L Gourley

Villain is a brilliantly creative and fun mix of musical theatre and comedy that puts a fresh spin on the villains of our favourite works of fiction. If being the baddie of the story is a sense of style and self-assurance, a refusal to conform to society’s expectations, and a sometimes outright aggressive approach to self-care, then let us usher in the villain era.

Overall Alphabet Soup is entertaining, if a little inconsistent, and it’s certainly a lively way to spend an afternoon. The hosts have done well to put together a show of exclusively LGBTQIA+ performers which is something the comedy scene globally needs more of.

Like tattoos, this show might fit the same format as others out there, but each one is entirely unique. This isn’t someone who has perfected a routine to perform on repeat, his witty remarks and off-the-cuff jokes are entirely in response to audience participation and this just shows off his natural ability to make anything funny.

2020 The Musical manages to make the audience bizarrely nostalgic for a time everyone would rather forget, in a way that feels like healing. The humour was uproariously funny and the technical elements of the production were almost flawless.

Shows like Best in Class cannot be celebrated enough. Growing up working class just forty minutes away from Scotland’s capital is enough to feel worlds apart; change needs to happen to address the social imbalance at arts festivals like the Fringe and open it up to fresh audiences and performers worldwide. Best in Class is wonderfully funny and a true celebration of working-class comedy in the UK and seeks to do just that.

I’m Having Distressing Thoughts is a spectacularly funny look into the absurdity of the environments those in crisis are expected to navigate to recover, and a message of hope for when the Instagram quotes become downright nauseating.

Four Felons and a Funeral is a wonderful representation of found family, queer love and joy, whilst also exploring grief and marginalisation. A powerful and fun production that delivers in every aspect.

Captivate Theatre’s production of Sunshine on Leith walks the line between emotional and funny to near-perfection, providing an endlessly entertaining performance of this much-loved show. The whole cast brings a balanced performance throughout; one that is theatrical and fun at the show’s highs, yet capable of capturing deep emotion in its heavier moments.

Femme Fatality is a larger-than-life hour of stand-up that guarantees non-stop laughs from start to finish, with McCabe’s witty dry humour making comedy look as easy as putting up a shelf (just don’t ask a man to do it).

The performance has a short run-time but it’s powerful, and something Crawford should be incredibly proud of. It’s educational but also uplifting to hear her journey go from her lowest points to a point of not only self-acceptance but one of pride. Those with similar experiences will undoubtedly feel a sense of connection with this show, and those who don’t will learn something important from it.

The Hunger provides enough detail to shock and withholds just enough to let the audience’s imagination run to its worst conclusions. It’s well-directed and well-written, never in danger of being a simple re-hashing of a formulaic zombie horror.

Death Suits You is an entertaining scrutiny of humanity’s psychological avoidance yet behavioural sprint towards our end with strong theatrical and comedic elements at work. A must-see for musical theatre fans with a penchant for dark humour.

Unstuck With You is a poignant reflection on the significance of humanity in an empty and apathetic universe in which we take up an infinitesimal amount of space. An uplifting reminder of the importance of our everyday connections in a world tilted towards nihilism, it runs Aug 10-12 at Emerald Theatre.

17 Minutes is a well-crafted and emotional piece, elevated by its attention to detail in both stage design and in the cast’s performance as they bring a devastated community and fraught relationships to life. Rubens’ slow spiral as he copes with the consequences of his choices is paced to perfection, with exceptional performances by the cast as a whole. A standout in a sea of comedic pieces, 17 Minutes is an excellent and moving addition to The Edinburgh Fringe Festival.

Blues and Burlesque is the perfect antidote if you’re searching for a decadent night of fun in the midst of some global turmoil. After all, there’s nothing like a Charleston to distract from the apocalypse.

Trauma-based dark humour is plentiful in modern comedy – as Krystal Evans says herself, making comedy out of tragedy is the best way to take the power back from it – but none do it quite like The Hottest Girl at Burn Camp, Krystal Evans' debut hour at the Fringe.