Utterly sensational to tough love laughs: The early hits of the Fringe
Let Will Quinn be your guide to the best of Edinburgh's August mayhem so far
The Edinburgh Fringe, the world’s largest celebration of the performing arts, and overflowing bins, has well and truly arrived.
With over 3600 shows to choose from, and a forest of posters declaring each to be ‘unmissable’, it’s tough to find your perfect laugh, tear, or gasp.
Fortunately, I’ve been hanging around plush theatres, dank cellars, and everything in between since the 28th of July. I’m sleep-deprived, claw-fingered, and a stranger to my wife and cats, but I’ve seen some great stuff. So enjoy these recommendations, whilst I sub-consciously evaluate my life choices.
A barrel of laughs
Starting with comedy, Pierre Novellie’s ‘Must We’ at Monkey Barrel, Blair Street, is utterly sensational. From the first words of an opening monologue on fairness, he is assured, slick, and downright funny. Fairness, expectations, and the non-exclusivity of madness and logic are the three pillars on which the show rests. He folds in Pacific Island Cargo Cults, a traumatic relationship with dishwasher cleaning fluid, and the whimsical madness of Haribo in an hour of tight, superbly delivered laughs.
One street over in Monkey Barrel at the Hive (bring nose plugs), you’ll find Marjolein Robertson’s ‘O’. Shetland’s finest comedy export has entered her prime. With a storyteller’s instincts and a quirkily dark brand of comic observation, Marjolein can make almost anything funny, including brushes with death. Expect the powerful, hilarious, and uncanny in equal measure.
However, it’s an hour of joyful, deliciously wild, crowd work you seek, then look no further than John Robertson and ‘The Human Hurricane’ at Laughing Horse@The Counting House. John, best known as the host of the internationally-acclaimed ‘The Dark Room’ is a master of improvised comedy. Armed with his wits, and a grungy ukulele, he takes aim at the audience and…builds them up. That’s right: this is empowering, raucous, and carefree comedy of the first order. It’s tough love though, amongst his songs is a banger called ‘Anime C**t’ - if that sounds reasonable to you, don’t miss John.
For something a little gentler, head over to Just the Tonic at the Caves for Chelsea Birkby and ‘This is Life, Cheeky Cheeky’. With the charm of a daytime TV presenter and a singular comic mind, she subverts expectations and throws in a dollop of philosophy. Her Cheeky Girls shtick alone is hilarious, and that’s before she dives into equine therapy (yes, that’s horses), TikTok comments, and her enduring ambition to ‘graduate’ therapy. A show exploring sexual shame doesn’t have to be this funny, or interesting, but it is.
My penultimate comedy pick is Elf Lyons with ‘Horses’. Billed as the ‘first-ever comedy show at the Edinburgh Festival Fringe performed entirely by a horse’, that’s precisely what you get. Treacle makes quite a host. Expect a mesmerising blend of clowning, mime, comedy, and theatre. Elf captivates the audience with her unique show, featuring a cast of mime horses, a moody, plaintive Pegasus, and his mother Medusa (spoiler: not a horse). ‘Horses’ flows from scene to scene, shifting from verbatim theatre to laugh-out-loud mime and the most bizarre, wonderful audience interactions.
Much as 5 would be a satisfactory number of comedy recommendations I must throw in one more. George Zacharopolous, ‘2024 Greek Comedian of The Year, Greek in The Sheets’ finds our favourite, and self-described ‘dirty little immigrant’ in fine fettle. George is utterly opposed to racism, of course, but that doesn’t stop him from finding it funny. However, the show is mostly about sex, love, and fear of death. He finds the hilarious side of each, and you will question his life choices, but George isn’t just a gag merchant. You’ll think he’s made a reasonably funny joke, only to realise he was setting you up for something much better 5, 10, or 20 minutes later. This is sharp, gorgeously delivered, and likeable standup. You can find him at Just the Tonic Legends in the Cowgate.
The musicals: Emu wars to Korean spirit
The Edinburgh Fringe has also become a place where musicals come to thrive. The Emu War: A New Musical at the Pleasance Courtyard is a great example. Based on the Australian Government’s early 20th-century war on marauding, wheat-destroying Emus, writer Lotte Pearl and composer Toby Little have rustled up a gem. Funny, heartfelt, and exceptionally performed by a talented 6-strong cast, this show could have a very bright future.
For something completely different, head up to the Assembly Hall on the Mound for Korean spectacular, ARI: The Spirit of Korea. A huge hit back home, this epic production has been condensed a little for Fringe purposes, but it’s kept the wow factor. Based around the centuries-old, UNESCO-recognised traditional song ‘Arirang’, the show follows the fate of an unfortunate woodcutter and the daughter who sets out to rescue him. An expansive, talented cast makes memorable characters and a gorgeous, full-throated choral machine. You can also expect sweeping choreographies, including a stick dance to shame Dick Van Dyke. I was singing “Arirang, Arirang, Arariyo…” for days after.
Delicious and raw theatre
If you’d rather stick forks in your eyes than sit through a musical, how about some theatre? If so, then grab tickets to Douglas Maxwell’s So Young at the Traverse Theatre if you can. A tale of two couples, old friendships, and age divides, this is one of the funniest, most relatable stage dramas I’ve seen in years. It’s a laugh-out-loud hilarious, raw, emotional drama played out by characters we’ve all met, known, and loved. Look for memorable performances from Andy Clark, Lucianne McEvoy, Nichola Karimi, and Yana Harris.
Keeping things funny, you can’t go wrong with Virginia Gay’s Cyrano, a reimagining of Edmond Rostand’s classic tale. It’s a brave experiment in theatre, breaking down the barrier between audience and cast, and blurring the lines between who’s in the play, and who’s watching. Don’t expect swashing buckles but do expect sparkling dialogue and delightful characterisation. You’ll be amazed how quickly you accept that Gay has a giant nose, despite the lack of a prosthetic. It makes her insecurities more universal and the drama more relatable. Thrilling, funny, and bold, it’s a night in the theatre you won’t soon forget.
Completing a comedy-theatre trio I must point to Awkward Production’s follow-up to their Fringe-conquering Untrue Diana, Gwyneth Goes Skiing. Linus Karp and Joseph Martin deftly orchestrate their particular brand of audience-involving satire with immense charm and an irreverent spirit. Goop-founder Gwyneth Paltrow’s 2016 ski collision with optometrist Terry Sanderson, and the following lawsuit, are milked for every absurdity. Aside from sending both antagonists up to high heaven, you’ll find singing squirrels, querulous deer, puppet lawyers, and audience members as supporting cast. It’s sophisticated, ambitious theatre, farcical but not chaotic.
My final pick of the week 1 theatrical offerings must be Hannah Khalil’s fragrant My English Persian Kitchen. The prepossessing confidence with which Nefar chops, cooks, and assembles a delicious pot of Persian ‘Ash-e Reshteh’ (Think onions, lentils, noodles, herbs and other tasty ingredient) whilst embodying a story of trauma, flight, and resettlement is astounding. She is, frankly, magnificent. I don’t think I’ve ever used the word ‘mouthwatering’ when describing a play, but here we are! Given the xenophobic-fuelled scenes of violence beaming up from England, this play couldn’t be more timely either. Its message of hope and community is based on reality, not wish fulfilment.
Unclassified: No sign of Kate Bush
Now for one unclassifiable recommendation, I Am Your Tribute from singer, writer, creator and jewel in the Edinburgh Fringe’s crown, Sarah-Louise Young. Familiar to thousands around the country from her smash-hit ‘An Evening Without Kate Bush’, this new show builds upon Sarah-Louise’s growing fascination with tribute acts. She is, as always, magnetic. Her voice is a thing of wonder, but so is her ability to slip from chaotic hilarity to the compelling and heartfelt.
‘I Am Your Tribute’ is a celebration, an invitation to party like it’s 1am at 1pm. Expect Britney, Elvis, Sinatra, but definitely not Julie Andrews (she has lawyers).
Family shows: Picture perfect goose to witches
I’ll leave you with pointers towards two productions for the whole family. First up, TaleGate Theatre Company’s Goose at The Space on Niddry Street. The show follows Sophie and Goose as they go through the main stages of animal-based friendship. Girl meets Goose, Girl loses Goose, Girl finds Goose, Goose migrates (or does he?!!!) Along the way parks will be played in, farms will be visited, and a lifelong bond established. Look for a voiceover from Bill Oddie and some charming animated illustrations from Goose creator Laura Wall. The puppeteered Goose is a particularly memorable character - I wanted to queue for a picture with him afterwards, but I had to get off, you guessed it, for more reviews!
Finally, I heartily recommend beginning your Fringe day, whatever your age, with How to Catch a Book Witch at Underbelly Bristo Square. Coppice Theatre’s gorgeous story of one little girl’s quest to save her local library is just so very charming. Ambitious puppetry and tremendous performances make this lightly fantastic adventure a memorable one. If any awards are being made this year for best worm, then ‘How to Catch a Book Witch’ has to be a shoo-in. On that extremely Fringe-appropriate sentence, I leave you to dive back into the Fringe reviewing trenches!
Will Quinn is editor of the Quinntessential Review