★★★★ – both literally and figuratively a very contained show.
★★★½ – A delightful hour of irreverence that didn't extend its welcome or try too hard to insert modern edges into a classic style.
★★★★½ – a remarkable triumph of writing, acting and production that might be in its own humble way one the best dramatic performances of the Fringe.
★★★ – a highly original and funny study of the demons that we struggle with inside ourselves.
★★★½ – The show is a remarkable debut for the writer, cast and crew
★★★★ – Escape Room Treasure Hunt's *The Bootlegger's Dilemma* is a great experience that had an unlucky opening.
★★★★ – a brutally honest and viciously funny romp that will leave you breathless with either laughter or horror.
★★★★ – Deftly conjures its 'place', reconstructing what was overwritten by history through speech, song, smoke and memory.
★★★½ – the show asks its audience to both figuratively and literally follow the performer as she flits animatedly through the rooms of her imagination.
★★★½ – a courageous and entertaining reshaping of a timeless tale.
★★★★ – The show is a raw autobiographical examination of Bryant's crippling anxiety, alcohol addiction and emotional and physical trauma.
★★★½ – The Door is an experimental theatre piece exploring the overwhelming pressures of isolation and divided affections experienced by immigrants in new countries.
★★★★½ – an intricately crafted clockwork of staging, movement, dialogue and score that explores the cycles of abuse and addiction as they affect ourselves and those we love.
★★★★★ – The sheer imagination on display is undeniably engaging, and the audience was eagerly anticipating the drop of the next absurd riff.
★★ – What was a brave idea is inconsistently executed and frequently abrupt in the young theatre company's hands.
★★★½ – a thoughtfully written, designed and performed show... but history is a fickle subject, and Ericson occasionally crosses the line between authenticity and mockery.
★★★ – They seem to sense how ridiculous (and not a little misogynistic) these Grecian epics are, and lampoon their fallacies with gusto.
★★★★½ – The Displaced is a hand-crafted kind of circus act.
★★★★★ – Thomas is a wonderful host who is knowledgeable but not wànky about wine tasting. The part that makes it a great show isn't the wine (alone), it's Thomas herself, and her playful, sombre and joyous vintage.
★★★ – Hand in Hand is a solid circus act from a younger circus production company. The colours are fun, the spirit of friendship is immediately endearing and they gave the audience a smorgasbord of great circus acts.
I never intended to review this much theatre this Fringe season, but there have been so many intriguing performances on offer that it ended up being the predominant genre of my run. So
If Martin Scorcese and Tennessee Williams got really drunk, did some blow, and then sat down and wrote A Streetcar Named Desire for modern audiences, it would look a lot like The Motherfucker
Damned with faint praise. It's an unfortunate aphorism, but one that I reluctantly consider apt after seeing Casus Circus' Driftwood at the RCC's Menagerie. It's a perfectly good show. Many of its contemporaries
It's hard to imagine a grander or more fitting venue for Justin Butcher's one-man interpretation of The Passion (presumably referencing the unfinished Milton ode rather than the overwrought Gibson movie) than St. Peter's
I have a tender area of my critical heart set aside for forgotten entertainment genres, with a particular fondness for shows with characters that evoke those bygone eras of the early 20th Century.