• Fri. Feb 23rd, 2024

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Henry Box Brown review

Based on a true story from the early 1800s, Henry Box Brown follows the journey of a slave’s pursuit of freedom. The story begins in Virginia, with the main character…

‘Balance of talent and disaster’: Late’n’live review

Late’n’live has earned itself quite the reputation. A show that starts at 1am, a booze-soaked crowd are entertained by equally inebriated comics for four hours of chaos. Many a famous…

‘Brilliant political sacrilege’: Trump The Musical

Brash, bonkers, brutish, Trump The Musical is not for the faint-hearted. Though the puckered-lipped, comically squinting Don should appear to be a melodramatic caricature, the characterisation of the world’s leaders…

‘A head-scratcher’: Anguis review

Anguis is difficult to get your head around. Sheila Atim’s first foray into playwriting consists of a desert-island-discs-type radio show/podcast, conducted with Cleopatra (Paksie Vernon). Except, in this version, the…

Neil Delamere: End of Watch

Irish comedy superstar Neil Delamere returns to Edinburgh this Fringe to tell the spectacular story of the time he went to go buy a new watch. As he narrates his…

‘Rip-roaringly funny’: FootDarks Review

Tall, dark, handsome (according to Ricky Gervais), and rip-roaringly funny; how else can one describe FootDarks, the triple threat of Cambridge stand-ups Hasan Al-Habib, Patrick Sylla, and Danny Baalbaki? There’s…

In conversation with Konstantin Kisin

Konstantin Kisin, once himself a student at the University of Edinburgh, sat down for a chat with The Student as he reflected on his debut Fringe show, Orwell That Ends…

‘Sacrifices visual impact’: Edinburgh University Footlights RENT review

RENT is a demanding musical in terms of vocal ability and subject matter, and the Edinburgh University Footlights rise to the challenge with consistently strong vocals that encapsulate the humour…