HotCat Collective, queer dance-theatre group from Oxford, return to the Fringe with their debut show Stop Playing Jacob’s Ladder with My Spine, an absurdist exploration of oppressive social expectation within a domestic setting. No frills, no fakery – this show depicts real struggle through abstract means. Whilst the script would benefit from fleshing out with dialogue to explore the connection between characters, this is a promising production with a talented cast.
Richard MacLean Smith's "Unexplained: Live" showcases his storytelling skills from the Unexplained podcast. While engaging and enhanced by live music, the performance feels more like a podcast episode than a theatrical experience, sometimes resembling a lecture. Although good, it may better suit the podcast format.
"Most of My Moms Are Gay" is an autobiographical musical by Abby Goldfarb, reflecting on her unconventional upbringing in New York City. The show combines humor and heartfelt storytelling through powerful ballads, exploring her journey with issues like OCD and identity. Directed by Eddie Grey, it offers a celebration of individuality in an intimate setting.
The San Francisco Ballet's AI-inspired production, under Tamara Rojo's artistic direction and Aszure Barton's choreography, captivates with vibrant dance and striking visuals. Although the plot is abstract, the performance excels in sensory engagement, showcasing a talented ensemble and innovative musical elements. A stunning display of contemporary ballet artistry.
Steve Burns: Alive is an emotional one-man show that blends comedy and tragedy, reflecting on the complexities of his life as a children's TV host. With a mix of heartfelt stories and humor, Burns reconnects with grown-up fans, addressing mental health and the importance of support, leaving an inspirational message.
"Edinburgh Days," a rock opera set in 19th-century Edinburgh, delivers a powerful story of love, portrayed through stunning performances, effective set design, and captivating music—a must-see at the Fringe.
Arcana, a one-woman production by Fay Guiffo at Assembly Roxy, blends Afrofuturism and classical music, telling the story of a musician in a censorious empire. While the narrative's non-linear structure may obscure its conflict, Guiffo's powerful performance and stunning visuals create a compelling exploration of identity and liberation.
"Come As You Are," a dark comedy by Rufus Goodman, navigates the unsettling topic of familial response to a relative's paedophilia. The play skillfully balances humor and tension, revealing complex emotional dynamics through strong performances. Despite its small staging, it captivates and provokes moral questions, showcasing a script deserving of larger production values.
"Children of Empire," presented by KnockOff Theatre, explores the strained relationship between a white father and his mixed-race daughter amidst a backdrop of national discord following the 2025 "Operation Raise the Colours." The play's confinement inside a car symbolizes their emotional suffocation while addressing broader themes of estrangement and political tensions, ultimately delivering a thought-provoking yet emotionally restrained experience.
"Moving On: A New Musical" by Happy Sad Productions captivates with its clever writing and humorous ghostly narrative. Following three siblings handling a deceased woman's move, the show blends traditional musical elements with engaging characters and catchy songs. Its success at the Fringe highlights the potential of local independent theatre.
