mysterious and with an other-worldly ET-like quality. With multiple endings and the endless improvised answers that flow from people’s questions, meeting the Augur is a special experience that feels all too short and leaves you wanting to immediately go back in – or hang out with the team at the end, which you’re also welcome to do. Sally Stott Click Here For Review


August 19, 2026    The Student

Review of Autism Mama

Josephine Lacey returns to the Fringe to reveal all on the bizarre places motherhood has taken her – and inflate a few balloons whilst she’s at it. Autism Mama draws on the lengths unconditional love has taken her, sharing her story with heart and reassuring familiarity. The hour follows her son Calum’s ascent into adolescence, navigating the confusion of puberty alongside the “field of autism” he sees the world through every day.

In the blaze of Fringe shows and nervous actors, Lacey leads audiences through her hour with assured confidence and clarity. With tried-and-true confidence, Lacey details her commitment to Calum’s right to living a full life – and colour-accurate phallic balloons. The hour centers around the outlandish things Lacey has done to care for her son; she interweaves the unusual and the relatable, the informative and the unbelievable with ease, and with the aid of a few graphic cards, you can be sure to be left with an enriched appreciation for motherhood.

Between each anecdote Lacey ramps up the stakes, spanning from when Calum, who had been non-verbal for the first five years of his life, started to speak only by mimicking his Southern Irish nan repeating, “Holy Mary mother of God and all the Saints in Heaven” (a symptom called echolalia), to realising she may have to be the one to teach her son how to wank.

Lacey holds the space of the room with clear and practised authority. In the tight setting of The Wee Room (the Three Sisters) you can expect terrifying eye contact and aerobically accurate spunk as Lacey proves the reality of unconditional love.

Autism Mama is running until 16 August at The Wee Room at Laughing Horse @ The Three Sisters. This is a free, non-ticketed show. Click Here For Review


When Fringe ‘comedy’ now appears to be someone just standing on stage talking about their uneventful life with a weak punchline that barely raises a smile, it’s good to see someone still doing something unique that is genuinely funny.

August 19, 2026    Fringe Review

Review of Twonkey's Soft December Night in Tallahassee

When Fringe ‘comedy’ now appears to be someone just standing on stage talking about their uneventful life with a weak punchline that barely raises a smile, it’s good to see someone still doing something unique that is genuinely funny.

As on-form as it could ever be. Silly, pointless nonsense which is a huge delight

How to describe the annual hour in the company of Paul Vickers’ Twonketta (the widow of Twonkey)? You can’t. Not in any meaningful way. For those of a certain age, think of The Cure’s video for their single ‘Close To Me’. The band in a deeply claustrophobic wardrobe. Tat and finger puppets being shoved in your face whilst a twee and happy melody belies the madness. Now stick the band in a baby doll dress. That’s the best I can offer you.

Vickers has been playing the same little room at The Dragonfly on the edge of West Port for many years now. It’s the right space. You can only fit in about 20 people whilst he mostly stands in an alcove, occasionally venturing into the audience, and trying an impossible balancing act of all his demonic puppetry insanity on a small table.

If you’ve been to one of his shows, you know what to expect. Whilst the surreal Reeves & Mortimer-esque narrative changes each year, the format never does and there is comfort in this. Each of his deformed and zombified puppetry creations feel like home. When a scruffy cat called Timothy Horsepiss is seen as cute, you know you’re in a padded cell you chose to enter.

Each year I experience so many bonkers moments that have me screeching with laughter but I have forgotten half of them by the next day. There is nothing important in a Twonkey show. Nothing will change your view of the world. It’s just very, very silly. Vickers is well aware of this, as Twonketta frequently laughs along with the audience.

The story this year concerns Twonketta working alongside a group of fairies running a fairground. In Tallahassee. That remains a central tenet of the show for about fifteen seconds. Forget about it. Something equally weird is going to happen in a moment. A routine about legendary 60s music producer Joe Meek actually involving one of his most annoying tunes? Yep, we’ve got that. Your favourite serial killer? We can cover that too. Hitler. Animals making fairground rides out of their own poop. All my favourite immature interests can be found in this small space with 10 people cackling away in disbelief.

The regulars are still there. Chris Hutchinson, a beat up old anthropomorphic lion. The ship’s wheel, which discloses your most private sexual fantasies (and I was presented with the red silk knickers FOR THE FOURTH YEAR IN A ROW). The prize of a Transylvanian Finger Fantasy (finger puppets made out of paper and ping-pong balls just a few centimetres from your eyes).

All this madness alternates with songs presented as laptop backing tracks which Vickers sings along to. He still sounds somewhere between John Cooper Clarke and Cat Stevens and, I’ve got to say, this year the songs were about the best I’ve heard. Again, difficult to explain. Outsider? Industrial? Collage? Indie? It’s impossible to pigeonhole. If I have one criticism, it’s one I’ve mentioned several times in the past. Whilst the vocals are now much more clear (a better PA system, I expect), the music playback is way too loud. The lyrics are what we’re trying to hear – not that everything will suddenly click into place as a result. This year’s collection could comfortably make an album.

Twonketta wraps up on a surprisingly sombre and respectful note regarding Anne Frank and her wishes for the future. It’s a 180 turn from the rest of the show yet it absolutely works.

How can I sum this up? A Twonkey show is the most Fringe thing of the Fringe. It’s hilarious, it’s completely pointless, it’s profound, it’s oddly comforting and it’s entertaining. To try and recall what you’ve seen afterwards can make you think you were very drunk when you watched it. You were happy and laughing but bits fly in and out and nothing fits together. Vickers in a baby doll dress looks completely regular and is about as conventional as things get.

It’s a Marmite thing. You’ll love it or hate it. I’ve been enjoying it for over 15 years. It’s a glorious mess, always walking the edge of a descent into chaos. When Fringe ‘comedy’ now appears to be someone just standing on stage talking about their uneventful life with a weak punchline that barely raises a smile, it’s good to see someone still doing something unique that is genuinely funny. Click Here For Review


August 18, 2026    The Student

Review of Rizal Van Geyzel: Arrested

Having had thirteen years in the comedy business, it is to no one’s surprise that Van Geyzel holds a humorous perspective like no other. Be prepared for his clever storytelling that had the audience in an assortment of laughter, shock, and awe.

His returning Fringe show, Arrested, scales from the tales of him being the only Malaysian in his
five years in Miami, Florida, to the bombshell revelation of what caused the Kuala Lumpur comedy club he co-founded to have permanently shut down its physical venue.

The Malaysian comedian manages to unpack a lot in a simple hour, holding the audience’s attention in the palm of his hands. His stand-up act felt fairly simple at first: quips of his shoes being stolen from the mosque, the stereotypes between different Asian ethnicities in Malaysia, and varying “levels” of devoutness amongst Muslims. Despite this, he manages to create a flowing stream-of-consciousness between his jokes, and not once did it feel awkward between the transitions from one enthusiastic tale to another.

He cleverly creates callbacks to his jokes referencing Malaysia’s “Bumi Putera,” translated to the
predominantly non-Malaysian audience as “the soils of princes,” in which Malaysia prioritises ethnic Malays over other ethnicities residing in the country. It was particularly engaging to hear this earnest criticism, as he highlights how he especially benefits from “Bumi Putera” with his Malay-Chinese-Dutch-Turkey heritage.

As a result of comically criticising Malaysia’s racial bias, he highlights the necessity of being able
to “laugh with each other, [and] not laugh at each other” – epitomising how comedy should be
staged. The fun truly starts after Van Geyzel briefs the audience on his co-founding of the Crackhouse
Comedy Club, paying quick homage to his co-founder Jonathan Atherton. He shockingly reveals
that two Malaysian individuals had pretended to be comics at one of his club’s open mic nights,
and had then defaced the image of Islam to… Wait for it! Gain online traction to promote their
swinger club.

In all of its irony, Van Geyzel recalls how he somehow was the one arrested under Malaysian
law’s Sedition act, explaining that he was deemed to have encouraged his comedy club audiences
to “oppose” the established government.

It was wonderful to see the Malaysian comedian make light out of what seemed to be an extremely stressful, unfortunate occurrence. He even satirically defends the criminal duo because “where else can you find lonely, sex-deprived people other than an open mic night”? Click Here For Review


August 18, 2026    EdFringe Review

Review of 1979: Persianality Disorder

Sepideh Kaav’s solo dark comedy show, 1979: Persianality Disorder, is a mixed bag of genuinely hilarious jokes and jokes that shock the audience into silence. An Iranian woman who now lives in Germany, Kaav explores her culture, controversial politics, and ‘woke’ topics with confidence and control.

Though late to the stage, Kaav warms up the audience immediately with a quip about her visa being delayed. This impressive ability to perform on the spot continues throughout the show, as Kaav navigates audience reactions and awkward silences with ease. She is conversational with her delivery, speaking to the audience with a casualness that makes it easy to listen. If a joke doesn’t land the way she has planned, Kaav skilfully makes light of it and finds a way to segue into her next joke.

Though advertised as a dark comedy show, that is still not enough to prepare for how truly dark and offensive it is. Kaav comes out swinging with jokes about her Iranian upbringing and the stereotypes against Iran, and she does a good job at towing the line while staying funny. However, the show deteriorates as it goes on into something that crosses lines in all directions as she covers topics such as 9/11, Jews, Russians, incest, God, and non-binary people with a flippancy that weakens humour, if any, hidden within them. It seems she is saying these things just to shock people, rather than to entertain. On top of this, she drops two r-slurs that are completely out of place and tasteless. There are some good jokes mixed in, but the bombs are hard to ignore.

However, it has to be said that Kaav has true comedic potential. She delivers her jokes with an ease that comes to a much more experienced comedian. She has some excellent jokes that have the audience in stitches, and I think with some refinement, her darker jokes could steal the show. Her segments centring Iran and being a ‘personality hire’ are the most memorable, as they perfectly capture the essence of dark comedy while making it easy to laugh along.

1979: Persianality Disorder is undoubtedly entertaining, for the most part. Definitely not for the faint of heart, I would caution against attending without any knowledge of what the show is about. With some tweaks it has potential to go very far, and I can see Kaav as a very successful comedian. She has a true talent for comedy and I look forward to seeing what she does next. The gems within 1979: Persianality Disorder make it a show worth seeing, but beware of the jokes that take it too far. Click Here For Review


August 18, 2026    Entertainment Now

Review of Eat Pray Cult

This show is about a cult that seems like a cult but isn’t actually, because they don’t do cult things (apart from being a big group of naked people living in the California desert!)

Throughout this one-person stand-up memoir, Amy delves into her childhood and the lacklustre way her family goes around being Christian, going from attending church twice a week to having non-god believing quotes stuck to their fridge. She takes us on the very intimate journey of how she ended up joining this cult-like group, including the divorce of her ex-husband and her roommate’s pet chihuahua.

This ‘cult’ is completely self-sustaining, even building their own houses to live in for the couple months that they were there (the cult is seasonal, naturally). Here, she describes the various structural problems of her shack, for example, the lack of rafters so the roof ended inside of the building instead of outside, letting rainwater straight in. Not ideal.

This beautifully unique show definitely deserves to be in a bigger venue than a basement, but it does add to the slightly creepy vibe we get when we hear the word ‘cult’.

Amy Brown’s cult might not have been the stereotypical sex and death kind of organisation we tend to see in Netflix documentaries or news channels, but the lack of flushing toilets definitely doesn’t do it any favours. Click Here For Review


August 18, 2026    The Edinburgh Reporter

Review of Adam Bromley: Hyper-Connected

This was Adam Bromley’s first performance at the 2026 Fringe, a family tragedy having forced him to cancel his first few shows. Overcoming these hurdles, he produced an engaging show on a theme which touches all our lives.

... Click Here For Review


August 18, 2026    One4Review

Review of Sid Singh: Love Bombing

In his show, “Love Bombing”, Sid Singh unpacks an hour of genuinely funny and inspirational material. The work he does for human rights in the US is testament to his unwavering belief in helping those escaping persecution and aiding The Center for Gender & Refugee Studies. He’s constantly battling in court, sometimes winning, sometimes not, and it’s can be quite a hard and costly pill to swallow.

Alongside that, he’s recently been on a date with his “stalker”, or has he? This is no Baby Reindeer moment however, in fact he may be being stalked in error. He explores relationships, male loneliness and moving to live in Barcelona all in a very neatly wrapped up 60 minute show.

Singh is in your face at times, passionate about the cause and also his show. He’s bursting with energy and he keeps you on your toes with this very intelligent set. The current US political scene is causing untold harm and he’s on the verge of burnout, fighting for the underdogs, getting constant knockbacks, it’s exhausting.

He puts the profits from his shows to very good use and has already raised a phenomenal amount of dollars to fund the cause. An all round entertaining show mixed with some rather concerning issues that are right under your nose. Click Here For Review


August 18, 2026    The Student

Review of Honkers

izzie Simpson and Candace Bryan know bundles of bird facts and want you to also have that knowledge.

Honkers is a raunchy and hilarious experience that feels like a night out with friends rather than a formal comedy show.

Nesting in an intimate room underneath City Café is an surprisingly electric night that will make you rethink every bird you see. I left invigorated (despite it being 12am) with an excitement to share my newly acquired bird facts with the world.

Being in a small room meant everyone was expected to participate. This will scare some people off, however the experience was uniquely rapturous. It felt as though we were collaborating to make a show only we would ever see. This does mean that if you have a less raucous group you may have less of a fun time, but the duo give back plenty to keep the ball rolling without the input of others.

While on occasion the pair were a little disorganised and overwhelmed by the group, it added to the relaxed environment and made the show feel grounded. The two performers are simply naturally funny. Simpson and Bryan have great harmony, with one supplying zany American humour and the other edgy British humour— the duo so compatible because of their passion for birds. Not at any point did they feel scripted or stiff.

Expect smash or pass (bird edition), arguments of American vs. British birds, some Canadian Goose hate, and a lecture in bird anatomy. No segment left me bored as they always had another bird to discuss. Even those who do not know much or even care much for birds will find a laugh in this show as the duo come prepared with gags for all. Honkers is for the most salacious, bird-loving, and slightly off-kilter Fringe goers looking to extend their evening with some jovial fun.

To say the least, Honkers was a hoot. Click Here For Review


3.5*

August 18, 2026    One4Review

Review of 4 Aussies, For Aussies

3.5*

Australian comedian Ty Gray must be one of the hardest working comedians at this years Fringe. Fronting no less than 3 shows, as well as some headline gigs, I was delighted to be able to review “4 Aussies, For Aussies). It’s a bit of a Oz showcase as you might imagine, well compered by Ty and featuring some of Australia’s up and coming talent.

He opens with a sneak peak of his own material, and we are immediately drawn into his new found life in Barcelona alongside his girlfriend. Relationship chaos and trying to learn Spanish are only 2 of the challenges he’s currently facing.

We are introduced to Lachy Skinner, and his no-holds barred style is immediately obvious. He’s got plenty to say, and we get see a pretty good snapshot of his longer show looks like. He’s got some pretty good material to work on, using his previous work experience to good effect.

Next up on stage is Luke Ditchfield, another new-comer, and in a similar vein, he happily shares his thoughts and experiences on a variety of topics, nice pace and delivery, and I’m keen to see his full show.

Finally up on stage was Prue Blake, I felt she started quite slowly, but then found her groove we had a good chuckle at her set.

It’s a tried and tested format and a nice way to ease yourself into the Fringe, you never know who you might see. Click Here For Review


August 18, 2026    The Scotsman

Review of Asian, But Wrong

Crammed into one of the tiniest spaces on the Fringe – the karaoke bar at the Three Sisters – this is a fantastic Fringe debut show.

Ting Lim is no ingenue; she appears as the terrifying Debbie Lim on Fisk, the Australian show about an Australian law firm on Netflix.

The outrageous modesty of the 20-seat venue means she’s guaranteed a sell-out, but it’s a shame she doesn’t have a bigger room for this well written, nicely structured and very funny hour.

Lim sets her scene meticulously, telling how she grew up in Singapore with a Malaysian mother before emigrating to Australia as an adult. She talks about family, about missing home and how growing up Buddhist but attending a Christian school gave her a confusing notion of how to be a good person.

She has material on racism, on relationships and on her own route to becoming a comic, which play well with both Asian and non-Asian audience members. There’s even a sneaky Seinfeld reference for the comedy nerds.

Lim flips her narrative expertly, throwing assumptions on their head and playing with some of the stereotypes people project onto people who look like her.

There is psychological insight, some advice on talking to parents, and a very unique take on Chinese versus Western medicine. There’s also a jaw dropping revelation about her family tree. Sometimes her delivery is a bit rushed – but there are so many great stories here and a great perspective on how it feels to fall between different cultures. Claire Smith Click Here For Review


August 18, 2026    Chortle

Review of John Robertson: Excitable Boy!

Visually, he’s part Rocky Horror’s Riff Raff and part musician Edgar Winter. Vocally, he’s ‘mad bloke yelling in the street’ and ‘classical actor gone rogue’, with a pleasingly Lou Reed-timbre singing voice to boot.

And comedically, John Robertson’s racing mind constructs a show out of nothing every damn night. It is an extraordinary achievement.

Having not done my homework, I did not know this was an improvised crowd work show, audience fully lit. I don’t think anyone remained unspoken to, which would ordinarily have me galloping for the exit, had I even entered in the first place.

However, it was a completely positive experience. Instead of the traditional approach of ripping the piss out of anyone in the comedian’s sightline, we were universally bathed in jocular affirmation, without it ever feeling ingratiating.

The crowd plainly adored the experience, bonding over the in-jokes against latecomers (very gentle ribbing), while Robertson uncovered a few audience champions to whom he returned but not to the point of bullying. They all seemed to love it.

He had two modes, both unmic-ed, the hectoring street roar and the smooth, actorly tones. It made me worry for his voice, but clearly he doesn’t have a problem.

The hook of the show was that ‘it hasn’t started yet,’ even at the 40-minute mark when he introduced an electric ukulele – a high-risk manoeuvre if ever there was one.

Ridiculously the singing amplification distorted the vocals too much on a couple of songs, but the sheer brio of the performance carried him through, and the audience were thrilled to provide call and response.

While the musical numbers gave the audience a rest from participating directly, they were not as strong as the stories spun on the hoof. But presumably even Robertson needs a moment to pause without being seen to slow the performance.

Everything about this show is uncommon; he’s an extravagant, genial showman whose audience interaction doesn’t make you want to spit. It was a commanding, bonkers street performance brought indoors, with a warmth that dissipated any anxiety/hostility that improvisation can provoke. And when you see it, it will be completely, riotously different. Click Here For Review


Interview: Comedians in Conflict

August 18, 2026   Fest

Article about 1979: Persianality Disorder

Interview: Comedians in Conflict

On February 28th, Sepideh Kaav was in a Berlin taxi, on her way to a gig, when news broke of Ayatollah Ali Khamenei’s death in a US-Israeli airstrike. The Iranian stand-up wrote a swift response before taking the stage. “And that was definitely an interesting experience,” she recalls. “Delivering the news and then immediately delivering a joke. Up until we’ve cracked the first joke, such shocking things feel unreal.”

As discussed in her Fringe debut, 1979: Persianality Disorder, Kaav grew up in Tehran’s post-revolution Islamic theocracy, “where being a woman you don’t have certain freedoms” and she was arrested by the morality police for her student dress. Yet she’d already been turned on to stand-up by US counterculture icon George Carlin. “It really resonated with me,” she recalls. “I would pretend I was doing it in the shower but I never thought I could actually do it.”

That changed when she moved to Germany in 2021. As an immigrant, she faced racism for the first time and was agitated by Western contentment. Unable to forget the “pain and suffering” she’d left behind, comedy became an outlet to “scream my anger”.

However, when the American offensive began, “it changed the way audiences receive my jokes.”Continuing, she says: “I want to show that Iranian women are women. So I try to be relatable. But it feels like everything I say becomes geopolitical. For many people in Europe, Iran was an afterthought. But now it’s so real, everything has become a little more direct.”

She’s anxious to not be seen as “leveraging” the conflict for personal gain. But when she couldn’t reach her mother after a round of bombing, “I was upset, I needed to address that on stage”. She won’t claim to represent Iran, “that’s very dangerous territory” because there are “so many different opinions, both in Iran and the diaspora”. But she believes she’s found sufficient balance, “the right path. Because I get hit from all sides”. Click Here For Article


August 18, 2026    One4Review

Review of 0 BC: Before Crisis

I have to admit I’m a bit of a fan of Liam Jackson and I’m delighted to be able to review his show (0BC) at this years Fringe. In one of this years mad venues at the Flight Club at Laughing Horse, its half comedy venue half 747 jet plane. Part of this years Free Fringe, the place was packed out on a fairly quiet Tuesday night.


A truly international crowd were fully entertained to Jacksons well constructed 60 minute show. Never a dull moment, plenty of clever observations, this Edinburgh local lad covers a vast range of material with humour, sarcasm and smartly created punchlines.


He’s pretty well travelled, and his stories went down particularly well for those of us sat in half of a Ryanair flight. I actually felt like we were going to take off at one point. He has a certain swagger and confidence on stage and his crowdwork is definitely growing. At times, you’re never quite sure where his show is heading, which is great as it keeps us guessing and this adds to the spontaneity.

I hope this Fringe acts as a springboard to help take his comedy career to the next level. Watch this space. Click Here For Review


August 18, 2026    One4Review

Review of A Musical Comedy Showcase with Alex Camp

Alex Camp’s musical comedy showcase is exactly the sort of thing that makes the Free Fringe tick.
Camp is no stranger to Edinburgh. Every year he seems to be building a little cult following of his own, and his army is growing.
With his usual deadpan guitar style, he starts with the 80s indie touches that are great. There’s a dating song, and before you know it you’re already in his own musical comedy version of Flight of the Conchords.
Then we get our first special guest, Andy Burnham lookalike Mike Osborne, who’s set for fun and is doing blues comedy about mice.
Camp is back, his time-travelling song is outstanding. Think more of a reverse angsty We’ve Been to the Year 3000 by Busted, with flourishes only Camp can deliver.
The headliner Amy Webber is an absolute joy who brings energy and songs that will make you want to see her main show, with Erection Rejection a highlight.
For a late afternoon show, this has all the sparkle and fun that you can only really find by taking a chance, and is everything the Fringe should be about. Camp has clearly got something good going on.
Like this review, the show is short, but the audience leaves satisfied and, more importantly, wanting to check out what else Camp and his guests are doing. Click Here For Review


August 18, 2026    EdFringe Review

Review of Olaf Falafel Presents: I Used to Work in a Helium Balloon Factory Until they Let Me Go

‘What do you do with your pots from Gü?’ are the kinds of important questions in our society that Fringe-favourite Olaf Falafel tries to get to the bottom of in Olaf Falafel Presents: I Used to Work in a Helium Balloon Factory Until they Let Me Go. The show is as silly and stupid as the name suggests, and its bloody brilliant.

The show is all over the place in the best way possible, which Falafel manages by insisting ‘fun needs structure!’, providing us with a PowerPoint style presentation that nicely walks us through each segment of the chaos. Despite this, we are still kept in a permanent state of being on our toes, you truly never know where he’ll take things next, but you never want it to end.

The aid of technology also allows him to gleefully show us videos that are consistently entertaining and well-placed, including a side-splitting edit of a squirrel and his viral ‘cheese of truth’ which is a gimmick that never gets old. There are also some lovely drawings and use of artistic props throughout which add creative flair that really elevates the show.

He pulls from some weird and wonderful sources to structure elaborate setups that pay off later on, but amidst the more high-concept and fantastical moments, he cracks jokes that are so simple but effective they’ll have you tortured thinking, ‘how did I never think of that?!’ Falafel is guilty as charged in having a dad-joke approach to his comedy, especially one-liners, which he refers to as ‘sorbets’, but the sheer inventiveness of his humour means the cheesiness never gets tiresome.

With a show inventively packed with everything from Shakira’s Whenever, Wherever, to Hieronymus Bosch’s The Garden of Earthly Delights, Falafel is a man of culture who seems to be endlessly inspired and excited by life in a way that is genuinely wonderful to see. He achieves the near-impossible task of creating a show that will appeal to teenagers and adults of any age, it truly embodies every thing comedy should be about. My final message to Fringe punters is to get there early to avoid the disappointment of not getting into what will undoubtedly be a very popular free show this year – it’s a must see! Click Here For Review


August 18, 2026    Neurodiverse Review

Review of Other

There’s something inspired about doing two-person stand-up. Rohan Ashar and Mani Ahmed have this great double-act energy, and a machine-gun approach to gags. From the outset I was completely on board, as they explained how their Indian and Pakistani heritage meant they should be enemies, but with a neutral zone between them they’d be able to work peacefully together (the Kashmir gag sent me!)

Beyond their repartee, Rohan and Mani each showcase their own stand up. With Rohan he talks about being autistic, race and that feeling of otherness many of us have. He’s direct with his deconstruction of structural racism in the UK, and the way race is categorised. As he points out, the majority of the audience are white, and there’s a sense that the obvious jokes about curry are for us.

Where Rohan is deadpan and direct, Mani is personable and twinkly. His flavour of stand-up has more lightness of touch and he finds the laughs with clever asides, so many, the audience end up missing them.

At the show’s climax, Rohan and Mani come together again to deliver a quiz, with questions to test the audience’s otherness. This is the hour’s core message, that otherness is the rule not the exception, and that we need embrace and understand one another, and respectfully see each other for who we are. Click Here For Review


You will definitely not find anything like this anywhere else.

August 18, 2026    North West End

Review of Twonkey's Soft December Night in Tallahassee

You will definitely not find anything like this anywhere else.

Other than the closing line of one of Twonketta’s musical interludes, there was no ‘Soft’, ‘December’, ‘Night’ or ‘Tallahassee’. Of course there wasn’t. Welcome to the Twonkey-sphere. Or Twonko-verse. Or, since the unceremonious, Ziggy S-style curtailment of Twonkey’s career a couple of years back, maybe the Twonketta-sphere? Some are starting to question the story about the tin of condensed milk, sensing the hallmarks of a particularly ruthless boardroom takeover. Still, Twonketta feigns such remorse that we accept, attend and note that most of the backing props and puppets have moved on too. With gusto they set about this adventure, a complex chilli-spiced grapefruit, designed to give most professional chefs a seizure. One which the Marvel franchise can only dream of. So, hold on… tight!

If it’s comedy, musical theatre, poetry and cabaret you’re after Twonketta is the complete package; singing, dancing, a touch of burlesque, no turn un-stoned. It’s rumoured the Royal (Ballet) are on the waiting list for one of her weekend workshops. To this year’s plot; the fairies are trying to move the fun fair to a swamp (in Tallahassee, obvs), giving them the opportunity to reclaim their enchanted valley. Somehow related to this are Tim Horsepiss, a rat-catching cat without the required skillset, an overdressed Chris Hutchison nursing his failing eyes and lower jaw. Shaky’s there, his muse Cicciolina and their resourceful offspring Tutti Cnutti (AKA Toots) successfully pulling off a spectacular heist to accrue more mats for the Helter skelter. The Great Dictator played a short cameo; the full performance may well be available at a Wetherspoons near you soon. Amongst all this there’s still time to celebrate Waltzer Sue’s birthday and listen to some found audio footage of Joe Meek’s last hours.

The front rows loved this. A couple at the back had clearly walked into the wrong show. What’s not in doubt is that the surreality and subversion is as vital as ever. And very funny. There are thousands of shows at hundreds of venues in Edinburgh during August; you will definitely not find anything like this anywhere else. Click Here For Review


August 17, 2026    One4Review

Review of Struan Logan: Chaotic Good

In the early hours of the morning this Fringe, you will find the wisest of comedy night owls, Struan Logan, perched. Wide-eyed and all things funny, he’s attracting the nocturnal woodland animals who want to listen.

He makes everyone feel at ease and starts with tales from his Ayrshire childhood. Schools and bullying are nothing new in a show of this ilk, but explaining the mystic arts of getting vodka into a Capri Sun comes over as new and fresh.

Another plus: he’s a proper card-carrying nerd too, given the nickname Hufflepuff, with a friend describing him as “the most Puffle of the Huffle.”

Family strife plays a part in the show. Dad is a Tory, Mum a strong socialist, so he covers everything from the sellout that is Ringo Starr to how JK Rowling still gets on his nerves. There’s also a Melbourne misadventure before he realised he was getting no joy out of comedy and ended up being sectioned, which is explained with detail and relatability rather than being heavy-handed.

But he’s got himself a spirit animal in the shape of a Corgi and is turning things around, although the voice of paranoia and bipolar still rattles his cage on occasion.

Overall, Logan is very likeable and, at times, has flashes of brilliance. While the hour is still finding its feet, there are some excellent pieces. Don’t class this as a comeback. He’s been working on himself and the comedy for a while, and that is on point, with someone who has something interesting to tell. Struan 2.0 has arrived, improved and ready to take on the world.

The time might be late, but all in attendance were bright-eyed and bushy-tailed for someone well worth staying up for. Click Here For Review


The Mumble Review- Eryn Tett: Tasting Menu

August 17, 2026    The Mumble Review

Review of Eryn Tett: Tasting Menu

The Mumble Review- Eryn Tett: Tasting Menu

 Click Here For Review


August 16, 2026    Entertainment Now

Review of John Robertson: Excitable Boy!

John Robertson bursts onto the stage with an energy that immediately makes it clear this is not a conventional comedy show. With long white hair, bulging eyes, and relentless intensity, he looks almost like a character straight out of The Witcher, if there are any video game fanatics reading. This was my first experience of the Free Festival at this year’s Fringe; I am not quite sure what to expect. The discovery that the show is also live streamed on Twitch adds another unusual layer to an already unconventional performance.

There is little traditional narrative. Instead, Robertson appears to feed off the room, moving wherever the audience’s energy takes him. He jumps into the crowd, confronts audience members, and embraces moments of complete unpredictability. In one particularly surreal moment, which literally made me cover my eyes, two audience members participate in an intimate act by sucking his nipples while he continues reading poetry to the room. Yes, you read that correctly, and somehow Robertson’s confidence makes even the most unexpected moments feel deliberate.

His electric banjo and songs add another dimension, while his years of comedy experience allow him to maintain control despite the apparent chaos. Robertson somehow talks about everything and nothing simultaneously. The show is frantic, strange, and completely unpredictable, but that becomes its greatest strength. I have little idea what will happen next, and I enjoy every minute of it. Expect the unexpected. Click Here For Review


Vix Leyton - Chief Petty Officer

August 16, 2026    

Review of Chief Petty Officer

Vix Leyton - Chief Petty Officer

Chief Petty Officer by Vix Leyton is an hour-long free comedy show dedicated to some of the most infamous acts of pettiness, from historic grudges to disputes that have played out much more recently. Wagatha Christie, Count Binface, the Colin the Caterpillar battle between M&S and Aldi, Ea Nasir, pothole birthdays and Stewart Semple vs Anish Kapoor all make an appearance, alongside plenty of other examples.

At times, Leyton delivers the whole thing like an academic lecture, complete with a presentation and her “Hill To Die On Index”. The graph measures each petty act by joy on the Y axis and commitment on the X axis, helping Leyton decide which examples of pettiness are actually worth the effort. In her eyes, the ideal petty act gets plenty of attention and satisfaction without requiring a ridiculous amount of work to pull off.

It’s a format that works well throughout the hour. Leyton repeatedly returns to the graph to give her verdict before moving onto the next story, which gives the show an easy structure without making it feel too rigid. There’s also something very funny about watching completely ridiculous disputes being assessed with the seriousness of an academic presentation, particularly when Leyton starts adding her own observations and jokes.

There’s a good mixture of stories too. Some will be immediately familiar because they dominated headlines at the time, while others are much more obscure or come from further back in history. It means you’re never sitting through an hour of stories you’ve already heard before.

Leyton’s enthusiasm for the subject is probably what makes the concept work as well as it does. She isn’t just running through examples of people being petty; she gets into why people become so committed to these disputes and, importantly, whether the payoff was actually worth it. Some victims fight back, some acts of revenge turn out to be nowhere near as satisfying as intended, and others require so much effort that you start questioning who really won. Leyton happily picks them all apart.

The mix of storytelling, slides and completely unnecessary levels of analysis gives Chief Petty Officer its own identity beyond the funny subject matter. Better still, the show eventually reveals itself to be a petty act in its own right, with Leyton saving that particular story until the end.

It’s a clever way to finish an unusual and very enjoyable hour of comedy, while proving perhaps the most important lesson of all: sometimes being petty isn’t really about winning. Sometimes it’s about committing to something long after any reasonable person would have let it go.

★★★★ 4/5


Recommended Show

August 16, 2026   FringeReview

Article about The RemAIns of the Butler

Recommended Show

Low Down

McAlpine is butler to the Lord of the manor, in this case the mythical Kirklevington Hall, where his future is threatened by the arrival of an AI inspired robotic potential replacement.

Cue much muttering below decks from the servants, concerned that their hitherto relative sheltered, cushy careers might come under threat. Time for McAlpine to prove that a gentleman’s gentleman is genuinely irreplaceable.

Review

The butler, immaculately attired in tails and waistcoat, white cuff-linked shirt with not a crease in site, appropriately striped trousers and shoes you can see your face in, is an enduring, quintessential part of the upper classes’ support world. And “a gentleman’s gentleman” is a wonderfully apt description, socially ironic but precise – a manservant who prides himself in matching his master’s faultless appearance.

One might also have added that a real gentleman’s gentleman will come up with the ideal solution before his master becomes aware of the actual problem. But what if AI, in the form of a humanoid robot were to mount a challenge to this time-honoured profession?

Michael McAlpine is doing his best to maintain his composure, and it’s nothing to do with the cramped and stuffy venue he’s been allocated at Laughing Horse’s Counting House for this exploration of the art of butlering, or what could remAIn of the profession if AI were to make a great leap forward into the unknown.

McAlpine is head butler to the Lord of the manor, in this case the mythical Kirklevington Hall, which is hosting a three day conference on behalf of USWeCare, leaders in the delivery of reductive emotional reassurance (AI robotics to you and me) from, yes, you’ve guessed it, the good old US of A, led by a Stetson wearing CEO with a Southern drawl so deep you could swim in it. And, to butter up the old Lord, the CEO has offered him the use of his latest invention, a robotic Jeeves. Cue much muttering below decks from the servants, concerned that their hitherto relative sheltered, cushy careers might come under threat. Time for McAlpine to prove that a gentleman’s gentleman is genuinely irreplaceable.

That’s the premise for an hour that’s an engaging mix of sketch comedy, monologue, catchy songs, the odd bit of poetry (with the emphasis on the “odd”) and a good dollop of mime. All provided by the superbly versatile McAlpine himself, who plays a range of characters and caricatures with alacrity.

There’s the butler himself of course, urbane, smooth, perfect elocution, manners and bearing. Nothing can ruffle him, even the infuriating Jenkins, the aforementioned AI programmed robotic upstart who McAlpine is charge with training, who comes complete with monotonal voice, jerky movements that would never cope with serving his Lordship’s afternoon tea, and a propensity for logic and efficiency when nuance would be the better option.

Then there’s Micky, the under, under butler, the Geordie accented, archetypal cheeky chappy who is where he is for a reason but wouldn’t mind being somewhere better. And let’s not forget her Ladyship, an eccentric to the manor born, especially after her second gin of the morning. Finally, we have the Stetson totting CEO, all corporate baloney and false promises.

It’s a nice range of characters around which to weave this engaging tale, each one differentiated in the manner described and several of whom appeared to be in the room at the same time, largely due to this talented raconteur/actor’s abilities on the physical theatre front.

That the satire sometimes seems akin to a sledgehammer is justifiable, a reminder that we need to strike a balance between harnessing the obvious potential of AI to improve lives and the danger that, in so doing, it could dehumanise the very thing that created it.

There’s a butler in every one of us. It’s the part of us that provides service without servility, retains their dignity without being a doormat, anticipates problems and provides help, assistance and solutions to others. On one level McAlpine’s The RemAIns of The Butler is a wonderful allegory on the need for the human race to help each other. On another, it’s a polished, professional piece of theatre cum storytelling cum sketch comedy cum, well, jolly good way to spend an early afternoon at the Fringe.

Thoroughly recommended, especially for any passing nobility but, please, do remember to leave the butler a decent tip at the end. It’s the done thing, you know. Click Here For Article


August 16, 2026    Chortle

Review of Struan Logan: Chaotic Good

There are three ways you can go with a very late show at the Fringe: weird cult, high-energy party, or chill-out chat.

Struan Logan was always going to be in the latter camp, forever conducting himself as a people-pleasing Hufflepuff – in strong evidence here as he fusses to ensure every audience member is comfortable before the 1am show starts.

He’s relatively mainstream in his approach, talking about how his accommodating manner makes him very different from the rough, gruff stereotype of Scottish masculinity. He has a little bit of attitude - but mostly that’s aimed at those who have too much attitude, such as the braggadocio alpha male ‘question everything’ podcasters who nonetheless all plough the same furrow.

But his own politics are not middle of the road – as demonstrated when he calls out Nish Kumar, of all people, for not being woke enough. In a 2024 interview, the former Mash Report host called Nando’s ‘the only thing uniting this fractured country’, which Logan considers hypocrisy, given the chicken chain has used a legal but opaque offshore scheme to pay less tax.

His call for a boycott of Oatly because the milk alternative is on sale in Israel – helping the state appear progressive and ‘veganwashing’ its actions in Gaza, critics say – causes something of a ruckus in the room. Not because of Middle East politics, but because the Swedes here take umbrage at a jibe against a company from their homeland. However, Logan’s voice of calm prevails.

A couple of standout stories define this show, both concerning mental health. One involves a particularly insane heckler on stage in Melbourne, Australia; the other concerns his own bipolar diagnosis (there can’t be many comics this Fringe calling Kanye West ‘relatable’) which led to Logan being sectioned, cracking jokes as he got dragged away.

There’s clearly a lot more to this than he’s prepared to share yet, and this feels a little like a teaser for a future, darker show he’s yet to write, which would require stepping out of his comfort zone – something he’s understandably reluctant to do.

Otherwise, Logan often falls into the trap of talking too much around his subjects, offering mildly amusing conversation, but not enough focus on landing a hard gag. And when he does hit a punchline, he has a tendency to talk too much beyond it, rather than letting the joke speak for itself.

Such shortcomings mean the show probably wouldn’t survive contact with prime time, but in the early hours the stakes are lower, and hanging out with a cordial host sharing conversational anecdotes could hit the spot. Click Here For Review


August 15, 2026    Entertainment Now

Review of Asian, But Wrong

A charming hour of comedy, consisting of stories about growing up in Singapore, language barriers and doing what’s right for you in life. Ting Lim has come a long way to be telling you her story in this karaoke room, and she’s here to explain exactly how it happened. It all began with a tequila infused impulse purchase for a comedy workshop while she was living in Australia, which of course happened to be non-refundable and led to a life-changing moment of self-discovery upon its conclusion.

The majority of the show is a retelling of her family life and relationships in Singapore and Australia, with a few good jokes written in there along with some rewarding punchlines during longer, more heartfelt stories. Some of the content falls flat, but Lim does well to quickly move on before awkward silence ensues. Despite the simple premise and a couple of ropey moments, the show is definitely worth an hour of your afternoon, and the intimate venue makes for a great space to experience the set.

There are some genuinely touching moments in the set, particularly about her mother’s acceptance of her career choices and finally getting out of a dead-end ten year long relationship, but when she reaches the end of these stories, they quickly lose their value with a punchline, which can feel quite anti-climactic. There is great stuff in here and it is worth watching if you have a free afternoon throughout your Fringe binge. Click Here For Review


Recommended Show

August 15, 2026   Fringe Review

Article about Other

Recommended Show

Low Down

Other is about showing that although much divides us in the human race we have a lot in common too. We are all other in some unique, special way, so let’s celebrate that. A two-person stand-up comedy show on the Free Fringe circuit in an accessible venue.

Review

Rohan and Mani might appear to have a lot in common to the average outside eye – both men, both brown, both from communities that face scrutiny in these days of England and St George fevered flag waving. But dig a little deeper and you will find there is much that divides them. Starting with the disputed territory of Kashmir and moving onto much more important things like spreadsheet nerdery and football v. cricket, this is a gentle hour of stand-up, first from Rohan Ashar and then Mani Ahmed. You may have been lucky enough to see them on the London comedy circuit where they have honed their craft.

As with all good stand-up it is personal and observational, exploring childhoods where they discovered how they were viewed differently and learning to fit in as best they could. And if you think you know how they might have been ‘othered’ you will be surprised! The rules of reviewing etiquette forbid me from revealing any of their material but trust me, there are

some solid zingers in there. The message from Other – and why Rohan and Mani make such a strong pairing – is that we are all uniquely different and none of us should feel bad about how we are ‘other’. A moral and funny show, what more could you want? To add to the package in this lunchtime show the venue on Edinburgh’s Cowgate is a friendly, airy bar that does food and is completely accessible to wheelchair users. Good acoustics in the cosy air conditioned room also help.

After the jokes comes the quiz. Sadly no actual prize for first place on offer (that is a thought guys, even on a stretched Fringe budget) but you do get kudos points if you are more other than anyone else in the room. Don’t worry, there is no obligation to participate, it’s not that sort of comedy show where the audience’s discomfort is part of the joke. Rohan and Mani are gentle interrogators but the answers they coax out of us are revealing as well as funny.

The show could benefit from extra oomph with delivery and leaning further into the quizmasters’ role. The confidence to roast each other more (punching sideways) could underline how we as a society are quick to make unfair assumptions.

Other is part of the Free Fringe so pay what you can but bookable in advance which is probably advisable to guarantee a seat. They are only here until 18th August so go while you can. Click Here For Article


August 15, 2026    One4Review

Review of 2 Wongs and a White

Compilation shows can be a bit hit-and-miss at the Fringe, usually falling into a category where the premise doesn’t quite match the talent, or the talent doesn’t quite match the premise. This is not the case here, and have quite a crowd too.

He Huang

Your opener, Chinese-Australian resident He Huang, is being wonderfully inventive in the heat in this Covid cupboard.

Bubble tea, haggis, probably the most Chinese meal you could ever have go down well. The phrase “Leftover Ladies” draws a few gasps from the audience, too.

It’s a sharp, short set, nice to see a comedian bringing the heat to the mic under these conditions as well. Huang has the material and delivery to cut through the sweaty surroundings, and she leaves the room audience considerably warmer, and they don’t mind.

Ting Lim.

A Singaporean comedian who has lived in Australia for 15 years, Ting Lim delivers a wonderful set with plenty going on.

Singapore noodles, apparently, are not a national dish, while ordering coffee with her name often results in being called Tiny Tim. Then there’s the joy of filling out forms and discovering that Singapore isn’t even in the drop-down menu.

It’s an absolute delight, with Lim finding laughs in the little frustrations and absurdities of everyday life.

Nick Schuller

Our token white man in the set, and you couldn’t get anyone better to close off, or paler.

Opening barb about how the air-conditioner is dressed in a burka sends the crowd wild, and the problematic issues of how Harry Potter names are changed across countries.

Of course, get some local references, and the point about Scotland drinking Boston dry during the recent World Cup and the rap music similarities with your family members is well constructed.

However, he saves the best for last with a swimming bit that people would fear to tread, and it is potentially one of the routines of the Fringe.

It’s another Free Fringe gem showcasing comedians at the top of their game. Click Here For Review


August 15, 2026    One4Review

Review of Olaf Falafel Presents: I Used to Work in a Helium Balloon Factory Until they Let Me Go

Novelist, otherworldly, view-askew story-spinner Olaf Falafel is back.

It all begins with a typically weird VT and, from there, logic is politely shown the door. Goths apparently need showers. Jason Statham has balance problems. Dr Bananos’ nursery crimes amuse us. Somewhere along the way, children are advised that, sooner or later, they’ll all have to do things for money that fill them with shame. It is impossible to explain.

Jokes arrive with force. One minute there’s a song about Gü pots that will make you gaga, intrusive thoughts that keep you only marginally awake at night, an ode to sausage-on-a-stick self-help happiness, and a perfectly observed idea that fun requires structure.

Falafel loves a band reference, and this year is no different. Shakira, U2, Earth, Wind & Fire are all done with such abandon; kids will be searching them out on the way home. Then there are Disney characters painted on the sides of vans, Liam Neeson’s dog ultimatum, and props, songs and video segments that are all perfectly judged.
And then he turns up the heat for the final third: Guitar Hero farm animals, a throwaway video sequence on Sonic the Hedgehog hair bobbles, and, of course, the return of Jason Statham, all delivered with the confidence of a man who has spent years building his own Marvel comic universe entirely of his own making.

Falafel has become a cult institution at the Fringe. After more than 20 years of gloriously daft shows, he remains one of the very few acts where words such as auteur and genius apply, and in this form, no other act currently in Edinburgh can touch him for sheer universal appeal. Entirely self-funded, fiercely independent and forever marching to the beat of his own bizarre drum, Falafel here is at the top of his game.

Brilliant! Click Here For Review


August 14, 2026    The Edinburgh Reporter

Review of Will Sebag-Montefiore: Game of Phones

This satirical musical comedy show is billed as “an antidote to the manosphere, attempting to take down the worst people on the internet while asking the question, ‘Do I need a hair transplant?’” and it certainly does what it says on the tin.
Sebag-Montefiore, 35, wearing a purple satin shirt with black pedal-pushers and sockless loafers, is a bundle of energy as, strumming away fervidly on his guitar, he rips through a raft of self-penned songs lambasting the ne’er-do-well-to-do cabal and social media trolls.

Several “right-wing lunatics” are lassoed into a comedic circle and metaphorically whipped until their misogynistic and self-aggrandising proclivities are red-raw. It’s disconcertingly fast but if you miss a joke or two there’s sure to be another close behind.

Having a surname that just happens to be the same as what Wikipedia notes is an “influential British-Sephardic Jewish dynasty of financiers, philanthropists and writers” offers up another opportunity to rail at the online bigots who mistakenly assume he is Jewish. The Leeds-raised north Londoner also uses it to poke fun at antisemitic tropes, having failed to land any big acting roles courtesy of his namesakes.

The hailstorm of gags is interspersed by a mini-directorial AI voiceover, courtesy of Philippa Carson, the actress, which appears to emerge from an onstage laptop.

His gaze also turns inwards, or rather upwards, at his disappearing hairline and his insecurities surrounding it form a running theme throughout the show.

Near the end, Harry, a young, with-it member of the free-ticketed audience from Bristol, is invited to replace Sebag-Montefiore on stage to be the foil for a volley of heckles which he lobs over from among the seats.

“It’s well-written; he’s on-topic and up-to-date,” Harry says as Sebag-Montefiore hurriedly swipes digital payments from punters before heading off to another show. Click Here For Review


August 13, 2026    A Youngish Perspective

Review of Olaf Falafel Presents: I Used to Work in a Helium Balloon Factory Until they Let Me Go

Olaf Falafel is perhaps best known for regular appearances on ‘Best Jokes of the Fringe’ lists, fusing intelligent construction with a delightful surrealism. I Used to Work in a Helium Balloon Factory Until They Let Me Go – an excellent title – continues this great work in a very silly, very funny, and wonderfully constructed hour.

Falafel’s easy presence onstage, comic versatility, and pure glee at his own performance draw you in completely. His central tenet that ‘Fun needs structure’ is achieved with the aid of a PowerPoint – facilitating visual and written jokes – and skilful pacing. Falafel’s calm confidence can make the show look like it’s throwing things at the wall to see what sticks, but everything has a purpose (often serving as a callback).

These elements’ primary purpose, however, is to establish the show’s rhythm, which Falafel has honed to perfection. There’s such a variety of comic payoffs: everything from prop comedy to bad puns, and even some political satire. The use of technology opens up even more avenues for humour, often taking the easy joke and then following it up with something unexpected. What Falafel calls his “sorbet” jokes deliberately change the pace to cleanse the palate, often making a uniquely askance observation (“surely not everybody was Kung Fu fighting?”).

There’s a warm sense of camaraderie to the show. You’re never far from a chant or a song, or indeed a version of Guitar Hero played with dog squeaky toys! Falafel also impishly challenges the audience to guess jokes ahead of time – sometimes an image onscreen foreshadows the punchline, and an early routine sees increasingly obscure ways to introduce children’s nursery rhymes, becoming more obvious until the audience clicks. With typical creativity, these clues are delivered as a press conference where a comic character admits past misdeeds. That’s perhaps the best way to capture Falafel’s vibe – a delightfully naughty children’s entertainer.

This review uncharacteristically quotes several jokes, because for this show spoilers simply don’t matter. There’s such a volume and variety of material crammed into the hour, and Falafel’s creative delivery is strong enough, that knowing a joke in advance hardly diminishes it. Anyone who wants to laugh will find a lot to love in this wonderfully silly, intelligently written show. Click Here For Review


August 13, 2026    The Skinny

Review of Olaf Falafel Presents: I Used to Work in a Helium Balloon Factory Until they Let Me Go

Olaf Falafel returns to the Fringe with a high-calibre hour of silliness, buffoonery and general mucking about.

With two shows this time around, Olaf Falafel has been a Fringe mainstay for years now; there’s seldom a list of ‘Fringe Jokes of The Year’ that don’t include one of his contributions. As I Used to Work... kicks off, the children’s author and stand-up immediately scans the audience to detect any audience members that don’t fulfill the '12+' age criteria. After finding several children scattered across the audience, instead of policing this, it turns into a routine. He goads the kids to lie about their age, while slipping a few new ‘safe swear words' into their vocabulary.

This essentially summarises the upcoming hour for Falafel. It isn’t entirely PG, but it’s certainly childish. It isn’t much longer until the comic has strapped a banana to his nose, adopted a vague European accent and is waggling a sausage attached to a fishing rod at the audience. You start to think that, maybe, this is going to be one of the sillier shows at the Fringe.

Falafel is shamelessly and joyfully daft, in a way that is genuinely refreshing and contrasts to other Fringe options. It’s a palette cleanser (or sorbet, as Falafel asserts) to have someone take so much glee in simple buffoonery. Using a packet of sausages as panpipes, squeezing an array of dog chew toys to the tune of Johan Strauss compositions, or catapulting Jason Statham’s severed third testicle through eight fiery rings, it is impossible not to get enraptured by Falafel's boundless whimsy.

It isn’t all prop comedy: there’s several of his trademark one-liners, an enactment of his viral ‘Cheese of Truth’ videos and a cameo from fellow Fringe luminary Mark Silcox. Whether he's riffing about Shakira, yoghurt pots or Hieronymus Bosch’s Garden of Earthly Delights, Olaf Falafel is the crazy uncle that everyone wants to hang around. Don’t let the silly songs or absurd concepts fool you; mucking about of this calibre is no mean feat – and nobody plays the mischievous jester better than Olaf! Click Here For Review


August 13, 2026    On The Mic

Review of Sex! with Becky Fury

This free show is performed at half past midnight in one of the smallest rooms at the Edinburgh Festival Fringe. Tonight/this morning, it is packed full of open minded mostly young people who have come to hear jokes about sex in all its varieties.

The opening line about fisting an Antipodean rugby player sets the tone.

Our host, comedian Becky Fury is a very funny, charismatic, engaging and dare I say it, sexy performer. A former dominatrix and sex therapist, Becky knows what she is talking about.

I’m not going to give away any of the material here. If you want to know more, and you will learn a lot more, get to the show.

Sex and sexuality are very funny subjects. Becky Fury proves it.

Martin Walker Click Here For Review


August 13, 2026    On The Mic

Review of Sid Singh: Love Bombing

I am a long-time fan of Sid Singh, the American human rights lawyer, activist and stand up comedian. Between telling jokes, he is there in the weeds, trying to effect change to American asylum seeker legislation and save lives. He’s always been an optimist. He’s had his fair share of success in terms of legal victories against multiple presidential administrations.

Sid really cares about the vulnerable people he is trying to assist. Recent setbacks have left him questioning if he can really be of any help.

This is a more soul-searching Sid Singh than we’ve seen before. More reflective perhaps, but just as funny.

This is informed and hilarious political satire from a man on the front line.

Martin Walker Click Here For Review


August 12, 2026    Starburst Magazine

Review of John Robertson: Excitable Boy!

John Robertson is a very, very naughty boy. And as the title of his latest show implies, rather excitable. The 40-something Australian comedian is better known for his consistently sold-out interactive game show The Dark Room, a high-energy crowd-work show inspired by impossible-to-win multiple-path adventure games. With such a show requiring so much energy, you’d expect John’s other show to be a rather sedate affair.

You’d be wrong. Excitable Boy has Robertson leaping and capering across the small venue like some possessed court jester, funneling a near preternatural level of energy to tease and entertain the audience. This is mostly crowd work and observational comedy blended together in a seamless way; there’s no malice to the act; instead, what we have here is a celebration of the absurdity of the human condition, with John acting as a living firework of sorts.

The buy-in and engagement from the audience is pretty much instant, and we’re starting to see what happens when a crowd who knows what to expect regularly comes to one of these style shows; the result is that John’s energy feeds the audience, and their response feeds the performer even more, until we are all at our limit with laughter. The ‘boy’ in Excitable Boy is a misnomer; the man’s a living rocket. We’re pretty sure he can’t be stopped by conventional means.

We have said this before, and we’ll say it again, but we still have no idea why Robertson isn’t more well known; he’s pretty much become an Edinburgh Festival Fringe legend at this point, so why he hasn’t barrelled onto some panel show or other is beyond us. Go see this show, because it’s very good.

 Click Here For Review


August 12, 2026    Edinburgh Reviews

Review of 100% Badgers with Matt Hobs

Matt Hobs is an endearing character with a genuine and real passion for Badgers and small British wildlife. He originally started writing this show as a badger fan and submitted 100% Badgers as a “haha, I enjoy badgers” – but in his research for the show it became so much more than that. It became a comedy act both extremely funny yet very important and educational.

Hobs has collaborated with Badger Trust and Scottish Badgers, and has separately held a one-off fundraiser earlier this month which raised just shy of £1700 to aid their amazing work.

Why badgers?
This is one of the main questions Matt gets asked, and it is one of the questions he bases his set around. Originally it was just because he thinks badgers are cute, bumbly little creatures and he wanted to attract one to his garden, but it became more than that.

Standing in a farm field one day looking at a badger in a cage for vaccination he realised they all have different personalities and behaviours and that changed everything. He realised the cull of badgers and the lack of aid for them in our modern world was decimating the population.

With his background in science, Matt read so much data around TB in badgers affecting British cattle and found it all to be rather conflicting and no one coming to any real consensus on the matter. But somehow he managed to slip in these dark facts with levity and jokes that were just ridiculous fun.

The Matt Hobs Experience
The show began with us cramming into this teeny tiny karaoke room that was hotter than hell itself with Matt apologising and trying to hobble together the tech system with the TV not working and him having technical issues as his act revolves around slides and videos.

He again apologised, offered anyone who wanted to leave the opportunity and a refund. No one took it. We told him it was fine, and it happens and then from on high a staff member appeared with the remote and got the TV working. We were in business! Matt switched effortlessly between very funny jokes and actually educational content, throwing in some badger props and some proper cheesy dad jokes in there for good luck.

Overall
For a Free Fringe show this is an excellent offering and I can see why it was sold out. I would say it’s probably like 90% Badger – I think he was flying too close to the sun with 100% Badger, such a thing seems impossible. Shout out to Mr Prickles, who is definitely NOT a badger. The crowd involvement was very fun also.

If you love badgers, or would love to learn more about them from a lovely, funny comedian this is an excellent free fringe show to check out! Could use more badger, 100% badger nirvana not yet attained, but definitely close enough. Click Here For Review


August 12, 2026    The Scotsman

Review of Stand-up Philosophy

This show changes guests with a philosophical bent each day but we always have Alex Farrow, who is what you get if you give Jack Whitehall a degree in philosophy. He is obviously no slouch academically and is a charismatic performer but using “m'man” as a repeated salutation is deeply irritating. Today we have Chelsea Birkby and Vlad Illich taking us through the Philosophy of Objectification with reference to Kant, Camus and a passing mention of the Aberdeen Kiss, followed by Marx, Plato and the problems of filling out an application for a UK passport.

With each guest, Alex comes back onstage to engage in some philosophical discourse, and encourage the audience to ask questions. It makes for an interesting mix, and quite tricky given that few philosophies benefit from being folded into a comic's club set. But it works surprisingly well, although for me the Q&A rather gets in the way and usually ends up with Alex doing his own material. Which is never bad, but just feels a little unfair to the guests. But whether you agree with Hobbes, Kant or Freud, you can always do worse than laugh. Kate Copstick Click Here For Review


August 12, 2026    The Scotsman

Review of Get Your Geek On: A Nerdy Comedy Showcase

The Geek comes in many forms and this nerd-friendly show celebrates and welcomes all of them. My knowledge of the world of online gaming, cosplay and even Pokemon is minimal, and so I fail utterly to score on the ongoing interactive competition fun, but somehow that doesn't matter. This is a clever and brilliantly executed format with suitably impressive tech (thank you Ally Haig).

Juliette Burton is an effervescent and sweetly geeky host, addressing us as “my sweethearts” and keeping up a necessarily hectic pace as there is a lot to fit in. Three guest comics share their obsessions – today bees (Rachel Creeger), cult films (Hanna Platt) and disco music (Chaz Redhead) – which makes for a fascinating break from the many worlds of the virtual. Although I do not really understand the lure of the screen as a playground, the sheer enjoyment and enthusiasm that is obvious in the room is infectious and I almost feel moved to download Space Invaders. Juliette, you may have changed my life. If you are a geek, this is the show for you. If you are not, it is a great gateway experience of Geekdom, my sweethearts. Kate Copstick Click Here For Review


August 12, 2026    The Scotsman

Review of The Devil Wears Primark

This is a genuinely nice show promoted as something considerably edgier. But it’s an enjoyable hour all the same. It’s a sashay through one woman's perimenopause with reference to the vagaries of finding love through dating apps, the language of the emoji, the realities of life on Mountjaro (which is not all effortless weight loss and compliments, we discover) and what might be termed a blow by blow account of farting while doing yoga.

Rachel spends some laughless time finding out where we are all from and going nowhere with the information, but she is a warm and likeable stage presence and when she gets into what might be termed the 'meatier' sections of the show we get to appreciate the enjoyments of time with a woman who has lived a bit.

There is Uber Eats and Guilty Pleasures (which seems to strike a major chord with many in the room), our protein obsession and a passing nod to the LGBTQIA+ community. There is nothing devilish here, but the occasional nugget of naughtiness gives Rachel Milne's hour enough frisson not to disappoint. Kate Copstick Click Here For Review


August 12, 2026    The Scotsman

Review of Supervillain

A real sense of barely controlled chaos in this new show from Australian kids comedian Matty Grey is hardly surprising as it’s brand new.

“It’s going to be a great show,” Matty assures us “in a couple of weeks!”

Actually, this pick a path, multimedia adventure is pretty good now, although it does become a little unstuck due to very occasional understandable technical slips and some unnecessarily stat-heavy role playing elements. You — or rather a member of the audience — choose your super powers and become the hero of Untamed City, a familiarly lawless metropolis threatened by cartoonish supervillains and evil tech baron Elon Mullet.

Grey’s seemingly boundless good nature and energy goes a long way to keep this Free Fringe show on track. Although primarily aimed at 5-12 year-olds, game parents should enjoy it too. The choose-your-own-adventure aspect means there are a few different stories and outcomes you could experience so there’s a heavy reliance on A.I. creations, although as the show evolves Grey hopes that the man-made art will eventually completely replace it.

This probably matters very little to the kids though, as community inflatable dice tossing keeps the energy up in the room whenever the show threatens to flag. Rory Ford Click Here For Review


August 12, 2026    One4Review

Review of 100 Million Fish in the Aquarium

The Australian ketamine Smurfette is back! This year, it seems the budget has improved too, with a proper giant screen boasting the highest HD resolution you’ll see at the whole Fringe, unless you head to the IMAX.

She kicks off from where last year left off, with the theme not so much where she’s from, but where she’s been and where she’s going. Flights play a huge part in this, with a screen timeline of her misadventures displayed behind her, and a Ryanair section hitting brilliantly.

She’s been through a lot, with a breakup that actually took place on an aeroplane causing audible gasps from the audience. Travelling is a huge thread throughout the show, taking us from Berlin to Madeira to Malta on a single trip over Christmas, with the kind of travel misadventures that make you wonder whether a holiday is actually worth it.

But it’s not just her. Particularly strong is the section where her stepson gets kidnapped by Greeks and her dad goes full low tech Dog the Bounty Hunter trying to find him. It’s completely bonkers, beautifully observed and delivered with the kind of conviction that makes you briefly wonder just how much of this can be true.

Then there are the smaller diversions: insomnia without the symptoms, OCD and the various little glitches that make up the human experience.

Visually, this is a big step up from last year, and Brooke has blossomed too when it comes to commanding the stage, adding superb facial expressions to her sheer enthusiasm. You can see the thoughts arriving on her face before the words have even caught up.

There’s a genuine sense of adventure to it all, even when the destination is questionable, and the route is decidedly turbulent. She’s on the right flight path, no matter where these misadventures may take her.

Brooke is killing it this year and you should come along for the ride. Click Here For Review


August 12, 2026    One4Review

Review of Anime-Zing Kids!

From the off, you realise Anime-Zing Kids! is a Fringe kids show with a difference. From the incredibly catchy opening singalong, this is something for all ages and immediately feels like a laboratory of invention.

To begin with, you’re in the hands of two professional guides who know the anime game inside out. Jesse Moss has worked for Nickelodeon’s Are You Afraid of the Dark?, while Soness Stevens Kitano has been the English voice of Hello Kitty for 25 years. They take the kids through creating voices, dubbing live anime and generally ruling the roost.

Today’s anime was Wheels & Roses by Pearl Low, and the kids are all over this, interacting, creating the script, voices and sound effects. There’s no hiding place for the parents either, who get dragged on stage to do the voices. Everyone is treated with respect, making it a safe space for neurodivergent kids.

A lovely touch is the support of a local comic strip by Tanya Roberts, which the kids give real gusto to and breathe life into. Fringe fare that is similar means the adults can leave the kids alone, but not this one. Here, adults are part of the process rather than just being in monitoring mode.

And back to the kids, because really it’s all about them. They are completely on point, asking questions, taking no prisoners and throwing themselves into all challenges. I didn’t see one kid not engaged.

This is a genuinely lovely hour of colour and noise, and a great escape from the madness outside.

Anime-zing indeed! Click Here For Review


August 12, 2026    One4Review

Review of Mark Row: A Class Act

As the title might suggest Mark Row is a comedian most of the time, but also has a day job, as a teacher. A drama teacher to be precise and for the month of August, at least, he is a full time comedian. And he’s really rather good at it!

Mark decided back in 2017 to make a documentary about following his dream to become a stand up comedian and take his show to the Edinburgh Fringe. Mark’s self deprecating humour might suggest that he hasn’t quite reached the dizzy heights of stardom that he dreams of, but has established himself as a fixture on the comedy circuit, and returns to the Fringe.

The show is full of anecdotes from the classroom. The students and their equally challenging parents are the source of much of the material. The age old excuses for dodging homework and getting creative with punishment are all part of Mark’s relaxed storytelling repertoire. He cleverly interacts with the audience by asking if there are any teachers in the house. Mark handles the audience banter with such ease. He is very relatable with his references to being a dad and a husband. He has the like ability factor.

Mark is such an engaging performer and it is clear that his years in the classroom, being in charge and holding each and everyone’s attention in the room, was time well spent. As a comedian, Mark really is a class act. A very funny and well written hour of comedy. Click Here For Review


Nathan Cassidy — From The Ashes 4 ⭐️⭐️⭐️⭐️ - One4Review

August 12, 2026    one4review

Review of Nathan Cassidy: From The Ashes

Nathan Cassidy — From The Ashes 4 ⭐️⭐️⭐️⭐️ - One4Review

'Hilarious... he’s one of only a handful of acts at the Fringe where the word auteur can apply. When the output is this good, no one can touch him.’ Click Here For Review


REVIEW: The RemAIns of the Butler @ The Counting House

August 12, 2026    A Young(ish) Perspective

Review of The RemAIns of the Butler

REVIEW: The RemAIns of the Butler @ The Counting House

REVIEW: The RemAIns of the Butler @ The Counting House

Abbie Murray
2 hours ago


Reading Time: 2 minutes
⭐⭐⭐⭐
Rating: 4 out of 5.
‘Wacky, wonderful and filled with the humble heart and soul of Fringe Theatre’
‘The RemAIns of the Butler’ comes to the Edinburgh Fringe from English Germany-based performer and former butler himself Mike McAlpine, who uses physical comedy and seamless character transformations to pose the very relevant questions of how can we live alongside AI and its integration into primarily human-based roles? Through this satirical, light-hearted one-man comedy show, McAlpine explores AI’s hypothetical use in high society, an area of society that relies upon particularly traditional values and taught human etiquette.

McAlpine takes the audience to Kirklevington Hall, where Head Butler Michael McAlpine and his wacky Under-Under Butler Mickey (both humorously named after himself) prepare to host an international AI conference. As preparations are under way, they soon find out that their employer has purchased Jenkins, a humanoid robot butler designed to cut costs and ensure smooth event-service efficiency. It is quickly discovered that this is not the case for a humanoid robot with no understanding of empathy or etiquette, so both Michael and Mickey take Jenkins under their wings in attempts to teach him the ways of the butler world.

McAlpine throws himself into every eccentric character, fully transforming his body language, mannerisms and even his accent alongside simple costume changes. His physical comedy is constant, accompanied by finger-clicking musical segments filled with daft humour, and you can tell he genuinely enjoys himself when performing, making his performance so refreshing and easy to watch. His butler experience is also apparent not only in his portrayal of Michael but also his energy as a whole, as he radiated a warming and welcoming presence from the get-go.

This performance also reminded one of the humble nature yet the immense heart and soul of Fringe Theatre; this performance specifically only included this reviewer with no other audience members, which may have seemed jarring, yet McAlpine did not falter and still delivered exceptionally. This experience really opened one’s eyes to the meaning of theatre, of still being dedicated to the craft and delivering a great performance even if little people are watching. This reviewer still got the full experience, with pretend audience interaction segments, and a fully committed performer who never once made the experience feel awkward or unwelcoming; he was having a great time, and so was this reviewer.

‘The RemAIns of the Butler’ is a free, unticketed event oozing with dad-esque humour (complimentary) and relevant, thought-provoking questions through a light-hearted and satirical lens. If you’re looking for an easy-to-digest, light and whimsical comedy show to attend mid-day during your exploration of the Edinburgh Fringe, this is definitely one to come to. McAlpine deserves his flowers for a free full-fringe run that illustrates his dedication to the art of theatre, and his effective demonstration of how theatre doesn’t need to be big and bold with an expansive cast and set to be enjoyable.

This performance runs from the 6th-30th August (excluding the 18th) at the Laughing Horse @ The Counting House (The Attic) venue located at 38 West Nicolson Street in Edinburgh. Tickets can be found here: https://www.edfringe.com/tickets/whats-on/the-remains-of-the-butler Click Here For Review


August 12, 2026    The Student

Review of 100 Million Fish in the Aquarium

Shannon Brooke’s 100 Million Fish in the Aquarium is a stand-up show that doesn’t shy away from the realities of obsessive-compulsive disorder (OCD). The Wee Tap at Laughing Horse is an intimate venue under The Hanover Tap that adds to the confessional nature of the show. Brooke recounts her compulsions and shines a comedic light on them, before telling a story through the medium of WhatsApp messages about the time her dad saved his kidnapped step-son in Greece. Brooke’s use of callbacks, multi-media storytelling, and mental health jargon establishes a connection with the audience, joking about her compulsions while simultaneously exploring the profound effect they’ve had on her. Every joke, though sometimes predictable, brings a laugh and a reminder of the all-consuming nature of OCD.

However, it felt like the kidnapping story dragged on a bit and could have been cut down. The WhatsApp message format repeats later on in the show in the context of a Christmas trip to Malta, though this was after she had already told most of the story without the messages, so it slightly lacks in its impact. I was never bored; just wondering if this was her standup show or her dad’s.

The highlight of 100 Million Fish in the Aquarium is Brooke’s fantastic crowd work, returning to audience members throughout the show, and even having a quip for the broken aircon that would rattle at random points — claiming someone was trapped in there. Despite being someone with a phobia of being called on by comedians, Brooke’s remarks made my fears melt away.

The show, while rough around the edges, is worth the watch. There wasn’t a moment that I thought “God, the show must be ending soon,” and Brooke’s camaraderie with the audience combined with her fantastic storytelling makes for a charming evening and leaves you wanting to hear more about her life. There’s potential in Brooke’s show and I can’t wait to see her grow as a comedian. Click Here For Review


August 11, 2026    One4Review

Review of Eryn Tett: Tasting Menu

Welcome to the House of Eryn, our chef and waitress of cranium delights.
At first sight, you may wonder what exactly you’ve walked into, with Eryn dressed in slightly ill-fitting red chef’s overalls. Don’t expect any Ratatouille-meets-Disney vibes or Marx Brothers slapstick routine here. Our table is definitely on the quieter side of the id.
So what is this all about? There is actually no food on offer. This is a tasting menu of jokes, with your mind the silent critic, where only laughter counts as a rating.
The approach to this is soft, and a bit like turning on a radiator. You won’t notice what’s going on for a while, but make no mistake, Eryn is in complete control and soon enough you begin to feel the warmth itself.
So, like all good meals, we have a starter. Like one, the jokes aren’t filling our stomachs, but in the hands of Eryn, the joke, like food, is the fuel and she is the thrust that makes everything go down easily. Things are beginning to heat up, especially when she launches into the Maniac song from Flashdance. There is also no scattergun, quick-fire approach to the jokes here; it’s smooth and soothing, like a brain sorbet.
Then comes the main course, and the jokes start getting better as she attempts a classic comedy roast of the audience. Now she’s getting into her stride and winning the crowd over. And let’s give credit where credit is due. There aren’t many performers these days who would attempt a “yo mama” Beaver joke alone, where the full punchline involves the animal. The crowd are fully on board now, and Eryn knows exactly how far she can push it.
Next comes the final course, a glorious Eton Mess of proceedings that needs to be seen to be believed.
This show is an absolute angel delight. It feels like a retro 90s performance piece, as if Elf Lyons and Vic and Bob opened a restaurant of the mind. Where they would probably have stopped the sketch after five or ten minutes, in Eryn’s hands, it doesn’t need to be rushed, and it’s layered beautifully like a Viennetta Whirl.
Eryn commits to the bit completely and makes the 50 minutes a glorious collision of intelligence and stupidity. The only difference is you may not necessarily realise immediately whether it’s genius or what category it falls into until you get to the chippy on the way home.
Overall, this is a wonderful piece of comedy that you rarely see these days, delivered with such care and delight. The slow-burn approach works so well, and the key ingredient/secret sauce to proceedings is Eryn herself as your host, chef, brainiac maniac and everything in between.
Food for thought indeed. Mark this down as another Free Fringe gem. Click Here For Review


Fringe 2026 – Donald brings the seaside in

August 11, 2026   The Edinburgh Reporter

Article about Going Coastal with Donald McGinty

Fringe 2026 – Donald brings the seaside in

Answer the call of nature and set sail for daft laughs as Going Coastal with Donald McGinty comes to the Edinburgh Fringe.
It’s a light-hearted, light entertainment show with some surprisingly dark bits, with jokes about the seaside, seagulls and c-list celebrities. Donald is here to celebrate our coastlines and tackle timely environmental concerns the only way he knows how. Just don’t forget the McGinty family motto “whin adventure beckons be daein’ yer business afore ye leave the hoose!”

It’s a very personal show for Donald, exploring all that is good about the Great British coast but also showing how Donald got over his fear of the sea after a series of TV mishaps. “You’d think that a fear of the sea, in someone who presents a programme about the sea, would be something of an impediment,” laughs Donald. “And you’d be right.”

Some have said Donald is brave for telling such a personal story at the World’s biggest arts festival. However, Donald is keen to stress, “I’m not brave for telling my story. No, brave would be an English character comedian doing a Scottish character at the Edinburgh Fringe.”

Instead, Donald is eager to use this show to promote seaside safety and care for nature. “I know The City Cafe is quite far from the coast and up a hill, but with climate change who knows what will happen a year from now.”

The show reflects Donald’s growing concerns about the state of the nation’s waters, whether it’s pollution or the environmental cost of AI. The Scottish Environmental Protection Agency have recently advised swimmers not to take a dip at Edinburgh’s Portobello beach due to ongoing issues with pollution. Donald, who denies the pollution was a deliberate stunt to make more people pay attention to his show says, “The main intent of the show is to make people laugh but I do have some pollution solutions that are definitely worth considering and aren’t just there to make journalists read the the press release.”

As well as an earnest bit about the environment, there’s also a quiz, a very nice picture of a puffin, a vaguely satisfying dramatic arc and a very niche reference to the TV show Neighbours. As Donald says, “Something for everyone.”

Delighting audiences across the UK, this very silly show – which some have likened to the old BBC show Coast – also picked up an award nomination when it debuted at the Brighton Fringe. “It was for best poster design,” Donald clarifies. “But it still counts.”

Don’t miss this very silly character comedy show when it comes to Laughing Horse at City Cafe on 6th-16th August at 11.55am. To guarantee a seat, you can book a Pay What You Want ticket in advance starting at £2.50. Alternatively, audiences can make a donation at the end if they can afford to do so. Donald promises that all proceeds will go to a very good cause, “paying a parking fine I got when we were filming in Morecambe.” Click Here For Article


August 11, 2026    Mix Up Theatre

Review of Slugageddon!

Stewart

"Benny is a brilliant host as he teaches the children and families all about gardening and those little creatures that come along to visit our growing vegetables. Mainly, slugs! Benny does a great job highlighting that it's not the best idea to poison slugs even if they aren't so great for the garden. There's lots of interactive games that all the audience can get involved in. Perfect timing throughout the show, a few cheeky jokes for the parents and a great time had by all. We had a group of children along and they all had a blast." Click Here For Review


August 8, 2026    Edinburgh Reviews

Review of Devin Gray: Golden Retriever Energy

South African comedian Devin Gray brings his latest hour, Golden Retriever Energy, to the Fringe Room at Laughing Horse @ Kick Ass Cowgate for the 2026 Edinburgh Festival Fringe. Tucked away on the historic Cowgate, a ten-minute walk from Waverley Station, the venue delivers an authentic Fringe atmosphere, close, intimate, and surprisingly comfortable with open windows to beat the August mugginess.

Gray delivers an exceptionally warm, sharply written hour that navigates anxiety, love, and cultural transitions with effortless charm. While officially carrying an 18 rating, likely a product of the pub venue setting rather than overtly aggressive material, the performance feels far more wholesome, driven by Gray’s natural enthusiasm and charismatic stage presence.

Peeling Back the Mask
The title of the show is no misnomer. Gray embodies that quintessential, eager-to-please warmth, yet beneath the sunny disposition lies a nuanced, deeply honest narrative. He strips away the armour to explore personal anxieties and the work required to sustain a loving relationship, using his recent move to the UK as a lens to compare his past with his present.

Gray handles potentially prickly subjects with light-footed precision. In a city where certain pop-culture topics carry unexpected baggage, he navigates a Harry Potter joke with clever wit, side-stepping hostility in favour of sharp, observant humour. His perspective as a South African integrating into British life adds a brilliant layer of contrast, offering a refreshing take on local life that lands smoothly with the Edinburgh crowd.

Charisma Without the Edge
Crowd interaction during the set feels collaborative rather than combative. Gray is not a comic who preys on the front row; instead, he riffs off communicative audience members with genuine delight, turning unexpected banter into some of the show’s brightest moments. His style creates a safe, welcoming room where the audience is invited to share in the joy of the hour.

His material moves beyond simple observations, building a cohesive picture of a comedian who understands both his craft and his identity. The writing is clever, the delivery is impeccably timed, and the overall feel is one of an artist stepping confidently into a larger spotlight.

Overall
Devin Gray’s Golden Retriever Energy is a joyous, beautifully balanced hour of stand-up that delivers big laughs without sacrificing heart. For those seeking authentic Fringe comedy from a rising talent destined for much larger rooms, this show is an absolute must-see. Click Here For Review


August 8, 2026    Edinburgh Reviews

Review of Olaf Falafel Presents: I Used to Work in a Helium Balloon Factory Until they Let Me Go

Olaf Falafel has returned to the Edinburgh Festival Fringe with his latest slice of absurd stand-up, I Used to Work in a Helium Balloon Factory Until they Let Me Go.

Performing at 2:30 PM in the Main Room at Laughing Horse @ The Pear Tree (Venue 257), the award-winning comedian delivers a daily hour of chaotic silliness through 30 August. Fresh off a nomination for the ISH Edinburgh Comedy Best Show Award, Falafel continues his reign as one of the festival’s most reliable purveyors of joyful nonsense.

Running for 60 minutes on a free, non-ticketed, pay-what-you-can basis, the show officially carries a 12+ age rating. However, parents should exercise caution before bringing younger family members. While Falafel is well known for his children’s books and YouTube art tutorials, this Fringe hour contains frequent swearing and an extended bit centred around Jason Statham’s hypothetical third testicle.

Absurdity With Architectural Precision
The noisy courtyard at The Pear Tree clears out quickly as the crowd packs into the comfort of the venue’s Main Room. Falafel wastes no time setting an unpredictable pace, using physical props, low-fi visual gags, and deliberate silliness to keep the room off-balance. The energy is high, built around absurd props and sausage-based nonsense that demand total buy-in from the audience.

Rather than remaining isolated on stage, Falafel actively involves the room throughout the performance. Audience participation is a core component of the chaos, with spontaneous interactions driving many of the biggest laughs. Central to the madness is the legendary Cheese of Truth, a holey slab of dairy that Falafel asserts to have personally invented (discovered?), which makes a welcome appearance to pass surreal judgment on the room.

Art-Related Buffoonery and Sharp Craft
Beyond the physical comedy, the show highlights Falafel’s distinct background as an illustrator and author. His art-related buffoonery features heavily, blending clever visual setups with sharp, rapid-fire joke writing. Every prop or slide feels carefully constructed to subvert expectations, balancing high-concept ideas with delightfully lowbrow execution.

The intimate layout of the venue amplifies the collective hilarity, with snorts of laughter echoing across the tight seating rows. “This is an hour of unadulterated, masterfully crafted nonsense,” captures the spirit of the performance. The show proves that delivering completely stupid comedy requires exceptional discipline and precision.

Overall
Olaf Falafel delivers a five-star masterclass in ridiculousness that fully deserves its status as a Fringe staple, provided parents heed the warning about the adult material. Click Here For Review


Edinburgh Fringe Q&A: Sid Singh

August 8, 2026   Fest

Article about Sid Singh: Love Bombing

Edinburgh Fringe Q&A: Sid Singh

Comedian Sid Singh discusses his new show Love Bombing, about his date with a stalker.

If you reviewed your own show, how would you describe it?
A heartfelt and funny way to use the true story of my date with a stalker to discuss the ever so current feelings of burnout and helplessness.

Tell me a little more about your show and what audiences can expect?
I’m a human rights lawyer turned comedian who has spent the last seven years coming to the fringe and writing political comedy shows that aim to be funny first while also being cathartic! I like to take on the challenge of making dark topics funny in order to get the audience to reckon with those topics in the first place. I know that can often feel like you’re about to walk into a 60 minute lecture, but I promise you, the reason I was named Best Performer in 2023 at the Comedian’s Choice Awards and nominated for best show each of the last two years I was at the Fringe is because I’m very good at this, even if I’m not very good at much else.

Can you talk about some of the creative team involved?
It can be very demoralising realisng that other comedians can afford to pay thousands of pounds for directors and writers and choreographers to turn their show into some sort of multimedia experience. Personally, on my shows the entire creative team is just me. I give 50 percent of my salary at the end of the Fringe to The Center for Gender and Refugee Studies, so I really can’t afford to hire directors or writers or collaborators!

Where do you draw inspiration from for your work, both in terms of creation and performance?
My shows are inspired by political comedians like John Oliver and Jon Stewart and my source material for topics is inspired by the amazing asylum charities such as The Center for Gender and Refugee Studies as well as Al Otro Lado. They fight the good fight and it inspires me to write shows that hopefully inspire the rest of us to join in.

Looking at this production, how would you say it links to previous work personally and thematically?
In so many ways, this is a completely different show from anything I’ve ever done. I felt so burnt out after all my previous shows, trying to raise money for causes I believed in and so…this year I threw caution to the wind and went on a date with my stalker!

Why is this an important story to tell?
I think a lot of people feel overwhelmed by the world right now. This is a show about the weirdest choice you can make when you’re that burnt out. I’m hoping my story makes people laugh in a way that gets them back into the fight!

What would you like audiences to take away from seeing you at the Fringe?
That no matter how crazy or dangerous or weird life gets, you can still make choices that impact the life you have and the world around you.

Do you tend to take inspiration from events happening in the world around you in terms of your work? Do you think artists have a responsibility to respond to what’s happening?
Yes I think that you do your audience a disservice when you avoid reality. If an observational comedian sees your house is on fire, and he instead chooses to tell you that shoes are weird, he’s not an observational comedian. He’s mentally ill.

What do you do to relax in August?
I hang out with the other performers over a pint and discuss life. Generally my friends and I are always touring and never crossing over so its actually quite nice when we get to all be in one city together!

How do you feel about the current arts landscape in your country and your part in it? Does it excite you and inspire you to keep pushing the boat out?
I think in the physical sense, venues have never been more plentiful and more open to giving comedian’s a chance to book and sell out their own show and that is wonderful and continuously inspiring all over the world. Simultaneously in order to sell those tickets, we often have to go viral online and online speech has never been more policed by the powers that be.

Why are arts festivals such as the Fringe so important for international exchange?
I think it’s the rare opportunity for middle class white people to meet people outside of their bubble. Ideas about race, class, and gender that rarely enter their bubble are suddenly presented to them en masse. I hope they watch these shows with an open mind.

What can the wider arts community do to get more people involved in their specific disciplines?
Just make places cheaper. That would go a lot further towards helping everyone involved continue to put up shows!

Have you got your eye on any other shows that are part of the programme?
So many! The Fringe is a great time to see art that doesn’t conform to your style! I personally recommend Mr. Thing at a paid venue and shows like Clayton Smith’s F*ck Donald Trump at a free venue as two shows that I’ve helped out on with a lot of charm and heart and great comedy! But beyond even those two, there are so many choices! Go challenge yourself and see something you’ve never seen before!

What’s next for you and how are you feeling about the future in general?
I’ll take my show on tour and continue to raise money for the Center for Gender and Refugee Studies. With the Trump Administration intent on murdering asylum seekers, and the British Government regardless of administration intent on helping them, it’s an uphill battle, but some things are worth fighting for!

How can Edinburgh audiences keep up with you beyond the festival?
Follow me @SidSinghisFunny on Instagram, Youtube, and TikTok. See you there!

Anything else?
The world is becoming a darker place. Don’t close your eyes to it. Find shows that make you laugh, heal, and join us in the fight. Click Here For Article


August 8, 2026    EdFringe Review

Review of The RemAIns of the Butler

The classical music flowed through the room as the audience awkwardly bustled into the loft, a small intimate space packed full with possibilities. We were looking at a very bare set with a coat stand, a cowboy hat resting upon said stand, and a bell. But then enter: Mike McAlpine. Decked out in a tail coat and button up shirt, hair slicked and gratefully closing the door behind him, he waltzed toward the stage and began dusting, watering plants and ironing - all conveyed through mime. The scene was immediately set.

This one-man performance peel back the veil of the inner workings of the servants' quarters under Kirklevington Hall as they play host to an International AI conference and introduce AI butlers to their service. The audience are not left behind for this endeavour and instead are brought alongside the Head Butler, also named Mr. McAlpine, and others, to learn about the work behind the scenes in a series of crowd-work sequences: pouring tea and offering scones. McAlpine repeatedly insists 'This is what we do.'

It wasn’t until the play came to a close that the significance of those words, which also fittingly served as the final words of the whole show, held their full resonance. The exploration of AI is not an uncommon theme across media at the moment, with many new film and tv series placing it at the forefront of their stories; pioneering tales about the dark sides of AI and fearing the takeover of the world and the defeat of all of mankind so that there are only robots left to rule all…There’s a lot.

This show’s message isn’t entirely different to the others. I felt appropriately warned about the dangers of AI and what it lacks when placed directly beside a human being and so, I would have liked to have seen some more nuanced creative decisions risked. However, this show’s emphasis sits specifically on the poetic dichotomy between the characterisation of Jenkins - the robotic, emotionless AI - with the naturally charismatic, painfully human role of the Butler. McAlpine, as a performer, does an exceptional job in emphasising this juxtaposition through the split characterisation of Jenkins and Michael. It is this direct comparison, something that feels uniquely possible only with the medium of a one-man show, that does make this production distinctive amongst others like it at the Fringe. His physicality shifts are so slick, you’d miss it in a bat of an eye and assume someone had swapped onto stage. McAlpine’s use of mime is very clear each time, varying in style for the respective characters, and each action, as Head Butler Mr. McAlpine, is performed with a level of delicacy next to none, showing the differing magnitude of care between them. Creative decisions such as these are what hammer home the overarching point that the work the human does is not 'superfluous', to counter Jenkins himself.

There was no point where McAlpine was not completely in character, which seems like a useless comment to make for a performance-driven piece, until I tell you that he consistently shifted between many and at no point was the immersion broken. Fliting between accents, mannerisms, even postures with an ease so exceptional, I was almost shocked to hear his natural speaking voice at the end of the performance. A stand-out was the character of Nicky, a Geordie Under-Under Butler with a passion to learn and follow in the footsteps of Mr. McAlpine. One particularly intriguing element was a confession Nicky made regarding how they were treated in their work, receiving comments about the pronunciation of 'Butler' and enunciating 'T’s' efficiently enough. These sorts of insights into prejudices and divide between the North and South are conversations not seen so often interspersed with conversations of technology and AI. This layer was just another element that gave this particular story a more unique lens.

This is a show that absolutely warns about the increasing dangers of AI in our current climate but, above all else, this show emphasises the significance of remembering that what you do is always important. Click Here For Review


August 8, 2026    Fest

Review of Sid Singh: Love Bombing

Sid Singh reflects on the role of political comedy amid global crisis in an earnest, likeable hour.

What is the role and value of a political comedian amid a time of global political crisis? In Love Bombing, Sid Singh asks his audience and himself exactly this. From recounting a date with his stalker to lamenting the poor financial skills which see him with a magician for a flatmate, Singh welcomes us into his own failings as well as that of our wider political system – primarily, the violence of the Trump administration. In this, Singh offers an impassioned and quick-witted manifesto to fight for social justice and resist our own political burnout.

Assured in his own comedic rhythm, Singh carries us with ease. Self-deprecating asides are well-balanced by sharp – albeit unsurprising – notes on a myriad of prejudices. At times, the structure certainly trips over itself, with an unnecessary reference to Twilight’s infamous baseball scene. However, such detours are forgiven in Singh’s deft yet emotive ending which calls for our commitment to tackle our contemporary crises head-on.

Most notably, Singh cares – he really, really cares. Such care isn’t clout-driven or financially viable (he’s keen to remind us that his 17 years in comedy haven’t left him exactly rich); rather, his earnestness is the brilliance of the hour. It’s all too easy to be apathetic: with Singh, however, compassion is catching and joyfully cheeky, too. Click Here For Review


Highly Recommended Show

August 8, 2026   Fringe Review

Article about 8 Ways to Break a Glass (with an American Opera Singer)

Highly Recommended Show

Low Down
The show’s format is simple – describe a method of breaking glass, build a few amusing stories drawn from DePrez’s varied experiences of the opera and her working world and link the punchline to a well known (or less well known) opera aria. Result? An hour of witty, uplifting storytelling and stand-up comedy mixed with sublime operatic arias from a charismatic and engaging polymath. And, oh boy, can DePrez sing…….

Review
There’s an effusive welcome from the flamboyantly dressed Stephanie DePrez who, as you might expect from one of the leading lights in the Berlin opera scene, has a voice “that hits the back of the hall”. And some. She could be heard at the end of the street, never mind inside the tightly packed Laughing Horse Dragonfly venue on West Port.

We’re all here to find out the (apparently) many and varied ways there are to break a glass, including using just your voice. Well, OK, a properly opera trained soprano voice, working in perfect pitch with that of the glass, usually belting it out at over 100 decibels (think aircraft passing overhead for a comparator) for at least 5 seconds. And our Steph was prepared to give it a crack, glass in hand, right there in front of us. But ‘Elf and Safety precluded such live shenanigans, more’s the pity.

So, we just had to use our collective imaginations to visualise the many and varied ways that glass can be shattered, described here in an hour of witty, uplifting storytelling and stand-up comedy mixed with sublime operatic arias from this charismatic and engaging polymath. For that’s what DePrez is, a polymath; opera singer par excellence; stand up comedian with impeccable comic timing; writer specialising in B2B content (as well as great stand up routines); teacher; actor; heavy metal singer (yep, you read that correctly) – her talents are seemingly endless.... Click Here For Article


August 8, 2026    One4Review

Review of The Pleb's Pow Wow

It is day one. His first show at Fringe 2026. Some people I would never go and see this early, however Ian Stone is someone I will. He is always a safe pair of hands and guaranteed to provide an hour of top notch comedy. And I was not alone. The large venue was packed out with queues round the block.

Stone greets one and all, settles them down and warms up the crowd with the definition of plebs and examples of past PMs. He has 50 prepared questions about how we, the plebs, can maybe find a solution that our esteemed politicians cannot. Involving the audience with calling out numbers, he runs through a selection of his questions, discusses the issued raised and notes down possible solutions; each and every one providing gales of laughter from the get-go.

The hour in his hand passes way too quickly. He is a consummate pro, a hugely erudite talker and above all an extremely funny man. Ian has been a regular Fringe visitor for more than 20 years now and I have seen him countless times. Go see him. You should not miss out.

As part of the Laughing Horse Free Festival, it is free to get in, but the bucket collection at the end is there for donations. Considering the prices of other (often less talented) performers, don’t be mean with your contributions. Click Here For Review


Review

August 8, 2026    The Scotsman

Review of Chief Petty Officer

Review

This is a lovely, friendly way to spend an hour. It is not non-stop hilarity, but it is a great deal of genuine fun, and that is a good chunk of anyone's day.

Vix celebrates all that might be construed, and unfairly dismissed, as 'petty' in the world. She categorises it with the help of her hi-tech Hill to Die On graphics array and gallops us through a miasma of small – and not so small – mindedness across the years.

It is impossible not to like Vix and so to enjoy with her the vicissitudes of life's lesser debacles from potholes and the Colin the Caterpillar through the historical, the zoological, the celebrity and the political. Pettiness is, it seems, always with us. And jolly entertaining it is, especially when it involves soft porn or huge rap stars with handbags drawn at dawn.

I particularly loved Vix's Lesley Gore section and will be heading to download the entire album. When a performer is sharing their genuine fascination with and enjoyment of any subject it makes us enjoy it too. And we do. Although I still cannot believe 50 Cent is so pathetically (and expensively) PETTY Click Here For Review


Review: The RemAIns of the Butler, Fringe 2026

August 8, 2026    Edinburgh Reviews

Review of The RemAIns of the Butler

Review: The RemAIns of the Butler, Fringe 2026

Review: The RemAIns of the Butler, Fringe 2026

Mike McAlpine brings his solo show, The RemAIns of the Butler, to The Attic at Laughing Horse @ The Counting House for the Edinburgh Festival Fringe. Set during an international AI conference at the fictional Kirklevington Hall, this 55-minute character and musical comedy examines what happens to traditional service professions when a humanoid robot joins the domestic staff.

Mike McAlpine
The RemAIns of the Butler
Performing daily at 3:00 pm on West Nicolson Street, McAlpine draws directly on his real-world background as an Ivor Spencer-trained butler to pit human empathy against mechanical efficiency. The result is a lighthearted, early-afternoon Fringe hour that tackles the current cultural anxiety surrounding artificial intelligence with warmth and silliness.

Etiquette, Empathy, and AI in The Attic

The Attic at The Counting House warms up rapidly on an August afternoon, forcing both audience and performer to contend with the muggy Edinburgh summer conditions. McAlpine handles the atmospheric challenge with professional composure, seamlessly integrating a towel into his routine while modifying his formal attire on stage. His real-world background as a butler shines through in these practical adjustments, offering audience members genuine insights into traditional service etiquette alongside the scripted comedy. I wish I had planned better and brought a fan.

The plot tackles existential dread surrounding job displacement, a recurring thematic thread across this year’s Fringe circuit. Rather than offering a dense technical analysis of artificial intelligence, the show uses technological change as a backdrop to highlight human connection. The central story relies on the idea that true service requires predicting human needs and offering genuine care, two qualities an algorithm cannot easily replicate.

A Triple Threat with Character Craft

McAlpine proves himself to be an adaptable performer, smoothly shifting between the distinguished Head Butler Michael, the enthusiastic Under-Under Butler Mickey, and the newly arrived robotic substitute. The opening relies on silent mime as Michael prepares a cup of tea, which creates a slightly slow initial pace before audio cues and sudden musical transitions kick the performance into gear.

Once the rhythm establishes itself, McAlpine displays his musical talent with original songs and precise timing. His uncanny ability to produce musical accompaniment simply by snapping his fingers provides an eerie, almost folk flair that somehow matches the show’s technological themes. As a character study, it stands as a charming character comedy with proper butler etiquette, delivering a funny, affectionate look at service in the age of automation.

Overall

The RemAIns of the Butler is a gentle, entertaining character comedy that offers an easy entryway into afternoon Fringe viewing. While the pacing stumbles slightly during the silent opening and the venue heat presents a physical hurdle, McAlpine relies on his authentic butler background and musical versatility to deliver a warm performance. It earns three stars for its clever premise, endearing character work, and practical lessons in table manners. Click Here For Review


Sofia May: A Loud-Mouthed Celebration of Emancipation

August 8, 2026   Entertainment Now

Article about The Buddha Wears Prada

Sofia May: A Loud-Mouthed Celebration of Emancipation

Berlin-based New York comic Sofia May is bringing not one, but two shows to the Fringe. The Buddha Wears Prada is an exploration of seven years inside a femaie-led Buddhist cult. May is also reviving her debut show 9/11 The Birds and the Bees – an account of being a witness of the attack on the World Trade Center, which she will be performing in a venue made from the interior of a passenger aircraft.... Click Here For Article


August 8, 2026    Entertainment Now

Review of The Pleb's Pow Wow

 Click Here For Review


Artificial intelligence meets white-glove service: Mike McAlpine on The RemAIns of the Butler

August 7, 2026   Geek Native

Article about The RemAIns of the Butler

Artificial intelligence meets white-glove service: Mike McAlpine on The RemAIns of the Butler

Artificial intelligence meets white-glove service: Mike McAlpine on The RemAIns of the Butler

AUGUST 7, 2026 BY ANDREW GIRDWOOD

CRITICAL SUCCESS: LINKS EARN MONEY FOLLOW UPDATES
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Tabletop roleplaying games and speculative sci-fi have long wrestled with the concept of synthetic labour. Whether it is a sleek synthetic synth serving drinks in a dystopian cyberpunk sprawling metropolis or a rogue construct turning on its creators, automated service is one of speculative fiction’s most reliable tropes. However, as agentic AI and advanced robotics move steadily from tabletop sourcebooks into actual modern workplaces, the questions surrounding automation have shifted from distant hypothetical scenarios to immediate personal realities.

The RemAINs of the Bulter
At this year’s Edinburgh Festival Fringe, British actor, character comedian, and former professional butler Mike McAlpine takes on this exact transition in his solo comedy show, The RemAIns of the Butler. Drawing directly from his real-world background as a graduate of the prestigious Ivor Spencer Butler School, McAlpine dons the tailcoat once again to play Head Butler Michael McAlpine. Set inside Kirklevington Hall, the show follows Michael and his companion Mickey as their employer introduces a humanoid robot to the estate, forcing a traditional manservant to confront what white-glove service truly means in an age of mechanisation.

We caught up with Mike McAlpine to talk about the human nuances that algorithms cannot replicate, how his show subverts sci-fi tropes, and why an eccentric human butler will always deliver the better story.

The “The RemAIns of the Butler” Interview

You actually trained as a professional butler at the Ivor Spencer Butler School. What is the most ‘human’ element of that training that you think a humanoid robot or agentic AI could never replicate?

I think the difference in the training was truly the human aspect of it all. Mr. Spencer and his sidekick at the time, Don Weedon taught us with such care and concern for the employer’s practical needs, but also their emotional needs. Although they impressed upon us, we should not get involved in relationships with the employer emotionally, the keyword was observation but never giving them the feeling they were being observed. These two gentlemen had lived such interesting lives, that their teaching was filled with interesting anecdotes, ranging from the many royal events they had worked at to simple tasks in ordinary households. Role-playing played a major part, which encourage the human aspect. Placing oneself in a variety of situations that may arise within a household, and recognising the needs of the employer. From welcoming guests, serving at table to organising a theatre outing and ensuring their greatest comfort and smooth entrance to any event without them having to make any effort themselves. Judging the employer’s needs by observing their behaviour and emotional state, those nuances, are clearly the aspects in which the human butler is still streets ahead of their robotic counterpart.

Tabletop roleplaying games (Cyberpunk, Shadowrun) have long featured robotic servants, but they are usually portrayed as silent, emotionless utilities or rogue threats. Your show treats the humanoid robot as a threat to a butler’s identity. How does Michael’s existential crisis compare to how sci-fi usually treats automation?

I suppose my creation of the character, Mr. Jenkins, the robot, has automatically been influenced by robots I have read about or seen in film before. I bore in mind the fact that AI is potentially insidious and ultimately could present a threat to humanity. There are elements to this in Jenkins, which clearly surprise butler McAlpine and increasingly worry him. Moments where it is suggested robot Jenkins has an ability to think and react instinctively. These moments, however, are more playful in The Remains of the Butler. At one point, Jenkins suggests eradicating the threat of a drunken guest by removing him beyond the city limits and reintroducing to the ecosystem. In a swiftly mimed sequence it is clear he is suggesting the inebriated gentlemen should be punished with death and buried in a clandestine manoevre. Comical at that moment but hopefully chilling, when you really think about it. Jenkins has a cheeky aspect to him, which increases the rivalry between him and the established head Butler Mr. McAlpine. The robot’s suggestion of playing back audio recordings of a lady guest’s nighttime flatulence to the audience is subversive, but clearly the kind of comical aspect I enjoy exploring. That kind of thing titillates me. Naughty but worrying if extrapolated two largest spheres.

You are a British actor based in Germany who performs in both languages. Have you noticed a difference in how British and German audiences react to the concept of AI taking over traditional human roles?

I’m afraid I don’t have much knowledge of how British audiences react to the AI takeover. I’m hoping to glean some knowledge of that during my Edinburgh run. Edinburgh is actually my world premiere of The Remains of the Butler, so I have as yet to receive any audience reactions anywhere. However, AI is a regular conversation piece in Germany, especially among friends and colleagues. I know a number of voice artists and actors, who have clearly been hugely affected by the introduction of AI. Voice over work is something which provides good earnings compared to theatre: formerly financial backing for the creation of theatrical productions. The economic fallout of these jobs disappearing to AI are becoming very obvious as time goes by. I also worked for many years has a translator German to English. Those jobs have fallen by the wayside also due to AI. Not a career I would recommend to a young person!

Your show introduces Mickey, an ‘Under-Under Butler’. In game terms, we’d call him a classic companion character. How does his relationship with Michael shift when a literal, perfect machine enters the workplace?

Initially Mickey is excited about the prospect of a robot in the house. He is amazed at its ability, him being an innocent. Mickey takes Jenkins at face value and befriends the robot, giving him an honest insight into the workings of the household, Kirklevington Hall, their workplace. He introduces Jenkins to the children of the house and playfully instructs him, prompting knowledge regarding all kinds of historical activities and games. However, he is forced to consider the situation despite his innocence. Mr. McAlpine is his mentor and he weighs up the situation, recognizing the immense human value his boss has. This is summed up in Mickey’s Poem “ What makes a great Butler?” This is a moment of realisation which underlines the significance of the role of the servant: not subordination but, when done correctly, an observant, discreet and dignified presence, ensuring smooth operation and client satisfaction involving selflessness, and personal consideration. The suggestion is that a robot perhaps would not have the necessary human touch to react to the situations sensed in people’s body language or aura.

If a wealthy employer offered you a choice between a perfectly programmed, tireless robot butler and a deeply eccentric, slightly flawed human butler, which one makes for a better story?

The eccentric butler certainly makes for a better story, especially as in the world of comic theatre, the characters can be highly exaggerated. This of course, also applies to the role of a robot in theatre, as unexpected traits are introduced for their character too, as long as one does not stray too far from the realms of reality. It all depends on where one wants to draw the borderlines. The closer to reality the characters remain, the more potentially chilling or meaningful the action. I suppose I meander in the middle ground.

Thanks, Mike!

Whether tech-driven automation ends up replacing human roles or simply forcing a recalibration of what human labour is best suited for, The RemAIns of the Butler highlights the nuanced, emotional, and undeniably silly traits that make humans irreplaceable.

The RemAIns of the Butler runs as part of the Free Festival at Laughing Horse @ The Counting House (Attic) daily at 15:00 during the Edinburgh Festival Fringe. Fans of character comedy and physical performance can also catch Mike McAlpine’s evening show, A Slice of Elvis, running daily at 22:30 at the same venue. Further details and show listings are available on the Edinburgh Fringe website. Click Here For Article


August 6, 2026    Edinburgh Reviews

Review of Devin Gray: Golden Retriever Energy

 Click Here For Review


Improv Wolves Review

July 28, 2026   Midlands Fringe

Article about Improv Wolves

Improv Wolves Review

Very clever and we were rolling with laughter from start to finish

Expect the unexpected!

I attended expecting a prewritten show which the improvisers would fit loosely around audience suggestions, with the most tenuous links.

The setting was the upstairs room of a quality real ale bar in Wolverhampton centre on a warm Sunday evening. The room filled up a while before the show started, with a comfortable, relaxed atmosphere.

We welcomed Robert Lane and Laurence Saunders to the stage.

The audience were asked for suggestions, with such random ideas as ‘fighting over the last pack of digestive biscuits in Heron foods’ or ‘don’t put anything in your ear larger than your elbow’ coming forward. Robert and Laurence made short work of these coming back with hilarious quips with expert comedy timing.

The show was presented as a series of games. Including ‘Date Night’, ‘Play Book’ and ‘First Date’, which involved audience members sharing details of their lives with the rest of us, but in a truly hilarious way. My favourite game was ‘Fortune Tell Her’ with medium Madam Lane, brilliant. There was also a ditty made up on the spot about genital warts - another audience suggestion.

The show was very clever and we were rolling with laughter from start to finish. The only downside for me was that I would miss a joke as I was laughing so hard at the last one.

A brilliant, quick-witted and unusual show. I would urge you to go and see Improv Wolves, you won’t be disappointed. They are taking their show to Edinburgh and details of future shows can be found at www.improvwolves.co.uk . Click Here For Article


Buxton Fringe Review: ComedySportz

July 26, 2026   Buxton Fringe

Article about ComedySportz

Buxton Fringe Review: ComedySportz

The Totally Improvised Company have brought their popular Totally Improvised Musical show to Buxton for a number of years, and this time they’ve brought their child-friendly Comedysportz version too. The sports refers to the format rather than the subject of the show - it’s improv, so many topics are suggested by the audience (this time these included cheese, chocolate making, more cheese, football and tiddlywinks). It’s played in teams, with points for the winning side after each game.

And what do points get? Winners, and losers, but mostly winners! Sean the umpire got the crowd engaged at the start, and the laughs flowed for the rest of the show. It’s a high energy show, with a lot of leaping around, and even some singing. Children in the audience were encouraged to supply prompts, and there was an opportunity to be involved in a game on stage. It’s improv, so it’s funny enough to keep an adult entertained, but the short format ‘games’ make it easier for children to follow.

The children in the audience thoroughly enjoyed it, and so did the adults. This is an ideal show for children old enough to follow a speech-based show, and will keep adults and teenagers amused too. It’s that rarest of things - a Fringe show that really will suit all the family.

Review by Georgina Blair. Click Here For Article


Going Coastal

July 13, 2026   Buxton Fringe Official Reviews

Article about Going Coastal with Donald McGinty

Going Coastal

Do you enjoy long-running, cosy, geography-based television shows? Are you keen on relentless punning? Perhaps you have a soft spot for seagulls or a sub-par Billy Connolly accent.

If so, get yourself down to the Underground Venues at the Working Men’s Club. Donald McGinty is the man for you. Admittedly, his cosy, geography-based television show has hit a couple of hitches lately, as indeed have the seagulls. But no matter, McGinty keeps on keeping on in the face of multiple challenges.

Sean Mason has created a show about a show that references a lot of other shows. It’s about as meta as it gets. It’s also very funny. There are nostalgic reference points aplenty to satisfy Gen Xers and Millennials. But it’s also bang up-to-date. There’s a loose narrative arc which doesn’t matter all that much and a very genuine message behind the whole thing (which does matter but which is never allowed to distract from the relentless punning). Donald McGinty himself is not remotely cosy but a tragi-comic anti-hero, cast in the long shadow of Basil Fawlty or Mr Bean, perhaps.

Not convinced yet? Come for the 1970s public information horrors, stay for the bad taste jokes about seals, regional accents and cremation. You have one more chance to meet Donald McGinty. Next Thursday, 16th July at the WMC.

Reviewer: Anna Girolami Click Here For Article


Edinburgh Fringe's Best Immersive and Interactive Shows

July 6, 2026   Immersive Rumours

Article about My Date with Pierce Brosnan

Edinburgh Fringe's Best Immersive and Interactive Shows

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


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


The 2026 Free Fringe Fest programme is Live!

June 6, 2026   Free Festival News

The 2026 Free Fringe Fest programme is Live!

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

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


Dee Ryan's Broadguess

May 27, 2026   Reduced Shakespeare Company Podcast

Article about Broadguess

Dee Ryan's Broadguess

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


May 24, 2026    

Review of Who Killed the Plot

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


Erynn Tet Debut 4 stars

May 21, 2026   Mumblecomedy

Article about Eryn Tett: Tasting Menu

Erynn Tet Debut 4 stars

 Click Here For Article


Everything a Fringe show should be

May 15, 2026    

Review of Who Killed the Plot

Everything a Fringe show should be

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


"Now, I am Alone": Solo Shakespeare

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

Review of Broadguess

"Now, I am Alone": Solo Shakespeare

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


Excellent and funny

May 14, 2026   

Article about Who Killed the Plot

Excellent and funny

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


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

May 1, 2026   Broadway World

Article about Anti-Fascist Pasta Night

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

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


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

May 1, 2026   Broadway World

Article about Anti-Fascist Pasta Night

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

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


Deliciously dark humour

March 1, 2026    The List

Review of Nerdy and Dirty: Part Classroom, Part Classless

Deliciously dark humour

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

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

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


CeilidhKids at the Fringe

February 16, 2026    All Edinburgh Theatre

Review of CeilidhKids at the Fringe

CeilidhKids at the Fringe

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

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

CeilidhKids in action. Pic: CeilidhKids

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

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

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

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


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

December 2, 2025   A Little Bit Culty

Article about The Buddha Wears Prada

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

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

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

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


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

November 1, 2025   Joyzine

Article about Bitches in Stitches: The New Grrrl Order

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

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

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

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

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

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

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


Secrets of Shambhala: Feeding Tsultrim Allione's Demons

September 17, 2025   Guru Mag

Article about The Buddha Wears Prada

Secrets of Shambhala: Feeding Tsultrim Allione's Demons

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

September 2, 2025   A Little Bit Culty

Article about The Buddha Wears Prada

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

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

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


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

August 20, 2025    European Comedy

Review of 9/11 Birds and the Bees

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

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

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

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

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

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

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

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

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


James Beckett: Stutter Island – 4****

August 19, 2025    One4Review

Review of ...Eventually by James Beckett

James Beckett: Stutter Island – 4****

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

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



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

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

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

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

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

**** Click Here For Review


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

August 11, 2025    Theatre Weekly

Review of ComedySportz

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

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

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

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

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

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

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


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

August 7, 2025    Broadway World

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

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

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

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

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


August 5, 2025    Theatre Village

Review of Best In Class

 Click Here For Review


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

May 25, 2025    Sussex News

Review of Barbara Fernandez: Singing, Sagging and Shagging

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

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

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

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

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

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

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

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

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


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

May 25, 2025    Sussex News

Review of Barbara Fernandez: Singing, Sagging and Shagging

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

A must-see show for anyone who’s ever worried about getting older—or just wants a bloody good laugh.
It’s not often a show comes along that boldly wears its wrinkles like battle scars, belts out tunes with unapologetic vibrato, and treats taboo like yesterday’s gossip. Singing, Sagging and Shagging is that rare beast: a no-holds-barred, belly-laugh-inducing, and surprisingly poignant revue that smashes stereotypes about growing old.
The stage crackles with energy of seasoned performer Barbara Fernandez — radiating charisma, timing, and vocal chops — takes the audience on a riotous journey through the realities of aging. From 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


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

April 8, 2025    The Nerd Party

Review of 9/11 Birds and the Bees

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

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

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

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

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

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

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

Lee Hutchison Click Here For Review


Announcing the Winners of the Second Annual European Comedy Award

January 9, 2025   European Comedy

Article about 9/11 Birds and the Bees

Announcing the Winners of the Second Annual European Comedy Award

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

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

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


Josephine Lacey: Autism Mama review – unlike any other show at Edinburgh fringe | Edinburgh festival 2024

August 12, 2024    The Guardian

Review of Autism Mama

Josephine Lacey: Autism Mama review – unlike any other show at Edinburgh fringe | Edinburgh festival 2024

“Unmissable! No other performance is likely to resemble Autism Mama. This is a tender, crystal clear, cheerfully indecent, and wickedly humorous show – a loving quality” Click Here For Review


May 13, 2024    Chortle

Review of Going Coastal with Donald McGinty

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

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

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

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

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


CeilidhKids At The Fringe - Perfection.

August 3, 2023   All Edinburgh Theatre

Article about CeilidhKids at the Fringe

CeilidhKids At The Fringe - Perfection.

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

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

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

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

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

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

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

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


CeilidhKids At The Fringe - Perfection.

August 3, 2023    All Edinburgh Theatre

Review of CeilidhKids at the Fringe

CeilidhKids At The Fringe - Perfection.

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

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

CeilidhKids in action. Pic: CeilidhKids

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

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

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

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


Broadway Baby review by Kate Copstick

September 2, 2019    Broadway Baby

Review of Ask A Stripper: The Champagne Room

Broadway Baby review by Kate Copstick

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


Broadway Baby review by Kate Copstick

September 2, 2019    Broadway Baby

Review of Ask A Stripper: The Champagne Room

Broadway Baby review by Kate Copstick

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