Written by Izzy Gray With Original Music by Quee MacArthur Review by Dominic Corr Scottish Storytelling Centre ★★★★ The adage that the monster within us is the most dangerous of all is far from a unique concept, but to see it utilised with such empathy is strikingly fresh and encouraging in Izzy Gray’s new writing piece, Beastie, brought to the stage thanks to…

Created by Yoon Junghwan, Robbie Gordon and Jack Nurse Review by Orly Benn The thought of walking into Summerhall’s Main Hall 2 weeks after the end of the Fringe is somewhat akin to meeting your mum’s new partner not too long after the separation of your parents, stunted with memories of previous glories. However, this is immediately forgotten when walking into the energetic ceilidh festival celebration that welcomes the audience of…

Book by Rob Drummond Music and Lyrics by Dave Hook Directed by Orla O’Loughlin Review by Orly Benn Traverse Theatre ★★★★ This week’s A Play, A Pie, A Pint, written by Rob Drummond and Dave Hook, brings us a slick and thought-provoking hip-hop musical comedy with the life (or myth) of 13th-century Scottish legend and freedom fighter William Wallace…

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Review by Marina Funcasta Summerhall - Dissection Room ★★★★★ In both style and substance, PHILOSOPHY OF THE WORLD screams feminism. Loudly. But a messy, chaotic, hilarious kind – precisely what trio, Nora Alexander, Dora Lynn and Kat Cory, try to distance themselves from in the opening of their performance. A proper, organised three-act play, they say? Almost too good to be true for the all-female company, In Bed with My Brother.

Review by Marina Funcasta Summerhall - Main Hall ★★★★★ Lit with four LED lamps, the Main Hall at Summerhall is almost unrecognisable: smoke wafts from beneath the seats, Suburban Knight’s album, Nocturbulous Behaviour, blasting in the audience’s ears. And in the corner of the stage, there are three hidden bodies which bounce in unison: forming a pyramid, these dancers float to the pounding beat, like…

Concept and Choreography by Farah Saleh Review by Aislinn McSharry Summerhall - Techcube 0 ★★★★ A site of political discourse, Balfour Reparations tells a fictional future of British politics: thought-provoking and poignant, it is empowering, encouraging the audience to mobilise.   Set in 2045, the audience becomes members of the "Balfour Reparations" committee, reflecting on the 20th anniversary of an apology letter made by the British Government, to the…

Review by Libby Hutton Summerhall - Dissection Room ★★★★★ ‘Pussy Riot was never a punk band’ states Alexander Cheparukhin, producer of the show. I am standing in a crowded audience on the final night of an 11-day run, preparing myself for what I’ve heard to be a “confrontational” and “essential” show. Maria (Masha) Alyochina of Pussy Riot:

Review by Eve Nugent Pleasance Courtyard - Beyond ★★★★ At 14:55, in her magnificent pale pink suit and with a slick-back bun, Diona Doherty waltzes onto the Monkey Barrel 2 stage in style. This award-winning Irish comedian wastes no time, diving headfirst into her 50-minute long set which centres on the hilarious tribulations of parenthood, marriage, age, IVF, womanhood, and so much more.

Written and Directed by María García Pleasance at EICC ★★★★★ “In every new beginning there is magic” Suzanna Rosenthal Productions presents LOLA: A Flamenco Love Story. Stepping into LOLA: A Flamenco Love Story is like being wrapped in a swirl of rhythms, vivid emotion and devotion to the Spanish culture. From the very first note, this is a performance that radiates passion.

Presenting: The Golden Goose For one time only (until next year), we ditch our trademark crimson and don the finest of guilded feathers to celebrate our top choices for this year's Edinburgh Festival Fringe. We'll be crafting a selection of 'Top Geese' from the flock, with each of the writers submitting their top choice across all categories of the Fringe.

Directed, Designed, and Animated by William Kentridge Translated by Robert David Macdonald Review by Dominic Corr The Lyceum Theatre ★★★★ Thirty years after its original incarnation, Faustus in Africa returns with a vengeance—reimagined, recontextualised, and still brimming with theatrical bite. Directed by William Kentridge and brought to life by the legendary Handspring Puppet Company, this production is a fever dream of colonial critique, visual invention, and moral reckoning.