It’s not a Fringe without at least one Dracula, a story whose first theatrical production was penned by author Bram Stoker himself, the sole performance of which took
With the work of Sir Arthur Conan Doyle out of copyright, the approval of the estate of the esteemed Edinburgh born author is no longer required in order
In 1961 Yuri gazes up at the ocean of stars above the Baikonur Cosmodrome in Kazakhstan; in some contemporary moment, a young refugee, Sam, stands on the shore
The contrast between the Pleasance Courtyard at the height of the Fringe and the interior of Pleasance One could not be more defined; outside there are crowds, conversation
“If these walls could talk… they wouldn’t need to put on plays.” So says the caretaker at the historic Vaudeville Theatre, an establishment with over a hundred years
“George Vere has been working on The Starship Osiris on and off for five years,” according to the programme, a sheet of folded A5 paper, roughly torn on
Hardened Fringers, brothers Ed and Tommy of the good ship Jollyboat have enthusiasm, talent, one guitar between the two of them, and balloon swords, taking to the stage
With pulsing electronic beats across a hall illuminated by their shifting projected logo, the grotesque reprobates of Kill the Beast are back in town, pitchfork held aloft, as
The schoolgirls play their playground games, a singsong chorus of “who’s afraid of the big, bad wolf?” while Granny watches and coos, “ooh, how you’ve grown” to young
