A new company, Dragonfly, bring to the Fringe a tender-hearted, if rather predictable, story about family breakdown and the wider consequences of societal change in an ancient Irish coastal community.

There are surely times, especially these days, when "care assistants" and even nursing staff wonder where they are - we kind of know that care of our elderly is in a bit of a mess, and vaguely wonder what awaits us if we eventually break a bone, become increasingly frail or begin to forget not merely what we came into the kitchen for, but whether we're in the right house or street.

It could be anyone's living room. Less tidy, with a layer of dust, it could be this reviewer's. In a theatre, you could be forgiven for expecting comedy, but this set represents the home of Des and Doreen James, whose daughter Cheryl died at Deep Cut Barracks, one of four young people to do so.

Maria Tarnowska's case attracted considerable public attention even among the crowded events of 1913.

In her third show at the Fringe, and her fourth year as a comedienne, Maeve Higgins claims that she "doesn't want to be famous." If this is true, she's really not going about it the right way.

With a sell-out show, the heat was on, literally, as Jimeoin managed to skate his way to a hundred laughs or more.

From the first enormous strike of the huge red drum, everyone knew that they were in for a unique treat.

"There's an awful lot of tech on that set." First impressions set up expectations which may or may not be disappointed. Pornography is a play in a form the late Osbert Lancaster, had he cartooned theatrical styles rather than architectural ones, might have described as "Birmingham fragmented" - a number of story lines concerning one or more characters are driven toward a central point of encounter in the course of which resolution occurs.

Historians will tell you what we know of the past comes largely from lucky finds; Cameron Stewart's re-discovery of his grandfather's diaries from the First World War and his publication of them in "real time" on the web and on BBC Radio 4 in the Today programme have made an invaluable contribution to people's understanding of that conflict and the motives of those who fought in it. No great surprise, then, to find Baby Belly 1 a nearly full house for Stewart's presentation of Captain Stewart and his experiences.

I know it’s unworthy, but the first thing I thought when I walked into the Traverse 2 to see this 100-minute-long one-man show was, "Well, at least they’ve got rid of those awful foam benches and put in some proper seats." I can assure you now, though, that even sitting on a cushion made from six-inch nails, I would still have been eager to see as much as they wanted to give me of such utterly mesmerising, faultless theatre.

Not much of a joker, was he, that George Orwell?

Let’s start with a confession and a promise. The confession
is that, before this, I had never seen anything directed by Steven Berkoff.

Crossing the River Jordan focuses on three stories involving Palestinian confrontation with Israeli guards at this particular checkpoint where sixty years ago, fifty thousand Palestinians were forced to leave their homes after the State of Israel was formed. The show is an important reminder of the continuing sense of disempowerment felt by Palestinians, but it is also poignantly reminiscent of the Jews' plight in Nazi Germany.

Having never really thought much of McIntyre on BBC’s Mock
the Week, I was surprised at how enjoyable his live show was.

“Let’s get ready to punble!” says Tim Vine, dressed in a
cowboy costume. Puns, or plays on words, are something that you don’t really
think about. And when you do, it’s usually followed by, "no pun intended."

In David Benson's 1996 Fringe First award winning show Think No Evil of Us: My Life with Kenneth Williams, Noel Coward appears in a tiny cameo role, a brilliant impersonation whic

Who needs reviews when you can sell out your preview on a warm afternoon with people being turned away? This company of young people returns to the fringe with a tried and tested musical that has become popular with youth musical theatre groups across both sides of the Atlantic.

An hour watching three non-speaking actors manipulate some eight simple marionettes to an energetic score may not push every fringe goers button; the physical theatre of Etcetera from K3, however, has to be one of the most exciting and powerful pieces of theatre around this Fringe.

A few live on, elderly and not much regarded, their
time past and a new generation of immigrants paying them little mind. In

"To-night you will be Miss Saigon," but tomorrow you may be Miss Sign-On: The Untold Story of a Diva on the Dole.