After its Brighton world premiere and Camden Fringe run, Saving Myself comes to Clapham for its final performance of 2026. Tim Stubbs Hughes’ 45-minute solo play, directed by Julia Stubbs and performed by Jessamy James, plays at The Bread & Roses Theatre as part of Lambeth Fringe on Wednesday 14 October. Camden New Journal included the show in its pick of Camden Fringe, calling it “a heavy, important play” and praising James’ “agonising portrayal of suffering” and Stubbs’ “dynamic, layered performance”. The Reviews Hub described James’ work as “an outstanding performance, full of nuance and bitterness”.

Photo credit - Greenwich Theatre Cassie Bradley, recently cast alongside Nicole Kidman and Sandra Bullock in Practical Magic 2, to star in timely new production of My Name Is Rachel Corrie at Greenwich Theatre This autumn, Greenwich Theatre will present an urgent new production of My Name Is Rachel Corrie, starring Cassie Bradley. More than two decades after Rachel Corrie's death, her words remain strikingly resonant. As the humanitarian crisis in Gaza continues to dominate global headlines, Greenwich Theatre will present a new production of My Name Is Rachel Corrie…

After its Brighton world premiere and Camden Fringe run, Saving Myself comes to Clapham for its final performance of 2026. Tim Stubbs Hughes’ 45-minute solo play, directed by Julia Stubbs and performed by Jessamy James, plays at The Bread & Roses Theatre as part of Lambeth Fringe on Wednesday 14 October. Camden New Journal included the show in its pick of Camden Fringe, calling it “a heavy, important play” and praising James’ “agonising portrayal of suffering” and Stubbs’ “dynamic, layered performance”. The Reviews Hub described James’ work as “an outstanding performance, full of nuance and bitterness”.

ROBERT KHAN & TOM SALINSKY’S SELL-OUT POLITICAL DRAMA THE GANG OF THREE TO EMBARK ON MAJOR UK TOUR ORIGINAL CAST MEMBERS ALAN COX, HYWEL MORGAN AND COLIN TIERNEY TO REPRISE THEIR ROLES AS TONY CROSLAND, ROY JENKINS AND DENIS HEALEY RESPECTIVELY AND ARE AGAIN DIRECTED BY KIRSTY PATRICK WARD FOLLOWING THE RESIGNATION OF KEIR STARMER, AND ANDY BURNHAM’S MAKERFIELD BY-ELECTION VICTORY, THIS TIMELY LABOUR LEADERSHIP CONTEST DRAMA COULD NOT BE MORE RELEVANT TODAY! THE PRODUCTION WILL BE REVIVED AT THE KING’S HEAD THEATRE WHERE IT HAD PREVIOUSLY SOLD OUT,  BEFORE OFFICIALLY…

From early-stage development and residencies to award wins, national tours, festivals and international collaborations, Summerhall Arts’ year-round support is helping artists build the work that drives Scotland’s cultural life Following a hugely successful Edinburgh Festival Fringe, with eight Scotsman Fringe First Award wins, more than 65 five-star reviews, over 180 four-star reviews and increased visitor numbers across its performance and visual arts programme, Summerhall Arts is highlighting the vital year-round artist development work taking place at its Edinburgh base. While August provides a high-profile showcase for the work developed at Summerhall, the organisation’s support for artists continues throughout the year.

Adaptation by Anna Gion & based on Antiochus the Great: or The Fatal Relapse by Jane Wiseman (1701) | Directed by Katie Luchtenburg & Anna Gion Hellbent: or A Sorry Sight in the West, inspired by Jane Wiseman’s 1701 play, Antiochus the Great: or The Fatal Relapse, is a vibrant burst of campy energy set in the American Wild West. Birthed from a desire to dust off the works of classical female playwrights, Hellbent is a raunchy rendezvous with snappy dialogue by Anna Gion and supported by the brilliant framework of Wiseman’s 300-yearold revenge tragedy.

Photo Credit - Nadav Kander The Almeida Theatre announces the full cast of Desire Under the Elms Joining the previously announced Zackary Momoh are Jamie Beamish, Antony Byrne, Thomas Coombes, Kelly Gough, Choolwe Laina Muntanga, Tendai Humphrey Sitima and Nathaniel Wade. Former Almeida Resident Director Ebenezer Bamgboye (The Lonely Londoners) directs Zackary Momoh (Seven Seconds; Harriet) in four-time Pulitzer Prize winner Eugene O’Neill’s twentieth-century classic. The production opens on Tuesday 17 November with previews from Tuesday 10 November, and runs until Wednesday 23 December.

Dear Joanna, My Favourite Animals Are Scorpions is an unsettling exploration of childhood friendship, adolescent obsession and the ways in which seemingly innocent behaviour can develop into something much darker. Written by Julia Rudd and directed by Elizabeth Laurence, the play follows Joanna, played by Grace Maltman, and Dave, played by Joseph Mason-Coombs, from childhood into adolescence. Dave becomes fascinated with Joanna and repeatedly tries to establish a friendship that she does not reciprocate. As they grow older, his attempts to gain her attention become increasingly obsessive. Letters, rumours and eventually voyeuristic behaviour shift what initially looks like an innocent childhood infatuation towards stalking and harassment.

Curated by Jennifer Adam and Mhairi Quinn A beautiful cocktail of talented individuals demonstrating their abilities across poetry, music, plays, and readings all united by the theme of growth, time, and transformation. Tandem at Ten is a fantastic display of diverse artistic talent, featuring eight works from a range of artists who executed their parts perfectly. Across two hours (with a 15-minute intermission), the show moved at an exhilarating pace, making for an excellent evening. The Traverse Theatre proved to be an ideal venue: a beautiful, professionally maintained open space with a calm bar area.

This production is bursting with potential and is a fantastic cultural introduction for audiences unfamiliar with Southeast Asian and Thai-style performances. It is clear the show was ambitious in scope, weaving together dance, music, puppetry, and mythology into something quite different from your average night at the theatre. The props and costumes are beautifully crafted, perfectly capturing the essence of the themes being explored, and you can tell a lot of care went into getting the visual side of things right. The performers involved have more informal backgrounds and less experience of stage performance, which leaves room for improvement.

A small basement room in Waterloo, with bare brick walls and a simple lighting rig was the venue for Causa: The Trial of the Illegal Potato, one of the many shows in this year's Lambeth Fringe Festival. The first hint that this show wasn't going to be a tightly put-together piece came as the audience waited outside as the start time came and went with no information on what was happening. Starting nearly twenty minutes late wasn't an auspicious opening. Juana, a Peruvian woman living in London, gets homesick for Causa, a traditional potato dish.

The Red Lion was written by Patrick Marber as a result of his involvement with Lewes FC, which he assisted in transferring the club into community ownership in 2010. He writes from a place of experience given that he served as a director of the club for twelve years.  This love of the game, but not necessarily the commercial side of the game is evident from his point of view when writing the play. The play is set in the changing room of an English football club (The Red Lions FC) who are semi-professional.

A winner of the 53Two OFFCUT Festival 2025, Cryin’ Air has been re-written from its original format as a short play, into a two-act play for its debut. Many of you who attended last year’s festival, were no doubt looking forward to seeing the development of this play, and I think you will be pleased with the result. Written and directed by Lauren Bugg, who has recently launched her own film production company ‘In Cahoots Productions,’ her ideal play comprises of comedy and the complexities of relationships, which are very much the focus of…

What if he's the shrew,and he enjoys the taming? Katherina Minola is full of rage. Rage at the misogynistic society she was born into. Rage at her father for his abusive behaviour and preferential treatment. Rage at her sister for going along with it all. ​With her father insisting she marry before the beloved Bianca can, Katharina seems doomed to a cold, loveless marriage with anyone who’ll take her. Until Petruchio, a young gentleman from Verona, comes crawling on hands and knees, with a gentle smile and a twinkle in his eye that screams “Peg Me Mommy.” Can Kate grow to love this unusual man and his unusual proclivities – and maybe even herself in the process?

An evening of philosophy, mythology and psychology set to original and improvised music. Through mini-seminars and hand drawn projections, Perennial Patterns explores what ancient mythology can teach us about modern life. Part musical performance, part theatrical lecture the audience is taken on a journey through the wisdom of great thinkers like Socrates, Jesus, Plato and John Mayer. A conversation starter for the voices in your head. Cast/Performers: • Ben Milton- Lead Performer • Dan Large- Key Boards & Musical Director • Hayden Giles- Drums • Larissa Engler- Artist & Projectionist…

Born in 1938 Brandenberg, writer Manfred Karge had a front row seat to the post-World War II Cold War, and the dividing of Germany into East and West. Set during Germany’s Great Depression, when one in three workers lost their jobs, the play was inspired by the true story of Ella Gericke, a German woman who, took over her husband’s identity on his death for economic reasons. Tilda Swinton takes on the dual role of Ella, and Ella assuming the character of her husband Max Gericke. Karge put pen to paper in 1982, with the play written in German entitled ‘Jacke Wie Hose’, which was then translated into English by Anthony Vivis, and it is this translation that director Stephen Unwin and team have developed, and is the basis for the play that we see today.

High Street is a striking fringe production, proving that it is indeed possible to make an impact without a large venue or special effects – just a little courage, some sincerity, and a lot of heart. Giving the feeling of being part of stories that most storytellers ignore. Nida Vohra is a writer who will begin to be talked about; her voice is evident. Together with two good leading actors, she delivers British stories that are generally overlooked. High Street serves as a reminder that new theatre, particularly of small beginnings, has the power to change the way we see and understand one another.

Award-winning solo play about rave culture, grief and finding your way back to yourself comes home to London Following a three-week run at the Edinburgh Festival Fringe and a subsequent run at Brighton Fringe, Life Would Be Pretty Dull Without Sex, Raves and MDMA finally comes to London for two performances at the Bread and Roses Theatre in Clapham as part of Lambeth Fringe 2026. Written and performed by London-born and bred Bex Wall, and co-written with Sarah Asante Gregory, this bold, funny and deeply personal solo play takes audiences on a journey through 90s rave culture, grief, memory, motherhood, midlife and the search for something that makes life feel truly alive.

A new Terry Johnson play is something of an event, especially for comedy fans. His Dead Funny is set at a party for fans of Morecambe and Wise era comics, and features several of their routines. Another of his plays is set amongst the actors of Carry On (Cleo, Camping, Emanuelle and Dick). He knows, and thinks about, what makes us laugh. The original 2022 London premiere of The Sex Party, which Johnson directed, was badly hit by actors getting COVID. Johnson as writer/director usually workshops his plays through rehearsals, reworking the script in the light of the particular cast.

Pub drama about ‘what it means to be young and incomplete’ comes to Lambeth Fringe from South Korea. Four friends. One, or more, round of drinks. A crisis that was already there. Counterattack: Youth, a punchy and disarmingly honest drama, comes to Lambeth Fringe at the Bread & Roses Theatre on Wednesday 14th and Thursday 15th October at 7.00pm. Adapted from the acclaimed Korean original production by Theatre Group Dalddeuda, Counterattack: Youth comes to the UK to follow four Korean women in their late twenties who gather at a pub for a wedding celebration.

It is a testament to how highly 53Two are respected in Manchester, that Simon Stephens chose to premiere his new play Maria during 53Two’s tenth anniversary year. 53Two are well known in Manchester for their welcoming, inclusive atmosphere, but this also goes hand-in-hand with their exceptional programming. Stephens has penned a play using the life of a young woman to pivot the themes of social neglect, the erosion of family values, and our dependency on digital connection as a form of interaction, which can lead to isolation and loneliness. Set in a small Northern town close to the coast, Maria (Stacey Harcourt) is young.

Sunrise for the Blind by Lee Thomas doesn’t shy away from the mood of the material. On the Camden Fringe website, it’s described as a, “raw, naturalistic portrayal of life in a bleak North Manchester town centre”. Many might give such a prospect a sharp swerve. One friend said to me, “I’m sorry, but I can’t face any more bleakness right now.” It’s a valid sentiment in the current climate, so I was shocked, but buzzed to see busy pews for a 4pm matinee. While some of Grey Brigade were out in force, it was cheering to see a surprisingly young audience lapping up new writing in a fringe theatre.

Coming to the Fringe for the first time, Italian company Sisifo production presents Ten Ways to Die Happy, an adaptation of the Italian production Dieci Modi per Morire Felici, written and directed by Emanuele Aldrovandi and presented in collaboration with Emilia Romagna Teatro Fondazione. As you enter the theatre, you’re given a slip of paper with a number next to a skull and cross bones – morbid! The set is one of the more elaborate sets I’ve seen during Fringe; eight chairs sit in a semi-circle around what sounds (from water splashes) like a rock pool, the front part of the set blocks any view of the pool from the audience.

The audience enters the dimly lit basement. It’s a humid day and I’m pleased to get a front row seat near the portable air-conditioning unit. A fellow audience member tells me this is her first ever Edinburgh Fringe show. She’s flown in this morning from Dublin to see her sister perform in ‘Shatter Resistant’. This is an impressive writing and acting debut from Isabelle Blanche. She has written a captivating, poignant and often funny show which she performs with gusto. She treats the audience as her best friends as she takes us with her on her emotional rollercoaster.

David Correos’ show feels like hanging out in a state of delirium in your mate’s garage, stunk out with smoke, sweat and booze. From the moment you walk into the Monkey Barrel basement room Correos’ chaos is palpable, with dance music booming at full volume while idyllic videos of New Zealand’s landscapes play serenely on the presentation style TV at centre stage. As the audience file in towards their seats, Correos greets them individually with a sweet smile and handshake, he’s genuine, down to earth and generally lovable. First impressions always count, and it’s the one Correos imparts on the audience initially that lets him get away with all his insane behaviour later in the show, literally stripping down to his boxers and sucking off a (fake) gun.

Glenn & Flenn were the stars of a kid’s TV puppet show that has unfortunately fallen into obscurity. Both puppets and actors have been trapped in the studio and time has not been kind to them. Years of disuse made the puppets mouldy and rotten, and the puppeteers might just be going insane. It’s a wonderfully strange idea and writer and director Frederick Bang’s script has a good build up to the finale and lots of hilarious and horrifying humour. The Glenn & Flenn jingle and fun little songs particularly stand out and really pull the audience into this world, keeping everyone engaged throughout the show.

After watching Peregrinations, Dutch Kills Theatre’s other show, Double Take, unfortunately did not meet expectations. As a silent mime show, the movements should be incredibly precise whilst also conveying emotion and creating characters. Instead, it often felt like the actors focused so much on technique (which was still sloppy at times) that the characters felt superficial. They eased more into it towards the end of the show, and we got moments of clowning and some very funny bits, but most of the time both movements and transitions were not refined enough.

Confident, rehearsed, and gloriously unhinged, Blip Blarp lands on Earth with an ambitious mission: conquer the planet and produce 1,000 offspring. Unfortunately for our intergalactic heroine, the real challenge is not planetary domination, it is dating. Through “burlesque” flair, sci-fi absurdity, and plenty of comedy, showing how dating can be completely alien. The central joke is simple but effective: if an alien can understand the complexities of invading Earth, why can't she understand how to get a human to commit? Located in The Snifter Room at Just The Tonic at The Mash House as the last show of the day, the chaotic nature of that time slot and the difficulty in finding the venue adds to the mystery of the show.

From the Olivier Award - winning producers of Cabaret and Benjamin Button, BLISS a musicalfantasy story which follows four sister princesses who are locked up in a Tower under the caring protection of their father. Time spent studying and their desire to experience the world outside the castle, overwhelms them and they embark on a scheme to leave. Chasing Comets and encounters with a fairy Godfather, Prince. Piper, Carmella, Faye and Holly soon discover that life on the outside is not exactly kind. At its heart, the musical explores the fragile collision between innocence and adversity, placing its characters in a world where anything less than perfection can feel like failure.

Sam Morrison kicked off his fourth solo performance at the Edinburgh Fringe with his uniquely titled show DUCK. Sam is an acclaimed Edinburgh Fringe American comedian who featured on Late Night with Seth Meyers Comedy Central. He is the Named Just for Laughs New Face and his show “Sugar Daddy presented by Billy Porter and Alan Cummings, extended its run off Broadway four times and transferred to off West End in London”. DUCK the feathered winged and web feet variety have unusual spiral vaginas and given that their main purpose biologically is to survive, reproduce and pass on their genes.

Miss Frisky Laura Corcoran is an Australian -born British cabaret singer, MC and comedienne and music lovers are in for a treat with Frisky’s Remix Roulette. This popular comedic show has the Edinburgh Fringe audiences laughing, singing and joining in with the musical mayhem. A full throttle of an evening with audience participation and a mash up of songs to different genres. From funk to punk, Bavarian oom-pah-pah to Bollywood and a fabulous jazz version of Abba’s Waterloo. You have never heard Amazing Grace ‘Frisky’ style, and you probably won’t ever hear it again.

Having already seen Peter Marchant take on Freddie Mercury in Night Owl’s The Legend of Queen, I was intrigued to see what he would do with another of rock music’s most distinctive performers. The answer is something rather different, and wisely so. Night Owl Shows’ The Bowie Story is not an impersonation. Marchant makes little attempt to reproduce all those flamboyant, flowery twists Bowie could introduce into a vocal line. His delivery is straighter and very much his own, allowing the songs to speak for themselves while the show traces the extraordinary succession of transformations that defined Bowie’s career.

There is something wonderfully Fringe-like about Moving On. An Edinburgh company writes an entirely original musical, assembles seven actors and a three-piece live band, fills a stage with removal boxes and ghosts, and gives us two hours of spooky, silly and surprisingly touching musical theatre. I admire the ambition before we even get started, and happily, much of that ambition pays off. Happy Sad Productions’ show is written by Amber Docherty, Roza Stevenson and Josh Wood, with music by Wood. Stevenson directs, Docherty is assistant director, Murron Goodall provides costumes and Cormac Cameron-Finn designs sound.

There is something inherently unsettling about agreeing to take a lie detector test, particularly when the results are going to be shared with a room full of strangers. Australian company Counterpilot has built Truthmachine around precisely that proposition, using real biometric sensors and live voting technology in a thirty-minute immersive experiment. This was a new C Venues space for me, above Victoria Street. Two flights up, we were ushered into a darkened room dominated by a long table, six seats on either side, each equipped with headphones, microphone and voting panel.

There is a good little play struggling to get out of Horrorshow. Written by Doug Deans for Chronic Insanity, this gig-theatre piece follows lifelong Isle of Wight friends Dan and Ollie through one final adventure together before their lives begin moving in very different directions. Deans plays Dan, guitar in hand, alongside Joe Matty as the more academically inclined Ollie on keyboards. Director Joe Strickland completes the live band on drums and percussion, as well as providing the voices of the other characters. Original music and lyrics are by Anya Pearson, who also provides musical direction.

New Zealand collective Binge Culture's Werewolf arrives at Summerhall with considerable word-of-mouth behind it, and sizeable audiences suggest this immersive horror has certainly found its pack. I am less convinced. TechCube 0 provides a naturally effective setting. On arrival, I find someone sitting behind a desk ticking us off and conducting a headcount before reporting back to our three wardens, Joel Baxendale, Stella Reid and Hannah Kelly, who devised and perform the piece. We are Safehouse 656, apparently protected from the lycanthropic horrors outside, and we are informed that we will remain here for seven days.

The beauty of the Edinburgh Fringe lies in the fact that you, as an audience in search of a show, can stumble upon excellence. In a cool, simply lit and arranged corner stage Eric Daniel Weiner gives us a masterclass in resolved, structured storytelling and naturalistic, understated acting. Weiner doesn’t just hold a mirror to life; he holds it with a template in the shape of a Shakespearean sonnet layer over it then proceeds to demonstrate how each part of it fits. The journey takes place over a lifetime. Our hero, Charlie Katz attends school and is taught the wonder of language by a dying English professor in a small intimate class.

Karla Boye has flown into the Fringe with her part two series of Call Me Elizabeth; From Burton to Humanitarian. It’s 1985, the time when the HIV and AIDS epidemic was becoming a serious medical, social and political concern in the USA. The impact of AIDS affected Gay and bisexual men severely including Hollywood movie stars who were not exempt from the disease. Elizabeth in her privileged position as a movie star wanted to make a difference and raise the profile the AIDS by engaging other stars to support her cause.

Produced by Fast Snail Productions, Fruit Flies begins when Ollie’s best friend from home, Maddy, travels from Ayr to Edinburgh to stay at Ollie’s and see the Chappell Roan concert together. Problem is, Ollie’s flat mate Steph and Maddy on meeting despise each other. And to make matters worse, it turns out there are only two tickets for the concert, not three. Steph and Maddy have to fight it out and prove to Ollie that they deserve to be the chosen one. This seems like a simple enough premise, until you watch the show and are completely blindsided.

Of Mice And Men - Drawing Room at Assembly Rooms If like myself you were forced to read the book: Of Mice And Men in school you will already know what tragedy awaits you, but if you are new to the story beware. John Steinbeck’s famous novella takes to the stage this fringe as a 2-man, 1 act play and truly succeeds in capturing the essence of its lead characters Lennie and George. From the get-go we know exactly who these two characters are: George is the man in charge, aggressive and fed up with his life and Lennie is the simpler of the two, a very tall man whose strength is not in his mentally but his unintentional brute.

It’s Apsaras Dance Company’s first time in Edinburgh and this was their first performance of Agathi – The Plight of the Refugee. Coming all the way from Singapore to share this beautiful piece of dance theatre with Scottish and International audiences. Agathi intends to destigmatise the refugee experience and calls for empathy and understanding. Inspired by the book of poems by refugee children as well as specific lived experiences, the show explores displacement, various people’s stories and the dangers refugees often have to deal with. Some of the Voice-overs and monologues are in English and during the songs in Tamil, surtitles of the translations are screened to make it fully understandable.

Dim lighting and rumbling, auspicious music lure you into the auditorium. On stage, a simple contraption of scaffold poles resembles a glass box. Within it, a woman stands still and silent. The black box theatre of the modern Edinburgh Fringe is notoriously difficult to build any real atmosphere in, particularly when there is noise spill to contend with, but Fragments Theatre Group achieve a magical sense of ambience in the opening moments of this play. The first few minutes are exceptionally well-designed theatre. Where the play is about to go next intrigues.

Celebrating a milestone birthday almost a year late might suggest poor organisation, but for Anna, it represents something far more purposeful: a refusal to let disappointment have the final word. In ‘Belated’, a postponed party becomes the stage upon which she takes stock of middle age, abandoned ambitions and the uncomfortable feeling that everybody else’s life has progressed more successfully than her own. Anna once worked as a professional dancer but now teaches Pilates to wealthy and famous clients. Approaching her 51st birthday, she is contending with the demands of motherhood, the aftermath of a painful separation and the lingering frustration of creative aspirations left unexplored.

Performing in the Bunker at Pleasance this Fringe, Ros Watt’s Trans People Are Awful couldn’t be placed in a more perfect venue. Set in the garage of a farm just past Inverurie, Aberdeenshire, the cavernous dinge of the Bunker does emulate the feel of a serial killer’s hideout. We are witness to the crimes of a murderous young man as he dissects the bodies of men in a quest to find the perfect body parts. Boy, played by Watt, is videotaping every moment of his process in an act of explanation.

Two decades ago, South Park mocked Paris Hilton mercilessly with an episode that has never lost a moment of relevance in the dialogue of celebrity and influencer culture. I live with high confidence, personal empowerment, and execute my daily routine with style and excellence. In other words, I’m part of the Gen Z ‘slay everyday era’ and that means when it comes to the adventures of the World’s latest Space tourists, the Pink Power Crew, I’m ready for the ride, just like a few real celebrities were on the Blue Origin spacecraft last year.

Let’s talk about the elephant first, the one fairly fundamental problem with 2 Guys, 3 Drams: the room. Big at theSpaceTriplex feels rather like a gym hall, with its high vaulted roof, glaring light and rows of plastic chairs laid flat across the floor. Sightlines aren't great and intimacy is in short supply. This is a show crying out for a basement dive, everyone lounging around in near darkness with a glass in hand. Remarkably, Felipe Schrieberg and Paul Archibald make something very good out of something very bad.

“Believe in yourself, Hannah.” This is the show’s mantra and over fifty energetic minutes Hannah Rose Curtis exemplifies exactly what an autobiographical play should be, giving us unhinged access into her world. The examination of invisible disabilities in theatre is usually led by personal experience. This might sound obvious, but the performer’s challenge is striking a careful balance of what to share. Too much information and we’re in the territory of hubris. Too little and modesty guards exposure. In the case of Brain, or should we say Brian, the difficulties of living and achieving with dyslexia are revealed in layers of undeniable quality, fragility and vulnerability.

What a free-wheeling frolic. Or, as the 90’s Ladette-obsessed tabloids would’ve had it, a runaway romp. And the answer to the frequently asked question, ‘how did Charity Shop Sue get to the top?’ Or, well, Bulwell. Led by her ‘unruly undercarriage’ to an insalubrious spot behind the brutalist bike-sheds the ambitious teenage Randy Cain attends to the task of her own deflowering. And a task it indeed resembles given the unsatisfactory effort put in by Daz. Although she isn’t Randy Cain yet, but an aspiring performer wondering how the feck one gets oneself out of Derby’s estate-land to the bright lights of London.

Disclaimer: Due to the age of the performers in this production, the contents of this review will be strictly based upon the creative choices and writing of this musical Deacon Brodie is a local celebrity in Edinburgh, so it was a brave choice for Shrewsbury School to bring their new Deacon Brodie themed musical to the Edinburgh fringe, especially when having to adopt non-native Scottish accents. Complete with brand new musical numbers, questionable history and the age-old habit of having school children play sex workers, Brodie and Co doesn’t really hit its mark.

My sixth and final visit to Summerhall’s Sauna Theatre this year was an unusual one in that I attended with my wife, the only time I shared one of these sauna experiences with her. It proved a rather lovely way to round off my time in what has surely been one of this Fringe’s most intriguing new venues. With around 35 people attending, the sauna felt comfortably populated rather than crowded. Aufguss x Nils Frahm takes the familiar ritual I had encountered across my previous visits, but this time sets it against the music of composer Nils Frahm, ranging from the neo-classical…