EDINBURGH 2026: Review: EM HUMBLE: LADY OF THE LAKES, Pleasance Courtyard, Below

Sir Thomas Malory’s Le Morte d’Arthur charts the rise and fall of King Arthur, Merlin, Guinevere, Lancelot, the Knights of the Round Table and the eventual destruction of Camelot. Em Humble’s Lady of the Lakes takes a considerably more surreal route through the legend, concentrating on the peripheral characters and giving them a decidedly modern twist.

The result is an interactive, absurdist quest populated by an assortment of eccentric creations, including the King’s hand, Sir Gallahad’s dog, a jobsworth called Craig Waterman from Lake Maintenance, a fortune teller, creepy Callum (brother of a famous literary figure), a street urchin, a rat and even text messages from a randy green tree.

Humble is an incredibly warm and likeable performer, with an impressive performance CV. The issue with the performance is the characters feel like odd choices. The strongest element is its visual storytelling, with well constructed screen graphics and visual gags forming an elaborate digital tapestry, which brings an extra dimension to the production.

There are flashes of amusing thoughts, although the story itself frequently meanders. A section involving riddles could be considerably stronger if the audience were given an opportunity to solve them, while the arrival of Merlin, despite commentary from Em herself, is particularly enjoyable and feels like a moment which could have been extended to bring a focus to a direct interaction with the story of the Lady of the Lakes.

As the show progresses, the Arthurian adventure increasingly gives way to a more personal story about anxiety and the pressure of trying to complete the show. There is also a brief song from an alternative Autonaut show, alongside some dancing in liberation, adding further eccentricity to an already unpredictable journey.

Humble’s experience as a filmmaker is evident throughout, with the screen work arguably providing the show’s most polished and memorable moments. There is an appealing willingness to be silly, strange and gloriously unconventional.

Yet for all its imaginative flourishes, Lady of the Lakes ultimately feels somewhat removed from the legend promised by its title. Humble may ‘become’ the Lady of the Lakes, but this is not really a show about her. Instead, it is a loose, surreal exploration of the Arthurian world and its more obscure inhabitants.

There is plenty to admire in Humble’s creativity and screen craft, but the quest itself could benefit from a sharper sense of direction and a stronger connection to its heroine.

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