The Edinburgh Fringe is in full swing and the theatre programme is delivering some genuinely striking work this year, alongside the usual mixed bag of hits and misses. Here is a rundown of some of the most talked about shows on the circuit right now.
Toast is one of those productions that sneaks up on you. On the surface it looks like a straightforward piece about workplace culture, but it quickly reveals itself as something far sharper. The show tears into the machinery of bureaucratic exploitation with real intelligence, examining how institutions grind people down while maintaining a smile. The performances are tight and the writing has genuine bite. It is not always comfortable viewing, but that is very much the point.
Democrazy goes in a completely different direction. This is broad, unsubtle political satire and it knows exactly what it is. Some critics will find it too on the nose, and fair enough, but if you are in the mood for something that wears its politics loudly and without apology, this delivers. The cast throw themselves into it with obvious enthusiasm and the audience at the performance reviewed were clearly having a brilliant time. Sometimes you just want a show that makes you laugh and shout at the same time, and Democrazy scratches that itch.
M, Woman of Fashion is perhaps the most ambitious show in this batch. It attempts to get inside the head of Melania Trump, which is either a fascinating creative challenge or a fool’s errand depending on your point of view. The production does not pretend to have all the answers, which is actually its greatest strength. Rather than presenting a simple portrait of a villain or a victim, it sits with the contradictions and lets the audience wrestle with them. The central performance is compelling throughout, even when the script loses its footing in the middle section.
Homecoming is a quieter, more personal piece that stands apart from the political noise elsewhere on the programme. It deals with identity, belonging and the complicated feelings that come with returning to a place you thought you had left behind. The writing is careful and honest, and there are moments of real emotional clarity that hit harder than anything in the louder shows. It might not be the flashiest thing at the Fringe this year but it is one of the most genuinely felt.
The New Year rounds out this selection with a show that uses the symbolism of new beginnings to explore some pretty dark territory. It is a bold structural choice and it mostly works, though the final act stretches the concept a little thin. Still, there is enough originality here to make it worth your time.
The Fringe remains one of the most extraordinary cultural events anywhere in the world, and Edinburgh in August is unlike anywhere else on earth. The sheer volume of work on offer means that finding the real gems requires some effort, but shows like these prove that the rewards are absolutely there for those willing to dig in.
With hundreds of theatre productions still to run before the festival closes, there is plenty more to discover across the city’s venues, from the major spaces to the tiny rooms above pubs where some of the most exciting work often happens. Keep your eyes open and your schedule flexible.