Category: Brett Herriot at the Festivals

“Time for the Society to Listen!”

Three weeks and four weekends spanning August 6th through August 31^st has seen the annual cultural explosion that is the festivals season taking over the Scottish Capital as Edinburgh welcomes the globe and re-establishes itself as the greatest platform for the arts in the world!

The two-person team here at Scotsgayarts.com received thousands of emails from companies performing across the Edinburgh Fringe, The international Festival and the Book Festival.  These were whittled down to the hundred or so reviews that have been published on the site across the duration of the festivals.

Our coverage has spanned all the August Festivals including the International Festival, The Fringe and the PBH Free Fringe.

The 2026 and 79^th Fringe has been especially challenging with the late kick of date that saw audience figures fall off a cliff in the last week and given that Scottish Schools went back just one week into the festival applied a significant amount if pressure. For those venues based in the new town the devasting fire at the former Debenhams building meant the closure of the George Street temporary garden with the gardens bar and venues including the Bijou moving along to St Andrew’s Square and George Street remaining open to Traffic.

For the city council to defend a seven-week closure of Princes Street and the associated chaos that was the diversions is somewhat galling and made significant dent in the footfall of Potential Audience members for those show’s housed across the new town.

The Fringe Society now ensconced in their multi-million-pound new home have issued media statements claiming sales have increased yet its reflected on one soul Saturday (17^th August) yet most companies and producers struggled with low ticket sales or hemorrhaging money with the society once again asking for public money the question has to be asked, where was the society’s support this year? There was no additional signage in the town, just the usual mix of privately funded show advertising, where was the TV and radio advertising or even harnessing the media to try and boost audience figures?

The Fringe Society are clinging steadfastly to the misguided fact that the Fringe must finish on the end of August English Bank Holiday? Why? Who is paying the society to enforce this decision? The Society is supposed to listen to the companies but it’s happy to do nothing but acquire a brand new home and put the begging bowl out for more money.

The one thing that is clear is the formula isn’t working for far too many and can’t continue, discussion is needed across the festival organizers going forward and more importantly the city council and the citizens of this great city to secure the cultural phenomenon for both performers, producers, venues, the city and its people on a shared equal footing for generations to come. If the Fringe Society are listening, they must pull the 2027 and 80^th Fringe Forward by a week to allow for recovery from this years festival.  

As the curtain falls on this year’s festivals, we at Scotsgayarts.com offer our profound thanks to all those who shared their work with us, each and every moment spent in venues that spanned small intimate theatres to the grandeur of the tattoo arena at Edinburgh Castle provided magical theatrical magical moments that will stay with us for a lifetime.

The Arts matter and Scotsgayarts.com is indebted to the creatives who shared their work and themselves and make the festivals just what they are! We now move forward into the autumn and winter season of work from across Scotland, but we are already pondering with excitement what the 2027 Festival season will bring our way!

For now, rest well, thank you and haste ye back!

Brett

Editor

Scotsgayarts.com

***** (5 stars)

“Emotional and Truthful!”

The Critically acclaimed smash it of the 2025 Fringe Festival returns for a second run this year moving from the Bijou to the Larger Ballroom at the Assembly Rooms on George Street. As Edinburgh based Captivate Theatre proves just how powerful stripped back theatre can be.

Debuting in 2017, Come from Away with book, music and lyrics by Irene Sankoff and David Hein has redefined the genre for biographical musicals and would go on to win both Tony and Olivier Awards alongside runs in both London’s west end at the Pheonix Theatre and at the Gerald Schonfeld Theatre on Broadway.

Telling the story of events in Gander, Newfoundland during the week following the September 11^th attacks when 38 planes carrying over 700 passengers were ordered to land unexpectedly at Gander International Airport. The show takes us into the lives of the residents who rallied to the call and of the stranded travelers they housed and fed.

Its an emotional and truthful exploration of the human condition and humanities ability to transcend tragedy and still find hope and Captivates outstanding sixteen strong ensemble company and seven strong house band deliver a production that sores into the heart and lingers long in the memory for its emotional honesty and beguiling performances.

There are no weak links in the performers on stage who deliver triumphant performances throughout as they bring to life a myriad of characters on incredibly emotional journeys finding laugher and emotional truths in equal measure. Vocals are peerless thanks to Musical Director Fraser Hume crafting simply beautiful harmonies and vocal performances that are as west end worthy as any to be seen across this year’s festivals.

Director Sally Lyall assisted by Mairi Cross has delivered a stripped back production that doesn’t rely on glitzy stage sets or special effects but instead puts the heart of the story on the performances and these are performances that beguile, capture and touch the heart of the audience in equal measures. This is further boosted by Danielle Logan’s inspired and aft intimate choreography which adds fluid and emotional touch to the overall production.

It would be wrong to single out a single performer for praise as this company truly work as one ensemble and everyone gives a performance that comes from the soul and that’s what has ensured that the entire run of Come from Away is playing to packed full houses.

Captivates Come from Away is quite rightly the golden ticket of yet another years Fringe and a continues to be a sparkling example of what excellent creative theatre making is all about, if you don’t leave the Ballroom emotionally moved with a tear then there must be something radically wrong with you! This is the most unforgettable of shows! Nothing comes close to matching it, wonderful stuff indeed.

Come From Away, Ballroom at Assembly Rooms Venue 20, Runs Until 30^th August, for more info and tickets go to: Come From Away | Edinburgh Festival Fringe

***** (5 stars)

“An excellent explosion of drag musical campery”

Remarkably after a nearly 20 year career in the cutthroat world of Drag, Scotland’s own queen of the heels Mary Mac makes her debut at the Edinburgh Fringe (although she has headlined Edinburgh Pride in her time too) in an hour long  excellent explosion of drag musical campery that see’s the drag legend and west end star win over audiences with a fine selection of songs and comedy from a truly polished performer in killer heels.

What sets Mary apart from many a drag queen working the fringe is number one, that Ru Paul doesn’t know her name and two she is a genuinely talented performer with credits such as “Everybody’s talking about Jamie” and “La Cage Aux Folles” along side establishing a career on the cruise ships which includes a close friendship with gay icon Jane McDonald.

Mary’s vocals are peerless and she delivers the songs with the power of Shirley Bassey and her impersonation of Cher is sheer comedy gold. The comedy flowed with ease and refreshingly it was comedy that was observational and genuinely funny. Yes, like all drag queens the comedy got a little near the knuckle but never at anyone’s expense and every joke and quip landed on solid ground from an expert who knows how to read her audiences.

Mary has a true gift of harnessing the old world of drag ala Danny La Rue but also transcending it to make it accessible to modern audiences. She has a genuine warmth and spirit of character that draws you to her and you hang on every word of her career anecdotes it’s a joy to spend an hour in her company and as she sings herself “This is my life!” and she truly means it!

You won’t find a better drag turn elsewhere on the festival, this show has it all, the voice, the songs, the comedy and a true global icon of drag! Miss Mary Mac and long may she reign!

Mary Mac – Hail Mary: The Tartan Songstress, Studio 2 at Assembly George Square Studios, Venue 17, Runs Until 30th August for more information go to: Mary Mac – Hail Mary: The Tartan Songstress | Edinburgh Festival Fringe

***** (5 stars)

“Heart Shattering!”

The critically acclaimed hit of the 2025 Fringe Festival written by Liam Lambie returns for the 2026 festival ahead of a Scottish Theatre tour in the autumn of this year which will see the full production staged in venues across the central belt.

For this second fringe season it’s the abridged 50-minute version that returns to the Space on the mile and it’s lost none of its power, comedy or its urgent message to its audience that when it comes to knife crime there are never any winners, only losers.

Set in 1990’s Glasgow Suburb of Govan where Gang culture runs rife, the play is deeply biographical and clever representation of a generation just behind the current one where loyalty and respect are earned through dedication and trust of your friends.

The first half of the play is an observational comedy triumph going beyond the tracksuits, trainers and baseball caps to reveal even perceived “Neds” have hopes and dreams and all have different reasons for joining the gang they share. Yes, the language is near the knuckle but the laugher flows. The transition to the second half where the drama takes over, leading to a heart shattering conclusion, is a gift of excellent writing and stellar performances from the entire cast.

There is not a weak link in this tightly knit company who clearly believe passionately in not only the show, but what it stands for. When we were young is a sobering, emotional and powerful reminder that in the nearly three decades that have passed since the plays setting the tragedy of knife crime continues to pervade our society, are we learning the lesson? Appears we aren’t as long as young people continue to pick up a Knife. When we were young are transcending the art form in order to educate and this five-star production has what it takes to succeed and you cant help leaving the intimate venue wanting to see the full production. Wonderful stuff indeed.

When We Were Young, Space 2, At the Space on the Mile, Venue 39, Runs Until 29th August for more information go to: When We Were Young | Edinburgh Festival Fringe

***** (5 stars)

“Fabulously Filthy”

Remarkably after a 17 year absence the world’s most renown Homosexual Julian Clary makes his triumphant return to the Fringe Festival with his brand new show “Fully Dilated” taking to the stage of the music hall at the Assembly Rooms George Street and he delivers a fabulously filthy hour of comedy that see’s the master of smut try out new material and reprise some favorites alongside a poignant moment or two that proves that no one does it better than Mr. Clary!

With nothing more than his trusty Microphone and stage manager Bertha at his side and a life time of adventures and anecdotes under his belt, Julian is opening himself to his audiences to talk all things, life, death and everything in-between in a blistering hour of comedy that’s peppered with not only audience interactions but also moments of pathos driven reflection.

We hark back to the days of Sticky moments and Fanny the wonder dog whose impression of the Late Queen mother had to be seen to be believed along with more recent adventures that has seen Julian become queen of the London palladium pantomimes alongside his dear friend Nigel Havers.

What makes Fully Dilated extra special is Clary also speaks openly of loves lost to the Aids pandemic of the 1980’s and the many friends he has lost along the way during his 40 plus year career. Most poignantly Julian discusses the late and legendary Paul O’Grady to great audience acclaim.

Fully Dilated is a chance for Julian to harness new material but also reaffirm his crown as the master of stand up that while a cannon of smut it’s also deeply funny! Long may Julian Clary remain the icon of comedy!

Julian Clary Fully Dilated, The Music Hall at Assembly Rooms Venue Runs Until 23^rd August for more information go to: Julian Clary: Fully Dilated | Edinburgh Festival Fringe