Reviews

Edinburgh Festival review – Late Night Gimp Fight

How much you enjoy Late Night Gimp Fight may depend on how much you’ve had to drink and how forgiving of lowish common denominator humour you are, writes Ben Clover. Late Night Gimp Fight have arguably the best poster on the Fringe and an infectious sense of fun. Whether you would enjoy this or not(…)

Edinburgh Festival review – Jack Whitehall

Jack Whitehall should turn in on himself more, otherwise he’s never going to set the world alight, writes Julian Hall. With his knickers in a twist about a review from last year (guilty) Whitehall powers through another solid set, but without ever being in danger of setting the world on fire. His ever-hectoring voice ploughs(…)

Edinburgh Festival review – Norman Lovett

A no-octane show with nothing approaching a conventional gag, Norman Lovett’s show is still oddly enjoyable, finds Ben Clover. Norman Lovett is profoundly relaxed onstage at the Gilded Balloon, as you might expect from someone with thirty years’ experience as a comic. The calm he brings to this hour show is almost zen and means(…)

Edinburgh Festival review – Bo Burnham

In Bo Burnham, teen angst has never sounded so good, says Julian Hall. He’s the wunderkind of musical comedy rising from YouTube fame to be part of the Judd Apatow comedy clique. Nineteen-year-old comedy sensation Bo Burnham lives up to the hype tonight as his awkward charm casts a spell over his audience. It’s as(…)

Edinburgh Festival review – Nat Luurtsema

The debut Edinburgh show by Nat Luurtsema feels padded, which does her talent a disservice, writes Ben Clover. Nat Luurtsema has a way with an image. “I was stood so close to him I could smell his eyes,” was one among a wealth of lines in this, her debut solo Edinburgh show. There’s also a(…)

Edinburgh Festival review – Gary Delaney

Can Gary Delaney impress an Edinburgh Fringe audience as he has been in the UK’s clubs for the last decade? writes Paul Fleckney?   The thing about the one-liner merchants such as Gary Delaney (and Milton Jones and Tim Vine) is that they make comedy look ridiculously easy. Except it can’t be, otherwise there would(…)