The Duo: A Three-Person Magic Show is exactly the kind of show you hope to stumble across at the Edinburgh Fringe. It is incredibly funny, brilliantly put together and, at points, genuinely unbelievable. Despite what the name suggests, there are three people on stage. Jacob Greenwald and Dan Winter are The Duo, while Charlie Phillips is their roommate who has somehow found himself dragged into the act. It is a simple set-up, but one that gives the show its own identity from t

Nearlyweds – The Musical is a fun, light-hearted new musical with a talented cast and plenty of potential, but on the performance I attended, some production issues unfortunately distracted from what was happening on stage. The story follows Lily, a people-pleasing Scottish bride who runs away from her wedding, alongside Jake, a fiancé-to-be whose life isn’t quite as glamorous as he believes. What follows is a musical comedy filled with colourful characters, relationships, mi

Extra Lives: The Interactive Video Game Concert has a fantastic concept. Part video game, part live concert and part choose-your-own-adventure, this is a show almost tailor-made for gamers and, when everything comes together, you can see exactly why the idea works. The audience essentially takes control of the game, voting on decisions which determine where the story goes next, while a live band provides the soundtrack in real time. With different routes and possible endings

There are plenty of magic shows competing for attention at the Edinburgh Fringe, but Unmasked – The Magic of Angus Baskerville manages to offer something a little different. Yes, the magic is impressive, but it is the person behind it that makes this such a brilliant hour. Returning to the Fringe for his third consecutive year, Angus Baskerville combines magic, mentalism and storytelling in a show built around the idea of masking and the pressure we can put on ourselves to hi

Sometimes at the Fringe, all you really need is someone very funny with a microphone, and Kate Butch proves exactly that. A Kate in the Hand is Worth Two in the Butch is an absolutely hilarious hour of comedy that had me laughing from beginning to end. The show is loosely built around proverbs, but really this gives Kate Butch the perfect excuse to jump between stories, observations and some brilliant tangents. There is a real feeling that you never quite know where the next

The Last Girl There begins with a university student found dead in her flat and three friends left at the centre of what happened that night. With no obvious intruder and questions quickly beginning to mount, the story works backwards through their relationships, conversations and secrets as we begin to piece together what really happened. There is plenty within the story to keep you engaged. The writing slowly feeds the audience information rather than giving everything away

Our Town Needs A Nando’s has plenty of interesting ideas and some genuinely strong moments, but this shortened Fringe version ultimately tries to do far too much in its 50-minute running time. The play follows five teenage girls living in a small town, brought together through a drama project exploring the place they call home. Through their friendships, arguments and revelations, the piece tackles an extensive list of issues facing young women, including sexuality, abuse, se

As an unashamed Disney adult, DISENCHANTED! was always going to be right down my street. The premise sees the princesses we all know and love ditch the happily-ever-after version of events and finally have their say on how their stories have been told. What follows is a very funny, slightly outrageous musical that has a lot of fun with characters we all think we know. The cast are fantastic across the board, bringing bags of personality to each of the princesses while also de

There are some productions at the Fringe that immediately feel bigger than the room they are playing in, and Acid’s Reign is certainly one of them. This is an ambitious, visually impressive and incredibly polished piece of musical theatre that delivers on almost every level. From the moment the show begins, there is a confidence to the production. It knows exactly what kind of world it wants to create and commits to it completely, resulting in a show that feels remarkably lar

There is a genuinely great idea at the heart of HOW TO WIN A GAMESHOW. Taking the familiar world of television game shows and bringing it into a live, interactive Fringe setting has loads of potential. Unfortunately, the performance I saw never quite managed to turn that idea into a fully formed show. The concept itself is easily its biggest strength. The audience aren’t simply there to watch; interaction is built into the production, giving the whole thing the unpredictabili

The Night Ali Died – Edinburgh Fringe 2026 The Night Ali Died starts with a fairly simple promise: by the end of the hour, we are going to find out how Ali died. Getting there, however, is anything but simple. Christopher Sainton-Clark takes on Ali alongside a whole collection of characters connected to his story, moving between them as the events surrounding that night begin to unfold. With so many characters being played by one actor, it could quite easily become difficult

Common Tongue is a brilliantly written and performed piece of Scottish theatre that explores language, class and identity through the story of Bonnie McKay, a young woman growing up in Paisley and discovering exactly what her voice means to her. Written and directed by Fraser Scott, the one-woman show follows Bonnie through different stages of her life as she begins to recognise the assumptions people make based simply on the way she speaks. At the centre of the production is

Behind Closed Doors is an incredibly personal and powerful piece of theatre, brought to life by two excellent performances from Corey Muizelaar and Ben Robert Cunningham. Based on a real period in Muizelaar’s own life, the play follows Jude, played by Muizelaar, and Charlie, played by Cunningham, in an intense two-hander that tackles some incredibly difficult subjects. Despite the weight of the material, the production always keeps the relationship between the two characters

There is something immediately warm and personal about Woodcutter, John Anthony Gorman’s autobiographical one-man show about returning to his late parents’ Glasgow home and facing the difficult task of clearing it out. What could simply have been a story about grief instead becomes a funny, affectionate and moving look at family, childhood and the strange power that ordinary possessions can hold over us. Gorman is an effortlessly engaging performer. He establishes a connectio