Celebrating twenty years of Fringe Fun, the May Festival this year has been bigger and better than ever, so it was even more tricky to choose my faves (and even see all I wanted to catch!) With a heady mix of cabaret, comedy, experimental performances, and everything in between, the Fringe is, as always a true melting pot of artistic expression in all its weird and wonderful glory. From the absurd to the technical to the wacky – cheers to twenty more years!
HUMANS 2.0
I’ll kick off with the most daredevil show I have ever seen! Humans 2.0 by Circa was one of the hottest tickets and did not disappoint. Fusing a mesmerising feat of raw strength and intricate choreography, version 2.0 of Humans was a stripped-back spectacle that dares to explore what it truly means to embody a human body in all its primal glory.
Showing at the Theatre Royal on a completely bare stage, the ten acrobats were constantly in motion. Each bouncing, leaping, twisting and catching each other with jaw-dropping precision – it was like watching a living pinball machine!
It’s worth noting that depending on your seat, the view can vary – somewhat paradoxically, a cheaper seat might offer a better perspective on the full scope of the action. But no matter where you sit, the impact is undeniable. There will be points when you’re biting your nails to the quick – but it’s well worth it!
FLAT 4
I had the absolute privilege of seeing Flat 4 at the Komedia to a sell-out audience, and it left a lasting impression on me. Written and performed by Isabel Songer, this one-woman show is a deeply moving, sharply honest exploration of female friendship, mental health and self-discovery.
Set in a university flat, the story unfolds as the character of Alex navigates the messy, beautiful reality of early adulthood alongside her best friend and flatmate, Bex. Through a combination of vivid storytelling and spoken word poetry, Songer has captured the rollercoaster ride of their shared experiences—moments of joy, tension, heartbreak and mental health, all spoken with complete sincerity that I didn’t doubt a word.
Handling heavy themes like eating disorders, sexual trauma and substance misuse with care and integrity the show was a convincing portrayal of a Gen Zers lifestyle and I found myself completely absorbed in the world on stage, that was created with nothing more than a chair, wine glass and Songer’s pajama-clad presence, and I left the theatre thinking deeply about my own friendships and the people who’ve shaped me. This is storytelling at its best, and I can’t recommend it enough.
EUROVISION – NOTBIG Decides
If you’ve ever wondered what would happen if a tiny fictional country no-one has ever heard of (a bit like San Marino – that landlocked nation in Europe that might not be on your radar…) decided that now was the time for notoriety, thanks to their charismatic President (played by effervescent Justin Hillier), you’ll be in for a treat.
Eurovision – Not Big Decides has your answer. Written by Lucy Norberg and performed by the theatre group OutCast, this musical comedy is a spoof of Eurovision that manages to be both a satire and a celebration. It follows the story of the Northern Overseas Territory of Biglandia Island Group (known, naturally, as “Not Big”) as they try to shake off international patronisation and assert their place on the global stage — by storming the Eurovision Song Contest.
What unfolds is a riot of original songs, comedic chaos and exaggerated characters – from a gloriously awkward national anthem to a range of Eurovision-style bangers, all performed live. Don’t expect Waterloo, but do expect to get involved- as it’s Fringe, there is audience participation – in this case, voting via a QR code for your favourite act.
Despite the modest scale, the cast of nine fills the stage with huge presence and plenty of kitsch; with roving Reporter, Dean Flynn bringing plenty of sparkle, and Sophie Adler-Mckean taking on three roles – the Pianist and Musician, Islander 2, and wiping the floor with the public votes as performer Dusty Dangerfield! Even casual Euro fans will be swept up in the sheer joy of it all.
ONLY GRANS
Only Grans is, quite simply, hilarious. From start to finish, this cheeky, clever comedy had me howling with laughter – it was bold, unfiltered and a little bit raunchy; it also takes a sledgehammer to the patriarchy!
Described as “a clown’s take on sexuality,” this one-woman show follows 82-year-old Geri on a hilariously uncomfortable yet ultimately liberating journey. Transforming from a homophobic grandmother, it blossoms into a coming-out party for a woman finally claiming her queerness, decades after she was told not to.
Performed by Greek-Australian actress Nathalie Fenwick, OnlyGrans is a celebration of transformation, sexual liberation, and queer identity and includes some incredible dance moves – not forgetting the twerking!
It’s raucous, yes, and joyfully inappropriate in all the right places and shows that older women are allowed to be, horny, angry and vulnerable.
OnlyGrans isn’t just funny; Nathalie Fenwick is a force, and I can’t wait to see what she brings to the stage next.
JOAN
Joan is an icon, albeit a glamorous over-sixties one; feeling past her sell-by date and rejected by her ex, she chances upon a vision in Lycra and sparkles. Taken under the wings of Sky (Laren Skellett) and her errant boyfriend Ben (played enthusiastically by Dean Flynn), she learns to love herself again.
Written by Hannah Doyle and Melanie Bell, this feel-good musical delivers a powerful message about self-love, re-invention and unexpected friendships. Geraldine Afifi shines as Joan, a fabulous but fading star, and in her own mind, rejected by society. However, we don’t feel pity, we feel what she feels – vulnerable without being pitiful, sharp-witted yet deeply human. She captures the ache of invisibility and the yearning for connection with grace and a generous dose of biting humour.
Sky, played with effervescent charisma by Laren Skellett—a lycra-clad, force of nature who may or may not be a Guardian Angel. Skellett’s Sky is bold, brash, and entirely captivating, drawing both Joan and the audience into her whirlwind world of sequins, self-help, and second chances.
Justin Hillier appears in a second guise as Ryan, a character who adds emotional depth and contrast to the show’s otherwise glitter-splashed atmosphere, which takes place on the intimate stage at The Actors Theatre.
At its heart, Joan is a story of rediscovery and is an uplifting story with a positive (albeit slightly spiritual) message about the beauty of reinvention and the unexpected angels who show up when we least expect them. One of my faves at this year’s Brighton Fringe, especially for anyone who’s ever felt a little bit lost… and needed a reminder that they’re not done yet.
LINE DANCING EXTRAVAGANZA
It’s not a secret that I am obsessed with line dancing, and everyone who knows me will tell you I have two left feet, but after a sweaty three-hour sesh at Brighton Fringe, at least my left feet got a good workout!
Taking over the WundaBarn in the Spiegel Gardens at Brighton Fringe, double denim-clad Charli Chazel sashayed across the stage, showing the packed ‘barn the moves before blasting out well-known country tracks.
I’m not a newbie to country songs, and often belt out a bit of Dolly (at home alone), but getting the dance steps to match the music has always been my Achilles heel! However, thanks to Charli’s infectious energy and instructions to break down the steps, I was able to keep up at least for a while! However, one false move in a space so tightly packed meant stomping on your neighbour’s toes or twirling in the wrong direction – and let’s just assume that everyone behind me was doing that too.
What sets this extravaganza apart is its emphasis on pure, unadulterated fun. There’s no pressure to perform perfectly; instead, it’s all about letting loose, embracing the music and connecting with others. By the end of the night, you’ll find yourself grinning from ear to ear, having made new friends and unforgettable memories.
In a festival brimming with diverse performances, this Line Dancing Extravaganza is a welcome addition to Brighton Fringe, and I raise my cowboy hat to many more! Yeeehawwww.
PSYTREEDELIC XPERIENCE
Rocking up to the Rotunda in Regency Square on a Sunday bank holiday, I had no idea what was in store for me when I got acquainted with my neighbour in the intimate Squeak theatre. Haylin’s PsyTreedelic Xperience was more than a comedy show and less than a cabaret, but there was plenty of audience interaction. Drawing deeply from her background in philosophy, psychology, and physical theatre, this performance is weird, wise, and wildly original.
Haylin’s presence is magnetic from the start. Barefoot and bold, she guides the audience through an hour of surreal storytelling, absurd physicality, and sharp socio-political critique. Imagine if Carl Jung, Marina Abramović, and your funniest friend went on a mushroom trip together—that’s the territory we’re in.
The physical theatre elements elevate the show from a monologue to a full-body expression of emotional truth. At one point, Haylin contorts herself into a tree-like figure mid-monologue, and we are invited to join in. Intimate, thought-provoking and ever so funny!
HAMMER & TONGUE
One of the many reasons I love Brighton are our fabulous venues, and the Open Air Theatre, off the beaten track in Dyke Road Park – just behind the tennis courts is a cracking spot to watch all kinds of shows in its grassy amphitheatre.
Settling in with a few extra layers to wear as the sun went down, I was looking forward to a night of live poets competing to win the coveted Hammer & Tongue poetry slam final; as Brighton’s longest-running poetry night, Hammer & Tongue has carved out a space where raw talent can shine and I was impressed at the big crowd it drew in.
The competition was settled by the audience who were allocated score cards, and the battle commenced with the finalists Dan Culmer, Seamus Fox, Henry Madd, Ryan Burle, Martha Bolt, E.J. Hamilton, Kit Rose, Gray Taylor, Ayana Playle and Sophie Glew stepping up to the mic to wow us. From fiery political protest pieces to soul-baring personal confessions, the variety was thrilling.
With grassroots, DIY charm—scrappy, unpredictable, the poets each brought something new; it was a tough gig to judge, and when E.J. Hamilton had a brain fog and forgot his words mid-set, the whole crowd were behind him; alas this meant he was over time and was buzzed out.
From poignant to witty to political, all bases were covered, yet the shining star of the night was Henry Madd, who took the crown with his witty renditions of life! If you’ve never been to a slam, you’re in for a treat.
SARAH MALIN’S NOT DEAD YET – A SWANSONG
As soon as I entered the Bubble stage, Sarah Malin made the audience feel welcome, and her one-woman show was a wonderfully meta celebration of not giving up. Billed as a birthday party, it’s much more than that: it’s an ode to perseverance, ageing with grace (or at least style) and the power of live performance.
Taking us through a theatrical retrospective of her life and career, it revisits roles she never got to play, re-lives awkward auditions, and delivers self-deprecating comedy that’s as sharp as it is sincere. Her energy fills the space, but what truly makes Not Dead Yet come alive is the way she invites the audience to be part of the story.
Once again, I was invited on stage (a recurring event at this year’s Fringe). My role? Helping with props! Far from being awkward, it was riotously funny. Malin orchestrated the moment with ease, balancing scripted gags with improvised responses to whatever the audience threw at her. Whilst other audience members did not escape their moment of fame, and we all ended up on the stage dancing to Wham! Eating the aforementioned freshly baked cake – a joyful anarchy of live theatre.
Not Dead Yet isn’t just about Sarah Malin’s life on stage, and it’s a perfect Fringe show – breaking down the barrier between performer and audience. I laughed, I blushed (on stage!), and I walked away, reminded that the best shows are the ones that make you feel like you were truly part of something.
THE DAY I GOT THE HORN
So much fun on a Sunday night – I even had to get up on stage and pretend to be a rhino!
Jacob Aldcroft’s one-man show, ‘The Day I Got the Horn’, is misleadingly not about an erection (not that I was craving a show about that!) It is a madcap, imaginative romp through an absurd, imaginary world, with a wildly unpredictable story, especially when you suddenly find yourself part of the show.
Rotunda Squeak is the perfect location for this type of performance as we’re close enough to the action to be part of it, and get an unfiltered glimpse into the genius mind of John Binjuss, (AKA Jacob Aldcrof) as he opens the show opens as a vodka-swilling everyman trying to stay sane as everyone around has mysteriously sprouted horns and descended into animalistic madness – which is already, in equal parts silly, debaucherous, but mostly hysterical! He also has a sexy French accent and is protecting his modesty from getting spiked in a trash can.
The plot thickens as Binjuss proceeds to invite us into his world where everyone around him has transformed into horned beasts – and he is the last human standing – albeit wearing very little and having turned to booze, and with his confidence and charisma he takes us on a journey where we help him retain his humanity (which involves aforementioned audience participation); I can’t claim that my bit part was memorable, but the ‘other’ French John in the audience was a hysterical aside!
His ability to shift seamlessly between comedy, ad-lib and clowning was worth its weight in gold, and pushed the boundaries of a solo performance and this larger than life character turned the stage into a grand theatrical experience – which balances raucous laughter with real vulnerability – where we were cajoled into questioning what it means to be the last “normal” person left!
Being part of the show, even briefly, was hilarious, disarming, and oddly touching. Highly recommended, especially if you like your comedy a little bit wild and your theatre a lot unpredictable. From self-confessed skinny legs to the accent big reveal, the show brought slapstick laughter, existential unease, a dollop of kitsch and a feel-good factor that you simply cannot buy!
VIBRATIONS FROM MARS
Tucked away in the calming Flow State studio in Hove, Vibrations from Mars was less a performance and more an immersive wellness ritual that explores stillness, stretching and sound. The result was a sixty-minute escape from terrestrial chaos, led by Gaylien de Mars – a self-declared “odd little alien from Mars”.
Flow State, already a haven for yoga lovers, is beautifully repurposed into a soft-lit sanctuary, and is the perfect location to guide participants through a regenerative yoga session that is gentle, intuitive and completely accessible, resulting in a shared relaxing reset—combining breathwork, stretching and ambient sound vibrations that seem to ripple directly from the red planet itself. Whether or not you believe in interstellar influence, the experience feels genuinely otherworldly.
My most memorable moments were punctuated by Gaylien’s beautiful, soft singing, which did indeed take me to another planet. If you’re looking to slow down, Vibrations from Mars may be the most nourishing hour you’ll spend.
GAMESHOW SPECTACULAR
Let’s just say I’m glad I saw this show on a Friday night because my cheeks were hurting so much with laughter, I think Saturday was a write-off. Hosted by the larger-than-life Dom Blarke – part game show host, part comedy tornado – this brilliantly bonkers night out at Brighton Fringe was chaos at its finest.
From the moment I walked in, the energy was electric as the maestro himself greeted each spectator. Dressed in an oversized suit (more on that later), we were eyeballed up and down and awarded a coloured mini hoop – although we had no idea what we were meant to do with it at this point. However, it was a great way to get to know our neighbours, which is part of the magic of Game Show Spectacular: you’re not just watching, you’re involved.
Whether you’re hauled up on stage for a ridiculous game of balloon blowing, trying to catch the aforementioned rings whilst wearing a unicorn horn on your head, or spinning the Spectacular “Wheel of Doom”, each segment was a riot, and a complete exercise in silliness and team building.
Dom Blarke is a master of controlled mayhem. With booming charisma, a booming voice to match, and self depreciation as he undresses on stage, he steers the evening through a series of unpredictable, hilarious challenges – less Mastermind and more It’s a Knockout – complete with sound effects, spontaneous dance breaks, and jaw-dropping curveballs that keep you guessing (and howling) until the end.
It’s not about who wins. It’s about who laughs hardest, who gets the silliest task. In short, Game Show Spectacular is pure Fringe gold.
BECOMING MAVERICK
A powerful and haunting one-woman (and world premiere) show by Heather Alexander that is inspired by Daphne du Maurier’s Rebecca. Becoming Maverick reimagines the origin story of the enigmatic Mrs Danvers, and the play opens with chilling courtroom audio describing the death of a woman in France and the abandonment of a child (Danvers).
The harrowing story continues as she survives abuse in a Plymouth orphanage – where she befriends another orphan, Jug; eventually she escapes to the streets of London after and takes a post as a tutor to a spirited girl named Rebecca in Fitzroy Square. Together, the girls share rebellious adventures, but their world is darkened by Sir Cain Hemsley, Rebecca’s abusive father. After a violent confrontation, Hemsley ends up dead, with the blame falling on his unstable wife, Sassy. A discovered letter reveals a shocking truth: Hemsley is also Danvers’ father, making Rebecca her half-sister.
It’s a heavy hitter, but Alexander ensures that the characters are poignant and passionate. Ultimately, it’s a story of survival, sisterhood, and secrets, masterfully performed with raw vulnerability and strength. Well worth a watch.
THE ANGEL OF DEATH WILL SEE YOU NOW
Presented by Trim Tab Productions, this show is a mishmash of rock opera, dark comedy and audience interaction, resulting in a rather baffling finale! The premise is intriguing: after a failed mugging, a hapless teacher (James Mannion) finds himself in a liminal space, facing the Angel of Death (Cathy Cardin), who is portrayed as a wannabe quizmaster with a twisted sense of humour. As with many Fringe shows, the audience is enlisted to help – in this case, to determine his fate through a series of daytime TV show questions!
With (perhaps too many) musical interludes from the talented band, the show goes on, while the concept promises a unique experience, the interactive elements seem a little exaggerated and disrupts the flow; however, if you are intrigued by experimental theatre and willing to embrace its unpredictability, this show will tick your boxes and the surprise finale was the highlight for me!
Behemoth
Performed at the new Puck venue, I felt like I was entering into a proper circus for the Behemoth show, presented by Compagnie Moon Café, and what I settled in for was a tightrope walker in a tutu, a neurotic juggler and some rather impressive singing!
Behemoth was a mesmerising mix of circus and physical theatre starring Ivy Blake, a wirewalker trained at ARC EN CIRQUE in Chambéry, France, who demonstrates sheer magnitude by dancing and prancing across a highwire! It’s breathtaking and heart-racing at the same time, and although she wobbles, she never falls!
Then there’s Maggie Rusak, one of the world’s top 10 jugglers, who is known for her unique foot juggling and past work with The 7 Fingers. What really stood out to me was how honest it all felt. There’s no gloss or glitter to hide behind here. Every wobble on the wire, every breath, every glance feels intentional—and real. One minute you’re gasping, the next you’re giggling, and then suddenly you’re hit with a moment of unexpected reflection. I loved it!
