Salvador Kent
Breaking Point
★★★☆☆ Ambitious
Breaking Point from new company Heid First Theatre at the Bedlam, is an ambitious project tackling big themes of misogyny, online forums, and young men’s mental health.
Date, Desire, Divorce
★★☆☆☆ Thin
In Date, Desire, Divorce, Malcolm Windsor writes four new short plays about dates, break ups and reconciliations amongst older couples. Unfortunately, the result, at theSpace on the Mile for the Fringe’s final week leaves much to be desired.
Chickens
★★★★☆ Relentlessly ambitious
Jay and Weronika are returning from holiday as Chickens opens. The pandemic looms like a bad dream. And they soon begin a descent into poultry-fuelled domestic madness that goes to the heart of heterosexual dynamics.
Fallen Angel by Liam Rudden
★★★☆☆ Compelling
Liam Rudden’s new play Fallen Angel, at Braw’s Grand Lodge venue for the last week of the Fringe, is a fascinating speculation on local history, with a complete performance from Liam Campbell.
The Yeomen Of The Guard
★★★☆☆ Assured
Cat-Like Tread return to Paradise in Augustines with an assured and beautifully directed production of Gilbert and Sullivan’s The Yeomen of the Guard for the final week of the fringe.
Moonswing
★★★★☆ Heartfelt
Simply Surreal revive their debut play Moonswing to celebrate ten years as a company. Playing at Greenside’s Riddles Court this is a coherent, touching play with a trio of consummate performances and some subtly powerful stage images.
Unravel
★★★☆☆ Dense
Mon Espoir’s new play Unravel, playing theSpace @ Surgeons’ Hall for the final two weeks of the Fringe, is a work with philosophical density and formal surprises. Unfortunately, its perspectives on the subjects tackled are not offered to the audience with clarity.
Piano Noir: Will Pickvance
★★★☆☆ Crowd pleaser
Will Pickvance’s new hour, Piano Noir is a virtuosic feat with plenty of ideas and a meta-theatrical bent. It is musically sound and immersive and clever, even if its conclusion fails to convince.
Paradok Platform: Unwelcome
★★★☆☆ Intimate
Brooke Jessop’s new play Unwelcome is a textured, immersive work drawing the relationships of a young gay man in 1980s London, against the backdrop of Section 28.
Will power
Rebecca Mahar talks to Salvador Kent about form, farce and clowning in political theatre
The General Will is a new play at the Fringe from up-and-coming Edinburgh-based writer and director Salvador Kent, who uses the the meta-analysis of clown to critique current events and the political players who shape them.
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