 BACHELOR GIRLS
August 13-17 - Greenside @ Riddles Theatre "War! What’s it good for? Lesbians, apparently!" If there were an award for best tagline at this year's Edinburgh Fringe, Bachelor Girls from the University of Bristol’s DramSoc would be a strong contender. This tragi-comedy delves into the lives of four queer women—Billie, Jude, V, and Claudia—during World War II as they bond over drinking games, card-playing, and romance in their English bomb shelter-turned-bachelor pad. However, just as their men are about to return home from mainland Europe, their newfound freedom faces a challenging test. In Bachelor Girls, the bomb shelter becomes more than just a refuge from the chaos of World War II--it’s a space where these queer women can truly be themselves. Away from the restrictive norms of the time, they find the freedom to explore their love and friendship in a way that wouldn’t be possible outside. The play beautifully captures this sense of liberation, showing how, amidst the turmoil of war, they create their own world where their relationships can flourish safely and openly. However, the looming return of the men in Bachelor Girls brings a palpable sense of anxiety, symbolising not just a literal invasion but a symbolic one as well. Billie’s reference to their return as an "invasion" underscores the profound threat to the safe space these women have carved out for themselves threatening to dismantle the world they've created. Brilliantly from playwrights Evanthe Gee and Connie James, the tension mirrors the war outside—a conflict between liberation and oppression—highlighting the internal and external battles queer women have long endured. The cast of Bachelor Girls—Honey Gawn-Hopkins, Claudia Osborne, Ava Zarate, and Lily Robinson—deliver standout performances that vividly bring to life the complex dynamics of years spent together in close quarters. They expertly convey the tension and love within the group, with every glance and gesture hinting at unspoken emotions simmering beneath the surface. Even as one couple sits by the radio discussing their uncertain future, another character silently reading in the corner can reveal just as much about the group’s fragile bond. Claudia Osborne, in particular, shines as Billie; her infectious energy breathes life into the room, but as she becomes consumed by anxiety over her man’s return from war, she threatens the entire group’s stability, making her performance electrifying and deeply affecting. Bachelor Girls is unquestionably one of the standout shows at this year's Edinburgh Fringe. In just 50 minutes, it delves into themes of love, identity, and the tension between freedom and conformity with impressive depth. With a sold-out crowd and a huge standing ovation on a wet Tuesday night, it’s clear that this play is already on the path to well-deserved success, and it’s easy to imagine Bachelor Girls making the leap to the big screen in the future and finding an even bigger and rapturous crowd. 5/5 Lee Hutchison  TARTAN TAT
August 12-20 - The Space @ Niddry Street "Tartan Trap," is a surprisingly provocative play which isn’t afraid to dive headfirst into the toxic nature of transphobia and the viciousness of online campaigns against those who show solidarity with trans people. Set in the heart of Edinburgh's Royal Mile, the play centres around the young and rough staff of Tartan Treasures, a touristy gift shop selling kitschy souvenirs. What starts as a typical day of selling Highland cows and knock-off wands quickly spirals into chaos when the shop becomes the target of a social media storm following a misunderstanding when a shopworker takes issue with selling Harry Potter books to a customer. "Tartan Trap" excels when its social commentary addresses the toxic backlash against trans rights and those who stand in solidarity with the trans community. The play isn't afraid to call out figures like J.K. Rowling, making a powerful statement on the societal backlash faced by trans allies, and works as a companion piece to another Fringe offering, "Terf." It’s a bold statement that highlights how the discussion around trans rights has become so fraught that even a basic act or statement can provoke intense controversy. However, when the play delves into the topic of performative activism, it walks a delicate line. At times, it seems to attempt a balanced critique, pointing out the flaws with these sides of the huge debate. While this approach adds layers of complexity to the narrative, it also risks diluting its message by appearing to rise above the fray rather than taking a definitive stance. One of the highlights of the play is the character of Millie, portrayed with a larger-than-life presence by Freya Anderson. Millie is a young shop worker who sees the unfolding drama as her chance to grow her media PR brand, navigating the chaos with ambition. Anderson's performance is a standout, drawing clear parallels to Marli Siu's early career roles in "Our Ladies" and "Anna and the Apocalypse” marking her out as one to watch. 3.5/5 Lee Hutchison  Boiler Room Six: A Titanic Story
Aug 10, 12-17, 19-24 - Greenside at George Square "Boiler Room Six: A Titanic Story" plunges into the harrowing experiences of the crew members stationed deep within the Titanic, where the iceberg’s impact was first and most devastatingly felt. Central to this narrative is Frederick Barrett, a leading fireman whose bravery and quick thinking in the face of disaster proved crucial to the ship's final hours. Max Beken, at just twenty-three, delivers a remarkable performance as Barrett and other Titanic crew members in this one-man play. Despite his young age, Beken captures the weariness and resilience of a man shaped by a life of relentless physical labour and regret. His portrayal conveys the emotional and physical toll of Barrett’s experiences, marking Beken as a standout talent with a promising future. The Titanic continues to captivate audiences even after all these years, but can new stories still be told? This play offers a fresh and intimate perspective on the tragedy, providing a glimpse into the heroism and humanity of those who laboured unseen yet played a vital role in buying families precious time to escape. Through Barrett’s story, even those with an encyclopaedic knowledge of the disaster will gain a deeper appreciation for the sacrifices made below deck, offering a new dimension to this enduring tragedy. 4/5 Lee Hutchison  Drag Queen Wine Tasting
Aug 9-11, 14-18, 21-25 - Ministry of Camp For the third year, the unforgettable Drag Queen Wine Tasting event returns to the Fringe with the pairing of sommelier Beth Brickenden and drag sensation Vanity von Glow. This experience offers four glasses of wine, selected by Brickenden, and gives a pumped-up crowd a full-tasting experience. The banter between Beth and Vanity is as deliciously filthy as ever and never feels formulaic despite a long three-week festival run. Vanity’s renditions of camp classics make it not just a wine tasting but a great all-around experience. The chemistry between the two hosts is undeniable, given their years of experience together in delivering these events as a pair. Despite facing online criticism from bigots this year following their announcement of returning to Edinburgh, Beth and Vanity have responded with their signature flair and resilience, giving back as good as they get. In a world where drag and queer performers often fight for visibility and respect, we must celebrate and support these vibrant artists. The Drag Queen Wine Tasting isn’t just an event; it’s a testament to the power of joy, community, and the spirit of queer performance. Lee Hutchison  It's A Sheet Show
August 7-10, 12-17 - Greenside @ Riddles Court "Fools and Thieves” make a striking Edinburgh Fringe debut with 'It's A Sheet Show', a nuanced, non-linear exploration of twenty-something relationships. While the subject matter may be a perennial Fringe favourite, this production breathes fresh life into the genre, steering clear of clichés and triteness. The success lies in the performances of Greta Abbey as 'Her' and Leo Shaw as 'Him'. Their talent and chemistry elevate what could have been a familiar narrative into a compelling, emotionally resonant journey through the complexities of modern romance. Abbey and Shaw are unquestionably rising stars to watch in the coming years, and it feels exciting to watch this career break in the intimacy of the room. The inspired use of a single blow-up mattress as the play's sole prop becomes a crucible for intimate late-night conversations, where the veneer of their casual dating gives way to deeper truths. As the couple navigates these after-hours exchanges, the audience is privy to moments of both connection and disconnection, brilliantly highlighting the fragility of their bond, where after six months, a relationship seems so far away despite the wishes of “him” and “her” reduction and aversion to deepening what they have. Abbey and Shaw demonstrate remarkable versatility, effortlessly transitioning between their primary roles and secondary characters—a best friend for "him" and another sexual partner for "her.". These shifts occur within a non-linear narrative that deftly highlights pivotal moments in the couple's six-month relationship. The actors' talent shines as they navigate these time and character changes with minimal staging cues, relying primarily on their nuanced performances to signal each transition and trusting the audience to piece together the relationship's evolution. Florence Carr-Jones and Leo Shaw's script will resonate with modern audiences, offering a raw and honest portrayal of contemporary dating and relationships. The play speaks directly to the anxieties, hopes, and complexities of forming relationships in one's twenties. Audiences will find themselves nodding in recognition, perhaps uncomfortably, and feeling old war wounds open. 4/5 Lee Hutchison |
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