Beowulf (Take Thou That)
A tender retelling of the great Anglo-Saxon poem, which puts the adventures of Beowulf side-by-side with the story of nine year old Sophie, whose mother is battling a different kind of monster - cancer. The fantastic ensemble cast bring plenty of excitement to this performance as they leap about the stage, speaking in Old English and drumming on furniture as Sophie reads the story; while the quieter moments, between Sophie and her mother, are full of emotional impact. The stage feels a little cramped at times, but the performers do their best with the space they have. Overall, this is an impressive, intelligent piece of theatre, which celebrates the joy of literature and the courage of women and girls.
Underbelly Bristo Square, until 17 Aug.
tw rating 4/5 | [Marni Appleton]

Woogie Boogie (BRUSH Theatre LLC)
Drawings come alive in this creative performance for children from Korean company BRUSH Theatre. Youngkyun Yeom and Seungeun Lee, the mischievous duo at the heart of the piece, are dressed simply in monochrome, with marker pens strapped to their waists. First, they invite us to add features to the blank faces on their mini whiteboards, then they sketch one of us onto the much larger whiteboard on stage. Before long, the doodles come to life in ways no one expects. The children in the audience are agog, watching the scribbles shift and twist - and even manage to escape! This is a clever, thoughtful and well-structured show for young audiences, performed with gusto and accompanied by lovely keyboard jingles.
Summerhall, until 26 Aug.
tw rating 4/5 | [Marni Appleton]

COMEDY

Brain Rinse (Mike Raffone)
Your involvement is non-negotiable. 'Brain Rinse' is subtitled "puppetry of the audience" for a reason, and though you may think yourself able to resist, host Mike Raffone (say it out loud) will get you performing one way or another. He intends to teach us all the way of the ninja, and proceeds to do this by way of an army drill sergeant and a mountain explorer. Everyone will come away with a slightly different experience (I played a mountain), and it's enough knockabout fun that you'll have a good time even through some extremely corny gags. The anarchic ending is enjoyable too, even if it is quite mean to one particular person, who will no doubt vary from night to night.
theSpace @ Surgeons Hall, until 25 Aug.
tw rating 3/5 | [Jon Stapley]

Emma Sidi: Faces Of Grace (Berk's Nest in association with Curtis Brown)
Bringing you the imaginary friends you'll be glad you never had, character comedy connoisseur Emma Sidi is back with her newest collection of tragic, zany creations. Amongst Sidi's ever-growing cabinet of curiosities, we meet: Brita, as idiosyncratic in nature as their non-placeable pan-European accent; an interpretive movement instructor desperate to turn the graceless world of ball bags into a sophisticated dance, and a 'Love Island' reject that really fancies Billie Piper. Having set the bar so high with her previous hit 'Telenovela', the only complaint she generated this time was the feeling that her characters could have benefited from a little more fine-tuning. Nevertheless, you can't help but be totally absorbed by Sidi's boundlessly weird imagination and her gluttonous appetite for the ridiculous.
Pleasance Courtyard, until 26 Aug.
tw rating 3/5 | [Stephanie Stapleton]

Grace (Bloody Livid Theatre Company)
Nigel and Sarah, two devout Christians, are doing all they can to lead sacred lives - they say grace, they only drink parsnip wine, and they certainly don't engage in anything pagan. They are the epitome of Holy - perhaps a little too Holy - that is, until Father Samuels arrives. He's a devilishly naughty priest, and the darkly absurd humour comes from the juxtaposition between his risqué behaviour and their innocent naivety, excellently performed by actors with a natural flair for comic timing. Shocking and outrageous in equal measure, it's a play that will test your limits, but if you can stomach that level of bawdiness, then you'll cringe until you cry, or at the very least, be highly entertained.
theSpace On The Mile, until 25 Aug.
tw rating 5/5 | [Amy Bonar]

The Leeds Tealights: Souls For Sale (The Leeds Tealights)
Since, let's face it, summer barely exists in Scotland anyway, the Leeds Tealights are sacking it off and cutting straight to their Hallowe'en season special. This troupe of six Leeds University comedians offer up their souls to the "sketch demon", in return for a series of hilarious and absurd sketches. Though admittedly it's hardly a light fee (if student souls are even really worth that much these days), the sketches they get in return are well worth it. Featuring the likes of homeless hermit crabs, the 'Loose Women' panel, and North Korean propaganda, the Tealights pull together an array of consistently hysterically ludicrous scenes and characters, all as part of a niftily constructed narrative. If only more amateur comedians could sell their souls to the sketch demon...
Just The Tonic at the Caves, until 26 Aug.
tw rating 4/5 | [Stephanie Stapleton]

Siblings: Acting Out (Maddy and Marina Bye with Mandy Ward Artist Management)
Wrapping your sibling's head in elastic bands, sabotaging their confidence at every available opportunity and making up ridiculous scenes in which you continually try to outdo each other - signs of a toxic sibling rivalry, or the ingredients of a hysterical comedy show? In a set reminiscent of deliriously hyper childhood playdates, real life sisters Maddy and Marina Bye bring the two together, creating a ridiculously absurd sketch show that is hilariously relatable, especially for anybody that has ever spent time around competitive sisters. Fighting for the limelight, the pair will stop at nothing, aggressively singing, clowning and shoving in a desperate attempt to outdo one another. I left with tears on my cheeks, extremely relieved to have brothers.
Underbelly George Square, until 27 Aug.
tw rating 4/5 | [Stephanie Stapleton]

Stuart Mitchell: Gordon Ramsay's Karma Cafe (Gilded Balloon and Stuart Mitchell present...)
Stuart Mitchell has a lot to atone for - he used to work in finance. He used to make a lot of money by fleecing people and he used to love it. The story of what caused him to abandon this life for the considerably less lucrative racket of stand-up comedy is the basis of his show, and it proves a solid foundation for a great hour of stand-up. One inspiration for Mitchell's eureka moment was a lunch at Gordon Ramsay's London restaurant, and Mitchell's deadpan Glasgow delivery is the perfect medium for mocking the absurdities of haute cuisine (the reveal of the bill is deeply shocking). Stuart Mitchell may be seeking redemption, but he couldn't have chosen a better path.
Gilded Balloon Teviot, until 27 Aug.
tw rating 4/5 | [Jon Stapley]

MUSICALS

A Fair Tale About A Fairy Trade (Human Rongs)
Framed around a contemporary twist on the story of Cinderella, this musical is inspired by real stories of modern-day sex trafficking. It's the story of Sisi, a girl whose life is hard but not unbearable, until she is abducted by a trafficking ring and sold on the black market. The stories and the picture they paint are utterly horrific, and without a doubt this is a vital subject to explore. The weaker moments come in the balance between the real subject matter and its musical presentation - the villain, for instance, is a moustache-twirling caricature that feels out of place in a story this horrifying. Still, it's well performed and arranged, and sheds valuable light on a heinous and growing crime.
theSpace @ Niddry St, until 25 Aug.
tw rating 3/5 | [Jon Stapley]

THEATRE

Bummer And Lazarus (Big Egg Theatre)
Have you really done the Fringe if you've not seen two dogs experiencing an intense existential crisis on stage? I'd say no, and that you definitely need to! Bummer and Lazarus are quite the dynamic duo; Lazarus has a boundless, excitable energy, and seeks to learn all that he can from the rather exhausted Bummer. But they can't just spend their days philosophising - they need a plan of action, as it unfolds that they're trapped and beginning to starve. Think 'Waiting For Godot', only with less of the actual waiting. Add in some exceptional slapstick and clowning sequences, and you may get somewhat closer to explaining this beautifully bizarre two-hander. A highly intelligent play filled with humanity, which will leave you questioning everything.
Greenside @ Infirmary Street, until 18 Aug.
tw 5/5 | [Amy Bonar]

The Cat's Mother (Wildcard and Reid Productions)
As topics for comedies go, two sisters contemplating euthanising their dementia-stricken mother is a touch dark. Luckily, a sharp script coupled with deft comic timing pulls it off with aplomb. It is constantly funny, often drawing laughs from a commitment to the characters' everyday lives: the elder sister who escaped to London, and her younger sibling who stayed in Ireland, looking after their mam (and Muggins, the cat). Sarah Madden and Eimear O'Riordan are excellent as the sisters, as is Kate Kennedy, demonstrating considerable range as she cycles through a series of disparate characters. Even when it veers closer to tragedy the line is perfectly judged, and a laugh is only a heartbeat away.
Underbelly Cowgate, until 26 Aug.
tw rating 4/5 [Andy Leask]

Deadline (QMTC)
It's safe to say that this is a fairly bleak watch - much like the times we're living through now - but this dystopian drama offers some interesting points to consider. In a future Britain, we meet an undercover resistance trying to challenge a totalitarian government, whose main policy is that by the time people turn sixteen, they find out the exact date that they're going to die. It's an interesting concept, which scarily doesn't feel all that unfeasible, and shows a group of theatre-makers who are clearly politically engaged. Although the piece could benefit from a tighter plot and structure, the combination of original music and visually striking movement sequences, alongside moments of naturalism, makes for a theatrically engaging play.
theSpace On The Mile, until 25 Aug.
tw rating 3/5 | [Amy Bonar]

Doom's Day (The Wax House)
The true story of Joe Badame is a sweet, humanising look behind the cliched image of doomsday preppers. In Joe's abiding love for his wife Phyllis we see the honest emotions and thoughts behind this extreme lifestyle. Much of the script is Joe's own words, lending the piece a real poignancy, especially at the powerfully emotive climax, which reveals the depth of his love and his commitment to humanity. My only reservation is the bizarre coda, in which two cardboard cut-out, cliched preppers spout exactly the kind of caricatured hyperbole the show has otherwise eschewed. I can't speak to the purpose of this, but it's a minor issue in an otherwise uplifting, affective piece of theatre.
C South, until 27 Aug.
tw rating 4/5 [Andy Leask]

Kidding (Sounds Like Thunder Theatre)
Upon entering the theatre, audience members are given slips of paper asking us what we most admire about our mum, and what we'd like to thank our mum for. The play's not even started and I'm already starting to feel a bit teary-eyed! Through a selection of verbatim accounts, we're told a variety of stories, ranging from anxieties over giving birth, to comic sketches of twenty-something's recounting their first moments of consciousness, to heartfelt moments of realisation that our parents may be more similar to us than we've previously liked to believe. Although it's a rather normative exploration of what motherhood entails, if you're on board for a bit of sentimentality it makes for wholesome, intimate theatre.
Zoo Southside, until 14 Aug.
tw rating 4/5 | [Amy Bonar]

Looking For Lightning (Garth McLean - California, USA)
Garth McLean is a sincere storyteller, and his tale is fascinating. An actor (and PA to Steven Seagal!), he was diagnosed in the 1990s with Multiple Sclerosis. Far from letting this inhibit him, he strove to adapt, taking up yoga as a therapeutic activity, to wonderful effect. McLean takes us through his early struggles with yoga, the relapses of his MS, and his becoming a teacher himself, helping others, including those with MS. It's a good narrative, but the theatricality of McLean performing yoga as he tells the story is wasted if you're not sitting in the front row, and while the intent is laudable, as a performance it wasn't as inspirational as it felt it ought to be.
C Royale, until 27 Aug.
tw rating 3/5 [Andy Leask]

Number, Please (Paprichoo)
Wild train chases, meta gunfights and sultry phone calls all feature in this 1950s-style noir tale, about a young phone operator who gets caught up in an international conspiracy that quickly takes over her entire life. 'Number, Please' updates the traditional spy film of the 1950s to include a female lead, commenting on the tropes of the genre from plot twists to femme fatales, and creating a show that is both hilarious and oddly nostalgic. I particularly enjoyed Georgie Rodgers' acting: she manages to mock the damsel in distress archetype whilst portraying a strong female character who proves herself to be capable and charismatic in an all-male atmosphere. If you want a show that feels both fun and familiar, 'Number, Please' is the show for you.
theSpace On North Bridge, until 25 Aug.
tw rating 5/5 | [Lucy Caradog]

Offstage (Ephemeral Ensemble)
As an attempt to do something different with clowning, this should be applauded. A series of largely wordless routines form a loose narrative as Pedro, one of a pair of clowns, battles depression offstage, even while smiling before his audience. It's an important topic, and a commendable one to explore, albeit one that's been mined heavily before (the tears of a clown trope is well worn). My problem with the performance is that it doesn't work as theatre, or as simple entertainment. There are a few effective scenes - the mirroring work is excellent, as is a comic scene featuring party blowers - but too often the routines are neither funny, nor dramatic, leaving the audience cold.
Pleasance Dome, until 27 Aug.
tw rating 2/5 [Andy Leask]

Orpheus (The Flanagan Collective and Gobbledigook Theatre)
I like oral storytelling, particularly of myths. It has an intimate kind of escapism that you don't get from many other things. But unfortunately, it doesn't always deliver, and this modernisation of 'Orpheus And Eurydice' stayed firmly within conventional bounds. The 'epic poem' style was mostly evocative but sometimes fell flat, while Tom Figgins' delivery was mostly engaging but sometimes lacked impetus. And crucially, 'Percy Jackson' already did the whole "20th century mortal falls in love with a Greek God" thing, and did it better. The show's saving grace was Phil Grainger who, with some quirky love lyrics, haunting chords and a raspy, intimate voice, injected shades of colour into an otherwise black and white performance.
Summerhall, until 26 Aug.
tw rating 3/5 | [Ela Portnoy]

Revelations (James Rowland)
Self-described hairy man-child, James Rowland is the perfect storyteller. Funny, engaging, self-effacing yet cleverly perceptive, there wasn't a moment of the show where he didn't have the audience entirely with him. His tale, about donating sperm to his married friends Sarah and Emma, ranges from childish glee over snow and foxes, to tragedy and through the other side. The perfectly controlled storytelling is coupled with layered sampling at points, forming flat-packed hymns - fitting, given how much Rowland's youthful experience with the church features. Though he's not religious as such, he recognises the value in communities coming together, singing together and - sitting in a room with dozens of strangers, singing along with him - it's hard to disagree.
Summerhall, until 26 Aug.
tw rating 5/5 [Andy Leask]

Skin A Cat (Rive Productions)
Blood, bodies and boyfriends: 'Skin A Cat' is a coming-of-age play exploring the complexities of female sexuality and the social stigmas surrounding vaginismus. The writing is subtle and evocative, taking us on an intimate journey through Alana's life and her relationship with men. From tampon anxieties to seductive olive eating, this piece is funny, heartwarming and painfully relatable, as writer Isley Lynn moves us from moments of clumsy innocence to intense emotion within seconds. The direction is slick and fast-paced with boldly choreographed, abstract sex scenes, while skilful multi-rolling from two other actors is particularly effective in depicting Alana's world. Despite occasional moments feeling slightly contrived in their message, this semi-autobiographical play is educational, sharp and honest.
Assembly Rooms, until 25 Aug.
tw rating 4/5 | [Ella Dorman-Gajic]

The Welcome Revolution (Feat. Theatre)
Welcoming is a dying art. This is what Lara noticed when she reopened her granddad's cafe, only to find that society has grown weary of strangers, and that those who need sympathy the most just aren't getting it. Hence 'The Welcome Revolution', an interactive one-woman performance promoting trust, kindness, and tea. As Lara, Stella Von Kuskell is an incredibly skilled storyteller and has a gift for making every single audience member feel included, without the stress that an audience-participation-heavy show can sometimes cause. Lara recounts the heart-warming tale that connects her to her grandfather, and includes the audience in a way that is fun and laid-back, encouraging participants to get to know each other in a friendly environment.
Zoo Southside, until 27 Aug.
tw rating 4/5 | [Lucy Caradog]

Electrolyte (Watermill Theatre and Theatr Clwyd)
Encompassing spoken word, live music and drama, 'Electrolyte' rides in on the new wave of gig theatre. Largely in her own words, it tells the story of a troubled young artist from Leeds who journeys south to meet up with her estranged mother. Olivia Sweeney's Jessie, ably supported by a vibrant group of actor-musicians, is compelling to watch, whether she's whirling, rhyming, rapping or riffing, and Maimuna Memon's original electronica-filled score gives the piece a sharp, contemporary edge. 'Electrolyte' resonated powerfully with its young audience, many of whom were in tears by the end of the show. The spontaneous standing ovation writes it own review.
Pleasance Dome, until 27 Aug.
tw rating 5/5 | [Geoff Mills]

Fast (Digital Drama)
Feeling a little off-colour? Got a tilted uterus, a case of the sniffles, some king of ague? Then Dr Linda Hazzard has just the cure for you - starvation, enemas and some low-key psychological torture. Based on a true story, 'Fast' examines a 1910s sanatorium where not all of the patients exactly... thrived. Sadly, this drama just lacks a little, well, drama. The story itself is engaging and the acting suitably understated, but the swooning, uptight English ladies are hard to care about and the (understandable) technical limitations of the venue make it impossible to create any real atmosphere. Nevertheless, Hazzard is a thrilling villain, with almost caricature severity, and this is an absorbing look at how far she was willing to go in her quest for power and respect.
theSpace Triplex + the Space on Niddry Street, until 25 Aug.
tw rating 3/5 | [Gemma Scott]

Flesh And Bone (Unpolished Theatre)
Picture this: Shakespeare's ghost rises from the dead and heads straight to an East London working class estate, infecting the local cockney slang with a poetic lyricism that is as beautiful and universal as it is filthy and crass. Weaving these seemingly warring factions together, Elliot Warren ingeniously proves just how harmoniously the two can work together in this hypnotic tragicomedy that stars five mesmerising and irresistibly sympathetic characters: Terence, his fiancé Kel, brother Reiss, their grandad, and Jamal - the local drug dealer. Layering this with superbly punchy choreography and dynamite performances charged with unbridled fire and rawness, this show demands you see past the depravity (and your class snobbery) to realise that, in the end, we are all just flesh and bone.
Pleasance Dome, until 11 Aug.
tw rating 5/5 | [Stephanie Stapleton]

Flushed (Theatre Unlocked)
Sisters, feuds and a variety of loos: 'Flushed' tells the story of Jen and Marnie's defining moments as they grow into adulthood, explored through their multiple toilet-based experiences. The quirky writing quickly establishes a close bond between these unique and nuanced characters, which is complemented by the actors' sincere and moving chemistry. We are immediately invited into their heart-warming humour as they muddle through awkward loo breaks on double dates, through drunken squabbles and nostalgic singing. Our investment in these sisters becomes heart-breaking when Marnie is diagnosed with premature ovarian insufficiency, a poignant moment moving many to tears. Despite being slightly loose ended, this story was beautifully touching and deeply relatable, showing the importance of family and the sanctity of ladies' loo breaks.
Underbelly Cowgate, until 26 Aug.
tw rating 4/5 | [Ella Dorman-Gajic]

Nowt As Queer As Folk (Coast To Coast)
In this remote, sleepy little Southern village, filled with English pleasantries like pale ale and a gardening committee club, their peaceful haven is about to be disrupted by the local county council, as plans to build more housing send the villagers into a state of turmoil. Feuds will ensue, lies will be told, and people will get hurt. It's all rather silly, and the cast does a great job at lifting the farce with their high-energy performances and deadly serious commitment to the mundanities of village drama. Although the script is ultimately a bit lacking- jokes with varying levels of hilarity are repeated to the point of tedium - it's still a good bit of fun, painting an amusing pastiche of that ever-so-British village life.
theSpace on the Mile, until 25 Aug.
tw rating 3/5 | [Amy Bonar]

Zoo (Anteater and Something For The Weekend)
Come and lock yourself in a urinal with zookeeper Bonnie and 47 flamingos - a sentence I never thought I'd write. Inspired by the true news story of when a hurricane hit a Miami zoo last year, Lily Bevan brings us the adorable zookeeper Bonnie, all the way from over the big pond, with Lorna Beckett as North Yorkshire Bat Society's very own Carol. It was impossible not to completely fall in love with this unlikely duo, whose sincere and unyielding fascination with animals sets them apart as two of the most endearing characters I have stumbled on yet. Heart-warming, silly, and brimming with quirky animal facts, you'd be hard-pressed to find a better pair with which to weather a storm (or hour at the Fringe).
Assembly George Square Studios, until 26 Aug.
tw rating 4/5 | [Stephanie Stapleton]