Iona Rose

Set in a post-apocalyptic dystopia, there is a chilling and unsettled edge to Endgame as the shadow of death haunts the characters. This is cleverly done from the off, as ghostly fabric hides the set pieces and a blank picture frame hangs on the wall. Staging is minimal and effectively chosen overall; this is not a home as most would recognise it.

In a perfectly paced show featuring musical numbers and smooth crowd work, Robyn Reynolds details the ups and downs of her life – or rather, brings out the silver lining in the downs. A sunny disposition and riotous humour, light and dark and everything in between, this talented comedian gets her audience laughing at even the toughest subjects. Between family trials, chronic illness, and adapting to life on the other side of the world, it’s amazing she found time to breathe, let alone discover a knack for spontaneous quips or groan-worthy puns.

Unsettling music and Chekov's child draw the audience in before 1612 even starts, creating the perfect environment to learn about this historic witch trial. Rather than focussing on the people in power and how the hysteria and rumours spread, the show centres around the rising panic in a few central families. The deliberate targeting of traditional medicines is better understood now, and not a particularly new take, but this show highlights the reality of how people, generally poor or oppressed already, come to be accused of witchcraft.

This whirlwind show absolutely flies by in the time we wish it took to learn to love ourselves. Blending a variety of original songs with comedic rants, this sermon on self-love is halfway between standup and a musical. It's hilariously ironic and relatable, highlighting the conflicting messages about defining self-worth, and the unpredicatable nature of the show reflects society; when is a suggestion a joke? When is it a threat?

Following the arrest of a famous billionaire, four unlikely friends team up to break her out of prison in return for half her fortune. Led by bumbling Luke and set in the rather grim reality of struggling to make ends meet, it’s an interesting concept that asks the audience to question what their morals would really be under duress and begs the question: “if I’m not the worst person here, is my position justified?” Featuring a number of good songs, a charismatic villain, and funny side characters, Dirty Money has the makings of a great musical.

What did our critic think of AVENUE Q at Braw Venues At Grand Lodge?This smash hit musical is a hilarious satire of modern life starring a mixed cast of humans and puppets. It combines the ridiculous with the all too relatable, following Princeton, a freshly graduated dreamer with his whole life ahead of him, as he gets smacked in the face by reality and does battle with adulthood.

An amazing show all round, Guys Sing Dolls, a cabaret style concert, was expertly executed. Four incredible voices blended in perfect harmonies through a selection of well-loved musical theatre songs. There is no plot per se, but the comedic timing with which the singers wove the pieces together kept the audience on their toes.

What did our critic think of EDINBURGH DAYS at St Bride's Centre?

In 45 minutes, Can't Talk Right Now, a sung-through musical, explores the complexities of human nature and finding what you want from life. It’s a tight squeeze, but beautifully and heartbreakingly executed. Jen Cassidy effortlessly draws us into her reality, creating a loveable main character as well as painting a picture of everyone who doesn’t appear on stage.

Don’t be fooled by the gentle, speakeasy vibe of the entrance music: these are certified divas, here to take you through a showstopping mix of music from various films and musicals. There is no plot and no need to study beforehand, just sit back and enjoy.

Prepare to be indoctrinated into your new favourite cult! This show is exactly as it says on the tin: a pseudo-religious service with all the elements required to make up (or make fun of) a church. Organ music and an abundance of pink fabric sets the scene, and despite it being a wildly unfamiliar environment, the actors do a wonderful job of embracing their new congregation. It is as ridiculous and depraved as you might expect, but hilariously crafted in its crassness.

I would be unsurprised to learn that Dunhuang was directed by a composer. Thirteen songs is an impressive number to fit into a one-act show, especially one with such a rich historical context to explore, which may have been why the dialogue seemed to just be filling time before the next song.

Greeted on the door by the very enthusiastic Steph and welcomed into a cosy, intimate venue. 8 Ways To Break A Glass (With An American Opera Singer) could easily be a gathering of old friends – if one of them were prone to bursting into song.