36 Hours in Edinburgh- A Fringe Fairytale

A renowned home for the eccentric, eclectic, and exceptional, the Edinburgh Fringe Festival this year did not disappoint. With only 36 hours under my belt to explore everything theatre possible, I made it my mission to seek out productions which pushed the boundaries of conventional storytelling to conceptual extremes.

Out of the four productions I watched, two were booked in advance, one the night before, and the last, an impromptu search on the Mile. This wonderful grey area of Fringe preparation presented a middle ground between financial security and feeling like a professional scout; with anticipation as thick as excitement, treating Fringe like a casual day trip will cause you more stress than booking a Ryanair flight, and like Ryanair, will be cheaper in idea than actual reality. Still, somewhere between the chaos and the charm, that unpredictable itinerary became part of the magic- proof that at Fringe, spontaneity is often rewarded with the best theatrical experiences.

What We Carry- Directed by Ali Seaborne, Produced by Katy Lotherington and Nottingham New Theatre

Performed at Bedlam Theatre on August 10th, 2025.

Thought provoking, existentialist, and gnarly in its assessment of morality, What We Carry digs to the depths of self worth and humanity all in the space of an hour. This compelling narrative placed five strangers in a broken lift bound for Heaven, and thrust them into a brutal morality game- leaving the audience to cast their own verdict on who was worthy of salvation. A gripping tale from start to finish, each character’s path was unknowingly woven into a singular narrative thread which, by the end of the production, unravelled into something both cathartic and quietly sinister.

Although narratively inspired, I believe the direction to be better suited towards an in the round staging, rather than an end-on. Acted entirely within a small taped square- mimicking the confines of the lift- the production unknowingly created a gravitational pull away from the audience, allowing key lines and movements to be missed. 

Equally, I think there was opportunity for narrative growth. With each character starting their arc as a social villain, I would have loved to see light introduced to their journeys; moments of kindness and empathy which convinced me that, inherently, they were all worthy of redemption. Instead, most of the characters ended as they had started- as products of their own demise.

Regardless, the writing and concept were fantastic, with the maturity of the actors truly bringing forth the moral dilemma of the piece. I believe that, with a slight reconsideration of the character’s emotional journeys, and more purposeful direction, this piece could easily climb its way to flawless.

MARIA- A Play by Neféli

Performed in Olive Studio at Greenside @ George Street on August 11th, 2025.

Balancing elegance with dramatic intensity, MARIA interrogates the complex intersection of feminine identity and religious narrative, placing Mary Magdalene at the heart of its thematic unrest. This piece instantly transports you to another era- one steeped in Hollywood glamour and vintage allure. A lone spotlight, a microphone, and a newspaper are all Neféli requires to reveal through her one woman show that, although the story may echo biblical origins, its themes reverberate across time.

The costuming- a simple white dress paired with red lipstick- speaks volumes, subtly reinforcing the sexualisation of the protagonist. Through a striking blend of stylised movement, shifting pace, and panicked tension, Neféli embodies a character steeped in both desire and desperation. She is not merely Mary Magdalene, but womanhood itself- mutilated, contorted, and reshaped to fit the demands of literary tradition. This piece captures, with haunting precision, the burden of being a woman under history’s spotlight.

A degree of biblical literacy does enhance the script’s clarity. If, like me, you arrived unaware of the distinction between Mary (the mother of Jesus) and Mary (the accused prostitute), you may find yourself momentarily adrift. Rest assured: Jesus did not possess an Oedipus complex, and the Virgin Mary harbours no conflicts of interest. Thankfully, Neféli’s dialogue is rich with contextual clues, and initial confusion gives way to clarity as the narrative unfolds- offering unexpected and rewarding moments of learning throughout.

Conclusively, this piece is a living testament to the power of creative vision; combining physicality and intertextuality to present a nuanced perspective on the historical distortion of femininity.

Bairnes- Annie Davidson

Performed in Bunker Three at Pleasance Courtyard on August 11th, 2025.

Bairnes is daring and unapologetic in its portrayal of pregnancy- laying bare the raw vulnerability of expecting motherhood all whilst navigating complex personalities and situations with unflinching humour. This one woman show- written by and starring Annie Davidson- explores a young woman acting as a surrogate for her sister, and the emotional journey which unfolds as a result.

The acting is intense and sharply focused- an essential quality for a piece of this emotional depth. Over the course of an hour, Davidson inhabits multiple characters with remarkable ease, her seamless transitions between accents and personas nothing short of captivating. While it may take a moment to adjust to the heightened dramatic style, once immersed, you are drawn into a world of family drama and tangled relationships, where humour and heartbreak intertwine through a single, shape-shifting performance.

This piece is intimate and invasive in equal measure, delving deep into selfish intentions and family obligation- exploring without restraint the consequences and rewards of surrogacy. There are moments when you feel complicit in the protagonist’s questionable choices, as though entrusted with a secret you never asked to carry. If you’re after laughter, heartbreak, and jaw-dropping twists, Bairnes delivers on every front.

Devil’s Point- Written by Laura J. Milton, Produced by Cutty Sark Theatre

Performed at Space 1 at theSpace on the Mile on August 11th, 2025.

Devil’s Point is a masterclass in non-linear storytelling, with a narrative that weaves seamlessly between past and present whilst propelling its characters towards emotional breaking points. Drawing from Scottish folklore, this experimental folk horror play entwines a fundamentally fractured relationship with a creeping supernatural presence- luring audiences into comedic vulnerability just as the plot sinks its claws in. 

Eve Miller’s direction is rich with inspired touches, but it’s the space-conscious production choices that most effectively harness the intimacy of the studio setting. The use of shadow puppetry conjured the illusion of ghost stories shared around a campfire, whilst the intricate soundscape- composed and performed by Oliver Armstrong- was dynamic, deliberate, and hauntingly impactful. Rarely do I say this, a larger budget would only hinder this production. The intimacy of the storytelling, the breaking of the fourth wall, and the clever shadow puppetry, were all amplified by the actors’ physical proximity to the audience. The magic lay in the textual strength, not in spectacle- and it was all the more powerful for it.

That said, there were moments of physicality where the movement felt slightly unfocused. While the transitional intent was clear, certain passages gave the impression of actors wandering without defined purpose or direction. These instances didn’t detract from the overall impact, but did allow a crack to appear on what is otherwise are compelling and hauntingly resonant performances from the actors.

Overall, Devil’s Point is unusual, unsettling, downright disturbing, and emotionally brilliant; drawing upon every aspect of heartbreak and hope with gut wrenching precision.