I’ve been visiting the Festival for the best part of 30 years, as a performer, producer, venue operator, and reviewer. This year, as participant and reviewer, my visit was confined to the last week only, and there was a distinct change in atmosphere, attendance, and feedback. Yes, it was still a thrill to be there, but it brought home the many changes over the years.
The festival brochure has grown from a sturdy magazine into a bumper-sized encyclopaedia, ungainly and mind-boggling. The big commercial operators who have really had a growing stranglehold on the open access policy, are still dominating the annual event, the council are collecting as much revenue as they can, and the hoteliers, accommodation agencies, PR/Marketing/Distribution/Hire companies, venue operators, and other opportunists, all exploit the participants and visitors in equal measure.
Yes, it proudly claims to be the largest fringe festival in the world and, for the past ten years, has had an official alliance with the Adelaide Festival (the second largest), which may or may not be a good thing. I did visit Adelaide Festival a few years ago, and found it a pleasant surprise change from the hustle and bustle of Edinburgh, but if it is to be swayed by today’s Edinburgh Fringe, I hope the powers that be down under came a tight hold on the reins, and know when enough is enough. To be the biggest is not always the best, and the ethos that created the 1947 beginnings might be worth revisiting.
During the covid year break, I wrote that this could be an opportunity to re-imagine the fringe, and even last year I wrote in IT these words: “I truly feel if the festival scaled down and offered more opportunity to new producers and companies to succeed, a fresh real-fringe would emerge. The Fringe Society could activate new strategies to help this. They could limit the amount of venues and shows any one organisation could run, thereby preventing theatre monopoly, and giving new blood a chance. I’m sure the commercial cartel of venues began with the best intentions, but they have run their course and it’s time for change. Perhaps, a young group of revolutionists could invade the festival with a new radical alternative, recreating the zeitgeist of its 1947 beginnings, when just eight companies challenged the International Festival.” Forgive the need for repeating the above. Next year, is their 80th anniversary, too late for radical change now, but maybe 2027/28 could be the year to reassess, and pave the way for a new era. Put on your thinking caps, folks!
Meanwhile, Viva la Fringe, and here are a few reviews from both the Free and Paid For Fringe, which we hope may help some of the shows progress and develop.
Kevin Short 05/09/2026
KRAPP’S LAST TAPE by Samuel Beckett is probably one of the most performed Beckett plays at the Edinburgh Festival, and its enduring presence on the global stage speaks volumes for its brilliance on many levels. Having seen the likes of Albert Finney, Ian McDiarmid, Max Wall, even the much missed Scottish writer/actor Andrew Dallmeyer, and more, playing the title role over the years, the piece never fails to surprise and fascinate.
Some of the above, were younger than the said age of the protagonist, but still managed to bodily imbue the 69-years required. Max Wall brought his iconic extraordinary self to the role, but all found the basic rhythms, and traditional notes within Beckett’s textual lexicon of words, broken by necessary silence.
This worthy touring production, directed by Stockard Channing, featuring David Westhead, which is donating proceeds to the Wembley to Soweto Foundation, is full of audience-pleasing moments, but somehow lacks the claustrophobic intensity of the protagonist’s inner struggles. Too often, the words and actions seemed to be demonstrated, rather than be a consequence of the poor man’s ailing life. The aged Krapp, sits listening to a self-recorded tape of his younger self. Appalled and invigorated in equal measure, he finally records his feelings of the then and now. I’ve always felt Krapp to be disturbingly alone in his den, and we, the invisible intruders, never to be discovered. Yet, here, on occasion, we were. Personally, I’m not sure appearing to break that fourth wall is good for Beckett, but I highly recommend that you go and judge for yourself.
As is right, the power of Beckett’s writing wins the day, thanks to a production that is clearly rooted in delivering an interpretation which is conceptually grounded and consistent. The near-packed audience, having tirelessly walked up several flights of stone stairs (not the perfect venue) were treated to, and responded favourably to, another rendition of one of the greatest plays of the twentieth century. Thank you, to all the production team, for making it happen.
For more tour information: https://www.britishtheatreguide.info/listings/7703
For more Wembley to Soweto information: https://www.wembleytosoweto.com
Reviewer: Kevin Short
THE PROS AND CONS OF JOINING ISIS
Bilal Rashid must have been one of the most hard-working comics on the Edinburgh Fringe this year, doing two shows with the PBH Free Fringe, and one show with the Laughing Horse Comedy Free Fringe, the latter of which I saw.
There’s no doubting his expertise with an audience, brilliant interaction, and improvisational skills throughout the hour long set, in a not-so-easy space in the cellar of a not-so-easy to order Greek Grill. We opted for Piemaker instead.
We were told his afternoon show was more suited to his adult-humour-late- show, but his hard-edged wit, full of laughs, groans, and occasional yelps of shock, was still cheered by the small cellar crowd. He stood, ever tall, presiding over his captivated audience, with masterly ease, extracting personal secrets from some unsuspecting fans along the way.
Yes, it was crude, vulgar, and non-PC for most its duration, but performed in such an innocent non-offending way, it remained palatable and funny. I’m sure the later show would be even more hard-hitting, but this performance was pitched at the right level for the time of day. Mr Rashid, is certainly a talent to look out for, and his future writing skills and aspirations deserve attention from the TV powers that be.
My only reservation and disappointment on this outing, was the blatant bait and switch of the title: to name something ‘The Pros and Cons of Joining ISIS’ and only devote a feeble end-of-show 5-minutes to a far more interesting concept in comedy, was more shocking than any of his jokes.
Still, gratuitous title aside, Bilal Rashid, is a very good stand-up.
For more information: https://bilalrashid.com
Reviewer: Kevin Short
At the Scottish Storytelling Centre
To see a show inside the beautifully restored world’s first modern centre for live storytelling, incorporating the historic John Knox House, and celebrating its 20th anniversary year, was a surprise festival delight.
Sitting on rare comfortable seats, in a black box room, with the spotlight on a variety of instruments and stool for our performer, Tom Oakes, was the perfect ambience for what was to come.
Nearing the riotous festival end, this was a welcomed hour to calm the body and soothe the soul. Our host, musician, storyteller, Tom, has a genuine air of relatable charm and down to earth humour that can’t fail to engross us. With a combination of original tunes and reels, some gypsy folk history from the likes of Romany Gypsy Queen Carolyne Hughes, and bringing to light his connection with poets and creatives living in Palestinian torment today, Mr Oakes captivates beyond musicianship and words, by simply being his admirable self.
All in all, by the end, I felt privileged to have been in the presence of a gentle man with strong convictions for both traditional and modern-day values, giving reflective perspective on life, old and new, through music, a little song, and calming words of wisdom for a world in much need of soothing. Thank you, Morag Neil, of Scary Biscuits, for introducing me to the talents of Tom Oakes.
For more information on Tom Oakes: https://www.tomoakesmusic.com
For more information on Venue: https://www.scottishstorytellingcentre.com
For more information on Morag Neil: https://www.scarybiscuits.com
Reviewer: Kevin Short
BIG DUMB SMILE
I was stopped by a cheerful chappie on Edinburgh’s Cowgate, handing me a flyer for ‘Big Dumb Smile’ and announcing that Karl Dagher had been voted the Best Comic on the Free Fringe. I would normally quickly research this, but the show was about to start, and I did have an hour to spare, so, into The Carbon Lounge I went.
With no one at all downstairs (not even any staff), I ventured upstairs, and there the room appeared, alongside a small bar and, at last, a couple of staff members. No sooner there, than the show was about to begin. I ventured inside, along with a small crowd that almost filled the room. Our host and performer, Karl, gleefully welcomed us, and ushered us around to the seats he wished us to fill. A few people, presumably other performers, he said would have to leave before the end, so, they dutifully sat where put.
The show began. Thankfully, the microphone was set at the right level for the room, unlike many, when the blast kills any joke before the punchline. Our performer even questioned if he needed one. He didn’t, but it did come in handy as the set progressed. His preshow activity had already warmed us to his smile and charm, and his conversational tone was even more appealing. This was more like humorous storytelling than your usual stand-up.
Here was a Lebanese married man, with a German name, living happily in Brussels, with more enunciation and command of the English language than your average Brit. His stories revolve around the love of his wife, a top National rag journalist, whom he gave praise to for her love and brilliance, together with tales about the confusion his unusual moniker causes.
When it was time for a few to leave, Karl, charmingly bid them farewell, and moments later casually walked to the end of the room to close the unclosed door they had left behind. This happened twice, and now the microphone came in handy, as he continued on, without any remorse, and seamlessly returned to his rightful spot, coming up with another laugh out loud anecdote. The hour flew by, and was an hour well spent.
I still don’t know if he did actually win an award, but it was a good pitch, even though awards have never truly impressed me. Comedy, more than any form, is subjective, and on this occasion, I can happily say, award or no award, Karl Dagher, on his debut at the Fringe, not even advertised in the Official Brochure, is a name to watch out for. A funny, original, class act. Bookers, get him in your diary, be the first to promote a potential star of the future.
More information on Karl: https://linktr.ee/karldagher
Review: Kevin Short
ROCKY HORROR @ FRANKENSTEIN’S 25TH ANNIVERSARY
Hearing the very sad news of Tim Curry’s passing, it was a no-brainer to revisit Steven Crawford’s tribute to The Rocky Horror Show which was celebrating its 25th year.
This was a packed, emotional, celebration of the show, film, and the wonderful original Frank N Furter, the late Tim Curry. I’ve seen this tribute quite a few times over the years, but this was a very special night. Steven (who brilliantly assumes the guise of the Sweet Transvestite) has been performing this show, mainly on the Frankenstein bar, for 25 years, and alongside his various supporting cast, gives a truly powerhouse display in homage to Richard O’Brien’s legendary rock musical. I saw the original show, and it inspired me both creatively and personally, as it has done for so many, and still continues to do so today.
The night had a double-edged affect on all, a full house of fans doing the ‘Time Warp’, letting loose their secret inhibitions, then, the quiet contemplation as we listened to the classic ballad ‘I’m Going Home’.
On the day I went away… goodbye…
Was all I had to say… now I…
I want to come again and stay… Oh my my…
Smile, and that will mean that I may
Cause I’ve seen blue skies, through the tears
In my eyes
And I realise..
I’m going home..
I’m going home…
Mr Crawford’s rendition was heartfelt, and it felt like a fond goodbye to dear Mr Curry. Then, the Rocky Horror party continued, it was two hours of pure joy, reflection, and celebration.
After 25years of performing this tribute, we can only hope it might continue to its 50th anniversary, albeit, perhaps, with new members, but I’m sure the ever effervescent Steven Crawford and his talented cohorts are good for a few more years yet. Rocky Horror is the perfect show, and Frankenstein’s is the perfect venue to host this tribute. Viva Steven! Viva Rocky!
Reviewer: Kevin Short Photos: Kathryn S Kraus Watercolour of ‘I’m Going Home’ courtesy of Noémi Baki Szmaler
DELPHI: THE MUSICAL
On the surface, you wouldn’t think that a modern musical based on the Ancient Greek Temple of Apollo could possibly work, but it does… in spades. Set backstage at the Delphi, the Oracle, the High Priest, Sophie (a modern thinking orphan Oracle in waiting), plus several plumbers and architects, fret over the fall in patronage, and lack of money needed to keep the Temple afloat. Enter the Romans, in the form of Dionysus, with a plan to save the Temple, by complete takeover by the emperor. It’s now a question of bending the knee to the Roman Empire or holding firmly to their culture and beliefs.
Cleverly written by Richard Alger, with music from Wes Myers, Delphi yields a playful and energetic adventure, delivered expertly by the cast from Theatre Movement Bazaar. Using a mixture of genres (funk, rap, blues, jazz…), Myers infuses traditional Greek motifs into each curated song, which allows a harmonization with the classical text within Alger’s lyrics. Tina Kronis creates a choreographic current with the ensemble, who move with the fluidity and singularity of an ocean wave across the stage. Add to this, the exceptional harmonic vocal talents of the cast, who pull the entire show together with an electrifying and unforgettable performance reminiscent of A Funny Thing Happened on the Way to the Forum.
In a world full of jukebox musicals, and stage adaptations of movies, it is refreshing to see a show with tremendous originality. Hopefully Delphi: The Musical will continue to develop and grow into a cult Broadway bound sensation.
CAST: Alex BRAVO | David GUERRA | Prisca KIM | Isaiah NORIEGA | Nikhil PAI | Paula REBELO | Lamont OAKELY | Mychel SCOTT | Eddie VONA
CREATIVES: Tina KRONIS | Richard ALGER | Wes MYERS | Aaron FRANCIS | Ellen McCARTNEY | Johnny MONTAGE | Victor SANDOVAL | Jeff WEBSTER | Jessie Anna WILTON
https://theatremovementbazaar.org/
Watch the trailer below:
https://www.youtube.com/watch?v=ZPVk1sxazhc
HILARIOUS HISTORY by Bobby Sheehan
For most, the school subject of history can be quite boring. That is, unless you’re learning it from comedian Bobby Sheehan. From Washington to Trump, and everyone in between, the energetically charming Sheehan delivers a funny look into America’s presidential past. With the aid of his Power Point display, Sheehan shares fun facts and nuances with the audience that are typically vacant from the history books. Did you know Abraham Lincoln was the first president to sport a beard? Did you know that Warren G. Harding had a nickname for his penis? Sheehan’s knowledge and passion of American history exude throughout the 50-minute show, which kept audience members amusingly captivated.
Hilarious History stands as a solid comedic show that will appeal to everyone, regardless of your nationality or knowledge level. It’s a fun look at 250 years (and counting) of American presidential foibles that will leave a smile on your face, and perhaps a bit of fodder to enhance your small talk at your next gathering.
Another great show at the Laughing Horse Free Festival.
For more information about Bobby Sheehan: https://www.bobbysheehanlol.com/
For more information about Laughing Horse: https://laughinghorsecomedy.co.uk/
To celebrate their new album, The Roots of The King – Good Rockin’ Tonight, the UK’s No.1 swing band, The Jive Aces, brought a brand-new show to this year’s Edinburgh Fringe. In the one-hour performance, the group invited audiences to hop aboard the Mystery Train and explore the music that inspired Elvis Presley and the birth of rock ’n’ roll. Having seen The Jive Aces during previous Fringe years, I can honestly say this was one of their best performances. Arthur Crudup’s That’s All Right (which Elvis first recorded in 1954) had an instantaneous effect on audience members, some of which got up on either side of the room to dance. Those who stayed seated could be seen bopping along to the electric rockabilly groove laid down by drummer Peter Howell.
Lead singer Ian Clarkson spoke of how Elvis, and the early R&B singers of America were of inspiration to the entire ensemble. Their interpretations of songs such as Hound Dog, See See Rider, and Blue Moon of Kentucky, showed a palpable heartfelt love of this genre. Spotlight solos by Alex Douglas on bluesy mouth harp, the sizzling saxophone of John Fordham, the heart thumping bass of Ken Smith, and the flying fingers of keyboardist Vince Hurley, created the feeling of being back in Memphis at the start of a musical phenomenon which would change the world forever. Additional shout outs to Miss Charlotte Porter on her performance of Big Boss Man, and the spice of Italy, Grazia Clarkson, with her accordion on O Sole Mio/It’s Now or Never.
This raucous performance proves that the influence of The King lives on, and hopefully this Fringe debut show will be expanded as an upcoming tour. The Jive Aces have created a brilliant show, which thoroughly honours the legacy of the music, and proves that the heart of rock ‘n’ roll is still beating.
For information on The Jive Aces: https://jiveaces.org/
LAUGHING HORSE PICK OF THE FRINGE
If you’re not committed to seeing a single comedian perform, then compilation shows are the best. I admit that they can be hit or miss, as was the case during my visit to the Laughing Horse Pick of the Fringe at The Counting House. Thankfully the good outweighed the bad, and I have a few comedians to highlight.
The host of the show is Liverpool comedian Kyle Legacy, and it must be said that he was the perfect compere. With his ginger wily afro, and beaming smile, Legacy owns the room from the start. He quickly fires off musings about members of the audience, the performance space, and the news of the day. My only disappointment was that we weren’t afforded more set time with Legacy.
Another stand out for me was Estonian comedian, Aleksandr Popov. This burly, bearded, comic is a teacher by day, and bouncer by night. His set draws from his Fringe show, Tacky Teacher. Popov relates very funny stories from his years as a teacher and lecturer. As someone who comes from a family chock full of teachers, I found his material extremely funny, as did the entire audience.
My final stand out on this evening was comedian James Regal. His set is based on his Fringe show, James Regal is a People Pleaser. From the start, Regal presents himself as a bit of a self-deprecating, Jewish, comedian. What follows are musings about his dating life, social awkwardness, and avoiding confrontation at all costs. “I joined a dating app that’s just for Jews. It’s the only one in the world where it’s compulsory to send a dick pic.”
These compilation shows are great for those who like a variety of comedy styles. With thousands of stand-up comedies to choose from at the Fringe, it’s a great way to see several comedians without having to decipher the overly abundant Fringe book.
For more information on Kyle Legacy: https://www.facebook.com/kylelegacycomedian
For more information on Aleksandr Popof: https://aleksandrpopov.ee/
For more information on James Regal: https://www.facebook.com/JamesRegalComedy
For more information on Laughing Horse: https://laughinghorsecomedy.co.uk/
UK PUN OFF with various punsters.
Laughs, and groans, were aplenty at this Fringe favourite. Scottish comedian Iain MacDonald hosts this daily show, which features four comics tasked with creating their best puns based on an array of subjects. This is a daily competition between the four to find which comedian creates the best pun of the day. Each audience votes through applause, ultimately culminating in the deliverer winning the UK Pun Off trophy at the end of the Fringe. On this day, we’re treated to puns delivered by Stevie Vegas, Eliot Simpson, Belle Emilie Gold, and Charlie LaMassa. The puns come fast and furious throughout the hour-long show. “I spilt some anti-wrinkle cream on my stairs, woke up the next morning I had a ramp.” “My mum was a compulsive liar and my dad was the first man on the moon.”
Laughs and groans aside, hats off to all involved, as each comedian performs at multiple shows, and yet has time to write puns daily. Unfortunately, the 2026 UK Pun Off winner wasn’t present for our show, but I will share with you the winning pun from Chrissy Derbyshire. “Did you hear about the new collaboration Sade did with Gilbert & Sullivan? It’s a smooth operetta.”
The UK Pun Off proves that one-liners are timeless, and great wordplay will always satisfy your craving for fun pun-ishment. Another hit for the Laughing Horse Free Festival.
For more information on the Pun Off team: https://www.facebook.com/ukpunoff
For more information on Laughing Horse: https://laughinghorsecomedy.co.uk/
Dystopia 26: The Rock Opera
Power, greed, propaganda, and those who are left drowning in its wake, is the theme of Dystopia 26. Building on its successful run at the Edinburgh Fringe 2025, this ingenious satirical rock opera has been updated and expanded for 2026. Beldon Haigh (Justin Skelton) is the cellblock ringleader, alongside Helen Raiser (Fiona Lynch). Both have been thrown in jail for “crimes” against the state. Accompanied by Touchy Chicken Trump on bass, Polonius Putin on drums, and Kim Jong Elvis on guitar, Haigh and Raiser tell their haunting tale of living in an “Orwellian” world led by President Blame. For nearly two hours, the audience is enveloped into a thought-provoking blend of music and visual graphics that presents a look inside the pseudo-fictitious world we’re currently living in, and the possibilities of what could happen if left unchallenged.
As much as the on-stage presentation is tantalizing, it’s the music and lyrics which stand out in this production. The music, performed by top musicians, is powerful and clever, while the lyrics are iconic, heartfelt and profound. The show encapsulates the feeling of despair the actual world is feeling at this moment. However, Skelton masterfully weaves songs full of hope and healing, which in the end, leave audiences with an ounce of positivity.
This is a show which needs to be shared with the world. Herbert Marcuse, the German philosopher and socialist once said, “Art cannot change the world, but it can contribute to changing the consciousness and drives of the men and women who could change the world.” I believe that Dystopia 26 The Rock Opera could be the eye-opening message which could lead to positive change in nations led by oppressive and tyrannist regimes.
For more information: https://www.dystopiarockopera.com/
