Fringe theatre reviews: Operotica | The Augur | Girlfriends | Don Quixote (Is a Very Big Book) + more

Operotica: Lovers in Every Lifetime ★ ★ ★ ★

Underbelly, Bristo Square (Venue 302) until 30 August

Operotica: Lovers in Every Lifetime is a show for everyone, well for those strictly over 18. The concept is simple: two lesbian souls, portrayed by kinky opera duo Operotica, have been lovers in every lifetime, from existences as garbage cats, to ladies in high society. Yet, in every life, our lovers have died just before they’ve been able to orgasm and fall in love. Now, they’re ready to break the curse before our very eyes.

It might sound outrageous, but this queer cabaret fuses impeccable opera, comedy and drag to become an incredibly fun night at the Edinburgh Fringe. Our presenter is Séayoncé, an independent drag character created by Dan Wye, and perhaps the Beyonce of séances. Here, she is a psychic potion crafter, ready to imbue chaos whilst guiding us through each of the lovers’ sexual interactions. These are performed as operatic, strip-tease style sketches, complete with bedazzled sex toys and lingerie, and enticingly performed by Amber Reeves and Dani Croston, both halves of Operotica.

There is camaraderie on stage between this ensemble, and a skilled ability to improvise. In my show, when heckled by an audience member, Dani Croston, who is especially mesmerising, announces that ‘it’s not a panto, babe.’ Equally, when Reeves’ wig nearly flies during a particularly sensual movement, the ladies on stage allow themselves to find it hilarious, making the sketch all the funnier.

It is an intelligent concept that is generally well executed, although there is some difficulty in tying Séayoncé’s and Operotica’s worlds together, and often jokes fall flat; although it appears Dan Wye is acutely aware of this as he encourages us to laugh. Operotica: Lovers in Every Lifetime masterfully accomplishes opera in a queer, impassioned context, opposing its usual association with high culture so that it may become a champion art form for those that it has historically excluded. Roisin McMullan

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The Augur ★ ★ ★ ★

Laughing Horse @ City Cafe (Venue 85) until 30 August

The clock has just struck midnight over the Royal Mile. In the Caves, the puppet show fans are in the bar discussing Avenue Q, The Book of Mormon and the crossover between the two. But nothing can compare with The Augur, who manages to be simultaneously great and cute, cuddly and bony, approachable and unapproachable – ever-changing not just in the atmosphere he creates, but also in physical form.

The ritualistic show begins when his loyal disciple of many millennia, cloaked and beaked, beckons us into the tiny, intimate room, within which is an alter and the sleeping Augur. Over the course of the next 40 minutes, once awake, he will invite us, one by one, to come, kneel on a cushion and ask a bird of our choosing a question. A kind of intermediary of the aviation word, he summons a blackbird, crow and golden eagle for the answers – and they’re not always nice, so be warned.

A chance to sit with a handful of audience members in the dark wondering about our fates, it’s seemingly simple but it isn’t an accident that you end up speculating on love, life and mortality, before an ending where all of the emotions that the show has been quietly harvesting previously are propelled back at you.

Many of the audience leave talking about wanting to be the Augur’s friend. It’s this desire for connection, from the stage, from shows, from the audience, from life that the Augur – drily performed by Logan Robins of The Unnatural Disaster Theatre Co – taps into, magical, mysterious and with an other-worldly ET-like quality. With multiple endings and the endless improvised answers that flow from people’s questions, meeting the Augur is a special experience that feels all too short and leaves you wanting to immediately go back in – or hang out with the team at the end, which you’re also welcome to do. Sally Stott

Girlfriends ★ ★ ★

Greenside @ George Street (Venue 236) until 29 August

Terminal romantic Scout sets out on a grand road trip from east to west across the US to exorcise the memory of her high school sweetheart. She falls in very quickly with sardonic Starbucks server Olishka, a droll free spirit with much to teach her about orgasms, inhaling and the general hustle. The scene is set for a Thelma & Louise/Before Sunset mash-up with a side order of “Kerouac with curls” and many opportunities for quoting Shakespeare.

Despite the familiarity of the innocent pupil/worldly teacher dynamic, and scenarios involving encounters quirky, sexual and dangerous (sometimes all three), writer Sara Malinowski is such an infectious performer, not to mention a badass singer, that she sweeps us along on her voyage of discovery, fuelled by smart, witty dialogue with occasional outbreaks of whimsy.

Inevitably, Olishka’s bravado slips as Scout’s confidence grows, but the spontaneous bond between the girlfriends holds fast and such is the wise-cracking conversational detail in Malinowski’s script that the friendship rings true, vibrant and intense. Cultural references and shout-outs abound. Scout even pulls the Geena Davis panting puppy move from Thelma & Louise.

There’s no pretence at originality but although we have definitely seen this movie before, Malinowski’s remake is a fun trip with a more credible ending. Fiona Shepherd

Don Quixote (Is a Very Big Book) ★ ★ ★

Pleasance Dome (Venue 23) until 31 August

If you’ve ever felt daunted by the 1000 pages of Don Quixote, the first modern novel, you might save valuable time by seeing Dik Downey’s new mid-life crisis turned one-man show instead. In 38 minutes, Downey summaries the infamous novel, skipping the boring bits to save time for his own self-reflections.

Weighed down by the heavy armour he bought on eBay, and utilising puppets in all their forms to stand in as fellow characters, the show’s concept is wacky, yet it works. It is Downey’s version of Don Quixote, and he is loveable from its opening; candidly revealing that his comedy partner’s left him and he’s going solo.

Downey’s meditations on his own life, amidst his performance of the Spanish literary legend, are welcome and often amusing, and he even uses Quixote to contemplate his death, as he remains quite literally pinned to the floor by his eBay armour suit.

Don Quixote (Is a Very Big Book) ebbs and flows in its energy, especially because, as Downey himself claims, only those that have read the book will understand the show’s plot precisely. Regardless, it is classy, mystical and fun, and you’ll at least leave with a rough idea of what Don Quixote might be about. Roisin McMullan

READ MORE: Best Fringe Shows: Every 5-star show at the Edinburgh Festival Fringe 2026 according to Scotsman critics

Living the Dream ★ ★ ★

theSpace on the mile (venue 39) until 29 August

Are we living, or just occupying space? That is the question posed throughout this hour-long show, centred on the friendship of four young Scottish lads in the late 90s.

A rush for Oasis concerts might be part of the story, but it is by no means the centre of it. A lot happens across one 24-hour period. The characters face many challenges, from health issues and eviction to parental responsibilities and drug use. Along the way, the production tackles fatherhood, unfulfilled dreams and educational prospects.

It is honest in its depiction of the difficulties young adults face, brutal at points, with the friends encouraging each other to take accountability, confront their struggles, push forward and fulfil their potential.

The cast is convincing, with clearly developed characters that are given space to have their own story heard. There is a sense of predictability to some storylines, but also unexpected moments and, in particular, some genuinely heartfelt interactions.

A few resolutions do seem to come rather quickly, but with the story confined to a single 24-hour period, their lasting impact remains uncertain. What is more certain is that this is a moving piece with heart and believable performances. Suzanne O'Brien

Hater ★ ★ ★

Gilded Balloon Patter House (Venue 24) until 31 August

An actress launches a vendetta against another, Eve, to kill the competition because they’re both in the same ‘East Asian woman’ casting bracket. “I love the premise,” says one. “Everyone does,” comes the reply – and it’s true. It’s a funny idea that this cast of three fully exploit.

Written by Gawa Leung, who performs in the tight-knit ensemble with Lorraine Yu and JJ Lam, it’s also a wildly creative response to them all being rejected for Bridgerton series 4.

At the start, we’re invited to select which actor play which character – a clever comment on an industry that sees them as interchangeable, but also one that enables them to demonstrate their diverse range to defeat this idea. The wry appropriation is deliciously satisfying when it succeeds, even as, later on, the cleverness becomes contrived and it starts to unravel.

The first half is a fast-paced combo of waspish social commentary, family drama and insightful industry critique. With witty observations filtered through the multi-lenses of social media, meme culture and meta-theatre, it’s an invigorating blast. As layer upon layer is piled up – with an extra dose of competition at Eve’s gym – love and hate fuse along with the various strands of the ever-evolving, self-referential storytelling that, in the second half, eats its own tail. Sally Stott

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