AS part of my attempt to see 10 shows at the Edinburgh Festival Fringe in one day, I also wanted to review them all.
This year, the total number of shows has risen to 3853, accompanied by a staggering 54,474 performances across 265 venues.
Here are the 10 shows I saw in one day, and what I thought about each of them.
A Political Breakfast
Advertised as a show where comedians who wake up in time join a panel to discuss a range of topics over their morning coffee, I was actively excited for this.
The large room I entered was full, and the 40-plus folk were, in true Fringe style, from all over the world. The parallels in politics from all corners of the earth were drawn as we discussed everything from the monarchy to attitudes towards driving instructors. Will Jeremy Corbyn help Nigel Farage become Prime Minister? Is Charles a better King than Elizabeth was Queen?
The comedians in attendance (Liz Bains, Kimmie Dee, Matthew Mckew and Jon Hipkiss) were on fire for 9.30am, and Harun Musho'd hosted the discussion incredibly well.
For anyone who's scrolling through social media and thinking the country's politics is a complete mess, this will restore some of your faith.
Rating: 4/5
Find out more here.
Florence
On Monday, this one-woman show starring and written by Honor Santa Barnes opened on George Street.
The satirical tragicomic play follows the story of an ambitious young woman willing to use any means necessary to secure her success in the art world. Even if it means taking on a new identity.
This was the show's first performance and the crowd loved it. It will definitely be one of the many stars of the festival, and its exploration of how image, connections and wealth dictate your way in the world could not be more apt for our times.
Barnes, who plays at least nine characters, gives a masterclass in character embodiment, one so good it rivals James McAvoy in Split. Potentially the best show at this year's Fringe.
Rating: 5/5
Find out more here.
Dreams of Peace and Freedom
A song cycle commemorating Edinburgh-born David Maxwell Fyfe, a prosecuting counsel at the Nuremberg Trials, a human rights lawyer and a key figure in drafting the European Convention on Human Rights (ECHR).
This show is performed by his descendants, Robert and Lily Blackmore, alongside Sue Casson with beautiful vocals.
The trio gives the audience a love letter to Edinburgh, as well as to the values of peace, freedom and remembrance. I thoroughly recommend Keir Starmer sees this.
The extent of research and detail in this show is extraordinary, and what the team has done on a low-budget is commendable. I hope to see it one day with a full budget.
Rating: 3.5/5
Find out more here.
Zoe Coombs Marr: The Splash Zone
Australian comic Zoe Coombs Marr came to the Monkey Barrel with so much energy for The Splash Zone.
The premise of the show is what it means to be "in the splash zone" of a comedy show, and who a comedian on stage wants in the audience. It is all rooted in one instance when Marr learned Trump fans were in her crowd, and she began to ponder the relationship between performer and audience.
Her crowd work and observational comedy was some of the best I'd seen, and it felt there had ultimately been an important topic explored with applause, T-shirt guns, free pants and laughter delivering her message.
Marr takes us full-circle with jokes multiple times, displaying incredible wit and energy all throughout the performance.
Rating: 5/5
Find out more here.
Alvin Liu: Love Letter to a Sandwich
Comedian Alvin grew up in the heart of Chinese food culture – where families would cook for hours just to avoid a hug. Now living in London, he's facing the greatest challenge of his life: Eating cold sandwiches.
Although rooted in a fantastic concept, this show leans on the public a bit too much, with audience members getting the biggest laughs.
Liu may be funny, and the concept great, but it feels like there is still work to be done on rounding out the rougher edges of this particular show.
Rating: 2/5
Find out more here.
One Man Poe: The Tell-Tale Heart and The Pit and the Pendulum
I met performer and director Stephen Smith flyering on the street in his full gothic, classical get-up. I was quickly hooked on the show's premise, and could not have been more wow-ed by this "marathon of the macabre".
Smith gives a demonic demonstration of Edgar Allan Poe's works, and the audience could not look away from his haunting eyes all show.
At several points, the audience collectively took in breath and after an on-stage change of clothes and make-up refresh, Smith's physical efforts were proven by the sweat pooling on the stage and dripping from his hair.
A captivating talent, telling legendary stories.
Rating: 5/5
Find out more here.
When Billy met Alasdair
Alan Bissett, award-winning writer, takes on the dual roles of two Scottish cultural giants, speculating what (might’ve!) happened when Billy Connolly attended the launch for Alasdair Gray’s 1981 masterpiece, Lanark.
Bissett embodies both with his accents, physicality and delivery, and anyone who appreciates Glasgow for its culture will enjoy this immensely. It's an easy show, comforting, and does not leave anyone behind in its historical exploration of Glasgow or Hollywood.
As a young writer, this show left me with immense pride in Scottish culture and enough inspiration to last decades, looking at all three: Connolly, Gray and Bissett.
Rating: 5/5
Find out more here.
Rebecca Lamb: 0 Advice on How to Hide a Body
I mistakenly entered into Lamb's performance, thinking it was a different show. However, the low ceiling of the Banshee Rooms allowed for a small reprieve from the endless Fringe crowds.
Lamb, who is just beginning her career, was visibly growing more unsure of what to say as the audience grew. Fewer insults thrown at different countries, fleshing out parts that did land well, as well as a hint of preparation, would probably go a long way.
Rating: 1/5
Find out more here.
Time Bends
Shown in the Radisson Blu, Time Bends is performed by a four-piece cast and although well-staged, was very hard to follow.
I was actively intrigued by the premise: "More than 20 years ago, literature student David met an older man called Michael in the bar of an independent cinema. They spoke for an hour, developed a genuine connection, and never met again. Twenty years later, sitting in the same cinema with his wife, David sees a man that looks very familiar. In that moment, David goes back to the afternoon he could never forget."
However, the audience is given very little direction on what is going on and as I tried to make sense of it, I looked around and saw other audience members equally puzzled.
At one point, the wife and Michael meet, crossing the boundaries of time, but with little meaning attached to why.
I and a fellow audience member attempted to decrypt the meaning, when we then saw the director sobbing in the front row. I think this show was trying to be a profound exploration of queer love but in reality, did not invite the audience in to explore with them.
Rating: 2/5
Find out more here.
