Edinburgh Fringe Festival 2025
- The Verdict
- Aug 1
- 19 min read
Updated: Aug 21
ALL REVIEWS PUBLISHED
July 30, 2025
Level Up!:
A brand new musical by Lucy Watson and Julian Kirk, Level Up! is an imaginative and heartfelt story that blends both the digital and physical worlds. Telling the story of three friends who fall into “The Game of Life,” a video game designed to teach each of them a personal life lesson they need to learn. Aided by three members of the AI Chorus, they travel through different levels as their personal will and the strength of their friendship are tested. The entire case is fantastic and performs the material with enthusiasm and sincerity. Lynden Trenholm stands out as Bobby and has a wonderful arc, becoming the glue that holds the trio of friends together after a rift appears, and reminds them of the importance of returning to their real lives, bringing emotional weight and cohesion to the story. Additionally, Emma Thrower, the purple-clad member of the AI Chorus (among others), has the most infectious personality, clearly giving the show one hundred percent of her energy. From the sentimental song she sang as Jo’s mother to her light numbers with the other game-makers, her effusive enthusiasm drew every eye in the audience to her. This is a fun show with a clever score and a clever use of three moveable LED screens, perfect for a show about video games. That said, its largest issue is its lack of thematic clarity. In fact, it seemed to be conveying two opposing messages. On one hand, it seems to be saying that video games remove people from the real world and inhibit real, physical interaction, while on the other hand, it suggests that video games can create that connection. Despite that, Level Up! was a delightful afternoon and its family friendly humor and inventiveness make it a great show to bring younger kids for a fun family afternoon!
3/5 stars
1 hour
Big Yin at Gilded Balloon at the Patter House
Locomotive For Murder:
This is the show. Pinch Punch comedy group has created one of the funniest, freshest experiences at the Fringe—and the best part? It’s brand new every afternoon. Set aboard a train following a mysterious murder, Locomotive For Murder is a fully improvised whodunnit where a rotating cast of five performers uses the audience to create their characters on the spot. One performer is secretly the killer, and only they know who they are. After alibis, motives, and mayhem, the audience votes on who they think is the culprit. Because of that, no two shows are the same! The cast’s talent is nothing short of remarkable. In mere minutes, they crafted hilariously vivid characters such as “Count Manga” (based on a manga artist in the audience), “Bud Wiser” (beer memorabilia collector), and “Klaus et Gaybar” the German mayor of Dundee. The performers not only commit to these characters with impeccable wit, but also allow space to build storylines around spontaneous interactions—like a falling fake mustache that became Bud Wiser’s entire character. The brilliance lies in the structure of the chaos. It takes a special kind of talent to pull off a show that is written, staged, and performed live, and the performers make it look effortless. Locomotive For Murder is a joyous, laugh-out-loud experience and a perfect choice for families looking for an afternoon of unpredictable fun. It will have the audience cackling from start to finish—and talking long after they’ve left the venue.
5/5 stars
1 hour
Big Yin at Gilded Balloon at the Patter House
July 31, 2025
Ascension:
Ascension is a brilliantly powerful two-hander that brings to life the true story of Dutch sailor Leendert Hasenbosch, marooned on Ascension Island in 1725 for the crime of sodomy. Drawing from Hasenbosch’s own diaries, the play traces both his final days in isolation and the events that led him there, in a haunting and deeply human exploration of queerness, shame, and survival. Dan Hazelwood, who also wrote the script, delivers a compelling performance as Leendert. His portrayal shifts with expert precision as the timelines swap, going from the innocence and optimism during the flashbacks as he is exploring his sexuality, to the desperation and craze he experiences on the island as he struggles to survive. This transformation is both heartbreaking and mesmerizing. Opposite him, Conor Mainwaring plays Leendert’s lover with seductive charm and emotional depth. His grounded presence adds complexity to their relationship as he balances Leendert’s blind hope, creating a beautifully tragic dynamic between the two men. Directed by Max Lindsay, the show makes smart, impactful use of minimal staging, instead relying heavily on its lighting design to show the switches in timeline, often happening very quickly. Designed by James Appleby, it is simple, yet dramatic, perfectly capturing the mood of the scenes. Ascension is not only a gripping piece of storytelling, but is also a beautiful reflection of humanity and desire. Additionally, it is a look back at queer history through the lens of a man who was a victim of the prejudices, and is a worthwhile hour for anyone.
4/5 stars
55 minutes
Theatre at Bedlam Theatre
Vagabond Skies:
This is a beautiful and ambitious musical with so much potential! Vagabond Skies chronicles the life of famed painter Vincent Van Gogh and his complex and deeply human relationship with his brother, Theo. Framed through Vincent’s artistic career, the show is begging to burst out of the Fringe’s time constraints. It is trying to tell a story too large for the one hour they are allotted, often leaving the audience scrambling to keep up. The show begins in a coal mine where Vincent is a preacher, but after a fire, we are suddenly in Brussels, a jarring transition that gives little context. Although the pace of the shows slows a little bit once Vincent arrives in Brussels, the audience is still having to make countless assumptions. However, the guesswork doesn't end, because more characters come into the show who are also not introduced. One of these characters, Sien, played by the exceptionally talented Maren Ovidia, sings perhaps the best song of the show, “Born to Lose” as she laments how she and Vincent were never meant to be together. Despite structural issues, the performances were brilliant all around. Alex Bloomer and Richard Dawes played Vincent and Theo respectively, bringing sincerity and nuance to their brotherhood. The score, composed by Tony Norman, was one of the greatest strengths of the show. Completely sung through, it was crafted beautifully, weaving various musical styles, enhanced by Mark Edwards’. Vagabond Skies has the makings of something great, and if the creative team expands the show and trims the sections that steal focus from Theo and Vincent, it will be an even better musical. Hopefully once those changes can be made, it will find another venue that will produce a full-length musical and allow it to gain the critical acclaim it is due.
3.5/5 stars
1 hour
Auditorium at Gilded Balloon at the Museum
August 2, 2025
Yes, We’re Related:
🌟Verdict’s Pick🌟
Returning to the Edinburgh Fringe, Yes, We’re Related is a brilliantly sharp and darkly funny family drama, written by and starring Florence Lace-Evans. Set one year after their mothers death, two estranged sisters—Sara and Saskia—reunite to honor the anniversary of the funeral, but as one might expect, the party quickly unravels. Directed by Francesca Davies-Cáceres, this one hour play explores familial bonds, grief, and the wildly different ways people cope with loss. Lace-Evans is riveting as Sara, the more grounded but deeply maddened sister. Her simmering rage fills the space as she struggles with the absurd idea that they are supposed to be “celebrating” their mothers death. Alexandra O’Neill gives a devastatingly vulnerable performance as Saskia, weighed down by guilt for not being there when their mother passed. Joining the sisters is Saskia’s partner, Mark, a quirky, yet charming man played by Jonas Moore. As all three of them reckon with their individual relationships with the deceased, long-held resentments and secrets erupt, testing their bonds in volatile and heartbreaking ways. The comedy of the play is razor-sharp— eliciting uncomfortable laughter from the audience, reminding them how close pain and humour can live to each other. Yes, We’re Related doesn’t just entertain—it invites the audience to confront their own grief, perhaps leaving with a deeper understanding of what loss really means.
5/5 stars
1 hour
Big Belly at Underbelly Cowgate
Showstopper! The Improvised Musical:
Creating a full-length musical is no easy
task—even with weeks of rehearsal. But to make one up entirely on the spot? It seems like a combination of musical brilliance and sheer madness. Yet, that is exactly what the exceptionally skilled cast of the Olivier Award-winning Showstopper! The Improvised Musical pulls off every afternoon at the Fringe. Guided by audience suggestions for setting, musical styles, and the show’s title, six astonishingly quick-witted performers take the stage. With the help of musical director Jordan Clark and the live band, everything—dialogue, plot twists, characters, and full production numbers—is created in real time in front of the audience’s eyes. The thrill of the show lies in its unpredictability. In the performance I saw, the audience chose to set the show at a soft play center, leading to a hilariously heartfelt story about the romantic entanglements, rivalries, and existential crises of the parents watching their kids. The musical numbers, styled after Hamilton, Waitress, and Leonard Bernstein were as funny as they were impressive, with choreography and standout vocal moments throughout. What’s most impressive is how the cast navigates the inevitable chaos. They embrace the unexpected moments and veer off-script (yes, I know there isn’t one), somehow tying everything together into a narrative that is chaotic in the best way. Showstopper! is an ode to musical theatre and a masterclass in timing, musicality, and creativity. It is a delightful afternoon of family-friendly comedy, performed by some of the most talented actors and musicians at the festival, sure to leave audiences laughing long after they have left the theatre.
4/5 stars
1 hour and 10 minutes
The Grand at Pleasance Courtyard
August 3, 2025
The Big Bite-Size Breakfast Show:
What a delightful way to wake up! The Big Bite-Size Breakfast Show serves up brilliantly clever comedy and a gaggle of laughs on a silver platter. Performing five short plays every morning from a rotating set of three menus, the five performers effortlessly deliver some of the most ridiculous material at the Fringe with such ease, so early in the morning. The five-show style allowed each actor multiple opportunities to showcase their range as a performer and find new ways to entertain the audience each time, whether through a new joke or gag, or a horrendously hilarious American accent. Each play offers a fresh story, with nothing seeming repetitive or overused as the performers switched characters with flawless execution. Across the five plays, there was a variety of comedic styles, ranging from a light and fluffy TV studio scene, to a darker argument between friends as they mourn the death of another friend. The plays all were very simply created with tables, chairs, and simple props, featuring a ferris wheel car that was created out of four chairs, and a bar which was built by adding a table to the chairs. Adding to the charm of this early morning show, a ticket includes a cup of tea and a croissant to enjoy during the show, a very welcome offering at 10:30 in the morning! The Big Bite-Size Breakfast Show is the perfect way to start any day at the Edinburgh Fringe Festival, and is perfect for all ages!
4.5/5 stars
1 hour and 10 minutes
Pleasance One at Pleasance Courtyard
Don’t Tell Dad About Diana:
This is the show for anyone who worshipped (or still worships) Princess Diana. Don’t Tell Dad About Diana, an ode to the “People’s Princess,” is one of the most creative works at this year’s Fringe. Telling the story of two young fans who enter the Alternative Miss Ireland drag competition with the intent to perform a Diana-inspired act, their dreams suddenly are shattered—along with the hearts of millions—on the day of the show: August 31, 1997. Brilliantly written and performed by real-life best friends Hannah Power and Conor Murray, their performances melt the audience’s hearts with their love for each other and love for Diana, all while offering a beautiful reflection on self-discovery and acceptance. Hannah is the stylist for Conor’s competition dresses, and her fierce devotion to him and their friendship is what holds the show’s beauty intact. Conor, too, is devoted—but when an opportunity for him to study theatre at university arises, he makes the difficult decision to abandon their plans to move to London in order to pursue his dream. Set against the backdrop of Conor’s conservative family, he hides his true self out of fear of rejection—which ultimately comes, forcing him back to Hannah—the one person who truly loves him unconditionally. As much as Don’t Tell Dad About Diana is about the princess’ legacy and impact on the world, it is even more a story about the power of friendship, self-acceptance, and loving others for who they truly are.
4/5 stars
1 hour
Belly Dancer at Underbelly Cowgate
007 Voices of Bond:
In one of Night Owl Shows’ annual Fringe productions, 007 Voices Of Bond presents an ode to all of the music of the James Bond films. Taking the audience through the history of the tunes now synonymous with the franchise, we learn how original composer John Barry created the songs and found the stars who recorded them. Featuring Maia Elsey as the band’s lead vocalist, she delivered each number in her own style rather than an imitation of the original performer, backed up by a fantastic four piece band. From the classics such as “Diamonds Are Forever” to newer tracks such as “No Time to Die,” this concert tracks the history of the sound of the franchise as it progressed, creating a musical timeline from 1962 to the present day. This is the perfect hour of nostalgic music for any James Bond fan, or anyone in search of a concert of some of the most famous music of the film world.
3.5/5 stars
50 minutes
Big at theSpaceTriplex
Ghost Light:
Ghost Light, the 30th anniversary production from Young Pleasance, is a beautiful reflection and celebration of theatre and what it means to the people it has touched. Written by Joanna Billington and Will Feasey and directed by Billington and Tim Norton, the show explores the shadows that haunt the legendary Theatre Royal, Drury Lane, through new wardrobe assistant, Izzy. Set against the backdrop of rehearsals for a revue celebrating the theatre’s history, Izzy discovers the ghosts of the theatre through the costumes she touches as she roots through the “crow’s nest” storage room. With the help of Rob, the assistant stage manager, she uncovers more of the theatre’s secrets, deepening her connection to its history. The entire young cast is outstanding, especially the performer playing Grimaldi, who acts as a narrator guiding the audience through the various ghosts’ stories as they appear. The actress playing Mags, the head of wardrobe, also delivers a nuanced performance becoming the heart of the show. All of the ghosts are eerie as they wander about, telling their stories about what the theatre meant to them. As Izzy hears more of them, she begins to piece together the famed tragedy of the Man in Grey, who is said to still haunt the theatre today. Ghost Light is a love letter to theatre and the artists, and crews who keep it running behind the scenes. One of the most powerful parts of the story is that, while set at Drury Lane, it is the story of every theatre and the memories that shape the space and the echoes they leave behind.
4.5/5 stars
1 hour and 10 minutes
Pleasance One at Pleasance Courtyard
Webber!:
Webber! is Grant Sharkey’s rude, blasphemous, and irreverent farce about Lord Andrew Lloyd Webber has finally made it to the Edinburgh Fringe Festival. This is a very un-family friendly sung-through musical written, composed, and starring Sharkey as the Lord himself. He is delightfully hilarious host in his performance as the title character in his obsessive desire to become FRAFU (filthy rich and f***in’ useless), at the urge of Margaret Thatcher. As Thatcher, Laura Clare Reid gleefully embodies the era’s upper-class neglect, pocketing Webber’s musical profits while egging him toward ever-greater absurdity. This show clearly does not support either character, and once you accept that no one in this show escapes mockery, it’s far easier to enjoy the ride With soft rock earworm songs with lyrics that sound like they might have been written by Webber himself (a bit lacking), Sharkey and Reid sing and laugh their way through Webber’s rise to status and power, not shying away from emphasizing his questionable choices of source materials (cats and trains with faces) in addition to where his morals strayed. Webber! is a riotous hour that leaves audiences doubled over, grinning, and maybe just a little horrified—in the best possible way.
4/5 stars
50 minutes
Studio theSpaceTriplex
August 4, 2025
Jackie!!!:
Jackie!!! The Musical, now at the Edinburgh Fringe Festival, sets out to tell the story of Jacqueline Kennedy through a contemporary pop/rock score and witty story. While it sparkles visually and musically, it rarely dives into the emotional depth of its subject’s life. The book by Nancy Edwards and John McNeice emphasises the glamour of the “Camelot” Jackie dreams of and ends up achieving, but sidesteps the private turmoil, particularly Jackie’s response to her husband’s affairs, leaving her character underexplored. Max Alexander-Taylor’s score, with lyrics by Alexander-Taylor, Edwards, and McNeice, offers moments of charm—especially the catchy refrain of “Go Jackie, go”—but, like the book, it remains firmly on the surface. The production also feels torn between two styles: is it a truthful biographical portrait or a campy satire? Until it commits to one, the show will feel unfocused and unsure of its story. In this way, it shares some of the pitfalls of Diana: The Musical, one of Broadway’s most infamous recent flops: the pop/rock score, reluctance to interrogate its central figure, and the lingering identity crisis. What works best is the cast of five, led by Edwards and McNeice as Jackie and John. Their strong vocals and sharp comedic timing keep the audience engaged, and they clearly believe in the piece. There are flashes of wit and moments where the material hints at greater emotional complexity—enough to suggest a stronger, more satisfying show is within reach. With sharper focus, bolder storytelling choices, and a clearer tonal direction, Jackie!!! could become the compelling stage adaptation that she deserves. However, as it stands, it glitters with promise, offering plenty of surface shine but keeping the richer drama just out of reach.
3/5 stars
1 hour
Big Yin at Gilded Balloon at the Patter House
August 5, 2025
Midnight At The Palace:
This show deserves more. Telling the story of The Cockettes, a group of counterculture trailblazers in 1970s San Francisco, Midnight at the Palace is a vibrant celebration of life, love, and unapologetic self-expression. From the moment the audience enters the space, they see the performers warming up energetically and they interact with people, creating a joyful atmosphere, which is further reinforced once the show begins. Every performer in this ensemble cast radiates charm throughout, keeping the audience engaged, even when the book drags, slowing the pace of the relatively simple story. The material stays largely on the surface of the story, rarely venturing into the politics of the era and the implications of being openly queer at the time. The narrative also feels rushed, leaving little room to explore the significance of what the Cockettes achieved, which blunts the musical’s potential impact. Still, Brandon James Gwinn’s original score is a highlight—bright, lively, and packed with entertaining numbers. A highlight is the title song which is an explosion of joy and declaration of defiance against cultural norms as the group arrives to perform in New York. The cast was brilliant as an ensemble, but Baylie Carson as the protagonist, Pam, was a standout. Her crystal-clear vocals beautifully invoked her character’s innocence perfectly. Though the Cockettes’ real-life story ended less joyfully, Midnight at the Palace is, for most of its runtime, a party—choosing to celebrate joy, chosen family, the power of art, and living your truth without shame.
3.5/5 stars
1 hour
Gilded Balloon at the Patter House
August 6, 2025
The Fit Prince (who gets switched on the square in the frosty castle on the night before (insert public holiday here)):
Returning to the Fringe, Awkward Productions has brought yet, another gem of a comedy. The Fit Prince (who gets switched on the square in the frosty castle on the night before (insert public holiday here)) is a hilarious masterpiece of comedy, weaving in queer, anti-monarchist, and pro-puppet themes. Linus Karp and Joseph Martin return to the stage together as Prince Elian of Swedonia and New York baker Aaron Butcher respectively, dazzling with their irresistible charm. The plot follows Prince Elian’s search for a husband following his father’s death in order to protect the crown. The two are joined onstage by randomly selected audience members playing a variety of characters—from a priest, to a gaggle of orphans, to Prince Elian’s doppelgänger—all fed lines from a promoter. Relying heavily on technology, the production utilizes two screens in order to provide video appearances by some pre-recorded figures such as an eligible bachelor prince (Sebastian Croft), a stepmother who bares a suspicious resemblance to Princess Diana (played by Karp), Queen Elizabeth (the brilliant Geri Allen of Operation Mincemeat), and others. The screens also display the lines for the audience participants, creating a dependence on technology that becomes a liability when glitches occur—as they did in my performance—with no clear backup plan to keep the show moving. However, the show brims with brilliant moments that do not require technology, including some amazing puppets, and not one, but two appearances by Swedonian pop supergroup BAAB (with their hit song “Movement King,” of course). The Fit Prince is a wonderful afternoon of sharp, inventive comedy, helmed by Karp and Martin’s infectious charisma and wit, guaranteed to leave audiences laughing long after it ends.
4/5 stars
1 hour and 10 minutes
Pleasance One at Pleasance
Footballers’ Wives: The Musical:
This was a surprisingly delightful hit! Based on the iconic British television series, Footballers’ Wives: The Musical follows Tanya Turner, the team captain’s wife, as she schemes to save her marriage following a disastrous incident. This show is campy, hilarious, and fully embraces the drama of the original series, creating an energetic and thrilling musical. The highlight of the show is undoubtedly the exceptionally talented cast. Overall, the cast is fantastic and a joy to watch as they sing and dance their way through the show, moving more like professional dancers than footballers. Ceili O’Connor leads the company as Tanya, delivering standout vocal moments in some of the most demanding numbers, and a bone-chilling acting performance as she ruthlessly plots and schemes. Additionally, Gillian Kirkpatrick, in her brief moments onstage as Nurse Dunkley, utterly steals the show. Her performance of “Never Say Die,” a gloriously ridiculous number elevated by her sharp physical comedy, instantly wins the audience over. Condensing the TV series into a one-act musical inevitably means losing some depth, but Ricky Beadle-Blair’s book and Kath Gott’s score retain the full plot while fleshing out the sections that need it and skimming others with precision—a rare achievement. Still, the show is begging for a more expansive two-act version with bigger production values. Although the material doesn’t demand it, fuller sets beyond the Fringe would enhance the spectacle, and spectacle is where this show shines brightest. Footballers’ Wives: The Musical is an over-the-top show with big personalities and performances, begging for the larger stage that they deserve.
4/5 stars
1 hour and 20 minutes
Music Room as Assembly Halls
Baby Wants Candy: How to Train Your Drag Queen:
American musical improv troupe Baby Wants Candy returns to the Fringe for another season of hilariously inventive, entirely original musicals! Each night, an audience member provides the title for a brand-new show, and a cast of six performers with a live band bring it to life on the spot—completely unrehearsed and unplanned. By giving each other “offers”—plot twists, characters, choreography—the company builds the show collaboratively, ensuring a unique experience every performance. At the show I attended, How To Train Your Drag Queen, the brilliant cast took and ran with the title in many different directions. The characters included teens desperate to learn how to be fabulous, a scandalous priest opposing drag, a competition judge bizarrely obsessed with shakshuka, and many more. Together, the cast and band put together a wonderfully funny evening of laughs and song, sure to make audiences want to come back again to see another brand-new musical!
4/5 stars
1 hour
Studio at Assembly George Square
August 7, 2025
Macbeth: The Musical:
This is a masterclass in how to do Shakespeare in an exciting and accessible way. Macbeth: The Musical, adapted by the Bristol Bard Festival, takes Shakespeare’s classic tragedy and sets it to music—but not to new tunes. Instead, this musical uses hit songs from the past fifty years, with brilliant new lyrics to fit the story of the “Scottish Play.” Devised and written by Rebecca Waterhouse, the show includes “Since Duncan’s Gone,” “Hubble Bubble” (a riff on “Mamma Mia”), the finale of “Don’t Stop the Scheming,” among many others. The lyrics, while somewhat nonsensical and clunky at times, only add to the charm of this gleefully irreverent show. Performed by one of the most high-energy casts of six, each member plays multiple characters, switching between them with plenty of flair. The show remains incredibly loyal to the original story, refusing to change anything to benefit their adaptation, and that is where this show excels. By retelling Shakespeare’s tale honestly, it allows the story to be made more accessible to a wider audience who may not be familiar or comfortable with traditional productions of his plays. Ultimately, Macbeth: The Musical proves that Shakespeare doesn’t have to be intimidating or solemn to be powerful. By blending it with pop culture, the production opens the door to both seasoned Shakespeare lovers and those who might usually shy away from the Bard. It’s smart, silly, and fresh—proof that even after 400 years, Macbeth still has the power to thrill, especially when he’s scheming to a pop soundtrack.
4/5 stars
1 hour
Paradise at Augustines - Studio
Lady Macbeth Played Wing Defence:
Lady Macbeth Played Wing Defence is the perfect example of what would happen if Shakespeare met Disney—and not to the benefit of either. The Perth-based troupe Crash Theatre Company has brought this pop musical to the Edinburgh Fringe after multiple successful runs across Australia, but unfortunately, I cannot see why. As the title suggests, this musical is an adaptation of Shakespeare’s Macbeth, but it’s hardly recognizable aside from the conspicuous names. This show reframes the story as Mac Beth’s hunger for the role of captain on her school’s netball team (the Dunsinane High Hellhounds), however, Coach Duncan seems determined to give it to anyone but her. Although the script sprinkles in some direct Shakespearean quotes, the general plot of the source material is not adhered to at all. Firstly, the character of Mac Beth appears to combine both Lord and Lady Macbeth from the original play. This choice erases the moral tension between the two characters, who in Shakespeare’s text act as foils for one another. By merging them, there is little psychological depth, rendering Mac’s association with the originals superficial. Additionally, the plot does not mirror that of Macbeth. Coach Duncan first gives the role of captain to Chloe Macduff rather than giving it to Mac Beth, as she would have done had this been a faithful adaptation. Mac then proceeds to sabotage Chloe and every new appointment in fruitless attempts to gain the position. Finally, in what feels like the most blasphemous departure, Mac is invited back to the team after her scheming is revealed. Where Shakespeare ends with Macbeth’s violent downfall, this version ends with reconciliation and a cheery resolution—not the point of the story. The pop score by electro-artist Project BEXX is upbeat but often repetitive, offering little dramatic variety beyond a vehicle for the cast’s powerful vocals. Every performer is incredibly talented and brings infectious energy, doing their best with the material they have been given. Ultimately, there is a line where adaptation becomes an entirely new work—and Lady Macbeth Played Wing Defence firmly crosses it. Some audiences may find it funny, and fresh, but those seeking even a faint echo of Shakespeare’s tragedy will find the connection tenuous at best.
2/5 stars
1 hour
Studio at Assembly George Square
This Side of Life:
On paper, this looked like the kind of Fringe gem you tell your friends not to miss; in practice, it was harder to see what all the sparkle was meant to be. Developed by the Cambridge University Musical Theatre Society and billed as a “feel-good Golden Age throwback musical,” filled with tap dancing, This Side Of Life, a new, original musical, sounded like an exciting prospect. Telling the story of two young artists in New York City and their struggles to be seen, the premise of the show is intriguing. However, when I left the theatre, I was neither feeling good, nor entirely sure what had transpired. Sporting a cast of four, each performer had their strengths, yet they also had their weaknesses which were very apparent as the show progressed. To be a (self-described) tap musical, there is a certain expectation of difficulty and technicality in the choreography, requiring experienced dancers. However, that did not appear to be the case, with underwhelming, simplistic choreography delivered with little energy. This lack of vitality extended to much of the rest of the performance—the cast often seemed disengaged, which made the show challenging to watch. However, where the show shone were the moments of song. Evie Turner as Nina has an amazing voice, but it was difficult to hear over the music. The show has a large (for the Fringe) onstage band which, while lovely to listen to during the frequent dance breaks, was unfortunately far too loud, often overpowering the performers. This was one of my most anticipated shows of the festival based on its description, but unfortunately it turned out to be one of the most disappointing. This Side Of Life has the pieces and premise to make it a memorable evening, but until then, it remains on the wrong side of the scales.
2/5 stars
55 minutes
C Arts Aquila Temple
