20/08/2025
Edinburgh Fringe Round up
Part 2
The Truth About Trees
**** (4 stars)
If trees could talk, what stories might they tell?
This fascinating family-friendly play from Apropos Theatre seeks to bring an answer. We meet Alfie, a young boy at school who is receives a book from his grandfather which tells him the stories and secrets of the trees in a nearby forest. As his understanding grows, Alfie must do all he can to stop the impending clearing of the forest. Written by Alex Zawalnyski (who also plays Alfie), this piece is both educational (without being forceful) and endearing, with strong performances from the talented cast of three - though as this was a BSL interpreted performance which was beautifully integrated - this was definitely a cast of four! Some beautiful moments of puppetry, shadow storytelling, and a powerful conclusion, this is definitely a recommendation if you’ve got little ones at the Fringe! Both my children (8 and 4) were captivated throughout. Catch it while you can at the intimate ‘Crate’ space at Assembly George Square or look out for it on tour!
By Gareth Hides
Holly Street
⭐️⭐️⭐️
There’s always something intriguing about the mysterious world of a writers’ room - usually closed off to outsiders - so setting a comedy here is a clever idea with plenty of potential.
In Holly Street, five writers gather to battle it out over characters, plot twists, and deadlines to create the 35th anniversary special of a long-running, continuous drama. The familiar tools of the trade are all present: the cast photos pinned to the wall and the writers’ “bible” (in this case, literally a bible). Then a whiteboard takes on a magical role in moving the story forward. While this device could perhaps be replaced with something a little sharper to heighten the sophistication of the piece, it still offered a playful structure. At times, though, the board felt like an easy shortcut rather than a fully fleshed-out idea.
There are some fun surprises — including a well-pitched musical number from Xander Arizon-Gonzalez, which landed nicely in such an intimate room without ever feeling overblown. There was also a solid laugh-out-loud line involving prawns, which showed the company’s knack for sharp comic timing. Johan Sorsbie brought good range and energy, pushing the comedy forward with enthusiasm.
What really comes across is the ensemble’s chemistry. These five recent graduates clearly enjoy working together, and that enjoyment spills into the performance.
This might not have fully landed yet, but for the future, this ensemble’s rapport could be the magic they’re looking for - the thing that turns a playful idea into something unique, fully rounded, and able to stand out.
Jonathan Lauren
Wild Thing!
⭐️⭐️⭐️⭐️⭐️
Tom Bailey’s Wild Thing! is unlike anything else you’ll see at the Fringe. It is a rare show that feels playful, profound, and necessary all at once.
The piece begins with childlike whimsy - Bailey clowning through physically inaccurate interpretations of extinct animals (deliberately refusing to “Google them”). It’s silly, warm, and disarming. But beneath the humour lies something much deeper. Gradually, the show takes us on an emotional, stylistic, and even spiritual journey.
We’re each invited to “adopt” an extinct animal at the start, and through Bailey’s storytelling, our bond with these vanished creatures grows. His gentle, perceptive reading of the audience makes the experience communal - he manages to hold us together while allowing space for those who prefer less participation.
The second movement of the piece introduces a striking shift: Bailey embodies a Bali Tiger, with a David Attenborough narration, a VR headset, and the audience joining as fellow lost animals. From there, the theatrical language transforms again, another unexpected twist. The imagery becomes layered and haunting, and the humour gives way to something quietly devastating.
Alongside theatrical invention, Bailey threads in his real-life journey: invited to perform the show in Norway, he chose to walk there and travel by boat, carrying a swath of material printed with the names of extinct species, photographing it across landscapes as a kind of moving memorial. In the theatre, that sense of pilgrimage and care infuses the work.
At one point we learn that over 42,000 species have become extinct in just the past five years. Numbers like that can feel abstract — but Wild Thing! makes them personal. It makes us feel what it means to lose a life form forever.
This is one of the most exciting and inventive pieces of original theatre I’ve seen this year. The final act (which I won’t spoil) was breathtaking in its imagery — astounding, moving, and deeply provoking.
This is all we have, Bailey reminds us. And by the end of Wild Thing! you carry that truth in your bones.
Catch it while you can.
Jonathan Lauren
10,000 Review
⭐️⭐️⭐️⭐️⭐️
What’s so unique about 10,000 is the way it reveals the hours, effort, discipline, and expertise that go into gymnastics and acrobatics. Created by Gravity and Other Myths and House of Oz, the Australian-based ensemble takes us behind the curtain instead of simply presenting the polished illusion of tricks. And it really works - it makes you warm to the performers, and unlike many circus acts, you feel their bravery, courage, and endurance. The result is inspiring and exhilarating, leaving you more present in your own body and wanting to take better care of it.
The ensemble also breaks the fourth wall with ease, drawing us in with warmth and charisma. They never stop to explain the games we’re suddenly watching unfold - instead, they trust the audience to figure it out together, which makes the experience playful and communal. At one point, an audience member is invited on stage to play 3D acrobatic pictionary - a highlight of the show, full of humour as much as jaw-dropping skill, and a moment that had both her and the rest of us utterly engaged. These interactions highlight not only the performers’ collective bond - literally trusting each other with their lives - but also their presence as individuals, each with their own distinct energy that shines while feeding into the whole.
There’s a strong element of “game” running through the first half, which gradually builds to the final act where we are treated to the fully polished illusions. By then, having witnessed the sweat and graft behind the scenes, those spectacular human towers feel even more astonishing.
It’s hard not to leave wanting to sign up for an aerial class - or at least move your body with a bit more joy. The Malcolm Gladwell ethos is woven within the sweat and physical and mental endurance of this show, and performed with great generosity. It appeals to all ages, and at points, you feel like you're having as much fun as they are. A truly invigorating show, 10,000 will leave you feeling as sky-high as its performers.
Jonathan Lauren
The Nature of Forgetting - 4 stars
There is extraordinary talent in this production, the music and movement are exquisite.
A 55-year-old man named Tom, who has dementia, is given the seemingly simple task of putting on a blue jacket and the red tie in its pocket. The jacket hangs at the far end of a long costume rail. Tom manages to get the jacket half on but misses the tie, prompting a deep and disorienting search through the costumes to complete the task. Each garment transports us to a moment in Tom’s past, offering glimpses into many relatable memories: we see Tom as a child with his mother, at school where he meets his childhood sweetheart, growing up, marrying, becoming a father, and among other moments we witness a life-altering event.
The smooth and slick ensemble create some stunning stage pictures. Tom’s memories that are so wonderfully created and played out, can’t be held onto for long. The moments are beautifully deconstructed, evoking the cruel feeling of loss and bewilderment dementia afflicts. However, its impact is sometimes diluted by drawn-out pauses that feel indulgent rather than affecting.
The Nature of Forgetting certainly showcases impressive talent and moments of genuine emotion interweaving comedy, tragedy and some of those exquisite moment’s life has to offer. While the physical storytelling is strong, the plot itself treads a predictable path, leaving little room for surprise. Still, Re's Theatre reputation for fantastic physical storytelling remains unblemished and The Nature of Forgetting is a visual feast worth watching.
Jonathan Lauren
