Conversations We Never Had, As People We’ll Never Be - The Nerd Party at Edinburgh Fringe 20248/28/2024  Conversations We Never Had, As People We’ll Never Be is a thought-provoking exploration of memory, identity, and love. This play invites the audience to dive into the emotional turmoil that Gina and Frankie experience as they grapple with a thirty minute decision to erase their relationship from their memories.
The clear inspiration from Eternal Sunshine of the Spotless Mind is unmistakable, as like the film, the play examines the complexities of love and loss, questioning whether erasing painful memories could ever truly lead to peace. Both stories challenge the audience to consider the consequences of tampering with the past as playwright Lucy Harris asks us to consider how much of ourselves is tied to our memories of others and whether the pain of loss is worth the joy of connection. What truly sets this play apart are the conversations between the two protagonists, Gina and Frankie. Played by Siobhan Cassidy and Lucy Harris, the ticking clock element forces secrets and fears to be shared in a dramatic, urgent fashion, compelling the characters to voice emotions that might otherwise remain unspoken. This heightened sense of time pressure amplifies the intensity of their revelations, making each moment fraught with the potential for life-altering decisions, capturing the essence of what it means to confront your hopes, fears, and grievances all at once and the often under-represented realities of queer relationships. The chemistry between Cassidy and Harris is electric, making their characters’ struggles and decisions feel intensely personal and real. The play will ignite deep reflection in couples and individuals alike as they exit the theatre to the sound of Self Esteem’s anthem, 'I Do This All The Time'—a generational anthem also about self-acceptance and confronting past mistakes, as it invites us to consider what we would do in a similar situation: Would we choose to forget the person who changed our life, or is the pain of remembering worth holding onto? These discussions make the play a catalyst for introspection and debate, challenging audiences to confront their fears, desires, and what they value most in both past and present relationships.  TOM GREAVES: FUDGEY
August 24-26 - Assembly, Roxy - Downstairs Tom Greaves' Fudgey is a dark comedy that delves into the impact of boarding school trauma on English men. Greaves brings to the stage a character, Fudgey, a toxic ex-public schoolboy undergoing a midlife crisis that embodies the deep psychological scars left by the emotionally barren environment of boarding school, reflecting Greaves own journey through therapy and self-discovery. This personal exploration is not just about revisiting painful memories but about understanding how those early experiences have shaped his identity. Fudgey, for me, drew interesting parallels with Jean-Paul Sartre’s The Childhood of a Leader, where a young boy, Lucien Fleurier, experiences contribute to his development into a troubled adult; however, in Fudgey’s defence, he didn’t turn into an authoritarian. Both Greaves and Sartre explore how family, social environment, and personal experiences can lead to a fractured sense of self. Just as Lucien adopts various personas, Greaves’ character in Fudgey oscillates between rebellion and compliance with older pupils and an abusive teacher, while using humour as a defence mechanism that becomes a double-edged sword—a means of survival and a mask that conceals deep emotional trauma. However, while Lucien's journey in The Childhood of a Leader ultimately leads to his authoritarian transformation, Greaves’ Fudgey remains trapped in a cycle of unresolved trauma, with humour gradually dissolving into grief in a literal dark cave and realisation that the wit and sarcasm that once served as protective layers can no longer shield him from the emotional fallout of his past, instigated by his father’s decision to send him to boarding school. Greaves touches on how the trauma of boarding school shapes individuals who often rise to positions of power, a theme echoed in Sartre’s novel. Greaves suggests that the dark humour and resilience celebrated by ex-boarders are often symptoms of deeperemotional neglect, leading to dysfunctional behaviours that persist into adulthood. The play not only entertains but also provokes a critical reflection on the long-term effects of a toxic education system on the emotional wellbeing of vulnerable and impressionable boys. 5 / 5 Lee Hutchison  A Letter To Lyndon B Johnson or God: Whoever Reads This First
August 19-24 -TheSpace @ Niddry Street The story begins at a Boy Scout summer camp in the 1960s, where Ace and Grasshopper forge a deep friendship. Their adventures start innocently, with games in the woods that capture the essence of childhood camaraderie. However, as the narrative unfolds, these light-hearted moments give way to the harsh realities of the Vietnamese jungle, where the once-clear lines between innocent play and the brutality of war begin to blur. Two-time Fringe First-place winners Xhloe and Natasha in impressive synchronisation masterfully intertwine the worlds of make-believe and real life for young American men, using only a tire as a prop while dressed in Boy Scout uniforms. This juxtaposition of the idealised innocence of the Boy Scouts with the grim reality of war is striking. Through the boys’ youthful games, we glimpse an American narrative that glorifies courage and heroism. Yet, in the Vietnam jungle, these ideals are tested, distorted, and ultimately shattered in bloodshed. The transition from playful toy soldiers to real soldiers starkly exposes the tragic consequences of a society that romanticises war, revealing the fragility of youthful ideals when confronted with the horrors of conflict. This leads to a fate where the line between heroism and tragedy becomes heartbreakingly thin. 4/5 Lee Hutchison  HEADACHE
August 19-20 - TheSpace @ Niddy Street Playwright and actor Tanieth Kerr brings her one-person show, 'Headache', to the Edinburgh Fringe as she plays AJ, who, much like her own lived experience, deals with the fallout of her father's acquired brain injury, which left Kerr too feeling isolated and grappling with witnessing the change in her father during the recovery. 'Headache' originated as a collection of writings based on Kerr's emotions and experiences following the the brain injury. These fragmented pieces initially formed another play, ‘An Evening with Me, I Guess,’ before evolving into the current work. The opening 25 minutes weave these distinct tales together, creating an atmosphere where the true cause of AJ's emotional turmoil is obscured, only hinted at through scattered fragments of dialogue and memory. This storytelling approach is effective, as it mirrors AJ's shattered emotional state. We are drawn into her world, experiencing the confusion and disarray that define her life. The structure of the play—disjointed yet thematically interlinked—reflect a mind grappling with grief and trauma. In the second half, the narrative brings into focus AJ’s struggle with the aftermath of her father’s brain injury and the profound impact it has had on her young life. The line between character and real life begins to blur as the audience becomes intimately connected to the raw emotions of AJ and Kerr. The depth of their trauma and heartbreak is palpable, as the play delves deeper into how this life-altering event has shattered her. The emotional intensity of the performance, coupled with the authenticity of the writing, creates a powerful resonance, making the audience aware of the lasting scars such an experience leaves on everyone involved drawing us into the very heart of both their pain and resilience. 4/5 Lee Hutchison  OUT OF WOODSTOCK
August 15-25 - Underbelly, Cowgate Out of Woodstock is a frenzied one-person show by playwright Tom Foreman, portraying one young man's tumultuous journey through the chaotic Woodstock '99 music festival. Set against the backdrop of the notorious event, the play captures the raw intensity and disillusionment of a generation, soundtracked by Limp Bizkit. Guy, reeling from heartbreak, seeks solace in the music and debauchery that defined the festival where he’s meant to escort his young sister. Out of Woodstock begins on a lively note, capturing the electric atmosphere of the festival. The play draws the audience into Guy’s initial thrill of freedom as he immerses himself in the music, the crowd, and the hedonistic vibe that defines the event. However, what begins as an escape quickly unravels into a harrowing descent, brilliantly portrayed by Max Beken, into a world marred by moral decay, substance abuse, and unchecked aggression. The play effectively channels the disarray of the festival itself, portraying a world where boundaries blur and societal norms crumble. The play's exploration of sexual violence at Woodstock '99 is particularly poignant and disturbing. The real-life festival was infamous not only for its logistical failures and violent riots but also for the widespread reports of sexual assault and harassment. Out of Woodstock confronts this dark aspect of the event, using it as a critical lens to examine Guy’s moral shortcomings. While Guy is not a rapist, his inaction and ignorance regarding the harassment his fifteen-year-old sister faces, as well as his disturbingly quick dismissal of his friend's admission of rape, serve as stark reminders of the bystander effect and the culture of silence that often surrounds sexual violence. Despite recognising the vile nature of his friend's actions, Guy's response highlights the troubling ease with which such incidents can be overlooked or minimised. Guy’s flawed response offers a compelling critique of the toxic masculinity and apathy pervasive at Woodstock '99. In doing so, it provides a space for reflection and dialogue, making it not just a story about one man's downfall but a broader commentary on the societal failures that allow such tragedies to occur. 4/5 Lee Hutchison |
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