Edinburgh Fringe theatre reviews: Bog Body | Chickens | Strangers and Revelations | DRAMA GIRLS | Yellow | Infection Eradicated | English Ako

Bog Body

The Vault at Paradise in The Vault (Venue 29) until 24 August

★★★★☆

For those still navigating the murky waters of modern dating, Itchy Feet Theatre’s solo show Bog Body feels intensely relatable. The wedding dress-wearing protagonist Petra, played by Maddie White, repeatedly implores the audience not to judge her atypical choice of husband – “There’s no normal ones left!” – and we don’t, chuckling along knowingly at her wry, stand-up comedy-style confessions and crowd work. That is, until we discover that her soon-to-be spouse is the preserved corpse of a nobleman from 2000 years ago that she stole from the British Museum.

As she prepares for nuptials that prove even more macabre than first expected, White's Petra expertly slips between humorous asides and contemptuous conversations with a voiceover therapist, gradually revealing that her current predicament stems from displacing the trauma of her twin’s suicide. She speaks to her sister’s spirit as she pores over history books to uncover the cause of her Roman-era lover’s death, her desperate attempts to bend the story to her own narrative reflecting both a recognisable dating habit – ignoring red flags and reframing bad behaviour – and her struggle to reconcile the inexplicable nature of mortality and loss.

Bog Body may sound like a wild, niche concept, but it’s through this madness that Itchy Feet Theatre uncovers profoundly human truths. Over its 40-minute duration, Petra gradually transforms from a self deprecating girl-next-door to a glassy-eyed, quivering figure in a state of mania, revealing how much often lies behind a jovial exterior—and how easily life’s challenges can take their toll.

EMILY MAY

THEATRE

Chickens

theSpace on the Mile (Venue 39) until 23 August

★★★★☆

By the end of this play, I never want to hear the word “chickens” again. That’s a testament to the fact it has done its job. As Jay, Owen Whitelaw nails the role of a self-involved boyfriend obsessed with buying laying hens for his flat balcony, against the wishes of his pregnant girlfriend Weronika (Paulina Szarek), a level-headed and long-suffering foil to his madness. Audiences may chuckle as Jay spirals further and further into his galline mania – donning chicken-leg socks, clucking and crowing loudly, even slipping into a chicken-esque waddle – yet there is something more sinister beneath the humour.

“You agreed…” “I picked the best option for us,” Jay insists with a smarmy smile, gaslighting Weronika, who has patiently entertained many of his past hobbies – from playing Tibetan gongs to parachuting – and reasonably explained why his latest obsession has just gone too far. Jay just hasn’t listened. Instead, he lays the blame at her door, accusing her of being closed-minded, then booking her theatre tickets and massages without her consent with her so she can “relax” – triggering alarm bells for any woman whose experienced controlling behaviour concealed behind a “nice guy” exterior. By the end of the play he’s left baffled at what went wrong. If there’s a man in your life who thinks women’s frustrations come from nowhere, he needs to see this.

EMILY MAY

THEATRE

Strangers and Revelations

theSpace @ Surgeons’ Hall (Venue 53) until 23 August

★★★☆☆

This new two-hander from writer Chiedza Rwodzi begins in a very conventional place, but it’s gone somewhere no-one in the audience expects by the end. Malcolm (Dwight T.) and Zodwa (Rwodzi herself) are a young Zimbabwean couple on a blind date in London, he a “son of the soil” who was born in Zimbabwe, she London-born to parents who came from the country.

Together they reminisce and compare life stories, discovering all the places where they share a connection and all the points of cultural connection and memory which their joint heritage affords them. In particular they connect over fishing, a passion of Zodwa’s, while Malcolm comes from the town of Kariba, where an international tiger fishing tournament is held every year. Things seem to be going well, and Zodwa hopes Malcolm doesn’t turn out to be a “Zimbo demon” – one of those Zimbabwean guys she knows to avoid.

Directed by Matthew Kissa and Hassan Govia, the leads’ performances are relaxed and unflashy, bringing a real sense of internet dating wariness and cultural connection and insight to their characters. Yet as the play progresses and an unexpected darkness shrouded in Zimbabwean mythology descends, it loses this hard-won intimacy even as it gains a bit of thrilling urgency.

DAVID POLLOCK

THEATRE

DRAMA GIRLS

theSpace @ Symposium Hall (Venue 43) until 23 August

★★☆☆☆

“Fill the space,” “Work with intention.” Anyone who’s been to drama school will be familiar with the criticism that comes with the training. It’s something that these three young performers parody with fun and flair, particularly sharply in physical comedy routines based on classes with names like “Animal Studies”. Less successful are the spoken sequences, which touch on inequality of opportunity for those with less resources but suffer from dialogue that feels similarly directionless. A piece comprising of many short scenes, it needs more consistency and a stronger narrative spine to bring everything together. “Try making it sharper, please,” as their teacher says.

SALLY STOTT

THEATRE

Yellow

theSpace @ Niddry St (Venue 9) until 23 August

★★☆☆☆

Knowledge of Shakespeare’s Twelfth Night is not required to enjoy Yellow, a modern-day continuation of the character Malvolio. Set in a run-down law firm, Mal is recovering from a misstep in his previous role as a ministerial advisor to the political figure, Olivia. Recruit Rosie, who will be aiding a large-scale investigation of pension fraud, helps to widen his worldview. The story is like a snow-globe, however: no cases are won or lost, and Mal and Rosie enjoy their own internal journeys, but the narrative at large stays in one place, with only the slightest of shake-ups along the way.

JOSEPHINE BALFOUR-OATTS

To stay up to date, why not sign up to our weekly Arts and Culture newsletter? So you don’t miss a thing, it will be sent sent daily during August.

THEATRE

Infection Eradicated

theSpace @ Surgeons Hall (Venue 53) until 23 August

★★☆☆☆

Between voiceover excerpts from a biology lesson – which explain how an infection can become established in and be eradicated from a human host – a young biology student named Thelia meets a woman named Erica. She appears to be the one for Thelia, but like an infection the manipulative Erica begins to take over her partner’s life, cutting out her friends and eventually threatening physical and psychological harm. Produced by Queen Mary Theatre Company, from Queen Mary, University of London, this predictable play is let down by flat, unengaging delivery from its four performers and a Scooby Doo-ish ending (although the actor who plays flatmate Kathy can sell a funny line). Kudos also for tackling such a subject as complex as coercive control with such consideration.

DAVID POLLOCK

THEATRE

English Ako

theSpace @ Surgeons Hall (Venue 53) until 23 August

★★☆☆☆

“Do I have to be white to be English?” Jules Chan asks in English Ako, a true-to-life play that explores Chan’s personal experience of growing up with mixed heritage. The piece follows his dual search for his brother and his place in a world that makes him feel too Asian to be English, and too Western to be Asian. “Why can’t I be both?” he continues. “I am both.” There are moments of magic – puppetry with a blazer, sleight of hand, blood on his face – but in its current form, the production falters before it can achieve the desired impact.

JOSEPHINE BALFOUR-OATTS

READ MORE: The Best Edinburgh Fringe Theatre 2025: Every show with a four or five star review from The Scotsman so far