As someone who became an instant fan of the Silence of the Lambs the first time I saw the film, this show piqued my curiousity on title alone. How does one person retell such a gripping thriller as a solo performance? I decided to find out!

Starring Michael Kinnan

Movie music begins and a projector shows credits and it’s all Michael Kinnan. His name over and over which elicits some chuckles.

The opening scene is him as Clarice Starling running around the stage during FBI training.

To those very familiar with the film, it feels exactly that, familiar. I feel like someone who hasn’t seen it in a very long time/didn’t watch it repeated times could feel a little lost. (So a heads-up if you plan to take along someone in that category)

Distinctive Voices

What I don’t think anyone would feel lost on is when a different character is speaking. Michael Kinnan does a very good job of using distinctively different voices and cadence for different characters. Even those unfamiliar with the film wouldn’t confuse Chilton for Clarice.

Rather than this leaning heavily into the silly and camp, it lands somewhere in the middle.

The face biting scene was done with a pillow mannequin and that made me laugh, and there were some chuckles at some scenes like famous ciannti line, and the creative way he recreates the fingers touching when handing over the file moment. These and some other moments were fun but the show doesn’t feel silly overall.

As far as making it deeply emotional in some scenes, there are built in limitations of this being a one man show. Michael is clearly a talented and capable actor but one person can’t switch between Katherine literally sobbing to Buffalo Bill’s anger in an instant. However he does portray the anger characters well.

His Hannibal Lecter and Buffalo Bill voices are excellent and has the right kind of creepy vibe for each character.

Ends With Lots of Applause

The props used are minimal but they are effective and some are creative too. The sound and lights are simple but well used, rightly keeping the focus on the man of this one man show.

The number of the audience members giving a standing ovation is a testament to Micheal’s performance and that there is certainly and audience for this show. If you’re a serious Silence of the Lambs fan, it’s worth checking out!

Review: Goodbye Horses an Unauthorised Retelling of Jonathan Demme’s The Silence Of The Lambs, Fringe 2026

Lauren Charlotte

Performance

Vibes

Value for money

Summary

The number of the audience members giving a standing ovation is a testament to Micheal’s performance and that there is certainly and audience for this show. If you’re a serious Silence of the Lambs fan, it’s worth checking out!

3.3

BOOK NOW

It is a tech affair that feels distinct from the usual storytelling format found at the Fringe comedy. Zafar’s presentation dabbles with recorded videos and live soundboard triggers, transforming the Jersey space into a makeshift television studio. While the venue can become annoyingly warm, the technical setup is slick, allowing for a polished transition between segments that keeps the energy in the room consistently buoyant.

Interactive Ambition and Game Show Pacing

The title Rubicon serves as the show’s central thesis: a point of no return. Zafar uses this to frame his career trajectory and his desire to break out of the “one to watch” category of comedians. He possesses an undeniable charisma, the kind that naturally suggests he is auditioning for the role of a mainstream game show host. He is quick on his feet, and his ability to integrate technology into the routine demonstrates a level of preparation often missing from standard solo stand-up hours. You can see tech from Twitch and live-streaming being cleverly used.

The interactivity here is more than just standard crowd work; it is integrated into the mechanics of the show. Audience members are not just passive observers; some will find themselves pulled into the fold. One unfortunate heckler discovered this the hard way, being brought on stage after an ill-advised interjection. It worked in the room, creating an electric atmosphere, but it also highlighted Zafar’s capability to handle the unpredictable nature of live performance with composure.

Beneath the Multimedia Satire

While the bells and whistles of the production are impressive, the intellectual weight of the show lies in Zafar’s observational material regarding race and class in the UK. His takedown of luxury retail culture, specifically targeting high-end institutions like Harrods, is a highlight. It is biting, pointed, and ultimately justified; his argument that institutions charging exorbitant prices for basic commodities should be able to withstand a bit of ridicule rings true.

Zafar navigates the tension of our current societal landscape effectively, highlighting how the lines between class groups have seemingly hardened. He jokes about using his platform for social good, but the political points are buried deep beneath layers of satire. He manages to sidestep the trap of becoming overly preachy, instead opting for a subversive approach that allows the audience to arrive at their own conclusions while they laugh.

Overall

Bilal Zafar has delivered a show that is technically proficient and conceptually ambitious. Rubicon feels like an attempt to pivot into a new tier of performance, blending the immediacy of live comedy with the polish of digital entertainment. For those who want something more dynamic than a standard storytelling hour, Zafar’s blend of sharp satire and interactive games makes this one of the more engaging setups at the Underbelly this year. It is not just a comedy show; it is a proof of concept for a performer ready for a bigger stage.

Performing in the intimate underground space of the Pleasance Cellar at 18:55, Büchner tackles the deep, intense, and often surprisingly fleeting nature of friendships between women, using her recent wedding as the catalyst for shifting social circles.

The show builds directly on her reputation for high-energy stand-up, blending personal anecdotes with dynamic crowd work. While Büchner takes clear aim at social dynamics and modern relationships, her warmth and charm ensure the room remains fully engaged throughout the hour.

Navigating the Fragile World of Modern Friendships

Büchner attacks the stage with dynamic vigour, immediately establishing a raw, direct rapport with the room. The narrative arc moves through the stages of making and maintaining friends, contrasting the deep intimacy of close female connections with the awkward reality of drifting apart. She uses real-life shenanigans to anchor her comedy, extrapolating personal stories about marriage, social media, and shifting priorities into universally relatable truths.

The performance requires a reasonable degree of audience participation. Büchner aggressively and endearingly attempts to make friends with the crowd, using interactive elements to push the narrative forward. While the material pokes fun at specific demographics and modern social tropes, the delivery is grounded in keen observation rather than malice. Those with thinner skin might feel briefly targeted during the riffing, but the vast majority of the audience will find the commentary hilariously accurate.

Sharp Crowd Work and Cross-Demographic Appeal

A core strength of the show is Büchner’s fluid crowd work. Rather than using audience interaction as a fallback, she positions it as the engine of the set, allowing the specific energy of the room to dictate the pacing. While she focuses on female-coded experiences, her observations on how men and women navigate social circles hit the mark with remarkable precision, resonating across the room regardless of gender.

Büchner demonstrates the polished control of a comedian who is now supporting major acts like Mark Watson and Stevie Martin. Her ability to pivot from scripted anecdotes to spontaneous riffing is seamless, ensuring the narrative arc never falters. It is a confident, well-crafted hour from a performer whose online reach, with over 100 million views, is now translating effectively to the live stage.

Overall

One of the Girls delivers a funny, relatable, and energetic hour of stand-up that consolidates Courtney Büchner’s position as a rising talent at the Fringe. It is an ideal early evening show to kick off a night out with friends, offering plenty of laugh-out-loud moments alongside genuinely perceptive observations on adult relationships. Highly recommended.

The performance showcases Poojara as an engaging, charismatic presence who balances personal narrative with effortless audience banter. Despite the venue’s early afternoon slot, his accessible style and sharp, observational humour deliver a thoroughly enjoyable hour of stand-up.

Navigating Expectations and Cobblestone Charm

Performing in the intimate setting of Bunker Three, just off the Pleasance Courtyard’s bustling cobblestones, Poojara creates an immediate, welcoming connection with the room. His set weaves together the intense drive of an immigrant family background, where financial security is paramount, never taken for granted, and the personal realisation that life has largely been pre-rolled by others. The tension between living up to family pride and carving out an independent path forms the core narrative thread.

Poojara’s warmth prevents the heavy themes of duty and identity from becoming overly sombre. He addresses family dynamics and personal flaws with equal lightness, turning a critical eye on his relatives without ever drifting into bitterness or cruelty. His stage presence feels grounded, like a sharp conversation with an old friend who happens to possess exceptional comedic timing.

Charisma, Crowd Work, and On-Stage Polish

A standout quality of the hour is Poojara’s natural adaptability. When faced with slightly younger crowd members than anticipated, he handles the shift with effortless charm and playful banter. An interaction with a young audience member in the front row demonstrates his composure; he manages the dynamic playfully without unravelling his structured material or crossing into mean-spirited territory.

Visually supported by a presentation screen highlighting his recent television appearances and rapid rise on the UK circuit, the performance reinforces his trajectory as a rising talent. Stories covering everything from the literal meaning of his name to hyper-competitive family members land cleanly. Even when touching on broader cultural themes or subtle political jokes that slip past a daytime festival crowd nursing early pints, Poojara maintains momentum. He is a magnetic performer whose career is clearly on an upward trajectory.

Overall

Raj Poojara’s Dice is an impressive, relatable debut that comfortably translates the anxieties of cultural expectation into warm, engaging comedy. Guided by Poojara’s natural charisma and sharp observational eye, it marks him as a standout talent to watch at this year’s Fringe and beyond.

Originally crafted in a NYC apartment during lockdown as an interactive online digital production, this live adaptation reimagines the 1968 sci-fi classic Planet of the Apes using the Victorian art of toy theatre. The premise follows astronaut George Taylor as he crash-lands on a strange world where articulate fruit reigns supreme and mute humans, represented by corks (very cleverly designed cork puppets), are forced into servitude.

Positioned in the heart of the Fringe and just around the corner from the Pleasance’s famous cobblestone courtyard, the show offers an intriguing, family-friendly midday slot at 12:20. While marketed for all ages, the narrative layers work on two distinct tiers. Younger audience members will track the basic slapstick dynamic of humans getting into scrapes with aggressive fruit, while adults will pick up on the surprisingly sharp thematic parallels drawn from Pierre Boulle’s original novel and Rod Serling’s screenplays, touching on societal division, dogma, and human arrogance.

Masterfully Intricate Staging and Sci-Fi Satire

The highlight of the production lies in the sheer technical ingenuity of the miniature set. Marino operates a masterfully intricate setup of toys, deploying fiddly models and dynamic backdrops with remarkable speed. A leafy jungle backdrop seamlessly flips to reveal an erupting volcano, complete with red streamers on sticks to represent flowing lava. The puppetry technology extends far beyond simple props on sticks, incorporating inventive mechanics, including a standout scene featuring a flaming arrow that manages to be visually thrilling despite the tiny scale.

Characterisation is equally tongue-in-cheek. The lead astronaut, Taylor, is portrayed as a delightfully uncharismatic, problematic hero reminiscent of Futurama’s Zapp Brannigan. The production also retains minor bits of physical audience participation. Props are passed into the crowd to trigger atmospheric effects; landing a scrunched-up tissue paper snowball onto the stage from several rows back adds a charming, communal touch to the performance.

Scale, Sightlines, and the Space Between

The primary challenge of bringing a craft originally designed for high-definition camera close-ups onto a physical stage comes down to scale. While the craft is unquestionable, the minute nature of toy theatre means sightlines are critical. Audience members sitting further back or at steep side angles in the venue may struggle to catch every subtle detail and micro-expression of the corks and grapes. Action sequences such as general skirmishes can occasionally descend into simple shaking of the models, where the visual precision of the static sets slightly dilutes.

In many ways, the concept retains a digital DNA that originally thrived on screen interaction. Transposing that intimacy to a traditional theatre layout means a small fraction of the original close-up magic is lost in translation across the rows. However, as an exercise in reviving a forgotten Victorian stage craft, it remains a clever and inventive piece of work that stands out from standard festival offerings.

Overall

Planet of the Grapes is a unique, inventive Fringe outing that successfully revives Victorian toy theatre through a hilarious sci-fi lens. While sightlines in a larger room can occasionally obscure the finest micro-details of the staging, Peter Michael Marino’s fast-paced prop manipulation and sharp satirical undertones offer plenty of charm. It stands as a fun, surprisingly thoughtful midday show that caters to curious adults and families alike.

Tucked into a nifty wee side room in The Alchemist was a nice long room for this show. I was encouraged to go grab a drink before queuing by the lovely lady scanning in tickets, but unfortunately the Alchemist costs a kidney for a drink (they are extremely creative and well crafted though).

The room was pretty roasting, but there were fans inside which were much needed. Our lovely comic for the evening, Ori Halevy, is an Israeli Jew living in Germany who has tried to avoid talking about the important things. His identity, his self worth, dogs – you know, the hard hitting stuff.

So, like any reasonable, funny person, rather than therapy he decided to use his comedy skills to talk to a room full of strangers about it! Using his trusty notebook, the crowd picks a number and Ori will do a set about it with plenty of crowd work and on the fly jokes sprinkled throughout. After being in this line of work for 12 years his comedy is well spoken, sharp and sometimes polarising – but that’s the sort of humour I just happen to enjoy. 

Comedy 

Ori’s comedy is dark and teeters on the edges of what is acceptable at times, taking pot shots at Germans, himself, and unfortunately for me glasses wearers (-1* for you).

During his set he mentioned a woman he had done comedy with taking offence to him being both Israeli and vegan, saying it’s ironic and he explained he’s never spoken up about the political nature of Israel because he does not wish to be tarred with the same brush.

At this point a few people stood up, said his comedy wasn’t for them and left. Instead of it breaking his stride Ori worked it into a bit and kept the remaining crowd laughing. I understand that the mention of Israel puts people on edge, but I believe that is why it is important to still support those from there who want nothing to do with the ongoing issues.

I found Ori’s comedy to be honest, relatable and I found him to be very charming and confident in his delivery, even when he was telling jokes about being an insecure person. He was quick with retorts when people would shout out to him and very witty in those. 

Overall

I had a great time at this show! I’d seen a few comedies at this point in the day and this one made me laugh the hardest. I can completely understand why his comedy is not for everyone but it certainly was for me.

Highlights that stayed with me were the quick quips he would make such as “I am like the Epstein of dogs – I can’t help but touch them” and his bit about German emergency alarms on phones. So, so funny. This bald man DID make me giggle, thank you Ori. 

Sophie’s Surprise 29th is a returning show to Edinburgh Fringe, and oh boy am I glad it did! The show is full ’90s nostalgia bringing you straight back to high school parties with the performers each having their own unique and hilarious characters – with brilliant tunes, crisps being handed out and impeccable vibes.

The performers come from incredible well known acts like Cirque du Soleil, La Clique and The 7 Fingers and that talent truly speaks for itself. It’s refreshing to have a circus that caters for adults while still bringing that childhood wonder that circus always brings. There were a lot of risqué and very cheeky tricks and acting segments, so if that’s not your thing then I’d give this one a pass – but I thought it was great and fleshed out these 90s characters they were portraying. 

Our party guests

Our dazzling party has a wildly talented bunch of party guests, consisting of the soft hearted goth king, the muscle bound himbo, the oh-so-shady biscuit dealer, the nerd, the popular girl and the tourist – and of course our Sophie of the night! They flipped, twirled, danced and flew their way right into my heart with an extremely funny yet totally captivating set of routines that had me and the others in the front row only occasionally fearing for our lives in the best way possible.

They portrayed their characters with so much energy and full commitment and you felt it from the moment you stepped into the room. Before the show even began they were weaving amongst the crowd as we found seats, interacting with the audience. They all bounced off of each other’s energies so well and that makes all the difference when you can just feel the magic in the air. 

Speaking of flips…

The variety and talent of the performers was unreal. Aerial Hoops, Aerial Rope, Rollerskating, Trapeze, Unicycle – you name, it they did it! The time was ram-packed from start to finish and it seemed endless as we just looked up in total awe at the beauty of the bodies twirling high above us.

When they weren’t showing off their circus prowess their comedy really shone with short, hilarious acts while the stage hands swapped out the equipment needed (shout out to their crew, they were awesome the whole time). The way their bodies moved was mesmerising, the strength of their bodies and their years of training clearly on display. I would go back in a heartbeat. 

Matt Hobs is an endearing character with a genuine and real passion for Badgers and small British wildlife. He originally started writing this show as a badger fan and submitted 100% Badgers as a “haha, I enjoy badgers” – but in his research for the show it became so much more than that. It became a comedy act both extremely funny yet very important and educational.

Hobs has collaborated with Badger Trust and Scottish Badgers, and has separately held a one-off fundraiser earlier this month which raised just shy of £1700 to aid their amazing work.

Why badgers?

This is one of the main questions Matt gets asked, and it is one of the questions he bases his set around. Originally it was just because he thinks badgers are cute, bumbly little creatures and he wanted to attract one to his garden, but it became more than that.

Standing in a farm field one day looking at a badger in a cage for vaccination he realised they all have different personalities and behaviours and that changed everything. He realised the cull of badgers and the lack of aid for them in our modern world was decimating the population.

With his background in science, Matt read so much data around TB in badgers affecting British cattle and found it all to be rather conflicting and no one coming to any real consensus on the matter. But somehow he managed to slip in these dark facts with levity and jokes that were just ridiculous fun.

The Matt Hobs Experience

The show began with us cramming into this teeny tiny karaoke room that was hotter than hell itself with Matt apologising and trying to hobble together the tech system with the TV not working and him having technical issues as his act revolves around slides and videos.

He again apologised, offered anyone who wanted to leave the opportunity and a refund. No one took it. We told him it was fine, and it happens and then from on high a staff member appeared with the remote and got the TV working. We were in business! Matt switched effortlessly between very funny jokes and actually educational content, throwing in some badger props and some proper cheesy dad jokes in there for good luck.

Overall 

For a Free Fringe show this is an excellent offering and I can see why it was sold out. I would say it’s probably like 90% Badger – I think he was flying too close to the sun with 100% Badger, such a thing seems impossible. Shout out to Mr Prickles, who is definitely NOT a badger. The crowd involvement was very fun also.

Tucked into the corner of the lovely Hill Square is a wee gem of a venue as a part of the Symposium Hall. Inside, the next generation of musical theatre have been hard at work bringing the vision of Sam Essen and Ben Glasstone to life in this lighthearted retelling of the story of Orpheus and Eurydice.

Sam has been in love with musical theatre since the age of seven and combined with his fascination for Greek Mythology he and Ben created this musical just for the Fringe Festival 2026. Yorkshire CREATE and Rabbit Head Productions were a great collaboration choice – you can feel how much this show means to the teens and the adult helpers the minute you step into the venue. 

The children at the heart

The cast of 13 teens show real promise and I was beyond impressed with their talent. They each juggled multiple roles, remembering where the staging was going and their choreography; as someone who performs musical theatre I can tell you there are many adults who struggle with that and these kids seemed to take it all in their stride.

The Oracle was full of sass and personality, Cerberus had the whole crowd laughing, Hades had a booming presence that fit perfectly and Orpheus’ voice was clear and pure. The extra characters certainly didn’t let themselves fade into the background, all of them always showing great expression and movement.

A massive shout out to Reggie, the lone boy in the cast. Keep shining, your voice is so strong and clean and we need more men showing their love for theatre. 

Music and staging

The songs were the kind the whole family would enjoy – the melodies boppy and fun enough while the lyrics told the story in an excellent way. There was a lot of repetition in the melodies, but they each told a different story. I do wish some of the quieter teens could have the music lowered a little for them so their lovely voices could be heard a little clearer, but it didn’t stop the fun.

The stand-out song was definitely Cerberus’ song, everyone in the crowd had a huge smile plastered across their faces, myself included. The number of ways the kids used those 3 blocks for so many different things was incredible. They used every part of the stage and they used it well. The lighting added to the vibes to create a show that looked much bigger than the room it was in. 

Overall

I think if you enjoy musical theatre and have an interest in Greek Mythology – or if you simply want to support teens pursuing a creative art, then Orpheus is a brilliant show to go to. The way they performed the story was a fitting tribute and I commend Sam and Ben for choosing teens to perform this instead of adults. 

Simon Amstell is doing standup at Fringe. Yes, that Simon Amstell – off the telly! He does remind us that it’s been a while since he was on the telly, but the telly is the only place I only know him from, so my expectations are of vague familiarity and… well, curiosity. What’s he been up to? I immediate request a ticket.

What will this show bring? Well, some unfiltered honesty, for a start.

Vibe

The vibe is that Simon Amstell is out there in Hollywood, famous, gay, happy in a relationship of 14 years, having threesomes and crushes whilst going around rubbing shoulders with the rich and famous. Like Laura Dern, Baz Luhrmann, Viola Davis and Charli XCX. Yes, there’s quite a lot of name dropping in this show.

He’s quite happy to tell us all about his adventures, such as wearing a Gucci suit to a fabulous party, and I’m happy to listen. After all, that’s why I’m here.

The show itself

Simon Amstell is unapologetically Simon Amstell; comfortable in his own skin, and happy to share some of the sauciest details of his life that you definitely don’t get to hear on the telly – and, it’s plenty funny, too. Plus, he’s even more likeable this way, despite the concerns about maintaining his household-name status: “How are you supposed to keep a career going when new people keep being born?”

There’s some absurdist humour as we hear about Amstell’s plight of getting a shag with the celebrity he has a crush on, who he interestingly refers to as simply ‘The Singer’ – who he seems to have had multiple chances with, but never quite wins the prize. I could ask Google to tell me who it thinks this is, but I’m not sure I care enough to find out and it’s more about the feeling than the reality of the situation at this point.

I know it must have been very important to Amstell at the time, but I just couldn’t get overly invested in this pursuit. It’s a former teenage crush who’s a celeb, and as someone who’s been in a similar situation and DID get what they wanted… I’d like to reassure Amstell it’s never as good as you think it’s going to be.

I also enjoyed Amstell’s references to Mel Robbins‘ book The Let Them Theory, and the overarching narrative of his low self-confidence, constant self-examinsation and the love of his larger bum: “I used to have two legs and a hole”. The piano finale is really worth sticking around for, and I left feeling in good spirits.

Overall

Unfiltered, unapologetic, commanding-the-stage-just-by-being-himself Simon Amstell feels like an hour well spent. We get a small glimpse into window of the life and neurosis of someone who’s very self-analytical and reflective, but also successful and living it up. It’s not exactly Fleabag energy – there could definitely be more struggle, more friction to give us a bit more of an edge in terms of relatability.

Still, I appreciated Amstell’s humour, enjoyed the show and laughed quite a lot. I have zero regrets about seeing this show.